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- The complete film music available for the first time on vinyl - 180 Gram "Satanic Rite" Colored Vinyl - Exclusive liner notes by Rob Zombie - 16 Page Booklet featuring unreleased photography - Bonus Black Metal live album by Count Corgan pressed to 180 gram black vinyl with B-Side etching // Waxwork Records is proud to present Rob Zombie's THE LORDS OF SALEM Original Motion Picture Soundtrack. Available for the very first time on vinyl and pressed to 180 gram "Satanic Rite" colored vinyl, the music of THE LORDS OF SALEM features The Velvet Underground, Rick James, Rush, Leviathan the Fleeing Serpent, John 5, and more. THE LORDS OF SALEM is a 2012 American supernatural horror film written, produced, and directed by Rob Zombie. The film stars Sheri Moon Zombie (The Firefly Trilogy), Meg Foster (They Live), Bruce Davison (X-Men), Dee Wallace (E.T., The Hills Have Eyes), and Patricia Quinn (The Rocky Horror Picture Show). The plot focuses on a troubled female disc jockey, Heidi (Sheri Moon Zombie), who is a recovering drug addict living in Salem, Massachusetts. Her life becomes entangled with a coven of ancient Satan-worshipping women after receiving a strange wooden box and listening to the album inside it by a band named "The Lords". The soundtrack features classic songs by The Velvet Underground, Lou Reed, Manfred Mann's Earth Band, and several more. The score features original cues by John 5 and Griffin Boice. In line with other Zombie soundtracks, the album features intermittent dialogue tracks from the movie. Waxwork is thrilled to present the debut vinyl release of THE LORDS OF SALEM as a deluxe album package featuring 180 gram "Satan Rite" colored vinyl (Blood Red and Blue Butterfly effect with White Splatter), exclusive liner notes by Rob Zombie, new and original art by Robert Sammelin, a 12"x12" 16-page booklet including unreleased set photography from Zombie's personal archive, a heavyweight art print, printed inner sleeves, and old-style tip-on gatefold jackets with satin coating. Also included is a bonus black metal album by Count Gorgann entitled Corpse Eater: Satanic Misery Live for the Dead. This bonus album features a 2015 live recording at Black Forest Discothek and is pressed to 180-gram black vinyl with an etched B-Side.

- Available for the First Time on Vinyl - Deluxe Old Style Tip-On Gatefold Packaging with 180 Gram - "Yellow Raincoat with Blood Red Splatter" Colored Vinyl - Insert with Liner Notes and Original 1976 Recording Session photography // Waxwork Records is thrilled to present the debut release of ALICE, SWEET ALICE Original Motion Picture Soundtrack by Stephen Lawrence. Alice, Sweet Alice is a 1976 American Slasher-Horror film directed by Alfred Sole and starring Brooke Shields in her film debut. Set in 1961 New Jersey, the film focuses on a troubled adolescent girl who becomes the suspect in the brutal murder of her younger sister at her first communion, as well as in a series of unsolved stabbings that follow. In the years since its release, Alice, Sweet Alice has gained a cult following and is considered a contemporary classic of the slasher sub-genre in critical circles. It has also been the focus of scholarship in the areas of horror film studies, particularly regarding its depictions of Roman Catholicism, child emotional neglect, and the disintegration of the American nuclear family. The film's chilling score was composed by Stephen Lawrence. Lawrence is an American composer that has scored more than 300 songs and musical cues for Sesame Street, resulting in three Emmy Awards for Outstanding Achievement in Music Direction and Composition. The music of Alice, Sweet Alice features heavy usage of dissonant strings, repetitive keys, church organ, and motifs that segue from eerily mischievous and playful to dread-inducing and utterly haunting. Available for the very first time in any format, the complete soundtrack to Alice, Sweet Alice comes available on 180 gram "Yellow Rain Coat with Blood Red Splatter", deluxe packaging with new artwork by Steven Reeves, old-style tip-on gatefold jackets, a heavyweight insert, exclusive composer liner notes, and original recording session photography.

Bounding on from the Door to the Cosmos, the label'sexpansive triple vinyl compilation, OnTheCorner has paired up new artists in this series of cosmically twinned EPs. Twinning EPs on a single piece of wax reduces the impact on the environment and wallet friendly. Each brace of cosmically twinned OnTheCorner artists interstellar balearic for the deepspace bound. Each 12" will be split taking over a whole side of black wax. Party wax loaded with Stardust. Get your fix of tomorrow's sound, tonight! Side A is UFFE's 'Not All the Stars EP' - an underground emissary channeling dark bass weight through a prism of jazz-house - dub-tech hitters. A singular talent leading the charge into new frontiers with OnTheCorner. Not All The Stars EP is aprelude to his first LP on the label and follows on from City's Dead and that featured on Door to the Cosmos in 2020. Petwo Evans' 'Bootstrap EP' on the flip side is made of soundsystem-primed, innovative club tracks. Welsh Futurism, celestial electrics and objects of space-junk percussion. CERN loops, cyber kinetic grooves, machine pulses and chugging house kicks converse in the orbit of 'Gyroscope'. Petwo Evansfeeds the tracks compulsion with heady layers awash with dreamy vocal stabs, synths and hazy harmonics.

After the first two Earthly Tapes & a handful of EPs, Earthly Measures drops its first full-length album with Mente Organica’s El Espacio - a beautifully crafted album with glorious textures, steady grooves, calming vibes & a dancefloor filler or two.

Born in Bogotá, Colombia – producer & multi-instrumentalist Mente Organica has slowly been making a name for himself within the folktronica/Latin scene. Following multiple album and EP releases over the past few years, El Espacio marks his first release on wax and the music stands out from anything he has done before. These 8 tracks surprise & reward the listener as individual harmonies at first, and finally, as a whole and immersive symphony.

From 'Pablo Bebe’, a track he wrote which is inspired & dedicated to his best friend – to ‘Close the Door’, written in the depths of quarantine, reflecting isolation, loneliness & introspection, & ‘Yoga’ - a song written with his father that can be easily heard filling the dancefloor as well as easy bedroom sessions, this album truly does feel like his most personal work yet.

Eagle’- an utterly unique track born in Pucon, Chile, after meeting opera singer Katy Prado - blends sensibilities of 60s psychedelic rock vocals with Mente’s signature electronica. ‘Dame Un Segundo’ is the lobby track of the album, with Balearic vibes: chilled, jazzy & floaty. Title track ‘El Espacio’ pays homage to Mente’s influences growing up - think Massive Attack, Thievery Corporation & Air - giving us that Trip Hop vibe. ‘Huanini’ is a real groover - a low-key dance track that evokes that ‘start of the night’ feeling of excitement, with heavy experimentation of granular synths.

Finally, rounding the album off with melodies of hope, delight and positivity, ‘Partida’ reminds us that there is always light at the end of the tunnel.

Folk-minimalists announce vinyl issue for breakthrough album, Animalia.

"The semi-classical drums/sax/piano trio Mammal Hands mutate into a high-volume rave act" The Guardian

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from adisparatearray of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own.

Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their recordsare entrancing and beautiful affairs,while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Over the course of three albums, Animalia, Floa and Shadow Work they have built a committed following and established themselves as one of the finest live bands in Europe. But while Floa and Shadow Work were both issued on vinyl this is the first time that Animalia has been committed to wax.

Produced by Matthew Halsall and recorded at 80 Hertz Studio, in Manchester, and engineered by George Atkins, Animalia features the band breakthrough hits Mansions of Million Years, a slow building tune that takes it's name from Egyptian mythology and draws the listener into the band's distinctive sound world. And the gorgeous hooky Kandaiki which makes stunning use of looped melodies in different time signatures, creating a wonderful interplay between the parts.

Other highlights include Snow Bough a short, melancholic, but moving, ambient composition, the Irish folk music inspired Spinning the Wheel, which also features drum beats inspired by chopped up electronic drum patterns and hip hop instrumentals. The jaunty Bustle and delightful Inuit Party and Street Sweeper. Finally the album closes with Tiny Crumb, which explores melodic ideas inspired by Alice Coltrane and Joe Henderson and builds in intensity from a quiet start to a powerful collective improvisation and heavily features Jesse's Tabla.

Celebrating a determined and ambitious 15 year tenure as Yorkshire’s chief bastion of deep house music, Hudd Traxx enlist a who’s who from their gilded halls to contribute tunes for a special anniversary release. Split across two vinyl parts and an expansive digital release, it’s a pretty prestigious occasion featuring dance music legends Nightmares On Wax & Jovonn, long term label stalwarts Iron Curtis & JT Donaldson, a guest appearance from Mark Hawkins (FKA Marquis Hawkes) and a track from label head Eddie Leader. Adding to the already weighty credentials are Agnès (releasing his first material since 2013), Berlin-via-Italy producer Black Loops.

On Part Two longstanding Hudd Traxx veteran JT Donaldson drops “What I Got” - twisting and contorting throughout its duration, a serpentine roller rich with block party flavour and the very essence of deep house coursing through its veins.

Dixon Avenue Basement Jams’ Mark Hawkins does some moonlighting under his newly deed-polled alias with the epically beautifully “Chasing Paper”. No royalty credits heading north of the border here, just swathes of satisfied revellers and euphoric dancefloors guaranteed upon delivery.

Meanwhile, another Hudd Traxx regular, Iron Curtis, pays tribute to one of the scene’s greatest on “Kerri On (Chandelier Dub)”. A red-lit nocturnal jam that Mr. Chandler himself has rubber stamped, its ever-growing bassline, soaring strings and delicately placed keys taking us towards a seriously blissful conclusion.

Concluding part 2 is a track by Agnès - founder of Sthlmaudio Recordings. The stylish Swiss keeps true to his remit – deep, dubby, transcendent grooves that sway lushly with the midnight air. “Embryonic Connections” taking us right back to the roots of that tribal beat and a fitting end to this mammoth release and a perfect lead up to his forthcoming Hudd EP.

4 tracks which perfectly instil why Hudd started this label of love 15 years ago; to showcase fierce, uncompromising dancefloor workouts in as sincere and stylish manner as possible. The artists and tracks chosen show the adventurous routes and development the label keep as their main point of focus – to unearth the tantalizing new and exciting sounds of house music’s continuous evolution.

This release is dedicated to Richi Larkin & Yuriano x

The fifth album from Oklahoma-bred singer/songwriter Parker Millsap, Be Here Instead emerged from a wild alchemy of instinct, ingenuity, and joyfully determined rule-breaking. In a departure from the guitar-and-notebook-based approach to songwriting that shaped his earlier work, the Nashville-based artist followed his curiosity to countless other modes of expression, experimenting with everything from piano to effects pedals to old-school drum machines (a fascination partly inspired by the early-’70s innovations of Sly Stone and J.J. Cale). As those explorations deepened and broadened his musical vision, Millsap soon arrived at a body of work touched with both unbridled imagination and lucid insight into the search for presence in a chaotic world. Produced by John Agnello (Kurt Vile, Sonic Youth, Waxahatchee) and mainly recorded live with Millsap’s full band, Be Here Instead marks a stylistic shift from the gritty and high-energy folk of his previous output, including 2018’s acclaimed Other Arrangements and 2016’s The Very Last Day (an Americana Music Association Awards nominee for Album of the Year). With its adventurous yet immaculately detailed sonic palette, the album warps genres to glorious effect, at one point offering up what Millsap aptly refers to as a “disco-Americana showtune.” In another creative breakthrough, Be Here Instead forgoes the character-driven storytelling of his past in favor of a more introspective and endlessly revelatory form of lyricism, an element he traces back to the charmed nature of his songwriting process. “Because the lyrics were appearing seemingly out of nowhere and with no prior intent, some of them started to feel like transmissions from my subconscious, rather than the preconceived linear stories or waking thoughts of my earlier songs,” says Millsap. “They feel like words I needed to hear from myself, and not just things I wanted to say to someone else.”

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

- 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.

Without bottle opener

The eighth chapter of the Apparel Wax saga brings with it, as always, a multitude of sounds and suggestions. The masked producer always manages to renew himself, bringing something new and special to each record but always remaining faithful to his musical line. APLWAX008 will be released in January and consists of four tracks: the first is a track with a very marked dynamics and is characterized by a solid rhythm section, a bass line that recalls the UK garage, vocal samples and a beautiful harmonic evolution produced by evolving chords. The second track, A2, winks at Jazz and Soul with a production rich in rhythmic virtuosity, keyboard solos and an almost hypnotic vocal loop while the second side starts with B1, which takes us back to an imaginary dancefloor with a powerful beat and airy disco chords. The EP closes with B2 that softens the tones giving a more intimate, classy and deep end, with references to Funk and R&B. In short, an EP that touches many genres while remaining compact as a whole. Another small masterpiece of production and music selection by Apparel Wax.

A modern psych classic!

This album was released in 2017 as free download packs with the band encouraging fans to create their own physical copies with provided templates.

From the band's post accompanying links to different digital packs:
"This album is FREE. Free as in, free. Free to download and if you wish, free to make copies. Make tapes, make CD’s, make records. ... Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes. We do not own this record. You do. Go forth, share, enjoy."

Karaba is the new signing on Kryptox. The Berlin label founded to show what's happening in the German Jazz crossover scene. One of these bands is Karaba from Munich. The band was already featured on the Kryptox Kraut Jazz Futurism Compilation in 2019. Now they deliver their first mini album for Kryptox. Five young guys from Munich. Skilled and tight on their instruments and deeply rooted in the heritage of all kind of wild forms of jazz, krautrock and psychedelic music. The kids began to jam together when starting to study music in 2012. Being from Munich, a town where legendary Krautrock bands like Amon Düül, Guru Guru and Embryo came from, the Karaba guys are obviously influenced by these german kraut and psychedelic sounds. You can hear that in many shades of this album: the complexity of the unusual rhythmical fundaments and percussive patterns. The Prog-Rock parts, with these partly abstract unisono lines and strange melodic figures or unexpected chord changes. Karaba’s album starts with an slightly arabic feel. The repetitive groove of „Der Inder“ gets the listener immediately into a different south-eastern space. Later the music gets more animated, more structured and more uplifting. A whole universe of little influences. Shades of certain Jazz and prog-rock bands: you might think about the canterbury scene of the 1960ies and 70ies. There are textures reminding of Soft Machine, Frank Zappa, Mats and Morgan, Kraan and maybe some Passport influences. (Another band from Munich that left a huge footmark in the worldwide jazz fusion history). The whole Karaba sound has a certain 1970es feel. But not in a pure retro way. The EP sounds more like a modern psychedelic 2020 Lofi Indie Jazz thing - a sound that fits well in these wild times and finds it’s place in the actual scenario of new jazz bands worldwide.

We are back on wax again with a very special release. It means a great pleasure for us to have one of the pivotal figures of the Madrid underground techno scene on board, Herr Unkle Fon.

Some years ago, Madrid clubscene was formed by conventional clubs in conventional locations with conventional opening and closing times and usually, conventional programming. Manuel Cano then founded Utopía Secret Society and things changed forever for the city’s underground nightlife.

Now as you may have noticed there is no club scene at all, neither conventional nor illegal, sign of the times.

Musically speaking, Manuel started as a guitarist and soon evolved into studio engineer, label owner, club promoter, record shop owner (Ater Cosmo), social agitator… and adventurous character that reflects in his productions all his knowledge of the dancefloor.

Jisatsu is a slow paced broken beat surrounded with smooth textures, soon joined by a repetitive synth line that adds the hypnotic component.

Genroku Ako follows with a cosmic approach, continuous percussive and synthetic lines run together on a fast BPM exercise obsessive, linear and mental.

On the flip side, 47 Ronin uses dreamy stabs over a relentless groove mixing liquidity with tension.

Closing the release Shuppatsu is an almost beatless exercise, just with 909 rimshots, toms and snares spiced with ethereal components

A timeless futuristic release that can wait on your record bag until things go in better directions.

Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.

Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.

With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.

Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).

The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.

Wah Wah 45s are proud to present a unique collaboration between the U.K.'s very own Afrobeat Ambassador, Dele Sosimi, and a producer who's been at the forefront of the South London electronic music scene for a decade now, Medlar.

The pair first joined forces five years ago, when Medlar was asked by Dele's label to remix the title track from his last album,You No Fit Touch Am. The result was possibly one of the most popular and cherished remixes to appear on the imprint. The producer's respect for the history of Afrobeat shined through in the mix of course, but it was his ability to finely balance that with his house music instincts whilst adding an infectious groove and classic 80s analogue synths that really stood out.

The track was an instant classic, and it soon became clear that the Afrobeat Ambassador and Peckham producer needed to make some music together. Having never actually met during the remix process, the dating began, and luckily the two were clearly a perfect match.

After some weeks of pinging ideas back and forth, and spending time in the studio together, it became obvious that this project was also something they could take out live. As so it has been, from their modest debut performance in East London last spring, to playing festivals across the UK and beyond. Never the same show twice, their shows are based around a bank of rhythms on MPC which come alive when combined with Dele's vocals and improvisational keyboard explorations, all of which are dubbed out live by Medlar. Their musical journey is always unpredictable, vibrant and often quite surprising!

With this in mind, when picking tracks they'd developed on the road over the last year to take into the studio,Full Moonevolved into what might be best described as a bossa nova meets country & western lounge track, suitable for sipping cocktails to on a beach, or perhaps in your back garden in the current situation!

"This is really great this track. Really great!" Gilles Peterson

The original version of the song dropped earlier this summer and has been championed by both Gilles Peterson and Moses Boyd on BBC 6Music. When it came to remix duties, there was only one production outfit who fitted the bill, and one who the label had been trying to coax a remix out of for a couple of years.

Lars Dales and Maarten Smeets, otherwise known as Detroit Swindle, have been turning out musical, soulful, tropical and always party starting house music for almost a decade now. Wah Wah label boss Dom Servini hooked up with the pair at a European festival a couple of years ago, and ever since has been waiting for the right project to come along that would spark their imagination.

"When we heard the original of 'Full Moon' for the first time, we really felt the retro style with the cr78 drum, the dreamy pads and that almost overly simple synth flute. For us, that really defined the direction of the remix and we looked for a hook that could make those elements pop in a more energetic way. The vocal is also super laid back so we chopped it up a bit to give it some more spice. I think it was when we wrote the chords for our remix that the dubbed out 80's synth vibe really started to take form. It turned out to be a really nice remix for this time of year and hopefully it'll warm some hearts when people hear it." Detroit Swindle

The follow up single,Gúdú Gúdú Kan,in turn received support from Tom Ravenscroft and Gideon Coe on BBC 6Music. It's Dele and Medlar's own take on an Afro-disco stomper. The title refers to the role the snare drum plays and its relationship with Ìyá Ìlù kan, or the kick drum. It's a simple but very effective metaphor for this unique musical collaboration where once again the pair forged a sound that's all their own.

Taking things back to The Shrine by way of a little Bugz style bruk magic, Daz-I-Kue's remix ofGúdú Gúdú Kanrestructures the tune more in the style of a Fela classic, albeit with a broken flavour and layers upon layers of keys galore! In doing so, Daz creates what we think is a sure fire future club classic.

For the first time you can enjoy the full length versions of both of these top class remixes on a single slab of gorgeous wax!

Slick jungle, low-slung broken beat and even a deep house banger, 'Interlocked' assembles 8 tracks of some of the purest old-school vibes by a veteran of the scene under a brand new alias for a frustrated and precarious (post)-lockdown summer. Tapping the drama and energy of the largely pre-generic party days of '91-94 - a halcyon time of transition in which Drumskull himself, as a life-long skater otherwise stoked on the the raw energy of 80s skate video soundtracks - to Black Flag, JFA, Minor Threat, Stupids et al, to Primus, Gang Starr and Meat Beat Manifesto, made the passage into syncopated machine funk, to sub bass, time-stretched breaks and automated beat production.

Physically drumming in a couple of skate punk bands in the early 90s, exposure to hardcore and early jungle tapes in '93 by DJ Dimension and DJ Rob (Leeds Orbit, UK), amongst countless others, inspired an archetypal move to sell his drum kit so as to land a set of Technics 1210s. Spinning techno and jungle on the local free party scene and clubs as part of a DJ collective from '94-96, crafting early tunes on Amiga ProTracker software, and shortly after running club nights in mid-90s London with Mo' Wax and Ninja Tune artists, Drumskull expresses the eclecticism of the era across 8 big tracks of previously unreleased material. Evoking all the energy and excitement of being involved in those early years of dance culture, 'Interlocked' powerfully yet playfully connects then to now, reveling in a sense of timelessness, mutation and hybridity.

Album photography by Amir Zaki from his book with legendary Skateboarder Tony Hawk and author Peter Zellner 'California Concrete: A Landscape of Skateparks (2019). Graffiti lettering by original UK stylemaster and beatmaker REQ TDK.

Our new slice of wax comes this time from outer space made somewhere between unknown galaxies and black holes. The spaceship’s pilot is 30drop, a mysterious alias that has been running its platform 30D for a long while now and is not often seen outside its realm. So it’s an honor for us to have 30drop onboard.

For this special occasion 30drop provides six cuts of futuristic techno but with a ravey approach in a time backspin that brings us back to the 90’s via Sci-Fi, reminding in some way of the early UR records, when Mad Mike and Jeff Mills worked together on the soundtrack of the future.

This is our first mini LP with 3 cuts per side. The first cut is Brain reset, the short drone intro soon leads to a relentless groove made of repetitive sequences over a fast groove. Intense and obsessive.

Mental Understanding brings more minimalistic ingredients, absence of hi hats, just kick drum and synth lines.

Brain effervescence showcases the infamous 90’s hoover sound bringing the rave element and 303 acid lines all merged in a lawless and dense mixture.

B side opens with Self awareness, starting with ethereal atmospheres, spiced with resonant bleeps and micro drones in a beat-less exercise.

Klapaucjusz brings back the 90’s feeling again with analogue arpeggios and melodies, again over a clean groove in a Detroit oriented number.

Closing the release, Knowledge, a space odyssey of strings, abstract synth lines and flotation.

A work that showcases the skills of this well-seasoned producer that stands apart from any trends, futuristic, atemporal and scientifically crafted.

W&P by 30drop

Led by French B3 Hammond maestro Guillaume Metenier and featuring an all-star lineup of musicians from the extended Mocambo fam, Pigalle Connection connect the dots between instrumental funk, b-boy breaks and cinematic soundscapes. After their celebrated and battle proven 45 "Paris Breakdown", this fantasy funk supergroup is finally back with a new double delight on 7 inch wax.

"Casino & Church" / "Vendetta James" is a nod to Peter Thomas and Ennio Morricone, two massively influential score composers who both sadly passed away in 2020. A-side "Casino & Church" is a blistering blend of afro-boogie, breakbeat funk, blaxploitation and eurocinema, led by hypnotic percussion and an infectious guitar. Flip to the B-side for "Vendetta James", where Mediterranean funk meets Italo Western and b-boy breaks in a sequence of hazy atmospheres and alluring moods.

Recorded live to 8-track tape with vintage equipment and instruments, both sides of Pigalle Connection's new 45 showcase the band's unique sound and deep appreciation for great film scores and heavy funk.

Les Ya Toupas is a band formed in 1976 by Bopol Mansiamina (Bass - Success Mode, 4 Stars ..), Manuaku Waku (aka Grand Zaiko Wawa) and Ray Lema (Piano, Organ and Guitar) Between 1976 and 1978, they recorded several 7inches including the famous title “Je ne bois
pas beaucoup” (1976) compiled on the series of Sofrito (Tropical Discotheque ) in 2011. In 1978, they recorded this unique and unclassifiable instrumental album, Les Ya Toupas du Zaïre, produced by Gérard Akueson (founder of Akue Records and Abeti's producer). The LP is composed of minimalist Afro Jazz rhythms and Deep Funk grooves that are close at times to a tropical trance, all played by musicians who used to offer more classic Rumba rhythms.
It is their only album before the departure in 1979 of Ray Lema for the United States and then France. Ray Lema's departure follows a violent disagreement which opposed him to the dictator Mobutu then in place in Zaïre. Let's not forget that the album was released in 1978 and can be seen as their last musicial project

Sudd WAX is a vinyl only label of Sudd Records Family. The Limited Series, starts with STK named Electronic Roots. Conceptual, contemporary, the release shows electronic aesthetic into non-labeled genre but music. Figuring out Techno, Jazz, Drum'n'bass influences, into electronic raw textures, arranging something uncommon, but sense at all.