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Darkwave artist Harsh Symmetry returns with sophomore album "Imitation" via Fabrika Records. Los Angeles-based musician Julian Sharwarko has swiftly carved out a commanding presence with his darkwave project. Sharwarko's adeptness at bridging the gap between the past and present is palpable, as he seamlessly blends influences from genre titans such as Depeche Mode, The Cure, New Order, Echo and the Bunnymen, The Teardrop Explodes, and Human League, while also incorporating elements from contemporary acts like Twin Tribes and Boy Harsher. Harsh Symmetry's second album, "Imitation," spans the chasm of darkwave and synthpop, a world-weary modern album, warmed by the solid embrace of nostalgia. Astonishingly, the entire album was entirely recorded and performed by Shawarko, in a remarkably quick turnaround from his last year's critically acclaimed debut album, 2022's "Display Model." Releasing a new album every year during the 1980s was par for the course with bands like The Cure and Siouxsie and the Banshees, as well as other highly prolific bands such as his labelmates Lebanon Hanover, but this level of artistic output is rarely matched today. "A lot of the material was informed by isolation and struggling with the paradox of wanting to be original yet feeling like your entire identity is built on mimicry," he admits. "The album was recorded as I was preparing to move out of the city I grew up in, I guess that kind of nudged me to think about what I'm doing more, and the place my work might have in the world." That mindset led to a pleasant surprise during his recent tour, which he describes as a 'really interesting and exciting experience.' This year, Harsh Symmetry graced the stages of Wave Gotik Treffen and the Grey Scale Festival in Munich, to much audience acclaim, cementing the project's status as an essential artist in the international darkwave scene. Genre: Alternative / Post-punk / Darkwave

GAF are back!!! This time under their Estrella de la Muerte configuration and with a gateway musical behemoth double album into the cosmic unknown.
The prolific project, helmed by local Canarian anchorman Mladen Kurajica, dwells deep into esoteric rock genres and this time, they waste no time in plunging the listener into their brave new type of cosmic rock with a deeply influenced krautrock voyage of 70’s jamming and psychonautic exploration.
Recorded over three days in the cultural space of El Tanque, Santa Cruz de Tenerife, at the height of the covid pandemic of 2020 and during one of the hottest summers to date, the band entered the space with no plan in mind deciding instead to approach the recording sessions without any preconceived ideas or pre-composed songs. Clean out of external influences and ready to experiment they loaded in all their available gear, including an array of modular synths, in order to create a new approach to song writing and flesh out some ideas for a future album in situ. The very process of that search, through pure improvisation and jamming, became the album we’re presenting here.
No overdubs or subsequent edits were done, except for cutting some songs so that they could fit on the album. Almost 5 hours of recordings in total, finally reaching a 7 track, 69-minute double LP. All the reverb heard on the record is the natural reverb of El Tanque, a 16 second tail natural reverb recorded with several room mics at different locations in the venue. Eventually this became the first fully instrumental album by the Estrella de la Muerte configuration, with a line up of 7 musicians (Gaf y Estrella de la Muerte are normally a sextet).
Enter then, this inspired selection of psychedelically damaged tunes, 70’s space rock, psychoacoustics and Kosmishe inspired jamming. This is healing music for your mind altering journeys. The titled Pyramids here serving not only as a gateway to the cosmic unknown but also as an exploratory symbol of the bands willingness to freely embrace their subconscious inner flows into a cosmic collective. Ecstatic music for our times!

The only album to soundtrack both late-'70s Minneapolis lounges and a Travis Scott x Dior fashion show. Recorded in a host of living rooms with only a Fender Rhodes piano, a Donca Matic Mini Pops drum machine, and Senrick's wide-eyed, 20-year-old voice, the 1977 LP disappeared into the wild and joined the Wendigo in Minnesota lore. A provocative mix of marina soul, easy listening, and loner folk, Dreamin' is a sanguine sliver of the American private mind garden. Harsh winters coupled with a relative lack of interest amongst siblings allowed Chuck Senrick years of unfettered access to the family piano in their Farmington, Minnesota, home. Learning both by ear and by instruction, Senrick began gigging professionally at age 15, joining John Zimmer and the CR4 for a weekly rundown of Allman Brothers, Blind Faith, and Cream covers at the Sea Girt Inn in Lake Orchard. Tapping into James Taylor's pop-chart achievements in songwriting and enunciation, Senrick composed the bulk of the songs featured on Dreamin' before graduating from Farmington High School. At 20, Senrick migrated 30 miles north to the Twin Cities to pursue music full-time. Using borrowed equipment and borrowed living rooms, a string of informal recording sessions generated the quarter-inch tape for Dreamin'. "I didn't know how to do it," Senrick says about producing an album. "I just knew it could be done." Constructed with vocals, Fender Rhodes, and an assortment of rhythm presets on his Donca Matic Mini Pops drum machine, a mere 200 copies of the private-press masterpiece were stamped and sleeved and sold hand-to-hand at performances. Chuck's wife Lesli illustrated the album cover_a pen-to-paper portrait of her husband against the backdrop of the Minneapolis Skyline, she and their newborn son situated on a nearby knoll. Any plans for a re-press were quashed when producer Bruce W. Hansen lost the reels during a messy divorce. "I was a kid with big ideas and not much hope to do anything but play," Senrick said of the Dreamin' era. "It still amazes me that people are interested in it."

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

Part two of the DJ Phantasy Unreleased series. These tracks were discovered over the past few years on the DAT’s that Phantasy has had in storage since the early 90’s. These two tracks were recorded in 1993 at Jack Smooth’s studio and were engineered by Alex Reece.

Dark, moody and melodic – the trademark sound of DJ Phantasy around this time, drawing from the endless raves that he was playing in 1993. But in 1993 the scene and the sound was constantly advancing and tracks were sounding dated within a month or two, so they were not released back then. But now they sound fresh and futuristic and we at Vinyl Fanatiks are so lucky to be able to work alongside Liquid Wax to be able to share them for the first time.

Released in a high quality gloss Liquid Wax housebag and white inner sleeve.

Bar Musica's fourth EP is a fascinating one from Jesse Marcell with a remix by Pier Bucci. El Calvario De Los Indecisos opens up with intense minimal sounds, relentless drum and bass loops tying your mind in knots. All manner of dark and grubby sounds and effects scuttle across the groove and make this a late night head wrecker.

Pier Bucci then steps up to smooth things out and layer in some more soft and soulful late night chords. It flip the cut into a more dreamy number for trance inducing late night sets.

Last of all, Marcell offers La Fe' with it's high tempo drums, pressurised kicks and sweeping sense of minimal tech funk really getting you deep in the groove. This is a superb offering from this vital label.

Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This second in the series pays homage to the unique sound of the Mirage releases. The influence of these releases on the SD sound that followed has often been overlooked, principally because it was assumed that the ‘Mirage’ moniker was simply another pseudonym for Source Direct, when in actual fact it was a lethal combination of the powerful engineering and arrangement skills of Jim Baker (Source Direct) and the sound selection and co-production of Odysee’s founder, Tilla Kemal (T-Mirage).

Face In The Shadows immediately opens with that slightly darker feel, with tracks like Feel My Dreams and Stonekiller in mind. The trademark SD style of break switches (aptly named ‘call & response) are immediately evident, although the Funky Mule gives the track its primary momentum. The sound selection is eerie, focusing on the 70’s Film-Noire, and deep Electro in line with Tilla’s particular preferences. The spoken word quotes are also unmistakably ‘Mirage-esque.’

Regenesis is a classic Odysee B-side track; lighter, more experimental and Jazzy in it’s feel. It showcases intricate and crisp rolling break work, and a beautifully refined selection of real stand- out musical quotes; from the sweet R&B-esque vocal ad-libs to the lush 70’s style sleaze of the Rhodes rolls. The interaction of these elements is the glue that holds this tune together.

The Darkness Within is the final track of the E.P. and it is the arrangement of samples that really emulates the ‘Mirage’ sound. Tilla & Jim were very particular about grouping sounds to work with & answer each other in each section of a tune. Samples were often sourced from obscure Film OST’s or rare electro albums which had sample diggers scratching their heads for many years! This track is dubbed out deeper, with a punching & rolling Soulpride features as the hero break and a repetitive deep chord stab forming the foundation of the tune.

Look out for the final instalment Volume III, where we will be focusing on the dystopian Jazz sound of the Hokusai releases!

UK house icon Mr. G makes his FUSE debut alongside longtime friend and collaborator Duncan Forbes, with the two partnering for their excellent ‘Time To Dip’ EP.

An artist truly regarded as one of UK house music’s greats, Colin McBean, aka Mr. G, stands today as an individual at the pinnacle of the genre as his trademark sound and legendary live sets continue to tantalise crowds across the globe. A special guest at FUSE’s final show at London’s iconic Printworks in March, the event that went on to influence the EP’s curation, the UK mainstay heads to Enzo Siragusa’s globally renowned imprint for the very first time this September as he delivers his ‘Time To Dip’ EP alongside longstanding friend and regular collaborator, Duncan Forbes. Friends for many years, having known one another since Forbes’ Animated project, their collaborations on Phoenix G and 49North and recent LP have seen the duo uncover a selection of high- quality cuts from across the house spectrum - and here they showcase their innate chemistry across four tracks loaded with quality.

“Gotta say, this EP really is born outta standing on the stage before my set at FUSE at Printworks and listening to what was being played. When I got back I said to D that I wanted do something based around what I had heard, never really thinking Enzo or FUSE would get it, but how wrong we were. It’s another fab meeting of minds with D, which makes this joint EP so different yet special... I feel it covers many different bases and tempos, a real gem. Looking forward to see what folk make of it.” - Mr. G.

Title track ‘Time To Dip’ is classy house music that packs a punch typical of that trademark sound we’ve come to know and love. It’s heavy and tough yet stripped back and unquestionably dancefloor focused, all softened by hooky female vocals and hazy textures. Duncan’s ‘Sherbert Dip’ mix highlights the vocal and brings it to the fore as shuffling drums and sweeping melodies build around the elements. The flip welcomes ‘All Night’, a delightfully vibrant track pairing rich rhodes, swirling leads and sharp hats with an abundance of subtle jazzy textures, before Forbes’ ‘In The Zone’ remix delivers an immersive, heady and dubby late-night voyage for a mesmerising final ride.

A former pizza delivery driver and now self-taught full-time musician, CRi first caught the attention of tastemaker press with early single ‘Rush’ and his subsequent ‘Someone Else’ EP. Not long after, he joined the Anjunadeep roster in 2019 and gained attention from the label fanbase, and radio titans Pete Tong, Annie Mac and Jason Bentley with his ‘Initial EP’.

His debut album ‘Juvenile’ exceeded expectations, being nominated for a number of awards, including Best Electronic Album at the JUNO Awards, and three separate titles at the 2021 ADISQ Awards, including Electronic Album of the Year and ‘Revelation’ of the Year, which CRi won. Since the release of ‘Juvenile’, CRi has released three singles, an EP and remixes for Bob Moses and Lane 8; become one of the first electronic acts to headline Montréal Jazz Festival to an audience of 45,000; and performed around the world once more, writing as he went.

Since the slower days of the pandemic lockdown, and Quebec’s tentative reopening of nightlife and music venues, CRi’s life has become much more fast-paced once again; a transformation that has been infused into every beat of his new album ‘Miracles’. The vinyl release of ‘Miracles’ comprises 14 tracks, including two standout prior singles, ‘Something About’ and ‘Losing My Mind’ (feat. Jesse Mac Cormack), which, combined, have already accumulated 10 million streams between them.

The other twelve tracks on ‘Miracles’ (including 3 bonus vinyl-only recordings) showcase Christophe’s signature warming synths, in addition to an impressively wide range of sounds, from drum and bass, to indie, from electronic and chillout, making this work his most expansive to date. After the album’s release, CRi will be heading on a live tour of North America, stopping off in seven cities, including Los Angeles, Denver, Toronto and, of course, his hometown of Montréal, where he’ll be headlining at iconic venue MTelus, which regularly plays host to indie-electronic stars, including, recently, Metronomy, Jungle, Monolink, Max Cooper and Amtrac, and is a perfect spot to celebrate his rise in this scene, before he takes his live tour to Europe in early 2024. ‘Miracles’ is out 22nd September, 2023.

Ted Milton and Graham Lewis return as Elegiac with their second release – a four track EP inch titled “Meet My Stalker”. The pair of idiosyncratic sonic stylists, bullish outsiders with a Dadaist's ear for unexpected rhythms and ear-catching turns of phrase return showcasing a new track – the title of the EP - along with three bass heavy dubbed out no wave versions of tracks from their self titled debut LP.

Ted Milton is a prolific poet, with several volumes under his belt, as well as an avant-garde puppeteer. Yet he's probably best known as vocalist/saxophonist with psycho-funk afro punk fake no-wave pogo jazz trio Blurt. Milton's group has produced an impressive string of albums, not to mention his numerous solo recordings.

Meanwhile, Edvard Graham Lewis has a history of strong solo releases, both under his own name and as He Said. And of course, as bassist, lyricist and sometime vocalist with post punk innovators Wire, he's been responsible for numerous landmark releases, from 1977's Pink Flag, to 2003's Send, to 2020's Mind Hive.

Arranged, like the album, by electronic composer and sound artist Sam Britton whose sure touch pieces all the elements together. Kicking off with a stripped down driving shortened version of “He Folds” with its eerie honking sax and kraut like pulsating bass the perfect complement to Milton’s chorus echoing throughout. “Boat” is another album track beefed up with Milton’s chants backed by layered percussive blasts and squawking sax. “Meet My Stalker” makes its first appearance here with its infectious snarling looped bassline and Milton’s refrain “It’s a wind up”. Closing out with another album highlight an elongated version of “Vancouver Slim” all synth bleeps and ricocheting grumbling sax and hypnotic vocals. Punchy, idiosyncratic, packed with melody and groove, this second release is the fascinating sound of an evolving Elegiac.

Founded by the visionary mind of Masedia, Lost In Sound ignited its vibrant inception in 2017 as an unparalleled recurring series of events pulsing through the veins of Stuttgart's underground scene in Southern Germany.

Now, Lost In Sound Recordings ascends to a new zenith, celebrating its very first release with a four-track EP crafted by renowned Italian DJ and producer Otis. Behold his Euphonia EP, a transcendent journey that weaves a tapestry of emotions and casts an indescribably radiant aura on hot nights. Prepare to surrender to the cascading waves of organic sounds that will unleash a flood of joyous hormones within you.

Otis' EP "Euphonia", a masterpiece of sonic fusion, seamlessly weaves powerful house bombs with captivating influences from electro, acid and trance. This sonic odyssey promises an unforgettable experience that defies categorization. Get ready for the upcoming arrival of LISR001.

Tighter is the reissue of the out-of-print debut album Tight by American electronic rock band Mindless Self Indulgence. Originally released in 1999, the album was given an expanded edition in 2011 but has been out of print for over a decade.

This vinyl reissue includes the original 15 tracks, as well as the 11 B-sides, including the songs "Bring the Pain," "Tornado," "I Hate Everyone," and the standout track "Molly." Marked by an eclectic range of influences and showcasing the band's signature sound, Tighter is both chaotic, offensive, and danceable, perfectly capturing Mindless Self Indulgence's early musical efforts.

The album is unapologetic in nature, which solidified Mindless Self Indulgence's reputation as one of the most innovative and boundary-pushing bands. Tighter remains a cult classic and a testament to the band's enduring influence.

Tighter is available as a limited edition of 2000 individually numbered copies on translucent magenta coloured vinyl and includes 2 printed innersleeves.

Hive Mind and Sing A Song Fighter are delighted to present to you their first collaborative release, the amazing solo guitar album from legendary Congolese guitarist Kahanga Dekula aka ”Vumbi”.

Swedish producer Karl-Jonas Winqvist (founder of Sing-A-Song Fighter and member of Senegalese/Swedish act Wau Wau Collectif) has been a longtime fan of Vumbi Dekula’s artistry which led to him releasing The Dekula Band's debut album ”Opika” in 2019 with the Dekula Band.

While watching the band perform was always a blast, says Karl Jonas, his desire to hear Vumbi play on his own, without the thunderous drums, wailing saxophones and chanting vocals grew in his mind, “Because, in a way, Vumbi’s guitar playing is like an orchestra on its own. And the idea of just concentrating on all the amazing riffs and beautiful, uplifting melodies was just so appealing”. Karl-Jonas proposed the idea of producing a solo album to Vumbi, and within a week the production process began

Recorded in two days during lockdown at the Helter Skelter Studios in Stockholm, Karl and Vumbi allowed the music to guide them. Vumbi was inspired to play 2nd guitar adding some harmonies and melodies here and there, and on the final track (”UN Forces Get Out of the DR of Congo”) he introduced a banjo into the world of ”Congo guitar”. Karl Jonas started up his old rhythm box machine to some of the songs to see how Vumbi and his playing would react to it. Elsewhere, wordless backing vocals from Karl-Jonas and Emma Nordenstam were added to Maamajacy, bass melodica by Karl-Jonas appears on Weekend, and a little piano tinkering from Emma adds some sparkle to Zuku. But clearly, Vumbi's virtuoso playing remains the star of Congo Guitar.'

These sonic stories emerged from a gathering of artists concerned with alternative uses of everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the Earth's orbit. It was a performative celebration of entangled audio-visual events that enabled us to learn once again how to tune in to a place: with our eyes, with our ears, with our minds. While listening to the record, I remember what it sounded like in the space. I remember monologues of chairs that were given voice, phones eavesdropping and speaking back to us, cassettes falling on the floor (intentionally): some visions unfolding in front of our very eyes and others in our minds. Try to imagine all that these short pieces might still contain. As Peter Fengler exclaims in his chorus: it will all work out. Just choose a bicycle, low on emissions and also better for the tummy and the legs! (Lucija Gregov)

SODOMISERY spinnen auf ihrem zweiten Album "Mazzaroth" ein dunkles lyrisches Garn über den Irrsinn der Gesellschaft, Religion und den Kampf des Individuums. Das schwedische Melodic Death Quartett unterstreicht seinen locker-konzeptionellen Ansatz mit einer bemerkenswerten musikalischen Entwicklung, die ihren ursprünglichen Sound, der auf der Kraft und Präzision des Death Metal basiert, um die rasende und kalte Aggression des Black Metal erweitert. SODOMISERY verleihen ihrem Sound durch den Einsatz von Keyboards eine zusätzliche dramatische Tiefe. Kein Wunder, denn die Schweden zählen DIMMU BORGIR, CRADLE OF FILTH und CHILDREN OF BODOM zu den wesentlichen Quellen ihrer Inspiration. SODOMISERY entstanden aus einem Studioprojekt des Stockholmer Gitarristen Harris Sopovic, der die Band mit Hilfe von NETHERBIRD-Frontmann Johan Fridell, Bassist Niklas Sandin (KATATONIA, LIK) und Schlagzeuger Pär Johansson, der für seine Arbeit mit CRAFT und DIABOLICAL bekannt ist, im Jahr 2015 ins Leben rief. Das Resultat war die gleichnamige 3-Track-EP "Sodomisery", die im Jahr 2017 digital erschien. Angespornt von dem massiven Lob für die EP rekrutierte Sopovic neue Mitglieder und beschloss, die Band unter dem Namen SODOMISERY weiterzuführen. Das Debütalbum "The Great Demise" (2020) lässt sich auch als bewusste Absichtserklärung interpretieren, dabei nicht blindlings in die riesigen, obgleich auch etwas abgenutzten Fußstapfen der legendären Stockholmer Death Metal Szene zu treten. Stattdessen bevorzugen die schwedischen Newcomer einen melodischeren und vielseitigeren Ansatz. In der Zeit zwischen ihren Anfängen und dem zweiten Album haben sich SODOMISERY massiv weiterentwickelt, wofür "Mazzaroth" der schlagende Beweis ist!

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Transparent-bernsteinfarbenes Vinyl, limitiert auf 100 Exemplare! Values Here ist eine neue Band, gegründet von Sängerin Chui und dem legendären Gitarristen John Porcelly (Youth Of Today, Shelter, Judge). Die Entstehungsgeschichte von Values Here ist lang: Chui und Porcell trafen sich zum ersten Mal vor Jahren bei einer Shelter-Show in Chuis' Heimatstadt Barcelona, Spanien. Sie führten ein eher scherzhaftes Gespräch über die Gründung einer Band und Chui hielt den Kontakt zu Porcell über die sozialen Medien, bis er ihr eines Tages während der Pandemie einige ungenutzte Demos schickte und sie am nächsten Tag mit "Will Be Tomorrow" zurückkam, komplett mit mehreren Gesangsspuren und Harmonien. Von da an verbrachten die beiden ein Jahr mit dem Schreiben von Songs und beschränkten sich auf das, was schließlich die dreizehn Tracks auf "Take Your Time, I'll Be Waiting" werden sollten. Das Album selbst ist optimistisch und hoffnungsvoll und vermittelt ein positives Mindset. Es gibt Tracks mit klassischem New York Hardcore-Einfluss wie das treffend betitelte "Bring Me The PMA" und solche, die sich in Pop-Rock-Gefilde wagen, wie "We Get Stronger". Durch die Produktion von Tom Soares (Judge, Shelter) und dem Mastering von Dave Kutch (Billie Eilish, The Weeknd) war die Band in der Lage, einen dynamischen Sound zu kreieren, der sowohl ins Radio passt als auch zum Herumspringen in einem Moshpit geeignet ist. Über die klangliche Ausrichtung sagt Porcell: "Personally I always like to push the envelope with every band and record I do. I never just want to live off of past accomplishments and recreate a sound I did with previous bands just because I know it will be immediately accepted. I'd rather push forward and always challenge myself to make newer and more interesting music. I knew Chui was an amazing singer so I wanted to write songs that would showcase her voice and harmonies. I'm a punk rocker at heart so I'll always make music that's energetic and rallies around a message, but for this record I wanted to go further into the melodic side of things." Eines ist sicher: Values Here kreieren hymnische, energiegeladene Songs zum Mitschreien und Tanzen, die sich an die positive, optimistische Perspektive anlehnen, die dem Hardcore-Punk überhaupt erst ein Gefühl von Gemeinschaft und Verbundenheit verliehen hat.

Kool Keith has long been hailed as hip-hop’s greatest eccentric. Over the course of a career stretching back to the mid-’80s, he’s perfected a singular style of abstract yet deadly precise rhyming that often focuses on subjects such as science fiction, hardcore pornography, and a distrust for the music industry. His sprawling discography includes numerous collaborations and aliases, with some of the most acclaimed including Dr. Octagon and Dr. Dooom, Black Elvis & Tashan Dorrsett. He began his career as the mind and mouth behind the Bronx-based Ultramagnetic MC’s, whose influential debut, Critical Beatdown, was released in 1988. Following the release of the band’s third album in 1993, Keith headed for the outer reaches of the stratosphere with a variety of solo projects. His lyrical thematics remained as free-flowing as they ever were with the N.Y.C. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who “water down the sound that comes from the ghetto”. Keith’s latest LP “Mr. Controller” entirely produced by Junkaz Lou is yet another work of art. No MC on the planet is so grimy and yet so polished — after years in the rap game, Kool Keith’s as unique as ever. TRACKLIST