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Days Of Speed is an acoustic, double live album featuring songs from across Paul’s career including The Jam classics; That’s Entertainment and Town Called Malice, The Style Council’s Headstart For Happiness and Down In The Seine and solo hits, You Do Something To Me and Wild Wood. Originally released in October 2001, charting at no. 3 in the UK, the initial double vinyl release was strictly limited and now sells for £250+ on the secondary market. The 2021 reissue features faithful original packaging replication & was cut at London’s Metropolis Studios.

NME: “Live acoustic brilliance from the master songsmith.” (4.5/5)

After a first volume released in September 2020 on Hard Fist, Argentinian Balam comes with “Chants of Pachamama (Part. 2)”, including a remix by Matias Aguayo.

This time Balam focuses on the experience around the ritual of magic plants that is practiced in the deep South-American rainforest. By mixing modular synth, stromping basslines, haunting vocals and real played percussions produced in his studio “Submarea” in Buenos AIres, he recreates a psychedelic trip from beginning to end.

The opening track “Yagé” is the name for a magic plant that can be found in many places in South America. With a tight djembe, the magician comes with his chants for starting the ceremony just before the bass bursts for a pagan dance. An irresistible lead synth takes the climax higher until the break where the magician enters the void and the psychedelic trip begins.

“El Curandero” – the chaman who leads the ritual – is the second tune of a frenetic organic and modular percussion bass driven dance stomper. Blazing synthesizers create a state of confusion and hallucinations when “el curandero” chants his icaros. The djembes and shakers move behind the heavy bassline while analog ding and dongs go crazy all over.

The second last track “Golfo”, just before the remix, is an instrumental tune, the end of the experience: heavy synthetic percussion, modular ambient sounds, a modal marimba and a very present djembe jamming until it fades in the analog night.

The closing track is a great reinterpretation of “Wakax” from “Chants of Pachamama (Part 1)” by the legend Matias Aguayo. A dark and heavy bass mixed with a tricky use of lots of the original elements makes you wanna twerk all night long.

Unter der Regie des Produzenten Chris Cohen und mit Gast-Beiträgen unter anderem von Buck Meek und Tenci, weben die organischen und doch akribischen Folk-Klanglandschaften und tief empfundenen Texte auf dem Debütalbum von Le Ren aus Montreal einen reichen musikalischen Wandteppich. Mit der Veröffentlichung ihrer Secretly Canadian EP "Morning & Melancholia" im Jahr 2020 hat sich Le Ren den Vergleich mit der Musikalität und den kargen, eloquenten Texten von John Prine und Neil Young verdient. Auf "Leftovers" zeigt sie uns die lebendige Tiefe ihres klanglichen und thematischen Spektrums und schreibt mit einer kühnen Klarheit, die sie zwischen klassischen Ikonen wie Joni Mitchell, Vashti Bunyan und Karen Dalton sowie einer neuen Klasse von Folk-Ausnahmekönnern wie Adrianne Lenker, Jessica Pratt und Laura Marling beheimatet. "Leftovers" präsentiert zu gleichen Teilen Melancholie, tiefe Liebe und Heiterkeit, um die Trauernden aufzumuntern, während es ein Patchwork aus persönlichen Liedern über verschiedene Beziehungen zusammennäht: die, die wir mit Müttern, Liebhabern und Freunden teilen. Auf "Leftovers" destilliert Le Ren jahrelanges Material zu zehn straff ausgeführten Tracks, die durch das schwelgerische Zupfen ihrer Gitarre und das kristallklare Timbre ihrer Stimme vereint werden. Im April 2021 traf sie sich mit Chris Cohen in einem gemieteten Haus in Portland, Oregon, wo sie warten mussten, bis ein Nachbarsjunge aufhörte, draußen Lärm zu machen, bevor sie aufnehmen konnten. Die musikalischen Gastbeiträge wurden anschließend hinzugefügt: Kori Miyanishi, Cedric Noel, Saltwater Hank (Jeremy Pahl), Eliza Niemi, Kaïa Kater, Aaron Goldstein, Buck Meek und Tenci (Jess Showman) nahmen ihre Parts separat in ganz Nordamerika auf.

Clive Nolan is a British musician, composer and producer who has played a prominent role in the recent development of progressive and symphonic rock. He has been a regular keyboard player in bands such as Pendragon, Arena, Shadowland, Strangers on a Train and Caamora. He is the lyricist and composer of numerous rock albums and musicals, including the Arena catalogue, a monumental rock opera "She" and two Victorian inspired Steampunk musicals, "Alchemy" and "King's Ransom". 'Song of the Wildlands' by Clive Nolan's is a secular oratorio with elements of rock, progressive rock, folk and classical music. The story is based on one of the oldest English poems "Beowulf", which is an account of life and heroic deeds by the mighty warrior protecting the land from the vicious monsters. The album was recorded during the 2020 pandemic and features vocalists and instrumentalists from the UK and Norway playing a variety of rock and Nordic folk instruments, as well as a 200-voice choir recorded distantly by singers from all over the world singing in Old English (Anglo-Saxon). 'Song of the Wildlands' is the biggest music venture from Clive Nolan so far.

Following on from the success of their last single ‘Always Happy’ Bristol punk trio Grandmas House return this October with the release of a debut self-titled EP. Leading with the single ‘Golden’ the band are back on furious form and excite us with the prospect of what they can deliver live. The band have an astounding 40 UK shows in 2020 including a tour supporting The Blinders, dates with Katy J Pearson and a headline tour in October to accompany the EP release. The band have also recently been announced to support IDLES at The Downs festival in September.

Grandmas House have had extensive radio play including Steve Lamacq and Jack Saunders both championing at BBC 6 Music and BBC Radio 1 respectively. The single also landed them in the Radio X Evening Playlist as well as Amazing Radio. Press accolades have come from DIY, Dork, Get In Her Ears, Punk News, BandCamp Daily, Hard of Hearing and many more.

Released via Sony CMG - the first time ever the original demos, which chart the birth of this iconic album, are being released in October 2021. Across 2 LP vinyl set, 'Demodelica' will take fans on the journey of the creation of the album, through demos and work in progress mixes, allowing them an insight into the creative process that went into the finished album. Will also be released on a 16 song CD (and digitally) and will feature liner notes from acclaimed British music journalist and cultural historian Jon Savage. Marketing activity across all media outlets.

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

Reinvigorated and revitalized, REAPING ASMODEIA are back and set to leave their mark on 2021 with their third full length, Darkened Infinity - due for release via Prosthetic Records on October 15. The Minneapolis, Minnesota three-piece present twelve tracks of rhythmically acerbic modern technical death metal and thematically dauntless songwriting, weaving together a conceptual story of transcendence, consciousness and humanity’s ongoing struggle with the psychological self. Darkened Infinity sees REAPING ASMODEIA capitalize on a growing reverence within extreme metal circles for their off-kilter time signature changes and complex songwriting, thanks in no small part to Alexander Kelly (guitars) and Daniel Koppy (drums)’s blistering sonic camaraderie that make the foundations of the band’s assault. Replete with an inhumanly savage vocal performance across Darkened Infinity’s runtime from Steven Lane, the trio shine on apocalyptic album highlights False Awakening, Oneironautic Oblivion and Simulacra. Produced and engineered by the band themselves in Minneapolis before being mixed and mastered by Zack Ohren (Machine Head, All Shall Perish, Carnifex) at Castle Ultimate and Sharkbite Studios, Darkened Infinity’s intricate lead melodies unfurl with a menacing clarity when set against the album’s more abrasive tones.

No one combines death and black metal quite like Poland’s Hate . With unflinching viciousness and a sense of atmosphere unique to the band, on Rugia, their twelfth full-length, they push the boundaries of their craft even further. Writing for Rugia commenced shortly after Auric Gates of Veles was released. However, Hate soon began to tour extensively in support of their then new opus, and the production of new music was put on the back burner. But come 2020 and the COVID pandemic, the band’s touring plans with Belphegor and Suffocation were abruptly cut short. With this unexpected infusion of free time, the band decided to buckle down and finish writing the material they were working on. .” The album title is taken from the archaic name of a German island on the Baltic Sea now called Rügen. In ancient times, Rügen or Rugia, was a site of holy pilgrimage to the pagan Slavic people. It was the very heart of the western Slavic faith, housing the fabled stronghold of Arkona. The album is at its core a tribute to Rugia and its tribes and the culture they created. The band elected to once again track the album in the Hertz Recording Studio in Poland, and it was recorded, mixed and mastered by the Wiesłaski Brothers (Behemoth, Decapitated).

Featuring Anthony Green of Circa Survive, Adam Lazzara and John Nolan of Taking Back Sunday and additional percussion from Benjamin Homola of Grouplove, Fuckin Whatever is a fluid project born of longtime friendships and late nights on the road, but what it could grow to become is entirely unwritten. It all started on the 2016 Taste Of Chaos tour. After Green wrapped his opening set with Saosin each night, itching to play more music, he started setting up impromptu acoustic gigs in the parking lots after his set. One night, his restless energy led to an impromptu backstage jam session with Lazzara, Nolan, Homola, and others––except there were no instruments involved. Using just their voices and a stomp or two in lieu of percussion... before they even realized it, Fuckin Whatever was born. They decided to start recording these nightly jam sessions on their phones, and by the end of the tour, there were literally dozens of recordings. There are some as long as 17-minutes, some recorded in bathrooms, and even one in the legendary tunnel between the stage and sound booth at Red Rocks Amphitheatre in Colorado. What they share in common is the camaraderie of the many talented voices (and sounds) involved. Fast forward to 2020––ugh. With a creative need to continue making and releasing music, Anthony approached the group about releasing some of those recordings. Feeling a similar restlessness, Nolan suggested they try making and recording something for real instead. "I'm Waiting On You" is what came next, and it's truly the spark that led to the rest of this EP coming together. There are zero instruments on Fuckin Whatever's self-titled debut. "It's pretty much 80% mouth noises and 20% Ben slapping things around the house," Lazzara explains. Those voices, however, are among some of the most recognizable in modern rock music, yet here they take on a new life. Call it a band, or a supergroup... it's Fuckin Whatever.

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

Unter der Regie des Produzenten Chris Cohen und mit Gast-Beiträgen unter anderem von Buck Meek und Tenci, weben die organischen und doch akribischen Folk-Klanglandschaften und tief empfundenen Texte auf dem Debütalbum von Le Ren aus Montreal einen reichen musikalischen Wandteppich. Mit der Veröffentlichung ihrer Secretly Canadian EP "Morning & Melancholia" im Jahr 2020 hat sich Le Ren den Vergleich mit der Musikalität und den kargen, eloquenten Texten von John Prine und Neil Young verdient. Auf "Leftovers" zeigt sie uns die lebendige Tiefe ihres klanglichen und thematischen Spektrums und schreibt mit einer kühnen Klarheit, die sie zwischen klassischen Ikonen wie Joni Mitchell, Vashti Bunyan und Karen Dalton sowie einer neuen Klasse von Folk-Ausnahmekönnern wie Adrianne Lenker, Jessica Pratt und Laura Marling beheimatet. "Leftovers" präsentiert zu gleichen Teilen Melancholie, tiefe Liebe und Heiterkeit, um die Trauernden aufzumuntern, während es ein Patchwork aus persönlichen Liedern über verschiedene Beziehungen zusammennäht: die, die wir mit Müttern, Liebhabern und Freunden teilen. Auf "Leftovers" destilliert Le Ren jahrelanges Material zu zehn straff ausgeführten Tracks, die durch das schwelgerische Zupfen ihrer Gitarre und das kristallklare Timbre ihrer Stimme vereint werden. Im April 2021 traf sie sich mit Chris Cohen in einem gemieteten Haus in Portland, Oregon, wo sie warten mussten, bis ein Nachbarsjunge aufhörte, draußen Lärm zu machen, bevor sie aufnehmen konnten. Die musikalischen Gastbeiträge wurden anschließend hinzugefügt: Kori Miyanishi, Cedric Noel, Saltwater Hank (Jeremy Pahl), Eliza Niemi, Kaïa Kater, Aaron Goldstein, Buck Meek und Tenci (Jess Showman) nahmen ihre Parts separat in ganz Nordamerika auf.

Cult American ambient label Past Inside The Present looks to New York City-based composer Christina Giannone for her new full length Glazed Vision, which is pressed to nice heavy 160 gram pink vinyl. This is her third full length following 202's The Faint and a collaborative work also last year, and it is another development of her dark, heavy, drone fulled ambient landscapes. These are lo-fi, foggy tracks that hang in mid air and make you feel like you're doing the same as only the most subtle of shapeshifting chords brings a sense of motion. It is bleak yet beautiful and never less than hugely absorbing.

Making her stage debut in April 2019 and selling out her first
headline show at London’s prestigious Southbank Centre less
than a year later, A.A. Williams hit the ground running. Similarly,
the acclaim for her performances and her music has been
unanimous from the start. After one self-titled EP and a
collaboration with Japanese post-rockers MONO, the Londonbased singer songwriter signed to Bella Union and released her
stunning debut album, ‘Forever Blue’, in July 2020.
 That Southbank show would prove to be the last time she would
take to the stage for a long while as the world struggled to cope
with unforeseen and extreme challenges. Never a musician to sit
still, the classically trained multi-instrumentalist focused her
creativity on arranging - firstly, by stripping back to the most
delicate bones on her ‘Songs from Isolation’ covers record and
now with a complete reimagining of her own material as the four
songs from her debut EP become ‘arco’.
 Not many musicians have the ability - or indeed bravery - to
rework a collection of their own full band ‘rock’ songs into a stringand-voice arrangement. A.A. Williams, however, is not like many
musicians and the minimalism of Arvo Pärt and Gorecki has long
since sat beside Vaughan Williams' folk-inspired classical work as
important influences on her music. Indeed, the intention with the
EP was for Williams to challenge herself by not retaining guitars
and drums, meaning ‘arco’ had to be truly reimagined with a full
string ensemble.
 As Williams describes it: “The main focus of the arrangements is
trying to maintain the authenticity of the original songs that, whilst
embodying some of the more familiar elements of the full-band
settings, draws focus on the voice.”
 Conducting the ensemble of string musicians in the studio, A.A.
Williams has evolved her own compositions with new
instrumentation and arrangements, encapsulating the singular
vision of a unique artist.
 12” pressed on 140g ‘Galaxy White Purple’ vinyl with signed
12”x12” print and digital download code.

In 2019, we celebrated the 130th Anniversary of
the birth of Charlie Chaplin. In 2020, we celebrated
the 80th Anniversary of the film ‘The Great
Dictator’. This year, we celebrate the 100th
anniversary of the movie ‘The Kid’.
 To celebrate these 100 years, Le Chant du Monde
present a deluxe 180g vinyl LP (full mono
remastered version) in luxurious casebound book
packaging.
 The release brings together the entire music of the
film, as well as many bonuses completely
unreleased to date, accompanied by a large format
24-page booklet including unpublished texts and
photos.
 An edition that will delight Chaplin lovers and vinyl
collectors alike

2021 marks the 50th Anniversary of the legendary record Fela Kuti made
with Ginger Baker of Cream.
 This Anniversary edition features a newly unearthed second drum solo
from Tony Allen and Ginger Baker, taken from Afrika 70’s performance
at the 1978 Berlin Jazz Festival. Part I has never appeared on vinyl and
this second part has never been heard - until now.
 1978’s Berlin Jazz Festival marked Afrika 70’s final live performance with
Fela. In the Spring of 1979, several members of Afrika 70, including
Allen, would leave the band. Allen had been with Fela since 1964. 1980
saw the birth of Egypt 80, with Baritone saxophonist Lekan Animashaun,
who had been with Fela since 1965, as its founding bandleader.
 Reissued with Abbey Road mastered audio.
 Red double vinyl with collector's 50th Anniversary gold foil obi strip.
 Bespoke etching of album artwork on Side D.
 Fela’s legacy spans decades and genres, touching on jazz, pop, funk,
hip-hop, rock and beyond. While he never achieved true icon status
during his lifetime, the last (roughly) decade has seen a broad
resurgence in his popularity and a critical reevaluation of his life, music
and influence. In 2008, the biographical musical ‘Fela!’ (co-produced by
Jay-Z and Will Smith) became a surprise hit off-Broadway and then
Broadway itself. Since then, Beyoncé performed Fela’s ‘Zombie’ at
Coachella, he’s been called out as an influence by everyone from Paul
McCartney to Questlove and sampled by Missy Elliott, Kendrick Lamar,
J. Cole, Nas, and more. Vice President Kamala Harris even used Fela’s
music at her and President Biden's first joint event together.
 ‘Let’s Start’ features prominently in the trailer and the soundtrack for the
new Western, ‘The Harder They Fall’, staring Idris Elba and Regina King.
 Fela features prominently in an episode of Hulu’s docuseries ‘McCartney
3, 2, 1’, where Paul McCartney cites Fela as one of his important
influences.
 This past spring Fela came in second place, behind Tina Turner, for the
fan vote for the Rock & Roll Hall Of Fame nominations and received
great press coverage in NY Times, Rolling Stone, MOJO, Record
Collector and more.

‘Different Frequencies’ is a compilation album,
pressed on transparent blue vinyl and released on
National Album Day 2021.
 With each track a standout record in its own right,
this compilation album showcases a new
generation of exciting artists at the start of their
journeys.
 The album features Different Recordings artists
such as Greentea Peng, p-rallel, NAYANA IZ,
Kojaque and many more, with genres ranging from
UK Rap, R&B and Electronic.
 ‘Different Frequencies’ brings together some of the
highlight releases over the last couple of years
from the label, this being some artists’ first tracks
cut to vinyl.

LP pressed exclusively for National Album Day 2021 on gold vinyl in
single-pocket jacket with custom dust sleeve and digital download
coupon.
 Through ‘Titanic Rising’, Weyes Blood, aka Natalie Mering, has
designed her own universe to soulfully navigate life’s mysteries.
Manoeuvring through a space time continuum, she plays the role of
melodic, sometimes melancholic, anthropologist.
 Tellingly, Mering classifies ‘Titanic Rising’ - written and recorded during
the first half of 2018, after three albums and years of touring - as The
Kinks meeting WWII or Bob Seger meets Enya. The latter captures the
album’s wilful expansiveness (“You can tell there’s not a guy pulling the
strings in Enya’s studio,” she notes, admiringly). The former relays her
imperative to connect with listeners. “The clarity of Bob Seger is
unmistakable. I’m a big fan of conversational songwriting,” she adds. “I
just try to do that in a way that uses abstract imagery as well.”
 The Weyes Blood frontwoman grew up singing in gospel and madrigal
choirs. (Listen closely to ‘Titanic Rising’ and you’ll also hear the jazz of
Hoagy Carmichael mingle with the artful mysticism of Alejandro
Jodorowsky and the monomyth of scholar Joseph Campbell.)
‘Something To Believe’, a confessional that makes judicious use of the
slide guitar, touches on that cosmological upbringing. “Belief is
something all humans need. Shared myths are part of our psychology
and survival,” she says. “Now we have a weird mishmash of capitalism
and movies and science. There have been moments where I felt very
existential and lost.”
 As a kid, she filled that void with ‘Titanic’. (Yes, the movie.) “It was
engineered for little girls and had its own mythology,” she explains.
Mering also noticed that the blockbuster romance actually offered a story
about loss born of man’s hubris. “It’s so symbolic that The Titanic would
crash into an iceberg, and now that iceberg is melting, sinking
civilization.” Today, this hubris also extends to the relentless adoption of
technology, at the expense of both happiness and attention spans.
 But Weyes Blood isn’t one to stew. Her observations play out in an
ethereal saunter: far more meditative than cynical. To Mering, listening
and thinking are concurrent experiences. “There are complicated
influences mixed in with more relatable nostalgic melodies,” she says.
“In my mind my music feels so big, a true production. I’m not a huge,
popular artist, but I feel like one when I’m in the studio. But it’s never
taking away from the music. I’m just making a bigger space for myself.”

Ground-breaking artist Yves Tumor continues to unlock the
perception of reality with a psychedelically bent off-kilter
rock offering, ‘The Asymptotical World EP’.
 The boundary smashing six song EP is the next era from
the pop auteur and first release from Yves Tumor following
the critically acclaimed 2020 album ‘Heaven To A Tortured
Mind’.
 Yves Tumor continues to manipulate the genre terrain by
challenging mainstream music constraints further and
shifting the boundaries of contemporary art and culture in
a boundlessly visceral and authentic sonic signature.
 Triple 7” box set in printed sleeves, packed in rigid
slipcase box with spot gloss varnish to cover. Credits insert
printed on semi opaque paper. Digital download card
insert.
 12” in paper inner in printed outer sleeve. Digital download
card insert.
 “Nobody better represents the changing face and sound of
what a ‘rock star’ is today than Yves Tumor.” - The FADER
 “Yves Tumor, the ineffable and audacious experimentalist,
once again brandishes a reverence for Prince on ‘Jackie’,
another venture into magisterial rock that clings to
devastating grandeur.” - The New York Times
 “Tumor proves that sifting through the detritus of love can
be as electrifying as the experience itself.” - Pitchfork

Ground-breaking artist Yves Tumor continues to unlock the
perception of reality with a psychedelically bent off-kilter
rock offering, ‘The Asymptotical World EP’.
 The boundary smashing six song EP is the next era from
the pop auteur and first release from Yves Tumor following
the critically acclaimed 2020 album ‘Heaven To A Tortured
Mind’.
 Yves Tumor continues to manipulate the genre terrain by
challenging mainstream music constraints further and
shifting the boundaries of contemporary art and culture in
a boundlessly visceral and authentic sonic signature.
 Triple 7” box set in printed sleeves, packed in rigid
slipcase box with spot gloss varnish to cover. Credits insert
printed on semi opaque paper. Digital download card
insert.
 12” in paper inner in printed outer sleeve. Digital download
card insert.
 “Nobody better represents the changing face and sound of
what a ‘rock star’ is today than Yves Tumor.” - The FADER
 “Yves Tumor, the ineffable and audacious experimentalist,
once again brandishes a reverence for Prince on ‘Jackie’,
another venture into magisterial rock that clings to
devastating grandeur.” - The New York Times
 “Tumor proves that sifting through the detritus of love can
be as electrifying as the experience itself.” - Pitchfork

Shall Not Fade is cultivating a tight family of producers for the Time Is Now imprint, showcasing some of the freshest garage and breaks - London based DJ Yosh is well-established within that family now, returning for his second EP of 2021.

Like the last,expect killer cuts of breakbeat madness, built for the darkest clubs and the wildest nights. Tactics EP opens with the rough and ready "Strike Back", harsh percussion and screeching rave stabs that make the heart race and sets the tone for the record. Returning to a more classic sound on "Just Like That", Yosh smatters syncopated samples with UKG elements to create a throbbing dance track.

"Drifted" catches the listener off-guard - chilled out pads that give way suddenly to layers of breaks that make for a dark and dirty jungle breakdown, pushing at breakneck speed into "Hypnotise Me", a rolling tool inflected with garage-esque melodies. EP closer "Gen 1" feels like the wind-down of a rave, stuttering breaks and echoed vocals slowing to a sweaty, satisfied end.

ANNA LEONE will release her first album, ‘I’VE FELT ALL THESE THINGS’,
produced by Paul Butler (Michael Kiwanuka, Hurray For The Riff Raff).
The debut follows Stockholm native Anna’s widely applauded debut EP ‘Wandered Away’, drawing fans at 6Music including Lauren Laverne & Guy Garvey,
alongside Ones To Watch tips from Spotify and Youtube, and over 18 million
streams online.
‘I’VE FELT ALL THESE THINGS’ is an album that explores how we close ourselves
off to the world, a feeling that has become ever-present in the sad, surreal climate of 2020, in more expansive ways. It’s also an album about how we try and
get beyond those inclinations, and how we make it through

‘Sticky’, the new album from Frank Carter & the Rattlesnakes, is the sonic eruption
of a year-plus of suppressed energy.
While it’s an escapist experience, recent reality is never too far away. It’s there in ‘Go
Get A Tattoo’, which was inspired by Carter’s experience of having to shut his first London based tattoo parlour, Rose of Mercy, almost immediately after it opened.
It’s just as present in ‘My Town’, a suburban vignette of society’s collective mental health
quickly unravelling. Being released on October 15th it coincides with an extensive run of
dates in November with two O2 Academy Brixton shows in January 2022.

Dean & Britta’s Quarantine Tapes contains songs recorded at home and released digitally in 2020, covers of Kraftwerk, Bee Gees, Luna, the Clash, the
Cars, Dylan and more, with bonus track “The Carnival is Over” (originally
by the Seekers) not on the streaming release.

In creating Our Beautiful Baby World (May 2021), the pacing of Izzy True’s
songwriting process has slowed down since their prior Don Giovanni
releases -- Sadbad (2018) and Nope (2016).
Arranging with Curtis and Sam, Reidy says they’ve grown as musicians together, and their songs were given space to grow, too. OBBW exhibits eleven rock
songs of melded collaboration, expressing the deepness of acceptance. These
are the band’s most dynamic compositions to date. The result is, Reidy hopes,
to ‘sound like a bad drawing of a rock record.’
The inspiration for the soft-hard dynamics of OBBW may have come from Reidy
listening to Thin Lizzy, along with the bleeding of the band members’ strengths
and histories: Curtis as a courageous experimental musician in the DIY circuit,
Sam’s expertise as a hardcore drummer, one Halloween cover-set of System
of A Down in a Chicago basement from another world, and Reidy’s childhood
growing up listening to old love songs and country music.
OBBW was recorded in Rock Island, IL at Rozz-Tox, a well-loved bar and music
venue in the humble Midwest. Recorded and mixed by Ian Harris on reel-toreel, Izzy True’s tunes returned to tape after Sadbad, which was digitally produced.
The record utilizes the talents of Chicago music friends Jess Shoman (Tenci)
on backup vocals and Andrew Clinkman (Spirits Having Fun) on lead guitar on
‘Four Good Ponies’. OBBW was recorded in the months before the pandemic,
January and February 2020, which can feel obvious (‘I don’t wanna hang out
for a thousand years’) and subtle. The authentic limitations of reel-to-reel tape
recordings give this project the aura of a time when live music was possible.

Odd, Ordinary & Otherwise,’ the third full-length record from New Orleans
country-folk songsmith Chris Acker, is a collection of songs brimming with
true tales, eloquent songwriting, and fearless honesty.
During his decade-long songwriting career, Chris has explored musical terrain
tread by contemporary folk music’s greatest champions: Prine, Dylan, Guthrie,
etc. With ‘Odd, Ordinary & Otherwise,’ Acker has forged an unmistakable lyrical
style that’s truly his own, containing more reverence than reference to those
who came before him.
The songs of O-O-O are equally as influenced by months of isolation during
COVID quarantine as they are by Chris’ place in the New Orleans dancehall and
busking communities in years previous.
The album’s thirteen tracks flow gracefully from introspective, quiet tunes worthy of the modern Folk Music cannon, to downright barn burners ready for
the dancehall and all the space in between. Acker’s creative response to the
heartbreak and anxiety that defined the year 2020 is primarily one full of life.
The vividly painted scenes and stories that define the record are his and no one
else’s. Paired with his signature pop sensibility, playful and sometimes humorous language, and a professional sonic presentation, ‘Odd, Ordinary & Otherwise’ is a compelling record that merits close investigation.

Das japanische Quartett CHAI veröffentlicht mit "Wink" ihr drittes Album und ihr erstes für Sub Pop. Es enthält CHAIs sanfteste und minimalistischste Musik, aber auch ihr mit Abstand bewegendstes und aufregendstes Songwriting. "Wink" ist zudem ein extrem passender Titel: eine subtile, aber kühne Geste. Ein Zwinkern ist ein unbefangener Akt der Überzeugung. CHAI besteht aus den eineiigen Zwillingen Mana (Gesang und Keyboard) und Kana (Gitarre), Schlagzeugerin Yuna und Yuuki. Nach der Veröffentlichung von "Punk" im Jahr 2019 führten CHAIs Abenteuer sie rund um die Welt, sie spielten ihre hochenergetischen und beschwingten Shows auf Musikfestivals wie Primavera Sound und Pitchfork Music Festival und tourten mit Indie-Rock-Größen wie Whitney und Mac Demarco. Wie alle Musiker waren CHAI im Jahr 2020 gezwungen, die Struktur ihrer Arbeit und ihres Lebens zu überdenken. CHAI nahmen dies als Gelegenheit, ihren Arbeits-Prozess durchzuschütteln und ihre Musik an einen aufregend neuen Ort zu bringen. Hatten CHAI zuvor ihre maximalistischen Aufnahmen genutzt, um die Ausgelassenheit ihrer Liveshows einzufangen und die Reaktionen des Publikums im Auge zu behalten, konzentrierten sie sich nun darauf, die etwas subtileren und introspektiveren Arten von Songs zu entwickeln, die sie gerne zu Hause hören - wo sie zum ersten Mal die gesamte Musik aufgenommen haben. Inmitten des globalen Shutdowns arbeiteten CHAI quasi als Garage-Band und tauschten ihre Songideen - für die sie mehr Zeit als je zuvor hatten - über Zoom und Telefonanrufe aus, wobei sie ihre Einschränkungen in eine Stärke verwandelten. Während sich die Band an einen persönlicheren Sound anlehnte, ist "Wink" auch das erste CHAI-Album mit Beiträgen von externen Produzenten (Mndsgn, YMCK) sowie einem Feature des Chicagoer Rappers und Sängers Ric Wilson. CHAI ziehen R&B und HipHop in ihre Mischung aus Dance-Punk und Pop-Rock, während sie unbestreitbar CHAI bleiben. Ob in Bezug auf diesen neu entdeckten Sinn für Offenheit oder ihre Art, zu Hause zu komponieren, das Thema von "Wink" ist, sich selbst herauszufordern.

Exactly one year after "A Mysterious Land Of Happiness." (out on Beast in November 2020) here comes ". And Disasters". Broken Waltz is still martial, stormy and pagan, but darker. The drum'n bass duo rides on the tracks of Nick Cave, Tom Waits and even The Cramps!

Berlin, 26. Mai 2021. Deutsche Grammophon gibt die Unterzeichnung eines Exklusivvertrags mit der
Pianistin, Komponistin und Sängerin Hania Rani und der Cellistin Dobrawa Czocher bekannt. Das junge
polnische Duo, das seit seiner Studienzeit an der Musikakademie Feliks Nowowiejski in Danzig befreundet
ist, hat sich einen Namen gemacht mit seiner emotional leisen, doch zugleich ungemein authentischen
Musik.
Ihre künstlerische Partnerschaft begann mit einem Album. Dobrawa war eingeladen worden, Musik von
Grzegorz Ciechowski einzuspielen, dem Gründer und Frontmann der Band Republika, einem früh verstorbenen Rockmusiker und Komponisten. Sie bat Hania, gemeinsam mit ihr an dem Album zu arbeiten. Biała
flaga (»Weiße Flagge«) wurde ein umgehender Erfolg. Gleich nach Veröffentlichung im September 2015
fand es sich in den Top 30 der polnischen Albumcharts. Die beiden Künstlerinnen hatten einen unverwechselbaren Sound geschaffen, der die Fans begeisterte und ein sicheres Fundament für ihre kreative Arbeit
schuf. Nun erscheint ein neues Werk der Musikerinnen: das Debüt bei Deutsche Grammophon, ein Album
mit ausschließlich eigenen Kompositionen

”Neon Dust describes the essence of a world just beyond reach, one we often glimpse but can’t sustain. An Ocean in which we rarely dip our feet. When writing this album, I felt in tune with something special, an energy I hadn’t previously known. I was submerged and engulfed in its creation. For me, it’s a journey beyond; into that dancing,
shimmering glow of neon dust.” - Etherwood Melodic master and drum & bass extraordinaire Etherwood makes his album
debut on Hospital Records with his fourth long player, ‘Neon Dust’, following on from the successes of his Med School works ‘In Stillness’, ‘Blue Leaves’, and ‘Etherwood’.

Across twenty tracks, expect signature liquid drum & bass and Etherwood’s own vocal performances with a fusion of folk, rock, indie-pop, techno, downtempo and ambient delights. Alongside his vast range of musical inspiration, Etherwood’s creativity is evoked through his free spirited mindset, exploring the world in his converted van, dedicated to mindfulness and meditation.

With frequent radio support from top-end tastemakers including Annie Mac, MistaJam and Charlie Tee, as well as countless club spins from the likes of Netsky, Sub Focus, Makoto, Degs and Lens, Etherwood’s hugely popular sound takes another step forward in 2021 with his most recent body of work. From topping the iTunes Electronic chart with his second album ‘Blue Leaves’ to performing his very own live session at the prestigious Maida Vale studios, you’ll also be able to find Etherwood at Hospitality Weekend In The Woods, Sundown Festival 2021, ADE Hospitality and Hospitality Bristol this yea

LA-based, vocalist, producer, and songwriter Lykke Li announces the 10th Anniversary Deluxe Reissue of her seminal album Wounded Rhymes. The critically acclaimed album was produced by Bjorn Yttling and named one of the Best Albums of 2011 by The New York Times, Pitchfork, Entertainment Weekly, The Guardian, Clash, Paste, SPIN, and more. The album yielded singles “I Follow Rivers,” “Get Some,” “Sadness is a Blessing,” and “Youth Knows No Pain.”

Releasing 15th October 2021, ahead of National Album Day in the UK on 16th October celebrating women in music, the album will be reissued on 2LP 180g black vinyl. The first LP will feature the original album, along with a bonus LP featuring unreleased demo versions of “Youth Knows No Pain,” “Jerome,” “I Follow Rivers” and remixes by The Magician and Tyler, The Creator. The vinyl release features the original artwork on the sleeve, & an o card wrapping the release with the brand new anniversary artwork.

British producer Patrick Tipler spent his formative years immersed in psychedelia as a bassist and guitarist in various bands and groups. The arrival of synthesizers –along with his move to Bristol– radically changed his vision of sound and impacted on his musical direction with the force of an asteroid. This shockwave subsequently saw the birth of Delay Grounds.

After releasing the outstanding 'Onomatopoeia' Pressure Dome, 2020 and 'Upcycling' Tropopause, 2021, Delay Grounds’ output has made it clear for all to see that Tipler’s sound design skills are second to none, and with just two releases to his name he has already transformed himself into an artist to watch very closely.

Today Patrick joins the Lapsus crew to present 'Genus', a five track EP that he says "is my most personal release to date, something I've always carried inside and wanted to produce, but had never managed to articulate before". On 'Genus', Delay Grounds preserves the essence of his sound but takes things a step further, with a form ofmaximalist electronica, sprouting powerful torrents of high-pitched and ruff-as-rock avant-techno, glitches and mutant sound elements, combined with sweet and delicate melodies in the purest IDM style. Polishing is provided by sound engineer Nick Earle, with whom Patrick has recorded and remarkably treated a kit of "deconstructed drums" especially for the occasion.

‘Genus’ is 30 minutes of astral travelling, an experience perhaps analogous to what we would feel if we opened a vault, containing music from a lost civilization.

Yellow Vinyl

The first release on Optimo Music founder JD Twitch’s new compilation-focused label Cease & Desist will be a collection of pioneering turn-of-the-90s British “Bleep & Bass” techno tracks curated by author and music journalist Matt Anniss.

Join The Future: UK Bleep & Bass 1988-91 is a partner product to Anniss’s critically acclaimed book on the foundations of British dance music’s ongoing love affair with sub-bass, Join The Future: Bleep Techno and the Birth of British Bass Music. The book, which was published by Velocity Press in December and features a foreword by JD Twitch, documents in vivid detail the previously untold story of the Yorkshire-pioneered style and the impact it had on the development of UK dance music.

The compilation is the first to focus on Bleep & Bass since the sound’s heyday in the late 1980s and early ’90s. It features a mix of historic cuts, period classics, overlooked gems and unreleased material. It was mastered for release by Warp Records co-founder and Forgemasters member Rob Gordon, a producer, remixer and studio engineer who arguably did more than anyone else to define the sub-heavy sound of the style.

Gordon also contributed a previously unheard version of Alfanso’s “Dub Feels Nice”, a near mythical track he produced in 1991 that has never received a proper commercial release. The cut has been a secret weapon for a handful of Sheffield DJs for almost 30 years, most notably Gordon’s fellow Forgemasters member Winston Hazel. Fittingly, the compilation also includes the original unreleased instrumental version of Tuff Little Unit’s Steel City classic “Join The Future”.

Many of the other tracks on the compilation are rare, hard to find or have not been issued on vinyl or digital since their initial release. It opens with Unique 3 and the Mad Musician’s “Only The Beginning” – the 1988 A-side of the first ever Bleep record – and also includes tracks and remixes from fellow scene pioneers Ital Rockers (an early alias of dub hero Iration Steppas), Nightmares on Wax, Cabaret Voltaire and DJ Martin and DJ Homes, the previously unheralded Chapeltown duo behind the influential Leeds-based studio and record label BASSIC.

Elsewhere on the compilation you’ll find Birmingham producer Demonik’s sought-after debut single “Layrinthe”, a hard-to-find cut from Bedford-based men of mystery Original Clique, two classic cuts from the vaults of influential Midlands label Network Records and a glassy-eyed slab of Bleep/deep house fusion from 100 Hz.

Join The Future: UK Bleep & Bass 1988-91 will be released on double vinyl and digital download. The 10-track vinyl version features an insert with extensive liner notes by Matt Anniss. It also comes with a code to download the 12-track digital download version. The compilation will be released by Cease & Desist on March 25th 2020.

bazaar mutant disco from the french collective "spaced out krew". timeless productions created for peoples potential unlimited during 2020, featuring spleen3000 and marius cyrilou from ceeofunk

Reissue of this trance classic from 2000, remastered for 2021!

Toolroom founder and Grammy-nominated producer Mark Knight announces his new album Untold Business: 13-track collection of vocal house music which aims to inject a much-needed dose of meaning and longevity into the world of dance music.

Mark Knight has gone back to his roots on his new album Untold Business, reprising the sounds and records that made him the artist he is today. Diving through his extensive collection of classic Funk, House, Soul and Disco records from the 1970s and 80s has provided the bedrock for the album, which is an homage to the soulful, vocal-led house music that Mark first fell in love with in the 90s.

Step forward Mark Knight with a collection of meticulously crafted, positive, life-affirming records with a focus on real instrumentation and properly crafted songs that will stand the test of time. Untold Business is the antithesis of the functional, cookie-cutter dance music that has become increasingly ubiquitous over the years, and it sounds absolutely glorious.

Lead single ‘Everything’s Gonna Be Alright’ features vocals from Beverley Knight as well as the London Community Gospel Choir, who together bring a powerful message of positivity, solidarity and hope: themes that echo throughout the rest of the album.

“I wanted to write a song of hope as we come out of this incredibly tough time. I feel that musicians and producers have a responsibility to provide the soundtrack to people’s lives, and with this glimmer of hope on the horizon, I wanted this song to be a moment of positivity for the future ahead.” Mark Knight

From the string section, to the 14-piece London Community Gospel Choir, to the incomparably brilliant Beverley Knight on lead vocals – Mark worked with some incredible musicians on the single: an approach that informs his approach for the entire album. Untold Business features further collaborations with the likes of Shingai (Noisettes), Michael Gray, Robert Owens and many more.

In addition to the 10 new tracks recorded especially for the album, Untold Business also includes three of Mark’s singles from 2020, including one of the biggest releases of his career to date. All 4 Love was a collaboration with Rene Amesz and Tasty Lopez which became firmly lodged on the Radio 1 A list for six weeks with worldwide success following soon after. Picking up more than 10 million streams on Spotify it was without doubt one of the biggest house records of the year. Also included here are ‘If It’s Love’ - a joyous celebration of a soulful house sound that came to prominence in the 90s – and ‘Tonight’, which took inspiration from the brisk, looping, filtered house music of the early 00s.

"Kazakh artist Galya Bisengalieva’s debut album was released by One Little Independent in September 2020 and is a concept record about the shrinking of the Aral Sea, which has been called one of the “20th century’s more jaw-dropping ecological catastrophes, a consequence of the Soviet-era policy of diverting the two tributary rivers to irrigate cotton plants across Central Asia” (NY Times)
Now, roughly a year later, Galya is releasing Aralkum Aralas. In Kazakh aralas means mixed/reworked. Galya has thoughtfully curated a remix album of artists to respond to her work having previously commissioned new work for her label NOMAD Music Productions. Those musicians are; Coby Sey, Jing, Moor Mother, Jlin, CHAINES and Nazira. Galya approached artists whose practise she judged would resonate with her source material and bring new light to the narrative. She was interested in getting responses from artists from diverse backgrounds for their insight into her voice."

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

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

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

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

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