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Arguably the Netherlands’ most prominent grime artist, JLSXND7RS’ name is synonymous with some of the most iconic productions around, with a vast back catalogue including collaborations with Wiley, Footsie, Rocks FOE and Discarda. For the debut vinyl release on his fledgling label, Dark Knight, he’s brought out a long-awaited fan favourite alongside two gargantuan reimaginations.

From its brassy opening notes, “ Marching” is instantly recognisable – a minimal, yet menacing instrumental which has enjoyed countless plays from esteemed DJs including Slimzee and Sir Spyro since it first surfaced on the airwaves in 2016. It also comes with Mala’s seal of approval; the Digital Mystikz legend has cut the track to dubplate for use in his sets.

On side B1, dubstep royalty Caspa pares back the original to its base elements, instead introducing gritty basslines, mesmerising percussion and a grimy harmony to bridge the gap between the two genres.

The release concludes with a remix from Brighton innovator and Sector 7 signee J ook, which Outlook festival-goers will recognise. His melodic interpretation of the song includes swelling reversed synths, shuffling drums and cinematic breakdowns.

- The Premiere Vinyl Release of the Soundtrack - 180 Gram Black and White Swirled Colored Vinyl - Old Style Tip-On Gatefold Jackets with Satin Coating - Artwork by Phantom City Creative - 12"x12" Booklet - Scoring Session Photography - Liner Notes // Waxwork Records is proud to announce THE BRIDE OF FRANKENSTEIN Original Motion Picture Soundtrack with music by Franz Waxman. In celebration of the film's 85th Anniversary, we are thrilled to present the premiere vinyl release of the film's music as a deluxe album featuring re-mastered audio, new artwork, and likeness approvals from famed actress Elsa Lanchester's estate. THE BRIDE OF FRANKENSTEIN is a 1935 horror movie directed by James Whale and starring Boris Karloff & Elsa Lanchester. It is the first sequel to the 1931 film FRANKENSTEIN and widely regarded as one of the greatest sequels in cinematic history. The film has been praised as Whale's masterpiece. In 1998, it was selected by the Library of Congress for preservation in the United States National Film Registry, having been deemed "culturally, historically or aesthetically significant". Sourced from the original master acetates housed in the composer's archives at Syracuse University and original masters from Universal, the album has been meticulously restored and re-mastered. Working closely with Universal Pictures, this historic release marks the very first time the original film music has been made available on vinyl. The album features new artwork by Phantom City Creative, a 12"x12" booklet including artwork and original scoring session photography, and liner notes by album producer and restoration engineer Mike Matessino.

Ethno-alternative lo-fi absurdism from the mind of London based multi-instrumentalist & Primordial Soup member, Samuel Huxley. Expect everything from Hindu ceremonial music to dark lounge, post-punk & avant-garde, to Kabuki theatre score & world electronica, any number of which can be found within a single track.

The Romance of Baba Loco is the union of wisdom & madness, eastern mysticism & western folly, absurdism to catch you with yer pantaloons down… Bang bang smash to perennial illumination. Cling clang for funk monkeys. The bejewelled vistas beyond, nihilism be gone… The donkey was not ill-tempered after many blows, on the ass, from the stick. He smiled like a gentleman, and kept on clip cloppin’ towards the promised land…

The Romance of Baba Loco is the latest iteration of a recording project by Samuel Huxley that originally made ambient soundscapes for psychotropics (Paradise Dose). In 2017 Samuel was curating infamous venue and scene of a multitude of glories & horrors, The Five Bells in New Cross, SE London. One of his first acts to play was Primordial Soup, at that time a 3 piece absurdist art rock band. They quickly became friends & began performing semi-improv shows as a 5 piece, and later went on to form Primordial Soup Collective who’s main focus was esoteric experimental theatre & film, and rare multidisciplinary exhibitions.

This changing focus of Soup away from sound provoked Samuel to channel his musical compulsions in to his solo project which had by then ventured far away from ambient soundscapes to shrieking Indian and Moroccan oboes over African & Indian tribal rhythms, with the desire to create the raw lo-fi atmospheres of street music. Gradually guitar styles of South East Asia & Latin America were introduced, leading to backing track solo performances & outrageous live improv freakouts with Craig Deporto (ex-Flamingods) & Luke Bell (Ex-Wild Birds of Britain).

Finally two days before the glorious pandemic lock down, Samuel signed to Faith & Industry, which birthed new moniker “The Romance of Baba Loco” and 3 months worth of ceaseless creation. From the Hindu Ceremonial music of the Shehnai & Nadaswaram to post-punk, absurdism & experimental art, The Romance of Baba Loco finally united two seemingly dissonant sides of his personality in a manner he had not previously achieved. The old material was cast off, and these peculiar fruits of imprisonment, can be found on his first release, “Cling Clang For Funk Monkeys”.

DIO – HOLY DIVER: LIVE
Limited Edition Lenticular 3LP / Standard 3LP / 2CD Deluxe Mediabook
• Deluxe Reissue of DIO’s long out of print 2008 live release. First time in vinyl!
• Newly remastered & newly created cover art
• LIMITED EDTION VINYL VERSION INCLUDES LENTICULAR 3D ALBUM SIZED ART PIECE ALONG WITH 3LP 180g BLACK VINYL / TRIPLE GATEFOLD
• Also Available in 2CD Deluxe Mediabook and 3LP 180g Black Vinyl / Triple Gatefold Standard Edition
• Features the legendary DIO album HOLY DIVER performed live in its entirety plus DIO classics from across his career including Black Sabbath and Rainbow!
• Recorded Live at the London Astoria

Leeds-based art-rock trio Mush release their feverish second
album, ‘Lines Redacted’, via Memphis Industries. The new
release, which finds the group recruiting Lee Smith (The Cribs,
Pulled Apart By Horses) on mixing duties, arrives just under a
year after their debut, ‘3D Routine’, capping off what has been
an obviously tumultuous but remarkably prolific year for the
band. With any prospect of live shows decimated, the group,
led by songwriter Dan Hyndman, have found the time to
release two EPs (‘Great Artisanal Formats’ and ‘Yellow Sticker
Hour’) and now a duo of full-length albums.
Tipped previously by the likes of 6 Music, Loud & Quiet, Uncut,
Q, Stereogum, DIY, The Line of Best Fit, Dork and more, Mush,
comprised of Hyndman (guitar/vox), Nick Grant (bass/vox) and
Phil Porter (drums), present their own sonic idiosyncrasy. It’s a
sound that blurs the lines of abstract surrealism, existentialism
and social commentary; utilising guitars as tools in 2020 to
stave off malaise whilst simultaneously commenting on the
nation’s ability to fall into such dire straits. It’s a sensory
overload of wiry tones that zig-zag between punk, prog and
sardonic-funk with a relentless ability to reflect society’s faults
and apathy in a unique and acerbic manner.
Whereas the band’s debut was very much a product of its time,
something part-inspired by the political atmosphere of mid-
2019 and a genuine moment of optimism when the prospect of
a socialist government in the UK was on the cards, this new
record uses tongue-in-cheek cynicism as a coping mechanism
for the environment that we now find ourselves in. From one
song to the next, ‘Lines Redacted’ introduces a string of
different narrators with each providing a different reflection on
the Armageddon scenario that we are slowly entering, whether
that’s bemoaning it or gleefully willing it along. ‘3D Routine’
presented a bed of scathing political jibes latching onto themes
and decisions of the time. ‘Lines Redacted’ mutates these ideas
into something slightly more sinister whilst maintaining all of
Hyndman’s razor-sharp wit that permeates the album.

An obscure and deep acoustic jazz-funk LP from 1974, remastered and repressed in an edition of only 300 copies !

“Profile” is the first and only Ken Rhodes LP as a leader. This intimate and rare recording captures an explosive concoction between blues, jazz and a touch of funky swing. Though an acoustic performance, this LP offers overwhelming grooves, breaks as well as introspective moments .
The upbeat and funky titile track “The Profile” forshadows the raw grooves of the session.The composition is driven by Rhode’s very soulful and bluesy improvasitions in a colorful dialogue with Joachim Knauer’s percussive and obsessive bassline which embraces the funky rhymthms of George Greene. However, this raw “in-your-face” formula is beautifully constrated in “Nothing New” and the piano solo “Robyn’s Lullaby” where the trio slows down to play deep, dreamy and hazy tunes.

Biography
Ken Rhodes was born August 14, 1945 in Memphis, USA and grew up in a family of excellent musicians. He attended the American Convervatorium of Music in Chicago, studied classical music and received Bachelors and Masters Degree. At the age of 16 he toured with his own jazzband throughout the eastern states. During this time he wrote classical compositions for symphony orchestras and organ-music. Gerry Mulligan called him for an extended tour. Studying at the University of Cincinnatti he received the Down-Beat Prize in 1970 as “Best Arranger”. In August 1970 he came to Germany and worked four years as writer, arranger and conductor at the theatres in Augsburg and Nürnberg. Besides that he played with wellknown european musicians at the famous “Domicle” club in Munich, he founded his own group and performed in Germany and Austria. Since July 1975 he works as a professional jazzmusician travelling Europe.

What is a shlundee is probably the first thing you’ll ask yourself when you hear this.
In short, it’s a mixture of every music genre that you could imagine, brought to you by Indy Erens. The one-man project Shlundee finds the balance between house, hip-hop & electro. "Himawari" explains that Asia always had a big influence on Shlundee, it's a classic samurai anime. Influenced by club music and the Baltimore / Jersey culture, Shlundee made this EP during lockdown. He had this idea of making something really vibey and different than what people usually expect of him. 'Wait, What?' perfectly represents how Shlundee can expand his boundaries and trying out other stuff. Shlundee is massively influenced by Anz, Lefto, Young Marco, Park Hye Jin, Jamz Supernova & Acemo...

For Rhye’s Michael Milosh, the home is the center of creativity and community. It transcends conventional understandings of walls, stairs and hardwood floors. A culmination of a wayfarer’s journey, the home is a balm for a restless spirit — a place to simply be.

For much of his life, the Canadian singer, songwriter and multi-instrumentalist has wandered, decamping in Toronto, Montreal, Thailand, the Netherlands, Germany and Los Angeles at varying times. Since the meteoric rise of Rhye’s 2013 debut Woman, he’s mostly lived on the road—playing between 50 and one hundred shows a year. But over the last couple of years something changed. On the heels of some major life changes, including a new relationship, Milosh yearned for a more permanent space. “It's this idea of creating a safe place that's not just conducive to creativity, but one that’s truly an anchor point from which to make art and be creative,” he says.

That longing was fulfilled in August of 2019 when Milosh and his partner Genevieve happened upon the perfect place in Topanga. It had been on and off the market for two years as the owner sought the perfect buyer, one who would carry on its creative tradition. “She did this ceremony somewhere on the property where she was trying to call in the right people, and apparently we came the next day,” Milosh explained. “The right kind of home presented itself to us, and we presented ourselves to it. It was like a union between us and the home.”

Written throughout 2019 and early 2020, recorded at Milosh’s home studio, United Recording Studios and Revival at The Complex, and mixed by Alan Moulder (Nine Inch Nails, Interpol, My Bloody Valentine, U2, The Killers), Home is familiar in its synthesis of propulsive beats, orchestral flourishes, piano ruminations and sultry, gender-nonconforming vocals, but never have they sounded more cohesive or alive.

“I'm always trying to always accomplish musical goals that are connected to the way I listened to and interact with music as a child,” Milosh says. The sentiment also underscores a broader, less obvious, but no less important theme echoed through his new record: No matter where life takes us, we can always go home.

The first volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

Sometimes a record comes along that is a wonderful anomaly that really is all about the music. Silver Leaf recently appeared on the radar via obscuro diggers on both sides of the Atlantic and landed with a Hey!
What is known about Silver Leaf, beyond that it was a short-lived mid-80s project out of Cincinnati, Ohio, is that it features ex-Zephyr keyboardist John Faris, working alongside the mysterious vocalist Silvia Leaf.
The difference between the blues and occasional psychedelic rock of early 70s Boulder, Colorado's Zephyr and the lo-fi recordings of Silver Leaf are striking, but in Hey! and Can We Rebuild Our City?, the power of the ballad and strong playing of John, is wrapped in mid-80s, mid-States lo fi heaven.
Whether a non-de-plume, Ms Leaf's searing, innocent vocals fly above John's keys and programming. Hey!'s repetitive exhalations act like a mantra to a party, while tom's chime in accompaniment. Here it comes!
Can We Rebuild Our City? starts with Faris' forlorn intro before crashing percussion heads to some kind of wonderful, as Leaf questions a calls to hearts.
Releasing just 3 singles, Silver Leaf's music is unique and essential, an experience and a delight to present.

The album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State sponsored tour of Eurasia, such as when he observed in Turkey a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time, a rare meter for Western music. Columbia president Goddard Lieberson took a chance to underwrite and release Time Out. It received negative reviews by critics upon its release, but despite this, it became one of the best-known and biggest-selling jazz albums, charting highly on the popular albums chart when 50,000 units sold for a jazz album was impressive. It consequently produced a Top 40 hit single in "Take Five", composed by Paul Desmond, and the one track not written by Dave Brubeck. The cover art is just as important as the LP itself featuring specific artwork created by S. Neil Fujita best known for his covers for CBS Records, which introduced abstract art to jazz LP packaging.

“You’re trouble” is an avant-garde electronic pop album about questioning and locating a sense of self in a disorienting, breaking environment of dissolving certainity which grows increasingly chaotic, about dysmorphic dissatisfaction, becoming disillusioned and alienated. It seeks to juxtapose beauty, serenity and vigour with instability, ugliness, chaos and crisis, expressing itself fluidly without genre or otherwise boundaries. A kind of sinister, anxious but still forward-pushing and at times positive and hot-blooded empowering energy can be felt that wants to urge the listener not to give up but to try and take courage and take control of the troubles and fears in their life. The tone is sometimes reflective, sometimes confronting. The album navigates fairly abstract musical territory, cathartic abrasiveness, heavy and unrelenting sounds of post-club music and noise fused with stretches of pop music, never settling down or resting for long, constantly breaking up and re-assembling itself. Between chaos and form, it’s finding relief in imperfection and the in-between. As such the music is ambivalent and is equal parts some kind of crisis club music as well as introspective reflection.
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DeWolff return with their new album, Wolffpack, released on 5th February 2021 via Mascot Records.

DeWolff, the kaleidoscopic warriors were not long into their 2019 Tascam Tapes European Tour when the Covid19 pandemic broke and they, like so many others, had to turn back and head home. They started working on the new album Wolffpack.

The album kicks off with the first song they finished, the soulful psychedelic funk of "Yes You Do," featuring Ian Peres and longtime friend of the band, Judy Blank. "We wrote it in a Zoom meeting!" Pablo says. "Treasure City Moonchild," struts in with a funky swagger and Piso's trademark swirling Hammond, with Dawn Brothers' Levis Vis providing some Bass juice. "Do Me," includes Theo Lawrence on vocals and is through the eyes of an anti-hero who realizes he isn't worthy of the woman of his dreams, and dates back to 2019 and the Next of Kin live show. "I consider this the best song I ever wrote, so I couldn't stand the idea that it was only used for those Next of Kin shows and then never again! That's why I brought it to DeWolff, but it needed some rearranging," he says. Another song from the Next of Kin sessions was "Sweet Loretta" and features Dawn Brothers' Stefan Wolfs and Darilyn's Diwa Meijman. "Loretta is the protagonist's childhood sweetheart. She has a rich dad, but he's really conservative, and so she can only inherit his money if she marries a man. But she's lesbian. So, the protagonist, who's also out for this old guy's money, suggests they play pretend and marry so they can split the money."

They sweep through disco on "Half Your Love," swamp rock on "Bona Fide" and take on sci-fi and the Old Testament on "RU My Savior." Their tour buddies The Grand East show up on "Roll Up the Rise." Written in the first days of quarantine, it's about the end of the quarantine - told from a future perspective. "Lady J," came after Pablo watched the documentary "13th." "I was quite shaken up by it," he admits. "The lyrics are based on the idea that Lady Justice seems to have a scale that doesn't measure the "weight" of your crime but the tone of your skin. She is supposed to be blindfolded, but the people who act in "her" name aren't blind at all: they discriminate between white and black."

The album ends with the forlorn "Hope Train." Based on the Pulitzer prize-winning novel by Colson Whitehead about two slaves in the US during the 19th century, who make a bid for freedom from their Georgia plantation. "I found it really hard to envision the world in which it takes place," he says. The band used a 1970s Fisher-Price Toy cassette recorder in the intro, "We wanted to see if we could somehow approach the sound of those very early country blues recordings, like the ones by Blind Willie Johnson.”

First drop of 2021 from AE Productions is from New York legend Emskee. From solo releases to group projects with The Good People alongside Saint, plus a slew of guest features far and wide his catalogue is staggering! Emskee previously appeared on guest spots with AE Productions for the Cut Beetlez ‘What Beetlez?’ album in 2020 and Oxygen’s ‘Age Appropriate’ album from 2019 but AE and Emskee go way back to 2012 thanks to an introduction via mutual friends Diggers With Gratitude at their Marisco event.

Both tracks here are produced by AE boss Mr Fantastic but for this one turntable duties were shared between Emskee who is one of those rare creatures – a highly skilled MC and DJ, and supplied the timeless scratched in vocal chorus feel from a legendary old school gem for 'Wall To Wall', and Mr Fantastic who supplies the question and answer style cuts for ‘Supernatural Force’ utilizing a couple of Emskee's prior releases as the source.

This is a heavyweight release - 12" black vinyl complete with Main Version, Instrumental and Radio Edit of both tracks - just how Hip Hop singles should be. We all love 45's but a big 12" with space for longer tracks and extra versions is historically where it's at for DJ's and with precious few released now it is a shame so we aim to remedy that here with at least one more new 12” release.

The full sleeve artwork adds to the class of this release with a huge nod back to the style of Blue Note Records’ heyday of the 50’s and 60’s thanks to Nick at Fine Print who has perfectly recreated the feel of those classic sleeve designs.

A fantastic collection focusing on Aretha Franklin hits from the period 1960-62. That's when she started to gain fame as a unique and powerful singer who later became world-known as the Queen of Soul. A great selection of songs full of all the essential ingredients that will inform the development of Soul, Gospel and R&B. The perfect introduction to the spirit and art of the unforgettable Lady Soul.

Am 15.01.2021 erscheint das posthume Debütalbum „Shoot For The Stars, Aim For The Moon“ des New Yorker Rappers Pop Smoke erstmals auf Vinyl. Das Album debütierte auf #1 der US Albumcharts und schaffte es auch in Deutschland auf #9 der Charts. Über 20 Wochen nach Release befindet sich das Album immernoch in den Top 5 der US-Albumcharts. Unter anderem sind 50 Cent, DaBaby, Lil Baby, Roddy Ricch, Future, Quavo und Swae Lee auf dem Album vertreten

Freedom Dance presents the first 12inch release served by Gigi Testa with Earth on Faya EP: On Side A the aforementioned "Earth on Faya" is another crescendo track with the well know Gigi Testa's sound imprint mixing live instruments with eletronic analog sounds. Side B includes
"Is this the Future ?" arranged and produced at Gigi's Home studio during the lockdown and already introduced by Antal (Rush Hour) on his Worldwide fm radio show and Fred P on NTS radio .
Play B-side till the end to translate a message of freedom and hope waiting for the time when we can finally dance all together once again.
Power to the People Always !

Monster grooves, driven by a perfect symbiosis of fiery oriental rhythms and the deep, relaxed heartbeat of the bass line, with virtuosic, intoxicating solos on bouzoukis, Farfisa organs, clarinets and violins. This is the sound of laika, Greek-oriental pop music from the 60s and early 70s that sets every dance floor on fire!

These 20 carefully selected songs serve as an introduction to this mind-blowing music for the non-aficionado, as it is the first album of its kind to be released outside of Greece or the Greek migrant communities. The extended and illustrated liner notes take you back to the heyday of Greek pop music and put this cultural movement into an historical perspective.

Velvet Season & the Hearts of Gold is the musical adventures of Gerry Rooney & Joel Martin. They have a rich musical history with Gerry Black Cock Records & Joel Quiet Village.

Aldo Tamborrelli – ‘Voices’ (VSHOG Special Version)

VSHOG present their official special version of this highly desirable hidden treasure of hypnotic electronic sleaze excavated from the cult soundtrack to a 1983 Italian ‘Apocalypse Now’ cash-in, and transform it into an 8 minute erogenous bump n’ grind trip to the twilight zone torture garden, cruising leather boys & fetish girls looking for Love in all the wrong places !

‘Voices’ is a narcotic synthesised masterpiece of body music to completely immerse your dark desires on the dancefloor. A dark risqué world of crisp chugging drum machines, mesmerising warm bass pulses, and the erotic wails of seductive screams in the night !

Stefano Torossi – ‘Having Fun’ (VSHOG Special Version)

The VSHOG version of 'Having Fun', from Stefano Torossi's 1974 album 'Feelings' (a holy grail of Italian library music) is an uplifting lush orchestral string laden funky breakbeat feel-good track to raise your vibrations!

Opening with a chunky stripped down drum & bass intro, the strings entice you further in & then the Disco Funk Psyche guitar riff really lifts the track to the sweet spot & you are completely hooked! A beautiful piece of music for all occasions - Balearic Sunsets/Sunrise, Disco dancing, B-Boys and Hip-Hop heads, Jazz Dancers & library music connoisseurs!

Another fantastic offering from the VSHOG Special Version series of releases.

"On Tour" - Delaney Bramlett (g, voc); Bonnie Bramlett, Rita Coolidge (voc); Eric Clapton, Dave Mason (g); Bobby Keys (sax); Jim Price (tb); B. Whitlock (org, voc); Carl Radle (b); Tex Johnson (bgo, cga); Jim Gordon (dr)

This 42-minute-long live album, which was recorded in December 1969 in Croydon, England and was awarded 5 stars by the magazine Rolling Stone, is not only the culmination of Delaney & Bonnie’s creative output, but also marks their connection to the further careers of Eric Clapton and George Harrison. On this particular tour Clapton plays the same mixture of country music, blues and gospel that were to hallmark his own early solo appearances from 1970. He rose to the occasion with consistently brilliant virtuosity; the highlights are a dizzying solo in "I Don’t Want To Discuss It", a lengthy 'Slowhand' passage in "Only You Know And I Know", and a dry fervent introduction to the wonderfully balanced "Coming Home". Vocally Delaney & Bonnie were never better than on this live set, and the 11-piece band sounds musically more close-knit than many a quartet of the times, regardless of whether they are playing a lengthy blues number or a medley of Little Richard songs. It is certainly no coincidence that the band featured here would become Clapton’s own choice for his first solo LP, or that the kernel of this group – Bobby Whitlock, Carl Radle and Jim Gordon – would metamorphose into Derek and the Dominos, or that the bulk of the band would constitute the group that would perform with George Harrison in "All Things Must Pass" and The Concert For Bangladesh, except that their playing (not to mention the recording) is better here. Half the musicians on this record attained near-superstar status less than one year later, and although their fame was fairly short-lived, this is certainly justified, as you will ascertain when you listen to this live performance.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue.

All royalties and mechanical rights have been paid.

Recording: December 1969 live at Fairfield Halls, Croydon (UK), by Andy Johns and Glyn Johns

Production: Delaney Bramlett and Jimmy Miller

only 1 copy exists of this heavy melodic progressive concept lp valued in excess of £10,000. fresh from the incredible success of Rick Wakemans early concept lps (he drummed with Wakemans band) Barney and his ex band mates Warhorse made this sensational lost heavy prog lp as a promo acetate to get an official release, Barney wrote all the songs and sings. Musically complex it begins with a spoken intro and tells the tale of Koneg Son Of Odin, as he quests to find meaning and death in battle. Keyboards and guitar interweave, with further spoken interludes, and culminating in an epic prog workout featuring fluid soloing electric leads as Koneg dies on the battlefield and is taken by Valkyries to Valhalla. The original gold hand made cover is reproduced as a gatefold with sleevnotes by the actual Rick Wakeman. Barney James, an ex British Army Commando, and ex Gracious, Legend, and Warhorse, and actor in The Sweeney and Derek Jarmans Jubilee, is also now in Valhalla, and his lost lp is here Issued for the first time with the full permission of his two daughters.

Unique composer duo Rebekka Karijord & Jon Ekstrand create compelling, hybrid score to intimate portrait of teenage climate activist Greta Thunberg `I Am Greta', the intimate Hulu documentary by Swedish director Nathan Gross-man, tells the story of teenage climate activist Greta Thunberg through compel-ling, never-before-seen-footage. Starting with her one-person school strike for cli-mate action outside the Swedish Parliament, Grossman follows Greta in her rise to prominence. The film culminates with the extraordinary wind-powered voyage across the Atlantic to speak at the UN Climate Action Summit in New York. To musically accompany Greta and the children of the Fridays for Future movement on their journey, composers Rebekka Karijord and Jon Ekstrand spent time searching for the right balance when it comes to how much emotional triggers the music should of-fer: "With the music for `I Am Greta' we aimed to find a sonic counterpoint to the friction between the shy, contemplative inner world of Greta, and the unbounded ener-gy of the natural world and climate change movement. From the start we found it useful to separate the score into three distinct voices: Greta's Voice, the voice of the natural world, and the voice of the climate change movement." "We choose to work with repetition and persistent musical patterns, often illustrated through energetic string arpeggios. This we felt helped underline the remarkable persistence and focus of Greta has on the climate issue, as well as that of the re-lentlessness of nature. Then we found a few places throughout the score, where more melodic aspects could be introduced and carry the story through its dramaturgical journey. It allowed the melodic aspects to shine through when they are introduced." "The score consists of a string octet, modular synthesisers and a voice instrument built by Rebekka of 25 unique singers sampled in their full range. Our soloist on the soundtrack is the cellist Linnea Olsson, whom has a very specific airy and organ-ic tone." "Rebekka and Jon's dynamic score to `I Am Greta' is huge and intimate, uplifting and melancholic, and manages to carry the emotional nuance of Greta's story. The score forms a musical parallel to Greta's journey and narrative voice throughout the film. It's energy, urgency and emotional depth reminds us that the time for climate action is now." - Nathan Grossman, director of `I Am Greta'

[c] A3. Mr Raffles (Man, It Was Mean) [2014 Remastered Version]


[f] B1. Make Me Smile (Come Up And See Me) [2014 Remastered Version]



[j] C1. Make Me Smile (Come Up And See Me) [Rough Mix] /



[n] D1. The Mad, Mad Moonlight (Live At Hammersmith Odeon, London, 14th April 1975) [2014 Remastered Version]

Blacklight Chameleon, a new moniker by Austrian producer Martin Riedler, presents a confusing or rather odd introduction with his new project on Nutriot Recordings. Riedler's music takes a stance halfway between studio production and live jam.

Miles in Tokyo is a live album recorded on July 14, 1964, by the Miles Davis Quintet (featuring Sam Rivers, Ron Carter, Herbie Hancock and Tony Williams) at the Tokyo Kōsei Nenkin Kaikan, Shinjuku, Tokyo, Japan. It is the first recording of Davis in Japan and the only album to showcase an early incarnation of his Second Great Quintet featuring Sam Rivers on tenor saxophone, following George Coleman’s departure. After this, Wayne Shorter’s appointment completed the classic line-up which recorded such albums as ESP and Miles Smiles, through to Miles in the Sky. The legendary Miles in Tokyo album is now available on vinyl in Europe for the first time. The heavyweight gatefold contains a 4 page-booklet glued inside, like the original
1969 Japanese LP version.

180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE WITH 4 PAGE BOOKLET
• FOR THE FIRST TIME AVAILABLE ON VINYL IN EUROPE
• RECORDED IN 1964 AT THE TOKYO KŌSEI
NENKIN KAIKAN, SHINJUKU, TOKYO
• THE MILES DAVIS QUINTET FEATURING SAM RIVERS, RON CARTER, HERBIE HANCOCK
AND TONY WILLIAMS

Beyond the striking photography of the cover artwork, a cursory glance at this LP may appear misleading. One could be forgiven in thinking that what they had discovered was of a more obvious British provenance, but on closer inspection the truth is revealed… London in fact refers to London, Canada, an artistic hotbed that famously spawned the highly influential insurgent noise ensemble, 'The Nihilist Spam Band'. Less celebrated yet equally remarkable was the improvisational powerhouse 'The London Experimental Jazz Quartet', a short lived group led by the forward thinking saxophonist Eric Stach.

Their debut album, Invisible Roots is an overlooked jewel from the Canadian jazz scene. Inspired by the revolutionary artists from the New York free-jazz movement, (namely Ornette Coleman, Archie Sheep and Cecil Taylor), and fuelled by the exciting possibilities afforded by a completely free approach to music, Invisible Roots is an album of potent spontaneous composition, exhibiting both fiery unharnessed blowing alongside lyrical streams of consciousness. In recent years, the album has achieved notoriety in certain record collecting circles mainly due to the track Destroy The Nihilist Picnic, an infectious piece of vamping avant-funk. Despite the commanding presence of this track, it would be misguided to judge the merits of the album on this piece alone, for Invisible Roots is a much deeper and more complex musical statement. This is confirmed by the Iberian-jazz sketch, Spain Is For Old Ladies, the spiritual introspection of Jazz Widows Waltz or the ferocious yet soulful Eric's Madness, a track which wouldn't be out of place on an ESP-Disk or BYG Actuel album. Behold, a rare piece of fire music from the Canadian Free-Jazz underground.

First LP reissue of rare 1974 Canadian Free Jazz album.
Featuring the Avant-Funk classic 'Destroy The Nihilist Picnic'
Includes liner notes and rare photos.
Tip-on sleeve

Wretched Cuts is the new solo EP by gender-nonconforming techno artist, Projekt Gestalten. The release comes via the New York’s Mild Fantasy imprint run by DJ Elle Dee and features three original themes focusing on introspective techno plus a remix by veteran, The Lady Machine.

The project reflects an array of themes using as the starting point the story of Estamira and the Brazilian documentary of the same name, telling her life story. Estamira was an incredibly enlightened older woman who scattered one of the largest landfills of Rio de Janeiro for food. Not because she had to, but because she loved that place as she loved “her own children” and enjoyed making a living out of other people’s disposable goods. Simultaneously, while dealing with schizophrenia and abuse, she believed she was a superior spiritual being whose magical powers could control time, space, and other elements of nature.

The tracks are inspired by some of her most memorable quotes and moments that made an impact on Projekt Gestalten. “Wise People In Reverse” goes into a darker approach and samples Estamira’s voice talking in a mysterious unknown language with an unrevealed force, using only a broken piece of a telephone that she had just found it in the trash. “Morte Macaca” takes a rhythmic approach towards dub techno, and “Holographic Principle” gets trippier and hallucinogenic with Projekt Gestalten’s signature acid lines. The Lady Machine’s “Wise People In Reverse” remix takes the original theme to a driving, peak hour approach and transforms it into an effective DJ tool.

“There are no more innocent people on Earth, only wise people in reverse”.

OOOOOHHHHH yeah!!! Nearly 2 years without new and fresh stuff on S3A Records???? We had to come back to the kitchen right ??!! So, let’s do it!!! Here we have a new cook in the family : OUVRIJSTER!! He is a great artist from Amsterdam, with a brilliant taste!! Mix a little bit of Moodyman with a large dose of Alfabet (Tom Trago + Awanto 3), add a little Max Graef spiced hihats, and you have the recipe for this “Staying Sane EP” !A 6 tracks EP from samplebased house to hiphop.

To step out from trival sounds.
Jo IND strikes here again !

A side brinsg a quiet sweet tune, strings is the thema... With a veryu nice Josh Winks acid style for the start, meeting the cello effect... Sweet musical crazyness... with tonality variations and harmony richness... Acid as a musical instrument.


take your time and enter the universe of these 2 superb tunes : we splitted the listening of B side in two so you can hear this superb intro... Defenitly feeling the space in full with a 1m30 intro... before kicking in a mystical way...
The label visual of B side is an fatastic vision of someone falling ? flying ? in front of a soundwall ???
totally in the state of mind of this crazey tune...

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer. After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides. She has released six solo albums and has collaborated with musicians Aaron Dilloway, Jan Jelinek, and Gudrun Gut, to name a few. No era sólida is Dalt's seventh solo record, and her second on RVNG Intl., following the release of 2018's Anticlines. No era sólida is an introspective venture into visceral sonic terrain, as Dalt sets out to capture the moment when one becomes pure sound. The album observes a transition in Dalt herself through the emergence of an alternate ego / state of self named Lia. Each song identifies a different state experienced by Lia, opening with Disuelta (`dissolved') and transforming through pieces such as Seca (`to be dry'), Ser boca (`to be mouth'), Espesa (`thick'). Lia's poetic reflections on the panspermia echo her origins, having come from some other ether. As a lifeform seeded through sound, the very essence of Lia is embodied in the exploratory instincts of her creator Lucrecia Dalt, an artist whose innate sonar system traces the far reaches of musical experimentation.

UK collective We Are FTR launch their vinyl only imprint with an impressive debut outing from label head T. Fitzgerald. "A Formal Introduction" presents three cuts of immersive, hypnotic and transcendent minimal house well suited for both the club and home listening. "Present Now" kicks things off with the most energetic track of the EP featuring a powerful, groovy low end and encapsulating vocal. On the flip, broken beats sit underneath layers of rich pads in "Transcendence", while "Helles" delivers a heavily syncopated drum workout.

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

Four tracks by one of the biggest names in South African disco: Condry Ziqubu. A regular on the local soul scene since the late 1960s in groups such as The Flaming Souls, The Anchors and The Flaming Ghettoes, by the mid-80s he had qualified as a sangoma (traditional healer), recorded with Harari (the biggest group in the country at the time), fronted his own group Lumumba, and travelled the world as part of Caiphus Semenya and Letta Mbulu’s band.

In 1986 he ditched Lumumba and released his first solo hit, ‘Gorilla Man’. Opening with an audacious 20-second intro, the song tells the story of a man preying on women in downtown Johannesburg. It highlights Condry’s winning formula of lyrics that touch on everyday South African issues and places (without drawing the attention of apartheid censors). Musically the song draws obvious influence from Piano Fantasia’s 1985 Euro-disco hit ‘Song for Denise’.

Also included on this new anthology is another song from the same album, the politically charged ‘Confusion (Ma Afrika)’, as well as ‘Phola Baby’ from his 1988 album Pick Six – a call to men to “stop pushing your woman around … what kind of man are you?” – and ‘Everybody Party’ from 1989’s Magic Man, a straight-up party song with no political or social intimations, other than as a brief escape from the harsh reality of the time, one that still resonates today.

Gorilla Man will be released on vinyl and digitally in early 2021 on Johannesburg-based Afrosynth Records (AFS047), distributed worldwide by Rush Hour in Amsterdam.

• At the request of the Teenage Cancer Trust, after a seven-year hiatus Suede reformed to play what they believed would be a one-off concert at the Royal Albert Hall on 24th March 2010. As a result of the extraordinary reaction from the audience, the band decided to reform permanently, and have gone on to record three new studio albums.
• Featuring exhilarating versions of their most popular songs, including ‘Beautiful Ones’, ‘Animal Nitrate’, ‘Trash’, ‘Saturday Night’ and ‘The Wild Ones’, luckily this incredible performance was captured on tape, and is now available again as a 3LP set, pressed on 180 gram clear vinyl.
• The inner sleeves feature Paul Khera’s beautiful photos of the event.

“The earth shall rise again...”
AMOR/LEMUR finds the Glasgow quartet AMOR in partnership with Norwegian improvising ensemble LEMUR to hopeful and ecstatic effect. Conceived before the onset of Covid 19 but finished during spring lockdown, their eponymous EP is the most loose, alive and elevated recording in AMOR’s catalog. AMOR/LEMUR takes the template of throbbing avant disco expanded upon on previous recordings for Night School and lifts it into new

territories, with new tonalities and unexpected turns on the journey. More than anything, the expanded, near- cinematic expression of human connectivity feels like a lightning new energy to grasp in the dark.

Following a revelatory concert in Glasgow in January 2020 wherein the two sets of musicians met and performed together for the first time, a recording session was arranged the following day, resulting in the most elevated permutation of AMOR’s art to date. Each track was built upon a rhythmic bedrock of percussion and drums performed by Paul Thomson and samples/synthesizer by Luke Fowler. Thomson used bamboo Javanese gamelan (most notably on For You) and scrap metal, as well as traditional percussion and drums while Fowler incorporated processed ambient field recordings recorded in enclosed acoustic spaces around Glasgow. Singer/pianist Richard Youngs contributes some of the most bright and mindful work of his career. Acoustic bass player Michael Francis Duch, whose lush playing as ever provides the elastic spine to each song, scored the string parts for LEMUR on piano at home in Norway. The addition of swelling strings and drones fills out the AMOR sound significantly, lending a sonorous tone to 8 minute, epic closer For You or an ascending melodic introduction to Stars Burst that feels like a new morning dawning on a world saved from certain death. With the circumstances of lockdown forcing the musicians to work differently, a thread of optimism and utopia grounded in the moment weaves through these tracks. Unravel reveals a spine tingling vocal from Youngs. It’s a song about the simultaneously grounding and ecstatic effect of love, feeling connected to others. It’s a simple message, “I’m finding myself in your smile, always unravels me” speaks of ego death, the dissipation of the material into a nirvana of pure energy, the power of surrender. This isn’t a quasi-religious message, this is the power of each other, a love song to connection in a temporary age of isolation. Stars Burst is a play on the inner and outer cosmos, with narrator Youngs exploring wonder to a pounding galloping rhythm and snake-charming synth. It’s an open dance, with the group locked in together for the wild ride. Fear is the centerpiece of the record, starting with drones and scraped overtones before swirling synth notes filter upwards to meet reverberating minor chords. Over 8 minutes of tight but loose playing, Youngs is the shaman instructing us to use Fear as a celebration of the moment, embrace it and jump into the unknown. The only way to overcome your fear is to feel it, use it as an energy. The use of the studio as an instrument throughout side 2 is particularly important, with the dubbing and mixing prowess of engineer Paul Savage (who mixed unattended due to lockdown restrictions) and tape manipulations performed by Jason Lescallet coming into play. For You closes out with a largely instrumental, evolving composition that uses many of the abstract and novel aspects of this permutation to aid the trance. It’s massive, an unfurling creature with unexpected tonalities and serious heft.

Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot (“Terminal Case” and “I’m Screwed Up”) as well as smudged glam balladry (“Start Over” and “Weird”). Its release in 1977, on the group’s own Raw Edge label, with Borland’s cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom.

The Outsiders, featuring bassist Bob Lawrence and drummer Adrian “Jan” James, were punk in the moment before punk cut ties with solos and five minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock ’n’ roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery.