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Eleven groups in eight days. A marathon recording session in a makeshift storefront studio in a 100-year-old building in the tiny Eastern North Carolina town of Fountain. Once the idea for the project was in place, Alice Vines of the Glorifying Vines Sisters started calling local musicians. It didn’t take her long to line up almost a dozen groups to come lift their voices and represent the region’s unique Sacred Soul traditions. When the groups on this record gathered to record in February of 2020, they couldn’t have known that the world was on the heels of a global pandemic, or that the year would bring great turmoil and social upheavals. But in the reality created by gospel songs even the greatest of trials are not surprising, nor can they be ultimately devastating. Every time singers stepped up to the mic during these sessions, they created a sonic world where no amount of bad news can undermine the truth of The Good News. Even when “you can’t really see a solution to what you’re dealing with at the moment,” says Kiamber Daniels of Faith and Harmony, singing gospel music will remind you, “hey, I’m still here; I got what it takes to make it through this. It will give you a sense of peace.” Produced by Bruce Watson (Fat Possum/Big Legal Mess/Bible & Tire), this collection of sacred soul recordings of Eastern North Carolinian gospel groups is a one of a kind exploration. With a rich heritage of family gospel music, the artists in this area have been honing their craft over generations and have their own way of making the material original and unique. This is Sacred Soul of North Carolina.

SHY, LOW are true masters of the exquisite craft of stark contrasts and broad dynamics, from delicate crescendos to the grandiose power of the riff_ a craft that lies at the heart of every outstanding instrumental rock record. The Richmond, Virginia based four-piece has made an absolutely incredible and epic album brimming with creativity, groove, heaviness and truly outstanding songwriting- a record that is intricate and mature, yet gloriously anthemic at the same time. The fantastic cinematic and (surprisingly, so) entirely self-produced first music video for the track ,Helioentropy", premiered at Roadburn Redux this year, was only a tastemaker for the 5th studio album and Pelagic debut, Snake Behind The Sun. Recorded, mixed and produced at Vudu Studios in Long Island, NY by Mike Watts (The Dillinger Escape Plan, GlassJaw, Hopesfall, Tides of Man), the album pulls from elements from previous eras of the band, but also pushes into new territory. The result is a slicker, more modern, layered and 3-dimensional sound. The album title is a metaphor for the notion that darkness and negativity can remain hidden even among seemingly positive forces and positive beings in one's life. As a matter of fact, the snake crawled out from behind the sun, while the band was in the studio recording the album: ,By week 3, there were talks of NY state locking down due to the rapid rise in Covid cases; with one day left before the lock down was alleged to go into effect, it became a mad dash to finish tracking the record so we could book it home to Richmond, Virginia", says bass player Drew Storcks. Though entirely instrumental, reducing the band's contemporary sound to the term ,post-rock" wouldn't do this record justice: there is much more to it than lengthy dramatic build-ups and bittersweet melodies played by delay-drenched guitars. Snake Behind the Sun is an astounding and immensely diverse record that will appeal to fans sitting on all ends of the broad spectrum of modern heavy rock music. Limited 2LP red single colour edition! FOR FANS OF PG.LOST, THIS WILL DESTROY YOU, CASPIAN, AND SO I WATCH YOU FROM AFAR, RUSSIAN CIRCLES, THRICE

"Produced by Jonathan Wilson (Conor Oberst, Roger Waters, Father John Misty) and recorded at Nashville’s Sound Emporium Studios, Renewal solidifies Strings’ position as a singular artist—one who honors the history of the music that inspires him, while continually pushing it forward. With the record’s sixteen tracks, Strings shares a more personal and honest perspective through his songwriting, while incorporating his wide range of influences with elements of bluegrass, classic rock, metal, psychedelic music and more.
Reflecting on the album, Strings shares, “A lot of people call us a bluegrass band and I don’t even know if that’s what we are anymore. You’ve got to let the song do its thing. So that’s what I try to do—write songs and let them come out however they do. I listen to it now and it’s emotional. I’ve always doubted myself, and I still do, but this album makes me think, ‘Hey, you’re doing all right, kid. You just need to keep going.’”"

Summer was conceived as an entry point for Sonae to access and wrestle with difficult themes, to engage with them authentically, artfully, personally. It was also the starting point for a collaborative audio-visual project with video artist Jennifer Trees (the confronting multimedia installation that premiers in September 2021 at Stadtgarten, Cologne).

Summer articulates these ideas using the unique musical and sonic language that Sonae has been developing across previous releases. The expressive textures and tender melodics of 2015’s Far Away is Right Around the Corner; the atmospheric noise and brute unease of 2018’s I Started Wearing Black; the vicious edges of her 2019 remix-tape Music For People Who Shave Their Heads. Summer is haunted by blistered cellos and spectral string drones, the elegant and emotive movement around diatonic harmonies that echo the classicism and bucolic themes of Vivaldi’s The Four Seasons (1775). Like Vivaldi, Sonae’s work is programmatic, presenting a progressive, intensifying narrative and suggesting aural phenomena of the natural world - buzzing insects, breaking rocks, waves crashing, dust and heat rising - and characterising the seasonal spirit as capricious, volatile and punishing. In these ways, Summer is related to pastoral traditions of European classicism, evoking the aura of doomed and dust-blown gothic grandiosity. It also has feet firmly planted within the lean, sound worlds of underground techno - pulsating four-on-the-floor beats with deep, vibrational sine-wave sub kicks; elegantly bleak, distorted atmospherics that straddle the uncanny space between corrosion and euphoria. The result is a visceral and poetic listening experience. Original, highly affecting, fully engaging body, mind and soul. (…)

Sonae’s music evokes imagination, provokes emotion, and disrupts and defies expectations. She explores the edges and intensities of experience, creating audible and embodied sensations that suggest the physical, atmospheric, and psychological effects of global warming on a living organism. We feel the fatigue, the slowness, sweatiness, dizziness, the sensations of uncomfortable warmth and burning; the atmospheres are hazy, dark and heavy, articulations are brutish and tactile, crunchy and sharp; there is restlessness and resignation, desolation and awe.

Summer is not a warning. It is not an explanation or an argument. It offers no answers. Summer simply holds up a mirror and asks us to experience and behold both the beauty and the brutality of our present reality. It is a work of protest, grief and hope, and it functions as a space for the listener to reckon with these truths and sensations for themselves. (Leah Kardos, London, June 2021)

Sonae (Sonia Güttler) is a German electronic producer and DJ, based in Cologne. Her acclaimed debut album was released in 2015 with Monika Enterprise (Berlin) followed on the same label with her second album in 2018 : ‘’I Started Wearing Black’’. Her Third album ‘’Music For People Who Shave Their Heads’’ has been released in 2019 with bit-phalanx (London).
Sonae plays live solo and with the label collective Monika Werkstatt at places like Institut Für Zukunft (Leipzig), Meakusma Festival (Eupen), Ausland (Berlin), Pop Kultur Festival (Berlin), Fusion Festival (Germany), Uh-Fest (Budapest), Cafe Oto (London), 23rpm Festival (London) The Cube (Bristol) and more on the same bill with Squarepusher, Plaid, Darkstar, Kyoka, Frank Bretschneider, Tim Exile.

Since signing with Rhymesayers in 2015, Sa-Roc has continued to both invigorate and grow her fanbase with a string of singles, accompanied with powerful and visually enthralling music videos, including "Forever", which is nearing 4 million views on YouTube. In that time, she has continued to cultivate and sharpen her skill sets, and now she is set to release her first album for the label. Speaking on the meaning of the album's title and inspiration, Sa-Roc shares, "The Sharecropper's Daughter speaks to my father's actual beginnings on a Virginia tobacco farm where his family sharecropped. The title is meant to signify that both my father's and my upbringing, though so different, are linked by a shared history that informs the way I move through the world. Although his formative years were spent in the Jim Crow era of the south, where he suffered through poverty and racial oppression, and mine were shaped in the heart of DC, amidst the war on drugs and the effects of its fallout, the album finds points of connection in two very different yet tragically familiar stories of Blackness in America. It's a sonic reflection of the things we inherit. About the emotional weight that we unknowingly bestow upon the next generation; the genetic transfer of both trauma and triumph that we, both donors and beneficiaries, are tasked with reshaping into a future of our own." The Sharecropper's Daughter album is entirely produced by a veteran renaissance man from the Atlanta Hip Hop scene, Sol Messiah, with the exception of "Deliverance" produced by Evidence. And, while Sa-Roc's crafty wordplay, razor-sharp delivery and exceptional writing are the prominent highlight, this undeniable quality is only further enhanced by stellar guest performances from a small, but formidable, all-star cast of guests, including Saul Williams, Styles P, Ledisi, Chronixx, and Black Thought. This Fall, Sa-Roc seeks to demand her rightful place at the table amongst rhyme royalty with The Sharecropper's Daughter, at a time when the world is clamoring for powerful voices of substance, along with a patient and attentive fanbase who have already been tuned in, waiting for this moment. The time is finally here

Pitchfork 9.4 ‘the first vital band of the 21st century’ Billboard "ágætis byrjun" is alluring, exotic, and unspoiled, just like the country that spawned it. Q Magazine ‘the last great record of the 20th century’ ‘Ágætis byrjun’ is the critically acclaimed second album by Icelandic band Sigur Rós. Their break-through album that propelled them to international fame winning numerous awards and selling over a million records. Tracks from the album have been synched in several notable films such as Vanilla Sky and The Life Aquatic and the album was placed number 2 on the Pitchfork albums of the year 2000. Ágætis byrjun’ was recorded by the band with producer Ken Thomas in 1999 at their Sundlaugin studio in the Icelandic countryside. The out of print vinyl record comes packaged on 2 x 12-inch heavyweight vinyl to the exact original packaging spec. Originally released on Fat-Cat & Smekkleysa this repress see’s the album being released on the bands own record label Krunk.

Georgian DJ and producer Vulkanski returns to BITE with his first full length album Skeptical Answers. Serving as a longtime resident at Tbilisi club KHIDI, he’s also known as one of the key figures pioneering the local electronic music scene. Achi Tabukashvili stands for rich, vibrant techno and grinding, metallic soundscapes that are elegantly arranged through his high fidelity productions and singular dj sets. Vulkanski’s Skeptical Answers traverses over 10 tracks the infinite ranges between tectonic club techno, to UK-inspired IDM and broken beat, while reaching to contemporary weightless and electro territories. Producer Tabukashvili describes and questions a period of a deeper esoteric search through the labyrinth of contemporary viewpoints on instrumental sonics and its unexpected answers. In addition, Vulkanksi is known as one half of duo Greenbeam & Leon who began DJing and performing throughout Georgia in 2002. They notably appeared on Boiler Room in response to the police raids at Bassiani and Cafe Gallery 5 years ago. With Vulkanski’s debut BITE EP Science Gardens in 2018, he illustrated his detailed vision of his own dense soundscape productions culminating in a memorable Berghain debut for label cofounder Phase Fatale’s Ostgut Ton album release party in 2020. Now, Skeptical Answers examines a wider spectrum of sonic possibilities, aimed towards the most daring of dancefloors existing between the liminal bounds of club music and its deconstructions. A dissection of his focused elements in heavy electronics. ALSO INCLUDES DOWNLOAD CODE….

White Marbled Vinyl

Georgian DJ and producer Vulkanski returns to BITE with his first full length album Skeptical Answers. Serving as a longtime resident at Tbilisi club KHIDI, he’s also known as one of the key figures pioneering the local electronic music scene. Achi Tabukashvili stands for rich, vibrant techno and grinding, metallic soundscapes that are elegantly arranged through his high fidelity productions and singular dj sets. Vulkanski’s Skeptical Answers traverses over 10 tracks the infinite ranges between tectonic club techno, to UK-inspired IDM and broken beat, while reaching to contemporary weightless and electro territories. Producer Tabukashvili describes and questions a period of a deeper esoteric search through the labyrinth of contemporary viewpoints on instrumental sonics and its unexpected answers. In addition, Vulkanksi is known as one half of duo Greenbeam & Leon who began DJing and performing throughout Georgia in 2002. They notably appeared on Boiler Room in response to the police raids at Bassiani and Cafe Gallery 5 years ago. With Vulkanski’s debut BITE EP Science Gardens in 2018, he illustrated his detailed vision of his own dense soundscape productions culminating in a memorable Berghain debut for label cofounder Phase Fatale’s Ostgut Ton album release party in 2020. Now, Skeptical Answers examines a wider spectrum of sonic possibilities, aimed towards the most daring of dancefloors existing between the liminal bounds of club music and its deconstructions. A dissection of his focused elements in heavy electronics. ALSO INCLUDES DOWNLOAD CODE….

Lava Love is the new album by Zoe’s Shanghai. Led by singer Zoé Renié Harris, the band has
made a splash into the crowded neo-soul scene with their debut EP A Mirage (Meant To Last
Forever) released in 2019 - a deeply evocative sound and Zoe’s extraordinary voice gained them
immediately the spotlight as ones to watch (“a worthy torchbearer for heady and hearty soul music”-
Earmilk).
Following a successful string of EPs and singles, the Barcelona & Paris-based four-piece band is
now ready to share with the world their first full-length album.
Lava Love was recorded in an old stable in the French region of Auvergne - known for its mountain
ranges and dormant volcanoes, this region could not have been a more apt setting.
Lava and love portray in fact a dynamic flow of memory and meaning pouring out of Zoe’s
Shanghai’s heart. In and out of the metaphor, Lava and love can be powerful, frightening, beautiful,
dangerous and at the same time are essential elements that create fertile change and growth.
Through the 11 songs, the band evoke memories and pose questions - inner dialogues, life stories,
encounters and relationships – the album depicts a kaleidoscope of moods and feelings, prompting
the listener to open to the conversation: while each song presents a microcosm on its own, the album
manifests itself in the shared musical experience - immersive music to listen to and enjoy with your
loved ones.
Produced with Oli Barton-Wood (Nubiyan Twist, Joe Armon-Jones, Nilufer Yanya), the sound of
Lava Love brings together hypnotic melodies, groovy rhythms and thoughtful lyrics - fusing the
essence of multiple music styles and forging Zoe’s Shanghai unique contemporary soul.
The album follows the critically acclaimed EP ‘A Mirage’, which garnered the support of Gilles
Peterson & Huey Morgan (BBC 6 Music), Jamz Supernova (BBC Radio 1Xtra), Worldwide FM and
Earmilk to name a few.

Along with James Brown and Parliament-Funkadelic, Sly & the Family Stone virtually invented 1970’s funk. Their fusion of R&B rhythms, infectious melodies, and psychedelia created a new pop/soul/rock hybrid. The impact of Sly’s music has proven widespread and long-lasting. For instance, Motown producer Norman Whitfield patterned the label’s forays into harder- driving, socially relevant material (such as The Temptations’ “Runaway Child” and “Ball of Confusion”) based on their sound.

The pioneering Stone had a major influence in the 1980’s on artists such as Prince and Rick James. Legions of artists from the 1990’s forward - including Public Enemy, Fatboy Slim, Arrested Devellopment, Beck and many others - mined Stone’s back catalog for samples.

For those not familiar with Sly this 2LP set is a great introduction and an invitation to dig deeper into Sly & The Family Stone’s catalogue. This 20 track compilation covers all the hits & fan favourites from the 1968-1974 period.

The Best Of Sly and The Family Stone is now available as a limited edition of 2000 numbered copies on transparent pink vinyl.

Revered Danish producer and live performer KÖLSCH follows his 2013 hit album "1977" (KOMPAKT 276 CD 107) with the new full-length "1983", again chaining up heroic techno tracks for a grandiose sonic journey to the vibrant heart of today's dance floor. PRIORITY RELEASE

Coupling contemporary production pizzaz with nostalgia-tinged soundscapes and sweeping melodies, this opus acts as both a skilfully composed portfolio of personal memories and a sublime collection of crowd-charming cuts - a modern classic in the making, coming from a master of his craft.

1983 features collaborations with Gregor Schwellenbach, Waa Industry and WhoMadeWho's Tomas Høffding.

Hot on the heels of SPEICHER 84 (KOMPAKT EXTRA 84), featuring club crackers DERDIEDAS and TWO BIRDS, the latest full-length offering from KÖLSCH is very much a travel album: "When I was a kid in 1983, we used to drive through Europe every summer on the way to the south of France", he explains. "A lot of my early music memories stem from these long travels, as we would listen to all my father's favorite records on the cassette deck. After getting a walkman, I would make up my own soundtrack for travelling, with early electro and hip hop creeping into my life. My father of course did not like it, and it never grace the official cassette deck of the car, obviously"

These trips became a primary source of inspiration to a hungry young mind forced to sit on the backseat of a car for several days: "they were also journeys through the seasons. In Denmark, it would be spring time, so I could nearly see us driving through spring into the summer. The scenery would change, and so would the mood in the car." Informed by the symbolic quality of these slightly gauzy childhood memories, KÖLSCH's unique melange of emotional and functional elements works exceptionally well for the full-length format - a seamless transition of musing introspection and explosve expression, where catharsis never seems far away in dance-ready techno vignettes like MOONFACE, UNTERWEGS or PACER.

From beatless opener and title track 1983 to the filigreed piano banger DIE ANDEREN or the bleep-infused synth-fest E45, each cut operates as its own little time capsule, storing bits and pieces of recollection and then magically transforming them into epic, beat-driven soundscapes. Confronted with other producers' input (and other memories), these traits find themselves extended in the most interesting ways - TALBOT, THE ROAD and CASSIOPEIA (also featured on KOMPAKT EXTRA 79) make excellent use of GREGOR SCHWELLENBACH's emotive orchestral flourishes, while BLOODLINE's lyrics come to life thanks to the distinct timbre of TOMAS HØFFDING of WHOMADEWHO fame. A new powerful take on an earlier collaboration, PAPAGENO 30 YEARS LATER not only rejoins WAA INDUSTRY on vocal duty, but also ends the album on a wonderfully elegiac, yet hopeful note - basically turning water into wine, as we've come to expect from KÖLSCH.

With a music career spanning more than 40 years, David Ferguson has engineered landmark albums for Johnny Cash, opened a recording studio with John Prine, and shared a Grammy win with Sturgill Simpson. Now the Nashville native has become a compelling recording artist in his own right with Nashville No More , his debut album on Fat Possum Records. The self - produced project gathers an exceptional cast of friends from the city’s Americana and bluegrass community, while the track listing is simply a reflection of songs he likes. Ferguson has won Grammy Awards for engineering the Del McCoury Band’s The Streets of Baltimore and Sturgill Simpson’s A Sailor’ s Guide to Earth .

Eight years deep into their existence, Paris-based Mawimbi are proud to present their debut album Bubbling.
Through their own label and events, the collective have championed up and coming artists who look to fuse african music
with the modern dancefloor. They’ve released records from Lya, Onipa, Afriquoi and James Stewart and brought
established artists and fellow travellers to such as Auntie Flo, Africaine 808, Awesome Tapes From Africa and Esa to
Paris. Now it’s time for the collective to unveil their identity as producers and musicians in their own right.
“Bubbling” refers to the many ideas, encounters and projects that the collective have come into contact with over
the past years. Through their events and their work as label curators and remixers (for artists such as Oumou Sangaré,
Blick Bassy, Cerrone, Onipa), Mawimbi have become known as ambassadors for “afro-electro” - whatever that might
mean - and their debut album buzzes with the contagious energy of the music they love. If you ask Mawimbi, Afro-electro
is about global and local inspiration, from both sides of the Black Atlantic. It’s about paying tribute to the forefathers and
the brothers and sisters in arms across the world. Afrobeat, highlife, South African bubblegum pop, Malian music,
maloya… Bubbling seeks to connect geographically separate but spiritually similar club sounds.
Hence “El Caribe” (feat. Ghetto Kumbé) is half cumbia, half Carribean dancehall, while “Ngana” (feat. Fatim
Kouyaté) has some elements of dub music and “Kakraa” (feat. K.O.G) nods to disco‐infused Ghanaian productions from
the 70s. Despite the influences, this is a record designed for home-listening, a nod to our present circumstances, but also
a deliberate step away from dancefloor. A moment of patience and reflection as much as joy and celebration.`
Above all, Bubbling is a personal record, about unexpected cross-pollinations and the collective’s individual
explorations of these musical territories. Mawimbi's own history is one of coincidences and chance encounters, and so is
“Bubbling”. All the collaborations were born out of the connections made over the last 8 years. A WhatsApp chat with
Zambian artist Mufrika, a spontaneous studio jam with Ghetto Kumbé in a Parisian Basement: these are captured
moments of real, vital connections made.
Like Mawimbi itself, Bubbling is a collage of relationships and shared experiences, shaped by nascent friendships
and musical encounters. It’s a truly DIY document in that sense, the sound of the last eight years of the Mawimbi
adventure: free spirited, passionate, warm and generous.

Midsommar is a folk horror film written and directed by Ari Aster. It follows a couple (played by Florence Pugh and Jack Reynor) and their friends who travel to Sweden for a festival that occurs only once every
90 years, only to find out that it’s part of a Scandinavian pagan cult. The film was released in 2019 to positive reviews. Music plays a key role in the film. The score was created by Bobby Krlic, a.k.a. the Haxan Cloak, who has also produced for Father John Misty, Goldfrapp, Troye Sivan, Björk and many more. Rather than creating a typical horror score, Krlic made beautiful and harmonious compositions that complement the film’s setting in rural Sweden, while still maintaining an unsettling sense of terror.

Priya Ragu’s story is just as fascinating as her music. She was born and raised in Switzerland following her parents' escape from the Sri Lankan civil war in the early eighties. As she grew older, the Swiss and Sri Lankan cultures began to clash. Although they are now fully supportive of their daughter, Priya’s parents were initially strict, she wasn’t encouraged to listen to Western music or hang out at the mall after school. However, her musical ambitions soon began to take root.

At the age of 16, she performed Alicia Keys’ ‘Fallin’’ to her brother, who insisted she perform at a show he was doing with his rap group. Her father discovered their plans and stopped her from performing, but Priya wasn’t deterred. She instead made her ambitions more covert, sneaking out to jam sessions and open mic nights, before decided to fully pursue her ambitions by moving to America with the help of her friend, the rapper Oddisee. Working remotely with Japhna, the pair created several tracks which would provide the launchpad for where she is today.
‘damnshestamil’ Priya Ragu’s debut mixtape is a result of her highly productive creative partnership with her producer and brother Japhna Gold, featuring all Priya’s singles to date, including the international sensation ‘Chicken Lemon Rice’, ‘Good Love 2.0’, ‘Forgot About’ as well as her most recent single ‘Kamali’ which launched with a BBC Radio 1 ‘first play’ – with Annie Mac, and most recently A-Listed with the BBC Asian Network – showing no signs of slowing down.
Priya has coined the term ‘Raguwavy’ for her vibrant sound which defies standard genre definitions. It signposts the next era of forward-thinking R&B and electro-pop by tapping into the sonic accents of her Sri Lankan roots.
The current single ‘Kamali’ was inspired by a short BAFTA nominated film of the same name. It explores the story of Suganthi a single mother living in a small village in India, who was raised in a culture in which gender roles are clearly structured and as a result she stayed at home until she was old enough to marry. Suffering through abuse– she escaped to create a better future for herself and her daughter – Kamali. Musically and visually Priya connected to the story of Kamali and brought her world to life through song, placing emphasis on the important of motherhood and the circle of life.
As the road to the mixtape approaches - Priya fulfilled a lifetime ambition when she played a sold-out show as part of the Montreux Jazz Festival in Switzerland. Later Latitude Festival in July, and scheduled to perform at All Points East in August, where she begins to peel back the layers of her first body of work, to a live audience.
She will end the year on a high by embarking upon her long awaited debut UK & European headline tour. Consisting of nine shows spanning six countries, the tour includes a London show at the Jazz Café which is now sold out and will culminate with a homecoming show in Zurich a week later.

'A Mythology of Circles' is the new album from Brooklyn-based composer and musical artist Faten Kanaan, her first to be released on Fire Records. Cyclical patterns and 'variation through repetition' are central to Faten's music. Harmony and counterpoint are composed intuitively and treated as narrative tools- with sound, silence, and the resulting mystical relationship between notes used as gestures to tell a wordless story. The album is separated into a 'dusk to evening' side, and an 'underworld/dream-state' side; highlighting the myths of Ishtar, Inanna, Orpheus, Persephone, and others. Inspired by cinematic forms and mythological story structures: from sweeping landscapes and quiet romances, to patterned tensions and dream sequences; Faten brings an earthy, visceral touch to electronic music. In symbiosis with technology is an appreciation for the vulnerability of human limitations and nuances. All the sections are played in real time, neither looped nor sequenced- allowing for subtle changes to unfold. The use of VST sampled choral voices in this album embodies the forlorn state of technological acceleration, and the desire to return to a vulnerable human sound. The album art also explores a complicated relationship with technology: the statue comes from a series of digital replicas, returning in its last stage to a more intimate and handmade feel. Composed, produced and mixed by Faten Kanaan, the album was mastered by Heba Kadry (Bjork, Ryuichi Sakamoto, Julianna Barwick). "Strangely haunting yet beautiful bouquet of nocturnal, electronic blooms ranging from poignant ambient vignettes to chamber-like pop, from Brooklyn's Faten Kanaan- a gifted musical story-teller" Boomkat

LA-based rockers The Bronx return for their sixth studio album 'Bronx VI' which comes out worldwide on Cooking Vinyl August 27th. Bronx VI builds on the legacy The Bronx has established in its near two-decade existence, but which definitely proves the door to what’s next has not just been kicked down, but chopped up and burned to a cinder. Yes, the first four tracks – “White Shadow”, “Superbloom”, “Watering The Well” and “Curb Feelers” – bristles with the wild and untamed energy that’s defined the band from the off, but then – all of a sudden, as “Peace Pipe” kicks in – the pace and mood shifts to something a little less aggressive. Elsewhere, “Mexican Summer” and its (relatively) chilled-out mariachi vibes serve as an homage to the band’s alter-ego, Mariachi El Bronx (and was written while that incarnation of the band was on tour), while fatalistic closer “Participation Trophy” masks the Caughthran’s existential dread behind searing riffs and a catchy, defiant and exuberant melody. “The feelings I got when writing for this sixth record is the same type of feeling I got writing “Heart Attack American”. It all comes from the same place and it’s all still 100% genuine and real. Believe me – I’m still feeling the raw emotion that I felt when this band first started. That’s just who I am, that’s who we are as people. You can’t fake stuff like that when it comes to music or art. You have to stay connected. You’ve just got to be real” - Matt Caughthran, vocalist. Bronx VI was produced by Joe Baressi (Melvins, Tool, Bad Religion).

After recording debut album The Return of the Durutti Column with producer Martin Hannett in 1979, virtuoso guitarist Vini Reilly purchased a TEAC four-track recorder from Bill Nelson and began producing his own material. These evocative demos were perfected by Reilly at Graveyard Studio with co-producer Stuart Pickering, with additional drums and percussion from Bruce Mitchell. Originally released by Factory Records in November 1981, LC is a key album in a body of work described by David Stubbs of Uncut magazine as ‘unique in rock, with Reilly’s scampering, watercolour guitar style building a tentative bridge between post-punk and the chamber sketches of Debussy and Ravel.’
On this expanded Factory Benelux the original ten tracks are supplemented by no less than 9 bonus cuts, including rare Sordide Sentimental single Danny/Enigma, and the three tracks Reilly contributed to A Factory Quartet in 1980 - his last recordings with Hannett, which feature Donald Johnson of A Certain Ratio on drums.
The remastered double disc set is housed in a gatefold sleeve printed on matt reverse board, with liner notes and archive images. The package also includes an exclusive 7-inch single featuring live versions of Sketch for Summer and Requiem for a Father, recorded at Leeds Polytechnic in October 1980. These are the earliest surviving professional live recordings of Durutti Column in concert.

“‘Social Haul’ is a collection of songs to get to
know us by. The album loosely depicts a
protagonist challenging perceived negative
aspects of character, particularly in others,
attacking in stages or episodes. Not dissimilar to
that unfinished Bruce Lee movie.
“Including bouts with ignorance, through to
rebellion, disassociation, spiritual bypassing,
indifference and eventually light-enlightenment.
‘Social Haul’ centres around the middle distance,
the place in which we realise that no matter how
insignificant or excluded we may feel, we all have
something worthwhile to say.” - Social Haul
Produced with Daniel Fox (Girl Band), Social
Haul’s self-titled debut album is released via
FatCat Records.
For fans of IDLES, Dry Cleaning, Shame,
TRAAMS.
Press - Features in DIY, So Young, Gigwise, Under The
Radar.
Radio - Radio 1 Jack Saunders, Gemma Bradley, Radio 6
Steve Lamacq, Apple Music 1 Matt Wilkinson, Amazing
Radio.

Fuelled by an uncertain future and conflicting feelings towards the
connectivity and intensity of the modern world, Press to MECO’s eagerly
awaited new album ‘Transmute’ follows up from 2018’s critically acclaimed
‘Here’s to the Fatigue’.
Produced by Machine (Clutch, Lamb of God, King Crimson) in a 16th century
tower in the UK, ‘Transmute’ feels more defined, where the heavy moments
are brutal, the quiet aspects are beautiful, and the cinematic flourishes make
the whole thing feel epic.
FFO: Foals, Biffy Clyro, Billy Talent.
Print ads going in Kerrang, Rock Sound, Upset/Dork, Alt Press in UK, Visions DE
plus more EU TBC.
25k+ across socials, plus 300+ Discord group and guitarist has 500+ Twitch
channel
Key supporters of the band include BBC Radio 1, MTV Rocks, Kerrang! Radio,
Kerrang! Magazine, Alt Press, Rock Sound, Upset alongside editorial support
from Spotify, Apple Music, Deezer and Amazon Music.
Previous touring includes touring Europe with Shinedown, UK tours with
Don Broco, SikTh and Arcane Roots alongside performances at festivals
such as Download, Slam Dunk, Truck Festival, 2000 Trees, NAMM and Teddy
Rocks.

VIOLENCE is a brand new Metal, Industrial, Bass-music project produced by Niveau Zero. After “In_Sect” (2010) and “Jasmine” his last album released in 2012, It was time for him to produce a
new Lp. Composed of 3 members : Fabio Meschini (Guitar / L’Esprit du Clan, Ex: As They Burn), Morgan Sansous (Drums / Henker) and Niveau Zero ( Production & Vocal). VIOLENCE is an ode to a rising insurrection. It results in a raw, metallic and powerful sound.
Chronicle of the brutality of our era, OPUS 1 is a concept album composed with guests of choice such as Billy Graziadei (Biohazard, Powerflo), Code: Pan- dorum , Julien Lebon (Atlantis Chronicles), Bastien Hennaut (HORSKH)...

Hospital Records are extremely proud to present ‘Smile & Wave’, the
second studio album from drum & bass’ friendliest MC, Inja.
With the biggest smile on his face, the lyricist, vocalist, poet, artist and storyteller delivers
16 tracks, seamlessly weaved together through Inja’s infectiously feel-good flow and sincere
wordsmithery. The entire album was produced by Whiney, further cementing their relationship as one of the most untestable dance music pairings. Also featuring Charlotte Haining,
Eva Lazarus, DRS, Fox, Cleveland Watkiss, Singing Fats, and DJ Marky.
Album title track ‘Smile & Wave’ is the musical embodiment of Inja’s playful demeanour.
Known for being the world’s smiliest artist, Inja wrote and recorded this feel-good bouncer
alongside his daughter who is “pretty much the first person to hear anything” he’s up to
musically. Expect a rude bassline and infectious wordplay.
Teaming up with superstar singer-songwriter Charlotte Haining, ‘Reach Out’ sees two of the
most distinct voices in dance music come together over a bittersweet wobbler written about
times when you feel “so out of place, out of reach” in the words of Inja. Having worked
alongside an impressive array of electronic artists including Hybrid Minds, Sub Focus, My Nu
Leng and Friction, Charlotte’s delicately powerful hooks are the perfect counterpart to Inja’s
heartfelt flows.
Luscious pads and dubbed out pianos and guitars set the scene on ‘Baby Angel’ featuring the
worldwide wave-maker Eva Lazarus who returns to Hospital Records for the first time since
featuring on Etherwood’s ‘Light My Way Home’ back in 2015. Having worked alongside staple
figures including Mungo’s Hi-Fi, Zed Bias and Gentlemen’s Dub Club, Eva infuses her reggae,
hip-hop and jungle flavours alongside Inja’s humbling storytellings.
Inja’s “personal favourite to perform live as it smashes every and any system”, ‘Explode’, is a
140BPM anthem featuring flows that will ignite any room and a killer instrumental that will
have you bobbing no questions asked. Proving himself to be a versatile and skillful microphone controller, Inja’s ability to shell down any tempo is ever more apparent on this upfront
banger.
Three legendary MCs unite on ‘Hands, Lights, Flames, Phones’ where Inja joins forces with
two of Manchester’s very finest - DRS and Fox. Sharp lyricism is rife as the triple threat of
three titan wordsmiths link up, seeing energetic bars bouncing off each other over a cold-cut
drum & bass roller. This is a combination not to be tested.
Inja has established himself as a pinnacle figure within the realms of drum & bass. Loved for
his ability to express his thoughts into honest, relatable lyrics in ‘She Just Wanna Dance’, a
spoken word piece for Amnesty International that was a viral online hit in 2017, and more
recently switching it up to ‘We Just Wanna Dance’ during the UK lockdown, expressing his
desire to be reconnected with ravers again. Then picked up by BBC News and Sky News.
On top of being the MC of choice for drum & bass powerhouse group Kings Of The Rollers,
Inja is no stranger to tearing things up on the airwaves with support from the likes of DJ
Target, Rene LaVice and Danny Byrd on BBC Radio 1 over the years. Since his debut ‘Blank
Pages’ album on Hospital Records in 2018, Inja has flourished as a multi-talented MC, vocalist, singer and songwriter with a series of singles including the Beatport Drum & Bass charttopper ‘Game Face (Stay Alert)’ alongside Whiney, as well as the infamous ‘Lumberjackin’’ on
Serum’s Souped Up.
"To all the supporters that enjoy anything I’m a part of, I would never have had the opportunities to see as much of the world as I have without you. My gratitude has no bounds and I’d
love to share a smile with you all one day.” - Inja

Certain Sound Records are pleased to announce the release of the brand-new album from Montener The Menace – Anyone Home?

Anyone Home is the hotly anticipated follow-up to “I Have a Hidden Hobby” and is comprised of 14 superb tracks featuring an ensemble of legendary figures from both the US and UK Hip Hop scenes with appearances by Masta Ace, Rah Digga, Craig G, Keith Murray, Edo.G, Micall Parknsun, Cracker John, AG & Guilty Simpson to name just a few.

Production is handled by such heavyweights as Domingo, Roccwell, Keynotez and all cuts are provided by the legendary JabbaThaKut.

The album campaign was launched with the release of 3 excellent singles – High Noon, The Struggle and Take it Back all of which were met with extremely positive reviews from blogs and magazines alike, in addition to this acclaim the tracks have received airplay on a global scale via stations such as Shade45 and Itch FM.

Montener showcases his massive progression as an artist since his previous release with great confidence while still maintaining his trademark sense of humour that fans have come to love and adore. He demonstrates great diversity throughout by being able to touch on some difficult subjects such as suicide and mental health and parenthood as well as his more traditional upbeat content.

“Its gonna make a great impact on the scene, just what we need, when we need it most.” – Skinnyman

Silver Lining Music to release the first project by Saxon's Biff Byford and son Seb Byford of Naked Six. On July 23rd 2021, there’s going to be a new rock ‘n’ roll sheriff in town, and as their name suggests, Heavy Water aren’t for the light-hearted. Soaked in gritty, riff-baked blues, yet rich with the sound and metre of classic hard rock, Red Brick City’s ten songs refuses to let you go. From the taut, elastic swing of the ‘Solution’ riff to the rich, layered balladic strains of ‘Tree in the Wind’, Red Brick City moves with the class and cadence of a cracking journey uniting vintage rock ‘n’ roll sensibilities with the crackle and excitement of a fresh, youthful perspective.

With Seb on guitar and Biff on bass duties and both providing their vocal talents the foundations for Heavy Water’s sound are set in both that incredible father/son chemistry and a lifetime of know-how and experiences. Take the title track -and first single- ‘Red Brick City’, all steam and smoulder wrapped around a riff Soundgarden would’ve been proud of, and then there’s the sun-soaked smile of ‘Follow This Moment’ with harmonies evoking the Beach Boys relayed through Led Zeppelin, a gorgeous ‘70’s trip right down to the fade out. Produced by Seb Byford and Biff Byford, with Jacky Lehmann mastering, Red Brick City is a rich, lustrous ride through profoundly rewarding rock waters.

Clear Vinyl

Freddy Fresh is a legend. Period. From a plethora of 12“es on labels like Nu Groove, Drop Bass Network, Forced Nostalgia, Spaziotempo, Lone Romantic or Toolbox Killers to albums on 90s scene mainstays like Harthouse, Anodyne or Eye Q to countless releases on his own imprints like Howlin Records, Analog Records USA and Electric Music Foundation. From remixes for the likes of GusGus, Heaven 17, Kitachi, Steve Stoll, Frankie Bones and many more to hitting the UK Top 40 with the massive BigBeat smasher „Badder Badder Schwing“
produced alongside Fatboy Slim. The man has done it all. Nearly.
And therefore Intrauterin Recordings is proud to present the first ever Drum'n'Bass release in the more than 30 year spanning career of the one and only Freddy Fresh!
With „333“ Freddy Fresh is going down a twisted, hard stepping and yet positive alley of what the man himself refers to as Modular Drum'n'Bass that is unmistakably cooked up live and direct in his Minneapolis-based studio. Expect a whirlwind of swirls, swooshes, bleeps and FX alongside raw junglistic beats and the most positive Synth bass motif you've heard in a long while.
Yet the singles' main dancefloor smash is to be found on the flip side. „Watch It Go Roun Roun“ is a raw classic, a heavy original JumpUp banger driven by a killer vocal performance by Mike Gates a.k.a. Mikey Dredd. Likely better known to many for his Techno productions on labels like Kanzleramt, Creation Rebel or Howlin Records rather than for his MC skills this is the very first time Mikey Dredd's secret love for taking up the microphone as a proper Jungle / Drum'n'Bass MC is officially recognized and revealed on wax as a late tribute to and
honoration of a large scale talent which passed away way too soon in 2019. Lighter crew!
Initial pressing will be limited to 225 copies on 7“ whitelabel vinyl. Hand-stamped with stickered cover.


b B1: Watch It Go Roun Roun featuring Mikey Dredd

A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson character,” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.

Started a decade ago in 2011 with the first volume on Jakarta, Shuko and F. Of Audiotreats are now back with their final instrumental album "Cookies & Cream vol.5" on Shuko's For The Love Of It label. Both producers teamed up again to bring nothing else than smooth jazzy hip hop jams with some little bouncy touches here and there. A long journey comes to an end with a decade creating beats, writing songs and working with artists as diverse as Anderson Paak ("Jewelz"), B-Real, Talib Kweli, Nipsey Hussle, Ludacris or Chance The Rapper. "Cookies and Cream Vol. 5" is an album inspired by the grandmasters of beatmaking like Pete Rock, J. Dilla, Q-Tip or Hi-Tek. The limited vinyl is a special edition in gatefold sleeve with liner notes and some tracks that are not even available on streaming platforms.

Album Description BROS VOL 2 takes you on a technicolor journey via your ear drums. The eclectic flavours of VOL1 are taken to new heights. The musical scope is wider, and the worldly sonics more exotic. The power pop refrains sink their hooks deeper, the sly musical jokes sell out harder and the hard charging grooves really pack a wallop. BROS make music that is fun and colourful, the way it's supposed to be. Bio After boldly displaying their full musical range on the 2016 debut album Vol. 1, BROS—aka The Sheepdogs’ Ewan and Shamus Currie—return with Vol. 2, an endlessly surprising new 13-track collection that’s something akin to a party thrown by your friends with the best record collection. Recorded over a two-year span with producer/engineer Thomas D’Arcy in Toronto, BROS sought to expand their scope on Vol. 2 by inviting a host of collaborators, from a horn section and tabla drummer, to Sheepdogs guitarist Jimmy Bowskill (on a range of instruments he doesn’t normally play) and even their father Neil Currie on piano. The results contain something for everyone, from the Tropicalia-inspired “Sunflower” and the smooth jazz of “Clams Casino,” to the lowdown funk of “Never Gonna Stop” and the vintage AM radio homages “Crazy Schemes” and “You Love This Song.” With Vol. 2, the combination of visually evocative instrumentals and finely crafted Pop and Soul nuggets is now undeniably BROS’ trademark sound, one that’s utterly distinct from The Sheepdogs’ arena-ready, guitar-fuelled rock. As a pure studio creation, the album not only displays the Curries’ dynamic creative bond, but also their playful sense of humour and easy-going relationship, something that can’t often be said of fraternal musical partnerships. So as we all wait patiently to return to bars and concert halls, BROS Vol. 2 is here to provide the perfect soundtrack for whatever you happen to get up to within your bubble, just as long as the intention is to have some fun. For Fans of: The Sheepdogs, Dan Auerbach, The Doobie Brothers, The Allman Brothers Band, Eric Clapton, The Band, The Black Crowes

This is a pure labour of love, not only is Daniel Vangarde a musical legend, he created, produced and wrote, (together with his musical partner Jean Kluger) acts like Gibson Brothers, Ottawan and La Compagnie Creole, he’s also the father of Thomas “Daft Punk” Bangalter, one of Mighty Mouse’s musical heroes.

Mighty Mouse reveals: I loved the original, and wanted to keep the energy of it in my remix. I kept a lot of the music parts and added a few synth elements and re did the drums to support what was already there. It was much fun, and a little nerve racking. When I got the stems it was like a history lesson and I could hear where Daft Punk must have got some of their influence from, just listen to those vocoders!
I got the seal of approval from Daniel too, as he said…“It did put a great smile on my face too! congratulations, the remix is really good.

The remixer understood the spirit and energy of the music, this is rare.” Now, talking about a compliment!

Mighty Mouse’s mind was blown at this point, so we are excited to bring you this masterpiece in 12” format!

The Spaces Between were formed out of creative studio sessions in the summer of 2020 and comprises of bona fide house legend Terry Farley, electronic music producer Wade Teo and renowned author and co-owner of Club Chi’ll Records, Ian ‘Snowy’ Snowball. The idea for ‘Ghosts’ came from Terry’s idea to reference the Jazz greats who have gone to glory leaving behind their astonishing musical legacies. Within days of emailing a comprehensive list of jazz artists to Chicago House luminary and The It/ Jungle Wonz member, Harry Dennis, an answer with Harry’s sparse, haunting vocals was received. These were laid down over a bed of live instruments and electronic sounds and the combined talents of The Spaces Between created the compelling jacking jazz vibe of ‘Ghosts’.

Snowy ran the track past Jo Wallace at F*CLR Records – it was love at first listen. Jo suggested the track should be part of an EP with remixes from the newly reformed Black Science Orchestra. It was agreed and provided an ideal opportunity for Ashley to work with Terry once again, reinforcing the Junior Boy’s Own heritage.

The first incarnation of Black Science Orchestra began life in 1992 when Ashley Beedle joined forces with Rob Mello and their debut release, ‘Where were you’ exploded onto the global dance scene via the iconic UK house label JBO. Broken in the US by the Godfather of House, Frankie Knuckles, ‘Where were you’ entered into the hallowed halls of immortal dance music. Black Science Orchestra has become one of the most respected deep house acts of the 1990s, with the revered album ‘Walter's Room’ and the legendary genre crossing 'New Jersey Deep' track that is considered one of the top dance tracks of all time and rarely leaves discerning DJs' record boxes. Fast forward 29 years and original BSO founding fathers, Ashley and Rob decided that both they and the world needed the sound of Black Science Orchestra again and decided to reform, inviting long time musical and studio accomplice Darren Morris to join the collective now in its 6th incarnation!

When presented with the original version of ‘Ghosts’, Rob, Ashley and Darren loved it and all heard various ways it could be reworked in a true Black Science Orchestra way. Donning their pandemic production hats and remotely getting their feet back under the studio desk again, they worked together to create distinctly different remixes ranging from the deep, spacy electronic to the tough and psychedelic sleazy funk. With original BSO productions included on this EP, 'Ghosts' has helped square off the circle and the Black Science Orchestra conductors are back and mean dance floor business!

DJ Sotofett and LNS have teamed up with Tresor Records for Sputters. The double-vinyl album with 15 cuts spans a hybrid of warped electro and psychedelic hypnosis, all the while remaining fixed in an unmistakable dance release. Recorded between 2017 – 2020, and bookmarked throughout by intros and interludes dug out from archival material, it's a deconstructed yet classic compound of techno-sonics.

LNS from Calgary, Canada, is rooted in braindance, electro and acid. Releasing 12inches on both her self-titled imprint LNS and Sotofett’s Wania - LNS, whilst in the studio, has often pointed out “the lacking blend of dub and electro in dance music”.
DJ Sotofett, hailing from Moss, Norway, is among a myriad of things commonly known for the extended work of his Sex Tags Mania and Wania labels, without forgetting his afro, dub and jazz releases on Honest Jon's London.
Together both artists give space to a guest appearance by E-GZR, a fellow Wania artist, to open the Sputters journey. The sinus bending drum stutter of K.O. by E-GZR collisions flanging basses and chronic-inducing synth pads to blueprint the technoid atmosphere to come. LNS & DJ Sotofett take control with El Dubbing, evoking an effect-heavy demeanour, typical of the Sex Tags Mania soundworld that DJ Sotofett is responsible for, this time rubbing up against solid electrified rhythms. The hypnotic moods carry over to Dúnn Dubbing's deep delays, freely running over a surprisingly minimal skeleton retaining a solid direction. Crafting a warmly emotive end of Side-A with sparse rhythms to perfection.
A meaner turn introduces Side-B. Hints of electro are scattered everywhere, fat basslines, ricocheting drums and synths that mourn and drift in and out of harmony. Vitri-Oil exposes a tumbling sound design, fog-lit chords of material fragility and nosedives - with an alive mix that wallows and grows in equal measures. The side closes with Shim, a classic drift between house and techno releasing sensual euphoria with the albums first big surprise – grand strings.

“LNS wanted to sell her TR-606, while my reply was for us to make a track with the 606 sounding so fresh that she'd never even think about selling it again” Sotofett states. Side-C proves the artists to be some of the most singular producers around with album centrepiece The 606. Clocking in over 10 minutes, it kicks off as a driving techno banger, chugging bass and big chords. Midway through everything falls away, and out of the void enter scattered drums and improv piano lines emerge, while twisted dubs lead us back in an enduringly warm groove.

Side-D sets the clock back to the original electroid foundation of the album, casting fires with alien vibrations. Synchronic Bass Blort is a hard-hitting electro track, steaming sonics and thrills, its melodic hook diving in subterranean motions. On Sputtering the duo raspily beams into outer space, with fizzy motives that disfigure and dazzle while the harmonies of the closing track is for yourself to experience.
DJ Sotofett and LNS deliver an album inhabiting a world full of sci-fi sonics and fierce groove. Their sound is free and live, simultaneously wondrous and sharp.

Mr Williamz is an original soundsystem toaster in the Reggae Dancehall style, and this is one of his live anthems sung on the fattest Heavenless rhythm track produced by UK bassline rub a dub masters Chief Rockas. Clean riddim on the B-side. Limited press.

Since the release of the first volume in 2019, we knew we couldn't stop there. In 2021 we are even more excited to present the 'Drum'n Voice Remixed 2' album by the legend Billy Cobham in collaboration with Italian producers and composers Nicolosi / Novecento. As a taster to the album we are very happy to be releasing an EP containing remixes of ‘Interactive’ from the legend Louie Vega.

Acclaimed as jazz-rock fusion's greatest drummer, Billy Cobham has dedicated his whole life to musical exploration and creative expression. Born in Panama, he has been surrounded by music. His father was a pianist, his mother was a singer and Billy started playing drums at four years old. Throughout his career he has collaborated with artists like Miles Davis, Horace Silver, Airto Moreira, George Benson and appeared on over 300 recordings, including icons like Peter Gabriel, Quincy Jones, Jack Bruce, Bob Weir, and James Brown, and to date, has produced and released more than forty albums as a leader. The first album ‘Spectrum’ is a masterpiece and still considered a reference album today.

Billy and Nicolosi composed so many songs of the highest quality and class that we immediately wanted to get to work preparing a second volume of remixes. We are really happy to present the Louie Vega remixes of ‘Interactive’ in the run up to ‘Drum’N Voice Remixed 2’ collection that's set for a release later in the year.

‘Little’ Louie Vega does not need any introduction. One half of the Masters At Work (that are back now after a long time with their new single), he is one of the most important House Music duo of the last 30 years, even receiving a nomination in the last Grammy Awards. With the collaboration of Josh Milan (aka Honeycomb and former one half of Blaze) at the keyboards, these incredible remixes of 'Interactive' make track shine thanks to a powerful blend of funky cosmic disco and a perfect killer groove that makes us dance on Brian Auger's magnificent Hammond improvisation.

Acclaimed singer/songwriter and multi-instrumentalist Amy Helm is set to release What the Flood Leaves Behind (Renew Records/BMG) on June 18th. Produced by Josh Kaufman (Taylor Swift’s Folklore, Bob Weir, Bonny Light Horseman) who is also featured on piano, guitar, and mandolin, the record brings Helm’s powerful, emotive vocals to the forefront. After recording 2018’s This Too Shall Light in Los Angeles, Helm returned home to Woodstock and Levon Helm Studios to record What The Flood Leaves Behind. The historical significance of returning to that special place built by her father clearly resonated with Helm. “Going back to the place where I learned so much about how to express music, how to hold myself in music, how to listen to music,” she begins, “It was humbling in a funny way. I could see clearly where I came from and where I am now in my life. I was singing from a different place now and for a different reason.”

One of the most significant collections in Trojan’s immense catalogue, the ‘The Trojan Story’ album dramatically changed the perception of Jamaican music among the general British public outside of the country’s Afro-Caribbean population.

Prior to its release in 1971 there had never been an attempt to present a comprehensive anthology of the island’s musical development, with vintage ska, rock steady and reggae widely regarded as obsolete and of precious little merit.

The treble disc set, which became an instant best-seller, had been the brainchild of Trojan’s label manager and Black Music fan, Rob Bell, who, assisted by Trojan stalwarts, Dandy, Webster Shrowder and Joe Sinclair, produced arguably the most significant Jamaican music retrospectives of all time.

Now, 50 years following its original release, this hugely influential album has been revisited by Bell, along with reggae musician, Rusty Zinn, who have succeeded in improving what was already an almost perfect collection.

Presented in the original eye-catching artwork, the set is further enhanced by a highly illustrated 50-page booklet in which Bell relates the stories behind the release and the 50 tracks featured on the compilation.

• Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up
the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
• AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled
bands in history, remaining relevant today, continuing to reach new generations of younger audiences.
• Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have
all borrowed sections of their grooves.
• ‘Cover To Cover/Soul To Soul’, is a collection showcasing their take on classic recordings, both Soul and otherwise and
demonstrates why they were totally embraced as an authentic R&B band in the USA.
• ‘Cover To Cover....’ also includes for the first time on vinyl, their 2017 recording of The Isley Brothers ‘Harvest For The
World’, which was produced by and features Chris Jasper.
• Average White Band remain highly influential and this collection, shows why they have remained so powerfully important.





e a5. I Heard It Through The Grapevine [Live – Edit]

[g] b2. I'm Gonna Make You Love Me [Live]

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.

It’s a given that timing is everything in music – most obviously in terms of composition and production but often just as much in regard to conception and release – the latter two doubly poignantly so in the case of this massive DOOM vs The Sugarcubes mash-up LP from turntablist and producer Krash Slaughta.

Which is why the tale of this project’s gestation is perhaps what should be told about it before anything else.

Begun last August and finished on 25 October, the album started life as an idea born from a casual listen to final Sugarcubes album Stick Around For Joy that Krash had bought a copy of years before in a charity shop. Contemplating the cover art while listening to the LP and the track Hit in particular, it came to him that here might be the musical basis for a concept LP in the grand tradition of the hip-hop mash-up album. Thus the project was born, becoming something of an obsession as lockdown restrictions recommenced through a sanity-testing autumn. As it developed, the provisional title of Stick Around For DOOM morphed into Sugar Coated DOOM and Brighton artists Leigh Pearce and Rob Crespo were roped in to create the artwork. So pleased was Krash with the results that he decided to self-finance the pressing of the LP to vinyl which in turn would allow him to send a copy to DOOM in the most fitting format. On that basis, along with his dad’s advice that if you want something done properly; do it yourself’, he initiated the process for a limited press run as soon as the project wrapped and telephoned his dad (who’d been shielding and who he hadn’t seen for months) to say he’d done precisely that. In a tragic twist, this turned out to be their last ever conversation, for Krash’s dad died suddenly the next day. Two months later of course, while waiting for the Covid-slowed vinyl pressing process to complete, came a further tragic twist as the world received the delayed news that DOOM himself had also passed away back in October – in the event, only five days after Krash’s father. So it’s no understatement to say that Sugar Coated DOOM carries significant emotional resonance for its maker, forever linked as it will be to the deaths of two of his personal heroes.

Which brings us to the content. The album contains seven vocal tracks, with an alternate version of one and instrumental versions of five of the seven across two sides of an album with the music, track names, LP title and cover art mashing up musical, lyrical/ textual and visual elements of The Sugar Cubes’ Stick Around For Joy with DOOM acapellas, track names and references. Listeners won’t need long to appreciate that Krash Slaughta was right to be proud of his creation, almost certainly correct in thinking DOOM would dig it and no doubt The Sugarcubes too. Also, who would have thought The Sugarcubes had so much potential for beat-mining? But then seeing potential in the unexpected was always a vital skill from the golden era of sampling in hip-hop and those who follow in the tradition. The first track proper, for example, swipes Madlib’s lo-fi beat from underneath the vocals for Figaro and replaces it with the looped and beefed-up opening bars of the Cubes’ I’m Hungry. The result is a natural fit. But then the blending of elements in every track on this release provides evidence of the effort and love put into its creation, reinvigorating DOOM’s classic vocals while re-purposing The Sugarcubes in a manner that will delight. Indeed, if you’d didn’t know the work of Bjork’s former band, you’d be unlikely to pin an early 90s alt-rock LP as the sample source. I imagine listeners will have a hard time picking a favourite too. Perhaps Hit It (based on the track which triggered the project idea in the first) which splices the Bond-theme-ish Hit with My Favourite Ladies might prove the most popular, or the monkey’s favourite, Nurse Chong, which blends Happy Nurse with Raedawn (named for Tommy Chong’s daughter) from Viktor Vaughn LP Vaudeville Villain. Whichever one punters pick though, anyone who hears anything off this will know it’s one to rank alongside your other favourite hip-hop mash-up albums. And who knows – perhaps even Mr Daniel Dumile himself might have considered it a not unfitting epitaph.

Jorge Elbrecht joins the O Genesis roster for a special edition release of Presentable Corpse 002, which will be available May 28, 2021. Although Jorge Elbrecht may be a new name to UK music fans, he already has an illustrious and varied body of work to his name, thanks to his prolific output as a solo recording artist, producer, mixer, and visual artist. Born in Costa Rica and raised in the U.S., Elbrecht’s production and collaboration credits with the likes of Sky Ferreira, Japanese Breakfast, Gang Gang Dance, No Joy, Geneva Jacuzzi, and countless others have given him a well-deserved reputation as one of the most in-demand and respected names in independent music today.



Presentable Corpse 002 is the inaugural full-length collection of his ongoing Presentable Corpse recordings. Elbrecht himself describes Presentable Corpse as “sunshine pop” that contains lyrics written from the perspective of a fictional Vietnam-era soldier at war, conveying a story of regret, homesickness, combat fatigue, and political anger.

Information about Elbrecht largely comes from The Executor(s) of the Estate of Jorge Elbrecht, who claims full control over the artist’s creative output, both past and present. According to the estate, Elbrecht’s “disaffection with the milieu of the day developed into a pathology by his late twenties, resulting in dangerously high levels of stress and anxiety as the thematic content of his work grew darker.”

Presentable Corpse 002 is sure to not only delight Jorge Elbrecht’s already sizeable fan-base with its disarmingly inviting psychedelic sunshine pop, but also gain a considerable and well-deserved new following in the UK and Europe.

UK South coasters relocating from West to East, Katja
Rackin and Sam Stacpoole have been grafting and
honing alone, away from the expertise of music
producers and other governors since 2016. The result
is unadulterated and unclean, unabashed and
uncompromised.
Through their love of artists such as The Kinks, Alex
Chilton and The Nerves, or any other artist who
spends less time with the polishing cloth and more
time with the power shower, Holiday Ghosts make
music with a lean and primitive rock ‘n’ roll spirit.
Drums are stripped naked to the point of metronome
status and no stomp boxes, nor cajóns or didgeridoos
are found to obscure the energy of guitars at their
rawest.
In stories of landlords, steady jobs, wrong turns, short
straws, sunny moods and city life, Kat and Sam share
lead vocals alongside returning bandmate and
songwriter Charlie Murphy and a host of other
musicians from Falmouth, Cornwall where the band
began.
Two albums in with Punk Slime Records and Holiday
Ghosts are back with their third full length, ‘North
Street Air’, their first for FatCat Records. Twelve songs
of love, hate and everything in between.
For fans of White Fence, Goat Girl, Porridge Radio,
Juan Wauters, Yo La Tengo, Total Control, Terry,
Chubby and the Gang, Uranium Club, The Velvet
Underground, Violent Femmes, Modern Lovers.