Buscar:wax

Ending the season on a breezy note, our new VA 'Boogie Angst, Edition Three' delivers the ideal wares for a buoyant last stretch to an otherwise trying year. Spanning a brightly hued kaleidoscope of pop-infused house and mellifluous boogie, Edition Three pushes forth a selection of our choicest grooves from the past year as well as a batch of unheard and exclusive gems to keep you in the warmest, most positive mindset for the winter to come. Through fifteen cuts covering a wide but cohesive spectrum of balmy sonics, the compilation once again offers a much spitting image of what the label's been up to in recent times.

HIGH HØØPS playful revamp of Secret Rendezvous' fresher-than-fresh RnB joint 'Back In The Day' sets the tone right away, followed closely by Moods & Two Another's lush coastal disco number 'Control' and Snacks & Eric Biddines neo-big band style house treat 'All Night' - a singular chunk of ballroom bop tinged with soulful blues tropes and Caribbean melodic accents, sure to have the dancers jiving without further ado.

Here comes Inkswel's synth-splattered mix of 8-bit pixelation and Run DMC-esque hip-hop 'Too Late' (ft. Stan Smith) and Saux's dream folk excursion 'You're Not Wrong'. A highlight of the package and mesmerizing piece of wistful, kosmische-laced disco, Kraak & Smaak 'Centro De Placer' ushers us in a realm of velveteen ingenuousness and sun-streaked utopianism, steering us away from the tar-scented gloom of soulless metropolises into an all engulfing prism of hope, love and grace.

Utrecht-based vibist Feiertag punches the clock with 'Encino Boogie' - a four minute-odd slab of buoyant funk sprinkled with laid-back house tropes and brass-heavy, loungey dub tonalities, perfect for drawing out the pleasure of dreamlike summer boogie sessions. Clear your mind and shuffle your feet to that solar-powered mix of fevered drums, slap bass and sensually aqueous groove.

Next, Kraak & Smaak's add their easily identifiable, almost Beck-ian spin to Jean Tonique's lysergic pop hit-en-puissance 'Too Bad' whilst Bondax lo-slung remix of Moods' sense-awakening soul tune 'Slow Down' (ft. Damon Trueitt) eases you into a place of inviting suavity.

Inkswel's funky robot chugger 'The People' (ft. Dave Aju) picks up the torch next, followed by Flevans, your go-to man for proper electroid floor traction. The UK-based producer has you covered with 'Everything I See' - a surefire, bass-driven roller inbound for severe club impact with its infectious mix of fiery riffs, mangled female vox slivers and racing groove. Next, Secret Rendezvous' sun-beamy ballad 'Your Love' takes us on a gently bouncy, romantic ride.

Last but not least, Vhyce's smooth hybrid of synth-strewn RnB and lo-velocity funk 'Lose Our Minds' (ft. Yves Paquet), David Harks' metronomic disco-pop anthem 'Twice' and Saux's sleek-textured synthpop exponent 'Night Is All There Is' round off the package on a typically smooth and vibrant sentimental touch.

For the wax heads out there, a limited 9-track vinyl sampler will be issued alongside the digital compilation, featuring some of the tracks on the album + a few alternative versions, and furthermore a vinyl exclusive of Kraak & Smaak's remix of Izo FitzRoy's 'When The Wires are Down', initially released only digitally via Jalapeño Records.








h 08 | Inkswel The People (Cody Currie Remix) feat Dave Aju
feat Wolfgang Valbrun

After a well received and enjoyed first joint on this freshly founded co-founded music label joining Kalakuta Soul Records with the neighboring Bahlo Records Store, Kalakuta Soul Bahlo Records is more than happy to re-issue a Disco gem that has been enjoyed in several occasions in the past years but seldom was easy to find.
On a working trip to Italy the salesmen Mohmed Fersi, Lotfi Ferjani, Smir Almia, Mohsen Matri and Nejib Toukabri used their stopover in Italy for a recording session guided by the owner of Phono Sound Dischi Francesco Ammaturo and that resulted in the release of „Dance“ and „Can’t You See Me“ in 1980.
Almost 40 years later, KABA’s half Guy Dermosessian got invited by the mighty Najib Ben Belgacem for a memorable party he organized together with Tunis’ mighty „Downtown Vibes“ Family at Wax Bar followed by a live stream for downtown based and freshly found record label „Eddisco“. Why we’re telling you that? Well, odds are it
turned out that one of Downtown Vibes’ Baba and Eddisco’s Mama was the amazing selector and DJ Hamdi Toukabri, nephew of Nejib Toukabri, Corniche Band’s Keyboard maestro. And the rest is history as you can imagine.
We are more than pleased to have had the chance to re-issue this amazing record we hereby would like to dedicate to the shortly deceased Mohmed „Momo“ Fersi and his family. May his soul rest in peace. We would also like to thank Hamdi Toukabri and Nejib Toukabri for making this happen and possible as well as our brother Najib
Ben Belgacem for bringing us all together in the first place.
Corniche Band comes in its original Cover design and with the same tracklist.
Stay tuned for an exclusive and lovely Edit of „Dance“ by Downtown Vibes’ super amore Hamdi Ryder hitting the digital shelves upon release of this record.

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.

The latest release in the much loved Mr Bongo Record Club Series, Available on CD, 2LP Standard Vinyl & Special Edition 2LP Pink Translucent Vinyl.

Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist.

For Volume 4 in this series we continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation.

Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

Released on 20/11/20 on double vinyl and CD with artwork illustration by Nicolas Burrows.

clear vinyl edition

The Belgian party organisation and record label De:tuned presents the final outing of their 10 year anniversary vinyl series. "DE:10.10" kicks off with a trippy Plaid remix of Humanoid's "sT8818r" track. The remix provides some more 3AM rave pressure for those sweaty basement parties. Erik Van Den Broek aka Shiver follows with a previously unreleased mix of "Primerose", an emotive late night acid track that was released on the 5 Years De:tuned box set in 2014. The B-side offers "Formulate", music straight from the soul produced by the physical embodiment of UK emotive techno and one half of B12, Steven Rutter. Lone completes the series with "Dream Ache", an exclusive track that graced Rustie's BBC Radio One Essential Mix back in 2012, finally pressed on wax.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis Mastering. This 12" is pressed on 180 gr vinyl and is housed in a detailed silver foil sleeve to celebrate "10 Years De:tuned". Stay tuned!

clear red & blue mixed vinyl

- "Gut-churning bass" - The Wire
- "a deep dive into UK soundsystem forms, half-time bass pressure and lucid electronics" - DjMag
- "a hell of a journey through a subaquatic scape" - Backseat Mafia
- "evoking oceanic stillness and violence, the song ebbs and flows between delicate rippling and powerful waves" - Fuxwithit
- Plays on Rinse FM France and UK & Tom Ravenscroft BBC Radio 6

30% of profits on this record go to an ocean cleanup organisation TBA

The latest release in the much loved Mr Bongo Record Club Series, Available on CD, 2LP Standard Vinyl & Special Edition 2LP Pink Translucent Vinyl.

Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist.

For Volume 4 in this series we continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation.

Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

Released on 20/11/20 on double vinyl and CD with artwork illustration by Nicolas Burrows.

Much about 'Beat Bop' is shrouded in mystery. Who really produced it? Why was Jean-Michel Basquiat relegated from rapper on the track to drawing the cover and labels? What are they actually rapping about for most of the ten-minute length?

These questions, however, are all part of the enigma and rich legend surrounding a song that is an undisputed piece of true hip-hop genius. The combination of graffiti artist Rammellzee and rapper K-Rob is a potent one, with each MC adopting a persona - hustler and B-Boy respectively - that they maintain against an unusual swirling backdrop that must be one of the best instrumentals ever committed to wax.
The original Tartown Record 1983 pressing was limited to 500 copies, a mere test pressing in the eyes of the assembled artists, with scarcity further driven by Basquiat's rising rep in the art world. Those few hundred copies – and a subsequent re-release on Profile Records (the same label where K-Rob played out the rest of his brief career) punched well above their weight in terms of lasting influence.
Consider the early vocal tones of the Beastie Boys (who also sampled the track), or the huge part it played in the sound of Cypress Hill and B-Real. His voice is almost homage to Rammellzee's on 'Beat Bop', while they also lifted the chorus of 'Shoot 'Em Up' and even a
sample of 'Cypress Hill' from the track too. It's unsurprising – this is a multi-layered, complex song that reveals a little more of itself each time you play it but remains damn funky.

This reissue boasts the vocal and instrumental versions in full, as well as both the full cover and label artwork from the original Tartown Release.

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.

Mangabey presents "Illusion" his first EP to be released on the Parisian label Cracki Records ! Analogical house, groove, melodies, chords and improvisations specific to jazz, the whole infused with the codes of a more modern Chicago House, the 6 tracks of this record intend to leave their mark on the new school year!

Driven since childhood by a growing passion for synthesizers and other "drum machines", José Fehner quickly launched the Mangabey project in order to unite his two main influences: jazz and Afro-American music.
He thus creates his own style : an analogical house mixing groove, melodies, chords and improvisations specific to jazz, with the codes of a more modern Chicago House. To his credit, EP's signed on Toy Tonics, Apparel Wax or Boussole Records !

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!

Fantastic electro drill breaker weapon !
Super 2x12", with a plenty splendid printed sleeve.
Artist autoprod.

A magestuous double vinyl ! ENJOY !

After releases on Distinkkt, Blue Park, Woob.le Recordings
and a stream of free downloads and self releases Ali
Whitticase joins Motoring with an ear catching approach to
stripped back house music. The Birmingham based artist
has carved a distinctive sound pairing in§uences from
Europe’s minimalist expressions along with bold basslines
heard shaking Midlands dance §oors. Detective Sandy kicks
off the EP with crisp percussion, and a signature Whitticase
low end. Elements trail off into endless directions, subtly
teasing a hypnotic listen with a multitude of quirky sounds
held together by a seriously grooving bassline. Birmingham’s
Jordan Masters joins that side with a stripped back remix of
the title track, nimble hi-hats, shimmering percussive work
and §avours of minimal garage can be heard throughout, a
bouncing bassline delivers a rapid groove for a great balance
between ear engrosser and dance §oor mover. Jos of
EYA/Lonewolf records delivers his twist on Detective Sandy
for B1, a 90s inspired synth reigns through the entire
composition, sultry vocals, a darker rolling bassline and
sharp percussive elements all build into a suspenseful break,
where the listener is dropped back into the hypnotic twists
and commanding low end. (Premiered on Halycon Wax
08/10/2020) Saucy Thoughts rounds this EP off a Warm
and familiar atmosphere is paired with sublime skipping hi
hats which draw the ear. While Saucy Thoughts is more
chilled affair it still hits in all the right places, another bold
bassline builds throughout the track with deep accents
providing a bouncing groove before the track splits boldly
back into the §oating atmosphere. (Premiered on Rayzeh
02/10/2020)

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.

Running the anything goes travelling warehouse rave "Fusion mes Couilles"
Emma DJ and Ishaq have created a unique situation with their party series in Paris. The two have been able to do what not many have, which is create a party environment strictly on their own terms, with no outside influence, no pandering to agents or the trends of the day and no outside money rearing its head trying to influence. This endeavor is no small feat considering the oversaturated and bland nitelife climate over the last years in the city. The result of their hard work, has been a large scale dedicated fanbase that trust them, hands down.

Over these years both Emma DJ and Ishaq had been working independently on their own productions as well, with Emma DJ recently releasing a slew of tapes in a hyperactive, machine gun manner, while Ishaq makes his first appearance on wax here.
On the "Fusion" split lp we get four tracks from Emma DJ on the a-side and four tracks from Ishaq on the b-side...both artists bring their unique takes on modern dance music on each side of the record from gnarled acid, to tweaked IDM, to broken techno, or ADD chopped guitar loop beats, this is a truly unique release documenting the sound of the top crew in the Paris underground.
Artwork licensed from NYC street photographer Richard Sandler

Outstanding and legendary Italian Library album out of the vaults of Cometa Edizioni Musicali featuring tones of mental Jazz-Funk and Psychedelic beats. The listener is constantly kept by the incredible music that swings between Psychedelic Funk, Esoteric Jazz and Cinematic/Love themes. Tracks like "Love For Sale", "Privacy", "Metropolis Notte" and "Dopping 2000" are simply timeless, with a stunning sound that perfectly plunges in the universe of great 1970s vibes and golden Italian library/film music of the time. Originally issued on Limited Edition serie for collectors, this gem has been repressed on 180gr. wax again with improved sound quality remastering from the original master tapes.

Slinger Francisco, better known as The Mighty Sparrow, has a career that spans over 40 years and counting. He has entertained audiences across the globe and earned his rightful place as « King of the Calypso World » by defeating every other competitor/pretender to his throne.
"I've Got You Under My Skin" is a song written by Cole Porter in 1936. This song was performed by so many American singers, such as Frank Sinatra, Shirley Bassey, Ella Fitzgerald, Dinah Washington, The Ravens, Frankie Valli
and The Four Seasons. Recorded at Trinidad Hilton hotel, Sparrow’s version became a classic for calypso music lovers all over the world.

Disco Bits are back with another party time 45.
Cannon & Mirrorball are in the edit suite once again re-touching and consensually grappling with funky old 70's grooves and late nite club accapellas to bring you the heat that your record box has been needing.

A - Hot Lovin' (Dont Stop Dont Quit)
On side A they they serve up some peaktime Studio 54 realness mixed with a bit of late 80's style hip house.
This is Cerrone meeting Sergio Mendes uptown, Saturday Night, whilst Chali 2na and his posse bumrush the show and grab the mic.

B - Shack Attack !
On the flipside the boys funk it up with some never fail drum breaks from the Disco Shack, vocal snatches of a houseparty classic and a swathe of brand new instrumentation.
The result is a jam is so dope you'll get a contact high by un-sleeving the wax.

Ain't no party like a Cannon & Mirrorball party, y'all !

Get 'em while you can.

Repress

René Pawlowitz presents himself in many different forms; whether it’s as Head High, EQD, Wax, WK7, The Traveller or more recently as Hoover - he consistently, and without any fuss or hype - produces some of the most effective, quality techno you can find on the planet. The Shed alias is usually reserved for his best work.

With this in mind, it really is a special event to announce this amazing new EP from Shed on Tectonic, showcasing 3 distinctive and highly effective techno cuts.

‘Try’ takes a broken-beat techno rhythm for it’s spine - reminiscent a little of the 2008/9 dubstep/techno crossover period. Tension is set with dissonant elements pulsing around swooping subs until we are saved by the heroic pads that ease in, building ever upwards to a lush finale. Close your eyes and be transported back to the rave.

‘Box’ is a darker, more percussive affair - claustrophobic and industrial. 130bpm 4/4 distorted kicks set the stage as frantic drum machine hats and claps crash about heavily reverb’ed ghostly samples.

Lastly we come to ‘Sweep’, a hypnotic bleepy roller with a bass heavy presence. As the riff loops up and over, drums build and a dissonant synth part creeps in. The not-quite 4/4 kick drives you ever forward with a gentle stumble as rattling hi hats flair about over head. Great finish to a great EP.

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

yellow & clear green marbled vinyl

For the inaugural EP, FOLD resident Gareth Wild presents "Common Assault". With metallic tubular synthesis, cut-throat percussion and rolling rhythms, this EP is an effective and essential piece of material demonstrating all angles of Techno, immersive to peak-time.

The release features three original tracks and two locked grooves from Gareth with stripped back, dark-side remix work from Madrid's very own Roll Dan.

Featuring bespoke, full colour cover art by designer Lion Sauterleute and pressed up on coloured neon wax the release lands 25th September at all good outlets.

In the meantime, check out the snippets on our Soundcloud. The movement continues!

Record Kicks announces a reissue of mega in-demand Calibro 35 legendary self-titled debut LP.

Record Kicks proudly announces the reissue of CALIBRO 35 self-titled legendary debut full length. The publication is part of a trilogy that will see the Milan label reissuing on wax and digitally the first 3 mega in-demand albums of the Italian cinematic-funk cult band. "Calibro 35" will be reprinted on a limited edition LP on October 2nd and it will released digitally on a Deluxe Edition version on September 25th. The Deluxe Edition will be available on all digital stores and it includes 5 bonus tracks such as "La Polizia Sta A Guardare" by Stelvio Cipriani, the original recording "E Nessuno Si Farà Del Male" and an alternative version of the Calibro's seminal hit "Notte in Bovisa". Going back to where it all began, Calibro 35's mythical debut LP is an explosive homage to groovy 1970's Italian-cop-film soundtracks, and to the golden age of Italian Soundtrack music by likes of Ennio Morricone, Luis Bacalov, Franco Micalizzi and Armando Trovajoli. Originally released in 2008, the LP is super rare and impossible to find on vinyl. By popular demand, a reissue finally sees the light of day on a limited edition Gatefold LP that includes digital download of the bonus tracks.

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their ten-year career, they were sampled by Dr. Dre on his "Compton" album as well as by Jay-Z and The Child of Lov & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, among others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 can now count on a number of aficionados worldwide, including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

"Omne trium perfectum" is an ancient Latin phrase suggesting everything that comes in threes is perfect, or, every set of three is complete. And in this case, it certainly rings true as the third single from The Allergies' third album 'Steal The Show' is pure musical gold…

Mixing it up amongst international hip-hop big guns - ASM the boys get the floor moving with 'When The Heat Comes Down'. The ASM crew have been doing hip hop right for over 10 years and have collaborated with some giants of the music world including Bonobo, Wax Tailor and DOOM.

Bombastic and always strutting, the track is built around a bouncing guitar riff and classic funk horn stabs - the perfect home for some upbeat party raps from Green T and Funk E Poet. We're inclined to agree - when the heat comes down they're definitely coolin'…

Honey LaRochelle is a 'Big Bad Woman' and she'll eat you alive. And that's exactly what she threatens to do in the track of the same name… It's a hand clapping, foot stomping, 12-bar fiesta on a jazzy piano rhythm and blues tip. Yes Ray Charles himself would be happy with this one and as an added bonus The Allergies use the instrumental gaps to showcase their skills on the decks.

This classic album, released in July 1972 on the back of three chart-topping T.Rex LPs – provides a perfect snapshot of the era the press dubbed ‘T. Rextasy’ and is proof of Bolan’s extraordinary and enduring appeal across the generations.

The Slider contained two UK Number 1 hit singles, Telegram Sam and Metal Guru and the first to bear the T. Rex Wax Co imprint, a seal of approval from EMI Records, who felt Bolan sufficiently important to warrant having his own record label. This edition features the complete album remastered by producer Tony Visconti and Ted Jensen.

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.

After his debut album for Discrepant (Papillon, 2013) and a couple of tapes for Dinzu Artefacts (Aqueducts, 2017) and Sucata tapes (Cercueill Flottant, 2019) Papillon aka Gonçalo F. Cardoso returns to the wax treatment for one last hurrah into the depths of tropical disquiet.

Taking liberties from Henri Charriere’s book sequel of the same name, Banco, the audio reader here dives straight up/down into a world of random dream logic. The same themes of Nightmare vs paradisiac dreams are present here yet with more nuance than the first volume. The adventure here is more subdued, less spiritual as most of it is lived outdoors, free from the states shackles of abuse. A lighter tone then, for what will probably be the last Papillon adventure. As with the first volume the album counts with contributions from fellow label artists, Mike Cooper, Cédric Stevens, David Daan and Yannick Dauby all feature in a way or another, raw or cooked into a boiling pot of irreverence.

All tracks were composed and edited by Gonçalo F Cardoso in the island of La Gomera, Lisbon and London between 2017-2019.

Composed & Performed by Gonçalo F. Cardoso with guest appearances by Mike Cooper, Yannick Dauby, David Naan and Cedric Stevens*

Special vinyl one time pressing to 300 copies
Mastered by Rashad Becker

Generation Series 013: Streets of Rage 4 The Definitive Soundtrack comes to wax! Experience all 35 memorable tracks on three 12” 150g vinyl, with every song specifically remastered for the analog format.

Exclusive to the vinyl is a cover co-illustrated by Hitoshi Ariga and Ayano Koshiro, who worked on the past Streets of Rage titles alongside their brother, legendary composer Yuzo Koshiro.

The vinyl comes with a booklet containing liner notes from every composer, including Olivier Deriviere, Yuzo Koshiro and Motohiro Kawashima, as well as both Hitoshi Ariga and Ayano Koshiro, and members of the development team.

Label say : We couldn’t be happier to put this disc out there. Kush’s first time on wax (his Strictly 4 My CDJs series on his Bandcamp site is essential) is four tracks that just relentlessly provide for the DJ in you. Representing the new era of NYC dance music along with artists like AceMoMa and DJ Swisha, mixing footwork and other influences with classic house and techno forms to get busy._

_The whole 12” is lethal stuff that recalls Dance Mania at it’s most melodic and spaced out, or prime-time Boo Williams. “Earth Note” pulls bright synths thru swinging Chi foundations, “Ari Dub” rocks the bells and the bass in Bronx fashion, “Worldly Rhythm” piles UR melodies and techno grandeur on a vicious bassline, and “Reso”
closes things out with a devastating mixer full of blue-hot string work. Relentless and essential. TIP TIP TIP!_

‘’Ruff drum computer- and bubbling ambient excursions from Bonn, Germany, making their first appearance on vinyl for the new decennium’’.

Newly established label Raakvlak plucks a lush synth gem from the depths of 80’s D.I.Y.- cassette culture for their inaugural release. Heil Eris / Enjoy sees the first-time reissue of the work of German synth-wizards Overflow. The group, conceived as the session band of cult tape label Brainstorm-Studio, merely released two cassettes within the timespan of one year, of which Raakvlak now has culled some of the finest moments.

Out of a matrix of drum computers, synths, voices, tape FX and a flute come these five live-takes (no overdubbing used!), dedicated to the trio’s mascot Apumé, which was present at all sessions.

Ranging from the aquatic ambient excursion on ‘’Pressure Wave’’ and the existential cold-wave pop of ‘’Take A Chance’’ to the blissed-out downer ‘’Voiceless’’, Overflow shies away from musical expectations and thereby sounds as up to date as ever.
Restored, remastered and available on wax for the first time! Comes with download card plus three digital bonus tracks.

Waxtime Boxset Series Ella Fitzgerald & Louis Armstrong - The Essential Albums ‘Ella & Louis’ and ‘Ella & Louis Again’ Louis Armstrong and Ella Fitzgerald were capable of producing magic that few jazz singers could match.

Their infrequent studio collaborations yielded true masterpieces. After cutting several sides backed by big bands for Decca in the late forties and early fifties, Ella and Louis were summoned by producer Norman Granz in 1956-57 to make three albums that would become legendary jazz classics. This 3-LP set compiles their two complete small group albums, Ella & Louis (Verve MGV4003) and the 2LP set Ella & Louis Again (Verve MGV4006-2).

Ella & Louis *****Down Beat “Ella & Louis is one of the very, very few albums to have been issued in this era of the LP flood that is sure to endure for decades.” (Nat Hentoff) Voted number 636 in Colin Larkin’s All Time Top 1000 Albums

Ella & Louis Again (2lp Set) ***** Down Beat “This set is more relaxed and more successful than their previous cooperative venture. It can hardly fail to break sales records for them both.” (Leonard Feather)

Limited edition 180gram premium vinyl pressing and 3 bonus tracks. Released in June 1958, this album (originally issued under the title Little Girl Blue on Bethlehem BCP-6028) was Nina Simone’s first studio recording ever.

Made when she was 25-years old, the album was a huge success and led to a tremendous career that would yield over 80 studio sessions. It was originally issued on the Bethlehem label and features the singer/pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert “Tootie” Heath (one of the celebrated Heath brothers, along with saxophonist Jimmy Heath, and bassist Percy Heath). Many of the tracks from this LP would become true classics, among them her perennial versions of “My Baby Just Cares for Me” and “I Loves You, Porgy”. Simone’s piano is well featured throughout the LP, but “Central Park Blues” and “Good Bait” are the only purely instrumental tracks.

Ragoo Records celebrates its debut on wax with an highquality record, “Break It Down”. The release features an
original cut from Astratto & Brine plus three stunning
remixes from the best young talents in the Italian house
scene. Recorded and fully composed on the first day they
met in the studio, the Original Mix is a dusty deep house
jam perfect for the club or for chillin’ wherever you want
to. For Astratto, Ragoo Records co-founder, this
represents his first official vinyl release. Brine has
delivered hot tracks through the infamous Irma and has
recently appeared on Boogie Cafè Records and Trend
Records. On the A2 Sam Ruffillo offers an impressive
remix that merges the Original to the land of jazzy vibes
with some smooth Rhodes and an extra groovy bassline.
Over the last years Sam Ruffillo has been releasing great
EPs via Irma Records and the Bristol-based Boogie Cafè.
DJ Rou’s remix occupies the flip side with a real classic
deep house joint full of warm pads and rolling drums. Chief of L'Archivio record store in Bologna, charismatic DJ and
outstanding producer, DJ Rou has released his music
through labels such as Bosconi Records, Cognitiva, Red
Rooster and Daphian Prod. The B2 remix is produced by
D’Arabia, Red Rooster founder and House of Disco
affiliated artist, who accomplishes an hot groove
explosion, with a special Jamiroquain feeling, perfect for
burnin’ the dancefloor. This EP is intended to be a
snapshot of Bologna’s house music scene. All artists
featured on it are based in the city and contribute to its
musical landscape.

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

Aes and Armless Kid, parisians based artists, share the wax together and give us a way to the raves. Four breaks and electro tracks to dance till the dawn.

Celebrating live music and record store culture.

After having completed the first run of shows for their recent album "2066" through UK, France and Germany, the Mighty Mocambos did an intimate performance at world-renowned Groove City Record Store in their hometown Hamburg.
Not content with just playing stripped down versions of existing material, the band wanted to step up a notch from the "tiny desk" type concert idea and decided to record unreleased tunes for a vinyl single capturing the live energy and crowd atmosphere with analog studio techniques. After having warmed up with a couple of songs from "2066", a cheerful crowd in the packed shop witnessed the band tracking magic takes of unheard songs directly to tape.
"St. Pauli Second Line", an instrumental live favourite with simple but irresistant swamp funk ostinatoes turned into a frenetic call and response chant workout midway of the song. Singer Nichola Richards' tune "Keep It Movin'", a mainstay of the band's live repertoire for years, was cut with great energy, finally finding its way onto wax. "Something's Missing" is a brand new tune with a raw sister funk vibe - written and arranged for the occasion, rehearsed once and performed live for the first time in the version you hear on this record.
While many live recordings a are mere mix of crowd noise and neglectable renditions of well-worn tunes that are unusable for DJs and hardly appealing to the dedicated listener, THE MIGHTY MOCAMBOS - Live At Groove City au contraire is a treat for turntableists and a testimony of the spark that a well-attuned live band can light up, combining the vibes of a concert with the no-nonsense analog sound of their well-loved studio recordings.

This massive 12” EP combines some of Sublove’s rarest releases with a brand new surprise. Vexation is an AMAZING track that was recently discovered by Sublove sitting on a DAT. How this superb piece of amen mayhem wasn't released I just do not know, but finally it gets its day on wax, where it always deserved to be. A huge 1994 styled jungle Amen roller, truly amazing. This track sits next a bunch of other tough to find and mindblowingly good Sublove tunes. Get in!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Interstellar digital dancehall with stunning synth, superb vocal by Robert Ffrench in extended mix & mad style by obscure DJ Shortie Ranks. Recorded at Creative Sound Studio (Kingston, JA) in 1985.
"On “I Am Wondering” – a lovers of sorts – Ffrench is Dennis Brown in the high notes, and Gregory Isaacs in the song`s playboy sentiments. A guitar gently wah-wahs, while the synths do a giddy glissando. Midway through this discomix the bass becomes boss – throwing everything else – chopped piano chords and all – into echo. Then it`s rewind for the DJ cut – a brag and boast toast from Shortie Ranks – recounting his triumphs at legendary Kingston reggae venue, Skateland”. (Ban Ban Ton Ton - April, 21 of 2020) Robert French grew up in central Kingston and attended Kingston College. He recorded his first singles in 1979, at the age of 17. He achieved success in 1984 with his performances at the Festival Song Contest and the Reggae Sunsplash festival. He had a combination hit with deejay Clement Irie with "Bun & Cheese", and his first two albums were released in 1985. He had another hit in 1989 with "Modern Girl", a collaboration with
Courtney Melody. In the mid-1990s he relocated to New York City, where he teamed up with rapper Heavy D, with whom he had a hit with "More Love", with an album following on Ras Records, featuring collaboration with several artists including Lady G and General Degree. He has since returned to Jamaica, where he runs the
Ffrench record label and distribution company. He released the album Yesterday and Today in 2001, collecting many of his earlier singles. After a period of inactivity as a recording artist, he returned in 2009 with the single "I Do". As a producer he has worked with artists such as Dennis Brown, Buju Banton (he produced Buju's first single
"Ruler" on Stamina riddim), Beres Hammond, George Nooks, Luciano, Jah Cure, Yami Bolo and Sizzla to name a few. Robert French was the cosin of the late great Pat Kelly. As a french label, big fan from Ffrench productions, i'm very proud and happy to start a collaboration with Robert Ffrench, the most french jamaican. Stay tuned for many many more.

Marking their 20th year as a band, Maserati returns with their first new album in five years. Produced by the band and mixed by Grammy-winning producer, John Congleton (Explosions In The Sky, Swans, Angel Olsen), Enter The Mirror is Maserati's most compelling mélange of triumphant guitar hooks, abstract synth-pop, and Wax Trax-inspired noise anthems. The gated drums of Phil Collins and chorus-drenched guitars of INXS were prominent influences on Enter The Mirror, paired to magnificent effect with the increasingly dystopian lyrical themes (which, ironically, were also massive influences on popular music in the 1980s, and feel ever more relevant now). In addition to longtime members Coley Dennis, Matt Cherry, Chris McNeal, and Mike Albanese, Maserati are joined by friends and collaborators, Bill Berry (R.E.M.), Owen Lange, and Alfredo Lapuz Jr. Self-reflection and loss of control as both a positive and negative aspect of modern existence is at the heart of Enter The Mirror. It is Maserati's most efficient and cohesive album, and a monumental accomplishment for a band who have weathered many storms throughout their first two decades - and found the will to not just keep moving, but to move with style and chase.

Sylvia Fagan aka Guardian Angel is the oldest sister of Bevin Fagan which is Matumbi's lead singer. Matumbi was the top british Reggae band from the 70's and early 80's. Bevin Fagan and Euton Jones (drummer and founder member of Matumbi) produced Woman At The Well, the only LP by Guardian Angel in 1980 with a blend of disco, boogie funk, lovers rock and roots reggae. Recorded at Gooseberry and T.M.C. studios (London, UK) in 1980. Produced by Euton Jones & Bevin Fagan. Analog 1/4inch tape transfered at FX Copyroom by Euton 'Matumbi' Jones & Engineer Harvey Birrell on a Studer A810. Mastered and lacquer cutting by François Terrazzoni at Parelies Audio
Visuel. Special thanks to all musicians who made it possible, Dennis and Andy Robinson, Jason and Valerie Fagan, Euton Jones and his daughter Shana Jones, Winston Francis and Dennis Bovell.

Repress

Vinyl Only

Acid Resistance is Back!

Dick Mono presents!….a WyldWax Original production!
Kicking off with a strictly limited, hand numbered 10” release of Brit fuzz-rockers the Force Five, combining their rare UK 45s from 1965/66, lovingly mastered from original sound productions with biography insert/rare pics, exclusive poster and reproduction postcard. The Force Five show their wyld side on two wyld sides of wax!

• Complete UK Singles
• Hand-numbered Flipback Cover
• Limited Edition Coloured 10 inch Vinyl
• Insert with Biography and rare photos
• Exclusive Reproduction Postcard and A3 Poster!!

After releasing their critically acclaimed debut LP “NOW” just last September, The people at Malka Tuti felt it was the time to continue pushing the name SHARI VARI to new realms & territories... A Remix Pack was born. For the remix pack, Malka Tuti chose a few close friends of the family to give new life and new interpre- tations to the now “instant classic” songs by the Hamburg duo.... The Ep begins with Fantastic Twins’s mid tempo, Coil inspired, break-beat groove, slowly building up in emotion with warm pads and 90’s vibe acid lines to- wards an epic catharsis. Benedikt Frey takes it from there, remixing a personal favourite - New York City, turning it into a dark trip- hop inspired journey, cleaning those distinct vocals, echoing Beth Gibbons’s smokey high tones.... On the B-side we find Black Merlin’s 11 minute trippy mid tempo dance floor banger. Cuts and slices from the original vocals of the song Dance Alone, laid carefully on top of a repetitive modular bass line, and sprinkled on top - those out-worldly sounds and FX that makes the track simply HUGE. Last but not least, Düsseldorf’s very own Lucas Croon’s Dub Version, released digitally last year, final- ly sees its day on wax. 90’s Break beat beats, gated vocals and everything else that takes to make a dance floor hit the roof.

Some of LUXXURY’s most popular floor fillers on wax for the first time in this new limited series.

“Uh Huh” hearkens back to a Beautiful Time, ripping off and improving upon a Silver Convention-esque bassline. “Da Ya” is a deep cut Eastern European cover of a sleazy pop disco classic. “Petula” is LUXXURY’s most popular rework to date after DJ Harvey gave it an auspicious premiere in his Milan Boiler Room set.

One of the many highlights of the compilation album "PRAISE POEMS 7 - A journey into soulful jazz and funk from the 1970s" is certainly the opening track by Marva Josie. It is most likely one of the finest vocal jazz recordings ever put on wax and it was high time for a 45 RPM single release. Here you have it, backed with the equally great "Scarborough Fair". Any serious jazz record fantatic should have this one in his collection. Pure Class!

London's On The Corner Records proudly present "Son Of Sun'' - the new EP from Morroccan producer Guedra Guedra. Having previously turned heads with his mind-bending Boiler Room performance at last year's Atlas Electronic Festival, as well as delivering a storming remix of On the Corner signees Penya, Guedra Guedra (aka Abdellah M. Hassak) returns with six genre defying cuts.

His earth trembling debut is a relentless barrage of euphoric, high-energy, future dance music, demonstrating the rich product of North Africa's fertile club music scene. Hailing from Casablanca, Guedra Guedra is a DJ/Producer exploring tribal polyrhythms of the past-
and dancefloor innovations from the underground.

His productions are defined by high energy tribal bass, psychedelia that is rooted in the cadence and mystery of ancient rhythms.

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

Did you get the memo?

Still waters run deep.
We're pleased to introduce you to mysterious Clive From Accounts; number cruncher extraordinaire by day, totally f'ing awesome music producer by night.
No seriously, we're amped that we are able to release this EP by the self proclaimed "regional tiddlywinks champion" and "all-round beige sky thinker" Clive.
Who says office workers are drones? Loitering around the coffee machine surely has had no bad effect on his creative juices!

When we got an email from Clive with a demo called 'Bisou' we were blown away. Production quality was top notch and it really stood out from what came in our inbox.
So over the course of a year we asked him to fill out an EP next to his busy work schedule. The end result is a record with three very strong tracks, each with its own character.
'Keep Movin' is perfect for big dance floors and filthy sweaty clubs and 'The Trouble With Clive' has that beefy garage thing going on.
With a name like 'Bisou' you'd expect something kissy kissy, but it's a floaty warm, stabby breaks affair with nods to the classic deep sound.

Ahhh, we need you to go ahead and buy this stunner on limited edition wax. So um, yeah if you could do that, that'd be great. Oh, and next Friday is Hawaiian shirt day.

22a main man Tenderlonious returns with a brand new 4 track EP, seamlessly cooking up a blend of hybrid house and broken beat with his unique analogue productions and signature flute instrumentation. The title track 'After The Storm' picks up where 2019 album 'Hard Rain' left off (Bandcamp's electronic albums of 2019) - a stormy, atmospheric 4/4 groove, with flute flurries, build the track to a state of euphoria. The EP continues with 'G Flex', a tune dedicated to Tender's mentor Sterling Styles, aka Equinox (Scientific Wax). Broken drum machine loops are brought to life by classic Tender flute and synth solos. Fans of his 2016 'On Flute' EP will be feeling this one!

R&S welcome electronic composer Matthew Puffett AKA Future Beat Alliance with his killer single ’Never Forever’ a sublime slice of broken beat techno that originally had a limited release on his “Patience and Distance” album in 2009. It now comes backed with a first rate remix courtesy of R&S regular Afriqua.

A veteran of the UK electronic scene originally from Oxford but now located in Berlin, Puffett made his name in the late 90s with a string of sought after releases on Void Records under the aliases Mode-M and Soul Electrik before settling on the Future Beat Alliance handle. Notching up releases with the likes of Delsin, Rush Hour and Versatile as well as with the storied Tresor imprint, both as a DJ and an artist. In 2019 Matt started his new imprint Reward System to self release new creations.

Life long friend from Oxford, Mo’ Wax and Unkle maestro James Lavelle reached out in 2012, which led to a further creative chapter in Puffett`s story that culminated with him co-writing & programming on Unkle’s 5th studio album ’The Road Part 1’ as well as some singular work in film and television. “The moving image plays a key creative motive in my process,” Matthew explains. “Sound & picture married together is such a powerful combination that always inspires me every time to make my own version, 'Never Forever' is one of my many attempts to try and
capture that.”

Taking cues from modern cinema masters like Denis Villeneuve, Panos Cosmatos, Steven Soderberg and Jonathon Glazer and their respective composers, Puffett's widescreen sonic craftsmanship alongside his irresistible rhythmic sense are a key part of what makes Future Beat Alliance music so alluring; "I want my tracks to guide the listener on a exit route far from this world”

Life Notes returns with its 3rd transmission and proudly presents the Mentality EP. After starting the label under his Motion Process moniker, Life Recorder is welcoming on board 2 of his favorite producers with the Birmingham UK based producer, Jayson Wynters who already left a strong impression with releases on Mr G's Phoenix G, or Don't Be Afraid and one of the best current Chicago's deep sound purveyors and Perpetual Rhythms co-founder, Taelue.

Guided by a natural artistic and human being connection, the 3 producers and dj's are sharing the wax here to present their vision of deep, meditative house/techno speaking to the mind and the dancefloor.

Detroit blue-eyed soul from The Flaming Ember, a band who signed to the then newly created Hot Wax Records (founded by the prolific hit making Motown team Holland Dozier Holland) Sunshine is the bands third Hot Wax LP with highlights including ‘I’m Not My Brothers Keeper’ to ‘1200 Miles From Heave’. Recognised for their contribution to music and inducted into the Rockabilly Hall of Fame in 1999
This 1971 album is reissued with original artwork presented in a gatefold sleeve and preseed on 180g heavyweight black vinyl with printed inner sleeve

Deliberately breaking all the rules Mr. Hornby once famously outlined regarding the creation of homemade (tape) compilations, Saroos’ members indeed had the term “mixtape” on their minds while working on their latest full-length – albeit in the hip-hop sense: a sonic snack box, interconnected shots from the hip, something that just came together and immediately felt right.

Whereas hip-hop folks nowadays often use the vacuous term “project” in order to steer clear of the ontological debate caused by the almost synonymous use of album/mixtape, Florian Zimmer, Christoph Brandner, and Max Punktezahl, otherwise busy with The Notwist, Driftmachine & Lali Puna, stick to the classics: their new 16-track project “OLU” (Off Label Use) is, officially, still an album. But it’s wild and vibrant like a mixtape, interwoven like its cover: a seamless burst of ideas, impulsively combined to form a split-screen snapshot of recent moments and momentums.

Re-appropriating the term “Off Label Use” – which actually means: using prescription drugs in ways that aren’t mentioned on the instruction leaflet – in their own “off-label” way, Saroos never sounded more loose-limbed and elastic. Whereas the trio’s earlier releases were rather conceptual and homogenous, “OLU” indeed has a more loose, spur-of-the-moment feel, a spontaneous force at its core. Checking the weighty sci-fi inspirations at the door, they use that Bomb Shelter-type of freedom to reinvent themselves at every turn, chasing sounds that happened to emerge in the group’s triangular energy field.

Kicking it off “with a killer, to grab attention” (Hornby/Cusack, after all), the massive reverb-stumblin’ adjustment between beats and bass of opening track “Quarantaine” cross-fades smoothly into “Humdrum Rolloff,” an early hint at the group’s off-label practices: the underwater creepers floating around here were really voices (mostly). From majestically built oriental sound-pieces (“Looney Suite Serenade”), synth-based “End House Mario” and a triptych of speaker-boxxxing gas lamp experimentations entitled “Cord Burn 1-3,” Saroos have rarely sounded this playful and unrestricted: there’s a new energy at work that welds all the different sonic playing fields together to create one continuous 40 minute mix.

For the B-side descent, “Tatsu Jam,” at less than 4 minutes still the longest cut, billows over the kind of sizzling hi-hats you’d expect to hear on real trap tapes from Hotlanta. A prelude to a bunch of quicker-paced instrumentals (“Scratch Pets”, “24h Love Gumbo”) and ambient sun showers, until the next “Plateau” (Mo’Wax vibes!) brings the beats to the fore once again (“Tomorrow’s Kudos”), and the ultimate “Whirligig” sounds like a mix of Oktoberfest 2020 and Johnston’s “Casper The Friendly Ghost” coming apart at the seams.
Whatever you wanna call it – album, LP, mixtape, project, who cares? –, it’s definitely a double A-side tour-de-force.

"ALEATORY CHAOS" is coming back with the third chapter, a very special edition because it will include the unreleased 1984 original version of “No Words” by 'XYMOX' , a very awaited “truly wet dream” for any early post-punk vinyl collector.

The record becomes just indispensable thanks to the contribution of actual proposals as Vacant Stares (Portland/USA), Oby Wolf (New York/USA) and Abu Nein (Malmö/SWEDEN). It's a delicious white wax.
All tracks have been specially remastered for 'LONG CUT' vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

After five R&B hits on Chess Records, Laura Lee signed to Hot Wax records in 1971 to work with the ex Motown producers (Holland – Dozier- Holland) newly created label. ‘Two Sides Of’ is Lee’s 1972 classic featuring the stand out tracks ‘Rip Off’, which became her biggest R&B hit at #3 and ‘Crumbs On The Table’. Lee recorded this album while in a relationship with singer Al Green. The Chicago born singer gives a husky voiced performance on a record that was mainly produced by William Weatherspoon, formally of Motown.

This classic is reissued on 180g heavyweight black vinyl with original artwork and printed inner sleeve.

Rejoicer is a Tel Aviv-based musician making cosmic jazz-tinged electronica. 'Rejoicer' has collaborated with Mndsgn, Georgia Anne Muldrow and Dudley Perkins, as well as being a member of the band Buttering Trio and running the Raw Tapes label.

Several tracks on ‘Spiritual Sleaze’ include vocals, with featured guests including iogi, KerenDun, Nitai Hershkovits, Jenny Penkin and Sam Wilkes. Key tracks from the album have had videos made by visual collaborator Jengo, who will also tour with Rejoicer to perform their live A/V show in 2020.

Rejoicer cites Sun Ra, Aphex Twin, Steve Reich, Dabrye, Eric Satie, Wu Tang Clan and Scientist among his musical inspirations. For fans of Kiefer, Mndsgn, Teebs, Flying Lotus, BADBADNOTGOOD, Thundercat, Shigeto.

Press - Reviews & features in 405, RA, Faze, Clash, Mojo, Electronic Sound, Stamp The Wax, Mixmag, Faze, Musikexpress, Jazz News, Tsugi. / Online - 6 Music, Worldwide FM, NTS, Radio Nova, ByteFM, EGO FM, Triple J, Double J.

The 11-track album titled “Needledrop” provides a suite of both uplifting and easy-listening moments, refined and understated individually yet cohesively crafted with the honest musicianship and inarguable credentials that we know of production duo Session Victim.

The German pair of Hauke Freer and Matthias Reiling are no strangers to releasing quality long-format albums and while rising through a discerning community of DJ’s have previously released three consecutive albums on tastemaker label Delusions of Grandeur culminating in 2017’s “Listen To Your Heart”.

Their latest and fourth studio album via the label Night Time Stories (the London based sister label to the coveted LateNightTales) marks a notable move towards the home listening dynamics of their career counterparts such as Nightmares on Wax and Portishead that have played such a strong influence in Session Victims variety of output over the last decade.

As accomplished producers, Session Victim have been intent on delivering a characteristic body of work for uninterrupted easy listening and with Needledrop have landed with significant inspiration from the engaging jazz and soul compositions that found their way into early 2000’s trip hop.

Fusing downtempo beats, smooth tones and hedonistic grooves via their intuitive sampling sessions, Session Victim’s fourth album succeeds in actively engaging the listeners mood and intellect in equal measure.

The albums clear stand out is "Made Me Fly” which presents a soothing yet expressive live vocal performance by singer songwriter Beth Hirsch, best known for her collaboration with French duo Air on their 1998 album Moon Safari.

As self-confessed semi-reclusive studio geeks, Session Victim have turned their 2020 album focus towards a large arsenal of dusty influences which has inspired them to rediscover the intuitive and playful side of their production personalities while also demonstrating their cherished music knowledge.

Caroline True Records are very happy, by public demand (honestly!) to release, on limited wax, a true dancefloor gem-a track that has been described as a “Sax-Banger” of the very highest order.

A remix that’s hard to pigeonhole-but one that has been featured heavily by DJ luminaries such Ben UFO (Hessle Audio) & Job Jobse at Dekmantel where the track ruled the evening back in 2017 & again this year. It’s grown in popularity totally organically across Europe’s more discerning dancefloors & has many admirers..

In opposite to other Nigerian acts which hardly got known beyond the borders of their homeland, BLO were always very popular in the Western world. Accompanying Ginger Baker of CREAM fame was the first step to break them into the western popular music market of the 70s and what followed could be called an African fairy tale.

Still this, their fifth album from 1979, waited a long time for a proper reissue, especially on hot black wax with originals in good conditions fetching prices of 300 € and more. For fans of 5th Dimension, The Temptations, Hot Chocolate, Earth, Wind & Fire. First ever and long overdue official reissue of this long lost Nigerian disco classic from 1979. Fifth album by one of The most outstanding Nigerian 70's afro beat acts.

SOL DISCOS is extremely happy to introduce the second volume of their Message In Our Music compilation series, selected by WAXIST. This album is the result of more than two years of work in researching the original recordings, the artists involved & licensing the different songs. Focusing once again on the Modern-Soul genre, the album brings back to light eight extremely rare songs from the mid-70's to the mid-80's, all officially licensed. From the heavy synth Gospel Boogie of Sharnell Morton's "You Are My Shining Star", to
the magnificent Network & Co private Disco "Spirit Of The Boogie", most of these songs are highly difficult to find on their original format, not to mention at a decent price. Direct Connect Shun’s "He's No Good" records have been destroyed in a flood, and the few
copies which have sold on the Internet reach the 3 figures price tags for example. Also, the album is proud to introduce to a wider audience some lesser known but exceptional recordings such as Janice "Nikki" Harrison's "Magic of Love", which is taken from a Broadway musical produced & composed by Ted Wortham - who also composed for
Philadelphia International Recordings artists such as Teddy Pendergrass, Anthony White or Jean Carn. Message In Our Music Vol.2 has been fully remastered, and features interview based liner
notes, along with never seen before pictures of the artists selected

Joe Lucas creates music under a few monikers most often as Causa and notably has appeared on Tusk Wax, Boogie Box and Birdie.

The Causa sound elegantly touches on deep house grooves and melodic techno but with contemporary style and is an obvious choice for the Verdant family. The Locks EP is released as Sixtyone leaning towards Detroit flavours with intricate percussion layered with warm soulful keys.

Previous releases have attracted high profile remixes from Kuniyuki, Luv Jam and Young Marco and that trend continues. On the flip of The Locks Stojche provides a burly, peak time reshape of Zelo upping the Detroit vibes. Hiver's reshape of the delicate Tregnanton original adds a firm kick, swinging bassline and heady 303 sparkle with dazzling effectiveness.

Dr Rubberfunk might not be medically trained, but he does know a thing or two about treating your ears, as he returns with the fourth instalment of his popular 'My Life at 45' series. Having established himself in funk, soul, blues and jazz circles with a ton of high calibre releases, the good doctor holds a reputation for quality productions, with a hands-on approach, both in front of, and behind the mixing desk, as an accomplished multi-instrumentalist and producer.

A-side 'Boom!' features the vocals of the UK's leading blues & soul singer – John Turrell. Mr Turrell recounts the sorry tale of a man who has burned the candle at both ends, leaving him with just his recriminations and a great slab of wax on his hands.

As always though, with JT, it's delivered with humour "I've got the Tuesday tears, got the Wednesday woes – my serotonin too low …"
On the flip 'Steppin' In' is a low slung beat fest that is guaranteed to make your head nod, as piano, guitar & Hammond ride a tight jazz funk groove.

Michael Edgehill aka Mikey Melody was born in the parish of Portland, Jamaica. As a youth he constantly raised his voice in song and performing with sound system in the neighborhood community. Known by his sweet voice, his friends gave him the nickname «Mikey Melody».

Mikey Melody was influenced by 60’s and 70’s US R&B icons and Jamaican singers like Bob Marley, Sugar Minott, Burning Spear, Dennis Brown, Bob Andy and Half Pint. In the 1980’s he went to Kingston and was identified early by Lord Sassafrass, who gave him his first recording single “Under Mi Fat Thing” that was covered by many reggae artists. He was then signed by Black Scorpio Corporation which he was a singer on the sound system and recording label. He did songs like “World Is A Disaster”, “Jumbo Mi Jumbo”, “Romance For The Moment”, “Ragga Muffin”, “Unemployment”.

He then moved on to Dennis Star Label which he did songs like “Mona Lisa”, “Maranda” and the hit song “Soldier In Town”. Released in 1988 on Dennis Star International records, ‘’Soldier In Town’’ by Mikey Melody is a pure late 80’s dancehall vocal over heavy digital rhythm by Firehouse Crew.

R.Zee Jackson, a born Jamaican spent his early childhood in Clarendon and later in Old Harbour, St. Catherine, Jamaica, West Indies. In 1975, as a student, he moved to Canada with his Mom. There he met Oswald Creary of Half Moon label and studio. At Half Moon studio, he recorded the original tracks of ''Long
Long Time'' released as a 12'' vinyl record on his own label ''Ital''. Esso Jackson also recorded at ''Dub World'', the dubplates cutting studio in Toronto. All the sound men from all over came to see ''Snipa'' the dub cutter; “It was great, dancehall was rocking in Canada. We have it lock with all the big sound systems and artists from all over the world”. One day, the keyboard master Jackie Mittoo say to Esso “you can't stay cold up yourself in
Canada”. Because R.Zee had many family in the UK, it was easy. So he decided to see what was going on in London. In 1980 he released the album Trodding, produced by Mike Brooks (Teams / Coptic Lion). Few years later, he released "Ina South Africa", a heavyweight digital reggae to fight against Apartheid and also "At The Reggae Party", a pure dancehall anthem to mash up the dance. The songs were recorded at Utopia studio (London, UK) in 1985.

DJ Mad A (Adam Embleton) & Dr. Stevie The Ambient Guru (Stevie Hewitt) originally met when Adam picked up the Saturday shift at 'Record Mart', a record store run by Stevie back in the late 80's. They quickly bonded over shared tastes and enthusiasm for the growing dance club culture in England.

'Balearic Beat' had arrived from Ibiza, house music was taking over, and clubs were pushing boundaries, encouraging DJs to experiment with the dancefloor. Stevie was a regular selector at classic venues like 'Club Havana' and 'Flixx', where he blended house, electro & techno for the loaded English youth. Adam had signed to Island records, at 17, the first signee for newly appointed A&R rep Darcus Beese. Their collaborations in the Island studio is where the early 'Mad A' production techniques were cultivated.

With Adam behind the programming and Stevie on guitar, the two assembled a few songs to add to their explorative DJ sets. They printed a white label tiny pressing of 'The Mad Vibe', four tracks, "sending out waves that shock", their sound was a frantic blend of electro and house. The E.P. sold out fast locally, with their tune, 'Levitating Pharaohs' catching the attention of Drum 'n' Bass duo 'Spring Heel Jack' and labels like Mo'wax. As the 90's rolled on, the two continued to DJ as residents at clubs like Corner House, Brody's, Arena & Dickens.

Smiling C 2019 repress of this cult 12". Remastered and housed in a die-cut 12" jacket with pharaoh's head sticker.

"Play The Trax. Feel The Vibes. Mad as....."

London’s Axe On Wax Records have been coordinating a quality stream of house since 2014, a trend that continues with their latest release from Zopelar vs Brothermartino. Creating a fraternal connection between Brazil and Italy, these are six tracks of woozy, charismatic house funk of the finest pedigree.

Zopelar - one half of Apron Records associates My Girlfriend - takes the first-side easing in with 'Fin', a starry-eyed and expansive instrumental that let us know immediately what his synths can do. Taking this shimmering sound, he adds distinct pressure funk on the bubbling, West Coast groove of the tellingly titled, ‘Funky Juno’, which delights with sensual vocoder and tough drums. ‘Thamis’ is left to take things in a more psychedelic direction, with Zopelar pushing his studio into fizzy, almost anti-gravitational territory.

On the flip, Brothermartino (Money $ex Records) establishes a sensual atmosphere with the lo-slung slap of ‘For 8 Freakin' Hours’, followed by ‘Dem Type Stars’, which stretches out the acidic funk, creating wormholes of spectral grooves. The release closes with the warm and nostalgic ‘We All Love People Who Die’, a cool, beatless interjection loaded with the charm of a cult film soundtrack.

MindTrip's label head, Pfirter, returns to his imprint with an assertive four tracker on wax and one exclusive digital download.

As he continues his hunt to the dance floor while remaining loyal to his signature sound of asymmetric rhythms, accurate arrangements and fierce synth lines, Pfirter is clearly focused on the heaviest side of his own palette. Dosis Multiple is his effort for sharing a balanced release of firm Techno cuts while playing with intensities, moods, hipnosis, tension and release.

We always try to bring something special when it comes to release a single on vinyl. This time, we are pleased to announce the return of one of the most obscure and talented vocal group from the early 80's: Time Unlimited. It's been more than twenty years that Donovan Joseph, Hugo Blackwood and Orville Smith, have been off the musical scene as Time Unlimited. During the recording sessions of the Roots Architects project in 2017, we had the chance to meet Donovan Joseph passing by the studio. Straightaway, we were telling ourselves that we had to see his legendary group name written on black wax again. Here it is, with a deep rub a dub cut backed by the High Times Players remembering the golden years of the group!

Following on from his Mud EP, one of this year’s most distinctive, body- and mind-contorting dancefloor 12”s, Haunter Records boss Heith fires up his Saucers private press for a KILLER collaboration with longtime sparring partner Weightausend. Seriously, this is the biz - broken, bionic, 4D dancehall / tekno battle-droids that carve out disruptive new geometries in the dance without once dropping the ball or getting on your tits. Feels like there’s a million different going things on in each track, and yet H&W build air-flow into their creations - there is room for reflection and bliss-out amid the tangles of twisted metal and reptile blood spatter! Massive tip for anyone into that recent Pharmakustik record, Mike Dred & Peter Green's Virtual Farmer...but this is totally it’s own thing. With suitably stomach-turning artwork by the great Tim Ryan.

• Detroit blue-eyed soul from The Flaming Ember, a band who signed to the then newly created Hot Wax
Records (founded by the prolific hit making Motown team Holland Dozier Holland)
• Features the hit single ‘Westbound #9’ (24 US Billboard) alongside ‘Mind Body and Soul’ (26 on US
Billboard)
• Recognised for their contribution to music and inducted into the Rockabilly Hall of Fame in 1999
• The first reissue of this 1970 album on 180g heavyweight black vinyl with printed inner sleeve, and original
artwork

• 1970 debut album from the all female vocal trio, best known for their Billboard #1 smash hit ‘Want Ads’
• Honey Cone were the first signing to Hot Wax Records, created after the prolific Holland Dozier Holland
team left Motown records
• Features the first single ‘While You’re Out Looking For Sugar’ (26 Billboard R&B chart) followed up by ‘Girls,
It Ain’t Easy’ (8 Billboard R&B chart)
• Soul Sister classic reissued on 180g heavyweight black vinyl with printed inner sleeve, and original artwork

With half a dozen releases under his belt Glo Phase moves his warm analog shuffles into the wax frontier with this 7" single of downtempo jams.

Hit Hz & Nunes share their vision of minimal music in this second Valuri release.

This EP is introduced with A side Hit Hz's "Doom", a 16min portait of music and emotions melt in a brutal-distinctive way.

B side is focused on french talent Nunes, introducing once again his vision of drums, grooves and human madness caught on wax.

This essential LP edition compiles 20 of Chuck Berry’s most emblematic and celebrated songs, taped by the Chess label between 1955 and 1961.
These recordings helped define the exact nature of early rock & roll. All-time classics such as Berry’s car songs (“Maybellene”), his calculated and carefully crafted instant smashes for the 1950s teenage market (“Reelin’ and Rockin’,” “Sweet Little Sixteen,” “School Days”), and his celebrations of the music itself (“Rock and Roll Music,” “Johnny B. Goode,” “Roll Over Beethoven”), are some of the greatest rock tunes ever written.
Take “Johnny B. Goode” specifically - the intro alone is arguably one of the most iconic pieces of music ever recorded, and the subsequent hand in hand energy of both the vocal and the instrumentation not only forms a brilliantly hook throughout the track, but also creates something uniquely Chuck Berry.
This material will convince even the sceptics of Berry’s brilliance. All of these original gems, which have been brilliantly remastered to achieve the most pristine sound, are simple two-and-a-half-minute songs that convey all the sheer power and emotion of rock & roll. Enjoy!

More fun Disco/House Edits from Axe On Wax sub label 'PNP'.
This time on the compilation we have Let’s Play House honcho Jacques Renault and LPH alumni Lovers alongside Axe ‘s affiliates Fede Lng & Kirk The Flirt aka Physical Therapy & rising talent Hyas. As per every other release this will sell out very fast so don’t sleep on it! Limited copies, no repress.

Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations. 'Nuit' is Photonz?s debut album and a simultaneous reference the Egyptian Goddess of the Stars or Night. Marco was really swept away by the concept of ?freedom of form under the night sky?, the accepting embrace of Nuit. Ancestral, but also socially advanced and utopian; a deification of the night time. These ideas manifest themselves as eleven songs spread across two LPs that wax and wane like the moon. Photonz channels early techno, Drexciyan rhythms, balearic & atmospheric house; layering sounds, creating moments. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a royal blue and neon yellow jacket with duality/birth symbolism and trance-hieroglyphs designed by Eloise Leigh. Each copy includes a glow-in-the-dark sticker and a postcard with notes

Soulful alert : the Mochi Men (Young Pulse & ATN) meets Brooklyn Funk Essentials, reviving a forgotten Franckie Knuckles gem in the best garage tradition ! After successfuly remixing on wax the new UK jazz funk sensation Resolution 88 and the top french
latin funk act Setenta, the french & fresh duet, Mochi Men, got the honors to work with the legendary acid jazz band, Brooklyn Funk Essentials. This 3rd release on Mochi Records, « Watcha
want from me », is a song formely co-written by House music icon Franckie Knuckles and Lati Kronlund of BFE, which has been re-recorded for the band latest album « Stay good ». Now given the Mochi treatment, the result is an epic and uplifting piece of authentic soulful house, promised to be a timeless club anthem, embellished with an extra Young Pulse dub track !

One year after its release, Quartet Series proudly presents the remix EP of Nachtbraker's successful debut album When You Find a Stranger in the Alps. A collection of remixes by some serious talent. These three producers were carefully selected by Nachtbraker because of their impeccable reputation and ability to bring something unique to the world of music.

Humble Danish maestro Central (Help, Dekmantel) flips "Flambo" into a Jori Hulkkonen'esque summer anthem with a highly addictive bassline. Preacher of wonkiness Frits Wentink (Wolf, Heist, Bobby Donny) took "LOL" and brought it some serious keys on a solid breakbeat while maintaining its jolly character. Flipping the record, Nachtbraker brings us the evolution of "Just Doing My Thang" turning it into a quirky dance floor tune whilst also showcasing his ear for detail. Up and coming talent Nemo Vachez (Forest Ill, Opia Records, Rakya) dives deep into "Horsepony" as if he's cruising the depths of a rainforest in a submarine. His surreal dub mix is the perfect final track of this fine piece of wax

• Laura Lee signed to Hot Wax records in 1971, after five R&B hits on Chess. This album is her first recording for the ex Motown producers (Holland – Dozier- Holland) newly created label
• She debuted with ‘Wedlock is a Padlock‘ reached #37 in R&B charts but it was ‘Women’s Love Rights’ that become one of her biggest hits reaching #12 R&B/#36 Pop charts.
• Other highlights include soul ballad ‘Her Picture Matches Mine’ and the dance floor filler ‘I Don’t Want Nothing Old (But Money).
• Demon Music are proud to reissue this classic on 180g heavyweight vinyl with printed inner sleeve

Another fine slab of that Disco goodness from the mighty Kojak stable. Toronto party machines & re-edit maestros The Patchouli Brothers step up to the plate this time with 2 monstrous sides of peak-time Disco heat.
'BDSM / Gert A Chance' will not leave your bag, these cuts are primed, ready and able to lift the roof off of your discotheque, road-tested by the bros and deemed suitable the gods at Kojak Giant Sounds & Disco Promotions. Say no more. Essential wax for the discerning mirror ball fiend right here. Limited, as always. Do it!

Lock up your 303s, Roy Of The Ravers is back with a brand spanking new album and it's quite possibly his strongest and wrongest to date! Following a limited run cassette version of the album, Who Are Ya lands on gatefold vinyl and spans 10 tracks and nearly 60 minutes of top quality turns, which sees our star player's BPM rising up into tougher, more hardcore-esque territory (Supremacy Acid, Roy Shat Over Ref) Who Are Ya also takes in some seriously smoked-out, slow-mo squelchers (Phaelon Acid 4, The Box) essentially making it a game of 2 halves (no mid tempo tracks allowed - ok??!) Through-out all of the album's giddy twists and turns however, it's Roy's trademark 303 constantly on the boil that crowns him man of the match, as he dribbles it skilfully from in and out of the mix, making him top of the league for acid once again. Hoorar!!