Pop & Rock Novedades

Hot Chip front man Alexis Taylor pares everything back to just piano and voice for an intimate record of new songs, reinterpretations of his own writing, and a selection of favourites both well-known and unheard before by other artists. Recorded at Hackney Road Studios by Shuta Shinoda, Piano invites the listener to be privy to a very private recital, with Alexis' vocal and piano captured live and up-close, preserving each beautiful moment.

"I had always wanted to make a loose and to some extent unplanned piano record - partly inspired by an un-made but suggested Alex Chilton solo piano LP that a friend of mine told me about 15 years ago or so. I began one a few years back which then morphed into the second About Group LP - but the idea stayed in the back of my mind all the while.

The idea with this record was to choose songs of my own and others' that were personal to me and to document live performances which were intimate and unadorned. I wanted to reduce everything to the barest elements, record a great piano well and do as little as possible to the recordings eq or effects-wise. The mood created on the record is pretty different from that on other records I have been involved with. It feels like a special place to be able to go to."

Piano is a very personal and private record in some respects, but one which looks outward to celebrate lives of friends now passed, as well as love for those closest to us, and music itself.

After it was completed Piano struck me as a sort of gospel record in places - albeit an atheist's gospel album, if that's possible. 'In The Light of the Room', Elvis's 'Crying In The Chapel', the hymnal 'I Never Lock That Door', and the miracle-referencing 'So Much Further To Go' - they have that feel to them for me lyrically and musically. But the Miracles in 'So Much Further' are Smokey's as much as anything Biblical, and the reference to both silence and music filling the air reflects the album's observations about absence, loss, repair and surrender to love and sound. The song is one I was really happy with when I first wrote it partly because it offered some mystery to me - I didn't fully understand it. After a close friend and collaborator passed away during the making of this record - actually someone who I had asked to contribute small string parts to it - I felt I understood it all too well:

'Life a miracle - a miracle that's hard to bear''

As well as Hot Chip's six studio albums the band has released a wealth of material scattered across EPs, stand-alone singles, compilation exclusives, remixes, and covers. Thus far Alexis has released two LPs and an EP under his own name, as well as three further albums of material performed with the semi-improvisational About Group. Additionally, Alexis has crafted side projects such as Booji Boy High and collaborated with Wiley, Peter Gabriel Will Oldham, Fimber Bravo, Bernard Sumner, Robert Wyatt, Justus Köhncke, Green Gartside, The Memory Band, James Yorkston and David Byrne among many others.

Hot Chip front man Alexis Taylor pares everything back to just piano and voice for an intimate record of new songs, reinterpretations of his own writing, and a selection of favourites both well-known and unheard before by other artists. Recorded at Hackney Road Studios by Shuta Shinoda, Piano invites the listener to be privy to a very private recital, with Alexis' vocal and piano captured live and up-close, preserving each beautiful moment.

"I had always wanted to make a loose and to some extent unplanned piano record - partly inspired by an un-made but suggested Alex Chilton solo piano LP that a friend of mine told me about 15 years ago or so. I began one a few years back which then morphed into the second About Group LP - but the idea stayed in the back of my mind all the while.

The idea with this record was to choose songs of my own and others' that were personal to me and to document live performances which were intimate and unadorned. I wanted to reduce everything to the barest elements, record a great piano well and do as little as possible to the recordings eq or effects-wise. The mood created on the record is pretty different from that on other records I have been involved with. It feels like a special place to be able to go to."

Piano is a very personal and private record in some respects, but one which looks outward to celebrate lives of friends now passed, as well as love for those closest to us, and music itself.

After it was completed Piano struck me as a sort of gospel record in places - albeit an atheist's gospel album, if that's possible. 'In The Light of the Room', Elvis's 'Crying In The Chapel', the hymnal 'I Never Lock That Door', and the miracle-referencing 'So Much Further To Go' - they have that feel to them for me lyrically and musically. But the Miracles in 'So Much Further' are Smokey's as much as anything Biblical, and the reference to both silence and music filling the air reflects the album's observations about absence, loss, repair and surrender to love and sound. The song is one I was really happy with when I first wrote it partly because it offered some mystery to me - I didn't fully understand it. After a close friend and collaborator passed away during the making of this record - actually someone who I had asked to contribute small string parts to it - I felt I understood it all too well:

'Life a miracle - a miracle that's hard to bear''

As well as Hot Chip's six studio albums the band has released a wealth of material scattered across EPs, stand-alone singles, compilation exclusives, remixes, and covers. Thus far Alexis has released two LPs and an EP under his own name, as well as three further albums of material performed with the semi-improvisational About Group. Additionally, Alexis has crafted side projects such as Booji Boy High and collaborated with Wiley, Peter Gabriel Will Oldham, Fimber Bravo, Bernard Sumner, Robert Wyatt, Justus Köhncke, Green Gartside, The Memory Band, James Yorkston and David Byrne among many others.

Indies only comes with 7" one-sided single

Hot Chip front man Alexis Taylor pares everything back to just piano and voice for an intimate record of new songs, reinterpretations of his own writing, and a selection of favourites both well-known and unheard before by other artists. Recorded at Hackney Road Studios by Shuta Shinoda, Piano invites the listener to be privy to a very private recital, with Alexis' vocal and piano captured live and up-close, preserving each beautiful moment.

"I had always wanted to make a loose and to some extent unplanned piano record - partly inspired by an un-made but suggested Alex Chilton solo piano LP that a friend of mine told me about 15 years ago or so. I began one a few years back which then morphed into the second About Group LP - but the idea stayed in the back of my mind all the while.

The idea with this record was to choose songs of my own and others' that were personal to me and to document live performances which were intimate and unadorned. I wanted to reduce everything to the barest elements, record a great piano well and do as little as possible to the recordings eq or effects-wise. The mood created on the record is pretty different from that on other records I have been involved with. It feels like a special place to be able to go to."

Piano is a very personal and private record in some respects, but one which looks outward to celebrate lives of friends now passed, as well as love for those closest to us, and music itself.

After it was completed Piano struck me as a sort of gospel record in places - albeit an atheist's gospel album, if that's possible. 'In The Light of the Room', Elvis's 'Crying In The Chapel', the hymnal 'I Never Lock That Door', and the miracle-referencing 'So Much Further To Go' - they have that feel to them for me lyrically and musically. But the Miracles in 'So Much Further' are Smokey's as much as anything Biblical, and the reference to both silence and music filling the air reflects the album's observations about absence, loss, repair and surrender to love and sound. The song is one I was really happy with when I first wrote it partly because it offered some mystery to me - I didn't fully understand it. After a close friend and collaborator passed away during the making of this record - actually someone who I had asked to contribute small string parts to it - I felt I understood it all too well:

'Life a miracle - a miracle that's hard to bear''

As well as Hot Chip's six studio albums the band has released a wealth of material scattered across EPs, stand-alone singles, compilation exclusives, remixes, and covers. Thus far Alexis has released two LPs and an EP under his own name, as well as three further albums of material performed with the semi-improvisational About Group. Additionally, Alexis has crafted side projects such as Booji Boy High and collaborated with Wiley, Peter Gabriel Will Oldham, Fimber Bravo, Bernard Sumner, Robert Wyatt, Justus Köhncke, Green Gartside, The Memory Band, James Yorkston and David Byrne among many others.

Medical Records presents the release of its first contemporary artist with the Paris-based Illustration Sonore (I/S). The duo, consisting of Dasz (also in Dolina and Ame De Boue) and Christina (aka Froe Char), expertly craft dark and atmospheric songs laced with unbridled passion in the context of synth-laden melodies, dominant percussion and pensive vocals. I/S uses variations of electricity to control oscillators and frequency modulations. Best described as synth-gaze, dark-wave, or no-future pop. The opening track "Ulysses," sets the mood with uncompromising intensity and passion with serious low frequency tones and catchy synth drenched hooks. The dreamy and brooding "Our Bodies" starts the B side and is a definite standout tracks. The wonderful and melancholy pop track "Flying Lights" is also included on the LP and was previously featured on the lovely compilation "Circuit D'Actes 3" on the French La Forme Lente imprint earlier this year. The relentlessly apocalyptic "Cannibals" is yet another magnificent track worth mentioning here. For fans of EBM/synth-heavy industrial crossover, lovers of Cabaret Voltaire, Chris and Cosey, modern synth-wave and the like, these tracks will not disappoint. Presented on high-quality 180gram ultra-clear heavyweight vinyl. Features bonus LP insert with lyrics. Limited edition.

Limited Edition Deluxe - 2 colored LP in limited deluxe edition in replika gatefold sleeve with CD incl.

A Colourful Storm inaugurates its vinyl label with a reissue of a long lost Oz classic. Formed by Brian Hall in 1982, Denial originally appeared on the legendary M Squared label, home to industrial and wave outfits Systematics, SPK, Scattered Order and The Makers Of The Dead Travel Fast. Until now, Hall's own work has only surfaced once - in 2012, under his Aural Indifference moniker on the Minimal Wave Tapes Volume Two compilation. Here, Denial's version of the Mamas and Papas' classic, and melancholy The Weatherman are presented in their original format and deservedly remastered. A Colourful Storm is a label co-run by Moopie, who contributed the second mix CD for Silent Servant's Jealous God imprint.

Macro has been the home for the albums of some of electronic music's most exciting live acts, such as KiNK and Elektro Guzzi. So when a live band enters this context, it should better enter with a bang. KUF do just this with their album debut. The band: Three-piece outfit KUF, featuring keys, bass and drums, cooks up a sound that is as warm, cozy and exciting as it is utterly alien. The rhythm section hints at the great history of dirty funk and bouncing R&B, but the grooves are firmly of today: dance-centered, thrillingly interactive and broken up at the best possible joints. The bewildering thing about KUF is that it is a vocal-led group that has no singer on stage at all. All vocal elements are based on self-recorded samples which keyboard whizz kid Tom Schneider melds, bends and squeezes in real time. As if it was the most natural thing to do. With no artificial synchronization in place, Valentin Link on bass and Hendrik Havekost on drums push the disembodied voices into an arena of hyperintegrated realtime magic of rough soul, intertwined by improvised outbursts and shaped with the aesthetics of raw MPC-based cut-up techno. The album: The album's grabbing openers Gold' and Princess' are full-on instances of the brightly burning world of KUF, with the other ten tunes never ever letting you down. All along, the Berlin based trio take their audiences through a full range of emotions and constantly shifting dynamics. The thorough integration of this extraordinary degree of sheer diversity into a unified experience is simply astonishing. But never forget this is a live band, and that's how anything here has been developed: live, in direct interplay. Seeing is believing.

Blood is thicker than water and eventually long time friends Bordello A Parigi and Knekelhuis pageant a solid piece of music together.

Alessandro Parisi also known as Hesperius Draco from Portenone - Italy - and London based Timothy J Fairplay found themselves in the middle of an ice cold world, opening their wintery project with the Romance' soundtrack. The warm synth lines will single handedly set Moscow's frozen red square on fire. The Italian soundtrack synthesisers will touch the trans-siberian world and end with a slow burner named What Is To Be Done'.

12' DANCE is a 30 Track compilation series dedicated to showcasing the finest rare original 12' remixes and extended versions of crowd-pleasing, floor-filling classics. From the Disco, Soul, Rare Groove and Funk mixes of the 70's, to the Groove, Hip Hop/Electro & Techno/House of the 80's and the Acid Jazz, Indie, R&B, Rap & Club/House of the 90's, 12' DANCE will deliver a lovingly curated selection of both the commercial big hitters and the underground cult club classics! Many of these mixes have not yet appeared on CD... until now.

12' Dance 80s Pop showcases an essential selection of both the finest & the best-selling 12' singles of the decade, featuring mixes by New Romantic icons such as Duran Duran, Spandau Ballet, Talk Talk and Soft Cell, New Wave/Alternative classics by The Smiths, Echo & The Bunnymen & New Order, plus definitive Pop Anthems by Simple Minds, Tears For Fears, A-Ha and Pet Shop Boys.














[bC] CD 2-3 | Howard Jones - Like To Get To Know You Well (International

The CD included in the LP version features the 12 tracks of the album in the same order Short info: Since the release of the album Catapulte' in 2013, media have been used to describing Chevalrex' music as miniature symphonies". For this album, Rémy Poncet, the handyman that plays himself all the instruments, writes his own lyrics and even makes his own cover, has decided to keep the same path but meanwhile, has grown in melodic power and maturity. I finally let my teen life behind, and from now on, offer me some peaks' he sings in Aussi Loin". With this new release, there is reason to wager that Chevalrex will be one of the future pearls that will be used as a reference for those who will venture out on the roads of French Pop.

Do you know your fondues from your fon-dont's Fear not spuds, DEVO and FUTURISMO bring you the perfect soundtrack to your space-age bachelor or bachelorette pad with 21 tracks of pure unhinged sophistication - DEVO's EZ Listening Muzak.

Whether you're entertaining guests with a bout of cheese and wine by the fire or throwing the cocktail party of the century, these mutated muzak lounge versions of DEVO classics such as 'Whip It', 'Jocko Homo' and 'It's A Beautiful World' will be the perfect hors d'oeuvres for an evening of de-evolved fun.

Originally created as pre-concert mood setters, popularity and sound board thievery led to EZ Listening Muzak being sold back in the early 80's as two fan club only cassettes. For the first time since, these revered recordings are officially released as Double Vinyl and Double CD Box Sets. But wait...also included alongside these cherished instrumentals of yesteryear is a Brand New EZ version of 'Human Rocket' - recorded exclusively for this release! Bringing the timeline full circle.

But thats not all guys and gals...oh no, also included inside this majestic Limited Edition Box Set is an exclusive DEVO Swizzle Stick - the Cocktail Stirrer of champions, an Election Pin Button, a huge Double Sided Poster, Cocktail Recipes and Liner Notes by debonair man of the hour Gerald Casale.

Coming March 2016 for a Worldwide release, FUTURISMO present this dashing Gold Foiled Box containing either 2 x 140g Limited Coloured Vinyl - in your choice of Antique Walnut or Lava Lamp, or 2 x Compact Discs, both sure to instil your musical vocabulary with a mutated etiquette that can only be learnt from the gentlemen of DEVO. Isn't it about time you took it EZ

Its been more than 20 years and a cultural sea change since the Devo EZ Listening body of work has been commercially available. Now with this exquisite, 2-disc box set from Futurismo you can once again experience the devolved fun we had creating these ridiculously enjoyable renditions of our work.' - Gerald V. Casale (DEVO)

DMC Classic Mixes - I Love Bowie

DMC DAVID BOWIE MIXES

Essential & Exclusive - The best megamixes, 2 trackers & remixes from the great David Bowie... Icon, Legend & Superstar-man.

















Remixed For Commercial Release BROTHERS IN RHYTHM



RT. 8.21 BPM 126

A mix of 80s Classics with individual IDs across three genres of music and linked for continuous dancing.

POP AND POP ROCK (BPM 107 to 137)











11 George Benson - Turn Your Love Around
12 Kool And The Gang - Fresh
13 Colonel Abrams - Trapped
14 Barry Manilow - Copacabana (At The Copa)
15 Debarge - Rhythm Of The Night
16 Alexandra O'Neal - Criticize
17 Whitney Houston - How Will I Know
18 Prince - 1999
19 Detroit Spinners - Working My Way Back To You
20 Chaka Khan -I Feel For You
21 Odyssey - Use It Up And Wear It Out
22 Gloria Estafan - Dr. Beat
23 Frankie Goes To Hollywood - Relax
24 The Human League - Love Action
25 ABC - The Look Of Love
26 Eurythmics - Sweet Dreams
27 Yazoo - Dont Go
28 Aha - The Sun Always Shines On TV
29 Dead Or Alive - You Spin Me Right Round
30 New Order - Blue Monday
31 Duran Duran - Girls On Film
32 Spandau - Ballet Gold

TOTAL RT: 71.29
Mixed By ROD LAYMAN

* A five-piece band isn't something you'd expect to be linked to drum and bass label Med School but The Erised's elegant approach adds yet another string to Med School's forward-thinking bow. A unique collective from Ukraine, The Erised includes drum & bass producers Detail and Hidden Element, dancer turned singer/songwriter Sonya together with a collective of jazz, rock and pop musicians.* The band's impressive 2015 debut release, the Desire' EP, included the supremely popular Pray' and It's Over , immediately capturing the attention of music fans across Europe and beyond.
* Fast forward one year and The Erised are set to unveil their debut album, 'Room 414', a mature, impassioned creation that explores the band's vast emotional landscape. Sonya's voice is more absorbing than ever before, delicately crafting tales of sorrow and heartbreak before seducing the listener with her trademark, mesmerising choruses.* The Erised's moody instrumental textures capture a fine balance between tragic and euphoric, fire and water, spring and autumn. No track is the same, as every minute passes, a different part of the story is told.
* 'Room 414' is a landmark moment for both the band and the label, as all involved take a step into the unknown with this truly magnificent album.

Astrobal, nee Emmanuel Mario, burst onto the scene in his native France through collaborations with some of the country's most cutting edge artists, including Arnaud Fleurent-Didier, Holden, Institut, Iko Cérie... Most notably, his work as a producer and drummer with Stereolab's Laetitia Sadier left an indelible mark, rendering some of the most singular work from the iconic French chanteuse.

"Our blood runs hydrous with the seas/The essence of oceans spills through our veins." Laetitia Sadier matter-of-factly unfurls these words on the title track of Astrobal's first full-length, and they prove prescient. The album is aqueous, each track a slow wave building before a momentous crash of sound, with clean lines and fluid form. Symphonic strings and ethereal ambient washes are married to buzzing synths and Astrobal's crisp, crackling drums.

Take opening track "Everybody Loves the Sunrise": building slowly from Eno-esque synth gauze and swelling strings, it gradually layers in flutes, ricocheting drum snaps, and rubbery bass, crescendoing in a lush wall of sound before returning to its calm, Sunday morning peacefulness. The funky flipside to this opening chill is the strutting cool of "Isao & IO." Floating in on a laidback, Shuggie-Otis-on-quaaludes groove, Astrobal's wispy, French-accented vocals glide through crackling keys and chopped acoustic guitar, creating a melodic haze to get lost in.

Though eclectic, Australasie never feels less than a cohesive vision, with the guiding principles of texture and fluidity uniting the disparate threads. From the lounge-y slink of "Rubycon" to the hymnal warmth of "Trois Beaux Oiseaux du Paradis," Astrobal creates a universe one can swim around in; from start to finish, it is of a particular mood, all beholden to the vibe. It is an assured first full-length from an artist who has put in the time to find himself and build his own world.

Hailing from Gothenburg, Sweden, Facit is the project of Joakim Karlsson. For almost a decade, he has been producing tearful synthesizer music under various aliases, often teaming up with compatriot Mai Nestor on vocals. Smartly drawing a line between Swedish chanson and minimal synth, 'Måndag Mon Amour' is Facit's second EP after having stopped at Veronica Vasicka's Cititrax in late 2013 with «Mat Åt Duvorna » (understand : Food For Pigeons).

Picture two passengers with paralyzing hemophobia, riding a sad carriage and smiling with tranquil melancholy, endlessy playing early 80s analog gear through some spring reverb. It doesn't take long to remember « notre amour était dans un igloo » and never forgetting it.

In May 2015, an assortment of electronic musicians from Pakistan, the Maldives and Germany followed the footsteps of brothers Hannes and Andi Teichmann, otherwise known as Gebrüder Teichmann, the Forever South crew and the Goethe-Institut to meet in Karachi; Pakistan's industrial capital, harbored on the Arabian Sea.

A house was remolded into a temporary recording studio. It would become a place to meet, inspire and be inspired, record, play, eat and sometimes sleep. Musicians, together with a photographer convened, and the outcome of two weeks would transpire into the Karachi Files.

Karachi Files, a textural collection of electronic fused works is a me´lange of different cultural, immersed in a fixed space, of which predestined inspiration was taken from its surroundings. The corpulent body of work harmonizes a balance in the elements, delivering a variety of tracks, from electronic club music to electro acoustic experiments, particularly textured including a few more slowmo and raw.

Following the African European Ten Cities project and it ´s album release on Soundway in 2014, Karachi Files will be the first release on the Teichmann brother's new label Noland.

Flight Facilities, Future Classic and the Melbourne Symphony Orchestra collaborate to bring you Flight Facilities - Live at the Sidney Myer Music Bowl. Set under the stars of the outdoor amphitheatre at Sidney Myer Music Bowl on Saturday 17 October, 12 000 fans witnessed Flight Facilities recreate their five year journey from their first DJ mix to the release of their acclaimed debut album Down To Earth. The 15-track performance was captured live and mixed by ARIA Award-winning engineer Eric J Dubowsky features musical guests Touch Sensitive, Surahn, Kurt Kristen, Owl Eyes, Katie Noonan, George Maple, Reggie Watts & Emma Louise.

Necessity is the mother of invention. Routinely, we are irritated by not having that we desire, or even require, frustrated by what is lacking. Creativity theorists would now most likely identify the frustration as a driving force for creative activity. OFRIN flips this notion on its head. What drives the Berlin-based Israeli is the creation of an absence. She offers her creativity to serve the art of omission. In doing so, she proves herself as a master of the art. Her new album "ORE" is defined by the lacking musical elements, causing tension and drive throughout. over the past few years artists have played into listener's expectations too much, OFRIN refuses to fall victim to that particular practice.

We only notice something is missing if initially we recognize something. OFRIN uses familiar pop tropes without shame and to great effect. The track "BEST REQUEST" could be referred to as a new form of EBM, something akin to disembodied Electronic Body Music, as contradictory as that may sound. Orchestral hits, filter progressions and saw-tooth bass create an unmistakable 80's sound that will warm the heart of every self-respecting old school waver. The lack of beats is what defines this piece, catching the listener off guard and causing a slight abstraction. This variant theme occurs throughout the entire album.

"DIRECTION ECLIPSE" is a dark ballad drenched in trip hop nostalgia and takes the best from the genre. And here is yet another contradiction: OFRIN achieves an orchestral grandeur without pathos. Her clear yet never predictable melody stands alone without any orchestral backing as it is forced into modesty, virtually intimate. OFRIN resists the temptation to overload the piece with strings, making it a dark delicate lullaby.
We do get a 'proper' EBM track in the end with a slapping snare and metallic synth-bass. "SISYPHUS" is a captivating piece, cutting through a classic arrangement with triplet rhythms. OFRIN tirelessly builds up the track over and over but never gives us the satisfaction of resolving this build up. The hook never comes; we are left out in the open.

"STOP DISTA" starts out innocent and calm, only to lead us into madness. What starts as a dreamy acapella, ends up a in a fierce tribal rhythm. OFRIN even takes on the classic Ragamuffin style, opting for a bare bones approach of purely Vocals, throbbing synth and a noise brass groove. OFRIN uses simple arrangements to great effect, fooling us over and over again into a false sense of security before taking it all away.

OFRIN is the master of her own voice, not showing off any flourishes for the sake of it - exercising restraint at all times. She avoids the excessive use of expressive bel canto techniques in favor of unusual melodies. Her voice is cool and composed. Her vocals are confident and incisive - free of vanity.

OFRIN is both a musician and a video artist. She has created a multipart video production for her album "ORE", an approach which she developed with her last video music project "THE BRINGER". "ORE" tells an archetypal story about two opposing forces within the same universe. The narrative builds on astrophysical phenomena, linking the real universe to an imaginary one.

Label mate T.RAUMSCHMIERE is behind the outstanding production of her new album. "ORE" is OFRIN's fourth studio album.

Peaches has assembled a killer line-up of producers to remix her latest album, Rub.
'Rub Remixed' features updates, reworks and club bangers from Maya Janes Coles Nocturnal Sunshine, CREEP's Lauren Flax, Paula Temple, Planningtorock, Austra's Maya Postepski and more.
Released on double vinyl and digital only, 'Rub Remixed' traverses acid techno, hard house, trap, deep electro, booty bass and future beats, bringing Peaches' original production and vocals front, centre and to dizzying new heights.
Peaches is a pioneer.' - The Guardian A smart inversion of the usual gender roles in mainstream music, all set to a propulsive, bass-heavy backdrop. Electrifying.' - Uncut Fierce, phenomenal, filthy and full of middle fingers to conventional thinking, stereotypes of femininity and gendered expectations... Peaches, the woman who just might save us all' - CBC (Canada) We've been incredibly excited for the record's release for a while now, and all of the killer features its had have really fleshed out what Rub is about.' Vice Noisey

The 'PSB deep dub' and 'The full story' versions are remixes by Pet Shop Boys including additional vocals and, in the case of "The Full Story", an extra verse which brings the story of the Pop Kids up to the present.

This is the first time the full track has been released on vinyl, which will be white, and includes remixes from MK, The Scene Kings and Offer Nissim.

Extraordinary Renditions is the latest collection of covers from Bullion's DEEK Recordings.
DEEK regulars Laura Groves, Jesse Hackett, Bullion, Never & Nautic (Groves, Bullion and FKA Twigs' guitarist Tic) line up next to Georgia (appearing here as Geller), Raisa Khan of Micachu & The Shapes, Raf Daddy (2 Bears) and Gwilym Gold to give us renditions of songs from D'Angelo, The Pixies, Captain Beefheart, Thundercat, Sade and more.
Whether you like 80s DIY pop, tear-jerking electric soul or religious rollers, DEEK's got it covered...

Having previously released two demos under her Sequoyah Tiger moniker, the Italian producer Leila Gharib returns with her debut EP on Germany's Morr Music.

"Ta-Ta-Ta-Time" comprises five songs Leila Gharib wrote in her home town Verona between 2013 and 2015. Gharib, who had previously been a member of the local Indie Rock trio Bikini The Cat and co-founded the performing arts trio Barokthegreat, both takes her cues from various forms of arts and also makes use of them to create a multi-disciplinary gesamtkunstwerk.

If it is the zine she designed for the release of her first demo "Brother/Brother" in late 2014 or a slew of washed out, impressionistic videos she directed herself, she channels a passion for that which inspires her: Her so-called own "visual alphabet" is made up from a wide array impressions like drawings of animals, VHS aesthetics, adventure books, amongst others. Gharib even describes the EP's title as a "graphic stutter" which expresses "the duration of an emotional experience", much like what she calls a "Bolero effect" in regards to her music, which refers not to Ravel´s famous piece, but to a spanish, traditional dance of the same name, which heavily relies on the interplay of the progression of time and rhythmic repetition.

It would thus perhaps not be wrong to label "Ta-Ta-Ta-Time" EP a piece of Synth Pop. Only that "Synth" here would be short for "synaesthetic": Gharib's songs, which take their cues from traditional genres like Doo-Wop as much as from contemporary experimental Pop acts like Panda Bear, refer directly to visual art and language. Language is indeed the starting point of Sequoyah Tiger's songs, which revolve around her processed and at times layered vocals, complemented by gripping rhythms and rich harmonies. Breakages, repetition and delays are not flaws, but rather integral elements in Gharib's songwriting process, in which the musical quality of language develops a life of its own. Sequoyah Tiger's opaque lyrics aim less at creating narratives than generating new meanings and expressing emotions which tie in perfectly with her highly allusive music.

12'' in printed sleeve RSD 2016 Release
Since their first album in 2009, Django Django have covered some distance. Indeed, their first album has been acclaimed by critics and sold more than 250 000 units worldwide. After their international tour and a fantastic 2nd album released last year, we are glad to be able to hear them again through a bunch of clever remixes, in which you'll have the chance to hear Tim Burgess' (The Charlatans) brilliant contribution to this limited edition EP.

Next single up on the Great Pop Supplement, following super quick sell outs already this year of previous releases from the likes of The Hanging Stars and Dean & Britta, is the debut 45 from Youth of America.



Youth Of America is the new songwriting project of Simon Shaw from Trembling Bells. Featuring all of the Bells, plus singers Lucy Sweet (Lucky Luke) and Sophie Sexon (Big Hogg). It was born out of his love of US West Coast power pop (The Go-Gos, Bangles, Redd Kross etc), and an ongoing obsession with US counterculture films from the same period.



Navigator has been described as "Big Star with gurls" while the flip side Night Of The Comet is a tribute to the 80s zombie cult classic of the same title.



A killer 45 limited to a pressing of 400 with (proudly) no links whatsoever to Record Store Day. Destined to sell out real quick. Get on it!

Our Mother don't think like other bands. The four-piece - consisting of John Hartley, Paul Kowalewski, Liam Garrett and Joseph Charlton - may have been born out of a Halloween house party in Seven Sisters, but their music transcends typical band formation cliché. Their debut EP, A.O.B. - out 29th April 2016 via Lucky Number - is an idiosyncratic collection that amalgamates everything from mid-to-late 2000s Berlin techno to pristine pop, and deftly defies the trends in the current crop of London-based bands in the process.

This new and first vinyl repress celebrates the 30th anniversary of a classic Industrial album, and includes 2 bonus tracks 'Dog Unit' and 'Presence' never released on vinyl before and created to mark the occasion of this release.
Early pioneers of the UK industrial music scene, Zahgurim were formed in 1983 by Paul Ackerley and William Vince and were associated with the iconic Temple Ov Psychick Youth - TOPY

Recorded on October 24th and 25th, 1984 Moral Rearmament was the first and subsequently only vinyl release by the group, and was released on the same year by the legendary Berlinese record label Atonal Records.

The album was produced and mixed by Paul Ackerley and William Vince with Simon Crabtree and Julian Gilbert (both of Bourbonese Qualk) at The Old Ambulance Station, Old Kent Road, London on October 24 and 25 1984.

Zahgurim were in fact invited by Konnex Records Producer, Manfred Schiek to record an album for his recently launched sub-label, Berlin Atonal, and by Berlin Atonal Festival founder Dimitri Hegemann (aka Leningrad), to perform at his pioneering sonic art event alongside Test Dept. Laibach, Club Moral and others. Moral Rearmament became Berlin Atonal's fifth release (ST 3005), the label having launched with two live recordings by Psychic TV.

Lanza's second album 'Oh No' is addressed to her own constant nervousness. The pressure of music making, which used to calm her nerves, has led to a whole new world of contingencies that stoke the anxiety mill. The exclamation 'Oh No', for Jessy, marks yet another incident of randomness interrupting her tranquillity. All of which seems at odds with the confidence and spontaneity of this second album as well as recent collaborations with the likes of Caribou, DJ Spinn and Morgan Geist and his Galleria project. Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the plaintive, reverb drizzled mood of the first album has all but given away to a more direct, self-assured and joyful album. As with many artists whose hometown lie off the usual network of cultural hotspots, 'Oh No' is driven positively by the idea of making music that isn't inspired by where she lives. Instead, the album resonates more with the philosophy of experimental pop of Japanese 80s electro outfit Yellow Magic Orchestra and Jessy's breathless, pitched vocals are reminiscent of YMO collaborator Miharu Koshi. Playfully laced with cascading arpeggios, crispy drum machines and breezy songs, 'Oh No' has an infectious energy that has been brewing in her live shows since her first album. As Jessy says 'I want to make people feel good and I want to make myself feel good'. The album oscillates between the languid, coiled, arpeggiated slow jams of 'New Ogi', 'Going Somewhere', 'Begins', 'Could Be U', 'I Talk BB' and the low slung 808 groove of 'Vivica', where Jessy's vocal gymnastics run wild over minimal drums and synths, and the catchy upbeat boogie of 'VV Violence', 'Never Enough', 'Oh No' and the high point of 'It Means I Love You' which has a sparse addictive bounce with a pitched up vocal refrain and a nod to Shangaan electro. The trials of dealing with nervousness are also encrypted into the artwork, such as the plants that recur in the sleeve and videos. As Jessy remarked, "I became obsessed with surrounding myself with tropical plants. I've been convinced that the air quality in our house is slowly killing us. It might sound crazy but the plants have made a huge difference." Anxiety and botanical remedies or not, 'Oh No' is a bold second album from Jessy and a marked step forward for her sound. Catch her as she tours with Junior Boys in February, plays EU headline shows from May to June, and in July has a North American Tour.

"I always have a spatial vision of music" says Cico Beck, mastermind of Joasihno and bandmember of The Notwist and Aloa Input. Sitting in his basement studio among self-made synthesizers, records and weird instruments, he points at a tiny robot beating an electronic drum: "That's one of my new musicians". Alongside Nico Sierig, bandmember and co-producer of Joasihno, the band will be accompanied by a robot orchestra.

But first things first. The third album Meshes is a spectacular transformation. "I always had an experimental set-up and some sort of rules for the production of my records... but not this time". If you imagine Meshes as a certain space, you are standing in an endless glossy black room surrounded by flashing stroboscopes with Joasihno in the centre of a blinking cloud of strange objects which sound like some kind of synthetic whales. Glimpsing from the back: the robot orchestra. With mere fragments of this vision, Cico Beck took off for Berlin to meet co-producer Tad Klimp in one spring night 2015. Some ecstatic sessions later the vision was evolving: "Nuh Nuh" - an experimental electronic piece winding into infinity with a friendly grin, reflecting the amplitude between modular synthesizers and Fisherprice keyboards. Once you're under the hypnosis of this soft monster, you are floating peacefully into the new world of Joasihno's Meshes. Despite a plethora of oscillating ideas and acoustic bubbles, Joasihno never lose touch with the Listener, while sailing placidly through all aspects of Beck's vision of electronic anti-pop.

The entertaining Meshes features another 9 sparkling miniature gems, simultaneously complex and accessible, melancholic and hilarious, bright and deep. The music breathes ideas of smart UK-Garage-philosopher Four Tet, the crazy street composer Moondog and some sort of Nils Frahm neo classical approach - and of course: pop music. Even if most tracks deny structures and rules of pop composing, they are always interacting with it - sometimes with a twinkling eye, sometimes in a deep lust for destruction. "In the end I found out, that I was approaching my own roots, the vision I had when I started Joasihno. I wanted the music to be more raw, intuitive and playful". From this perspective, Meshes is some kind of liberation for him: "I had a good time ignoring popular music" he says with a grin on his face. His former records "We say: oh well" (2011) and "A lie" (2013) were acting in the space between Iceland and Africa. Meshes puts a new spot on his musical map: New York - residency for the great magicians like Steve Reich, Philipp Glass and Raymond Scott. The transformation to the complex electronics of "Meshes" is both harmonious and unavoidable. This transformation was just a matter of time for a magic man like the 31-year-old Cico Beck: with his fuzzy-head, professor's attitude and two meters height, he's always looking for a new expedition into extraordinary acoustic spaces. The journey from Iceland to Africa to New York is just about far enough for this trip - but the next destination is about to appear.

Recreatons (Sam Duckworth, formerly Get Cape. Wear Cape. Fly.) follows the Digital Ghetos EP from
February with his frst full-length Recreatons album, 'Baby Boomers 2'.
The album is the culminaton and expansion of Duckworth's Recreatons. 'Baby Boomers 2' flters all
of his musical styles into an immersive, sometmes unsetling, but ofen embracing sound belonging
to clubs and stages, churches and living rooms. Chaining instruments together with technology: drum
machines and electronic percussion meet warm acoustc guitars, keys and EDM-billowing ambience
buzzing and engulfng at points. 'Neoprene' builds the backdrop to an imaginary never-ending night
out with swatches of sound and reliable patches of atmosphere. Anchoring everything is Sam's
voice, gently delivering a strred cauldron of social and irreverent lyricism - the emphasis on melodic
interplay than messages. 'Pipe Down' is pumped up by a huge muscular rhythm secton but stll driven
by that infectous steel drum-like sound. 'Lifestyle Concept Store' is more at a loss for what's gone, but
stll recognises the value of what's been and what's on the fringes now; a soothing end to a bold and
billowing album.

Recreatons may be a new moniker for Sam, but his work ethic and refusal to stck to a template in
either infuence or sound is not just familiar but oh-so welcome. Falling half way between Get Cape...
and his more experimental moments, Recreatons is the product of two years of investgaton. Fans of
GC.WC.F. will recognise his distnct lyrical nouse, but in his own words Recreatons is 'more heart on
sleeve, bolder, more direct, and a litle bit more emo.'

Are you ready for a bewitching pop adventure Morr Music is releasing Slow Steve's Adventures, the debut album by Ex-Fenster member Rémi Letournelle. Following a 7" split single on Berlin DIY label Späti Palace and Steps, a six-track EP released on Morr Music last year, Adventures is the first LP of the French man. His bubbling vintage synths (together with an impressive variety of instruments) will take you on a strange trip through imagined galaxies and secret deep-sea worlds. Call it weird, but this is amateur pop in all its glory, and the most natural outlet for Slow Steve. Think of Ariel Pink, John Maus, early Future Islands, old Krautrock luminaries or Arthur Russell - a whole school of alternative pop music that Rémi is very likely to join. Adventures is more than just an application.

In January 2015, he started working on the eleven songs that make up the album. While the Steps-EP was mainly jams Rémi created in his room with a bit of pot, whiskey, Casios and a TR707, he got deeper into songwriting for his first LP. The songs were recorded with producer Tadklimp for 5 days in the Worm Studio in Rotterdam, using their many glorious vintage synthesizers, and in Tadklimp's studio in Berlin. Apart from Charley Vecten, who started Slow Steve with Rémi as a live duo back in 2012, most of the instrument parts on the record were written and performed by Rémi himself.

When Rémi moved to Berlin, he met psychedelic pop outfit and fellow Morr signees Fenster. Rémi has been part of their live shows as well as contributing to their first two albums. There are certain familiarities between the washed-out sound of Fenster and Slow Steve, but Adventures sees Rémi doing his own thing. He says "I had weird science fiction in mind, visions of Jules Verne drawings from the early 20th century and science fiction/action movies from the end of that same century. That's why it's called Adventures: I'm picturing a kind of Indiana Jones going down to the bottom of the sea, to Lilliput and other crazy, weird worlds." Song titles like "The Giant Spider Crab From Japan" literally imply that this is a cosmic synth dive into creepy depths, while in "Joséphine II (Rivière)" Rémi sends his two teenage nieces through the universe in some cute spacecraft. Elsewhere, you hear the inspiration that 70's French sci-fi movies and their experimental electronic scores had on Rémi, for instance in the blissful nostalgia reverberating in "Oscillation". Even the sunshiny guitar pop and blurred synths of "Sloth" or "Bali" sooner or later end up in humorous excursions. All song structures seem to follow some secret rules - challenging but always easygoing.

Adventures does what it says on the sleeve: surprise and mesmerize, somewhat wild and spaced out. Welcome to the curious world of Slow XSteve.

God, reviews can be LOL. So we'll presume you know your own mind and taste. Let us scrub all metaphor. We'll resist comparison. Today's musical tenor overlooked, we'll refuse to dissect. Moments preferred are muted. We won't highlight respite or forgiveness. There's no considering of geographical fact. We'll shut our ears to technology.

Double CD retrospective showcase of solo work from Spanish electronic music pioneer Suso Sáiz.
Having been at the forefront of Spain's experimental music scene since the late 1970s, multi-instrumentalist Suso Sáiz formed the pivotal group Orquesta de las Nubes and studio project Música Esporádica, releasing a string of albums on Madrid's now cult label Grabaciones Accidentales, which was also home to groups such as Finis Africae, Mecánica Popular, and Ishinohana. A prolific producer, he has recorded with Spain's most singular popular musicians as well as with a number of luminary electronic and world music artists such as Steve Roach, Jorge Reyes, and Salif Keita.

'Odisea' draws material from Suso's early solo works, including music from the rare cassette-only 'Confidencias' as well as pieces from his more recent compositions, soundtrack works and previously unreleased tracks. An artist dedicated to experimentation, Suso's sparse compositions manifest a solitary and stripped back approach to making music. Fascinated by the possibilities of new technology he experimented with guitar loops, synthesizers, and drum computers creating a unique form of musical hypnotism absorbed by avant-garde / minimalist and non-Western musical influences.

The most representative figure of Spain's now cult experimental scene, Suso Sáiz remains an exploratory musician in a musical universe that knows no boundaries. 'Odisea' will be followed by a retrospective that will focus on Suso's collaborative work with Orquesta de las Nubes and Música Esporádica.

Pet Shop Boys will also play a four-date residency entitled Inner Sanctum, at London's Royal Opera House on July 20th, 21st, 22nd & 23rd. Staged by designer Es Devlin and choreographer Lynne Page, these will be Pet Shop Boys only UK concerts this year.

(en) French duo THE SILENT ONES aka Aalik and Fred Traverso have specialized in their own brand of indie-infused electronic pop, putting a modern spin on vintage cold wave and minimal synth influences. MAGICAL PARTY is a prime example for their distinct melange of swirling melodies and catchy songwriting, an iridescent piece of dreamy musical drama with lots of charm. Known as incurable romanticist, fellow countryman JONAS BERING was the obvious choice for a remix, finally returning to Kompakt after his 2008 release CAN'T STOP LOVING YOU (KOMPAKT 172) - his immersive rework successfully trims the vocals and transplants the original's delicacy into a deep, but buoyant mover geared up for the distinguished floor. Pushing for a trance-inducing throb, the BEN WATTS mix is a fitting companion cut, promoting a slightly bouncier approach and seasoning its propulsive beats with tension-building synths for that special whiff of epic broadness.
(de) Das französische Duo THE SILENT ONES alias Aalik und Fred Traverso hat sich auf eine eigene Variante von Indie-geprägtem, elektronischem Pop spezialisiert, eine zeitgemäße Übersetzung von klassischen Cold-Wave- und Minimal-Synth-Einflüssen. MAGICAL PARTY ist ein herausragendes Beispiel für ihre individuelle Melange aus wirbelnden Melodien und mitreissendem Songwriting, ein irisierendes Stück verträumtes musikalisches Drama mit viel Charme. Bekannt als unverbesserlicher Romantiker, ist ihr Landsmann JONAS BERING eine offensichtliche Wahl für einen Remix - eine langerwartete Rückkehr zu Kompakt nach seinem 2008er Release CAN'T STOP LOVING YOU (KOMPAKT 172). Seine einnehmende Neubearbeitung stutzt die Vocals zurecht und verpflanzt die Zartheit des Originals erfolgreich in einen deepen, aber lebhaften Schieber, bestens gerüstet für anspruchsvolle Tanzflure. Dank eines grossen Interesses an Trance-induzierendem Pulsschlag entpuppt sich der BEN WATTS Mix als ein äusserst passender Begleiter der eine eher federnde Gangart einschlägt und seine treibenden Beats mit spannungsgeladenen Synthies abschmeckt - für das gewisse Extra an epischer Breite.

Fever Dream, the new solo album from Ben Watt is released worldwide on April 8 2016 on Watt's own imprint Unmade Road through Caroline International.

It was in 2014 - after sixteen years and nine albums as songwriter-performer-producer with Tracey Thorn in best-selling duo Everything But The Girl, a further ten at the helm of his award-winning electronic label Buzzin' Fly, and a radio residency on BBC 6Music - that Watt returned to his roots as a solo singer and songwriter with Hendra, his second album. Arriving thirty-one years after his UK Independent Chart No. 1 debut, it met with wide acclaim at home and abroad for its eloquent lyrics and stripped-back aesthetic, it featured prominently in end-of-year round-ups and pipped Anna Calvi and Blood Orange to win Best 'Difficult' Second Album at the AIM Independent Music Awards 2014.

Fever Dream - self-produced at London's famous RAK Studio 2, and mastered by Bob Ludwig at Gateway Mastering in Maine - takes Hendra's sonic template of open-tuned folk-jazz, distorted string-bent rock, and soulful rumination, and adds a fresh grainy intensity. It renews key partnerships with Hendra's vaunted guitarist-sideman Bernard Butler and engineer Bruno Ellingham, and sprinkles guest vocal cameos from Boston's dream-folk singer-songwriter Marissa Nadler and Hiss Golden Messenger's M.C. Taylor.

'At the album's heart I just wanted to deepen existing relationships,' Watt says. 'Two years of playing live with Bernard has created a strong bond, the music we make feels spontaneous, ardent, unsentimental. We just went in and did most of it live. Small room, small band. A harder edge. Instruments spilling into each other.' The pair are joined by drummer/percussionist and longtime ally Martin Ditcham (Talk Talk's Spirit of Eden) and new double bassist Rex Horan (Laura Marling's Once I Was an Eagle / Neil Cowley Trio), who in Watt's words 'brilliantly blurs the boundaries between folk, jazz and rock'.

'I chose the guests to suit,' he goes on. 'Marissa's sound is gothic and gauzy but tender and revealing. I pictured her with me on the key closing track (New Year of Grace) - which is a kind of answer to the album's opener (Gradually). She was in London for twenty-four hours recently. I just doorstepped her on Twitter, and she said yes.'

Watt's non-fiction writing and lyrics have been integral to his recent acclaim. His second memoir Romany and Tom - a portrait of his parents' marriage - was longlisted for the prestigious Samuel Johnson Prize in 2014. (His first, 1996's Patient was a New York Times Notable Book of the Year). Novelist Jonathan Coe recently commented Watt is 'beyond doubt one of the great British singer-songwriters', while The Guardian's senior rock critic Alexis Petridis called the writing on Hendra 'pretty much perfect'.

Of the new songs, Watt says: 'I got back from tour with a few notes for a new book, but life got in the way. Close friends were falling apart, my own relationships were being tested. I found I wanted to capture smaller snapshots about how love shifts over time, what endures, how we cope. And they became songs. Some came out darker and more troubled, others softer and more hopeful. And that then became the album structure. First half heavier, second half lighter. A sense of transformation, rather than just a collection of songs. I hadn't done that before.'

It was in 1981 that Watt first appeared in London as a precocious nineteen year-old singer-songwriter-guitarist. His breakthrough 1982 EP Summer into Winter featured alt-folk icon Robert Wyatt and drew comparisons with Tim Buckley. His early solo work may be overshadowed by his subsequent successes with Tracey Thorn, but his 1983 debut solo album North Marine Drive reached No 1 on the UK Independent Albums Chart.

'The music I heard in my teens - jazz, folk, art-rock - still cuts the deepest with me,' he says. 'I recently spent over ten years exploring instrumental electronic music and clubland (he was nominated for Outstanding Contribution to Dance Music at DJ Magazine Awards 2009, and was a resident DJ on BBC 6Music's 6Mix from 2010-2014) but have come back to language and that band-in-a-room spontaneity. The raw human voice, unaffected words, pushing simple instruments to their limits - that is now what fascinates me again.'

One of the most fervent producers in the West Coast dance
community is musician and DJ Alexandre Mouracade - but
you might rather know him as one half of tag team Split
Secs or purveyor of fine underground tunes SONNS.
Following up his 2013 solo debut "On My Mind" on Machine
Limited - an imprint owned and operated by himself and
Split Secs partner in crime TK Disko aka Travis
Kirschbaum -, he went on to remix The Field's "Cupid's
Head" in 2014, besides releasing material and remixes on
labels like MERC, Clouded Vision, DFA, Future Classic,
Gomma Records, Wolf & Lamb and more. It's a particularly
prolific trajectory leading up to his latest offering TEACHER
- which turns out to be a more than fitting addition to
SONNS' versatile back catalogue, thanks to its skillful
amalgamation of electronic songwriting and floor-oriented
beat design.

VERSION

Auftakt zu einer neuen Reihe mit herausragenden Coversongs: Für Auskenner und Musikliebhaber.

Coversongs sind ein integraler Bestandteil der Popmusik. Mal dienen Coverstücke dazu, die eigene Karriere anzukurbeln, und mal erweisen sie eine Referenz an Vorbilder und Ikonen. Gelungene Interpretationen anderer Werke zeichnen sich dadurch aus, dass sie aus etwas Fremdem etwas Eigenes machen und dadurch Aspekte beleuchten, die man so vorher gar nicht wahrnahm. Wer hätte vor Nouvelle Vague auch nur ansatzweise vermutet, dass es sich beim Dead-Kennedy-Klassiker "Too Drunk To Fuck" um einen verkappten Bossa-Nova-Schieber handelt Dergleichen Überraschungen mehr präsentiert uns nun der französische Musiker, DJ, Produzent und Remixer Kid Loco. Für das Label Wagram hat er eine "Tribute"Kompilation mit rund vier Dutzend Coversongs zusammengestellt, die es wahrlich in sich haben. Wenn Bauhaus "Ziggy Stardust" von David Bowie interpretieren, Gregory Isaacs "Slave Driver" von Bob Marley zum Besten gibt, Psychic TV den Beach-Boys-Hit "Good Vibrations" durch die Mangel nimmt oder Better Daze "Golden Brown" der Stranglers auf links dreht, dann sind die Originale zwar noch erkennbar, aber gleichzeitig auch ganz, ganz weit weg. Das macht den 3CD-Sampler nicht nur für Auskenner zu einer echten Bereicherung, auch die weniger historisch affinen Musikhörer dürften an der Box große Freude haben.