quête:rose records

Vintage house and disco don Dave Lee knows a thing or two about serving up irresistible and timeless cuts and that's what he does here with the 24th instalment of the long-running Attack The Dancefloor series on his own Z Records. The man himself kicks off with Maurissa Rose on the loosely chugging, deep and soulful 'Open Me Up' (a first taste of the upcoming album together). He then slips into US garage style with his popular remix of The Trammps' 'I've Gotta Stand Up' that harks back to the glory days of 90s Soulful House. Felix Buxton's Celestial Being & Citizens Of The World Choir's 'Raise The Vibration' gets a gloriously sunny and positive Crackazat club mix before Lee closes the release with squelching synth in the form of his Boogified mix of Soul Dhamma's classic 'Flower.'

The long awaited reunion show! Founded in London in 1976, The Damned became one of the most successful and influential bands in the British punk rock scene of the 70s.

Their debut single "New Rose" (1976) is considered to be the first punk single ever released in the UK. Over the course of their 45-year career, The Damned have experimented with different musical styles and integrated elements of gothic rock, psychedelia and new wave into their sound. In October 2020, more than 40 years after the founding members split up, The Damned announced a series of reunion shows with the original line-up consisting of Dave Vanian (vocals), Brian James (guitar), Captain Sensible (bass) and Rat Scabies (drums).

However, due to the pandemic, they were forced to postpone the shows until 2022. On November 3, 2022, the original line-up performed at the sold-out O2 Apollo in Manchester, UK, and presented an energetic 21-song set from the first two 1977 albums "Damned Damned Damned" and "Music for Pleasure"; the only albums to feature all four founding members. "AD 2022 - Live In Manchester" presents not only a legendary reunion show, but also the unique magic surrounding The Damned.

Am 4. August dieses Jahres hätte Louis Armstrong seinen 123. Geburtstag gefeiert. Ist es nicht wonderful,
dass ein Musiker 53 Jahre nachdem er den Planteten Erde verlassen hat, mit seiner Musik noch immer
endlos viel Freude verbreitet? Auch im Zeitalter des Streamings werden seine Songs monatlich noch immer
in hohen zweistelligen Millionenzahlen gehört!
Für Freunde der guten alten LP und CD bringt Verve Records jetzt mit “Wonderful World: The Best
of Louis Armstrong” eine kultig-nostalgisch gestaltete Compilation heraus, die das „Best“ im Titel wirklich verdient! Neben dem globalen Mega-Hit “What A Wonderful World” sind zwölf weitere Louis-Perlen
vertreten, darunter “A Kiss To Build A Dream On,” ‘La Vie En Rose,” “Hello, Dolly!” und zwei Duette
mit Ella Fitzgerald, “Cheek To Cheek” und “Dream A Little Dream of Me”.

Phyr Records, owned by Pyramidal Decode, is a techno Vinyl/Digital label focused on dark, hypnotic and strong Techno.
The label's name "Phyr" originates from the Greek word "pyro", meaning "fire", reflecting the intense and fiery energy that defines the label's sound.

'Compounds' is the debut release from Pyramidal Decode's Phyr Records.
This various artist compilation kicks off with a thought-provoking and intricately textured track, 'Resistenza', courtesy of Pyramidal Decode himself.

The A2 comes from Spanish Pwcca, label owner of Hardtools Rec. and Inducted Waves.
His track, 'Half Human', is a masterclass in building tension, crafting a sense of unease that's sure to leave listeners on edge.

On the B side, Irazu & Unkle Fon, both hailing from Madrid, bring their unique brand of modern techno to the table with a sprawling and atmospheric track that's sure to get lost in its sonic landscape.

Finally, the B2 is a hauntingly beautiful closing, courtesy of German producer Oliver Rosemann.
His emotive and atmospheric soundscapes provide a moody ending to this exceptional release.

"It's Love" war das erste von drei Alben von The Softies zwischen 1995 und 2000. Herzschmerz, Sehnsucht und ultimative Finesse wird zu Ultra-Pop, dem man sich nicht entziehen kann. Rose Melberg (Tiger Trap, Gaze, Go Sailor) und Jen Sbragia (All Girl Summer Fun Band) kreieren mit zwei Gitarren und zwei Stimmen Songs, die sich tief in dein Herz und deine Seele bohren - und die du nicht mehr loslassen willst. Die Musik von The Softies hat eine Kraft, die nicht nachlässt, und die Songs brechen über einen herein, pure Schönheit. Der hier enthaltene Song ,This House" wurde von Lil Peep für seinen Song ,Ghost Boy" gesampelt. Das Cover von "It's Love" wurde von dem weltberühmten Comiczeichner Adrian Tomine gestaltet.

"King Yellowman is the 1984 Columbia Records debut album by Yellowman. The artist, whose real name is Winston Foster, is a Jamaican reggae and dancehall artist who first became popular in Jamaica in the 80s. After he rose to prominence in his home country, he released this record under the Columbia label. Yellowman is considered to be one of the pioneers in reggae and hugely contributed to Jamaican musical culture and the internationalization of reggae. King Yellowman is available as a 40th anniversary edition of 1000 numbered copies on yellow coloured vinyl."

Red in Clear Vinyl. First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future."The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice.The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.

1STEP Process 180g 45rpm 2-LP, Pressed on VR900-Supreme Vinyl!
The ultimate edition of Frank Sinatra’s famed 1950 concept album
Cut Using Original Analogue Mix-down Masters by Chris Bellman and Andreas Meyer! Strictly Limited To 5,000 Numbered Pressings!
Two 45-rpm 1STEP LPs pressed by RTI on VR900 Supreme Vinyl
New lacquers cut after each run of 500 pressings
Distinctive Impex 1STEP packaging featuring a gorgeous tip-in 36-page booklet with exclusive photography and period graphics, an expanded historical essay by Charles L. Granata

A heavy-stock two-sleeve Monster Pack jacket by Stoughton Printing and a luxe colour-matched slip case


We are beyond thrilled to announce the release of a very special limited edition of Frank Sinatra’s historic Sing and Dance with Frank Sinatra on Impex 1STEP! Our all-analogue 2-LP set adds further narrative substance and sonic greatness to The Voice’s first big-band jazz long-play vinyl “concept” album! Our 33.3 release was a landmark reissue, but this is a whole other level!

Like all Impex 1STEPs, this audiophile recording is pressed at 45-RPM on high-definition, VR-900 Supreme vinyl for incredible clarity, immediacy and a tonal depth that virtually mirrors the original monophonic master tape. Additionally, the tapes and discs we mastered from have rarely been used by other labels, delivering the original recording sessions closer than releases whose tapes have gone through mastering chains over and over. Silent, flat surfaces provide for near-perfect audio playback without distracting non-fill issues.

Exclusive to the Impex 1STEP edition are two previously unreleased bonus recordings and an extended version of the “It All Depends On You” Session + Take, where Sinatra capably arranges the musicians in real time!

The luxurious 1STEP packaging includes a gorgeous 36-page full-colour booklet with expanded historical liner notes, unique photos and graphics, and a deluxe slipcase. It provides an excellent listening experience and a “coffee table book” for your living room or den!

This album marks a significant evolution for Dream Division, evolving from a solo project into a full band experience. Blending the rich sounds of Italian soundtracks with psychedelic rock, Tom McDowell, the band's core member and founder of Library of the Occult Records, has assembled an all-star lineup for this collaborative record. Featuring members of The Hologram People, Garden Gate, The Psychic Circle, Miles Brown and Men From S.P.E.C.T.R.E., the album navigates through genres while maintaining a cinematic essence. From the sinister melancholy tones of 'Black Rose' to the Giorgio Moroder-esque Giallo disco of 'Technicolor Terror,' ‘A Rose in the Garden of Winter’ unfolds like a lost soundtrack to a classic '70s Giallo film.

Leif Maine and Jackson Mathod are thrilled to announce the August release of their album, "Volte-Face", with a single of the same name. This collaboration marks a bold new chapter in contemporary jazz, blending traditional and modern elements with great artistry and a willingness to explore many genres on one project.

"Volte-Face"is a sonic journey that showcases Maine's innovative compositions and Mathod's masterful trumpet performances. The album features a rich tapestry of sounds, from soulful melodies to intricate improvisations, capturing the essence of their dynamic synergy. Each track is meticulously crafted, promising an immersive listening experience for audiophiles and jazz enthusiasts alike.

Volte Face, the single, features rapper and Washington DC transplant (born and raised in NY), J Scienide. J has been around the great in underground Hip Hop. He shared a manager with the late and great MF DOOM, released and recorded with D-Styles from the World Famous Beat Junkies/ Invisibl Skratch Piklz, worked with super producer Daringer (Griselda Records/Action Bronson). He is regularly supported by FunkMaster Flex, Peter Rosenberg, Dj Premier, Dj House Shoes, Statik Selektah and many more.

The funkiest release on the HDH label and last album from Detroit soul group Chairmen of the Board saw a concerted movement away from harmony soul towards the psychedelic funk-rock sound of Funkadelica.

This record features backing from Parliament-Funkadelic musicians Eddie Hazel (guitar) Bernie Worrell (keyboards and organ), Billy “bass” Nelson (bass) and Tiki Fullwood (drums) who all give the music an enthusiastic funk injection. Reissued on 140g black vinyl with newly mastered audio from Phil Kinrade at AIR Studios, an obi strip and a printed inner featuring a liner note from “Soul Trilogy” author Stuart Cosgrove, enjoy this limited edition 50th anniversary release of Skin I’m In – brought to you with SOUL by Demon Music Group. Get on down with the get down…

Hört man den coolen Sound von LA LOM mit geschlossenen Augen, kann es sein, dass man sich in einer Welt irgendwo zwischen tropischer Hitze und schwarzweißem Hollywood-Krimi wiederfindet. Musik mit dem „Twang“ von Rockabilly, der Sinnlichkeit lateinamerikanischer Rhythmen und dem ungeschliffenen Sound moderner Independent Music, die schon prominente Fans wie Beck und Vampire Weekend gefunden hat.

Hinter LA LOM, Abkürzung für ”The Los Angeles League of Musicians”, verbergen sich die drei Musiker Zac Sokolow (Guitar), Jake Faulkner (Bass) und Nicholas Baker (Drums/Percussion). 2019 fanden sie sich zusammen um im historischen Roosevelt Hotel am Hollywood Boulevard zu spielen, inzwischen geben sie Konzerte vor Tausenden von Menschen, veröffentlichten erste digitale Singles ihrer Latin- und SoulInstrumentals und ziehen zahllose Fans auf ihre Social-Media-Profile. Ihr Albumdebüt bei Verve Records produzierte Elliot Bergman (Cage the Elephant, Major Lazer, Wild Belle)

The ever-present and unstoppable Welsh legend Sir Tom Jones continues to grow his deep-rooted legacy around the world. His recording of ‘It’s Not Unusual’ (released in 1965) has been covered by a number of incredible artists including Cher, Brenda Lee, Glen Campbell and more. The song first resurged in the 90s when it was synced on ‘The Fresh Prince Of Bel-Air’ bringing the world ‘The Carlton Dance’, and many times since Along Came Jones, the debut album from Tom Jones, contains the monumental hit ‘It’s Not Unusual’ alongside a beautiful renditions of ‘Autumn Leaves’ and Spanish Harlem. Presented on vinyl for the first time since it’s release, this will be a real collectors item for Tom Jones fans worldwide.

Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry’s legendary touch, innovative studio techniques and production style.

Conceived, written and recorded during the COVID pandemic, ‘King Perry’ was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry’s last recorded performances on his False Idols label.

Over a career spanning six decades, Lee Scratch Perry left the music world with a huge catalogue of albums, productions and appearances that cannot be underestimated. Releases for Island Records, Trojan, Adrian Sherwood’s On-U Sound, Mad Professor’s Ariwa...the list goes on. It was in 2014 that Perry teamed up with UK producer Daniel Boyle, and from this collaboration came the Grammy nominated album ‘Back At The Controls’ and was followed up five years later with the ‘Black Album’.

The ‘King Perry’ album was born out of a request from Perry that he “wanted to do something new, something different but still with a dub framework”. And so, armed with influences as diverse as synthwave, big beat, drum & bass and electronica, Boyle and Perry traded ideas, beats and lyrics in a project that continued to grow as its various guest performers were added, resulting in a kaleidoscopic and engaging melting pot of rhythms, melodies, and voices. Poignantly, closing track ‘Goodbye’ was Perry’s last ever recorded vocal performance.

* A classic roots instrumental from the late 1970s from legendary trombonist Vin Gordon, who played on numerous Studio One classics, as part of the in-house band Soul Vendors as well as countless sessions with Joe Gibbs, Lee Perry and many more.
* Vin played on Aswad’s classic `Warrior Charge’, which from that recording session, `Kojo Hoy’ was born.
* Featuring Aswad Riddim Section - Tony Gad on bass & keys, Angus Gaye on drums and “Bammie” Rose on flute.
* Previously released by Partial in 2015 on 10” (PRTL10005) which rapidly sold out. This issue features an extended dub version.

40 Years ago, Hunting Lodge was nearing the peak of its fertile 'tribal' period. In celebration of this anniversary we are releasing a book-style 3LP set including Nomad Souls, 'Tribal Warning Shot' (expanded) and The Harvest (live/expanded). All of the included tracks have been lovingly remastered from the original reels and cassettes, restored by Grant Richardson and mastered for vinyl by Sion Orgon. The Nomad Souls LP was originally released in the autumn of 1984 on S/M Operations in the USA, and in the following spring on Side Effekts Records, UK. The 'Tribal Warning Shot' 12” 4-track EP was released early 1985 on S/M Operations (USA). The title track was remixed with drums added for a 12” 45 release on Normal Records (Germany) soon thereafter. This version, along with the other three EP tracks appear on the second record in the set. A new remix of the 1983 7” 'Night From Night' b/w 'Untitled' is also included, along with 2 tracks that appeared on compilation albums and one previously unreleased track. To round off this LP we launch into a track from original The Harvest live cassette, to ease you into the album to come. The Harvest cassette was a collection of live Hunting Lodge tracks circa 1984 which has never appeared on LP until now. To make for a more cohesive theme we have separated the two LP sides by shows: Side A from Chicago, where the original 'Tribal Warning Shot (live)' was recorded, while the other side features a Detroit show which bears the distinction of being the only time Roselle Williams (The Wolf Hour) sang live with the band. Each side features one song that was NOT included on the original The Harvest release This set features a replica of the original S/M Operations' Nomad Souls cover, and of the original Normal Records 12” art on the second LP. The third sleeve features a newly designed back cover by Rolaid Alpo Cola, and an inner panel including the original promo poster artwork along with an essay from Graeme Revell.

On their second album, Winter Pageant, The Softies move forward with focused delight. It's the combination of Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze, Go Sailor) that molds The Softies' panoply: feathers and thorns, fawn and fearless, fable and friction. Originally released in 1997, Winter Pageant is the drama of utter melancholia documenting the broken promises, missed phone calls, conversations stalled, love lost. Colossal tasks recorded two guitars deep, forming a new Iliad, chapters on brave deeds and the power of love on the move. You can live for love, or you could live for the splendid cascade of guitar on guitar, voice over voice: The Softies. Winter Pageant was recorded by Stuart Hallerman (Soundgarden, KARP) at his Avast! recording studio in Seattle, Washington.

The Cutter & The Clan was the breakthrough album from Scottish Celtic rock band Runrig. Their fifth full length and the first with what is considered the classic line-up of the band. This record marked their debut for Chrysalis and took them to another level internationally, going Silver in the process. This was the beginning of a run of hit albums and features the song, 'An Ubhal as Airde', which was heard in the popular Carlsberg advert. The Cutter & The Clan has been mastered by Peter Beckmann at Technology Works, from the original pre-production 1/2" master and overseen by band member Malcolm Jones. Once In A Lifetime, originally released in 1988 and reaching Gold status, is considered to be one of the best live albums of the era. It's inclusion here gives listeners an insight into the excitement surrounding their live performances during this period.

7A Records are proud to present our deluxe reissue of Mungo Jerry’s Electronically Tested. Released on July 19th, the album has been remastered and expanded with four bonus tracks and features extensive liner notes including Ray Dorset’s own recollections.

Electronically Tested, Mungo Jerry’s second album, was first released in March 1971. Even the title clued in listeners that this was no ordinary record. As Ray Dorset reveals, “I came up with the name of the album. Durex used to have ‘electronically tested’ written on their packets. I thought that was quite the talking point, if people in the know said, ‘That’s the same name as on the packet of condoms!’ It was taboo to mention stuff like that.” Electronically Tested offered hints of the familiar via its inclusion of the UK #1 Hits “In the Summertime” and “Baby Jump,” but elsewhere, the album was pure, eclectic Mungo Jerry. Every side of Dorset’s talents as a singer, songwriter, and musician came to the fore on Electronically Tested, with his bandmates John Godfrey, Paul King, and Colin Earl–as well as producer Murray– joining him to create a joyful noise: “It’s got a lot of tracks that could have been singles in their own right. It was good for me to be able to play all that kind of stuff”. Mungo Jerry’s singular sound has been described as rock, folk, blues, country, good-time music, jug band music, pub rock, and gypsy rock–and that’s just a partial list. One can hear all of those elements in the disparate, timeless songs that form Electronically Tested. How would Mungo himself describe it? “It’s kind of rocky stuff. It’s got social commentary. It’s got all sorts of influences in there. It’s really best to say it’s Mungo Jerry music.” Electronically Tested originally peaked at # 14 on the U.K. Albums Chart the week of April 14, 1971.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

Repress on rosewood coloured vinyl. HOST is the name of a devil worshipping ministry, that in order to spread their unholy gospels and, furthermore, trick mankind into believing that the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends. Standing motionless and anonymous beneath the painted faces, hoods and robes which their sect demand, the six nameless ghouls of Ghost deliver litanies of sexually pulsating heavy rock music and romantic lyrics, that glorify and glamorise the disgusting and sacrilegious, with the simple intention to communicate a message of pure evil via the most effective device they can find - entertainment. In May 2010 Ghost were contracted to a UK based gramophone company called Rise Above Ltd, who swore an oath stating that they will assist the group in the task of spreading their musical blasphemies through formats such as Compact Discs, Long Playing Vinyl Records and Digital Downloading. The first full length Ghost album Opus Eponymous will be released in October 2010 and it is understood and agreed that Rise Above Ltd will invest money in areas such as magazine advertising and retail marketing and will employ the services of music publicity specialists in order to expose the music of Ghost to the wider public. Specific attention will be paid to targeting people (research suggests these are most likely to be adolescents) who have a void in their life, perhaps caused by some form of emotional trauma or upset, that can be filled by the music and philosophies of Ghost.

2024 Repress

Innercity Griots, the second album from Freestyle Fellowship, is perhaps *the* essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz.

The original single vinyl LP is now hideously scarce, and of course the sound suffers from not being officially released as a double. This Be With re-issue fixes both problems, and for completeness also includes “Pure Thought” from the CD version of the album. This incredible display of imaginative hip-hop sounds better than ever.

Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter - along with DJ Kiilu - forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic.

Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo.

With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody. Their innate jazziness felt tangible and hard-earned”.

The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism.

Remastered by Simon Francis for double vinyl and cut by Pete Norman, we hope this long-overdue re-issue of Innercity Griots satisfies the legions of fans that have since been bewitched by the majesty of this record. It should also introduce some new listeners to yet another overlooked classic.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

Formed in Manchester over a decade ago, Hurts are an electronic pop band featuring vocalist Theo Hutchcraft and multi instrumentalist and producer Adam Anderson. Known for their striking and stylish videos, Hurts make epic, dramatic pop music that takes inspiration from a finely curated mix of influences including '70s Krautrock, '80s new wave, and '90s R&B. In August of 2010, Hurts' debut full-length album, Happiness, debuted in the Top 5 on the U.K. albums chart making it the fastest-selling debut album by a band in the U.K. that year. Featuring the singles "Better Than Love," "Wonderful Life," and "Stay," among others. The album was a huge success across Europe and Hurts' profile rose exponentially with the album reaching Platinum status 13 times over and 4 times Gold around the world including over 500,000 album sales in Germany alone. Several accolades followed in 2010, including topping the BBC's Sound of 2010 poll, winning a German BAMBI award, and garnering numerous nominations including an MTV Europe Music Award. The band have since gone on to win numerous awards including Best Band and Best Video at the NME Awards and Best International Newcomer at Germanys ECHO Awards. Hurts followed up in 2013 by releasing their sophomore album, Exile, which again hit the U.K. albums chart Top 10. The album again featured production from Hutchcraft and Anderson, along with Quant and Dan Grech-Marguerat, also featuring Elton John as guest Pianist on album closer “Help". Exile showcased a nuanced, somewhat more contemporary sound that incorporated more orchestral and rock instrumentation, yet retained all of Hurts’ core influences. In 2015, Hurts delivered their third studio album, Surrender, which featured production from Quant as well as Stuart Price (Madonna, the Killers) and Ariel Rechtshaid (HAIM, Vampire Weekend). The album spawned several singles, including "Some Kind of Heaven," "Lights," and “Slow. The epic video for “Lights", directed by Dawn Shadforth gaining the numerous nominations for Video of the Year. Two years later, they returned with the full-length Desire, featuring the singles "Beautiful Ones" and "Ready to Go.” Having sold hundreds of thousands of live show tickets around the world over the past decade, and often a fixture of the global festival circuit headlining stages around the world, the band have built an enviable touring fanbase including becoming one of the most successful British bands in Russia of the past decade.

The word Simultaneity is a technical term from the theory of Special Relativity representing two distinct events happening at the same time. This fluidity is embodied in the musical exploration of Ari Tsugi. Comprised of mostly self-taught musicians, the soundscape is a unique melting pot of UK Jazz scenes and the raw energy that comes from psychedelic rock. Produced and mixed by Glasgow-based musician Sam Bancroft (Starsky-Rae) alongside engineer-producer Villus Vilo Jokubaitis, the album features offerings from Liam Shorthall and India Blue (Azamiah) alongside the original Ari Tsugi trio -Clement Gaud, Joe Weisberg and Mashu Harada - with keys from Angus MacDonald being added later down the line.

"To celebrate the Grateful Dead's 15th anniversary in 1980, they did something extraordinary: they played a fifteen-show run in San Francisco, and an eight-show run in New York City, with the most exciting of these being an additional, acoustic 45 minute set to open every show, their first acoustic sets since 1970. These sets saw the reinterpretation of some classic Dead and solo songs, older traditional songs from the jugband days and the 1970 acoustic sets, and some new additions to the Dead's repertoire. Recorded to 32-track tape (two 16-track tape machines synced up), Reckoning is one of the greatest, most clear sounding live records the Dead ever produced. Featuring countless classics including “Cassidy”, “Bird Song”, “Monkey and the Engineer”, and “Ripple”. • Will be newly mastered by GRAMMY® Award-winning engineer David Glasser, Produced for release by the Dead’s Audio Archivist and Legacy Manager, David Lemieux"

“Gun The Man Down ” by Dice The boss aka Pama Dice was first released in 1969 on the Trojan sublabel Joe with the track “Thief” by Joe Mansano on the B side. “Thief” is also reissued by us on a separate single dedicated to Joe Mansano.

“Your Boss DJ” was also released in 1969 on the Joe Label with the track “Read The News” by Joe All Stars on the flip.

Both titles are skinhead reggae classics that have never been reissued until now.

About Joe Mansano:

“Gun The Man Down ” and "Your Boss DJ" were both credited to Joe Mansano, real name Joel Mansano, who also produced the songs. Joel was a Trinidadian who moved to London in 1963. He was a record shop seller, song writer and producer and became heavily involved in the early reggae era producing and writing tracks for several Jamaican artists, enough for Trojan to dedicate a label to him: the “Joe” label aimed at the emerging Skinheads market. He also owned a shop the Joe's Record Centre in Brixton and recorded two handfuls of singles under the name Joe The boss…

About Dice The Boss/ Pama Dice:

Not much is known about Dice The Boss. His real name was Hopeton Reid and he was alternatively known as “Pama Dice”. But we know more about Pama Dice thanks to Gaz Mayall!

"Pama Dice was one of Prince Busters ‘no-shoes’ ‘Sunday school gang in west Kingston Jamaica. According to the Prince there wasn’t a car that Pama couldn’t nick. He used to nick the cars uptown with no shoes on & take them to the ghetto to teach the youth to drive. They were called the Sunday school or no-shoes gang as they were so poor that they only had one pair of shoes each & only wore them to church on Sundays. Pama Dice rose in the ranks to become one of Prince Busters main sound system DJs before emigrating to London in the late sixties where he MC’d for Duke Vin & recorded many great records for the UK/Jamaican booming new Reggae market in its infancy on the shoulders of the Bluebeat & Ska & Rock Steady music scene."

Source Gaz Mayall 27/2/2021

B-side features “Torii Gates” on vinyl for the first time ever due to fan demand.

Acclaimed by outlets like Aquarium Drunkard and NPR, who praised his, “Cosmic country with a gentle sweetness, reminiscent of Beachwood Sparks and Silver Jews at their twangiest.”

His rhythm section is drummer Dana Buoy (Akron/Family) and bassist Alex Chapman and enlists pedal steel player Connor Gallaher (Anna St. Louis, Lana Del Rey) to flesh out the songs.

2024 festival plays at Treefort, Kilkenny Roots, Otis Mountain Get Down, and west coast summer tour.

Publicity campaign by Riot Act Media

Recent touring with William Tyler, Fruit Bats, and more.

RIYL: JJ Cale, Mapache, William Tyler, Steve Gunn, Rose City Band, Amen Dunes, Jake Xerxes Fussell, SUSS, North Americans, Chuck Johnson

DJ Support: Disclosure, Ross From Friends, Eliza Rose, Floating Points, Emerald, Jaguar, Danny Rankin

3 years in the making, Peaky Beats debut 10 track LP 'Bloodlines' takes us on a spiritual journey through ancient and modern middle eastern sounds fused with the spectrum of UK Bass music. Heavy subs and intricate rhythms bring this listening experience to life from the hypnotic melodies to the samples only a well-trained ear can catch. As well as teaming up with some good friends on two collaborations, Peaky has delved into a diverse and new sound whilst staying true to his musical roots in late 90’/ early 00’s UK Garage / Dubstep.

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period.

Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here.

In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies.

The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel.

At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.

(Clear with black, white & yellow splatter limited to 500 copies) SKA DREAM is a complete re-recording of Jeff Rosenstock's critically-acclaimed 2020 record NO DREAM however this time around all the songs are ska songs you're welcome. The very good idea to make this record came together when, like many other bands throughout this pandemic that refused to participate in super spreading events, we were trying to find a fun way to make some music together to share with people. Otherwise we were just spending our evenings texting the group chat in dread about the collapsing world around us. Not the most fun band activity. As with most things ska in my life, what started out as a fun goof with friends eventually morphed into "Hey, what if we tried to make it good though?" All of us have a pretty deep history playing and touring the country in punk/ska bands. We all understand the stigma that comes along with ska, we've all dealt with the pitfalls of it, and we've all kept on truckin' regardless. If you are one of those people who loves music as long as it isn't ska, that's cool, we see you. This record isn't for you and you don't have to listen to it. Byeeee. Okay, everyone else, we see you too, we love you and check it out, SKA DREAM is real. This record includes contributions from Jer Hunter (JER, Skatune Network, We Are The Union), Rick Johnson (Mustard Plug), Laura Stevenson, Ara Babajian (The Slackers, Leftover Crack), Boboso, Sean Bonnette (AJJ), George Clarke (Deafheaven), David Combs (Bad Moves), Chris Farren, Augusta Koch (Gladie, Cayetana), Angelo Moore (Fishbone), Franz Nicolay, nonregla, Elise Okusami (Oceanator), Mike Park (Bruce Lee Band, Skankin Pickle, Asian Man Records), PUP, Anika Pyle (Katie Ellen, Chumped) & Shannon Toombes.

Days of Shaking continues M G's exploration into the kitchen sink dramas of modern suburbia but behind these songs of frustrated opportunities and the mundane realities of day to day modern living is a world of rumour and mystery, urban myths and the magical thinking we all use to bring shape to our lives, expectations and hopes Like a modern day book of wonders, the songs of Days of Shaking hint at UFO sightings, potential cave gods and visitations of the dead in dreams, all adding to the rich texture of people's wants and needs but ultimately our belief in hope. This balance is seen in the title track and album opener where the protagonist wonders whether he has witnessed a UFO but ends more prosaically with, "Where is the party tonight?/To stand by a tiki bar with Christmas lights/I want something I can't find/ we drive around dark tenements searching". Similarly the heroic fishing photos of 'City Map' poke at deeper yearnings: "is it true you can wake up somewhere new/ just shrug it off and transform?". Often referred to as the artist's artist M G has been a much sought after collaborator in the folk and Americana scenes, having significant tenures in the Simone Felice Group, The Duke and the King, Emily Portman's Coracle Band, Blue Rose Code, The Owl Service & Jon Boden's Remnant Kings.

Days of Shaking continues M G's exploration into the kitchen sink dramas of modern suburbia but behind these songs of frustrated opportunities and the mundane realities of day to day modern living is a world of rumour and mystery, urban myths and the magical thinking we all use to bring shape to our lives, expectations and hopes Like a modern day book of wonders, the songs of Days of Shaking hint at UFO sightings, potential cave gods and visitations of the dead in dreams, all adding to the rich texture of people's wants and needs but ultimately our belief in hope. This balance is seen in the title track and album opener where the protagonist wonders whether he has witnessed a UFO but ends more prosaically with, "Where is the party tonight?/To stand by a tiki bar with Christmas lights/I want something I can't find/ we drive around dark tenements searching". Similarly the heroic fishing photos of 'City Map' poke at deeper yearnings: "is it true you can wake up somewhere new/ just shrug it off and transform?". Often referred to as the artist's artist M G has been a much sought after collaborator in the folk and Americana scenes, having significant tenures in the Simone Felice Group, The Duke and the King, Emily Portman's Coracle Band, Blue Rose Code, The Owl Service & Jon Boden's Remnant Kings.

In March 2023, @ turned heads with their debut album Mind Palace Music that utilized an array of acoustic instrumentation and densely layered harmonies, like the great outsider folk records of the 60s and 70s and placed it in a modern setting. If Mind Palace Music was @ playing on story mode, their new EP Are You There God? It’s Me, @ is the darker, stranger side quest.
Mind Palace Music was written in very specific circumstances. The band was formed while they were confined to their homes during quarantine — Victoria Rose in Philadelphia and Stone Filipczak in Baltimore — exchanging musical sketches over iMessage and email. Even though the world has opened back up and they’ve been able to play together live, this EP was again created remotely while in their respective cities. What did change, however, was the production.
Are You There God? It’s Me, @ is @’s foray into electronic music — consisting primarily of software instrumentation (with the occasional flute, guitar or bass part sprinkled in). The band’s experience producing in this style was minimal, but they found the new process to be a rewarding exercise allowing them to explore new textures and structures made possible by computer music. Where their previous acoustic recordings had a looser and more human feel, these new songs allowed them to experiment with autotune and quantized beats. Rose was able to resurrect her passion for classical choir by singing and recording a capella vocal arrangements to be incorporated into Filipczak’s instrumentals.
Across five songs, @ call upon a higher power, as the title suggests, in search of fulfillment. While they try to remain hopeful, daily suffering casts doubt on whether that high power even exists. On “Soul Hole,” overtop an autotuned vocal loop and hyper-pop-esque production, Rose repeats “I’m going to the soul hole and I’m never coming back,” hoping to leave behind the material world and the desires that comes with it. “Webcrawler,” named after the pioneering search engine, might be considered Are You There God?’s epic. @ sees their search for meaning in life akin to how search engines pull together data from all over the internet to find answers. The music itself is even reminiscent of dial-up internet connection, with droning keys and machine-like drum programming until overheating and erupting into chaos, in the form of heavy-metal shredding, only to cool down again back on a loading screen.
While the band confesses the departure from their usual sound may only be temporary, it’s an exciting listen full of twists and turns that surprised even themselves. “We’re both really dramatic in our musical sensibilities and don’t shy away from ridiculous choices,” Rose recalls, “which can really be exaggerated when working mostly with electronic sounds.” Full of soul searching and sonic experimentation, Are You There God? It’s Me, @ is an encapsulating spiritual saga for the digital age.

Limited vinyl edition of 300 copies on 180g white vinyl with download card. Deleted Scene, the 8th studio album from UK producer Stumbleine, overflows with beautiful nostalgia-tinged electronica. The album is steeped with cloud-like beauty, with opener I Can Stop Anytime I Like fusing addictive sampled vocals with soft, glassy guitars, as if a reflecting pool of the listeners' memories. Cinderhaze ripples that pool with a more driving, magnetic force, shifting and pulling its emotional weight in cyclic waves. Ursa Minor Sleeps Forever is fittingly sleepy, circling soft slow synth arpeggios in a dreamy haze, a sound built upon by Somnia to an epiphany-like string bed, never straying too far from Stumbleine's serene haven of melodic grace. On Catastrophette Stumbleine crafts a more dramatic and poignant web of sound, as if running through the memories created by the rest of Deleted Scene. The album as a whole is an escape to a dream-state of Stumbleine's making, captivating, yet familiar, and completely enveloping. According to Peter, "Deleted scene refers to the memories that play over and over inside your own head, replaying hazy copies of hazy copies that evolve into a bittersweet fever dream. Everybody has their own unique collection of deleted scenes slowly distorting and fading away." 'Stumbleine is the alias of Peter Cooper. With roots in the UK post rock scene, the reclusive producer began blending slow dream-like pop with fractured lo-fi beats as Stumbleine in 2012. Melancholic rnb vocals ebb and flow above submerged guitar ballads. Sand blasted samples intertwine with broken beats to create music with a nostalgic fragile warmth. Stumbleine is known for a DIY ethic, releasing music directly to fans or via the independent label Monotreme Records.'