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LADYTRON--Helen Marnie, Mira Aroyo, Daniel Hunt and Reuben Wu--formed in 1999 and sparked an entire movement in music pop culture powered by vintage synths and electro-rock engines. Originally released in 2002 by Emperor Norton Records and re-released by Nettwerk in 2011, Liverpool electropoppers Ladytron’s second studio album Light & Magic was written and co-produced in Los Angeles by the band & Mickey Petralia and featured the underground hits “Seventeen”, “Blue Jeans” and “Evil.”

Toy Tonics Music Berlin presents "Para Mytho Disco". The 2nd "Kapote" album of label founder and creative director Mathias Modica.
Keyboarder, DJ, producer, music nerd, graphic designer, multi-instrumentalist, sub-culture impressario and artist (formerly known as Munk of Gomma records.)

Kapote & Toy Tonics
In the last years Kapote was in the spotlight mainly for building the Toy Tonics label with his friends. Developing a platform for new positive quality dance music with a human touch. Toy Tonics is the opposite of the dark, druggy Techno and Trance sounds of the last years.
The warm inclusive music of Toy Tonics represents a new vibe that a young generation of diverse, stylish and culturally intersted generation of dancers loves now. Kapote's Toy Tonics became the key label for that vibe. (In 2024 Toy Tonics made 150 Toy Tonics events in 18 countries. With more than 150.000 people dancing. 90 millions streams on their music.)
Toy Tonics is more than a music label: It's a audio - visual universe. A community, almost a movement.
Based on a new positive attitude and aesthetic diversity. Mixing musicianship with DJ culture, analogue music with electronic, ideas from the past with sounds from now. To create something new. Connecting dance music with graphic design, art and underground fashion.
Kapote and his gang release vinyl, posters, shirts, art fanzines and make exhibitions and partys.

Toy Tonics started in Berlin as a underground niche project. But now became the key label of the new house, wild style disco and organic dance music scene.
Probably one of Berlin's biggest electronic music phenomena along with Keinemusik and Live from Earth.

It went fast: 2020 Kapote's crew started to make small parties in Berlin's off spaces. The "Toy Tonics Jams". The parties became "talk of the town", and Berlin clubs like Griesmühle and Panorama Bar invited the crew. Then international clubs and festival called. Toy Tonics were invited to SONAR (playing the mainstage with Kaytranada and DJ Tennis), KALA festival, Montreux Jazz festival.
Now TT has a residency at Panorama Bar Berlin and sold out events in Europe leading clubs like Phonox in London, Rex Club in Paris, Tunnel in Milan.
Toy Tonics now is the reference brand of a new generation of music loving dancers. Similar to Gomma records, Kapote's former label (2003 - 2015) that was one of the key labels of the "indie dance" scene of the Y2K years (along with DFA and Output Records).

Kapote created a multi-cultural movement with graphic designers, photographers, illustrators from the Berlin scene.
They publish the Toy Tonics Pocket Poster magazine, posters and design shirts. They organize the Toy Tonics Pop Up Galleries mixing music and art. In underground venues in Berlin and in new gallery spaces and museums around Europe.
Toy Tonics has been invited by Palais de Tokio museum in Paris, Triennale Museum Berlin, Design week Milano to create events.
The new Kapote album
The 12 tracks have a very own style. Based on dance music, but going much further. "Para Mytho Disco' is a futuristic mix of sounds. It's far away from the dark monotone techno and trance music from Kapote's hometown Berlin. Instead, he creates warm friendly atmospheres full of sonic colours and little musical surprises.
Kapote's knowlege of music history and his backround as a jazz piano student and son of classic music composer is clearly inside this music. Before turning into a DJ and electronic music producer he has been playing in bands since he was 13 years old.
The album is full of emotional chord progressions played by Kapote on various keyboards. Sometimes reminding music from the past, without being retro at all. The basslines and melodies are inspired by jazz fusion from the 1970ies. And he programmed syncopated grooves that come from afro-american dance music. There are influences from Japanese electronic music (Yellow Magic Orchestra), from 1980s Synthwave and from 1990s electronica (like Squarepusher and Luke Vibert).

Kapote plays keys, bass, flutes and percussions, he plays synth solos and sings on a few tracks. The complexity of the arrangements makes this music never boring. Lot of melodies and solos that catch the listener. Colourful soundscapes that make you want to listen or dance to this album more, and discover details also after you heard it several times.

Kapote background

Before starting Toy Tonics, Kapote used to run a label called Gomma. He produced four albums under the name Munk and music for other artists.
He produced music with Peaches, Franz Ferdinand founder Nick McCarthy, with New York street art legend The Rammellzee, Italian actress Asia Argento, the first three albums of WhoMadeWho and worked with LCD Soundsystem (listen to "Kick out the chairs", the Munk song with James Murphy )
In those "Gomma days" Kapote aka Munk was also one of the main DJs for VICE magazine parties and made music for art projects and fashion brands (Margiela, Prada, Colette).
In 2015 he stopped Munk and Gomma and started Toy Tonics. He found young producers and helped to develop their sound (Coeo, Cody Currie, Gee Lane, Barbara Boeing, Sam Ruffillo). Later he founded the sublabel Kryptox to release music by Berlin based bands that make new forms of jazz or neo classical sounds.

Under the name Kapote Mathias didnt release much:
Only his Kapote debut album "What it is" (2019) and an EP called "Electric Slide" (2022) and a collabo EP with Italian producer Sam Ruffillo ("Robot Salsa").

An although his Munk and Kapote music was an underground phenomena his music has always been a favourite of many great people from the scene.
Supported by DJs like Harvey, Chromeo, Moodymann, Jennifer Cardini, Gerd Janson, MYD, Andrew Weatherall to Blessed Madonna, Justice and Laurent Garnier… to name just a few.

‘LIVE. SHIFT. DREAM.’ : three words for a first EP that invites you to embrace existence, shift gears when opportunities arise and keep your hopes and ambitions alive. That's what PAMELA is all about: electric energy, raw momentum, urgency. There's no time to get bogged down, it's all there in front of us, so let's make the most of it.



In this EP, each track is a facet of themselves, a distillation of their influences and raw energy. ‘Focused’ opens like an adrenalin rush, oscillating between desire and loss of control. ‘G.R.E.A.T.’ ? An explosive Britpop anthem, celebrating individuality with saturated synths and a heady riff. ‘IDNTKNWYT’ invites you to let go and dance without restraint. Then there's ‘Lover's Potion’, which reveals a softer, more intimate side, with a retro, hushed voice that's transporting.



And that's not all: ‘Full Sentimental’ is a powerful confession, where nostalgia becomes an outlet, while ‘Put out the Fire’ burns with urgency and sounds the alarm about the current climate situation.



Co-produced with Pierre Cheguillaume (who also produced Zaho de Sagazan), their tracks oscillate between LCD Soundsystem, The Cure, and Soulwax, blending into dance music tinged with indie rock and britpop. Showcasing their full power live, PAMELA will perform at La Maroquinerie (Paris) in March, after supporting Zaho de Sagazan on her Arena tour.



‘LIVE. SHIFT. DREAM.’ is more than just a start for PAMELA: it's an invitation to feel, to vibrate, and never stop.

"Chewing The Fat" marks a new chapter for Franc Moody.

This album delves into the duo's creative depths, breaking away from traditional norms and

showcasing a more refined sound than their earlier work.

Partially recorded at LA 64 Sounds Studio and Damon Albarn’s Studio 13 in West London,

the album’s sonic landscape is significantly shaped by Albarn’s collection of synthesizers,

especially some Russian models.

Drawing inspiration from live performances by Massive Attack and LCD Soundsystem,

the result is a sound that leans less toward disco,

embracing a grungier, more gritty attitude.

Repressed LP on Neon Orange Vinyl, includes download card. It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. “I believe more in the scissors than I do in the pencil,” said Truman Capote. ”Simplicity is the ultimate sophistication,” opined Leonardo da Vinci much earlier in proceedings. Yes, it’s the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but it’s the swagger of the groove and the minimal topping – like an anti-cup cake – that makes this unique New York sisterhood so appealing on ‘Keep On Moving’. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESG’s post-punk took out the grunge and polished the basics. Cut them open and “less is more” is written all the way through. ‘Keep On Moving’ was released over ten years ago to much praise (Q said it was “even better” than 2002’s much loved ‘Step Off’). ESG had been sparring partners for PiL and early hip hop and four years after the ‘Off’, they were onto something new – rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but they’re much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. It’s hard and temple throbbing. Turn it up. And keep moving. “If there's one tune which sums up ESG's enduring lust for life, it's the beautifully-judged Black Flag/early techno crossover of the closing 'Gimme A Blast'.” The Guardian 5/5 // “This album's every percussive aspect has been honed to impart the maximum amount of pleasure.” The Observer // “Despite their influence on younger bands (you can hear LCD Soundsystem's knobbly grooves on ‘Insane’), ESG still sound like nothing else.” The Guardian

"Chewing The Fat" marks a new chapter for Franc Moody.

This album delves into the duo's creative depths, breaking away from traditional norms and

showcasing a more refined sound than their earlier work.

Partially recorded at LA 64 Sounds Studio and Damon Albarn’s Studio 13 in West London,

the album’s sonic landscape is significantly shaped by Albarn’s collection of synthesizers,

especially some Russian models.

Drawing inspiration from live performances by Massive Attack and LCD Soundsystem,

the result is a sound that leans less toward disco,

embracing a grungier, more gritty attitude.

Der UK-Postpunk-Geheimtipp des noch jungen Jahres!

Produziert von UK-Indie-Produzenten-Legende Dan Carey, der schon lange mit Heartworms zusammenarbeitet, verbindet 'Glutton For Punishment' die treibenden, motorischen Tendenzen der Gothic-Urgesteine Depeche Mode mit der lyrischen Gewandtheit von PJ Harvey und den schrägen Rhythmen von LCD Soundsystem zu einem kraftvollen Klanggewitter.

The Weeks Island project began in 2018 when, itching for something during a break from his gig playing guitar for the Grammy-winning Cajun group Lost Bayou Ramblers, Jonny Campos ventured to his bandmate's house and recorded a series of deep, amoebic, ambient pedal steel passages across two afternoons. It wasn't all heavy, though: he paid that bandmate, Kirkland Middleton, in Cane's chicken strips. The tracks on Droste are named for bodies of water that no longer exist, their names wiped from maps thanks to the disintegrating shorelines of Southern Louisiana. That feeling of impermanence hangs over this record - the tracks don't so much begin and end as slip in and out of your consciousness. It can be a serene passive listen or a deep one that marinates long after the runout. Droste originally appeared on Nouveau Electric Records, run by another Rambler, Louis Michot, in 2020, digitally and on cassette. DFA picked it up via an connection from LCD Soundsystem's Korey Richey, and began a years-long process to cut the record to vinyl, a task made difficult by the sharp pedal steel and waves of harmonic distortion that color the music. After more than a few tries and the addition of three brand new tracks, Bob Weston at Chicago Mastering Service nailed it, and it was pressed beautifully at Furnace Record Pressing in Alexandria, VA.

Das Weeks Island-Projekt begann 2018, als Jonny Campos während einer Tour-Pause als Gitarrenspieler für die Grammy-prämierte Cajun-Gruppe Lost Bayou Ramblers Lust auf etwas anderes hatte. Im Haus seines Bandkollegen nahm an zwei Nachmittagen eine Reihe tiefer, amöbenhafter, ambienter Pedal-Steel-Passagen auf. Die Tracks auf "Droste" sind nach Gewässern benannt, die es nicht mehr gibt und deren Namen dank der zerfallenden Küstenlinien Südlouisianas von den Karten gelöscht wurden. Dieses Gefühl der Vergänglichkeit schwebt über dieser Platte - die Tracks beginnen und enden nicht wirklich, es ist eher ein hinein- und wieder hinausgleiten. Es kann ein ruhiges, passives Zuhören sein oder ein tiefgehendes, das noch lange nach dem Ausklang nachhallt. "Droste" erschien ursprünglich 2020 bei Nouveau Electric Records, digital und auf Kassette. Über eine Verbindung von Korey Richey von LCD Soundsystem gelangte DFA an das Album und begann einen jahrelangen Prozess, um es als gut klingende Vinylplatte rauszubringen, eine Aufgabe, die durch die scharfe Pedal-Steel-Gitarre und die Wellen harmonischer Verzerrung, die die Musik färben, erschwert wurde. Nach mehreren Versuchen und der Hinzufügung von drei brandneuen Titeln gelang es Bob Weston von Chicago Mastering Service, das Ergebnis ist wundervoll in Klang und Schönheit.

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

Young-Girl Forever' ist das neue, schillernde Elektropop-Album der in Wien lebenden Künstlerin Sofie Royer. Es folgt auf ihr Debütalbum 'Cult Survivor' von 2020 und 'Harlequin' von 2022.

Das Album zeichnet ein kühnes Porträt davon, wie es ist, heute eine Künstlerin zu sein - inmitten der Fallen des Kapitalismus, der existenziellen Unsicherheit und des ständigen Gefühls, mit Gleichaltrigen nicht im gleichen Takt zu sein.

Royer entlehnt den Begriff 'Young-Girl' aus den Preliminary Materials on the Theory of a Young Girl, die ursprünglich in der französischen anarchistischen Zeitschrift Tiqqun veröffentlicht wurden. Darin wird das Young-Girl als Symbol für den Konsumismus der Moderne dargestellt.

'Young-Girl Forever' schwankt zwischen Optimismus und Verzweiflung - es feiert das junge Mädchen und tadelt gleichzeitig die Kultur, die es hervorgebracht hat, und drückt so den Wunsch nach wahrer Befreiung aus.

Sofie Royer ist bereits mit Künstlern wie LCD Soundsystem, Lana Del Rey und Air aufgetreten.

- Für Fans von Weyes Blood, Lewis OfMan, Okay Kaya, Caroline Polachek, The Weather Station, Charlotte Gainsbourg, Jockstrap.

Section 25 release their 10th studio album ‘Move On’ via Nine X Nine records. Originally formed in Lancashire in 1977 they are best known for their work with iconic Manchester label Factory Records. Fusing elements of post-punk, electro and synth-pop their sound is unmistakable and influential. ‘Move On’ has optimism at its core. It is a reflection of the past and a meditation on the present. Emotionally engaging with the here and now by understanding what has passed. Section 25 have built a lasting legacy as one of Britain’s most important bands in electronic music. Younger audiences may be familiar with their work through it being extensively sampled, including by Kanye West. The band were also namechecked in LCD Soundsystem’s breakout single ‘Losing My Edge’.

IPPON is a rich music, with varied influences, which evokes the electro rock of Soulwax or LCD Soundsystem as well as dark disco.

Effective bass lines, cosmic synthesizers, saturated drums and reverberated vocals: the duo navigates between electro, languorous and sensual dark disco or even progressive pop rock

Section 25 release their 10th studio album ‘Move On’ via Nine X Nine records. Originally formed in Lancashire in 1977 they are best known for their work with iconic Manchester label Factory Records. Fusing elements of post-punk, electro and synth-pop their sound is unmistakable and influential. ‘Move On’ has optimism at its core. It is a reflection of the past and a meditation on the present. Emotionally engaging with the here and now by understanding what has passed. Section 25 have built a lasting legacy as one of Britain’s most important bands in electronic music. Younger audiences may be familiar with their work through it being extensively sampled, including by Kanye West. The band were also namechecked in LCD Soundsystem’s breakout single ‘Losing My Edge’.

Mermaid Chunky. It's all in a name, sometimes. The danceable, costumed, curiosity rich duo of artists Freya Tate and Moina Moin are as imaginative as they profess. Or, to get more to the point, as we all need them to be. Freya and Moina are two visual artists and musicians from Stroud and South London, places where they importantly found communities (Stroud's SVA and the capital's Total Refreshment Centre) of like minded people just as willing to chase down an idea to its possibly illogical conclusion. And it is in the collective and the idea of participation that Mermaid Chunky really clicks. This is a party, a collective dance, made all the better with more: people, ideas, layers, kick drums, recorders, saxophones, frogs. To wit, the album's first track and first single, "Céilí," named after a traditional Scottish or Irish social gathering and dance, which builds from a simple recorder line into a swelling, warm burst of major chord dance music. Goosebumps or check your pulse. Further down the rabbit hole, "Chaperone" is almost boardwalk electro, like Fischerspooner on a ferris wheel; "Frogsporn" and "Nature Girl" are mucky, trippy dirges filled with stalactites of synth and squelch; "Tiny Gymnast" is a kaleidoscopic waltz into the night. Hold onto your seats, ladies and gentlemen. You might be wondering how we, DFA Records, all the way over in cynical Brooklyn, entered the picture. There was a day a few years ago, sun shining in full Springtime splendor, when James heard something while waiting for a coffee down the street from the office. It sounded simple yet deceptively complex: a dance track, but one where the one - that anchoring first beat in a measure - could be heard a thousand different ways. Frustrated and interested, he Shazamd the song, playing at the shop from an episode of Zakia's Questing show on NTS, and brought it back to the office, where we all listened to it about fifty times. (The song was "Friends," from Mermaid Chunky's VEST EP, released in 2020. It led to an invitation to open for LCD at Brixton Academy in 2022. Mermaid Chunky has also played live alongside The Comet Is Coming, Alabastair Deplume, Snapped Ankles, and many others.) Thus began our search for Mermaid Chunky. A quest it has been and a quest it will always be.

As the vinyl revival continues to sweep the globe, Copenhagen finally wakes up and launches this new white label edition, which showcase some of the hidden jewels that has stirred the floors of the Danish capital. Supplies are super limited, and demand is expected to be high because these stands out – and too hot to mention, but the focus remains squarely on the music itself…Copenhagen floor fillers…!!

The 9th Installment by Fuckthegovernment is a sonic exploration that fuse the nuances of house music, electronica, minimal, and deep, creating a compelling journey through underground worlds, sparse and compelling grooves. Intricate metrics and arrangements serve as a guide in this musical universe, where cross-pollinations are our daily bread.

The Italian Duo F.T.G & Marco Riff (Fuckthegovernment), along with the emerging LCDOT and singer Jenime, join forces with Alex Neri, Germano Ventura, and Giovanni Verrina to weave a captivating musical narrative, celebrating the only medium that embodies the true spirit of sonic art: vinyl; a tangible and unique value for music, preserving stories and emotions that go beyond mere notes.

FUCKTHEGOVERNMENT.LTD project continues to break barriers and chart new paths in the contemporary music universe.

Afraid of Tomorrows ist das kommende zweite Album der britischen Alternative-Rock-Band The Mysterines. Das Album entstand nach der Veröffentlichung des Debütalbums Reeling im Jahr 2022 und der Tournee als Support für die Arctic Monkeys. Die Band schrieb fast 40 Songs in den Sessions für das Album, wobei die Songs, die „eine Emotion hervorriefen“, mit John Congleton aufgenommen wurden. Außerdem wurden sie durch den Dokumentarfilm Meet Me in the Bathroom inspiriert, der die Geschichten von New Yorker Rockbands der 1990er und 2000er Jahre erzählt, darunter die Strokes, Yeah Yeah Yeahs, LCD Soundsystem und Interpol. The Mysterines sind diesen Oktober wieder auf Tournee in UK/EU, u.a. in Berlin, Hamburg und München, und werden diesen Sommer auf Festivals auftreten, u.a. beim Hurricane und Southside. Das neue Album enthält 12 Songs und ist als limitierte coloured Vinyl erhältlich.

Die in Edinburgh ansässige fünfköpfige Band rEDOLENT veröffentlicht ihr Debüt über das aufstrebende schottische Label und Kreativzentrum Post Electric (Heimat von Hamish Hawk, Humor, Iona Zajac, Voka Gentle). "Dinny Geet", eine akribische Mischung aus eckigem Pop, Elektronik und eigenwilligen Melodien, bietet auf zehn eleganten, durchdachten Tracks harte Realität und freudige Flucht. Obwohl rEDOLENT so unterschiedliche Einflüsse wie Mount Kimble, King Krule, Animal Collective, Brockhampton, LCD Soundsystem, Madvillain, Tom Vek, Clairo, CAN und Talking Heads zitieren, gehen sie zweifellos ihren eigenen Weg und kreieren einen eigenen maßgeschneiderten Sound.

Die in Edinburgh ansässige fünfköpfige Band rEDOLENT veröffentlicht ihr Debüt über das aufstrebende schottische Label und Kreativzentrum Post Electric (Heimat von Hamish Hawk, Humor, Iona Zajac, Voka Gentle). "Dinny Geet", eine akribische Mischung aus eckigem Pop, Elektronik und eigenwilligen Melodien, bietet auf zehn eleganten, durchdachten Tracks harte Realität und freudige Flucht. Obwohl rEDOLENT so unterschiedliche Einflüsse wie Mount Kimble, King Krule, Animal Collective, Brockhampton, LCD Soundsystem, Madvillain, Tom Vek, Clairo, CAN und Talking Heads zitieren, gehen sie zweifellos ihren eigenen Weg und kreieren einen eigenen maßgeschneiderten Sound.

VILLAGES ist ein seltenes Kunststück geglückt. Die zweite LP des Indie/Postpunk-Trios "Excessive Demand" schafft es tatsächlich aus komplexen Zutaten einen absolut eingängigen, fesselnden Sound zu erschaffen. Das Vinyl-Release erscheint am 28. Oktober 2022 gemeinsam auf It's Eleven Records und Pike Records. Ungewöhnliche Drum Grooves treiben die acht Songs voran, während analoge Synthesizer und verhallte Gitarren Schicht um Schicht hinzufügen - die elektronische Kühle trifft dabei auf einen warmen Bass-Sound und einen oft fragilen, mehrstimmigen Gesang. Verschiedenste Einflüsse aus Synth-Pop, Indie/Artrock und Postrock verschmelzen VILLAGES zu ihrem originären, detailverliebten Sound, der bei jedem Hören neue Facetten offenbart. Darin spiegeln sich so unterschiedliche Inspirationsquellen für das Trio wie u.a. Battles, Trail of Dead, LCD Soundsystem, Deerhunter, Pttrns, Chad VanGaalen u.v.m. Der Albumtitel "Excessive Demand" steht für den energiefressenden Alltag, der alle utopistischen Gedanken und Bemühungen um eine gerechtere Zukunft überlagert und zunichte macht. In ihren Texten setzt sich die Band kritisch mit persönlichen, aber auch gesellschaftlichen Themen wie Gewalt, psychischen Erkrankungen, Privilegien, überholten Rollenbildern und Selbstinszenierung auseinander. "Excessive Demand" wurde im Sommer 2021 mit Roland Wiegner (Produktionen u.a. Jungbluth, Düsenjäger, The Hirsch Effekt) in der Tonmeisterei Oldenburg aufgenommen und von der Band in Eigenregie um Synths und Vocals in Dresden ergänzt. Mix und Mastering sind ebenfalls von Roland Wiegner. Das Artwork stammt von Fabian Bremer aus Leipzig (Radare, AUA).

James Murphy calls LCD Soundsystem drummer Pat Mahoney the best lyricist in the group, though it's in Museum Of Love - Pat's band with Dennis McNany - where he actually steps out in front. This 7" is the MOLove's first material on DFA since their debut album in 2014. "After Us" is a simple, buyoant pop song heavily tempered by warnings of a bleak future. The old sugar with the medicine approach. "Look Of Disgust" is its perfect foil, a notty, almost industrial sounding wind up that ends just like a slap in the face.

Tyler Pope's latest EP is an absolute belter, and the primary concern these four tracks are asking of you is right up front: Pay Attention to the Bass. And, honestly, with a sense low-end like what's on display here, how could you not? This new release from Pope-a dance veteran who's also known as a full-time member of LCD Soundsystem as well as a collaborator with artists like Hercules & Love Affair and Pantha Du Prince-arrives on his always eclectic Interference Pattern label, an imprint that has previously spanned left-field electronic sounds, noise rock, and avant-R&B. As such, Pay Attention to the Bass is anything but straightforward, with ricocheting rhythms and alluring textures that are as easy to get lost in as they are to move your body to.

Listeners familiar with last year's Make Each Other Happy EP, which embraced dark disco grooves and crisp percussion, will be delighted at the new curveballs on display here: "Why Must I" euphorically merges the propulsive charge of UK funky with delicious piano-house stabs, while "OKay" anchors itself around a rubbery bass line like a lost cut from the Remain In Light sessions. The flip side gets dark and dank with it, as "Close the Door" echoes with spooky clatter and dubby wobbles before sprightly vibes break through-and the closing cut "Where r they Hiding" goes full-on tunnel techno with it, conjuring a mood that recalls the haunted house music of Sandwell District as well as the cold-sweat futuristic visions of jungle. With Pay Attention to the Bass, Pope expands his sound wider than ever, and it just so happens that it's an absolute blast to listen to as well.

12 tracks originally released on the indie dance label GOMMA RECORDS between 2001 and 2010. (Gomma was the label Toy Tonics did before starting Toy Tonics.)

Along with DFA and Output records Gomma released a wild mix of electronic dance music, indie rock, undergound disco, post punk and new wave funk that was big in the 2000s. The Y2K sound!

Gomma released music by artists like Peaches, Whomadewho, The Rammellzee, James Murphy, LCD soundsystem and artists like Nick McCarthy of Franz Ferdinand.

Now it’s 2023 and its feels fresh to put a spotlight on some of these tracks again.

And so here comes a 2nd compilation part of Gomma tracks:
Nancy Whang the singer of LCD Soundsystem, WhoMadeWho (the band started their career on Gomma), Italian disco producer Bottin, UK Indie Disco hero The Deadstock 33s aka Justin Robertson, NY Disco hipsters In Flagranti, German producers Munk and many more on this compilation.

Gomma not only was a record label, but was also a home for cutting edge design, wild T-shirt styles, underground exhibitions with new artists from the Berlin scene and crazy poster and fanzine design.
Many graphic design trends of the last years were preceded by what the artists on Gomma were doing. And many record and street wear labels of today look a bit like Gomma was looking before ... copying the images that Gomma preceeded: ironic cartoons, trash aesthetics, greek symbols, ugly design ideas and lot of ironic things.
The Gomma visuals world was exposed in a couple of exhibitions around the world and at a big exhibition at #hausderkunst München before the label was closed in 2015. (when Toy Tonics took off...)

SPRINTS' debut album ‘Letter to Self' embodies their substantial evolution over the past 3 years. Transforming pain into truth, passion into purpose and perseverance into strength, the Dublin four-piece have steadily grown in stature, releasing two acclaimed EPs and building a fearsome live reputation.

'Letter to Self' is the sound of SPRINTS consolidating and levelling up. Exhibiting their most vulnerable moments and imbuing their visceral garage-punk with a palpable sense of catharsis that we can all benefit from.

Inspired by Savages, their sound matured into energetic and abrasive garage-punk, synthesising influences ranging from early Pixies, Bauhaus, Siouxsie Sioux, IDLES and LCD Soundsystem.

Music On Hold's second album raises to its climax an altogether well-cultivated ambiguity between new ambitions and the waiting posture of a band which has never lived up to its name so well. Produced in a cellar in the 7th arrondissement of Paris, supported by Ray Jane and "surrounded by a group of people who manage to concentrate on something for more than 15 minutes", "MOH4Ever" is one of the most personal things that Emile Cartron-Eldin delivers today, "from the salt-dough workshops in kindergarten". Opening, "His Master Voice" transforms the tribute to a recently deceased loved one into a sad clown's dancing homily. With no surprise follows "Wander" and roaming in a Paris traveled up and down at least ten thousand times already. "Music On Hold 4 Ever" then releases the title of this album in a cry accompanied by an invitation to "unplug" his singer. We hear a bit of the group's very first single, "Bread", taken through the prism of Beck's "Up all night". "Citadel", 6'30" end of side A, loudly proclaims as a chain-breaking the nostalgia of truant school and a desire not to die (at least not like Darby Crash). Mixed in - like this entire album - are the versatile ingenuity of LCD Soundsystem and Gorillaz with Italo-disco arrangements from Roberto Zanetti (aka Savage). With "Over", "Home", "Taming a Tiger" and "Last Laugh", side B prolongs the tightrope walker's delirium by summoning in no specific order, memories in Vienna, resumption of excessive consumption, the fact that "the director of the US Federal Reserve is a real fake-ass" and the cynical humo(u)rous swings of a guy overwhelmed by them in an everlasting after-party. From the first LP, "30 Minutes Of..." and its already delayed release, its chopped tour, "Music On Hold 4 Ever" digs a refined pop, no longer as "solar" as some could have described it when everything seemed to be going quickly. Retaining a semblance of immediacy, the 8 pieces of this second album open up new perspectives with their elegant sophistication, in a quite French and truly original touch of DIY and experimentation that the group can pride themselves on. " I'm twenty-nine, and i don't wanna die ".

Repress!

Little Dragon return with a spectacular second album offering in August, a pulsating electro pop epic that Prince would be proud of (only fronted by a beautiful Swedish lady with a sultry voice). A bold and surprising side/two step onwards from their self titled debut, released two years ago to great acclaim especially among specialist circles. Machine Dreams, with its nagging hooks and gloriously infectious tunes, should finally see the band break out into the mainstream.

Recorded in their home city of Gothenburg, Machine Dreams is a gigantic leap on from previous material but still maintains a distinct sound that can only be Little Dragon. Be it Yukimi s warmly inviting vocals, Erik s dextrous drumming, the vast array of synths and bleeps created by Hakan or Frederik s bubbling bass lines, together they don t sound like anything else around right now. The move towards a more electronic sound was a conscious one, as Yukimi explains; The title Machine Dreams seems obvious. These days, humans seem more and more like machines, and as technology evolves, machines feel more human and it becomes fuzzy and beautiful and science fiction-ish. We feel dependent on our machines to create and live, and their sounds reflect us .

Album opener A New breaks us in gently with a single whirring note on the synthesiser, an almost alien sound that gradually morphs into a slow, thumping bassline. Yukimi s vocals flow alongside Hakan s assortment of sound effects interspersed with militaristic drums breaks. A magical opener that sets the scene and seems to sink into itself, taking us with it, until the pace is swiftly ratcheted skywards with Looking Glass , the massive snare, crisp driving beat and experimental synths revealing the band s current penchant for the 80 s. This influence continues apace into stand out track My Step . Utilising a solid drumbeat that nestles next to jagged and playful synthlines, the track breaks down into motorik propulsion with a scuzzy techno bassline that Yukimi works with ease.

Upcoming single Feather finds Yukimi s voice at its most detached and blaze, seemingly nonchalant yet magnificently seductive. Backed by Hakan s keyboard atmospherics, the song creates a soundscape reminiscent of Tears For Fears more reflective moods. Gradually layering more vocals, synths, echoes and reverb, it builds to a quietly psychedelic, dreamy cosmic swirl. Runabout brings forth a mini Airto style percussive breakdown at the tail end of yet another Little Dragon pop gem. Swimming bursts forth into vision with stabbing keys and reflective bass alongside yet another wonderful vocal performance from Yukimi who sings of young love and now so many years have past, my memories as clear as glass . The song is over as quickly as it started, flowing into the next miniature masterpiece in the form of Blinking Pigs

The album closes with the stunning track Fortune , which has already caught the attention of none other than DJ Shadow. It s no wonder really, as the textured melodies blend with the drifting percussion, creating a blissful sonic mood. With a smattering of drums and bass and the magic of Yukimi s voice and Hakan s electronic dynamics floating on top, it s the perfect track to end this fascinating journey through Little Dragon s brave new world.

With disparate influences from Depeche Mode to Prince, LCD Soundsystem to James Holden, Dancehall to R&B, Jazz and Soul, Little Dragon take their place among artists who straddle many genres, yet somehow create their own and in doing so create sounds that make time stop (Yukimi). Futuristic yet somehow retro, Machine Dreams sees Little Dragon achieve something timeless; that elusive pop classic.

With a long and winding career working with Kris Menace, remixing the likes of Depeche Mode and LCD Soundsystem, being remixed by Deadmau5, composing filmmusic,the Munich-based producer Philip Leroi now lands his Atlantic Brain-project for a full EP on Internasjonal. He has previously contributed to our Internasjonal Space Station Compilation 1.
Wonderboy Alan Dixon contributes with not less than 2 remixes of "Brother", while Prins Thomas helped tighten the mixdown slightly.
Internasjonal HQ September 2023

Zwei der berühmtesten und einfallsreichsten Schlagzeuger der Post-Punk-Ära, Lol Tolhurst von The Cure und Budgie von Siouxsie & The Banshees und The Creatures, sowie der herausragende Produzent und Multiinstrumentalist Garret 'Jacknife' Lee, haben eine der unwahrscheinlichsten Alternative-Supergroups gegründet und die letzten vier Jahre damit verbracht, eines der außergewöhnlichsten Alben für das Jahr 2023 aufzunehmen.

Wenn man die Tracklist mit Gastauftritten von unter anderem James Murphy von LCD Soundsystem, Bobby Gillespie, IDLES Gitarrist Mark Bowen und The Edge von U2 durchstöbert, fragt man sich vielleicht zu Recht, was der 13-Track-Longplayer bereithält. Die Antwort: Eine knallharte und zwanghaft forschende 55-minütige elektronische Gehirnwäsche, die auf unvergleichlicher rhythmischer Kompetenz basiert, mit einem Arsenal an Synthesizern, Gitarren, oft überlagert von Streichern und Bläsern der Spitzenklasse, und dann von Lee universell verdreht, manipuliert und meisterhaft geformt.

One of Ireland’s finest and DFA mainstay Shit Robot returns to James Murphy’s legendary label, seven years after his last release for the New York heavy hitters.

Four classic cuts from the twisted machine mind that is Shit Robot. Distinctively punk, daringly futuristic, with a driving heart that’s as warped as it is welcoming. Entrancing body music for basements and big rooms alike, featuring Suzi Horn (Prinzhorn Dance School) and Mutado Pintado (Warmduscher, Paranoid London) on vocals. Recorded in London with Al Doyle (Hot Chip, LCD Soundsystem) and mixed by James Murphy for the DFA.

DJ support: Optimo, Ivan Smagghe, Justin Strauss, Heidi Lawden, and Horse Meat Disco

Die Musik der 2000 in Norwegen gegründeten Band fand nicht nur großen Anklang in der Dance-Punk-Community, ihre bahnbrechende Single 'Computer Camp Love' landete auch hoch im ROLLING STONE-Ranking der "100 besten Songs des Jahres 2007". Ihr Debüt landete schließlich auf Platz 36 des damals renommierten NME, und die Band wurde nicht nur einmal für den norwegischen Grammy nominiert. DATAROCKs neues Album 'Media Consumption Pyramid' vereint sieben Mitglieder des Kernkollektivs, die alle schon früher Teil der Band waren, aber nie gemeinsam. Das Album basiert auf Synth-Pop-Sounds der 80er Jahre, die an Depeche Mode, Bronski Beat und Soft Cell erinnern. Die bereits digital veröffentlichte Single 'DISCObedience' ist ein erster Appetizer auf das von Fans sehnlich erwartete Comeback-Album der sieben Männer in ihren Trainingsanzügen.
Für Fans von LCD Soundsystem, The Chemical Brothers, Hot Chip und Foals. Erhältlich auf CD, schwarzem Vinyl sowie in limitierter Auflage auf rotem Vinyl

Auf ihrem Solo-Debütalbum brilliert die ex-Friends-Frontfrau Samantha Urbani mit ihrem unwiderstehlich lockeren, retro-orientierten Alt-Pop. Ihr perfekter Kompromiss zwischen berauschenden Popmelodien und uneingeschränktem Experimentieren macht das Album zu einer überzeugenden Sammlung zahlreicher Referenzen - von Disco und 80er Freestyle, über Jam & Lewis und Santigold, bis Blondie, LCD Soundsystem und Talking Heads. Das von ihr und Nick Weiss (Nightfeelings) produzierte Werk ist eine zutiefst erhebende Platte, ein Beweis für Spontanität und Überlebensgeist.

‘Lindstrøm returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019’s On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes’ original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album.

Where his previous album had a slower and more mellow feel, 2023’s Everyone Else is a Stranger sees Lindstrøm take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist’s revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer’s trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut.

Named «the king of space disco» by The New Yorker, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.’

Lindstrom returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019's On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes' original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album. Where his previous album had a slower and more mellow feel, 2023's Everyone Else is a Stranger sees Lindstrom take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist's revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer's trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut. Named "the king of space disco" by The New Yorker, Lindstrom has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.

Debut Album Nottingham post-punks Do Nothing blend jerky, spidery rhythms with surreal, half-spoken vocals that recall the Fall 's Mark E. Smith . Do Nothing was formed in 2017 by four long-time school friends: frontman Chris Bailey, guitarist Kasper Sandstrøm, drummer Andy Harrison, and bassist Charlie Howarth. All had played in various acts around the city; the band got their start at the popular Maze Club. Bailey, whose father was a singer in an a cappella folk group, grew up listening to the sounds of Simon & Garfunkel , and his own biggest influence was Tom Waits . Initially attempting to copy big names like LCD Soundsystem (as heard on their first 7" single, "Gangs," released in 2019), they eventually became more confident about doing their own thing, and Bailey gave his stream-of-consciousness lyrics and outsider stage persona free rein. Associated with, but wary of, the then-popular post-punk revival, they made clear it was their intention to follow their own path. Their debut EP, Zero Dollar Bill, was released in 2020; another, Glueland, arrived the following year, with an album in the works.

Erstauflage auf farbigem "Red & Blue" Vinyl. Jubiläums-Edition zum 30. Jahrestag des Debütalbums von Six Finger Satellite, The Pigeon Is the Most Popular Bird, mit einer brandneuen, vollständig remasterten CD und einer Doppel-LP-Neuauflage. Die 1990 in Providence, Rhode Island, von J. Ryan (Sänger/Keyboard), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gebildeten Six Finger Satellite wurden für die Weapon EP schnell von Sub Pop unter Vertrag genommen. Nach Weapon machte sich die Band daran, ihr Debütalbum mit Bob Weston (von Shellac, die später eine Single The Bird Is the Most Popular Finger zu Ehren von Six Finger Satellite benannten) zu produzieren. Das 1993 veröffentlichte The Pigeon Is the Most Popular Bird war die erste Veröffentlichung, die den abenteuerlichen, bissigen Geist und Sound von Six Finger Satellite wirklich einfing. Das Album ist ein Meilenstein des lauten, beunruhigenden Post-Punk, mit Einflüssen von Gang of Four, The Birthday Party und Wire, aber auch mit einer gesunden Dosis der eigenen, einzigartigen Klangfeindlichkeit der Band. Zwischen den spröden Rocktracks finden sich auf The Pigeon Is the Most Popular Bird einige Keyboard- und Studioexperimente, die auf den späteren Alben der Band stärker hervortraten und LCD Soundsystem, DFA Records und einen Großteil des Post-Punk-Revivals der frühen 2000er Jahre vorwegnahmen. Pitchfork bezeichnete The Pigeon Is the Most Popular Bird zu Recht als "eine der besten Noise-Rock-Platten der 90er Jahre" und schrieb, dass "die Übergänge von albern zu bissig den unvorhersehbaren und ätzenden Ansatz von Six Finger Satellite hervorheben - dies war das erste von mehreren Beispielen dafür, wie sie Underground-Trends verschmähten, und ihre aufregendste bittere Pille, die es zu schlucken galt".

— Thrash-Metal Highlight von 2016

— 5th Anniversary-Edition als Orange Doppel-Vinyl

— Terminal Redux gilt jetzt schon als moderner Prog-TrashMetal Klassiker und wird auch 5 Jahre später Fans von VoiVod, Toxik oder Anacrusis begeistern

As bassist for dance-punk outfit The Rapture, Mattie Safer cut his teeth in the music scene alongside a wave of now-legendary early 2000s NYC acts like the Yeah Yeah Yeahs, LCD Soundsystem and more (a time period recently immortalized in the documentary film ‘Meet Me In The Bathroom.’) Fast-forward nearly 2 decades and Mattie has found the sweeter side of dance music as the current lead vocalist for slo-mo kings Poolside, and now he presents his solo lovetempo project on Razor-N-Tape.

A chilled-out singer/songwriterly affair, the lovetempo EP moves between organic laidback disco, modern bossa nova treatments, and Sade-esque grown-n-sexy jazz grooves. Hitting notes of both melancholy and positivity, Mattie’s plaintiff vocals wind through all 4 of the original songs, delivering catchy and singable hooks. RNT regular Yuksek does what he does best, and takes the most uplifting tune of the pack into positively joyous hands-in-the-air territory with a stunning remix.