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The monstrous new album from one of the heaviest bands to ever emerge from the shores of the UK - BOUND IN FEAR. Following their brutally stark EP 'Eternal', this new album continues the conceptual theme of Depression, Abuse and Anger. With lyrics that reveal deep insight into the personal upbringing of frontman Ben Mason, this is not for the faint of heart. Essential listening for fans of BODYSNATCHER, DISTANT, PALEFACE AND BLACK TONGUE

Sophomore album from lauded UK, now Los Angeles-based, R&B singer and songwriter Sinéad Harnett which includes key singles Stickin’ (feat. Masego & VanJess), Take Me Away (feat. EARTHGANG), Anymore (feat. Lucky Daye), & the stunning Hard 4 Me 2 Love You. Through this cohesive body of work, Sinéad delivers uplifting anthems with messages around empowerment, individualism, unity, and community alongside more raw and vulnerable songs that explore how darker times of her past have affected who she is now as an artist. Sinéad’s hope is for fans to feel like they’re accompanying her on a journey of loving themselves.

Gazelle Twin’s incredible electronic score to horror
film ‘Nocturne’, released as part of Amazon’s
‘Welcome To The Blumhouse’ series.
 The score is pressed on clear vinyl and housed in
a deluxe spined sleeve with digital download card
included.
 “The director wanted there to be a strong
appearance of feminine rage featuring heavily in
the score, building around the classical pieces,”
says Gazelle Twin. “She wanted to use some of
my existing tracks, ‘Unflesh’ and ‘Belly Of The
Beast’, in a couple of scenes, so I took leave from
the vocal style of ‘Unflesh’, which has a lot of
strong chest singing inspired by Bulgarian
Folksong.
 “It became a motif that the music editor, Shie
Rozow, weaved throughout the film for those
especially fierce moments. Then there’s the ‘dread
drones’ that haunt the whole score, getting more
and more intense.”

‘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.

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.

Soul Mass Transit System is a familiar name to fans of Shall Not Fade's highly popular garage imprint, Time Is Now. The Leeds duo made up of producers D. Jason and Baby J have been favourites of the series and of the UKG revival in general, recently scoring a release on another trend-setting label of the scene, Dr Banana.

The Dubble Trubble EP traverses the wide range of very British club sounds with ease that only comes with expertise, from frenetic hyper breaks to deep dubstep bass. Opener "Give It 2 U" tempts listeners in with its dramatic rolling minimalism, forward off-kilter drums and a chest-rattler of a sub. Sludgy A2 "My Name Is Down" centres a Niche style bassline, plenty of swing and dubwise sensibility.

On the B-side things ramp up a notch; "Trubble N Strife" tears it open, peak time cybernetic junglist gear with more than a few tricks up its sleeve. "U Got Me Burnin" is a real climax; jubilant, hands-in-the-air rave nonsense that closes out a collection of solid dancefloor toughness with more choppy breaks.

Recorded in a couple of days back in 2010, but twelve years in the making,
these outstanding recordings are the Hot Club’s tribute to their foremost
influence and inspiration, Bob Wills and his Texas Playboys.
During a tour of the UK, the trio took time out to hole up in Specific Sound at
Proper Records’ London HQ at the time, have Paul Riley set up the mics and hit
record!
The idea was to capture the jubilant energy and fine musicianship as if the
band was playing at a dance or concert.
This is the way that Western Swing was meant to be played and heard. This is
what would make Bob holler

Listening to the story of Canadian duo cleopatrick is a bit like hearing the plot of the best, most righteously validating coming-of-age film never made. Two friends meet aged four in Hicksville, Nowheretown (real name: Cobourg, Ontario, population 19,000), grow up completely inseparable, form a band and, against numerous obstacles, blossom into a genuine, global underground sensation. There are heroes and villains, highs and lows and, crucially, some of the most poetic plot twists that could seem almost too perfect, were they not completely true. Take the story of 2017 breakthrough track ‘hometown’ for example. “It’s one of the craziest, most ironic things that’s ever happened,” begins vocalist and guitarist Luke Gruntz. “I was going to college because I was too scared to put all my chips in the band pile, and that’s what ‘hometown’ is about: it’s a song about feeling like we’re doing all this stuff and we’re working so hard and we’re just never going to be heard. It’s literally a song about people probably never hearing our songs. And then by some act of the universe, that song ended up unlocking all the doors for us.” Today, cleopatrick has logged 77 million streams and counting - all from an increasingly dedicated fanbase who’ve found the duo, completed by drummer Ian Fraser, their own way: no major label, no big budget, just two best pals knuckling down, cementing a unique sonic alchemy and filling a space of honest, empathetic yet undeniably heavy-hitting rock music that they’d been searching for themselves for years. Between multiple sold out tours in Canada, the US and the UK/EU and appearances at Lollapalooza, Austin City Limits and Reading/Leeds, the pair have been crafting BUMMER: a debut album that sees cleopatrick harness all the magic they’ve been brewing over their two-decade friendship and funnel it into a record that aims to reinvigorate the rock landscape from the ground up. Taking the ethos of their New Rock Mafia collective - a group of friends and fellow bands, united in making a more inclusive, equality-driven space in rock music - and imbuing it with the sonic ambition and ferocity of a record designed to be played hard and loud, it’s an album about two friends, who’ve been with each other since the formative first steps that adorn ‘BUMMER’’s heartwarming cover image and made something that’s a testament to the power of sticking to your guns.

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.

Coldplay release their ninth studio album on October 15th. Music Of The Spheres features 12 new tracks including recent no. 12 single Higher Power - the band’s highest charting single in seven years, which has currently spent 10 weeks in the UK top 30, amassing over 170m global streams to date, including 40m+ video views.

Launched alongside the album announcement is Overtura (Music Of The Spheres Album Trailer) a spectacular audio-visual journey through the album’s planetary artwork with short clips of the album’s twelve tracks.


This is followed on Friday 23 July, by the release of the album closer Coloratura – not a “single”, but an epic, 10-minute+ piano-led anthem! A new single is released in September.

Freestyle Records will release Dan Berkson's debut LP, Dialogues, on September 17th on LP & digital.

Following a move to London and an immersion in the city's deep house scene, Dan Berkson's subsequent rediscovery of his earliest musical foundations and the drawing of inspiration from London's buzzing contemporary jazz scene would lead to Dialogues - an accomplished and rewarding body of work pulled together during his final days in London before relocation to California.

"It was inevitable that Dan Berkson would make a jazz album like Dialogues: joyful, danceable, entertaining, driven by the pleasure principle, and filled with virtuosity. It represents Berkson's experiences in London, where jazz is a living, breathing, dancing scene. It's his love letter to the city, bristling with British talent such as bassist Andrea di Biase (Heidi Vogell, Maria Chiara Argiro, Bruno Heinen) and drummer Jon Scott (Kairos 4Tet, Sons Of Kemet, Mulatu Astatke) and recorded in his final days in the city before relocating to California. It's also rich with history: the musical journey that brought him to this point covers almost 40 years and 4,000 miles.

Berkson received lessons from Chicago boogie-woogie veteran Erwin Helfer - who in turn had learned alongside foundational legends such as Mahalia Jackson and Glover Compton. In 2001 he came to the UK, throwing himself into the deep house scene of East London, his duo with James What signing to Steve Bug's legendary Poker Flat.

But eventually he felt that he'd achieved what he could in the house format. Rediscovering the piano and discovering that jazz provided him the opportunity to keep learning, he enrolled in Trinity College in South London just as South London's jazz scene was exploding into the public consciousness.

Dialogues is a jazz album, not an electronic one – but all the groove-based influences, from the rootsy blues and ragtime of his youth, through the funk he played at college and the house he imbibed in London can be heard, as can his love of the studio as an instrument and mixdowns that suit a club soundsystem. Detroit dons Theo Parrish and Moodymann are every bit as important to this record as Charlie Haden, Carla Bley, Keith Jarrett, Ornette Coleman, Jimmy Giuffre, and Herbie Hancock. There's 50s and 60s cool modernism (just listen to the elegant ripples of "Sketches"), there's 70s funk fusion ("Unity" kicks things off with a spring in its step), and of course there's the pumping blues heart of "Live Bait". Above all else, though, it's a personal document: a life of music and collaboration crystalised in a magical, transitional moment. Where Dan goes next musically is as uncertain as anything in these times... but this one record tells you everything you need to know about where he's been."

Inner City’s sojourn at Network resulted in a series of classic recordings.

As well as perfectly crafted vocal tracks including “Your Love”, “Share My Life” and “Do Me RIght” it meant that Kevin Saunderson could also return to his Techno roots with underground Inner City tracks.

None more so than the wonderful “Ahnonghay” which perfectly joined the dots between electronica and the brutal urgency of Kevin’s Reese persona which helped shape the early Detroit Techno landscape.

This 12 contains the Saunderson original plus wonderfully contrasting remixes from Detroit’s Carl Craig and the UK’s Dave Clarke which were equally acclaimed when released on Network’s six6 label.

Another reissued gem from Network.

orange marbled vinyl

Steven Rutter, one half of B12, returns to De:tuned with a staggering ode to the 90s UK bleep techno era. Opener "O.L.F. ResPekt" sets the bar with a respectful flashback to the trademark sound. "Rewind 273" follows the path with a pitched down composition that strengthens the rather mellow and floaty vibe. On the flip "Incredible" combines the best of both worlds, a real gem for all bleep and bass fiends in signature B12 style.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Steven Rutter, one half of B12, returns to De:tuned with a staggering ode to the 90s UK bleep techno era. Opener "O.L.F. ResPekt" sets the bar with a respectful flashback to the trademark sound. "Rewind 273" follows the path with a pitched down composition that strengthens the rather mellow and floaty vibe. On the flip "Incredible" combines the best of both worlds, a real gem for all bleep and bass fiends in signature B12 style.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn't have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn't ring bells like Monk or Tyner, there's a reason why: in an industry dominated by record labels, a band that doesn't record doesn't count. And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern -- they weren't about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project.

From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. The album commences with the magnificent title track. It is effectively in three parts. It begins with unaccompanied pianos. Then the ensemble embark on a dense, circular and mechanical movement, a platform for horns and pianos to swoop and dive. We return to Earth with a beautiful solitary flute. The second track, the piano-centric, ‘Breeze’ is different to ‘Flight 17’ in intensity and also brevity but it is quietly as daring as the title track. It concludes with a moving lush wash from the full Arkestra, which sound almost like strings only more substantial. These first two tracks take full advantage of the texture of the unusual mix of the various instruments. Next though, it’s a significant change with ‘Horacio’, which is an exuberant Latin infused jingle. It’s unlike anything else on the album. I like to think it was named after the conductor’s Cuban alter-ego! ‘Clarisse’ gracefully switches between slow blues and bop and is bookended with a grand vaguely East Asian theme. The busy bass line introduces ‘Maui’. As with the previous track, it moves between a number of contrasting melody lines and rhythms but there’s still space for a tuneful sax solo.

This is a must-have album. I think the first two tracks on their own make this release essential. Kevin Ward/UK Vibe/Boomkat

Through his dedication to the Los Angeles grassroots projects that gave so much stability and focus to many younger musicians, artists and the community, Horace Tapscott became a neighbourhood hero at a time when the world wanted his presence. He stayed in Los Angeles and focused instead on building a community, rarely giving interviews and instead focusing on passing on the message from his mentors. He shaped a unique sound with his arkestra and community minded musicians. It was a close-knit family that emanated a sound that was deep and unique, flowing with a creative spirit that definitely comes through on this album.

In 1961 he founded the Pan-African Peoples Arkestra, which aimed to preserve, develop and publicise African-American music through the ever-growing family that emanated within many of the deprived areas of Los Angeles. Through his subsequent collaboration with Bruce Albach, a producer and founder of Nimbus West Records, they sought to document the importance of this music alongside many artists who were energetically linked to the ethos and understanding which came from the collective dialogue.

Here the composer leads four extensive arrangements through his 16 piece orchestra, featuring many of the Nimbus West artists including Adele Sebastian, Jesse Sharps and Linda Hill. The music weaves the sound of afro-futuristic music through changing tempos and a relentless dynamic expressive sound that is complex and beguiling with a deep spiritual sound throughout all four tracks.

The ceremonial ‘Peyete Song no. III’ is a great swirling evocative piece from the large collective, with amazing solos from especially Horace Tapscott who seems to find a sound from the piano that is from another dimension. The arrangement airs an important message of a people and their rituals.

Horace Tapscott gives Cal Massey’s composition ‘Nakatini Suite’ a splendid futuristic big band interpretation. The composition had been earlier illuminated by both Lee Morgan on his ‘Lee-Way’ album and John Coltrane on his ‘Believer’ album titled ‘Nakatini Serenade’. Through the more expansive soundscape, the interpretation allows for some great interplay between saxophonist Jesse Sharps and drummer Everett Brown Jr. with the whole orchestra led by Horace Tapscott capturing the essence of Cal Massey’s message.

Vocalist Adele Sebastian opens up the free probing arrangement ‘Quagmire Manor at 5am’ composition with a similar delivery as with her ‘Day Dream’ from the classic ‘Desert Fairy Princess’ album before the music takes off onto the mothership adding a sense of what time and space within the manner was about amongst many great musicians and artists. Their journey and moments encapsulated within the music.

There are certain albums you hear something new every time you revisit the music and this is one of those albums. An important part of Afro-American history; the politics and art which surrounded the album. If you get a chance check out the film ‘Horace Tapscott, Musical Griot’, by filmmaker Barbara McCullough, or buy the book ‘Songs Of The Unsung’: The Musical & Social Journey of Horace Tapscott’. Mark Jones/UK Vibe

How Beautiful Life Can Be, recorded at Parr Street Studios, Liverpool. In the company of producers, James Skelly and Chris Taylor, pushes The Lathums’ remarkable story into the next, even more exciting phase! It was only in the summer 2019 that the band’s fuse was lit by Tim Burgess, who offering them a late slot at Kendal Calling where, inside 24 hours, social media chatter caused their audience to spill into the field beyond their tent. A year later they had achieved their first UK Album Chart Top 20 for vinyl-only EP compilation, The Memories We Make, recorded their debut appearance for Later… With Jools Holland and joined the BBC Sound Poll 2021 list of tipped acts . Hailing from Wigan on the overlooked fringes of Greater Manchester, The Lathums are Alex Moore, casting a new outline of the modern frontman, singing alongside student of the Marr-esque jangle guitar, Scott Concepcion, rapid-fire, wise-cracking bassist, Jonny Cunliffe (aka: Bass Mon Jon) and the steady, rhythmic, wise head, Ryan Durrans on drums. Pithily described by those closest as ‘like The Inbetweeners in a Shane Meadows film’, they are four bright, wild flowers growing between grey paving stones.

This Is How The World Ends is the second offering from LA rock band Badflower. Following the release of their debut album OK, I’M SICK which featured the iHeart Award winning single Ghost, their latest album demonstrates how Badflower aren’t afraid of making anybody uncomfortable and they continue to commit body, blood, mind, and soul to their art. LIVE: Performed on The Pit stage at Reading and Leeds Festival 2021, UK support tour with Palaye Royale in March 2022. RADIO: BBC Radio 1, Kerrang, Planet Rock, Metal Meyhem, Primordial Radio. PRESS: Kerrang, Rock Sound, NME, Classic Rock, Darkus, EMP. Socials: TW: 37K, FB: 113.5K, IG: 87.5K, TikTok: 13.5K. Available as a 1 disc CD. 2LP set will be released on 08/10/21.

Due for release October 8th on Fuzz Club Records, 'Ungrateful Heart' is the fourth album from Milan-based group The Gluts. Whilst their previous releases traded in an explosive psychedelic noise-rock, 'Ungrateful Heart' sees the Italian four-piece hone in a more post-punk-indebted sound. Although no less abrasive and confrontational in its utlising of ear-piercing feedback and hard-hitting riffs, the band say that the songs here primarily take cues from the likes of Fugazi, Gang of Four, the PiL-Pistols canon and the Campana brothers' long adoration of Italian and American hardcore punk. The album arrives off the back of 2019's 'Dengue Fever Hypnotic Trip' LP and tours and festival dates around the UK, Europe and South Africa. Laid down over a tireless week living side by side and working in the studio around the clock, The Gluts - comprised of Claudia Cesana (bass/vocals), Dario Bassi (drums) and Nicolò and Marco Campana (vocals/synths and guitar, respectively) - recorded 'Ungrateful Heart' with Dutch producer and close collaborator Bob de Wit (A Place To Bury Strangers, Gnod, The Sonics). On the sessions, the intensity of which is mirrored in the fierce uncompromising attitude of the music itself, the band said: "Bob's contribution to this album was essential. He pushed us beyond our limits. It was difficult, we can't hide it, but it really was worth it." Although the album is still shot through with moments of lacerating noise-rock ('Mashilla' and 'Eat Acid See God'), songs like 'Love Me Do Again' and 'Bye Bye Boy' deal in a timeless hedonistic punk sound. Elsewhere, the politically charged 'Breath' and 'FYBBD' see The Gluts turn their sonic belligerence towards fascists and systemic racial violence to rallying effect. Standard LP is on Ultra-clear vinyl, standard sleeve

Pressed on vinyl for the first time in 20 years, The
Charlatans’ self-titled fourth album is set for release,
available on marbled yellow double vinyl with a
gatefold sleeve, the audio is via transfer to 96khz/24
bit, with vinyl mastering by Frank Arkwright at Abbey
Road.

This, their fourth album, came out in 1995. It was
their most ambitious and focused album to date and
returned them right back to the Number One slot in
the charts. The album also spawned three UK Top
40 singles, ‘Crashin’ In’, ‘Just Lookin’’ and ‘Just
When You’re Thinkin’ Things Over’, which peaked at
Number 12.

When The Charlatans started out, there were
countless bands similar to them but they
immediately catapulted to the forefront of the
Madchester scene, standing alongside such icons
as The Stone Roses and The Happy Mondays.

The band were / are successful because, in addition
to being able to ride the groove, they could also
write amazing songs. These were the gifts that
made them among the greatest British survivors of
our time, rolling through tragedy and stylistic
changes to amass a terrific body of work - one that
was modern enough to play in clubs but classic
enough to stand the test of time and one that
continues to grow to this day. They have notched up
thirteen Top 40 studio albums - three of them
number ones - alongside twenty-two hit singles, four
of them Top 10

‘Colors II’ is the tenth studio album from American progressive metal band Between The Buried and Me (BTBAM).
UK is the band’s 2nd top International market.
The band’s 2018 record ‘Automata I’ hit the Billboard charts at #1 Independent, #4 Hard Music, #6 Rock Albums and #8 Top Albums.

If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

Blackpool based quartet Blanket release their 2nd full length album on October 8th via Music for Nations. 'Modern Escapism' takes the post rock blueprint of the band’s 2018 debut full length 'How To Let Go' and infuses it with reverberating waves of shoegaze eclecticism and sudden outbursts of savage metal. The record’s sonic palette takes the ethereal fluidity of Slowdive, the vicious down tuned riffs of Deftones and the epic euphoria of Mogwai and coalesced them together into something far more cohesive. A 10 track transparent orange LP.

Truly, the luscious, soulful new album from Manchester singer-songwriter Caoilfhionn Rose (pronounced Keelin) moves through a tapestry of curious musical inflections; nods towards folk, jazz, ambient, electronica and even a subtle influence of psychedelia, it never stands still to take a breath, despite its ethereal and delicate core. Out April 9th on Gondwana Records (Mammal Hands, Portico Quartet, Matthew Halsall, Hania Rani), in Truly, the young singer-songwriter has accomplished a body of work that is both sonically and lyrically wise beyond her years.

Co-produced by Kier Stewart of The Durutti Column following Rose's collaborative endeavours with them on their album Chronicle LX:XL, the musician's song writing draws from a diverse palette of influences, including Building Instrument, Rachel Sermanni, Alabaster dePlume and Broadcast. Rose also professes to a love for beautiful, stripped back, piano based music, such as Dustin O'Halloran and label mate Hania Rani.

Truly came to exist due to a deep-routed need to create – even though its conception was interrupted as Caoilfhionn Rose recovered in hospital from an illness, she found strength within writing music. "In Spring 2019 I took part in a gig swap with my good friend and fellow musician Kristian Harting who is from Denmark. We played several gigs in the UK but unfortunately the Denmark part of the tour was cut short as I was taken ill. I was hospitalised for several weeks and have taken the last year out to recover" says Rose. "I gradually returned to finishing my second album" she continues. "Coming back to creating after being unwell was challenging but also therapeutic. This record marks a difficult time of my life and writing it helped get me through that. I am really grateful to have music as an outlet." It may be this tremendously challenging period that has abetted its characterising qualities.

Rose's beautifully restrained vocal is all at once soothing yet mesmerising. She demands and holds attention through her evident talent yet hypnotises the listener into a trance with her experimental tendencies. "After being unwell, getting back to recording helped me recover my voice after not singing for so long. Finishing bits of songs, writing lyrics and recording vocals helped me get back on my feet and get better."

Lead single from the album – 'Flourish' – is an intoxicating song that meditates on being present in the moment, allowing peace to come to you. "The song 'Flourish' is about looking forwards with hope and possibility, 'let it flow away, let it turn around and flourish'. It's about finding peace and feeling wonder again" says Rose about the track. "'Flourish' hints at the ideas of what could be, how things can unfold if you let go 'and just be here'."

A message of hope is instilled throughout the record, echoed again in 'Fireflies', a song inspired by a campsite in France, which became filled with fireflies at night. "To me 'Fireflies' has a nostalgic and comforting feel. It's about feeling hopeful about the future 'though there may be dark clouds the sun will always come'. There are references to older lyrics I have written. The line 'free from all the chaos' is a nod to a song I collaborated on with The Durutti Column. The song is about acknowledging the past and moving on as 'time is always healing'."

A recurring theme of reflection and being grounded in the present, acknowledging the past and looking forwards with courage is one that envelopes 'Truly', and is something that is echoed in its beautiful swelling flourishes and its tranquillity – resonating with atmosphere, the album all at once sounds so large and yet so subdued. "The line on Every Waking Minute; 'we forget what lies behind the eyes' is about remembering that everyone has their own things going on and challenges to face but we should 'feel every waking minute', become aware of what's unfolding around us outside of our own stories. It's a self-reflective song really, reminding myself that 'life can take you bysurprise', there are going to be ups and downs along the way"

Elsewhere on the album, Rose explores the connection between nature and life on single To Me. "I love going on long walks and the healing power of nature is a recurring theme in a lot of my lyrics. I have a very optimistic outlook and I find solace in the small things like being outdoors."

Caoilfhionn's debut Awaken, co-produced with label mate Matthew Halsall, saw the singer, songwriter and producer tie together remnants of Manchester's musical past with its evolving present. Prior to this, the artist collaborated with one of her biggest musical influences, Vini Reilly of The Durutti Column. The musician worked with the Manchester band on four songs on their album Chronicle LX:XL. "I've learnt a lot from collaborating with musicians like Vini Reilly, Matthew Halsall and my bandmates" says Rose. "This is reflected in my current style and approach to making music. I no longer just write as a therapeutic or reflective process; I can write more abstractly and outwardly."

Kier Stewart of The Durutti Column co-produced her latest offering, Truly, following his band's collaborations with Rose. "I befriended Kier after we worked together. Collaborating with The Durutti Column was my first experience of recording music with other people in a studio." Together, the pair have created something expansive yet fragile – and altogether unique. "He's brought so much to this project" she says. "I feel Keir has brought out the best in the songs, adding really intricate and subtle details and effects. It was inspiring getting to work with Keir and I've learnt a lot from his approach of just experimenting and seeing what works."

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

2021 repress of this classic UK house record, produced by Jaime Read.

A staple in many a House DJ's bag since the 90s, the name LHAS (Larry Heard Appreciation Society) should give you serious clue on what to expect here. BIG TIP!

“Is the juice worth the squeeze? Is the honey worth the bees? Is the trip
worth the risk? Is the rub worth the fleas?”
These are some of the big questions CHILDCARE find themselves pondering
at the top of their second album ‘Busy Busy People’. It’s a mantra that returns
later in the record but remains in the back of your brain throughout, a playful
enquiry into the purpose of our everyday activities that highlights the South
London-based group’s knack of marrying the surreal with the ordinary; soberly
tripping out during the big shop.
It’s something the group have been refining as part of their identity since their
genesis, when singer Ian Cares spent the time between school runs at his nannying job writing songs. He started adding other musicians to the project gradually until two EPs (2017’s ‘Made Simple’ and 2018’s ‘Luckyucker’) and one
album (2019’s ‘Wabi-Sabi’) later, Ian, male guitarist Rich Le Gate, bassist Emma
Topolski, and male drummer David Dyson have shaped CHILDCARE into one of
the most unique emerging groups in the UK.
They’ve earned themselves a loyal following of fans, sold out their biggest
show (so far) at London’s Scala and gained support from BBC Radio 1 (Annie
Mac, Jack Saunders), Spotify (several New Music Friday slots) and five SXSW
2020 showcases, which of course, never happened.
Busy Busy People was recorded at Somerset’s Distiller Studios with producer
Dom Monks (Laura Marling, Big Thief, White Denim)
Former BBC Radio 1 Track of the Week with key supporters incl. Jack Saunders,
Annie Mac plus BBC 6 Music’s Steve Lamacq & Radio X’s John Kennedy
Performed on the BBC Radio 1 stage at Reading/Leeds 2019 and were slated
for SXSW ‘20 before the pandemic hit.
They also sold out London’s Scala in Christmas ‘19.
UK tour kicks off September ‘21 Bassist Emma Topolski also performs as touring
member with Bombay Bicycle Club, Dua Lipa & Laura Marling

The vinyl version was pressed in two vinyl options - transparent white (100 copies) and black. Both on 180g.

Moo Latte:

"Snax", my 5th longplay album, is a collection of 16 compositions, contrasting flavours and textures. Each of them is served as a small appetizer. Some are easily digestible, even dietary, some are greasy and full of calories. Each individual song is rather brief and can be a perfect little snack in the middle of a day. However! They will taste the best if you take your time, have a bite of one after another and enjoy the feast. From starters to desserts.

Warning! This album may contain peanut products!

Cooking those instrumental tracks, I yet again explored my jazz background and combined instrumental improvisations with hip-hop, ethno and soul inspirations. Whole album is kept in a non-binding lo-fi vibe but maintaining the hi-fi level of attention to details. With "Snax" I decided to go for a much wider palette of sounds unlike my previous, more conceptual albums. The last track "Worth it" features a charizmatic Philadelphia based artist - Ler Stevens which has shed a new light on my instrumental joint "Coins". The artwork has been created in a collaboration with a talented Polish illustrator - GBUR.

Repress!

Portico Quartet / Hania Rani brings the singular Polish pianist and composer, Hania Rani, and East-London based widescreen minimalists, Portico Quartet, together for a unique collaboration.

Label mates, they met when Hania Rani performed at the Gondwana 10 event at the Roundhouse in October 2018, an event that Portico Quartet headlined and which marked Rani's UK debut ahead of the release of her breakthrough album, Esja.

The idea was simple, each artist would select and then rework one of each other's tunes. The result is a beautiful collaborative work that feel less like a pair of straight forward remixes and more like a new recording that brings the two acts distinctive sound worlds to a new place.

The first track is Hania Rani - Nest (Portico Quartet remix), which finds Portico Quartet reworking a track from Rani's most recent album Home. Portico Quartet saxophonist and keyboardist Jack Wyllie says:

'We've been fans of Hania since her first album album Esja, so it was a pleasure to get to work with her. Our remix took fragments of her voice and piano, and from that we extrapolated and composed an almost entirely new piece of music. The result was (hopefully) that her sound world became another instrument in the band…'

On the flip is Portico Quartet – With, Besides, Against (Hania Rani remix), which Rani recrafts with the addition of piano and her own unique vocals.

"Imagine being asked to make a remix for one of your favourite bands? I felt excitement and… mild panic. The idea for this one little rework took me a couple of months! I chose the track With, Beside, Against, which is a beautiful peaceful and broad piece of music with an energetic movement in the middle part. I tried to add a vocal line to it, reminding me of one of Portico's tracks called "Steepless" from their album released back in 2011. The result turned out to be satisfying. I felt it worked really nicely, matching the music in a natural way"

A repress for four prime slices of classic Baby Ford minimal tech gear, from the rhythm-centric drum machine fest 'Very', the resonant bleepy tones of 'Test', the sparse and spacious 'Down' and the subtle acid undertones of 'Percy'. Baby Ford is finally getting his props as one the UK acid and techno scene's true innovators and pioneers, and these four very mixable tracks are four more reasons why this is only right.

Cindy is a band built around the singing and guitar playing of Karina Gill. She became a musician only recently, having sat on the sidelines while ex-partners and friends made their stabs at it. Gill describes a chance encounter with an abandoned Squire Strat left in the basement by a previous tenant, “mummified in electrical tape with the remnants of a burrito on the head stock”, that led her to begin carefully strumming her way through simple chords and making her own songs. After one interesting self-released LP, still finding their footing, the band made the masterful and buzzed-about Free Advice, which went from a limited cassette on local SF label Paisley Shirt to vinyl pressings on Tough Love (UK) and Mt St Mtn (USA).

Cindy’s third LP arrives in quick succession, the quietly devastating 1:2. Jesse Jackson on bass, Simon Phillips on drums and Aaron Diko on keyboards weave the perfectly thin web behind Gill’s slow Velvety strums and murmured melodies. The rhythm section brings the crude flow, while the keys add subtle and surreal counterpoint to the withering world Gill depicts in her lyrics. “Songs tie together seemingly disparate things by the logic of mood,” Gill tries to explain. This isn’t dream-pop sunshine bliss; half-closed black drapes hang on the window where the narrator stares into the middle distance. “Sometimes you say you’re feeling small/You plan all day for your own funeral”, she intones in Party Store. Gill has a way of halting her phrasing that makes it feel like her thoughts are gently tumbling into the abyss. It’s this unsettling quality mixed with the hazy atmosphere that makes Cindy’s new LP 100% addicting and the perfect antidote to comfort listening. Glenn Donaldson, 2021

In These Silent Days, the highly anticipated new studio album from six-time Grammy Award-winning singer, songwriter, performer, producer and New York Times Best Selling author Brandi Carlile, is out October 1. Ahead of the release, the album’s first single, “Right On Time,” featuring a music video directed by Courteney Cox launched on announcement
Inspired by the mining of her own history while writing this year’s #1 New York Times Best Selling memoir Broken Horses, In These Silent Days was conceived of while Carlile was quarantined at home with longtime collaborators and bandmates Tim and Phil Hanseroth. The ten songs chronicle acceptance, faith, loss and love and channel icons like David Bowie, Freddie Mercury, Elton John and Joni Mitchell—the latter two who, by some sort of cosmic alignment of the stars, have turned out to be close friends in addition to being her biggest heroes and inspirations.
In These Silent Days follows Carlile’s 2018 breakthrough GRAMMY Award-winning album, By The Way, I Forgive You, which Rolling Stone declared, “…an Adele-meets Joni Mitchell tour de force.” In the years since—in addition to collaborative projects with The Highwomen, Tanya Tucker, Soundgarden, Alicia Keys, Dolly Parton, Barry Gibb, Leslie Jordan, Brandy Clark and more—she has earned six Grammy Awards recognizing her work as a performer, songwriter and producer, was awarded Billboard’s Women In Music “Trailblazer Award,” CMT’s Next Women of Country “Impact Award” and received multiple recognitions from the Americana Music Association Honors & Awards including 2020’s Album of the Year (Highwomen), Group of the Year (The Highwomen) and Song of the Year (“Crowded Table”) and 2019’s Artist of the Year. Carlile was also once again nominated for Artist of the Year and Group of the Year (The Highwomen) at the 2021 ceremony.

“Sympathetic Magic” is the new surprise album from Portland’s indie-rock outfit Typhoon. The album is scheduled for a surprise release on January 22, 2021. This is the band’s first new music since the release of their critically-acclaimed fourth LP Offerings in January 2018, followed by extensive touring across North America, UK, and Europe.
“The songs are about people - the space between them and the ordinary, miraculous things that happen there, as we come into contact, imitate each other, leave our marks, lose touch. Being self and other somehow amounting to the same thing.” – kyle / Typhoon
“This marks a major moment of growth for Typhoon. An album born from reckoning and upheaval, the experience is fraught with heavy sentiments and dark themes that are explored in a graceful manner. Sympathetic Magic is one of the band’s most personal and intimate albums yet. Each track is crafted with purpose, further carrying on the message Morton is trying to share. The album came as a surprise, but the love for it was guaranteed, and Typhoon has yet again proven their talents are to be lauded.” – Atwood Magazine

Released via Columbia Records in the UK, 'Respect' is a 2021 American biographical musical drama film based on the life of American soulk legend Aretha Franklin. Directed by Liesl Tommy (in her feature directorial debut) from a screenplay written by Tracey Scott Wilson, the film stars Jennifer Hudson as Franklin. Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, and Mary J. Blige are featured in supporting roles. The CD was released in mid August. This is the 21 track double vinyl format with songs featured in the film, including one new original track produced by Will I Am. Continued promo/marketing activity across all media outlets (for both film and soundtrack).

Forty years ago, on July 8th and 9th in 1981, a group formed by the splintering of some of Bristol’s essential post punk bands, entered the hallowed studio at Berry Street in London to record their debut single. What would emerge was not only an exuberant post funk classic on the A-side, but also a wildly influential dub workout on the flipside, whose reverberations can still be heard today. Both songs have proven essential in very different ways.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist and multi-instrumentalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant charge of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style.

Bursting at the seams, “Stretch” feels like it can barely be contained within the studio walls. Rainforth delivers a vocal performance that can only be found within the freedom of someone recording their first ever single. I’m not lying when I say there isn’t another song that sounds quite like it. The group’s love of funk is evident on “Stretch”, but the heavy influence of dub and reggae from their surroundings shapes the moody skitter of “Silent Street”. Here, the sing song vocals seem to drift across the heavy late night air. The two songs are wildly different, yet both could only have come from this key collection of players. Paired with the likes of The Pop Group, The Slits, The Raincoats and the On-U-Sound collective, Maximum Joy still stands out as a unique voice in the movement.

Y Records head Dick O’Dell would join the sessions and give the release a warm home in the UK while legendary 99 Records in New York took on the US release since Maximum Joy made perfect sense being equal parts ESG and Liquid Liquid. This 12” has been a staple for DJ’s in the know since day one.

Danish producer Uffe presents his innovative third LP Words and Endings, which further explores the boundaries between post-punk, dub, UK bass hybrids, and spiritual and free jazz. His first full-lengthouting on genre-breaking London imprint On the Corner, Uffe utilises the techniques that have long fueled his reputation as a purveyor of offbeat sonic fusions and delivers a diverse trip that leans into unusual territory with thrilling and unpredictable results.

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

White Marbled Vinyl

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

House anthem Slo Moshun “Bells Of NY” is one of the most iconic gems in the Network catalogue and gets a timely reissue.

The lovingly remastered 12” includes the epic nearly 9 minutes long “House To House Mix” which started the fuss in the first place, plus the much loved by DJs “Xen Mantra Beefy Bells Mix” which like fine wine seems to have matured with age.

It’s almost impossible to explain the hype that exploded when the first copies of this landed in 1993. Network pressed a limited run of the first copies on the Dansa label with
bogus New York producer credits in an attempt to create mystique.

The combination of that relentless uptempo house piano and the break where everythIng slows down underneath a hip hop sample hypnotic proved irresistible, and saturation radio plays from KISS in London turned the track into an instant anthem right away.

The the boss of a rival label boasted they had sourced the track and paid “a fortune” to licence it for UK release. He was making it up as a stampede by labels to locate and release the track began.

Network sensed an opportunity to create major mischief and create even more of a buzz. New York garage producer and Network ally Andrew Komis was enlisted and happily donned the bogus ID of a new kid on the block NYC producer to do phone interviews with UK dance music publications.

His pretend story that Bells Of NY was his homage to the UK House scene laced with Big Apple Hip-Hop was eagerly printed by the magazines.

They were left red faced when the truth emerged that former Nexus 21 and Altern 8 member Mark Archer and his new music making partner Danny Taurus had in fact come up with the gem in homely Staffordshire and not glamorous New York for Network.

All the PR spin in the World would not matter a not if the record didn’t live up to the hype.

Bells Of N.Y did and still does.
It gave Network a first chart hit on their six6 label and more importantly is an all time House Music Classic.

The popular #Ibiza compilation series returns on July 2nd with its fifth installment, #Ibiza 2021. The album brings together tracks and remixes from some of the world’s biggest names in dance music, including Claptone, Chicane, Sammy Porter, David Morales, Secondcity and Mark Knight. The collection also presents the hottest breakout tracks set to grace the island this year, including Gettoblaster’s recent Beatport number 1 ‘H O U S E’, and Jodie Harsh’s current UK radio hit ‘My House’. Radio promo: Jodie Harsh - My House: Playlisted on BBC Radio 1 (B-List) / No.1 in UK Upfront Club Chart. Other promo: Claptone - Zero: One of the biggest DJ names in Ibiza with his Masquerade parties at Pacha, Claptone moves up to No.41 in this year’s Top 100 DJ’s global rank. Zero is the first single from his upcoming third album.

Two standout versions from the Lewin sisters, now available back-to-back on 45 for the first time. Classic soul turned reggae grooves produced by guitarist John Kpiaye and Adrian Joseph aka DJ Smokey Joe.Recorded in the mid-80s, a decade after the first advent of UK lovers rock and tailor-made for bass-heavy sound system playback, Christine Lewin’s cover of Tyrone Davis’s ‘In The Mood’ transformed his sensual after-hours classic into a female-led hit, that became a staple on Lovers playlists both then and now. Similarly, Tricia Dean’s sought-after cover of Jean Carn’s soul favourite ‘Don’t Let It Go To Your Head’ follows the same formula from Kpiaye and Smokey, synth-led rhythms reflecting the times rooted firmly in a local London scene.

Events currently taking place throughout the world only serve to stoke a fire under the likes of Pillow Queens, who find themselves continually inspired by a Dublin that is no stranger to fighting social injustice. Street artists, fashion designers, musicians, film makers and more comprise a scene which routinely champions queerness and marginalized groups, and engages with and activates young people in response to the likes of the city’s ongoing housing and mental health crises. Pillow Queens’ songs of togetherness and unity ring out louder than ever before.

In their short lifespan as a band they've released two demo EPs, performed on a successful string of UK & Irish dates & festival appearances, had playlisting from BBC 6 Music, and found themselves opening for the likes of American Football and Pussy Riot, as well as stadium performances opening for IDLES and Future Islands.

With all this under their belt, the band began working with Mercury Prize nominated producer Tommy McLaughlin for their single 'Gay Girls' – which received a nomination for the RTE Choice Music Prize song of the year, as well as International pickup from NPR’s World Cafe and KEXP. The song also found its way into the heart of actor Cillian Murphy and his BBC6 mixtape show.

2019 saw Pillow Queens venture into mainland Europe, as they lit up the Eurosonic festival and completed a string of tour dates opening for Soak. The tour was a messy and joyous affair captured beautifully in the DIY video for the bands summer single 'HowDoILook'.

In Waiting is Pillow Queens’ debut album, the result of four years of brotherly love in a sisterly unit from Ireland’s most urgent, yearning, rock band. Crafted from our lives, and honed in a studio in rural Donegal in the northwest of Ireland, this is a record by queens in waiting and kings in the making. It’s an album about love; self-love, queer love, the anxiety-inducing fault lines of romantic love, and the love for a city and a country that simultaneously has your back and is on your back.

Natalie Imbruglia returns with her brand new album Firebird later this year, kicking off with the first single 'Build It Better' in June. The single marks the first new music from Natalie in almost a decade after choosing to remain out of the limelight following her monumental success in the nineties and early noughties, accumulating 5 x UK Top 10 singles, 10 x UK Top 40 singles, 1 x UK #1 album, 3 UK Top 10 albums, 2 BRIT Awards, 8 ARIA Awards, 3 Grammy Award nominations and much more. The forthcoming new album was written and recorded between the UK, the US and her homeland of Australia, co-written with the likes of Albert Hammond Jr of The Strokes, Romeo Stodart of The Magic Numbers, KT Tunstall, Eg White (Adele, Dua Lipa, Sam Smith), Luke Fitton (Little Mix, Girls Aloud), Fiona Bevan (One Direction, Ed Sheeran), Rachel Furner (Little Mix, Jason Derulo, Craig David) and more, and produced by Natalie and My Riot with additional production from Albert Hammond Jr, Gus Oberg and Romeo Stodart.

Robbie Williams will be reissuing his first two multi-million selling solo albums ‘Life Thru A Lens’ and ‘I’ve Been Expecting You’ on vinyl for the very first time. To be released on 24 September, both titles have been newly mastered at Abbey Road Studios, are pressed on 180 gram heavyweight vinyl and housed in gatefold sleeves, reproducing the original distinctive artwork. Both titles come with Download codes. Originally released in October 1997, ‘Life Thru A Lens’ was Robbie’s debut solo album. It entered the chart at number 11 but had to wait almost six months before it reached number one. It eventually spent 147 weeks on the Top 100 and has been certified 8x Platinum by the BPI for UK sales in excess of 2 million copies. It includes the hit singles ‘Old Before I Die’ (No. 2), ‘Lazy Days’ (No. 8), ‘South Of The Border’ (No. 14), ‘Let Me Entertain You’ (No. 3) and ‘Angels’ (No. 4), the latter his biggest selling single to date, and voted the best song of the last twenty-five years at the 2005 BRIT Awards. Now certified 10 x Platinum by the BPI, with UK sales in excess of 2.5 million, ‘I’ve Been Expecting You’ was originally released in October 1998 when it entered the chart at number one. It returned to the summit the following January and once again a month later. It includes the hit singles ‘Millennium’ (No. 1), ‘No Regrets’ (No. 4), ‘Strong’ (No. 4) and ‘She’s The One’ (No. 1). ‘No Regrets’ features backing vocals from Pet Shop Boys’ Neil Tennant and The Divine Comedy’s Neil Hannon, while album track ‘Win Some Lose Some’ includes the ‘Telephone Voice’ of All Saints’ Nicole Appleton.

Robbie Williams will be reissuing his first two multi-million selling solo albums ‘Life Thru A Lens’ and ‘I’ve Been Expecting You’ on vinyl for the very first time. To be released on 24 September, both titles have been newly mastered at Abbey Road Studios, are pressed on 180 gram heavyweight vinyl and housed in gatefold sleeves, reproducing the original distinctive artwork. Both titles come with Download codes. Originally released in October 1997, ‘Life Thru A Lens’ was Robbie’s debut solo album. It entered the chart at number 11 but had to wait almost six months before it reached number one. It eventually spent 147 weeks on the Top 100 and has been certified 8x Platinum by the BPI for UK sales in excess of 2 million copies. It includes the hit singles ‘Old Before I Die’ (No. 2), ‘Lazy Days’ (No. 8), ‘South Of The Border’ (No. 14), ‘Let Me Entertain You’ (No. 3) and ‘Angels’ (No. 4), the latter his biggest selling single to date, and voted the best song of the last twenty-five years at the 2005 BRIT Awards. Now certified 10 x Platinum by the BPI, with UK sales in excess of 2.5 million, ‘I’ve Been Expecting You’ was originally released in October 1998 when it entered the chart at number one. It returned to the summit the following January and once again a month later. It includes the hit singles ‘Millennium’ (No. 1), ‘No Regrets’ (No. 4), ‘Strong’ (No. 4) and ‘She’s The One’ (No. 1). ‘No Regrets’ features backing vocals from Pet Shop Boys’ Neil Tennant and The Divine Comedy’s Neil Hannon, while album track ‘Win Some Lose Some’ includes the ‘Telephone Voice’ of All Saints’ Nicole Appleton.

“After many years and EP released, the idea of working on something bigger was growing in me. This project is a natural way for me to introducing myself by showing my musical signature, a generous & mesmerizing sound, taking influences into ethereal colors in order to impact the listeners with a powerful & vibing sound, also by bringing some ideas I never dare to put here. “

Nikitch is a versatile musician, making his unique signature by using classical music as much as Jazz & electronic music. He rapidly get supports by tastemakers Gilles Peterson & Laurent Garnier, playing his music all around the world, and also working with labels like Ninja Tune, Brownswood or Soulection. France based but open to the whole musical world, his projects and collaborations goes from Brussels based producer Kuna Maze to french Rapper Grems passing by UK singer Andreya Triana. After a bunch of remixes ( DJ Cam, Submotion Orchestra, Ghost Of Christmas) and some releases on prestigious labels as Chateau Bruyant, Cascade Records or Tru Thoughts, he just joined the Casamance team to release his first LP, which will be out in September 24th.

TLM025 kicks off with Erik Escobar and his cover version of Memories by Caruso. Erik is from Campinas in Brazil and a very well respected and talented musician. Taking the track into a completely different direction to the original this cover version is written for the dancefloor. Onto the AA side and Cormac Fulton (one half of Caruso) gives us a very deep track called Perplexed, a very moody affair with Matt Cox and Steve Conry on production duties. Next up is Time Machine from Detroit's Lorenzo Dewberry, another deep journey taking influences from the cities sound for another dancefloor piece. Lastly Gee W finishes off the EP with his track MarshMellow, a very nice laid back deep house track from the UK based multi-instrumentalist.
4 artists to watch over the coming years.

Nearing 100,000 UK sales for their breakthrough album ‘The Race
For Space’, indie phenomenon Public Service Broadcasting return
with their fourth album, ‘Bright Magic’, the follow up to 2017’s ‘Every
Valley’, which entered the chart at Number 4 on release.  Inspired by the Rory McLean book ‘Berlin: Imagine A City’ and named
after a collection of short stories by Alfred Döblin, the record
celebrates one of the greatest cultural capitals of the world, Berlin.  Written and recorded entirely at Hansa Studios in Berlin, the album is
split into three parts - Building A City / Building A Myth / Bright Magic
– and Side B of the album is a homage to Side B of David Bowie’s
‘Low’. Side A of the record includes the singles ‘People, Let’s Dance’
and ‘Blue Heaven’.  The album features guest appearances from Berlin legend Blixa
Bargeld (The Bad Seeds, Einsturzende Neubauten), Andreya
Casablanca of Berlin band Gurr and Berlin Based artist EERA.  Hansa is world renowned as the studio responsible for classic albums
including ‘Low’ and ‘Heroes’ by David Bowie, ‘The Idiot‘ and ‘Lust For
Life’ by Iggy Pop and Depeche Mode’s third, fourth and fifth albums
‘Construction Time Again’, ‘Some Great Reward’ and ‘Black
Celebration’.  The artwork is designed by Berlin artist Torsten Posselt, who has a
long relationship with the Erased Tapes label, designing art for the
likes of Nils Frahm, Olafur Arnalds and Rival Consoles, among
others.

UK multi-instrumentalist and story-teller Mara Simpson's new album In This Place will be released on September 24th, 2021. A heady blend of alt-folk, analogue synth and classical composition, In This Place is a tale of quiet rebellion, and taking back control. Fittingly, the new album marks the start of another new journey for Mara. In This Place will be the first record to be released on Downfield Records, a non-profit imprint set up by Simpson, placing artists at it’s centre. “I want to try and promote transparency and equality, assist other artists to get public funding and to ‘pay’ forward the time and resources I’ve benefited from,” she says. The label’s mission is to see musicians paid fairly and release records through a creative and joyous process.

Whilst the struggles of 2020 will go down in history, for Mara it was 2019 that was the tough one. A year spent consumed by worry, whilst in and out of hospital with her one year old daughter, had left Mara feeling like she was playing a constant game of catch up with a world that wouldn’t slow down. With songs ready to be recorded for her new album, she headed into the studio. “I stepped into the studio not needing my hand held, just my voice heard” explains Mara, who quickly came to the realisation that she was working in a toxic environment. Enough was enough

It was whilst waiting for a train that she had the sudden realisation that the album she was recording would never see the light of day. Struck by an overwhelming feeling of failure, Mara began to ruminate on the time and money she had wasted but then something clicked. “Perhaps it’s something about train stations, the coming and the goings, that allows a stagnating frame of mind the grace and space to clear” she says. “The funny thing is, upon realising failure, the despair I’d been feeling was now replaced with something else...Relief”.

Feeling re-energised, Mara called her dream producer Ellie Mason, of Voka Gentle, and together the pair began working on a new record. “I’ve been more hands-on with this album than I’ve ever been, taking a much more active role in production. Throughout the whole process Ellie has heard my voice, and been open to any possibility” explains Mara. “We’ve stumbled across golden moments, recording four part harmonies in Brighton’s oldest church, using every drum there is in Brighton Electric, layering New Zealand bird song with tape delayed piano, all thanks to her nurture, playfulness and kindness” she continues.

Album opener ‘Serena’, named after the apartment building in Brighton where Mara’s daughter was born, is based on the experience of becoming a mother and the responsibility of making important healthcare decisions. “How will I know how to love you” she sings over undulating synths and sparse piano chords. Title-track ‘In This Place’ is about the confrontation between mother and new-born child. The ‘sizing-up’ of one another as they embark on a new journey together. “When I left home to travel around the world and was so worried about breaking my Mum’s heart,” says Mara. “I just remember her saying that your children are never yours to keep. This is a song about the rawest of loves, and the fact that however much we love someone, they are never ours, and the beauty in that.”

In addition to the experience of motherhood, the songs on In This Place take inspiration from a wide range of places, including Mara’s ‘second home’ New Zealand. ‘Christchurch’, written in response to the Christchurch Mosque shootings in 2019, layers New Zealand birdsong on top of swirling piano and moving choral vocals. ‘Fault Lines’ was inspired by The Waitangi treaty. Signed in 1840 in New Zealand by the British Crown and Maori chiefs. The British understood that the Maori were signing over land that the British could now govern and effectively ‘own’, however to the Maori people it is impossible to own land, in the same way that you can’t ‘own’ air. “We live and die, the land remains and we are just it’s keepers for the very short time we are here. This song is about us not owning this earth - how can we? We are only the guardians of it while we are here” says Mara.

Backed by a band of accomplished musicians (Jools Owen (Bears Den) on drums, James Smith (Anaïs Mitchell) on banjo, Alexandra Hamilton-Ayres on clarinet and strings by Poppy Ackroyd) on In This Place, Mara sounds the most confident she’s ever sounded. With her new material, Mara Simpson hopes to promote a gentle, yet radical shift toward kindness and it’s this warmth that can be both heard and felt across her new record.

The UK underground entity only known as Sleep Token, fronted by Vessel, began the Sundowning ritual June 20th 2019 with ‘The Night Does Not Belong To God’. Sleep Token began to release their ‘offerings’ bi-weekly, released Thursday’s at Sundown BST with accompanying visualizers. Each offering had its own emblem, establishing the Sleep Token universe on the debut album Sundowning. This June 18th, 2021, the cycle begins again but born anew. The new album 'This Place Will Become Your Tomb', pushes the boundaries of Sleep Token's sound into new avenues of blurring genres while still retaining the signature sounds you'd expect. Available on CD digi pack.

Fueled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021. For September 2021, we will be releasing the adored debut album from power pop punkers Cute Is What We Aim For – The Same Old Blood Rush With A New Touch, originally released 2006. Again this will be on 140g Silver Vinyl as part of the FBR 25th Anniversary.

FBR 25 Podcast

We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.

25th Anniversary Merchandise

We announced the 25th Anniversary around Thanksgiving last year with our first 25th Anniversary limited merch drop, and then will be working throughout 2021 on new and exclusive designs to drop throughout the year.

From the UK, South Africa, France and Australia, Inner Shift Music presents their Collective Continents II release, with Mark Hand, Platform 001, G-Prod and Leo Gunn. The Ep starts with Take Some Chances which has Jazz influenced pads, chords and changes with an addictive hook, by Mark Hand who has recent releases on Soul Print and Apollo. Next comes The Last Letter by newcomer Platform 001 - a deep house track with some funk style house chords and an inspiring spoken word poem, which holds the listener's attention throughout.

On the B side we have the Gaugain brothers G-Prod (who have releases on R&S and Nightflight), with their track Horizon which has a more techy feel with its moody pads, melodic lead and subtle but driving bassline.AAThe EP is complete with a whole other level of head-nodding deepness and warmth, with Aheeoo which you would come to expect from Leo Gunn, who is noted for his multiple appearances on Deep Explorer.

Deep, jazzy, techy, warm and diverse, this EP is everything there is to love about deep house.

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

Early support by: Laurent Garnier, AME, Marco Bailey, Jennifer Cardini, Terrence Fixmer, Kyle Geiger, Marcel Dettmann, Apparat, Richie Hawtin, Vril, Charlotte De Witte, Sasha, Benjamin Demage any many more..



Fresh off of a remix for Grimes’ “My Name is Dark”, producer Julien Bracht has been powering through CV19 studio seclusion on full-power, with a distinct vision for brighter days ahead. Bracht’s new album, “Now Forever One,” an emblem of dark analog synthwave, is set to drop June 11. Bracht’s first solo album under his own namesake is cut with surgical precision for the shoegazing astral sound travellers who long to break out of their pandemic quarantines, and reconvene for techno-induced ascension. The album’s first single, “Melancholia,” and it’s accompanying video, is already breaking hearts and charts. An exquisite sonic hybrid of communal revelry and profound introspection, “Now Forever One,” focuses Bracht’s multilayered craftsmanship on resolving this era’s angst with sensory exploration and optimism.



As a lifelong drummer, Bracht’s insatiable musical energy lead him to bang out his first 3 EPs within one year of first being signed in 2011-12. In 2015 he founded the band Lea Porcelain with Markus Nikolaus in London. Their hypnotic post-rock debut release in 2017, “Hymns to the Night,” gained instant acclaim from UK tastemakers Lauren Laverne, Steve Lamacq and Zane Lowe, to name a few. The lads broke back onto the international stage with dates on several major festivals around Europe, including the Leeds/Reading Festival, Great Escape Brighton and Latitude. Rich output combined with the inclusion of live drums in his solo live sets quickly gained Bracht recognition and slots on the global tour circuit.

“Now Forever One” forges Julien Bracht’s transition from techno djing, while continuing the explorations of texture and timbre over functional song structures from Lea Porcelain, to a more open-ended search for the aural sublime — the substrate on which music, life and light glide to create momentary nodes of meaning in an increasingly meaningless sociopolitical atmosphere. These are crucial themes to Bracht’s process and approach. “The intention in my music is to strengthen people’s awareness and minds… I want us all to gather in spirit and stick together.”

The album exemplifies Bracht’s hunt for elemental juxtaposition with the warm Prophet 6’s sawtooth howls and bright pads against chillingly indifferent pulsing basslines and percussion. Clocking in at just under 65 minutes, “Now Forever One’s” tracks are sequenced to take the listener through the full emotional arch of a 15-hour rave, with an emphasis on those moments of collective epiphany where heaving techno floors become the perfect microcosm for an idealistic and interconnected future. Interspersed with improvisational one-takes, the album submerges the listener in polyrhythmic meditations, of which “Streets” and “Nocturne” are standout examples, and soars on the vaulted synth melodies of future dance floor favourites “Melancholia” and “Dreams of Euphoria.” Sascha Ring of Apparat & Moderat puts it perfectly: “I played “Melancholia” the night I got it at Mutek Festival in Mexico City, and instantly knew it’ll shine on a big floor at the right time. It’s just the right balance of majestic melodic deepness.” The sounds are both triumphant and exploratory.

Greater than the sum of its parts, Bracht’s latest release hints at the artist’s emerging potential for nailing our moment’s zeitgeist; learning to live smaller while constantly seeking higher heights. Inhabiting the fertile ground between solitary rumination and dance-floor convenance, the launch of “Now Forever One’s” lunar expedition into the techno oblivion of pandemic lockdown is oddly fitting.

Bristol experimental jazz collective Ishmael Ensemble reveal their expansive new album Visions of Light. The follow-up to their critically acclaimed 2019 debut A State of Flow, praised by the likes of The Guardian, Mojo, The Wire and tastemakers across BBC 6Music, this sophomore record sees the group reimagine what an ‘ensemble’ can do; expanding into a shifting collective, where human relationships between artists underpin far-ranging, stunningly ambitious and emotionally heavyweight compositions.

Helmed by producer and saxophonist Pete Cunningham, Ishmael Ensemble’s richly inventive 2019 debut A State Of Flow marked them out as an explosive new force in UK jazz, imbuing lush cinematic compositions with left-field dub and electronic sensibilities

redolent of Bristol’s vital musical landscape. NamedThe Guardian’s ‘Contemporary Album Of The Month’ and Mojo’s ‘Jazz Album of The Month’, it saw the group perform Maida Valesessions for both Gilles Peterson and Tom Ravenscroft, as well as feature on compilations for Brownswood Recordings and Soul Jazz Records. Cunningham’s rise as an in-demand producer led to remixes for the likes of techno royalty Carl Craig,as well as legendary jazz label Blue Note Records alongside a plethora of the UK’s finest musical talent on Blue Note Re:Imagined.

Ishmael Ensemble has since become a platform for Cunningham to subvert the conventional notions of producer/artist relationships, unsettling genre tags, and transcending the familiar landscape of UK jazz itself. Across the album’s 10 tracks, Cunningham practices a holistic approach with a long list of collaborators. Together, they explore vast new sonic terrain with an honesty, intimacy and emotional heft impossible for a conventional band.

Visions Of Light tells the story of Ishmael Ensemble’s development across its two sides. The first draws from the energy Cunningham and his bandmates discovered whilst extensively touring A State Of Flow.

4LP & 2CD Genesis Hits package to coincide with the bands UK tour in September 2021 with 3 sold out shows at London’s 02 Arena. This will be Genesis’s first tour in over 13 years with the classic line up of Mike Rutherford, Tony Banks & Phil Collins. They have sold around 100 million albums worldwide with over 20 top 40 UK hits with songs such as Follow You Follow Me, Turn It On Again, Mama, I Can’t Dance and many more. Genesis have won awards over the years at the American Music Awards, Grammy Awards, Ivor Novello Awards and a Lifetime Achievement at the Progressive Music Awards. The track list is made up of the songs the band have been performing in rehearsals and will make up the majority of the setlist during the gigs, the title of the release is the same as the tour. 4LP set is to be housed in a hardback gatefold book-style package, this will include classic images of the band, rare and unseen images from their archive & images of the rehearsal and the stage used for the gigs.

Nick Dunton has been involved with music since the early 90's and helped push the sound of UK Techno to it's very limits as one half of the 65D mavericks with Richard Polson (RIP). He has recorded and remixed for his own labels and many others and released music from the leading lights of the UK scene and beyond.

Exalt Records are pleased to release the first album from Nick Dunton under his Ever Vivid guise. These 12 tracks were recorded between 2003 and 2013 and reflect the most personal side of Nick's musical production, echoing around themes of movement, loss, bereavement and love.

Presented in a beautiful gatefold sleeve with original artwork and design from David Watson at Grid Pattern.

After a four year break EDMX is back! UK don Ed DMX is next on EYA Records releasing music under his legendary alias.'Made in Japan EP' is an ode to the 90's Motor City's second wave.Timeless.

Source Crossfire is a searing, brooding collection that documents the recorded output of Sofa one of Montreal's most shadowy, notorious, captivating underground art-rock ensembles of the mid-90s, and the first band to be released on Constellation charting the quartet’s febrile evolution through sonic palettes of North American post-hardcore and slowcore admixed with early UK post-punk, goth and dark lounge. In the words of one music writer of the era: "Like Slint and Big Black meeting for a Joy Division reunion."

Burning Injustice’, the second album by Torn Relics, forthcoming on the Berlin based label Instruments of Discipline, weaves mythical and futuristic elements of an unknown world. Haunting, visceral and diverse in production styles, the duo continues to pave their own musical territory. This album was written between 2017 – 2021, in which the music produced reflects the decay of the political and social landscape in the UK, from the Brexit divide to covid isolation. This music serves as antidote in these turbulent times. Torn Relics are an experimental electronic duo based in London, composed of Romek Boyer (AKA Rommek) & Aimée Mullen. The body of their work is a mixture of cyber-punk electronics with tribalistic violin, rhythms and tones. Their debut EP, The Poisoned Chalice, was released on Sacred Court in 2019 and included a remix from SNTS. Abolish The Dogma, the duos debut 8-track album was released in 2020 on Leyla records, which showcases the diversity of their production styles.

The latest chapter in Columbia/Legacy's highly acclaimed Bootleg Series revisits an often forgotten, rich vein in Dylan’s vast and complex catalogue, shining fresh light on the provocative new musical directions Dylan was taking as a songwriter and a recording artist from 1980 through 1985. This set celebrates the rich creative period surrounding Dylan's albums 'Shot Of Love', 'Infidels' and 'Empire Burlesque', with previously unreleased outtakes, alternate takes, rehearsal recordings, live performances and more.








[e] b2 Don’t Fall Apart on Me Tonight [version 1] – Infidels alternate take

[g] c1 Too Late [band version] – Infidels outtake

Demon’s Souls (Original Soundtrack) is a modern reimagining of the incredible score composed by Shunsuke Kida for the original 2009 PlayStation 3 game, now updated for the 2020 PlayStation 5 remake. This soundtrack features that same amazing score but with dramatic new arrangements, great orchestral soundscapes and dramatic choral songs. Now available as a very limited vinyl set, pressed on a pair of gold LP's housed in a gatefold jacket featuring beautiful artwork by Ken Taylor. This soundtrack was recorded at AIR Studios in London, with a 75 piece orchestra, a 40 person choir and multiple vocal and instrumental soloists. Specialist marketing.

The new album from acclaimed pianist/composer/producer. 'Grains Of Gold' is a masterful collection of ambient electronica full of epic soundscapes and softly billowing crescendos. This is his first album on XXIM Records, the young post genre label launched earlier this year by Sony Masterworks and the first of its kind within Sony Music. The record was created in Hamburg during lockdown and, according to Carlsen, reflects the city's influence, a sense of being stuck in a foreign place and a longing for his hometown of Cagliari. A 10 track album released on LP and CD.

The german Producer Shuko teamed up with soul legend Lee Fields and UK newcomer Nia Wyn on this limited 10inch edition „Nothings Gonna Change“. Besides that heavy soul jam he packed up the vinyl with two other soul driven Hip-Hop tracks called „Money“ feat. Swiss soul voice Ira May and Liquid Junkie´s finest Defari as well as another collab between Nia Wyn and Kinkai from the UK. To make this an outstanding collecting Item, Shuko added two istrumentals that will be only available on this release, the "Nothing's Gonna Change" instrumental version and the bonus cut "Roger Moore".

After several features and single releases UK's up & coming producer K, Le Maestro finally releases his highly anticipated debut album “WHIP MUSIC” via Jakarta Records.

The independent label Six Nine Records Ltd. UK, based in Newcastle upon Tyne, proudly presents B & The Family and their first release on the label!
B & The Family, as a musical unit, reminds you of a modern day Jacksons or Sylvers group. Everybody plays several instruments and sings. This band is led by MD, patriarch, and male lead vocalist Brian K. Morgan, Katie Goulet (Wife/Bass/Vocals), Tayler Morgan (Daughter/Drums/Vocals), Genevieve (Daughter/Keys/Vocals) and Willa (Daughter/Keys/Vocals).
“Count On Me” and “Magic” (produced and written by Brian K. Morgan and Katie Goulet), was originally created in the early 80’s for Johnny Kemp (“Just Got Paid”). Although these two songs never made the album, Brian was able to write and produce a few of his other songs on Johnny’s albums.
Definitely not to be missed as it is a limited UK press with small hole
and full colour printed picture cover!

Draconian Steps brings together Jeremy Rodriguez and Ron Morelli for the first of 2 - 12''s under the name ''Circus of Death''. The tracks were recorded at Devon Analogue Studio in the UK.

Wrangled in from a weekend of long studio jams. Bleak over driven analogue business from start to finish. 3 - 909 cuts crunched out and pushed way into the red. Limited edition!

Killer tracks by Draconian Steps. A project by Jeremy Rodriguez and Ron Morelli for the first of 2 - 12''s under the name ''Circus of Death''. The tracks were recorded at Devon Analogue Studio in the UK. Wrangled in from a weekend of long studio jams. Bleak overdriven analogue business from start to finish. 3 - 909 cuts crunched out and pushed way into the red. Limited edition, so don't sleep on these!!

Power punks, Hot Milk, have announced their second EP, ‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD” via Music For Nations.

It follows the success of the band’s first EP, 2019’s ‘Are You Feeling Alive?’, a fizzy collection of gutsy emo-pop which established them as one of the most exciting new bands in the UK. Their 2019 was a whirlwind year that saw them tour with Foo Fighters, Deaf Havana and You Me At Six, as well as playing some of the UK’s biggest festival stages.

The band were formed in 2018 by vocalist and guitarist duo, Han Mee and Jim Shaw, two friends who met working behind the scenes in the Manchester music scene. Yet they yearned to be in a band themselves. “We got to the point where we were why not? What else have you got to lose?” says Jim. “We thought, we can go for this or we can get to 60 and know we didn’t do right by ourselves.”

Debut EP, ‘Are You Feeling Alive?’, which was penned during a drunken songwriting session, was an effervescent refusal to settle for second best in life. “We’ve both realised that life you don’t get another face,” Han continues. “You get one face and then you’re done, and you will never exist ever again.”

That sense of not letting life slip through your fingers is at the core of Hot Milk’s punk-indebted ethos. And having taken a leap of faith to grasp their platform, the band, completed by bassist Tom Paton and drummer Harry Deller, aren’t about to let it go to waste. “Art is about your interpretation of your own experience,” adds Jim. “The first EP was written five years ago. We’ve grown up and realised who we are and what the world is like right now.”

‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD’, which was produced by Jim Shaw, is another vivacious call to arms, rammed with sharp hooks and huge, catchy choruses, to encourage everyone, everywhere, to follow their dreams. But elsewhere, the lyrics are more personal, with the band bottling the anxieties and frustrations of their everyday lives. ‘Woozy’ openly tackles depression, ‘Good Life’ takes on societal corruption and the distribution of wealth, while elsewhere the band address the pursuit of happiness in a modern world.

“These songs are honest,” says Han. “I have nothing to hide. Everyone’s on antidepressants these days. It’s the world we live in, it makes people sad. Capitalism. Is it broken? 100 per cent. I’m angry that the fact that we’re sold a world that actually doesn’t make your inner peace happy. Humans need love and community and a lot of the time, there is no love and the community has dissolved.”

“The anger resides in us at the unfairness of the world,” adds Jim. “Online communities are all about flexing and battling your peers to look or sound a certain way that is better than everyone else. It’s constant and it’s dangerous. You’re teaching kids that to be content, you have to be best. It’s a question again. Are you really living?”

“We’re angry, both politically and existentially in terms of the system we now live in. But also, we’re angry at the fact that we’re sad quite a lot,” continues Han. “But we’re trying to not just sit there and take it. We’re trying to fix it, by building a family through this band.”

Walk into any Hot Milk show and you will feel that sense of community. Through their honest lyrics and inclusive approach, the band say their aim is to create an “aggressively space safe” where fans are empowered to be themselves, “authentically and unapologetically”, as well as opening up a dialogue for people to talk. That will become clear later this year when the band get their chance to air the new material. This summer, they will return to Reading and Leeds Festivals, this time to play the main stage, as well as embarking on a headline UK tour in September. And believe, when the times comes to finally get back into those sweaty pits, these new songs will provide the perfect, life-affirming soundtrack.

“Life is fragile,” says Jim. “You can’t take things with you, but you can make the best memories. That’s the most important thing in life. Your currency is your memory.” “What you can take with you is something that absolutely makes the blood pump round your veins and gives you goosebumps,” agrees Han. “That’s what this band is to us. It’s our passion. That’s what this EP is about.”

Portuguese experimental trio 10 000 Russos are gearing up for the release of their fifth album ‘Superinertia’, which is due out September 10th on Fuzz Club Records. Following on from 2019’s ‘Kompromat’ LP and tour dates around the UK, Europe and Mexico in support, the Porto-based band describe ‘Superinertia’ as a record addressing the “state of inertia that humans live in the West nowadays. It isn’t a record about the past or future. It’s about now.” For all that ‘Superinertia’ might take aim at a world without motion, however, the same cannot be said of 10 000 Russos themselves.

On the one hand, since their 2013 debut LP and the three that have followed on Fuzz Club since (2015’s self-titled, 2017’s ‘Distress Distress’ and ‘Kompromat’), 10 000 Russos’ music has always been about as kinetic as it gets: a truly unrelenting and motorik sonic force. On the other hand, ‘Superinertia’ also sees the band itself move into whole new musical territories – aided especially by the recent addition of synth player Nils Meisel to the line-up (who replaces former bassist André Couto.)

“The synths really opened up the sound of the band and gave more routes for the music to journey down. The most important thing on this album was to not repeat ourselves. A new arc in our sound is coming to life”, drummer and vocalist João Pimenta explains. On said arc, the Russos sound is expanded to include moments that invoke Ry Cooder’s ‘Paris, Texas’ soundtrack (‘Mexicali/Calexico’), dancey outbursts that transport you to the 90s Summer of Love (‘Super Inertia’), the closest thing Russos have ever done to a pop song (‘A House Full of Garbage’) and even a touch of banjo (albeit one that sounds like a country band on amphetamines playing over a feedback-blasted Stooges beat.)

“10 000 Russos are bizarre and excellent in equal measure.” - The Quietus

“Songs drip with heavy echo, relentless beats and bass and a sense of charging into the ultimate infinite.” - Bandcamp Daily

“Something unholy has indeed been summoned out of the ground, and it is a power trio from the Iberian Peninsula.” - Clash Magazine

Portuguese experimental trio 10 000 Russos are gearing up for the release of their fifth album ‘Superinertia’, which is due out September 10th on Fuzz Club Records. Following on from 2019’s ‘Kompromat’ LP and tour dates around the UK, Europe and Mexico in support, the Porto-based band describe ‘Superinertia’ as a record addressing the “state of inertia that humans live in the West nowadays. It isn’t a record about the past or future. It’s about now.” For all that ‘Superinertia’ might take aim at a world without motion, however, the same cannot be said of 10 000 Russos themselves.

On the one hand, since their 2013 debut LP and the three that have followed on Fuzz Club since (2015’s self-titled, 2017’s ‘Distress Distress’ and ‘Kompromat’), 10 000 Russos’ music has always been about as kinetic as it gets: a truly unrelenting and motorik sonic force. On the other hand, ‘Superinertia’ also sees the band itself move into whole new musical territories – aided especially by the recent addition of synth player Nils Meisel to the line-up (who replaces former bassist André Couto.)

“The synths really opened up the sound of the band and gave more routes for the music to journey down. The most important thing on this album was to not repeat ourselves. A new arc in our sound is coming to life”, drummer and vocalist João Pimenta explains. On said arc, the Russos sound is expanded to include moments that invoke Ry Cooder’s ‘Paris, Texas’ soundtrack (‘Mexicali/Calexico’), dancey outbursts that transport you to the 90s Summer of Love (‘Super Inertia’), the closest thing Russos have ever done to a pop song (‘A House Full of Garbage’) and even a touch of banjo (albeit one that sounds like a country band on amphetamines playing over a feedback-blasted Stooges beat.)

“10 000 Russos are bizarre and excellent in equal measure.” - The Quietus

“Songs drip with heavy echo, relentless beats and bass and a sense of charging into the ultimate infinite.” - Bandcamp Daily

“Something unholy has indeed been summoned out of the ground, and it is a power trio from the Iberian Peninsula.” - Clash Magazine

Ocean Colour Scene came to be one of the biggest bands in the mid-90’s UK indie/rock scene
with the release of their second album that went multi-platinum accumulating a large and loyal
following.
• ‘Painting’ is the band’s 2013 album and is release on vinyl for the very first time
• 14 tracks pressed on 180g White vinyl with original artwork and printed inner sleeve. Singles
include ‘Doodle Book’ and ‘Painting’

Pioneering electric bluesman Albert King not only influenced
American guitarists like Robert Cray and Stevie Ray Vaughan, with
whom he played in later years, but made an indelible mark in
Britain. Cream-era Eric Clapton, in particular, was an early devotee
before Albert ever set foot on UK soil, while Gary Moore, who
unashamedly took his cues from Clapton, later shared a stage with
King in his ‘Still Got The Blues’ period. Enjoy his earliest
recordings as all his famous fans would have discovered them –
on vinyl!

The UK’s love affair with American soul music blossomed in the
mid 1960s, with the launch of the Tamla-Motown record label in
Britain. But by the end of the decade this passion took on a
distinctly homegrown twist with a new movement that grew out
of the North of England and Midlands’ underground soul and
R&B scene. It was here at dancehalls and clubs such as
Manchester’s Twisted Wheel and the Wigan Casino that
devotees danced the night away to uptempo, joyous US soul
records that always came with a heavy beat. Pretty soon the
movement had a name: Northern Soul. This collection is the
next best thing and it is all on vinyl, exactly how the movement’s
fans originally heard them

Back In Love City, the new album produced by Daniel Ledinsky (Rihanna,
Carly Rae Jepson), Andrew Maury (Lizzo, PostMalone) and Fryars (Pharrell
Williams, Mark Ronson), sees The Vaccines both perfecting their winning
formula, and pushing their sound forward, evolving from their previous
foundations with an album that reflects on escapism as a necessary
part of modern living.
With 4 Top 5 UK Albums, including a #1 with 2012’s Come Of Age, and 19 singles playlisted on BBC Radio One, The Vaccines’ fifth album creates a place
where people go to find solace, satisfaction, safety, and connection: Love City.

MIEKO SHIMIZU is a London based Japanese singer, songwriter, composer
and producer. She first erupted onto the scene as Apache 61, fusing layers
of cross-woven breaks and battling shards of sub-bass within stateless
melodies drawn from the fringes of the avant-garde.
Mieko has produced scores for contemporary dance company Phoenix Dance
Theatre as well as the Ballet ‘The Red Balloon’ at the Royal Opera House’s
Linbury Theatre. She was made an ‘Emerging Artist in Residence’ at London’s
Southbank Centre where she collaborated with the London Philharmonic Orchestra on her own compositions.
ROAD OF SHELLS was originally released back in 1990 and now being released
for the very first time on vinyl. Recored at Wold Studios in London, the record
features an array of talented musicians from Claude Deppa on trumpet and
guitar from Dominique Brethes. ‘Blue Dancer’ and ‘In The Garden’ features
Mieko’s brother Yasuaki Shimizu on saxophone.
20 years on from Road Of Shells original release date the record has now has
be released for the very first time on Vinyl in Japan and available in the UK
and worldwide.
Mieko has worked with David Cunningham from The Flying Lizards, Robert
Lippok of To Rococo Rot and re-mixed the likes of Coldcut. Haruomi Hosono
of the cult electro-pop act ‘Yellow Magic Orchestra’, signed Mieko to his label
‘Daisy World’.
Mieko has performed at Sonar, alongside Kraftwerk and supported Massive
Attack at their Melt Down Festival.

"Ultra, The 12 Singles", a collector's edition deluxe box set, contains eight 12" vinyl discs presenting four singles - "Barrel of a Gun", "It's No Good", "Home", and "Useless" with key B sides, mixes and live recordings contemporaneous to Depeche Mode's ninth studio album, Ultra, originally released April 14th 1997. Three of the 12" vinyl discs in Ultra The 12" Singles are comprised of tracks first released on CD singles throughout 1997. Each of these new 12" discs features artwork reflecting the original CD single releases, now expanded to 12" vinyl for the first time. Audiophile quality 12" vinyl, with audio mastered from the original tapes. The artwork for the exterior box sets draws on iconography inspired by the original releases, while the vinyl sleeves themselves feature the original single artwork. Very limited. Stock will be allocated.

Audio premiere for Povratak na Parni Pogon on Monday 24th of May via Music is my sanctury

Video premiere via Clash or Twisted Soul

Airplay - dom servini (soho radio), WYEP Pittsburg (dubmission), WKDU Philadelphia (eavesdrop radio), Jocks & nerds (soho radio), Basic Soul Show, Bondfire Radio NYC + many smaller stations across EU, UK & US

LP review - Mojo, Songlines agreed so far

Key selling points:

Kozmodrum are pioneers of the Croatian nu-jazz scene
Kozmodrum's second albumGravitywon the highest award in Croatia, Porin

Individual members of Kozmodrum as well as Kozmodrum as a collective are acclaimed musicians in the Balkans and have won numerous prestigious awards for their work

Their music is like a DJ set played live - as all the music is played live with 'traditional' instruments by the Kozmodrum ensemble


numerous great reviews, but not many in English - we're looking to introduce the band to UK audiences with this release -- this is one review in english for their album Gravity:https://exclaim.ca/music/article/kozmodrum-gravity
Our PR for this 3rd album by Kozmodrum is done by Francesco Soragna (Jus Like Music) with specific focus on UK market.
BIO:

Kozmodrumhave been pioneering a new approach to electronic music in Croatia, often described by the band as Organic Dance Music. Techno, House and Dub styles intertwine through a continuous set, played by a live band on guitars, drums and keyboards.Simultaneously, the tradition of jazz ensemble performance is stitched into the architecture of music itself.

Kozmodrum have released 2 albums, 'Na Tragu Satelita' in 2016, and 'Gravity' the following year, receiving a Porin Award for the latter (the Croatian Grammy). Individual band members also received numerous awards for their accomplishments and are considered by many to be pioneers in the Croatian nu-jazz scene. Kozmodrum's main influences are Tycho and Elektro Guzzi, as well as Jaga Jazzist with whom they performed live. The band have played numerous festivals and concerts, with Kozmodrum's members performing with Hans Joachim Roedelius, noise/art/sound figure Sunao Inami, as well as jazz masters Reggie Washington, Peter Erskine, David Liebman, Alan Broadbent, David Murray and Saskia Laroo.

Onstage, Kozmodrum is a five-piece ensemble that adds a third dimension to their music, written and produced by the band's founder Janko Novoselić. Using the framework of a DJ set, the compositions are made to be played openly, where the beat is 'looped' until a cue is given to make a change or switch to another part. The pieces are often minimalistic to start with, but evolve over the performance into more complex patterns, harmonies and melodies. With constant shifts between the natural and the artificial, organized and improvised, quiet and loud - Kozmodrum create an unforgettable, mantric performance.

BARBARA JEAN ACKLIN was working as a receptionist at Brunswick Records in 1966 when she co-wrote “Whispers (Getting Louder)” which became one of Jackie Wilson’s biggest hits and secured her a recording contract with the label. In 1968 she hit with “Love Makes A Woman” peaking at #15 on the Billboard pop chart. “Am I The Same Girl” followed in ’69 barely breaking the Hot 100. Dusty Springfield covered the song later that year giving the singer her final chart hit, peaking at #43 in the UK. Salena Jones cut a credible jazzy interpretation in 1970 and the British pop group Swing Out Sister scored a #21 UK hit in 1992 after first hearing the song in a Manchester Northern Soul club.
Brunswick producer Carl Davis was inspired to remove Acklin’s vocal and replace it with a piano solo shortly after the original release. He called the instrumental “Soulf Strut” and attributed it to Young-Holt Unlimited providing them with a #3 hit in the USA.