Pop & Rock Novedades

2x12"

UPPERMOST will be releasing his upcoming album on March 23, 2018 with a completely new perspective that should change the course of his career, expanding to a brand new pop oriented approach but keeping his French signature at the core of the project. His previous hit tracks Flashback and Beautiful Light have already generated more than 27 Million combined streams across platforms, while Mercedes-Benz selected Uppermost single Disco Kids to be featured in their Formula One advertising campaign and Starz/Encore chose another of his instrumentals for their 2018 TV spot only few weeks ago. Uppermost is being closely followed by international media leading to great articles from influent press channels such as DJMAG, Vice, Complex, Paper Magazine, and famous radios such as BBC 1 and Virgin. In addition to releasing music via his own independent label Uppwind Records, Uppermost has released music through powerful labels such as Sony and Ministry Of Sound and done official remixes for Dada Life, Lemaitre and Crystal Fighters. He has also already shared french festival SOLIDAYS's stage with Madeon, Yelle, Fakear and Die Antwoord. This new year, Uppermost premiered his upcoming live show at Paris . Point Ephemere . for a sold out event that turned into a great success. Meanwhile, a U.S. tour is already confirmed for the month of March.

Brand new studio release by Josh Rouse on the Yep Roc Label. After spending the better part of a year touring behind his critically acclaimed eleventh album, 'The Embers Of Time,' Josh Rouse was ready for a change.

Trading in his acoustic guitar for a synthesizer, he began experimenting with a new sonic palette, one inspired by everything from 80's sophistipop and late-career Leonard Cohen to British indie rock and New York new wave. The

resulting record, 'Love In The Modern Age,' is an infectious collection that still bears Rouse's distinct fingerprints, even as it pushes his limits and forges a bold new chapter more than twenty years into his celebrated career.

While many of Rouse's previous albums were recorded with a full band performing live in one room, the tracks on 'Love In The Modern Age' were built up a layer at a time, with Rouse playing most of the instruments

himself between studios in Spain and Nashville. The songs are cinematic and enveloping, each creating its own entrancing world out of dense synthesizer textures and shimmering electric guitar lines. On the ominous 'Salton Sea,'

Rouse's smooth, warm vocals represent a distinctly human element awash in an ocean of manipulated tones, while the Tears For Fears-esque shuffle 'Businessman' finds him capturing the loneliness of isolation in an era of

constant connectivity, and the winsome title track charts the ups and downs of a relationship that can feel more digital than physical. 'I really wanted something different for this album,' says Rouse. 'I wanted to

explore new sounds and write with a fresh backdrop. It's still my singing and my storytelling, but there's a big shift in the production, and using new instruments definitely brought out something in me that wouldn't have happened with just

an acoustic guitar.'

Moby releases a super limited one off coloured vinyl pressing of 'Play B-sides', via his Litttle Idiot imprint'. First time this has ever been pressed on vinyl. Featuring tracks from Moby's multimillion selling 'Play' era. 'Play B-sides' includes some lost treasures and some of Moby's Best works, including the global hit Flower.

Pressing of 1000 copies only

This circular item is the OAKS 04 by Prostitutes. Musica Techno Para Discoteca VOL.1 its title.
If you drop the needle on this side (A) Mighty Arms and A Glancing Kiss will play. If you flip it side (B) Albion Remains and Churns Up Into Stone will do the same. Eleven times three revolutions per minute.
Recommended for Dj use.

"Musica Techno Para Discoteca is the new series from OAKS. In it I'll showcase the Techno music that inspires me, the Techno music that I love to play, the Techno music that in my opinion should get a decent exposure due it's originality and honesty. Without paying attention to the market demand or industry standards."

The new Alec Empire Album, now out on vinyl with Cargo ! An excellent product (sound is wide open large and strong) the new aspect of Alec Empire is his Lou reed/Iggy Popy & New Order way of singing. The result is a perfect fusion... Welcome to the Breakcore Croonerz !

LANDSIDE

Landside, is the first collaboration between the Italian producers Hunter/Game and the Icelandic band Kúra. The sound comes from a deep vibe and melanchonic ambients It evolves thanks to Kúras Electronic and Dub mood, to an intense rhythm flow. While keeping groove as its main element, coming from Techno and House Roots of Hunter/Game Background. Fanney Osk Vocals comes as a clear warm breath in a cold mountain breeze, creating vibrating weaves, introuducing synths and melodies leads that breaks spaces as an intense storm.

Landside Part 1

Is visionary journey into uncharted lands, ranges of uncrossed soundscapes, merging abstract atmosphere with boundless emotions.

Max Cooper Remix is an eclectic vision of a deep flow. Vocals are floating over a strong dark bassline, keeping and intense Energy.

Benjamid Damage Remix is a straiht techno tool, digging groove lines into ambient melodies and mellow vocals i

It was on the 1st January 2016, during the release of their debut album, Young. Independently of each other, Peter Paul Aufreiter and Johannes Mandorfer sent sound snippets over to Hearts Hearts' singer David Österle. Within the same hour, he'd received an aggressive jazzy piano loop—'Phantom'—and an electronic drum take recorded overseas in 'Island' (the German word for the country of Iceland). Österle frantically began attempting to put these disparate pieces together, to synchronize what was never meant to be unified, and start singing over the results.

Though genre-wise no match at all, the fragments didn't only end up as 'Phantom / Island' — the breathtaking opener to Hearts Hearts' sophomore album Goods / Gods — but the unusual process itself became the aesthetic basis for the entire record. The band's widened approach to disparate musical genres became the key element in the creation of eleven new songs. Hearts Hearts have cracked and evolved their electronic ballads and downbeat pop into something far more sonically expansive and emotionally soulful, driven by higher energy and a growing array of influences.

The chance meetings of unrelated options that inspired the writing and recording process is present throughout the titles of Goods / Gods. The record takes its inspiration from those in between spaces and undefined borderlines in meaning, symbolised by the slash in every title on the album. Hearts Hearts explore emotional and moral ambiguities on Goods / Gods, taking aim at the ineffectiveness of the dichotomies and borderlines that define modern society in the process, preferring to think in options' as Hämmerle puts it. The group sees the diagonal line of the slash symbol as representing an openness and flexibility in meaning, in similarity as much as difference.

Produced by mastermind Peter Paul Aufreiter, the new record conjures a mix of anguish and ecstasy, whether it's the funky falsetto of 'Sugar / Money', or digital monster ballad 'Do you often think about /'. Taking inspiration from the leftfield pop productions of Bon Iver, Jamie XX, and Son Lux, they skew addictive hooks into drippy song chambers, littering them with lucid samples and cybernetic production licks, conjoining contrasting elements with prisms of electronics and lush acoustic instrumentation.

Lead single 'Phantom / Island' and instant motorik pop classic 'Goods / Gods' '' are the most addictive and high-energy tracks yet from the quartet, blending groovier verses with increasingly majestic choruses. This is ultra-intelligent pop from a band that have found their true voice. Somewhere between happiness and sadness, energy and lethargy, electronica and rock - that's where you'll find Hearts Hearts.

Moby releases a super limited one off coloured vinyl pressing of 'Play B-sides', via his Litttle Idiot imprint'. First time this has ever been pressed on vinyl. Featuring tracks from Moby's multimillion selling 'Play' era. 'Play B-sides' includes some lost treasures and some of Moby's Best works, including the global hit Flower.

First time on vinyl expanded reissue of 2001's We Are Eyes, We Are Builders by Brooklyn's (now relocated to L.A.) Soviet. Originally released on Plastiq Musiq on CD and later reissued on tape in 2011 and CD in 2003, it is a synth pop masterpiece of the highest caliber. In uenced by all the greats, Soviet's rst album is a shining star distinguishing itself from the Electroclash movement of the time. Beautiful, warm new romantic pop songs occupy this double LP and will certainly appeal to fans of early Dare era Human League and Depeche Mode's A Broken Frame. Side D features 5 previously unreleased tracks. Remastered for vinyl by Martin Bowes at the Cage, UK.

a t (Lena Platonos) is a Greek musician, pianist and music composer. Her debut solo album, 'se ' ('Sun Masks') was produced in 1984 and reissued by Dark Entries in 2016. The album featured experiments with different sounds and a new batch of electronic equipment, such as the Roland TR 808 drum machine and Yamaha C60 synthesizer. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s.

We've recruited four of our favorite contemporary producers to remix their favorite tracks from 'Sun Masks'. First up is Lego' remixed by triple scorpio supernova Avalon Emerson, who is based in Berlin. Her remix morphs the track into a solid dancefloor twister. Next is Lego' remixed by Lena Willikens, Cologne based DJ and resident at Salon Des Amateurs in Düsseldorf. She provides a deep and psychedelic journey through the darker shadows of the early night or morning. On the B-side is New Yorker and Firehouse Recordings boss Kim Ann Foxman remixing Hoping By Shopping'. She transforms the spacey robotic vocoder track into a dynamic deep house workout, tough and dreamy all at once. Closing out the EP is a remix of Wrong Love' by Berlin via Bucharest producer Borusiade aka Miruna Boruzescu. Enhancing the original melancholic piano ballad to a cosmic processional with poignant bass lines that build and recess like the ocean tides.

All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is a reinterpretation of the original 'Sun Masks' cover, isolating the photograph of Lena wearing sunglasses designed by Eloise Leigh. Each copy includes a two-sided postcard with a manipulated film still from one of Lena's music videos.

Especial Specials and DEEK Recordings return with the second vinyl sampler of the Covered In Gloria album. As before, DEEK's Bullion pulls together the label's alumni and homies, a gamut of talent and styles feature, from Suzanne Kraft, Minor Science, Sultan Shakes, Eyedress and Geller & Kaya.

Diego Herrera's Suzanne Kraft alter ego has become a cause celebre of the ambient revival of the last few years. However, his early releases and remixes show a talent for beats as well as atmospherics. His cover of Andreas Dorau's Nordsee is all that, taking the Die Doraus Und Die Marinas original's whimsy production to embrace Krautrock motorik rhythms and warm vocal tones.

Accompanying this is a heartfelt version of Blue Niles' classic Heatwave. Appearing on their beautiful debut Walk Across The Rooftops, doing the song justice is a challenge. However, Minor Science rework the Japanese fused original with a respectful retake, with plink-plonk percussion and delicate vocals giving a perfect restraint alongside a touch of modern minimalism.

Starting the final side is the most club friendly cover from the tassle-haired newcomer, Sultan Shakes. After turning heads with his debut Interstellar Love, he returns by paying respect to A Guy Called Gerald's anthem via a twisted, electro-psychedelic reversion for the dance.

A left turn follows from Manilla's Eyedress with his exploratory acoustic love ode, Girls. The perfect counter song taking the Beastie Boys' original to surf's up, obscure lo-fi wanderings, fitting exactly what Covered In Gloria is all about. Respect, with a smile.

To finale is Geller & Kaya. Having appeared on DEEK's previous covers opus, Extraordinary Renditions, their pop-reggae homage to Wham's ubiquitous Rap is put through the echo chamber by respective label heads & cohorts (Bullion and Chuggy) for a cod'n'chips tinged Dub rewiring, where mixing desk becomes instrument and points to possible collaborations to come. Do you enjoy what you do...

Diagonal pull out a zinging art-techno curveball with Another Exhibition at the Modern Institute, the 2nd EP by Glasgow's hottest new prospect, The Modern Institute; an iconoclastic trio of agitators comprising Golden Teacher's Richard McMaster and Laurie Pitt joined some droll, scaly Northern English vocalist for one of the freshest and vital blends of post-punk, art-school and techno sensibilities to emerge in recent memory.Aimed as a snark at the middle class art gaze as much as a slippery engine for the danceloor,
Another Exhibition at the Modern Institute reels six mercurial fusions of scudding, techy rhythms and sheer electronic contours strewn with drily observant vocals describing hypersensual scenarios. It's a sound perhaps purposefully located lightyears away from Golden Teacher's charming retro-vintage styles, and effectively gives that group's rhythmic engine of McMaster´and Pitt a space to express their more contemporary concerns.
Forming the 2nd blow of a Glasgow-centred 1-2 after Russell Haswell and Sue Tompkins' Respondent EP, The Modern Institute swarm in formation from a white-hot electro-stepper IV
Cheeks to somewhere darker, almost paranoid by the close of Dozen Cocktails, taking in a sound like Errorsmith producing for MES in Limitless Light, or Hecker doing footwork on the new beta anthem Quicksilver Lips, whilst Unbreakable Pulse and the pinging ballistics of Molton Gold short circuit the deep rooted transatlantic connection between Glasgow art punks' afterparties and Detroit ghetto styles with a deadly swagger. It's just a must-have for fans of Chris Carter, DJ Stingray, Toresch, Dale Cornish, Cabaret Voltaire.

Using cello, vocals, orchestral arrangements, choral ensembles, location samples, synths and piano Abi Wade explores human nature through real and abstracted personas on her debut album 'Beautifully Astray'

Abi wrote most of the tracks on the album on cello initially in various locations of her old hometown of Brighton, from the living room of her seafront apartment to the dark belly of Sticky Mike's Frog Bar. The cello is so versatile, and I love to explore those many characteristics using various techniques both traditional and unique, it's such an emotive instrument and has a very human tone.'

From this starting point, Abi set out on a sonic exploration, getting field recordings in locations as diverse as a printworks, a tap dancing club and following a chance meeting there, a fishing boat: After the tap dancing class I was explaining to the gentlemen who ran it how I was trying to get onto a boat to record some sounds and by pure coincidence it turned out he was a fisherman, I did not expect a tap dancing fisherman! It was truly an amazing experience to go out first thing on to the water and share a moment of time with such an interesting character.'

Following a move to Camden, London, the tracks were fleshed out with orchestral arrangements and were recorded in Jay Malhotra and Sam Duckworth's Amazing Grace studio in Hoxton. These sessions included brass, wind and choral ensembles.

Abi then worked with 'the patron saints of print' Eley Kishimoto to create the visuals for the album matching the story of each print and pattern to the story of each song. Their patterns are featured on both the album and single artwork and has been a source of inspiration throughout the making of the album.

'Beautifully Astray' was recorded with support from Help Musician's Emerging Excellence award, and the release with support from PRS for Music Foundation's Women Make Music.

Chromatics turn the night into a woozy slow-mo disco ball twirl, and the titles say it all really: 'Tomorrow Is So Far Away', 'Let's Make This Moment A Moment To Remember'. The culmination is 'Tick Of The Clock', a quarter of an hour slowed almost to a stop. A flanged beat box ticks and a dense howl of organ chords crawls over vinyl crackle until eventually nothing is left but a slowly reverberating bassline. The night is over. After leaving the nightclub, the chill of the morning air is refreshing but still sends a shiver down the spine. - 4/5 Resident Advisor

"The goal of the revolution," it has been noted, "is the abolition of fear." Any confidence for the future must be understood within the ramifications of a past that informs its potentialities, its doubts, and one's capacity to act, it inserts itself into any projected action as the matter of time. What potential does popular music with its notorious obsession with the past hold for the imagination of future communities And how can, in a most general sense, Pop help us think about this In other words: What are the domains and possibilities of "political" art today

These questions, as questions about the time and temporality of the political, are at the core of PTTRNS' new album "Material und Geschichte," produced with Andreas Spechtl (of Ja, Panik, among others) in a long Berlin summer in 2017. And in the spirit of the band's previous work, these conceptual considerations are immersed in the musical realization. Over the course of the 47 minutes running time, the album submits, lyrically and conceptually, the outline of a pervasive futurity. On the record's eight tracks, this futurity figures in three ways:

First, as the time of the performance—a time of the present that becomes indistinguishable from the future. This time of the event is marked in the physicality that has featured prominently on the band's last efforts and has always made for their famously infectious live appearances: the jam-like, funky quality of their sound. Secondly, time is introduced as a time of repetition: an excessive time that itself comes from the future and, in its exceeding the material present, folds it back to its origin. This repetition, presented with equal attention to form and expressivity, invokes a tradition that has, somewhat unfortunately, been identified as "Krautrock." Thirdly, time features on "Material und Geschichte" as a technological countertime, or Contretemps, as registered in a song title: This is the time of the producers' intervention, the dub, which opens up in the record's most free moments and, calling attention to the materiality of the record itself, marks the temporal suspension of the listener that always also is a possibility for action.

Lyrically, the collective that is PTTRNS speaks in a communal voice. Connecting to their previous work, which focused on the possibilities of individual instances of sense-making, "Material und Geschichte" frames these instances as ways of relating, as the presents of a future solidarity. This is mirrored in the production values of the record, which, as is usual for the band, is a communal effort. The record boasts a cast of notable collaborators in Rabea Erradi (Die Heiterkeit, Sleep) on saxophone, Sonja Deffner (Jason & Theodor, Die Heiterkeit) on clarinet and vocals, and Andreas Spechtl on vocals and guitar, the artwork is designed by longtime friends Our Polite Society. The result is the document of an everfuture collective: an album of free music, and the most mature and profound statement yet of a unique group.

Here is the debut release by Italian duo R A D K O... their music is a blending of post/cold wave and shoegaze elements... both the songs and the production have a typical nostalgic feeling but are rather modern at the same time... instead of being overtly dark the sound and overall mood is much more melancholy and dreamy... for sure these two tracks make up for an impressive debut and addictive little 7 record

Norwegian duo Smerz had a prolific 2017, which saw the Copenhagen-based Henriette and Catharina play the likes of Club 2 Club, MoMA PS1, sell out 'Half life' parties of their own, as well as release five new tracks along with five self-directed videos. Clearly not ones to wait around, Smerz go in to the new year with their 'Have fun' EP on the horizon for release via XL Recordings in March 2018.
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With their unique electronic sound blending deconstructed club music, minimalist R&B and experimental pop and techno, Smerz are also prolific DJs who's DJing style takes a similar route. Mixing live vocals over their own music and interlaced with choice cuts aimed squarely at the dancefloor, this duo DJ hard in a live setting and are thrilling to watch as well as listen.

Smerz currently host their own monthly NTS Radio residency, mixing cutting-edge dance music and darker tones, in what is turning in to their trademark style.

Placed under the media spotlights in 2011 thanks to their joyful and loony indie pop, Concrete Knives went on to sign with the legendary UK imprint Bella Union (Beach House, Fleet Foxes, Lift To Experience, etc.). Their first album Be Your Own King was successfully released the following year, selling more than 7000 copies in France alone and sending the group of friends on the road to play more than 150 live dates all over Europe. Quiet for the past six years and after recording with Danish producer Andreas Pallisgaard (Trentemøller, Goat, Pinkunoizu), the band is set to return with a much awaited second effort on the French label Vietnam (H-Burns, Chevalrex Pharaon De Winter).

Following the release of their new album Marble Skies this January, Django Django will release a new EP focused on the single track 'Surface To Air', a track which features for the first time in the band's a guest as the sole vocalist: Self Esteem, aka Rebecca Taylor from the UK duo Slow Club. Filtering a Jamaican dancehall influence through a widescreen of dreamy psychedelic pop, the track is accompanied on this EP by its instrumental version as well as three remixes from Canadian producer Lunice, Glasgow based DJ Nightwave and the multi-instrumentalist producer Body In The Thames.

An EP from Carla dal Forno containing four new, obliquely confessional dispatches from the edge zones of feeling. It marks both a refinement of the dub-damaged, inward-looking bedsit pop essayed on her 2016 debut album You Know What It's Like, and an evolutionary leap. While there is warmth and intimacy to come, The Garden opens with a cold hard stare: 'We Shouldn't Have To Wait', an unexpectedly confrontational companion piece, or response, to her own 'Fast Moving Cars'. This is not a dazed reverie, but forceful, fatalistic, void-chasing drone-rock led by a stalking, venus-in-furs bassline that levels everything in its path. No longer gazing from afar at fast moving cars, but behind the wheel of one, driving pretty recklessly. No particular destination in mind, but impatient to get there. 'Clusters', then, is the sound of (unexpected) arrival in something close to paradise, and slowing down the better to take it in: a bright, imagistic, electronic pop fantasy in the tradition of Stereolab, Broadcast or Saint Etienne, with lyrics plucked and rearranged from the pages of a National Geographic article. dal Forno's voice, newly prominent and minimally accompanied, sounds close to contented, but also worldly-wise and not a little suspicious of her surroundings...the only problem with paradise is the people in it. 'Make Up Talk', written last summer in Melbourne, is a tense, awkward unpicking of a dysfunctional relationship (aren't they all), its murky sound design, thrift-store percussion and lyrical starkness pegging it as the closest relation to You Know What It's Like, and perhaps also the closing of that particular chapter. The EP's title track - and its clear climax - pays tribute to Einsturzende Neubauten's song of the same name, but shifts the action to nighttime, and brings an acutely female perspective to bear on it: here the garden is a place of beauty and refuge, sure, but also one of hidden menace and threat...things that lurk. dal Forno has never sounded so emotionally eloquent, and at the same time 'The Garden' is without doubt her most subtly psychedelic production to date. Her glissando bassline and understated synth-work powerfully evoke the moonlight, the dew and the dark boughs, while her cut-glass vocals - still romantically inclined but freighted with adult self-knowledge, adult fear - summon the Tracey Thorn of Eden and Massive Attack's Protection, but have their own character, occupy their own space in the aether. What makes The Garden so satisfying is how decisively it moves away from the post-punk/lo-fi sensibilities of You Know What Its Like, without vacating them entirely. You could still call this a DIY record - dal Forno wrote, played, arranged and recorded every note herself. And you could still call it a bedroom record - that's where it all happened. But in calling it either, you'd be doing a disservice to the musical and technical accomplishments of dal Forno's flawless, fully-realised dream-pop. The Garden is a compact masterpiece from a remarkable artist who - frighteningly, excitingly - has only just begun to hit her stride.

Whtie Vinyl
Funky Sobrietas is the slick love child by Leuk en Ko's Jan Duivenvoorden and Richard Van Den Bogaert. Intended to be a poppy German Italo duo for a wedding act amidst the squatting scene of The Hague, the music they produced was of more value than just an one-off. From a shoebox stacked with dodgy recordings two tracks were selected that offer you the full Funky Sobrietas spectrum. 'Maria' is the anthem for the one you would die for, with unpretentious vocals and echoes but catchy synths nonetheless. 'Sunny' is six glasses of champagne later when the wedding is on it's flipside, with a nifty dry bassline and quirky synths. Comes in opaque white vinyl and (again) beautiful riso printed artwork, pressed in limited amount (123) for all the die-hards out there.

Lost Girls ist das neue Projekt der norwegischen Avant-Pop-Künstlerin Jenny Hval und ihres Landmannes und Multinstrumentalisten Havard Volden. Auf seinen elf- bis dreizehn-minütigen Tracks kombiniert das Duo Elektronik mit verschrobenem Gitarren-Tremolo, Free Jazz-Drumming und meditativen Vocals zu schaurig-atmosphärischen Klangskulpturen.

This 8 tracks album on double vinyl is a vivid depiction of the
Lithuanian artist top-notch production skills, his wise use of subtle
melodies and harmonic progressions, as well as his pointed dancefloor
instinct.

The first cut, 'Balboa' is a funky French touched house tune, while 'Next
Station' is a deeper excursion into esoteric atmospheres, laid back
drums and world of sounds.

'Rhapsody' is a fast paced ballad, evocative and profound, that
display Ten Walls´s trademark ability to deal with hypnotising
arpeggiated bass-lines, as in the slower disco-infected following
track, 'Rocky'.

The compelling 'Age Well' stretches out Jonatan
Bäckelie´s precious voice on a body of marmoreal drums and an
enchanting bass line .

The even slower reduced drums of 'Transition' and its bubble-chamber
dub gradually prepare us to the dreamy ride of 'INK' featuring the
vocals of Daddy was A Milkman).

Finally, the exquisite 'ReExtended' mix of INK melds an
orchestral score, Pop and electronic music with dazzling sensitivity.

LIMITED 10 x 12" box set. Red vinyl. Devilish red is the perfect colour for the royal last chapter of the "The Sound Of Belgium" compilation series.

Beyond being a quality mixture of unusual dance tracks and unique electronica, XYXX is a conceptual body of work whose themes of sex, race, unity and destruction reveal themselves to those listening closely. XYXX is the first collaborative album between Berlin based electronic producer NYMA (Nima Chatrsimab) and Toronto based, Detroit raised vocalist Noisy Vibration. Sitting somewhere in between house, techno and electro, but with honest pop sensibilities, the record is a push-and-pull of ideas, highlighting each artist in distinctive and mesmerizing ways. The Berlin-via-Tehran musician, DJ and sound engineers melting-pot influences and wealth of experience are the perfect vehicle for Noisy Vibrations piercing lyrical style. He lets her do the talking, while delivering a powerful message of his own through more subconscious means. From the opening refrain the dialogue begins, angelic tones embrace you with open arms. Noisys lyrics speak to NYMAs colourful beats and masterful sound design, connecting to the moment and full of unexpected turns. XYXX is an album that is both spontaneous and carefully considered. With XYXX, the ride is completethe DNA whole.

In 1980 Ilitch mastermind Thierry Müller released his second LP, 10 Suicides, on the French imprint S.C.O.P.A. Unlike his debut Periodikmindtrouble (also available from Superior Viaduct), which featured intricately layered instrumentals, 10 Suicides explores a more art-damaged pop sensibility. While distorted guitars and atmospheric synth workouts remain a part of Müller's signature sound, several songs credit the mysterious Ruth Ellyeri, who was not an actual person, but rather Müller's female alter-ego. Opening track "Elle Voulait Que Je Sois Drôle" shows Ilitch's new direction with overloaded vocoders, driving Moog basslines and soft, Eno-like melodic flourishes. The androgynous vocals on "Waiting For Mabelle (Je Ne Viendrais Pas)" resemble an upbeat Gregorian chant bent through a 20th century lens. 10 Suicides is a staggeringly personal album that still sounds years ahead of its time.This first-time vinyl reissue comes with 16-page booklet and is recommended for fans of Ghédalia Tazartès, Chris & Cosey and Monoton.

Eitan Reiter is proud to announce the release of his latest album, Give It Life, on Guy J's Armadillo Records. With a dedicated and ever-growing fan base who have been captivated by his ever evolving sound across the years, Reiter has a varied and vital discography. As Eitan Ratier, he puts out techno on labels like Minus, Traum and Praxxiz, and has released an excellent house and techno album on Mule Musiq with Sebastian Mullaert, as well as solo effort Place I Miss That I Haven't Been To released on Aleph Zero in 2010. As such, he producers everything from minimal to psychedelic chill out to downtempo, also works as part of groups like Loud, and makes music for film and TV. This standout new album brings techno together with dark avant pop, proper songwriting and inventive studio trickery. It was made partly on the road between gigs around the globe, as well as in four different studios and various other places like a farm in South Africa, a bench in New York, or just a hotel room in Tokyo or Mexico.It is a coherent album that is not bound by any self imposed rules and has come together naturally and organically. It features a number of collaborations, singers and instrumentalists and and even finds the artist letting himself sing and play guitar. It also comes with some great videos for the tracks and has spawned a brand new live show with Nimrod Gorovich and Barak Rosen. Kicking off with 'Choices', a tender mood is set with carefully treated vocals and slow, sombre drums and chords. From there, the melancholic 'All That I Know' has more pained chords laid over bustling, broken kick drums and 'Fade Away' is an ethereal downtempo number coated in echo and reverb that makes it a hugely resonant track. The likes of 'Other Kind of Illusion' are brilliantly original tracks with gorgeous chords and guitars over pressurised thudding kicks, 'Avoid' is a modern day love song without the cheese with sweeping emotions and intimate whispered vocals and big splashes of drums, then things play out through the fractured keys and pixelated synths of electronic masterpiece 'Let It Out' and tripped out beats of 'The Black White Read' before ending on the lonely and insular chords and heavy hearted drums of 'You Are (The One)'. This is another essential album from a talented artist who has many different musical tricks up his sleeve and more than enough skills to carry them off. It is artistic, original and thoroughly absorbing from start to finish.

A lot of bands are trying what The Exorcist are doing, to make timeless, mind bending, dance music but they often fail in reaching all the way. The Exorcist is the band that seem to exist in a dimension, much like ours but that lacks time as we know it; time is stretchable backwards and forward, and being in this dimension allows you to travel while, still staying in one place. Call it time travel if you will or moving outside of time rather. The Exorcist does this. Also they reach our dimension.

The members who also can be found in Uran, Tentakel, and Sork among others, formed The Exorcist in 2012 and started by playing illegal techno clubs for the true undercurrent citizens of Gothenburg, Sweden. The reputation of this dangerous psychedelic band, who plays funk the way funk should be played soon reached Stockholm where they got a cult following just by word of mouth. Over the past four years their following has grown exponentially!

The recording of 'II' was a trip into the abyss and back, with a lot of time and money spent, outrage from the members and record label executives biting their nails down to the bone. But that is how The Exorcist works - tension is a vital part of this bands nature, hence it's sound. The tracks' aggressive approach and the feeling of being possessed by something evil lurking inside of you mirrors the process of making this album. But listening to the album back to back and hearing how the songs intertwine, lets the true face of The Exorcist shine brightly over you.

'II', released on Hoga Nord Rekords is dimension expanding and time dissolving music.

Aus großen Melodien und strapazierfähigen elektronischen Teppichen gestrickt, ist "Love What Survives" gewissermaßen die Essenz ihres bisherigen Schaffens, indem verschiedene Gesangsgäste und Musikerpersönlichkeiten (James Blake, Micachu, King Krule) hinzukommen, um gemeinsam zu experimentieren, Formen neu zu denken, Dinge auszuradieren, mit Pop-Überlieferungen zu spielen, alles zusammen wachsen zu lassen. Die neuen Tracks enstanden größtenteils auf zwei Vintage-Synthesizern (Korg MS-20, Korg Delta), die beide, so die Band, diese "punkige, schloddrige Qualität hätten, die an Robert Wyatt erinnert", die mit ihrem Industrial-Einschlag und dem unverkennbar direkten Sound Mount Kimbie zu ihrem neuesten Sound-Update bewegen sollten. Der pulsierende Motorik-Beat der Single "Blue Train Lines" zum Beispiel schickt King Krule direkt auf die Überholspur, von wo aus er seine zerklüfteten Vokalsalven abgeben kann. Die offene, ausladende Aura der Platte ist ferner der Tatsache geschuldet, dass sie zwischen London und Los Angeles entstanden ist, zwei Standorten, zwischen denen das Duo pendelte, um gemeinsame Sessions zu veranstalten und Ideen zu verfeinern.

The night is what makes a big city come to life. Right after sundown, the hectic buzzing of downtown makes way for adventure playgrounds, bathed in neon light, revealing their countless chances and opportunities. It's when you'll find the subway spitting out it's purpose seeking passengers by the minute. A coming and going of restless people passing through. All it takes is a few hours, before the sunrise makes it all disappear. Mental Bend captures the magic of that very moment in their dreamy soundtracks. If you close your eyes, you can see blurry pictures passing in slow motion, accompanied by their atmospheric songs. Grainy black and white snapshots, fragments of memories lighting up somewhere in the farthest corner of the cortex. 'One Step' is the Berlin-based indietronica duo's visually vivid debut album, released on Enfant Fenou. Mental Bend are all about letting go. Sissip (voc/synth/bass) and Hendrik Havekost (beats/production) know how to trust their instincts, crafting their hypnotic signature sound, somewhere in between electronica, ambient and dream pop. Before founding the band in 2013, the two were already shaping their skills in all kinds of different formations and styles of music. As soon as they got together, they had a viral mini hit with their song 'Take My Hand', praised on various tastemaker blogs and generating over 100.000 likes on Soundcloud in no time. The band's first long play record 'One Step' is all about important experiences and decisions, small as well as big steps, all a part of making progress, which in the end can even be life changing. It was a step, that recently got Mental Bend their record deal on Mo's Ferry's sub label 'Enfant Fenou'.

PEREZ is one of the new faces in the French scene and has been so since 2013 when he released a first EP (« Perez », Dirty/Kompakt) and played concerts which caught the attention of the press. Perez claims to have a taste for singular electronic pop and the music he produces certainly is. His records collection has albums by Christophe and Bashung standing next to Pulp and Suicide ones, among productions by the DFA and Kompakt labels.

For his second album "Cavernes" (to be released in February 2018 on his own record label Etoile Distante), PEREZ has collaborated with Berlin producer and friend Strip Steve (Boys Noize, Clone Royal Oak, Waxtefacts). On this one he delivers a particular sound combining a story-telling singing sometimes verging on the fantastic with electronic club music.
But PEREZ does not only write songs. After being artist-in-residency at the Palais de Tokyo (Paris), he made a sound installation in 2014 for the Villa Noailles in Hyères, France ("L'Hôte"). He also composed for the scenographies of contemporary artists Dominique Gonzalez Foerster, Saâdane Afif or Ange Leccia. In 2016 he was awarded by the DRAC and was given the opportunity to compose basing his inspiration on pieces of the collection of the Regional Fund of Contemporary Art. This is how the album "Un album de collection" was released on April 21, 2017.

Mt. Si is a collaborative project among three friends - Sarah Chernoff of Superhumanoids,
Jesse Kivel from Kisses and Michael David of Classixx. The three Los Angeles natives began
working together during the recording sessions for Classixx's debut, Hanging Gardens.
Michael asked Sarah and Jesse to contribute guest vocals to the album, and it became
quickly clear in the studio that they had chemistry as collaborative group. From there, Mt. Si
took shape.
The breakout Limits EP by Mt. Si, released by Cascine in early 2016, boasts four dazzling
examples of fluid, stylish electronic pop. The trio returns to form this winter with their latest
release - a new three-track 12' called 911. The title track draws a clear arc from Limits with a
blissful melody, highlighted by a reed instrumental rework of the track, whereas the b-side
delivers the sensual deep groove 'Annie.' Overall, 911 is electronic pop at its most refined.
Features members of Classixx, Kisses, & Superhumanoids
Press attention from NYLON, Gorilla vs. Bear, Stereogum

Andrei Orlov pushes alive sounds from modern electronica spectrum through avantgarde, krautrock or ambient. It is totally new even if you would quote Tangerine Dream or John Carpenter to assimilate ... It includes a track reinterpretation by Le Chocolat Noir.

Based in Moscow (Russia), Andrei Orlov pushes alive sounds from modern electronica spectrum through avantgarde, krautrock or ambient. It is totally new even if you would quote Tangerine Dream or John Carpenter to assimilate ... This space world full of lights crossing the city late at night, boarding with them all kind of styles ... Cosmic disco,psychedelic pop, synth music. Linking past to modernity is something conscient in Andrei's sound, permitting him to play live at local places involved into technological process where conferences also take place, at the 2016 Synthposium Festival for example.

The album is the fourth LP from FM Belfast. Broadcasting from their home on a remote island you can sense that the tracks are personal. The album has 11 tracks, 11 intimate stories to dance to. It's like you've been invited to a Cabin Fever Dance Party in their living room. The lyrics are about bliss, euphoria, trying to be a human in this strange world, friendship, of loss and growing up.
ALL MY POWER The first song of the album deals with guilt. When you're surrounded with people who wake up early and do everything they are supposed to do but you can't get out of your own bed. This will make you feel guilty. The others don't need to rub it in since you already have bad feelings about yourself. There are two characters in the song. One is a blamer while the other one is being blamed. FOLLOW ME I'm not longer blind, you can follow me". The song is about a person who is no longer blind to the world around her. It's about taking responsibility for your choices. We are not just a group of individuals, we are citizens of this planet and we can't stand idly by when powerful people are destroying it in front of our own eyes. We have ways to connect and we can band together against the hatred and violence. The rich and the greedy are taking everything and ruining it for the rest of us. Being kind is not the same as being naive, it's a choice everyone can make.

ENJOY
Enjoy life while it last. Don't watch the world go by without having a good time. "Here's to feeling alive, everywhere, all of the time".

UP ALL NIGHT
Sometimes you just postpone everything you're supposed to be doing and run away from your problems. The night is the best time for procrastination, you can hide in the dark and nobody can see you waste your life.

AGENT
Like many songs on the album, this one is about holding your head above water in this strange world we live in. It's easy to get blindsided and lost but who's going to speak up for the weak if you don't do it.

YOU'RE SO PRETTY
The lyrics for You're so Pretty originally come from a short story written by Lóa. They are about getting old without maturing. The song is about being restless and broke. Sometimes you feel like there is nothing left to do but shout.

STREAMERS
Streamers is a quiet love-story about having found the person you want to sit next to for the rest of your life and watch crappy TV together. Lyrics are by Árni and Lóa.

LEAVE A MARK
Even if things are not great today, there is always tomorrow. Leave a Mark is a personal reminder to do something about the life you are given and not waste time. It doesn't have to be important, it could just be writing your name on a wall. I little bit of "I was here" for the people who come after you.

FEARLESS YOUTH
It's a nostalgic song about being a fearless adolescent and the friends you used to have. The lyrics are written by Örvar who's also a founding member of MúM.

STROBE
The Strobe is an atmospheric track. It's made for people who want to dance in a euphoric bliss. The lyrics are like a mantra: It's getting dark so turn on the strobe. Don't think, just get lost in the dance.

THE GAME
The Game tells you to resist the power of bad people and bad governments. There's a big game being played and you don't need to participate, you can resist. The power hungry people of this world will never be satisfied but you don't have to support them.