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Who cares, who cares?!

Does anyone remember the great Barry Künzel?! Of the band Butter?! The funk-pop duo Q?! Or Fuschimuschi?! All this funk-, jazz- or hip-hop-influenced, wondrous psychedelic soul music from German lands?

A quarter of a century later, "Who Cares Who Cares" is the name of Wolfgang Pérez's solo debut album. In recent years, he was mainly busy as the keyboardist of the native German speaking pop band GOLF. Now he is preparing to leave the German pop worlds as a solo artist - supported by an opulent session band. As the son of a Spaniard, Wolfgang grew up multilingual anyway - an alien by nature, so to speak. His music, on the other hand - caught between indie pop, funk, jazz and tropicalismo - doesn't sound at all like coming from someone who doesn't know where he belongs. Quite the opposite: It sounds like the big wide interconnected world of pop out there and inside of us.

The result is some groovy music between Frank Ocean, The Whitest Boy Alive, Phoenix, Melvin Van Peebles, Marcos Valle and the record collection of a lovable jazz records collecting uncle. And Wolfgang is hailing from Essen in the Ruhr region, of all places. Yes, why not, or, to stay with the album title: Who cares, who cares?!

On the cover packshot we see the album title scrawled in countless variations. The short story: Wolfgang started the following call in his messenger portals one night:
- Write "Who cares who cares" at last 10 times now.
- Do it in your own style.
- You are free to vary a bit like using small letters or writing without spaces between the words.
- You don't have to go crazy, if you feel like it, keep it simple.

Raised on a healthy diet of The All-American
Rejects and All Time Low, Australian-born With
Confidence have made quite a name for
themselves in the world of pop punk with over 125
million streams across their first two albums and
multiple headline tours throughout the US, UK,
Australia and Europe.
For their upcoming self-titled album, the band will
be shedding a bit of their adolescent “get out of my
hometown” skin, opting in for a more adult, altpopinspired sound that draws influences from
everything from The 1975 to The Strokes.
The new album will be a follow up to the band’s
sophomore entry, ‘Love & Loathing’, which
debuted at #3 on the Independent Record Label
Chart and #4 on the LP Vinyl Albums Chart, selling
over 7,500 copies in the first week.
For fans of Neck Deep, State Champs,
Waterparks.
LP pressed on ‘Bone’ coloured vinyl.

• Although the album was produced by David Tickle, Belinda’s sole album for the Chrysalis label in 1996
saw her re-united with the writers of her biggest chart successes, Rick Nowels, Ellen Shipley and fellow
Go-Go Charlotte Caffey. Nowels’ “In Too Deep” reached # 6 and Roxette’s Per Gessle’s “Always
Breaking My Heart” was another Top 10 hit. “Love In The Key Of C” followed them into the charts,
while the fourth hit “California” features backing vocals from none other than Brian Wilson.
• The two bonus LPs feature seventeen tracks: non-album B-sides, including covers of “Jealous Guy” and
“The Ballad Of Lucy Jordan”, plus “I Won’t Say I’m In Love” – Belinda’s contribution to the soundtrack
of the Disney film “Hercules”, a cover of the Sex Pistols’ “Submission” recorded with Radiator for a
compilation album, plus live and acoustic versions of her earlier hits, and three very rare remixes.
• This anniversary box set contains three LPs pressed on 180g vinyl, in individual outer and inner sleeves,
plus a 12 x 12 booklet, all in a lift-off lid box.


















r d1. Remember September JPO Club Pipes
s d2. Remember September [Beam’s Club Mix]
[t] d3. Remember September [Beam’s Vocal Mix]
[u] e1. Big Scary Animal [live]
[v] e2. I Get Weak [live]
[w] e3. Leave A Light On [live]
[x] e4. Live Your Life Be Free [live]
[y] f1. In Too Deep [live]
[live]
[xa] f3. In Too Deep [acoustic live version]
[xb] f4. Circle In The Sand [acoustic live version]

From the cosmos of Stretford on the outer realms of Manchester comes the kaleidoscope view of the world according to Psychederek and it's an explosive trip of shoe gaze soaked balearica.

Lead track Screamadereka heads straight into orbit from the get go with a stop off to thank the likes of The Cocteau Twins & Death In Vegas for their influence along the way. Huge drums, spaced out synths, warped guitars & a fully charged love in style vocal all wrapped up in a mushroom flavoured microdot with a pretty empowering finale.

I'm Alright steps up the ante a bit more and goes all Tomorrow Never Knows on us but with added warehouse acid squelch & rasps throbbing out from a beat that is broken (but not break beat!) whilst still retaining the psychedelic tendencies of its predecessor.

Sean Johnston steps off the ALFOS rocket ship and joins forces with Duncan Gray for their Hardway Bros Meet Monkton Disco Dub take of Screamadereka and the result is a hive of cosmic mutant disco brilliance whilst Manchester's finest 6 piece See Thru Hands turn I'm Alright into bombastic focused UKG style wig out duet complete with new vocal takes by DNCN for seriously wonky floors & like minded souls.


Includes beautiful insert artwork by Emma Evans

JACKIE WILSON – aka “Mister Hitmaker” – scored Brunswick Records 50 chart singles during his 20 year solo career. “I Get The Sweetest Feeling” is both one of his best known and most loved recordings, originally taken from his 1968 album of the same name. Coupled with “Nothing But Blue Skies” it only managed to reach #34 on the Billboard Hot 100 at the time of release and a more respectable #9 in the UK some four years later in 1972. Ironically it was your very own Passion Music who achieved the most success with the song just missing the top spot, stalling at #3, in 1987. It was also Passion Music that gave Jackie, posthumously, his only #1 pop hit with a reissue of “Reet Petite” in 1986.
“IT ONLY HAPPENS WHEN I LOOK AT YOU” is the perfect feel-good floorfiller from the perfect soul vocalist. The song was originally recorded by Aretha Franklin in 1975 for her Atlantic album ‘You’, but it is Jackie’s more upbeat version that captured the Northern Soul hearts. It was released on UK Brunswick in 1977 and was to be Jackie’s final 45. It eluded a US release and appears here – for the very first time – on the official American Brunswiuck label design.

Von Annie Mac, Bonobo und Gorillaz bis hin zum Billboard, NME, Crack, Mixmag oder DJ Mag wird TSHA als eines der aufregendsten Talente aus Großbritannien gehandelt. Ihre kommende EP, „OnlyL“, die am 27. August 2021 auf Ninja Tune erscheint, zeigt eine selbstbewusste Kreative, die ihr eigenes Gefühl und ihren Sound ständig weiterentwickelt und verfeinert.

Die Veröffentlichung folgt auf einen fulminanten Lauf der jungen Künstlerin, zu dem auch der Start ihrer neuen, zweimonatlich erscheinenden „Jackfruit Radio“-Show auf Apple Music gehört, die Ausstrahlung ihres ersten BBC Essential Mix’ sowie die Ernennung zum „Future Artist“ von BBC Radio 1 im Januar 2021 und zum „Star of 2020“ durch BBC Introducing. Ihre letzte EP, „Flowers“, vom letzten Jahr, schaffte es auf mehrere Jahresendlisten und wurde von Billboard, NME, NPR, Resident Advisor, Mixmag, DJ Mag und vielen mehr gelobt.
Auf dem Titeltrack der EP, „OnlyL“, zeigt sich TSHAs angeborenes Talent, genreübergreifenden, stilvollen elektronischen Pop zu produzieren. Die Vocals von NIMMO alias Sarah Nimmo und Reva Gauntlett sind ein sofortiger Ohrwurm, wobei TSHA die düsteren Lyrics einem Upbeat-Instrumental des Tracks gegenüberstellt. „Power“ spielt mit einer weiteren Liebe von TSHA: Clubmusik. „I Know“ zeigt eine weitere Facette von TSHAs außergewöhnlichen Produktionsfähigkeiten. Die hier vollzogene perfekte Verbindung von Live-Musik und Elektronik ist ein wunderschön strukturiertes und melancholisches Werk, das um ein wunderschönes Hang-Trommel-Motiv herum aufgebaut ist.

- Lilafarbenes Standardvinyl im Disco Sleeve. Artwork von Felicity Marshall.

For his first release with Artificial Dance, Black Merlin aka George Thompson takes a departure from the hard-wearing techno and intricate field recording work that he has come to be known for. Scape One is a fifteen-minute psychedelic diversion recorded in one continuous live session. While the track’s sonic characteristics may echo dance music from the turn of the millennium, its pulsating rhythm is more suggestive of the slowly evolving landscapes seen outside of a train window as opposed to raves from the late ‘90s.

Appearing on the B-side is Gordon Pohl’s remix of Scape One. Like its source material, this track is long and subtle in the way it develops over time, but Pohl dissects the most salient elements of the original to construct a new rhythmic urgency. The high frequency accent that guides the remix does so at a speed that recalls the rotations of Brion Gysin’s stroboscopic Dream Machine, which taps into your brain’s alpha waves, aiding drug-free hallucinations.

Pohl and Thompson are frequent collaborators and release music together as Karamika. While Scape One is not a collaboration in the strict sense, there is plenty of crossover in the working methodology of the two musicians, especially when it comes to constructing uncomplicated arrangements.

The repetitive nature of their respective tracks locks the listener into a contradictory sensation of travelling whilst staying seemingly motionless. This sensation is not altogether uncommon, but in this instance it’s not quotidian either. The result is a record that unravels slowly, leaving space for the listener to home in on all the available information and, in the process, discover elements that can be just as unnerving as they are satisfying.

JJ DOOM is the artist name for producer/vocalist Jneiro Jarel and British-born, mask-wearing maverick DOOM (AKA MF Doom).The nine track EP features tracks from the expanded Butter Edition of the duos debut album 'Key To The Kuffs' including DOOM collaborations with Clams Casino, BBNG, Del The Funky Homosapien, Beck, Thom Yorke & Johnny Greenwood. Originally released in 2014 as a limited edition picture disc, now available in 180g black vinyl.

"On paper, a full collaborative album from NYC's notorious rap villain DOOM and space age production from Jneiro Jarel can't fail. In practice it's even better. DOOM is in the form of his life here." Mojo
"No less quotable than he was in '99... heavy on the diabolical brainiac grifter guise that's fueled his post-KMD creativity for some 15 years, balancing knowledge and absurdity like a master." Pitchfork
"... it's poetry. The way he freeforms his verses and puts it all together, I don't think anyone else quite does it like that... GUV'NOR was my single of 2012. It's genius, that tune." Thom Yorke, Dazed

Following “La Contra Ola” (BJR015), Bongo Joe presents 'La Ola Interior', a compilation exploring the ambient side of the Spanish electronic music produced in the 80’s, bringing together 19 little-known and innovative pieces from the golden age of Spanish electronic music !

It gathers musicians from various horizons and of many generations, who shared the desire to create an immersive soundscape and to combine electronic music with non-Western musical traditions. As a general rule, the Anglo-Saxon tropism did relate the spanish peninsula’s ambient music to the Balearic Sound, that is to say to the relaxing music played in Ibiza’s nightclubs. But this music takes place in the productive territory of experimental musics, and particularly in its two main breeding grounds: the tape recording underground and the independent musicians-producers scene.

Inseparable from the processes of self-publishing, distribution and exchange of music that were then taking place in Spain in an artisanal way, the vast underground movement of cassettes was divided between an "ethno-trance" combining industrial beats and oriental sounds on the one hand (Esplendor Geométrico, Miguel A. Ruiz / Orfeón Gagarin) and unclassifiable low-fi tinkerers on the other hand (Camino al desván, Eli Gras, Mataparda, Victor Nubla). Hyperactive, this scene is radical and strongly dominated by the hardest musical styles, but the ambient, influenced by the German Kosmische Musik and "krautrock", also develops here.

The second vein of Spanish ambient comes from some of the independent labels of the peninsula (DRO, GASA, El Cometa de Madrid, EGK) whose activity will mark the return of some of the most adventurous musicians-producers of the 70s. Some were influenced by American minimalism (Luis Delgado / Mecánica Popular, Suso Saiz, Javier Segura), others by Fourth-World Music conceived by Jon Hassell and Brian Eno (Finis Africae, Jabir). Having passed through folk, ancient, traditional or contemporary music, and being familiar with improvisation and studio techniques, these artists come from a mutant hippie culture, capable of phagocyting many musical styles from electronic ambient to ethnic improvisation and modal jazz.

These two scenes and generations that make up LA OLA INTERIOR intersect around a common interest in non-Western musical traditions. Their exploration may be that of the tribal origins of electronic rhythms or the Arab heritage of Spain. Above all, it is a dreamy exoticism, an immobile journey as the sounds, rhythms or instruments of these traditions are scrutinized by Western practices (avant-garde music, electronic technology). The result is a hybrid music, filtered and reinvented, neither Western nor extra-Western, with a pronounced taste for the fusion of opposites, which we have called "Acid Exoticism" because of its permanent search for trance or contemplation. Atmospheric, contemplative and serial, these musics still plunge us today into a sensorial journey, at the same time interior and distant, organic and technological, between exotic reminiscences and interior visions.

The new school meets the old school. Riding those crystal-clear waves off the back of their standout EP for WOLF Music, New Zealand duo Manuel Darquart double down with this 10-inch remix package containing a classic reworking from the master of dream house, Don Carlos and a sleazed up street soul workout from themselves.

No introduction is needed when you see Don Carlos’ name in the mix. A legend of the Italian dream house movement that has influenced so much of what we’ve heard since, not least the productions of the Manuel Darquart guys. A dream (house) matchup some might say.

Step one, Carlos sprinkles his magic on ‘Keep It DXy’ switching up the drum programming and adding those Balearic flurries that add a considered dose of dreaminess to whatever he touches, think summery sweeping strings and echoing synth stabs.

On the flip the Manuel D guys go full sleaze, weak at the knees for their ‘Sleazy Sunday Mix’. Imagine a street soul, Balearic lovechild and you’re on the right track. Start suppin’ a margarita and you’re getting closer. Sun-lounger on the sand, Adriatic in front of you, last night’s euphoria still a buzz in the brain and you’ve hit the spot.

After his first adventure in the endless universe of instrumental music where he made known “Man With a Plan” in 2018, Minus & MRDolly now presents the new EP Broken Hearts Make Broken Beats. This new work is the result of a recording session at the Groove-Wood studios promoted by João André - who mixes two of the three originals of the EP - to which Hugo Danin joined on drums and Sérgio Alves on keyboards and electric piano. In trio, Minus, Hugo and Sérgio rearranged and explored the original sketches, previously composed by Minus & MRDolly.

Floating, or as if to say, with one “foot inside and the other outside” of his so familiar home that is Hip Hop, “BHMBB” is the reflection of some musical references previous to that house, where “Britfunk” or “Broken Beat” serves as an example. This EP intends to marry the acoustic character of the interpretation with the aesthetic and electronic universe of dance music.

“Salame”, “The Break” and “A Thousand Miles”, the three originals that make up the EP Broken Hearts Make Broken Beats, also count on the participation of percussionists Manu Idhra and Rui Ferreira, the voice of Mary Raisekings, and the Pardal saxophone. The theme "The Break" has remixes by Pedro and Max Graef.

The man with the funky plan is back! Known for his groovy disco edits, Todh Teri is back with Deep In India Vol. 9. This all new record features another fellow sampler and old time record digger - Kone Kone.

The album starts off with Sampadan 30 where Kone Kone works his magic to bring out delicious crossover disco beats that characterise the charming 80s flowing into the alluring 90s of the Indian cinescape, with the old school glam of electric guitars and synths. This thumping track is followed by Sampadan 31 which is reminiscent of Chicago house but with Todh Teri’s classic Indian touch. Next up is Sampadan 32, with a simple yet funky bassline and juicy vocals that make you travel back in time to a golden era, making it quite an enticing vibe. Find solace with Sampadan 33, the final track on the record, a quintessential dub version of another classic that will make your head bob and drift you off to a safe & happy place.All in all, this record is wholesome as it has something for each and every listener with a brilliant illustration by Costanza Chandra in collaboration with Masala
Movement

Francesco Cavaliere and Tomoko Sauvage embody a tactile audio visual display, radiating the color green into sounds and painting meditative music. By transforming collected objects into invented instruments and scenography, each motif becomes a dedication to a specific situation, an anecdote or a symbol, sometimes real and other times absurd, that the artists have encountered through their travels and conversations: the Chinese myth about a man wearing a green hat, naming convention of Japanese traffic lights, or even the imaginary chants of frolicking twin dolphins. This inspired the duo’s personal research on experimenting with raw and synthesized idiophones, stage landscape design, spontaneous field recording and organized improvisation.

For their installation and performance, Cavaliere and Sauvage assemble a green cabinet of curiosities - instrumentarium combining water, glass, clay, bamboo xylophones, metallophones and synthesizers. Tomoko describes in an interview: “When you are actually surrounded by green musical instruments, it has a calming effect as if you were looking at a forest or mountain.” Surrounding themselves with amulets and fluorescent fluids, the duo transcend into a musical imagination that connects scores, choreography and sculpture. Motions like crisscrossing the stage, feeling the presence of a perfectly plump leaf as it strikes a glass bowl, minerals slipping through fingers, all resonate to the soothing sounds of splashing water. There’s an intuitive yet methodical nature to this conceptual approach to composition reminiscent of the fluxus art movement. The pair’s initial motif was to play Henning Christiansen’s Green Music, whose score turned to be nonexistent. By then, their green dream was already flourishing in their mind, retracing the path of so-called environmental music from Walter Tilgner, Knud Viktor, to the likes of Kankyo-Ongaku and Hiroshi Yoshimura.

Since there is a strong visual element to their work, witnessing this captivating site specific performance may be imperative in understanding the range and influence of the color green and the impact on the sounds they create together. On ‘Viridescens’, the first release by Cavaliere and Sauvage, we are invited to experience these recordings in a more musical context. Acting like an intermediary, the duo transport us to their special planet, enlivened by animal voices, wind, and aquatic creatures dancing across a luminous aurora.

Matt Berry’s second album for Acid Jazz was the
astounding ‘Kill The Wolf’. Building on and
expanding on the sound of his label debut, it mixed
baroque folk with psychedelia.
Containing the well-received single ‘Medicine’, the
ruralistic ‘Gather Up’, as featured in ‘What We Do
In The Shadows’, and the nine minute ‘Solstice’, as
championed by BBC Radio 6 Music.
This is the album’s first reissue on vinyl and comes
as a reproduction of the rare gatefold issue,
complete with insert, this time pressed on bottle
green vinyl.

It may be his fifth album, but Saturday Night, Sunday Morning marks the start of chapter two for Jake Bugg. Arguably his most complete and coherent record to date, Saturday Night, Sunday Morning manages to combine a love of ABBA, the Beach Boys, Supertramp and the Bee Gees, with a contemporary pop sound: one that’s already spawned his most ubiquitous song in years via euphoric lead single, All I Need. “I knew what I was looking for this time around,” the 27-year-old says, firmly. “And I feel like I accomplished it.” It’s almost 10 years since a two-fingered Bugg burst onto the scene with his eponymous debut, one that topped the UK album charts and saw the then 18-year-old from Nottingham fêted as the next Bob Dylan. A Rick Rubin-produced follow up, Shangri La, quickly followed. But progress stalled with Bugg’s third, largely self-produced, record, On My One, in 2016. “I was having a hard time on that third record,” Bugg admits, five years removed. “The support from the industry wasn’t what it was. All those people telling you how great you are weren’t there anymore. It does feel like the rug’s been swept from under your feet.” What that record provided, however – along with its comparatively stripped-back follow up, Hearts That Strain (2017) – was a much-needed course corrector: one that set Bugg on the upward trajectory he finds himself on today. “When I came to terms with that was when I left the ego at the door,” he says. “It didn’t work out. But it led here. And this is probably my strongest record." It’s testament to Bugg’s rediscovered confidence that Saturday Night, Sunday Morning – a nod to the debut novel by Nottingham author Alan Sillitoe – sees him working with some of his highest profile collaborators to date, most notably American songwriters Andrew Watt and Ali Tamposi, best known for their work with pop heavyweights Post Malone, Dua Lipa, Miley Cyrus, Camila Cabello. “I was looking for how I can incorporate my sound for a more modern era. And I kind of struck gold working with Andrew Watt and Ali Tamposi,” Bugg says. Convening in LA, the first track the trio wrote together is the jealousy-inflected About Last Night, a song about the “insecurities you go through as a young person in a relationship with someone.” “It’s got such dark undertones, which I love,” Bugg says, of a song that showcases a newly discovered, Beach Boys-esque falsetto. “But it’s also very, very pop. That’s what I’ve always loved. With ABBA, with Supertramp. I love pop music. But when you can get it to be dark, I love it even more.” It’s a trick the trio repeated again on Scene, Bugg’s personal favourite from the album and a song that best encapsulates the combination of old and new: Watt’s George Harrison-esquire guitar brushing up against contemporary melodic choices by Tamposi. “I love writing with her,” Bugg says of the Havana hitmaker. “She brought that women’s perspective. And I knew that I’d got that balance of what I wanted. That old school chorus with contemporary verses. That to me was my favourite song when I wrote it, and it still is.” Perhaps the biggest example of Bugg’s newfound ego-less approach to writing, however, came in the shape of Downtown, a song that grew from an idea by Jamie Hartman (Celeste, Lewis Capaldi, Rag'n'Bone Man), and sees Bugg deploy the higher range of his voice to ethereal, ’60s Bee Gees effect. “Usually, the initial spark of an idea comes from me. And when it doesn't, it sometimes loses my attention,” Bugg admits. On Downtown, however, he relished his role as arranger: “Because there were a lot of moving parts and chords, it was almost like a puzzle,” he says. “I’d never approached a song like that before. “What I’ve been enjoying on this record is the collaborative process,” he continues. Working with people, writing with people. Because I’ve realised all I really want to achieve is to be the best writer I can possibly be. And I think by working with other people, it allows you to learn a lot as well.” It’s a theory Bugg has put to the test during lockdown, when he was approached by his manager about writing the soundtrack to an upcoming documentary, The Happiest Man In The World, about Brazilian footballer Ronaldinho. “It’s kind of a completely different experimental outlet,” Bugg explains of his first ever score. “I approach my own work quite professionally. But with this I can just switch off and go into a different world. And it’s been brilliant – I’ve had to learn different styles of guitar: bossa nova, samba. It’s a bit Vangelis, who’s probably my favourite artist – which may surprise people.” Possibly. But you get the impression that surprising is what Bugg likes to do. “I don’t like to be stuck doing the same thing,” he admits. “And that’s what this record Saturday Night, Sunday Morning was. I wanted to push myself. I’m always learning new influences. I’m careful not to get stuck on the same thing. “It’s not going to be right every time. It’s not going to be good every time,” he continues. “But if that’s the process it takes to get to this record, where people are loving the songs again, then that’s the journey we have to take.” For Jake Bugg, chapter two starts now. New album ‘Saturday Night, Sunday Morning’ is out August 20th on RCA Records

Dutch symphonic metal band Delain released their third studio album We Are the Others in 2012 to positive reviews from music critics. The album title was inspired by the murder of 20-year-old Sophie Lancaster, whose murder was likely a hate crime due to her being part of the goth subculture. The album spawned two single releases: “Get The Devil Out of Me” and the title track, for which the band shot a music video that included many well-known people from the metal scene, including George Oosthoek, Sharon den Adel, Robert Westerholt and Rob van der Loo. The album features guest contributions by the likes of Burton C. Bell (Fear Factory) and Marko Hietala (Nightwish) and was produced by Jacob Hellner (aka Tripod), who is best known for producing most of Rammstein’s albums.

Inspired by the Golden Age of Hollywood but grounded in East London
culture sees Eloise release ‘Somewhere In-Between’ - her debut physical
release - and the follow up to critically acclaimed EP ‘This Thing Called
Living’, released in the summer of 2019.
Eloise has already managed to accumulate over 25M streams; 100K fans across
her social media channels, perform more than 100 live shows, as well as receiving kudos from Billie Eilish for her lyricism and songwriting.
“Somewhere In-Between is my love letter to love and its woes. It’s mainly a
collection of songs that I wrote from a place of hindsight, reflection and acceptance. A lot of the themes of this body of work are of longing and aching for
yesterdays and its possibilities.
I think that the different shades and angles of romance aren’t often enough
explored. We so often hear songs about the hurt or the lust and I know when
I’ve been heartbroken in the past, I didn’t feel like there was enough music that
represented the specific types of things I was feeling.
That’s why I wanted to write these songs. I want people who hear them to feel
heard. I want people to know that love is so messy and we don’t always get
it right and that’s okay. We are all humans without a clue, trying to navigate
staying happy and alive... And if you’re lucky, love is what happens in between.
The world is filled with love songs and we might not need anymore but love
and I have been going steady for 21 years now and it will probably always be
my muse.”

Colin Hay first emerged as songwriter/vocalist for hitmakers Men at Work
before establishing himself as a solo artist.
But his love for music was born in his native Scotland while working at his parents’ record store and hearing the hits of the day.
At home during quarantine in 2021 Hay was moved to record some of his favorites from that period. From the Kinks’ “Waterloo Sunset” to Faces’ “Ooh La
La” and Dusty Springfield’s “I Just Don’t Know What to Do with Myself”, Hay
delivers a set a lushly reimagined classics that showcase both his talent for
interpreting songs and his iconic vocals.

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.

After taking some time off due to the pandemic, Moteur Ville Musique fires up its engine and delivers a roaring vinyl only release just in time for summer.

Side A kicks off with a sensational remix by Mike Shannon as he takes us on a journey of grinding psychedelic funk. The Mole switches it up and delivers a chuggy groover that is strictly for the heads, if you know what I mean.

Side B begins with a deep, hypnotic, psychedelic remix by New York phenoms J Gabriel and Chuffy Buffy. And closing things off, Detroit hometown heroes Ataxia kick in to overdrive with a true techno banger with their Re-dub that screams warehouse rave! The sound of summer is here!

Originally released on cassette by Good Person Recordings in 2016, Impressive Almanac is the culmination of Dan Shaw's bedroom experiments making minimalist post-punk. The entire album was tracked by himself at home shortly after moving from Seattle to his hometown of Holyoke, Massachusetts. Dan did not yet have any backing band at the time. The album shines with his raw and unfettered creativity, repetitive DI'ed guitars, and disaffected yet deeply personal lyrics about the banality of modern life.

Shaw says of the record: "Sharing this tape with friends in the Western Mass DIY scene soon led to the formation of Landowner as a full band. Even though we're a real band now with a real drummer and everything, the drum machines and repetitive riffs of these songs still serve as an important reference point for the vibe we strive to attain in our music today."

The album was quite formative for Born Yesterday Records. Co-owner and now Deeper bass player Kevin Fairbairn met Dan at a show in Western Massachusetts. Dan gave him a cassette of Impressive Almanac. When Kevin returned from tour, he was eager to show it to me and I quickly became obsessed with it. A year or so later when we were discussing starting a record label, we both knew that Landowner had to be one of the bands we talked to first. This release will roughly mark the three year anniversary of Born Yesterday's first release, Landowner's Blatant.

After a period of spending time in nature living in the Spanish coastal town of Dexo - producer Roi speaks of his experience of returning to city life on his second EP for Fanzine Records on Crunia EP. Set to drop this summer, Roi shares two tightly honed original tracks inviting Carl Finlow and The Exaltics to remix.

The EP is a counterpoint to Deixo EP - his 2019 EP on Fanzine that speaks from his opposite perspective of the self-knowledge born out of his isolation when he first moved to the coast out of the city. Crunia marks his time preparing the return to the jungle of the asphalt.

It's a new chapter moving from an introverted to extroverted existence and between nature and man's constructs in the city. Opening the EP Maianca works in deep breakbeats with shimmering synths with a jumping and uplifting feel. Carl Finlow's remix builds it into an ultra-funky electro boogie number that perfectly speaks of the carefree existence of living in nature.


Crunia takes the EP into a more frantic corner of urban life - to light up dark corners gritty warehouse dance floors. For their remix The Exaltics take's Roi's heavy handed lead and brings a heavily kicking version of Crunia to the mix ready to pump the city's sound systems.

Fanzine Records is part of Fanzine Project - promoters and educators based in A Coruna, Spain. They focus on developing and supporting local artists through Fanzine Records, Fanzine Fest and Fanzine School.

DE’WAYNE has one goal and that is simply to take
over the world.
Starting in Houston and moving to Los Angeles,
DE’WAYNE is an alternative artist who is just as
inspired by punk acts like The Stooges as he is
hip-hop artists like Andre 3000.
DE’WAYNE’s debut album, ‘STAINS’, covers
personal topics like sex, politics and his pride and
struggles growing up as a black man in the United
States.
Recently DE’WAYNE has received airplay on radio
stations such as Sirius XM Alt Nation, KROQ,
WRFF, WNYL and more, as well as being covered
by publications like MTV, Hot Topic, Alternative
Press and NME.
DE’WAYNE has also recently been featured on
singles by Waterparks, Anti-Flag, Point North,
Masego and more.
For fans of Waterparks, Yungblud, Grandson.
LP pressed on red vinyl.

In James McMurtry’s new effort, ‘The Horses and
the Hounds’, the acclaimed songwriter backs
personal narratives with effortless elegance
(‘Canola Fields’) and endless energy (‘If It Don’t
Bleed’).
This first collection in seven years spotlights a
seasoned tunesmith in peak form as he turns
toward reflection (‘Vaquero’) and revelation (closer
‘Blackberry Winter’). Familiar foundations guide
the journey. “There’s a definite Los Angeles vibe to
this record,” McMurtry says. “The ghost of Warren
Zevon seems to be stomping around among the
guitar tracks. Don’t know how he got in there. He
never signed on for work for hire.”
‘The Horses and the Hounds’ is a reunion of sorts.
McMurtry recorded the new album with legendary
producer Ross Hogarth (Ozzy Osbourne, John
Fogerty, Van Halen, Keb’ Mo’) at Jackson
Browne’s Groovemaster’s in Santa Monica,
California. Hogarth recorded McMurtry’s first two
albums - ‘Too Long in the Wasteland’ and
‘Candyland’ - and later mixed McMurtry’s first selfproduced album, ‘Saint Mary of the Woods’.
Another veteran of those three releases, guitarist
David Grissom (Joe Ely, John Mellencamp, Dixie
Chicks), returns with some of his finest work.

The hit Netflix show ‘The Umbrella Academy’
returns along with another outstanding score from
Jeff Russo and Perrine Virgile.
Based on the comic book series by Gerrard Way of
My Chemical Romance.
Pressed on Black/White split coloured vinyl.

Maybe We Never Die, Anderson East's third release for Elektra/Low Country Sound takes the Alabama born, Nashville-based singer-songwriter’s seductively vintage voice in a decidedly fresh direction. The 12 tracks flow together with an overarching sense of ambience but maintain distinct musical boundaries. The energy toggles between a hunger for vulnerability in togetherness and a clinging to solitude as a romantic self-defense. There is consternation with the speed and volume at which the world operates and solace to be found in the simple act of getting up and going. And the beguiling title track, with its woozy strings swirling around East’s celestial falsetto as it curls towards the ceiling like smoke is, as they say, a whole mood; a sense of a single night’s dusk-to-sunrise contemplation. Collaborating once again with Dave Cobb along with longtime bandleader and now co-producer Philip Towns, East has found an enticing new avenue, one that maintains a connection to his past but keeps his eyes on the road ahead.

Maybe We Never Die is East's first new music since 2018's breakthrough album, Encore, which featured the Grammy-nominated #1 AAA radio single, "All On My Mind." Heralded by critics, The New York Times praised Encore as, “…an often lustrous revisiting of raucous Southern soul, rousingly delivered and pinpoint precise. He has a voice full of extremely careful scrape and crunch, but his howls never feel unhinged," while Rolling Stone declared, “On Encore, East’s influences meld seamlessly, stacking the album with Stax-worthy R&B grooves, gospel-blues ooohs and aaahs, surging keys and blasting brass.” Known for his magnetic live performances, East and his band have performed sold-out shows worldwide and have been featured on ABC's "Jimmy Kimmel Live!," CBS' "The Late Show with Stephen Colbert" and "CBS This Morning Saturday," NBC's "TODAY" and "Late Night with Seth Meyers," PBS' "Austin City Limits" and more.

Type O Negative is an American goth-metal band formed in Brooklyn in 1989 by Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly. Slow, Deep and Hard is their debut studio album, released in 1991 on Roadrunner Records. The album, originally titled None More Negative and released in 1990 under the group’s former name Repulsion, launched the band’s career. The album has a rawness that was prominent in Peter Steele’s previous band, Carnivore, but it incorporates elements that became standard for Type O Negative, merging styles including doom metal, gothic rock, new wave and industrial music.
Slow, Deep and Hard is a semi-autobiographical album with heavy amounts of black humour, based on a failed relationship in which the vocalist/bass guitarist Peter Steele was involved. In keeping with the band’s notable humour, the album’s cover artwork is a blurred image of sexual penetration. According to guitarist Kenny Hickey, Steele based a riff of “Gravitational Constant: G = 6.67 x 10 – 8 cm – 3 gm – 1 sec – 2” (later known as “Gravity”) from the theme song of the 1964 American sitcom The Munsters. For the 30th anniversary of Slow, Deep and Hard, Roadrunner Records in conjunction with Run Out Groove, is reissuing the debut on vinyl in all it’s remastered glory.

This is the first official re-release on vinyl under licensed courtesy of BMG Rights Management,UK, remastered from an original master copy out of the vaults of BMG, originally released in 1972 on Bronze Records.

Co-founder of Colosseum in 1968 with Jon Hiseman, he knew from his Jazz Club years as drummer for Georgie Fame, Dick ran through this group's hectic recording and touring schedule for over 3 years until November 1971, when it disbanded.

In his late 30s at that time, on top of his musical shape, he moved on to start recording on his first solo project, with material left over from Colosseum days (written by D. H.-S., Clem Clempson and Jon Hisemann) and new material jointly composed with well-known lyricist Pete Brown. He recruited the help of Colosseum mates, Hiseman, keyboardist Dave Greenslade and vocalist/bass player Mark Clarke, plus the brilliant ex-Elton John group Caleb Quaye (Hookfoot) on guitars and Rob Tait (ARC, Battered Ornaments) on drums; old pal G. Bond is featured providing remarkable moog work on 'Pirate's Dream', funky organ on 'Moses In The Bullrushourses' and sharing piano duties with Gordon Beck (G.B. Trio, Nucleus) on 'What The Morning Was After'; Paul Williams (Juicy Lucy) gets the lion share of vocal duties, and Chris Farlowe and Chris Spedding (Nucleus, Battered Ornaments) have respectively a sole vocal and a guitar spot on 'Pirate's Dream'.

The album track by track:
Side one starts with 'Future Song', the track that really rises above the other tracks here. The guitar, vocals (by Mark Carke) and sax are great on this one. Killer sax 2 minutes during an excellent instrumental interlude. H.-S. sounds slightly eastern-influenced on his outstanding sax lines. Such an uplifting track with it's repetitive riff and hard, driving sound! Next is 'Crabs', starting off in a mellow way with Greenslade's piano and reserved vocals as the sax joins in followed by guitar and drums as it builds. Irresistable! Great vocals by Paul Williams. One could easily imagine both tracks on a Colosseum album. 'Moses In The Bullrushourses' is uptempo, owing just as much to jazz, blues and hard rock. Great groove! Lots of organ here to send shivers down your spine and perfect guitar playing. 'What The Morning Was After' opens with some sax excursions as the drums help out. Acoustic guitar by Quaye and powerful vocals by Paul Williams take over as the piano joins in. Our second favourite tune on here after the opener. A folky song really until it picks up half-way through.

Side 2 opens with the 11 minutes 'Pirate's Dream', with Farlowe on vocals and Spedding's initial rock blues riff, but soon evolving to a complex multi parted composition in the best spirit of Valentyne Suite, driven by Hiseman multi faceted drumming. D. H.-S. twin saxes soar on a calmer mid section with Spedding doubling the licks and the bass grumbling relentlessly behind; it slowly gains speed with moog, sax and vocalizations duelling and answering each others with dazzling, demanding and inspired phrasings on top a thundering rhythm section; after the lyrics resume it evolves into a majestic, grandiose finale. A bluesy clean guitar lick opens 'Same Old Thing', a swinging, calm heavily modulated twisted blues, with a punchy rhythm section, a soulful Williams on vocal, Quaye delivering an inspired sparkling solo and D. H.-S.'s sensitive fat sax enhanced with some double tracking on the solo part. A great ending to a great album.

Album comes with the reproduction of original gatefold cover sleeve, additional cover-sized insert with band story, lyrics and photos. A highlight! Highly recommended!

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.

Kate Taylor, of the renowned musical clan that includes brothers James,
Livingston, Alex and Hugh, is releasing ‘Why Wait!’.
The album reunites her with many of the key players who backed her on her
1971 debut, ‘Sister Kate’, including renowned session musicians Russ Kunkel,
Danny Kortchmar, and Leland Sklar.Produced by GRAMMY Award-winning music veteran Peter Asher, who was also at the helm for the ‘Sister Kate’ sessions,
‘Why Wait!’ marks the 50th anniversary of ‘Sister Kate’, which launched her
music career.
James Taylor told Rolling Stone: “For Kate to be doing this with Peter, and that
both of them have this life experience that brings them back together, it’s really
a moving thing. I think it’s so great that Kate will have this next iteration, you
know, this next chance for people to hear her and pick up on her.”

DIE NEUE ZEIT

Old time? New time!

And of course an exciting time - and thus time for DIE NEUE ZEIT and their eponymous high-speed statement "WIR SIND DIE NEUE ZEIT"!

But who is behind DIE NEUE ZEIT? We simply don't know! And we don't want to know. What we know is that these two daredevils race through their theme tune with sheer intensity - there simply is no stopping them - and you better don't - because when that cow bell gets loose … heaven forbid!

For extra extensive play of "WIR SIND DIE NEUE ZEIT" we strongly advise to make good use of the vocal AND the instrumental version playing both back and forth until all dancers surrender to the rhythms of DIE NEUE ZEIT.

Now tanz' die neue Zeit und geh' in die Knie und klatsch in die Hände, beweg' Deine Hüfte! The new time has come!

`Barn Breaks vol III', presented by Owlvaro & Hugu, is the latest installment of oddball samples and loops from your favorite globe-trotting Texan trio, and is perfect for ant portablist scratch jam or 7" DJ set... The latest in the series, this "skipless" 7" contains scratch samples from "Mordechai" - band hits, isolated basslines & vocals, guitar notes, keyboard stabs and drum loops - as well as custom "ahhhh" & "fressshh" sounds. Do you know? Here we go!

LTD. BLUE SEAGLASS WAVE TRANSLUCENT VINYL

Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." Dorian Lynskey May 2021

DEBORAH JORDAN is back! The long awaited followup to 2010’s “WHAT YOU SEE". This album of soulful phuture soul and R&B is being hailed as an “Instant future classic". Hauntingly beautiful, her most heartfelt and emotionally charged album to date. Help from K15, MARC RAPSON and SIMON S.

’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

Dj Ham (aka Hamilton) is a Kniteforce original artist, one of the ones who were there from the beginning and were part of the original success of the Kniteforce label as a whole. His classic work includes Most Uplifting and Let Yourself Go, the second of which gets a huge remix on this EP! But that’s the last track on the EP, because as good as it is, it is eclipsed by Dj Hams new work. Give It To Em contains all the elements you would expect – an old skool sound, sure, but innovation and trickery to stun and amaze while forcing the dancefloor to explode. Likewise, Noise Up grabs you by the ears and will not let go until its had its wicked way with you. A big EP from a big artist, not to be missed….

Flunk is a quartet from Oslo making downbeat acoustic music. From their debut in 2002, they have built a steady following around the world. They have about 55K followers on Spotify, with the top 5 countries being USA, Turkey, Germany, UK and Poland. Flunk is known for their downbeat version of New Order's Blue Monday (their best selling track by far).

Flunk is now building up towards their next album, their seventh ordinary album. They released two digital singles in the autumn of 2020, and three more are out or planned winter/spring as a buld-up towards the album. The singles are pushed by targeted pre- and post-release world wide promotion in social media. The album will be markeded the same way. Their new album will be out on digital, vinyl and CD. The album patches together trademark elements of soul-healing downtempo electronics and naive pop, infused in Nordic mystique and faded Americana tropes.

Concentric Records presents Radiant, the third compilation of its introductory release trilogy. Featuring music by ASWA, HOLOVR, Max Loderbauer, Petre Inspirescu, Supply, The Waves, William Selman, the album evokes luminous, iridescent and ethereal sonic spaces - a journey that overcomes struggles, spinning upward towards the light.

The album opens with calm, bright and assertive tonalities, evoking mental spaces prone to exploration and wondering. Molecular textures and real-world sounds bring us closer to an intimate and physical sphere, a voice. Ultimately everything dissolves into a synthetic domain of acid-like washes, in a cinematic sense of departure.

MAX LODERBAUER has been an active engineer, producer, and musician across four decades. He first came to notice in the late ‘80s as a member of Fischerman’s Friend. Known then as Daimler Max, Loderbauer’s associates included Stephan Fischer and Tom Thiel, as well as producer Thomas Fehlmann. Once the group went dormant, Loderbauer and Thiel established Sun Electric; one of the leading sources of entrancing downtempo and ambient techno through the ‘90s. During the 2000s and 2010s, Loderbauer collaborated in numerous settings, including NSI with Tobias Freund, Chica & the Folder with Paula Schopf, and Moritz von Oswald Trio with Vladislav Delay and Moritz von Oswald. Loderbauer was partly responsible for some of the most progressive and experimental electronic music released during these years. In 2011, he and contemporary Ricardo Villalobos assembled Re: ECM, a project that involved radical transformations of ECM label recordings by the likes of Bennie Maupin, Christian Wallumrød, John Abercrombie, and Arvo Pärt. More recently he consolidated the collaboration with Ricardo Villalobos via the Vilod project, and with Samuel Rohrer and Claudio Puntin as Ambiq - both described as ‘a fertile patch of inspiration, shaking up the principles of minimal techno with the loose, expressive qualities of jazz’. The album opening track - ‘Harmonic’ - feels like a glowing dream. Composed of stunning electronics in a polychromatic, blinding and shimmering light; harmonious interwoven melodies calmly wind down invoking a serene mental state and grounding peace.

WILLIAM SELMAN was the very first artist ever approached by Concentric Records prior to the label’s birth, back in 2018, following his defining release ‘Musica Enterrada’. A musician and multimedia artist currently based in Portland, Oregon, his work employs analogue and digital synthesis techniques, live percussion and instrumentation, and his own rich field recordings to create compositions and sound art focused on the ideas of place and environment. Selman's recent works have been released on Mysteries of the Deep and Hausu Mountain.

PETRE INSPIRESCU is an extremely versatile composer. As co-founder of the legendary RPR Soundsystem together with Rhadoo and Raresh, he mostly produced club-ready, heavily textured takes on tech-house and minimal techno. In 2015 he released his first album on Mule Musiq, considered a significant departure from his previous work, scoring piano, strings and woodwind instruments for the first time, resulting in a set that sat somewhere between ambient and neo-classical. Since then, he continued to explore further sonic territories, adding in vintage synthesizers and occasional nods to dub techno, resulting in melodious sequences of musical movements that relate to the work of classical composers, American minimalists and ambient legends. ‘The Garden’ is a dreamy, intimate and nature inspired composition, recorded in his home studio in Ibiza sometime in the Summer.

DJ and producer SUPPLY (youngest so far on the label) was born and raised in Gießen, within sight of the skyscrapers of Frankfurt am Main, and has been living in Berlin since 2017. Musically socialised through hip hop, he found his connection to electronic music produced in Chicago and Detroit in the 90s by moving to FFM in 2013. For almost 6 years he has hosted his own events in his hometown. His productions connect the dots between hip hop, retro futuristic movie soundtracks and techno, he recently released on YAY Recordings. ‘Inhale / Exhale’ was created during a time of stress and mental tension, partly self-inflicted, partly result of my surroundings, as it turned out in retrospect. The track tries to capture a moment of taking a deep breath by releasing that tension for a moment. I came up with the first sketch one night around 4am, the final arrangement found its way onto a C60 Chromoxid Cassette - inhale - exhale.’ - Supply

THE WAVES is a post-punk and synthwave-inspired project led by Maayan Nidam, that places her vocals at its front and centre. As a musician obsessed with sound and the technology behind its creation, her workflow places a strong focus on the studio environment. Triggering chain reactions between guitar pedals, drum machines, modular synths and acoustic instruments, generating sounds in unpredictable ways. Drum machines keep a steady groove as to give support to an array of guitars and synthesisers, all topped with The Waves own, mostly unmasked, lyrics and voice. ‘Hold On’ was written by Maayan during the 2020 pandemic as she dived deeply in studio work in Berlin. Her lyrics are featured as part of the art print insert, and have became a central statement to the LP and its narrative - the power to hold on and break through.

Jimmy Billingham's HOLOVR project has racked up various releases on some of the most forward-thinking electronic music labels over the past few years, including Firecracker Recordings, Likemind, Further Records, Opal Tapes and his own Indole Records. Though best known for melodic, drifting acid techno and electronica, he's equally at home crafting textured ambient soundscapes. HOLOVR's deeply emotional synth passages and pads will take you on a journey into the outer. 'Melancholy of Time came out of a period exploring ways of producing and recording outside of the grid-based structures that I was previously working with. I wanted to strip it back to what I often find to be the emotional core of a piece of electronic music - ebbing and flowing synth pads - but to push and pull it a bit to create a slight disjointedness, unpredictability and shop-worn texture, as if it's coming apart and fraying, yet retaining a sonic clarity. I recorded it live using looped and layered synth phrases, underpinned by a layer of hiss and pin-prick textures. I find reflections on time and its passing to be a recurrent feature of my work, both in a more straightforward way of harking back to music of a certain period or pieces of equipment but also in a more abstract sense of creating a feeling where time doesn't matter - a deep feeling of now; that escape that you find in music and other ecstatic experiences. Though of course we’re always in - and running out of - time, and hence the melancholy.’ - Jimmy Billingham

Hailing from the German underground scene, ASWA aka Attila Fidan has an intricate, hypnotic style of electro, techno and ambient. Coming from visual arts and not primarily a trained musician, Attila produces under various and multiple monikers: ‘I never really start out knowing which moniker the track will be made under’. Since 2017 he runs a boutique Berlin label named ‘Tape Archive’. ‘Dust Palace’ is a synthetic piece that resonates with a cinematic vastness, closing the LP in an uplifting tone that evokes new departures and new beginnings.