Pop & Rock News

Inversions is a new imprint, spawned by parent label Power Vacuum.
The overall brief is broadly the same: driving, kinetic music of an exploratory and divergent bent, but employing more of a live/traditional instrumental approach. The first release encompasses electro-kraut, psych-punk, lo-fi pop-folk, prog-fusion and drone doom-metal, still with one eye on some sort of dancefloor, but equally at home on the turntables of bedrooms and after-parties.
With an insert and download code.

"Life's Blood" ist das siebte Studioalbum von Patrice. Es handelt von Werten und dem Wertvollen. Es besingt Mut, Euphorie und Sinnlichkeit, es versteckt Hintersinniges im klaren Blickfeld, inmitten von vorwärts gerichteten Drums und wunderschönen Melodien. "Life's Blood" ist unsere kostbarste Ressource, das Wasser, das den Planeten belebt, das Blut, das den Körper durchströmt und aufstehen lässt. Aufstehen, um sich auf den Weg zu machen gegen Unrecht und für Liebe. Aber auch aufstehen, um zu tanzen! So kündigt sich "Life's Blood" mit buchstäblichen Pauken und Trompeten an: An seiner Speerspitze steht mit "Burning Bridges" ein Song, der in Co-Produktion mit Diplo (Major Lazer, Beyonce, Madonna) und den Picard Brothers entstand. "Life's Blood" ist mit all seinen leuchtenden, Superpowers-gebenden Momenten auch immer wieder durchzogen von einer Bestandsaufnahme der Schattenseiten unserer Zeit. Darin spricht Patrice klar und nüchtern und immer auch von sich. In manchen Momenten sehr spezifisch, wie wenn er auf "Meanin'" featuring OMI (Welthit "Cheerleader") Worte für das leere Gefühl nach One-Night-Stands findet, die wohl bei vielen einen wunden Punkt treffen. In anderen Momenten berührt Patrice Dinge, bei denen das Persönliche zum Universellen wird. Als am 13. November 2015 im Pariser Konzertsaal Bataclan 130 Menschen auf tragische Weise ums Leben kommen und Hunderte weitere verletzt werden, ist Patrice nur ein paar Straßenblocks entfernt. Doch Patrice findet seine Aufgabe und die Energie von "Life's Blood" nicht darin, Schwermut zu propagieren. Sie liegt nicht darin, Konflikte von allen Seiten zu beleuchten und dadurch immer weiter leben zu lassen. "Wenn ich meine Musik spiele, und ich schaue in die Gesichter der Leute und da ist ein Lachen... Wenn die Menschen nach Hause gehen und mehr Energie für ihr Leben mitnehmen als sie zuvor hatten... das ist meine Aufgabe", sagt er abschließend. "Es geht nicht darum, den Hit des Sommers zu machen. Es geht um Inspiration, um Power, um das Leben!"

Following extensive touring behind What For, his fourth studio album as Toro Y Moi, acclaimed musician Chaz Bundick brought the band to the middle of the Mojave Desert in April 2016 to play a special concert.

Live from Trona documents this experience, recorded live beneath the geological wonders known as the Trona Pinnacles, which formed thousands of years ago in what used to be a prehistoric lake. The album features unique live arrangements of songs from across the band's catalog, new music, and an expanded band line-up. On the congas, Bay Area multi-instrumentalist Brijean Murphy adds a layer of rhythm, switching between propulsion and deep atmosphere. And for a brand new song, 'JBS,' the group is joined by tourmates The Mattson 2. This collaboration between Bundick and the Mattson twins takes on a classic groove with a jazz fusion approach.

For the film, nine-time Vimeo Staff Pick director Harry Israelson chose to break the fourth wall, revealing the filmmaking process by making equipment, lights, and crew visible at all times. With no audience in attendance and a spectacular natural environment that feels otherworldly, the film pays homage to rock films of a previous era. As the sun sets behind the pinnacles, the supernatural setting seamlessly weaves together with the 13 psychedelic tracks, all recorded on site over the course of an entire day. Through the use of hand-drawn animations and behind-the-scenes VHS footage, Live from Trona offers viewers a surreal concert experience, placing them front row at a private Toro Y Moi show.

Primitives, Sellers' debut as Bayonne, is a rich, complex work, the kind with no clear rock parallel. In its winding, maze-like structures are hints of both Steve Reich and Owen Pallett, each instrument working a single melodic pattern over and over and over, as Sellers threads his soft, reedy voice between them. On songs like Appeals,' the effect is hypnotic: notes from a piano crash down like spilled marbles from a bucket, as Sellers' ringing-bell vocals swing back and forth between them. The end result is spellbinding music, meticulously-crafted songs where each tiny piece locks into another, and hundreds of them joined together create a breath-taking whole — like dots in a Seurat, or tiny bones in a dinosaur skeleton.

Fascinating warehouse find dating back to the 1996 Ambient / Electronica scene, which in retrospect can be seen as the most experimental and open-minded period in electronic music ever. Whilst the A-side features a long, calm and hypnotizing take on Ravel's most recognized piece - Bolero and, regarding the time of production, is nothing but an Ambient predecessor to the now popular crossover between electronic and (neo)classical music we see the three tracks on the B-side explore creeping slo-mo Illbient spheres and krauty Electronica and Jazz experimentalisms.

Primitives, Sellers' debut as Bayonne, is a rich, complex work, the kind with no clear rock parallel. In its winding, maze-like structures are hints of both Steve Reich and Owen Pallett, each instrument working a single melodic pattern over and over and over, as Sellers threads his soft, reedy voice between them. On songs like Appeals,' the effect is hypnotic: notes from a piano crash down like spilled marbles from a bucket, as Sellers' ringing-bell vocals swing back and forth between them. The end result is spellbinding music, meticulously-crafted songs where each tiny piece locks into another, and hundreds of them joined together create a breath-taking whole — like dots in a Seurat, or tiny bones in a dinosaur skeleton.

Primitives, Sellers' debut as Bayonne, is a rich, complex work, the kind with no clear rock parallel. In its winding, maze-like structures are hints of both Steve Reich and Owen Pallett, each instrument working a single melodic pattern over and over and over, as Sellers threads his soft, reedy voice between them. On songs like Appeals,' the effect is hypnotic: notes from a piano crash down like spilled marbles from a bucket, as Sellers' ringing-bell vocals swing back and forth between them. The end result is spellbinding music, meticulously-crafted songs where each tiny piece locks into another, and hundreds of them joined together create a breath-taking whole — like dots in a Seurat, or tiny bones in a dinosaur skeleton.

These Systems Are Failing.
All of them. We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.
These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.
I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.
I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier. I can't offer solutions, only raise issues.
When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.
These Systems Are Failing. Let them fail.
Change or die.

*Deluxe CD edition with three bonus tracks and lenticular Sleeve*

These Systems Are Failing.

All of them.

We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.

These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.

I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.

I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier.

I can't offer solutions, only raise issues.

When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.

These Systems Are Failing.
Let them fail.
Change or die.

#TheseSystemsAreFailing
thesesystemsarefailing.com

Moby & The Void Pacific Choir.
Los Angeles, California. 2016.

These Systems Are Failing.

All of them.

We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.

These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.

I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.

I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier.

I can't offer solutions, only raise issues.

When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.

These Systems Are Failing.
Let them fail.
Change or die.

#TheseSystemsAreFailing
thesesystemsarefailing.com

Moby & The Void Pacific Choir.
Los Angeles, California. 2016.

A second time W&LL lets some of their favourite producers interpret swedish folk music. This time it's a mix of everything from hypnotic dance floor tracks to creative fusions of sounds and mysterious soundscapes. Just like last time, this is a unique piece of musical story telling. Limited edition of 300, don't miss out.

How To Dress Well - AKA Tom Krell - releases his fourth album, 'Care', via Weird World / Domino.

Written by Krell, mixed by Andrew Dawson (Kanye West, fun.) and featuring co-production from Krell alongside Jack Antonoff, Dre Skull, CFCF and Kara-Lis Coverdale, 'Care' is a sensual, dazzling alt-pop tour de force.

'Care' is the next step in the evolution of Krell's sound, which began with his first critically-lauded album, 'Love Remains', in 2010 and continued up through his widely acclaimed previous album, 'What Is This Heart', released in 2014.

LP format includes digital download code.

Cannataci Records - A new record label run by Ripperton & Agnès Cannataci Records is a joint venture hosted by Ripperton and Agnès. The label is aimed at releasing rather unclassified music, pieces our friends compose or simply ourselves. The aim is at releasing music we believe make things go beyond the usual paths. The label name is a reference to our hopes in the newly appointed UN special rapporteur on privacy, namely, Joseph Cannataci. Frankly, we do not want to taint our music with politics, although we are simply firm endorsers of our own privacy and think everybody else should. Cannataci Records will output its releases with a very small batch of 2x12 inches vinyl's physical copies of the recorded materials and thereafter digitally. Modeste - Absurd Memories - Cannataci Records 001 Absurdity, none decisions, finding yourself begging for your brain to get formatted thus losing it all, the good and the bad, simply for once get rid of that load. Machine wise it's possible, biologically speaking it isn't yet. Absurd Memories is an exorcism at one of the saddest period of my life. Sorrows and sleepless nights made me craft this. I nailed it with all my strength as if by doing it with all my hearth, my sadness storms would vanish. It turned out to be an unfair combat. Two years later this has now its place in the past for which time, as a cure, was my only help at looking at things with a different gyroscope. This album is now your present and somehow so dead for me. Absurd Memories... To be sorted in your Bassbient bin Modeste - Absurd Memories - Cannataci Records 001 - CRLP001 All tracks written & produced by Modeste @ TowerCtrl Studios

In his 22 years, KEIR can't recall a time when music wasn't at the center of his world. Schooled on the albums, books and films found in charity shops, his music comes from the life he sees. Chart pop, Jazz, torch songs, retro, futro, alt rock and electronica all mingle in the slipstream of years spent listening to records and hanging about in bands.

His debut live show at the Nest Club in Bath quickly led to radio plays from BBC Introducing, 6 Music and Radio 1, and festival appearances at Secret Garden Party, Dot To Dot, The Great Escape and Boardmasters.

And now comes his debut single 'Probably' on Crosstown Recordings.  A riotous fusion of R&B and indie with fearless guitars and soaring ecclesiastic highs, it's a statement of world-conquering intent from a powerful new voice in UK music. 

Crosstown Recordings has been launched by concert promoters Paul Hutton and Conal Dodds to run alongside their new promoting company Crosstown Concerts. Paul Hutton said It's always been a dream of ours to have our own label, to be able to work with great new talent. The first time we saw Keir live we were struck by his total originality, his voice is incredible, he is a future star, we have no doubts about that!'

Electronic trio Wrangler, headed by Cabaret Voltaire's Stephen Mallinder, release 'White Glue', an album rich in analogue synthesisers and surreal minimalism. Wrangler's White Glue features new nine new tracks, recorded with the 3-D depth of analogue (the ancient synthesizers in Benge's MemeTune Studios have never sounded so good) but there's less geek and more funk, more Mod than Modular in the new album's tailored, minimalist design. Stephen Mallinder's vocals are a surreal joy, smeared with effects and electronics as they change, chant and shift around the jump-cut lyrics. The opening trio of 'Alpha Omega', 'Stupid' (Mallinder in a new mutant funk-falsetto) and 'Clockwork' (a nod to Kraftwerk who famously name-checked Cabaret Voltaire as 'brothers in popular electronic music') sets up White Glue with the crisp crack and thud of sequenced rhythms and lush synthesizers. 'Dirty' starts like something from Forbidden Planet, pauses for a moment and then slams into a compelling funk beat with a bristling guitar riff courtesy of Julie Campbell (LoneLady). Mallinder delivers one of the most memorable vocals of his career - venting, sliding and punching through the layers of noise with real urgency and bile. He employs his voice-instrument to more measured effect on 'Stop' but it's no less hypnotic - a feverish guilt-mantra of out-of-control consumerism: 'Stop spending money that you don't have/Stop buying shit that you don't need.' As the synths wail like sirens, you can picture Winter and Benge swaying to the beats, heads-down, lost in the propulsive, (artificial) hand-clapping groove.
The white-light-techno-rush, triggered synths and chopped-up, multi-layered vocals of 'Real Life'- surely deserving of its own 12 inch vinyl release at some point - is followed by 'Days' which slowly loops in and then flicks off the safety catch with heavy bass and moody synth lines. Mallinder offers another striking vocal which seems to self-describe his own writing methods - 'moving pictures come in flashes.' 'Superset' is a late highlight as the band coax the rhythm into life before hitting hard with a lovely, deep groove. 'Colliding' is the spacey Krautrock closer, a beautiful, nuanced semi-instrumental song which exits with dreamy, abstract vocoder sounds and ambient synths.

Electronic trio Wrangler, headed by Cabaret Voltaire's Stephen Mallinder, release 'White Glue', an album rich in analogue synthesisers and surreal minimalism. Wrangler's White Glue features new nine new tracks, recorded with the 3-D depth of analogue (the ancient synthesizers in Benge's MemeTune Studios have never sounded so good) but there's less geek and more funk, more Mod than Modular in the new album's tailored, minimalist design. Stephen Mallinder's vocals are a surreal joy, smeared with effects and electronics as they change, chant and shift around the jump-cut lyrics. The opening trio of 'Alpha Omega', 'Stupid' (Mallinder in a new mutant funk-falsetto) and 'Clockwork' (a nod to Kraftwerk who famously name-checked Cabaret Voltaire as 'brothers in popular electronic music') sets up White Glue with the crisp crack and thud of sequenced rhythms and lush synthesizers. 'Dirty' starts like something from Forbidden Planet, pauses for a moment and then slams into a compelling funk beat with a bristling guitar riff courtesy of Julie Campbell (LoneLady). Mallinder delivers one of the most memorable vocals of his career - venting, sliding and punching through the layers of noise with real urgency and bile. He employs his voice-instrument to more measured effect on 'Stop' but it's no less hypnotic - a feverish guilt-mantra of out-of-control consumerism: 'Stop spending money that you don't have/Stop buying shit that you don't need.' As the synths wail like sirens, you can picture Winter and Benge swaying to the beats, heads-down, lost in the propulsive, (artificial) hand-clapping groove.
The white-light-techno-rush, triggered synths and chopped-up, multi-layered vocals of 'Real Life'- surely deserving of its own 12 inch vinyl release at some point - is followed by 'Days' which slowly loops in and then flicks off the safety catch with heavy bass and moody synth lines. Mallinder offers another striking vocal which seems to self-describe his own writing methods - 'moving pictures come in flashes.' 'Superset' is a late highlight as the band coax the rhythm into life before hitting hard with a lovely, deep groove. 'Colliding' is the spacey Krautrock closer, a beautiful, nuanced semi-instrumental song which exits with dreamy, abstract vocoder sounds and ambient synths.

Picturing the planet Midori Hirano is setting to music for us is like sauntering through a meadow. There's plenty of scents surrounding us, a vast field of different sound sources braiding together to one captivating scenery. It's a rich and colourful place to be in and it's everything but minor.

The soil is made of soft piano tunes, enriched by indefinable, layered field recordings and exceptionally well put electronic components. What sprouts from those seeds is a most astoundingly patient and genial atmosphere. Midori's compositions sometimes seem like a dance of barely there melodies, touching but almost at the edge of drifting apart, the next moment sounds like strolling through wondrous surroundings not knowing how long the charm might last that you are wrapped up in. In a way the album embodies an uncertainty, reminding us to savour these rare moments of sheer beauty: it's an ode to now, wherever that is and whatever it looks like.

With her first record for Sonic Pieces, Midori Hirano is stepping out of the conventional paths of modern classical, ambient and electronic music without trying to be anything other than herself. Minor Planet eludes categorization and it's a most satisfying experience to listen to something this honest.

Picturing the planet Midori Hirano is setting to music for us is like sauntering through a meadow. There's plenty of scents surrounding us, a vast field of different sound sources braiding together to one captivating scenery. It's a rich and colourful place to be in and it's everything but minor.

The soil is made of soft piano tunes, enriched by indefinable, layered field recordings and exceptionally well put electronic components. What sprouts from those seeds is a most astoundingly patient and genial atmosphere. Midori's compositions sometimes seem like a dance of barely there melodies, touching but almost at the edge of drifting apart, the next moment sounds like strolling through wondrous surroundings not knowing how long the charm might last that you are wrapped up in. In a way the album embodies an uncertainty, reminding us to savour these rare moments of sheer beauty: it's an ode to now, wherever that is and whatever it looks like.

With her first record for Sonic Pieces, Midori Hirano is stepping out of the conventional paths of modern classical, ambient and electronic music without trying to be anything other than herself. Minor Planet eludes categorization and it's a most satisfying experience to listen to something this honest.

At the end of the previous millennium, Dr. John found himself having recorded not a single album of straight up New Orleans R&B in almost a decade. He soon rectified that with Creole Moon in 2001. This personal interpretation of New Orleans contains 14 slabs of Crescent City soul soaked in the daily life in his beloved city of birth.
The album marked a return to the sound of his classic mid-70s records, right from the spidery electric piano and testifying back-up vocals. Most of his band, the Lower 9-11 Musician Vocaleers, had been playing with him for close to 20 years, and provided a solid accompaniment. Guests include David Fathead' Newman, slide guitarist Sonny Landreth, fiddler Michael Doucet, and a tight horn section led by Fred Wesley. This first time on vinyl version celebrates the albums 15th anniversary with a 180 grams audiophile 2LP with an etched D side and insert.

Oppenheimer Mk II is Andy Oppenheimer and Mahk Rumbae. Andy Oppenheimer - Singer, songwriter and formerly one-half of 1980s synth-pop duo Oppenheimer Analysis, one of the leading bands of the 'minimal synth' scene, and inspiration behind the Minimal Wave label.

Mahk Rumbae - Electronic musician and producer known for his work with long-running UK industrial/experimental band Konstruktivists. Andy and Mahk joined forces after performing together at Vienna's legendary electronic music venue Rhiz in April 2012, and discovering a shared love for for 1960s pop and 1980s synth music.

After their debut album 'The Presence of the Abnormal', released in 2013, and the Line of Sight EP released in 2015, the band return with a new single 'Another Nightmare' on Peripheral Minimal. The two songs 'Another Nightmare' and 'The Presence of the Abnormal' were originally featured on their debut album, and now this new single gives these complete new versions of these two songs a new lease of life as well as being available on vinyl for the first time.

Limited to 300 copies + insert.

Deko Deko are Lena Seik and Tristan Schulze, based in Leipzig, Germany. The duo creates their music by computer, synthesizer and vocals. Conventional song structures are fractured and deconstructed to be reconstructed and defragmented in the end. That might sound experimental but Deko Deko write hymns with orchestral parts and mad choirs, but always electronical too.
NEUSTADT is the first album of the band, to be released on O*RS in September 2016

Als Die Antwoord vor rund zwei Jahren an den Arbeiten zum neuen Album begannen, war die Grundstimmung des Materials noch sehr roh, düster und tough. Die Band wollte das Album "Rats Rule" nennen, denn im Leben gäbe es nur Gewinner und Underdogs. Und für Die Antwoord fühle es sich so an, als seien sie noch ein Level unterhalb der Underdogs zu Hause "in this fucked up pop world". Aber die Südafrikaner seien sich sicher, dass ihre Zeit noch kommen werde. "And soon we gonna take over this whole bitch", so Ninja und Yo-Landi.

Daraufhin schrieben Die Antwoord weitere Songs. Der Kern des Albums blieb düster und "ratty", aber die Band konnte eine neue Ebene hinzufügen. Eine Ebene, die eher wahnwitzig, sexy und sehr spaßig wirkte. Also wollten Die Antwoord das neue Werk in "We Have Candy" umbenennen. Dann, beim letzten Feinschliff, kam eine weitere Ebene hinzu: "A giant supernatural mega aura". Und plötzlich kam ihnen ihr neues Werk so episch vor. Manchmal verletzlich, manchmal süß und romantisch, mutig und voller Rätsel. Schließlich sagte Yo-Landi: "Why don't we call the album 'Mount Ninji And Da Nice Time Kid". Der Legende nach antwortete Ninja lediglich mit einem, "you a fuckin' genius! I love you!".

After recently signing to Sacred Bones Records, new four-piece Exploded View, fronted by German/Bristol political- journalist-turned-musician/singer Anika, announce news of their debut self-titled album, due August 17th. The band are sharing new track 'Orlando' from the forthcoming record.
While lead single 'No More Parties in The Attic' is laden with an enticing no-wave, post-punk sound, layered with distorted guitars and ominous drones- 'Orlando' chimes in with echoing vintage synths, courtesy of Hugo Quezada that clash with a chilly electro backbeat and an anthemic soulful bass line setting the tone.  With her disarming quietude nursery rhyme like vocal delivery, Anika remarks on the creation process: Well, that day I was speechless and empty, a reflection of the times. I became a vessel for the past, the only way to deal with or help understand the present. Enlightenment came with the help of some strong leading ladies, A certain author, a certain film and a certain actress. Go figure.'

Anika released her self-titled debut album in collaboration with Geoff Barrow's Invada imprint and Stones Throw to critical acclaim in 2010. This new project was created during the rehearsal sessions for Anika's Mexican live debut back in March 2014.  An unexpected partnership formed between Annika and local producers, Martin Thulin (Crocodiles producer) synth-head Hugo Quezada (Robota) and Riotboy sweetheart Hector Melgarejo (Jessy Bulbo / Nos llamamos) to form Exploded View. The four musicians discovered a new sound, several steps removed from the krautrock-isms of Henderson's previous work during their rehearsals and live performances in Mexico City. The straight to tape sessions that followed in the San Rafael neighborhood, ventured somewhere new, a lighter place, unguarded, veering from any script.  Improvisation was the guiding principle and the source of the band's inspiration. The studio itself was outfitted so that every sound produced in the room would be recorded. A Tascam 388 8-track captured everything - fully live, fully improvised, first-takes only. Produced by Thulin and Quezada and mastered by Josh Bonati in NYC.

Grossstadtgeflüster sind wieder mal ungefragt zurück. Die ungünstig gealterten Berufsjugendlichen Dödels von GSGF haben nicht nur irgendwas neues im Sack, nein. Die schrumpeligen Plattensammler haben ihre Episode 1 - "Fickt-Euch-Alle" und Episode 2- "Ich boykottiere dich" auf ne Vinyl gedonnert, da sie sonst ihre eigene Musik nicht anhören konnten, weil sie die mp3s weder in ihre Kassettenrekorder noch auf ihre Plattenteller bekommen haben. Das Album ist vollendet und man kann jetzt auch damit Frisbee spielen oder Eier drauf braten. 10 liebevoll, aus reinster Seide gesponnene Songs, die sich gewaschen haben...bei 90° im Schleudergang. Denn Jen Bender und ihre Mannen entziehen sich lässig kopfnickend der alten Leier in ihrem Wochenendhäuschen in der "Fickt-Euch-Allee", schwelgen in volltrunken melancholischer Selbsterkenntnis, um dann jeglicher Ernsthaftigkeit tanzend den Rücken zuzukehren. Sie pogen dem ewigen Optimierungsdrang einfach aus dem Weg, bevor sie dem weißen Kaninchen durch einen trippigen Rave-Tunnel ins Nichts folgen. Sie Singen mit Spaß an der Freude über das Altern und die unentwegt zunehmenden Gebrechlichkeiten, über das Gefühl, von niemandem außer dem Leben gefickt zu werden, über den Realitätsboykott als einzigen Ausweg, über die totale Kapitulation und über das Abhängen am Strand von Utopia. Eine Hassliebeserklärung an das Leben, dargeboten auf ballernden Banger-Beats, die zu fett für nur einen Flugzeugsitz sind. Also, bestellt schon mal Tomatensaft, Notausgänge und Rettungswesten sind heute leider aus.

Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch, out September 30th via Sacred, debut single, Female Vampire,' plus performances in New York, Los Angeles and throughout Europe. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, girl, in subject matter, execution and production. It is Hval's most focused album, but the lens is filtered through a gaze which the viewer least expects.

In the words of Jenny Hval: Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It's also the first album where I've started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It's an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.'

Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015's Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.

Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch, out September 30th via Sacred, debut single, Female Vampire,' plus performances in New York, Los Angeles and throughout Europe. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, girl, in subject matter, execution and production. It is Hval's most focused album, but the lens is filtered through a gaze which the viewer least expects.

In the words of Jenny Hval: Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It's also the first album where I've started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It's an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.'

Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015's Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.

Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch, out September 30th via Sacred, debut single, Female Vampire,' plus performances in New York, Los Angeles and throughout Europe. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, girl, in subject matter, execution and production. It is Hval's most focused album, but the lens is filtered through a gaze which the viewer least expects.

In the words of Jenny Hval: Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It's also the first album where I've started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It's an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.'

Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015's Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.

Finally, Justus Köhncke is unveiling new tracks! His first release since »Justus Köhncke & The Wonderful Frequency Band« (KOMPAKT, 2013) is both daring and serious. Five songs in German, interpretations of material by Howard Carpendale, Juliane Werding and Nik P. plus English-into-German translations of two pop classics (»Twist In My Sobriety« by Tanita Tikaram, »Captain Of Her Heart« by DOUBLE). This is not an ironic joke about seemingly ›stupid music‹ or ›Schlager‹: Köhncke embraces these five compositions and turns them into his own. They transmutate into his very own vision of ›nu-german comps-soul‹ while retaining Justus' unique sound. The EP will be released digitally and as a limited vinyl 12" on the Berlin-based label »Martin Hossbach. We cry, we sing. Alone.

Form Hell is the debut release by Victims, the collaborative project of film composer Timothy Fife, and Video Nasties member, Chris Livengood. Mainstays in the darkest, most obscure netherworlds of the New England underground scene, the work of these individuals has circulated over the past decade only amongst the filthy hands and minds of those in the know. Together as Victims, the two make synthesizer music inspired in equal measure by the highest and lowest expressions of the medium. For every nod to Subotnick and Mort Garson there's a indiscrete wink aimed at Marcello Giombini and Walter Sear. "Form Hell" finds the two minds meeting and melting at their most damaged point: the holes torn open by repeated viewings of the most filthy of films, setting forth a pulsating kosmiche geyser of shimmering cinematic sounds. Perhaps if Tangerine Dream geared up and jammed immediately after their 12th consecutive viewing of Burial Ground: Night of Terror, it might sound something like this. If Michael Hoenig had scored The Gate before abandoning his analog synths, those fleshy little minions would've been dancing to the arpeggiated menace of Form Hell.

Vondelpark release the new single from the critically acclaimed 'Seabed' debut album. 'Always Forever' is a blissed out hazy love song with Lewis Rainsbury's plaintive vocals at the fore, and one of many highlights from the album.
On remix duties is John Roberts who has just released the excellent 'Fences' album. He warps the original into a beautiful, leftfield, alternative mix with some slick tape effects.

Fantastic all killer no filler compilation of sun-drenched gems from pop-soul legend Tina Turner. First up is the super cool mid-tempo house groove of Justin Strauss's 12' Dance Mix of 'Afterglow' from 1986 which hit big across the dancefloors of Ibiza. Also included are outstanding covers of Led Zepplin's 'Whole Lotta Love' and a great extended mix of Ann Peebles-penned 'I Can't Stand The Rain'. Rounding things off we get a brilliant dubbed out instrumental version of 'We Don't Need Another Hero' from the Mad Max soundtrack.

Geschrieben und aufgenommen über eine Zeitspanne von 4 Jahren zwischen Las Vegas und seinem Wohnort in der kalifornischen Wüste, ist "Callus" zweifellos Gonjasufis radikalste, seelenentblössendste und kathartischte Songkollektion, entstanden aus der Verinnerlichung von Schmerz, Verzweiflung und Wut. Oder wie die SPEX schreibt: "Pein und Drangsal und kaputte Trommeln. Gonjasufi spielt mit seinem neuen Album Callus gewohnt kratzbürstig zum Weltuntergang auf." Produziert von Gonjasufi selbst, wurde "Callus" über weite Strecken mit dem ex-The-Cure-Gitarristen Pearl Thompson aufgenommen.

Rife with dichotomy Barely Breathing' is an album of strong melodies and delicate electronic drums that works far beyond the genres often-narrow stylistic range. Tom's skillful production techniques across the 8 tracks and use of guest vocals on Calling You' create welcoming structures that allow the whole albums lighter touches to flourish.

Any hint of esoteric is quickly hushed with one of the albums standout cuts Solstice' humming with quintessential relaxation and reflection. Unsurprising really, coming from a classical trained musician that has been exploring his craft way beyond just the musical platform, one of audio, digital art and moving image. All-powerful and immersive experiences that continue to transcend into his recorded music.

Subtle, soulful tones still clutching the songwriting process give each track way too much emotion to ignore, and importantly gives the label an early and memorable moment of levity - absorbing all of the positive qualities from their fellow contemporaries, a sure hint that Yen is set to provide much more than just a passive listening experience.

The inaugural full-length release has laid down the language and intentions, crafted by a sound anchored with hugging synths, piano keys, and a true sense of narrative build...accumulating in the rising, synthetic Constitution Hill', a clear standout, encompassing true patience and escapism.

Anomie Belle is a multi-instrumentalist, vocalist, songwriter, producer and artivist who has developed an eclectic and avant-garde musical style that incorporates aspects of electronic, classical, art pop, experimental, glitch and soul. She was the featured vocalist on Yppah's Eighty-One (Ninja Tune) and has collaborated with members of The Sneaker Pimps, The Posies, Trespassers William and Mr Lif. Anomie Belle has toured with Tricky, Little Dragon, Bajofondo, The Album Leaf, Seawolf, Emancipator and Ott. Her music has appeared in Xbox's Alan Wake, MTV's Jersey Shore, Showtime's United States of Tara Microsoft All Points Bulletin, and in several feature films including Catherine Hardwicke's Plush.

With Flux, Anomie explores disillusionment, alienation and the search for identity. Flux grapples with intimacy and queerness, the emotional experience of a culture that values profit over people, and the darker, vulnerable, contradictory, spiritual and sexual aspects of human nature. An artbook comprised of 14 visual art pieces, each by a different international artist, accompanies the album. Artists include Marco Mazzoni, Redd Walitzki, Mark Demsteader, Kari-Lise Alexander, Casey Weldon, Meredith Marsone, Alessandra Maria, Alex Garant, Alpay Efe, Januz Miralles, Maria Teicher, Antonio Velfín, Alexandra Becker-Black and Zin Lim.

Electric Wire Hustle return with a third studio album, The 11th Sky...

Expanding on their psychedelic-soul sound, The 11th Sky continues the surreal storytelling of last years Aeons EP, which also featured Kimbra and Deva Mahal on vocals. The brand new album is described as "David Lynch meets Motown" by frontman and producer Mara TK, and indeed, a sense of the otherworldly is present here within EWH's layered electronic production and Mara's soaring vocals. Tracks like "Go Slow" walk into the genre-fog amongst drum machines and synthesizers. Meanwhile "I Light A Candle" with it's piano, chopped vocal samples, towering strings and 808s strikes right at the heart of soul music.

Electric Wire Hustle's last album 'Love Can Prevail' found support from The New York Times, BBC Radio and Wax Poetics, and won "Best Electronic Album" at the New Zealand Music Awards, continuing a track record of critical acclaim that started with their debut self-titled album. The 11th Sky is due out on September 30th on LP, CD and digital via Bastard Jazz Recordings (World) and Loop Recordings (New Zealand).

Erstmals auf LP: in einer 180-g schweren Vinyl-Edition erscheint das 13te Studioalbum von Erasure zu deren 30-jährigen Band-Jubiläum nun auch in diesem Format. Mit Hits wie 'Sunday Girl' und 'I Could Fall In Love With You' war das Album außerordentlich erfolgreich.Ursprünglich 2007 erschienen, konzentriert sich das von Gareth Jones produzierte Werk auf hymnischen Synthie-Pop, der in der Produktion zeitweise mit modernem Techno flirtet. Durch Andy Bells Stimme, die gefühlvollen Soul nicht scheut, bleiben die Songs aber durch die Bank Pop im besten Sinne des Begriffes.

Das 11te Erasure Studioalbum "Nightird" gilt Fans wie Kritikern als einer der Höhepunkte des Gesamt-Werkes. Erasure besinnen sich auf ihre Kern-Kompetenz: schillernde 3-Minuten-Elektro-Pop-Songs wie "Breathe", die Soul und Energie versprühen.
"Nightbird" erscheint erstmals auf Vinyl. Das Album war zuvor nicht in diesem Format erhältlich. Die 180-g schwere Edition wird dem Pop-Meisterwerk klanglich gerecht.
Erasure feiern ihr 30-jähriges Bestehen. In diesem Rahmen werden die Studio-Alben wieder in einer hochwertigen Vinyl-Edition neu aufgelegt, "Nightbird" bildet die Ausnahme, weil der Titel ursprünglich nie auf Vinyl erschien.

Union Street ist das zwölfte Studio-Album von Erasure. Nun liegt dieses erstmals auf Vinyl vor - in einer 180g-Pressung. Das Album erschien ursprünglich 2006 auf Mute. Konzept des Werkes ist es klassische Erasure-Songs neu als Country- oder Akustik-Versionen einzuspielen, diese Lieder damit komplett aus ihrem Elektro-Pop-Korsett zu lösen. Damit werden die Songs auf ihre Essenz reduziert, das Songwriting rückt in das Zentrum der Wahrnehmung. Erasure-Juwelen wie 'Boy' und 'Piano Song' in Versionen mit Akustik- oder Steel-Pedal-Gitarre zu hören, ist jedenfalls ein großes Vergnügen.

Am 7ten, selbstbetitelten Studioalbum von Erasure schieden sich die Geister. Ein Teil des Publikum vermisste die einfachen Pop-Songs des Duos Clarke und Bell, der andere Teil feierte das Album als visionär und innovativ. Diese Doppel-Vinyl-Neuauflage erscheint auf 180g schwerem Vinyl. Produziert von Gareth Jones (Depeche Mode, Wire) und Thomas Fehlmann (The Orb), experimentierten Erasure mit Sounds und Komposition. Deutlich beeinflusst von der elektronischen Dance Music dieser Periode, wagen sich Erasure an Ambient-Soundscapes und warten mit Gästen wie der Sängerin Diamanda Galas auf. Diese veredelt "Rock Me Gently" mit ihrer ungewöhnlichen Stimme.