Pop & Rock Novedades

On their second album Broken Devotion, Portland-based duo Mint Julep instill their lush and gauzy, synth-centric brand of pop music with a raw and powerful emotionalism. The follow-up to their 2011 debut Save Your Season (praised as "melodically sophisticated and dreamy" by the NME), Broken Devotion came to life over the course of four years, with Mint Julep reaching a new level of lyrical precision while easing into more lavishly textured, intricately layered arrangements.

Throughout Broken Devotion, multi-instrumentalist/producer Keith Kenniff (also known for his work as ambient indie-electronic act Helios) and his wife Hollie Kenniff (Mint Julep's vocalist and lyricist) explore the many bright and dark dimensions of love, a tension that's masterfully embodied on the album's title track. Urgent yet ethereal, "Broken Devotion" blends driving rhythms and hazy guitar tones as Hollie's hypnotic vocal work achingly captures the unraveling of a romance. Lead single "White Hot Heart", meanwhile, emerges as an airy and shimmering, synth-laced number that's timeless in melody.

Also featuring a gorgeously sprawling cover of When In Rome's late-'80s new-wave hit "The Promise", Broken Devotion finds Mint Julep shifting from the frenetic energy of beat-driven tracks like "Incinerate" to the downtempo drama of songs like "Slow Spiral" with an uncommonly delicate grace.

"Krautrock-tinged, distortion-clouded synthpop covered in soft blankets of breathy, post-Cocteaus vocals... Just breathe it in." - Mojo

Wiederveröffentlichungen der frühen Bowie-Singles auf diesem "1966" betitelten Album. 180g schwarzes Vinyl. Die ursprünglich bei dem britischen Label Pye aufgelegten Aufnahmen, die noch vor dem Albumdebüt auf verschiedenen Singles erschienen, gab es später unter dem Titel "I Dig Everything" erstmals zusammengefasst. In dieser Zusammenstellung längst vergriffen, ist die Neuauflage von "1966" nun die Gelegenheit einige der ersten Songs des Ausnahmekünstlers neu zu entdecken.
1Hörprobe Track 1: I'm not losing sleep

Prolific Japanese artist Masami Akita, aka Merzbow here teams up with session musician, producer, and singer-songwriter Eiko Ishibashi for anew work which showcases yet another side to Akita's monumental catalogue

Kouen Kyoudai consists of two side long tracks that could be read as a contemporary take on the traditional avant-garde. Skittering electronics, percussion, piano, doom and noise all feature as exponents in this epic release which seamlessly incorporates many strands of experimental thought and practice.

The tension that arises from the human use of the tool is made explicit as these works unfold in a storm of ecstatic human/instrument/machine interaction. Drums hammer alongside an ecstatic drone. Notes on a piano jostle with a storm of splintered electronics.

Kouen Kyoudai highlights the pull between beauty and chaos, structure and the abyss leaving behind a thrilling display of human and technological interplay whilst opening up new paths for both musicians involved.

Keysound Recordings begin 2016 with a grimey addition to the family: an EP from grime don JT the Goon. Fresh from his critically acclaimed debut album on Oil Gang, he unleashes four versions of the 'Oil on Ice' riddim. How the tracks came very near to being forever 'lost dubs' is a tale of crossed wires and aural infections that thankfully has a happy ending. The track made its debut on the Keysound Rinse FM show in November 2013 when the then emerging producer Rabit, passed through the show to make his debut. Re-listening to the set over and over again, Blackdown made enquiries about signing 'Oil on Ice,' only to hear it might already have a home. Two years passed and periodically, often in far flung locations with epic vistas, Blackdown could not help but notice that this most infectious aural ear-worm, 'Oil on Ice', would wiggle its way into his mind's ear. Again and again its curvaceous melody would appear on the edge of his consciousness. Enquiries were made again and turns out, the dub had remained unreleased. Three VIP versions of the riddim were commissioned for the label, so that 'Oil...' could be played in the camps' rolling 130 bpm sets and a catalog number was duly assigned. JT the Goon was an early member of Slew Dem Crew (Chronik, Waifer, Rage etc). He co-produced 'Gunman Riddim', not only a classic grime instrumental but a track that popularised the Korg Triton's 'amsfeedbacklead' preset - the sound that has since become a grime staple, almost as recognisable as Wiley's eski click and Musical Mob's 'Pulse X' bass hits. His debut album 'King Triton' dropped autumn 2015 on Oil Gang.

Manch einer wird denken, dass dieser junge Produzent aus dem Nichts kam, aber viele seiner Anhänger feiern ihn bereits seit seinem Debütalbum 'Soon It Will Be Cold Enough', dass er 2006 im zarten Alter von 19 Jahren beim Nujabes Label Hydeout Productions in Japan veröffentlichte.

Seine lebendigen Melodien auf kraftvollen, grandios produzierten TripHop Beats entzücken Fans auf dem gesamten Globus im Internet wie in der realen Welt.
Emancipator aka. Douglas Appling, der auf der Bühne von Geigerin Ilya Doldberg unterstützt wird, macht Musik, die im Kosmos von Bonobo & seinem Mentor Nujabes anzusiedeln ist.
- Dusk To Dawn' ist eine Reise von ergreifenden Tracks, auf denen Emancipator alias Doug Appling und seine Violinistin Ilya Goldberg die Grenzen von Hip Hop, Rock und Trip-Hop mit brennenden Rhythmen verschleiern - Vibe Magazine US
Das Musikvideo zu - Minor Cause' wurde in den atemberaubend schönen Wäldern Oregons, dem Heimatstaat Applings, von Director und Abenteuerfotograf Ben Moon gedreht.
Emancipator, der 2012 als Headliner über 20 ausverkaufte Shows in Venues wie dem - Mezzanine' in San Francisco, dem - Highline Ballroom' in New York City und dem - Ogden Theater' in Denver spielte, wurde von den New York Times hochgelobt und tourte schon mit Pretty Lights.

Ministry of Sound presents the biggest names in the game with Grime Time, mixed by Boy Better Know's very own DJ Maxmimum. With a collective following of over 5 Million, Ministry of Sound and the Boy Better Know roster (including Sketpa, JME and Wiley) will be working all-out to create an unstoppable, unforgettable grime-wave with this 2CD compilation featuring the all-stars of the scene.



There's been no escaping the incredible year the genre had in 2015 with hype building on press reels, TV and cities around the globe. On the 12th February that hype will well and truly explode with this landmark release. Who better to firmly plant the genre that was born out of Garage itself, than Ministry of Sound. With a track list featuring Skepta, Dizzee Rascal, Wiley, and the award winning Stormzy, the strength that backs this album is as big as the bars within it.



Mirroring the success of Rapper's Delight, a visually spectacular ad is locked in for national TV, with a viral-lead online campaign to couple with it, taking advantage of the reach that not only Boy Better Know and Ministry has, but also the names that are connected to it.



Grime has built up its league of legends for long enough, it's time to get it bursting out of every living room stereo across the country.
x

01. Stormzy - Shut Up
02. Skepta - Shutdown
03. Dizzee Rascal - I Luv U
04. Boy Better Know - Too Many Man
05. Wiley - Wot Do You Call It
06. Kano - Ps & Qs
07. Tempa T - Next Hype
08. Solo 45 - Feed Em To The Lions
09. Merdian Dan - German Whip
10. Roll Deep - When I'm Ere
11. Fekky Feat. Skepta - Way Too Much
12. Elf Kid - Golden Boy
13. D Double E - Street Fighter Riddim
14. Faze Miyake - Take Off
15. Big Narstie - Don't Fuck Up The Bass
16. P Money - Slang Like This
17. Lethal Bizzle ft. JME & Tempa T - Rari Workout
18. DJ Maximum - Shaky
19. Sukh Knight - Diesel Not Petrol
20. Preditah - Circles


CD2
01. Wiley - Eskimo
02. Skepta ft. JME - That's Not Me
03. Lethal Bizzle - Pow
04. Stormzy - Know Me From
05. Novelist X Mumdance - 1 Sec
06. More Fire Crew - Oi Radio Edit
07. So Solid Crew - Dilemma
08. Section Boyz - Lock Arff
09. Bugzy Malone - M.E.N
10. Kamikaze - Ghetto Kyote
11. Musical Mob (Youngstar) - Pulse X
12. Danny Weed - Creeper
13. ENDS - Are You Really From The Ends
14. Pay As You Go - Know We
15. Bruza - Get Me
16. Sir Spyro Feat. Big H, Bossman Birdie & President T - Side By Side
17. Jammer - Lord of the Mics
18. D Double E - Bluku Bluku
19. C4 Feat. JME, Frisco & Jammer - Off Track [Remix]
20. Rebound X - Rhythm N Gash
21. Big Shot - Stomp

Recorded at Total Refreshment Centre and produced by Kristian Craig
Robinson (AKA Capitol K), of the Archie Bronson Outfit - who has
previously recorded the likes of Bradford Cox of Deerhunter.
Living in both London and Berlin, VENN encompass an impressive
mix of musical influences on their debut EP - from the more industrial-
leaning sounds of early 70s West Germany, up to the bourgeoning
post-punk influenced scene of early-millennial Atlanta. The
experimental essence of both eras is captured in Venn's
unconstrained recording process, with the inclusion of live takes,
sampling and assertive rhythmic changes throughout.
A snapshot in time, the EP was performed in the studio and then
chopped, dubbed and reassembled by the band, with lost sounds -
now unremembered to VENN - finding their way back into these
current compositions. These sporadic and improvised parts, such as
the inclusion of vinyl being dragged backwards on a turntable, all
contribute to the alluring bricolage that is RUNE001.

"frankly, not gonna lie, it's one of the best things
we've heard that's played with a guitar and
manages to sound both serious and fun in a long
time." NOISEY

"dark, droning, with plenty of postpunk edge, the
accent on mesmeric motion, and a pop sensibility
underneath all the ominous noise and feedback
scree, like an industrial outfit with one ear attuned
to krautrock and one eye on the charts." THE
GUARDIAN

Clocking in at over than 6 minutes, title-track "Alma Do Meu Pai" is a game-changer, 3x longer than the average batida track, a deep running hypnotic percussion grid showcasing all the rhythmic flow Firmeza inherited and perfect from his admiration of classic DJ Nervoso beats.

"Somos Melão Doce" introduces plucked synthetic strings that sound totally alien in this context but with a precise emotive agenda. Opening side B, "Os PDDG" namechecks Firmeza's ground-breaking crew he shared with Liofox (co-authoring this track), Dadifox, Maboku and Lilocox (both now active as CDM). The tempo is comparatively relaxed, percussion drops are stars in their own right, lending an avant-garde edge to this most tribal dance.In "Start Go", assertive chants dance around each other, in and out of sync, securing a safe path for the heavy duty percussion workout. By the time we reach "Coelho 2025", it's more than evident we are locked in Firmeza's own intricate web of rhythm; forget notions of kuduro or afrohouse, this is really something else, a pulsating heart linked to stomping feet in a most elegant way. "Suposto" adds flute and clipped guitar as atmosphere enhancers, balancing the usual genius percussion work. Bouncy and intuitive, one for dancers who enjoy making shapes in the air with their hands.

- Recorded live as part of Doug Aitken's 'Station to Station'
- Manufactured on The Vinyl Factory Press
- Hand-crafted, tip-ex artwork by Åbäke, Emma Berit Smit, Vincent Humeau, Jonas Meier and Tilly Thompson
- Music/Instrumentation:Trevor Jackson
- Vocals:Emma Berit Smit
- Found Sounds:Tom Furse
- Limited Edition of 300

Following the release of Trevor Jackson's album, F O R M A T, Jackson enters the world of The Vinyl Factory recording studio at Station to Station:
300 words written by Åbäke
300 words read by Emma Berit smith
300 handmade sleeves by Åbäke each featuring a separate word from the track
The Vinyl Factory has partnered American multi-media artist Doug Aitken and the Barbican to bring his acclaimed 'Station to Station: A 30 Day Happening' to the UK for a month-long, building-wide, art intervention, from Saturday 27 June - Sunday 26 July.

For the duration of the event, which features residencies, installations, live performances, workshops, screenings and more, The Vinyl Factory has created The Vinyl Factory Recording Studio to provide a space for musicians and artists to experiment and improvise and has installed The Vinyl Factory Press on-site to manufacture these recordings into vinyl editions.

Trevor Jackson recorded this release in The Vinyl Factory Recording Studio as part of Station To Station. Pressed on-site at the Barbican Centre for Station to Station July 2015.

The unlikely union of Suicide's Alan Vega, Big Star's Alex Chilton, and singer-songwriter Ben Vaughn happened in December 1994 in a fog of cigarette smoke at two barely-lit, all-night improv sessions at Dessau Studios in New York.
What transpired was the group's only release, a brilliant album called Cubist Blues.

Some kind of alchemy happened. The elements are disparate-Vega, known for Suicide's grinding, pre-industrial drone, Chilton for his ultra-melodic FM rock, and Vaughn for his outsider art. Put together, what came out was something totally unexpected, a long, mesmeric incantation built on Elvis-meets-Ian Curtis vocals, rockabilly guitar, growling synths, and metronomic drums.

A jam session at heart-albeit a very productive one-the songs took shape as they were recorded. "I showed up with lyrics for one song and figured we would see what happened," says Vega, recalling the first night in the brand new liner notes. "Little did I know, we would record for hours and hours. By the last song, my brain was burning up. I literally felt myself on fire. I was depleted. Yet, we could have gone on and on."

So-called supergroups get a bad rap for not equaling the sum of their parts. Vega, Chilton, and Vaughn add up to something from a place beyond any of them. Originally released by Henry Rollins on his 2.13.61 label via Thirsty Ear, the album failed to find any sort of audience-remarkable, considering its players, but reflective of the lull following Kurt Cobain's death and the collapse of the all-conquering grunge sound. The group played two live shows and then promptly went their separate ways. "At the time, I didn't fully realize how unique the Cubist Blues experience was," says Ben Vaughn now. "Looking back, it was magic to work with those guys."

Timeless, groundbreaking in sound even now, this is a chance to hear a woefully overlooked album that-had it not been so-might have re-shaped the next decade of music.

Limited deluxe pressing on white vinyl, single sleeve glossy LP jacket with double sided euro sleeve art insert and Dropcard w/ free digital download.
When Lindsay Pitts and Clifford John Usher first met, their connection was instantaneous. That bond still fuels their art. As GEMS, they self-released the Medusa EP in 2013, a debut with a remarkably mature sound. On Medusa, Lindsay's haunting and deeply emotive vocals provide the backbone for Clifford's dark and dreamy production, balancing gauzy atmospherics with emotional heft. That mix finds new tension and release on GEMS' first full-length album, Kill the One You Love.

The record more deeply indulges in the group's evocative shadow pop, influenced by R&B production and shoegaze. At the core of GEMS' music is existential longing. Lindsay and Clifford try to capture the intangible and they arrive closest with Kill the One You Love. Music is a never-ending process of learning and growing and reaching,' Clifford says. Of stepping outside of what is familiar and moving into a place where there aren't answers.'













E

Mannequin Records escavation into the archives of the Italian minimal synth of the early 80's continues. This time we are deeply honored to present the 1982-1983 demos tapes of Turin's Monuments, who released in 1984 their only official mini-LP 'Age', comprising six incredibly fantastic electro-pop tracks, which was already reissued by Mannequin back in 2013.
The Monuments came into being in January 1981 in Turin when Mauro Tavella (keyboards, programming) and Andrea Costa (keyboards, voice) pooled their artistic experiences. From the outset, they produced exclusively synthesized music, following the natural evolution in electronic music from the early days with monophonic synthesizers to the latest virtual sounds generated with the aid of computers.

Most of the tracks have been composed between the summer and autumn of 1982 in their own private recording studio TKS in Turin. Some they were made at the beginning of 1983 but only a song, 'Clock's room', was later arranged and entered fully into the mini-lp 'Age'.

Coldwave / darkwave debut album by San Francisco based producer Gabriel Ramos.
While the band has gone through some lineup changes Ssleeping Desiress has essentially remained the sole recorded output of Gabriel Ramos, who has been the only constant member. The album runs the boundaries between minimal synth, coldwave, and electro with lyrical themes spanning gentrification to coping with loss.

Ssleeping Desiress has certainly become a gem in the electronic underground with the only official release so far being the great "A Voice / Sister" 7inch on FlexiWave in 2012 and a handful of other songs appearing on numerous new wave compilations. The self-titled album presented here takes the project to the next level, kicking off with an echoing caterwauling drone over repetitive drums and outbursts of synths & guitars, and slowly moving towards a more darkwave sound on the second half.

Gabriel Ramos started making solo recordings while living in Portland, Oregon around 2005. He was inspired by the DIY drive of the city, hosting live shows at his house, (which frequently would consist of friends' bands from San Francisco) and his growing fascination and voracious consumption of music: "I can trace it back to the first time Spector Protector played at my house and getting a tour cassette afterwards from one of the two members, Eric Davis. That and being freshly exposed to groups like Suicide and Arthur Russell were very inspirational to begin recording music on my own, which was something I had been doing, though fairly aimlessly up to that point. In terms of sonic influences, I try and change my process as much as I can (usually through collaboration) and vary the instrumentation. My visions of songs usually end up as a clunky homage to late 70s punk rock, a marriage of dub and krautrock repetition and cavernous space.'

Get ready for another shipload of fresh musical discoveries gathered by the renowned French imprint : the 17th issue of Kitsuné Maison lands October 23rd ! And as ever it's filled with the quirkiest pop you'll find this side of good taste. The World Wild Issue introduces you to the global cream of the moment: USA, UK, Australia, Brazil, Germany, France... 17 tracks courtesy of an exciting selection of gifted agitators combining immaculate choruses to a certain attitude: youthful, finger on the pulse, oftentimes edgy. World Wild It's not so much a sound than a vibe, an organic sensation that could be from anywhere. In a constantly evolving world, where digital reigns supreme, nature - wild and universal - brings us back to our roots and a certain authenticity. It's also about us Westerners embracing the rhythms and moods of other cultures and yet again pushing the envelope of creativity. Yes, the jungle is where the party's at!

Never keen on rehashing the same old, Kitsuné is forever morphing. More than ever, the Parisian imprint is geared at the future and moving on with the times helping giving birth to new musical directions, groundbreaking sound innovations, always tied to killermelodies - a constant on Kitsuné.  Rather feminine, at times introspective, often glorious, this latest chapter is also probably groovier than previous installments, digging deep in soulful territories. Make no mistake though, guitars are still loved - indie pop remains tattooed on Kitsuné's heart. It is character and personality, which above all prevail on the little fox's label

"Tutti Frutti" heißt die zweite Single-Auskopplung aus dem neuen New Order Album "Music Complete". War die erste Single "Restless" noch eine typische New Order Nummer, mit eingängigen Melodien und ausgeruhten Harmonien, aus der die musikalische Vergangenheit der Band deutlich aufscheint, so ist "Tutti Frutti" ein Disco Floorfiller im Stile des New Order Albums "Technique" mit einem Glam-Pop Aspekt, der selbst Giorgio Moroder neidisch machen würde.

Die CD-Single enthält neben der Single Version einen Extended Mix und hochwertige Remixe von Hot Chip, Tom Trago, Rich Ahmed & Hallo Halo. Die exklusive 12" (gelbes Vinyl) enthält neben dem Extended Mix einen Remix von Hot Chip.

Forever Pavot's 'Rhapsode' was widely considered one the best debut albums of 2014 in French 60's-Pop-Psych-Library-Soundtrack-Prog circles. Emile Sornin of Forever Pavot took tme out of his busy schedule (gigs, gigs and more gigs) to join another cool french band, Calypso. They formed a lovely side project called Forever Calypso and recorded two marvellous pop songs that we are proud to release on
this beautfully designed 7' on Croque Macadam.
This is a perfect blend of both bands aesthetcs: a delicate songwritng twisted by surf guitars, primitve and cosmic synths and smooth exotca xylophones. This musical friendship is a silky dream into the music of Stereolab, Broadcast and other explorers of whimsical pop.
'Guaranteed sunshine' - Shindig (Forever Pavot)
'Psychédélique et cinématque, le nouvel album de Forever Pavot est une géniale machine à rêver' - Les Inrocks (Forever Pavot)
'À l'image de sa musique alanguie et à la coule, le groupe sait prendre le temps' - Magic (Calypso)

The Expanding Universe is the classic 1980 debut album by composer and computer music pioneer Laurie Spiegel. The album is reissued here for the first time in a massively expanded two-CD set, containing all four original album tracks plus an additional 15 tracks from the same period, nearly all previously unreleased. Some of the already well-know works included in this set are "Patchwork", the complete "Appalachian Grove" series, and "Kepler's Harmony of the Worlds", which was included on the golden record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds. These works, often grouped with those of Terry Riley, Phil Glass, Steve Reich, differ in their much shorter, clear forms. Composed and realized between 1974 and 1977 on the GROOVE system developed by Max Mathews and F.R. Moore at Bell Laboratories, the pieces on this album were far ahead of their time both in musical content and in how they were made. Each of the included works broke new ground, pioneering completely new methods of live interaction with computer-based logic - ways of creating music that are now reaching the heights of their popularity with Ableton Live, Max/MSP and other interactive music software entering mainstream music production. The package also includes an extensive 24-page booklet with notes by Laurie Spiegel and period photos. *LP is packaged in a tip-on LP sleeve with original artwork. The LP reissue mirrors the original tracklisting (Side A: Patchwork, Old Wave, Pentachrome / Side B: The Expanding Universe), but adds "A Folk Study" to the end of Side A to further even out the sides. A download code for lossless or lossy download of the entire 2CD collection is included with each LP.

"Tutti Frutti" heißt die zweite Single-Auskopplung aus dem neuen New Order Album "Music Complete". War die erste Single "Restless" noch eine typische New Order Nummer, mit eingängigen Melodien und ausgeruhten Harmonien, aus der die musikalische Vergangenheit der Band deutlich aufscheint, so ist "Tutti Frutti" ein Disco Floorfiller im Stile des New Order Albums "Technique" mit einem Glam-Pop Aspekt, der selbst Giorgio Moroder neidisch machen würde.

Die CD-Single enthält neben der Single Version einen Extended Mix und hochwertige Remixe von Hot Chip, Tom Trago, Rich Ahmed & Hallo Halo. Die exklusive 12" (gelbes Vinyl) enthält neben dem Extended Mix einen Remix von Hot Chip.

180g vinyl, glow in the dark cover
Ok, we are quite slow on releasing records, but here is our next release on FILM. We stumbled upon the artist on a reseach for a music video - in the end we didn`t discover a video director, but denial.of.service, an artist in many fields including music, video and performance art. as he ist active since the early eighties, he was involved in numerous projects, doing productions, remixes and videos for and with artists like david bowie, attrition extrawelt and DAF..... If you take a closer look on his artistic activity since the early 80ies ever then you will quickly realize there is a whole universe to uncover foald from around this artist. Our suggestion: Start with this fine EP, featuring a hidden secret artwork that unveils in the dark.

Spanning over 14 tracks, the new Grimes album features collaborations with Janelle Monae and newcomer, Taiwanese rapper Aristophanes. It was recorded primarily in her home studio in Los Angeles, CA, where she relocated to in 2014. Like all of her previous albums, 'Art Angels' was written and recorded entirely as a solo endeavor. The new album features more live instrumentation than ever before on a Grimes record. She plays piano, guitar and violin, continuing her evolution as a musician and a producer for her most ambitious album to date.
LP - with 14 Exclusive Art Prints designed by Grimes and Download.
CD - With two bonus tracks to the LP.

Timeless Horizons is a compilation of songs originally released on three private press LPs: Auf Der Suche (1984), Zeitlos (1986) and New Horizons (1988). Original copies are almost impossible to find these days and change hands for serious sums, so welcome the Timeless Horizons...
Don't you agree that music is best when it's not easy to describe it Just like the music of Wolfgang Barthel, Matthias Böhm and Reinhold Bauer. Their amalgamation of oriental folk, percussive rock and a good bit of blues will let you drift away, dream, dance... into the storm.

STUDIO is Benny's 5th studio album. Not just casually called by its name. No, there is something else happening here. The word 'STUDIO' originates from the Latin word 'studium', which stands for 'studying'. The studio is the place where painters, artists and musicians learn, study and create. It's the place where Benny is most comfortable.
Benny's Amsterdam based studio has an amazing view of the canals. STUDIO is an ode to this place, which he built 4 years ago, and everything it has brought him. Because it brought him more than just the music he produced there. It gave him his place in the world and with it so many other things. All of which is to be heard on his new album. You find him exposing true love, follow his search for a home, he opens up about settling down and he speaks of breaking through old patterns in which he found himself being stuck for years.
Thanks to the co-operation with the young BEA1991 Benny is introduced to instruments that are new to him, after which he found himself coming out of the warm analogue world of the 70's and 80's and go straight into the icy digital world of the 90's.
And with that the album STUDIO is born. The result is interesting. The record is not at all icy. The warm sound of Benny, which we have come accustomed to, is yet again prominent on this album. STUDIO is an album, full of color, beats and melancholy, but with songs that go much deeper than we are used to from Benny.
It's remarkable that he has worked with far more people on this album than he did on previous records. Mayer Hawthorne (America's number 1 blue eyed soul singer) sings on one of his tracks, we hear Rick Rubin's protégée GoldLink rapping and we find Stone Throw's golden boys The Stepkids in a surprising role of mixing the album. Even though Benny has been crossing borders with his work for years, he only seems to really get the full effect of it just now. STUDIO is a record with international allure.

Hox is Edvard Graham Lewis (Wire/Dome/He Said/He Said Omala/Ocsid) and Andreas Karperyd (Omala/He Said Omala/Woodwork). Duke of York is their second release following on from the highly acclaimed 'it-ness' in 1999. Duke of York a bittersweet contemporary electronic pop record which could only exist as a result of the unison of these particular, peculiar souls.

At once tender, skewered, sophisticated and unsettling Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. Whilst both tackling the sonic side of the outing Lewis also presents pleasantly paranoid lyrics, Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive, visually inviting and songs rich in brooding, dark atmosphere and melodic content.

The production retains the mood of classic Lewis output whilst achieving a very fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis' distinguished and uncompromising career whilst adding to the intriguing output of Karperyd. As with the best experimental pop records, Duke of York, unfolds with repeated listening, revealing infinite charms.

Go March are an instrumental group based in Antwerp, Belgium and consist of Philipp Weies (guitars), Hans De Prins (synthesizers) and Antoni Foscez (drums). It is a new project born out of jam sessions that have resulted in their self-titled debut album, Go March, an electronic, Germanic-infused, post-rock screamer that is a sort of Mogwai meets Kraftwerk synthesis yet with all the futuristic propulsions of a new, fresh and hungry band making music not just for 2015 but for beyond. That said, while the group have landed on this irresistible blend of electronics, rock and more ambient passages, on Go March the initial conceptions for the record varied somewhat "My initial ideas for a possible sound were actually based around bands like Boris or Lightning Bolt, but the moments when we just improvised were simply far more interesting." Says Weies of the groups early evolutionary period. "When I first showed our demos to a friend of mine he said it reminded him of something between Trans Am and Maserati. My reply was: "Wow, we need to check them out!"

Whilst the group state that "It's quite difficult to pinpoint where inspiration actually comes from" Weies does concede that one particular inspiration holds especially strong for him, "I am vastly inspired by the movies of David Lynch, especially Lost Highway and even more specifically the sequence where a car is driving through the dark and all you see are the median strips passing by. The image has this distinct tunnel vision-feel to it that I am often looking for when making music." The beauty in repetition and hurtling down a pitch-black highway at midnight is an idea that runs through the record. "The first time I played demo versions of our tunes for somebody was in a car when we drove home around dusk. I can be a bit insecure about showing people what I do, but that situation seemed about perfect. I can totally dig a perfect 3:22" pop song, but I always had a weakness for seemingly endless repetition, mainly because it can put you in that state of trance. At a certain point you just get sucked in there and lose yourself completely"

Repetition, groove and minimalism are words that might spring to mind when describing Go March, but that's not to say the album is singular in it's vision. While the impact of Germanic proto-techno bands is a clear influence on the group, the freedom of contemporary electronic music, math rock and modern classical are all audible in the grooves of the album. "Personally I am diving into electronic music for some time now, which definitely had a big influence on how I produced the record" says Phillip ; "We didn't go for acoustically well sounding instruments. It was more important that every bit within a song served the other. And we took care that we didn't add more elements than necessary. It's something I'm looking for and I often find that kind of approach in electronic music (yes, I know there's a gazillion genres hidden in that term...) You often encounter more freedom there, especially in the way they process instruments.

Freedom from "gear heads", genre tropes and pre-conceived musical ideas is a rare thing, and Go March have managed to create a body of work through gut-instinct, intuition and feeling allowing the music to develop naturally to them. From debut single "Rise" which stretches a post-rock groove over the five minute mark, to 'Slow Horse' and 'White Lodge' which are smothered in glacial keys, synthesised throbs and shuffling poly-rhythms, Go March is a record that defies expectations and challenges the listener in equal measure. "The record obviously doesn't file under "summer hits of 2015" jokes Philipp, 'But even though the word "dark" slipped through my mind quite some times, I don't think it covers the intentions and how the album turned out to be. What we are looking for is more of an undistinct feeling somewhere in between melancholy and hopefulness", and you won't find that on a Now 54 compilation.

Recorded between 2012-2014, Jared Blum's (of GiganteSound, The Talking Book, Blanketship, Vulcanus 68, et al.) Vision Heat project is a laser guided, hyper vintage conflation of early to mid 80's centric production, montage and style. Recalling such luminaries as Tangerine Dream, John Carpenter, Harold Faltemeyer, Craig Safan and such lofty houses as KPM, Bruton and Parry with nods to oddballs from Russia and the Eastern Bloc, Blum still manages to be forcefully yet effortlessly unique. Inspired by countless soundtrack compilations and blog mixes of rare, foreign library and VHS music, Vision Heat varies in production style and technique as if it were the definitive archive - deftly genre skipping from moody sci-fi suspense, incidental queues and dramatic scores to uplifting electro-boogie, synthpop and cinematic arrangements. Ultimately so much more than an homage, The Chosen Themes are a subtle and skilled conjuring of a full spectrum re-imagined past.

After setting the blogs alight last year after putting 'Choreograph' online himself, along with massive remixes for Sia and Glass Animals, Gilligan Moss finally brings us his much anticipated first release; his vibrantly technicolour debut, Ceremonial EP.
The 'Ceremonial' EP boasts a brand new version of Choreograph (re-mixed by Van Rivers (The Knife, Fever Ray)) which is currently getting huge support on Radio 1 from Huw Stephens, Annie Mac & Phil Taggart, and shows off Moss' ability to marry his eclectic palette of psych-rock, synthpop, house and more to seamless yet dazzling effect.
Currently touring with Glass Animals, he is coming to the UK on 14th August to celebrate the release of the EP.
The release comes on beautiful heavyweight spot gloss 12' vinyl featuring the artwork of New York artist Chrissy Angliker. NME - Gilligan included in roundup of best new artists in Radar section

Das britische Label Ninja Tune begrüßt mit Technicolour ihr neuestes Imprint. Den Auftakt macht Raisa K, Keyboarderin der Formation Micachu And The Shapes. Gemeinsam mit ihrem Bandkollegen Mica Levi fertigte sie unter dem Pseudonym m.a.t.h.e.s bereits Remixe für u.a. The Streets, Metronomy oder The Invisible an. Nachdem Raisa K bereits 2011 mit der Red Bull Music Academy in Madrid unterwegs war, entschloss sie sich auch eigene Tracks zu produzieren. Musikalisch bewegen sich die sechs Stücke der "Feeder EP" irgendwo zwischen Electronic und Post-Dubstep.

Isao Tomita, often known simply as Tomita, is a japanese music composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analog synthesizer arrangements.

This is the original motion picture soundtrack to 'Catastrophe 1999' (aka 'The Prophecies Of Nostradamus'), directed by Toshio Masuda in 1974.

Composed, arranged and conducted by Isao Tomita (who also played the synthesizer music for the soundtrack), it was released by Tam on LP in 1974 in Japan only. Some must say that ALL of Tomita's albums are rarities, but what we have here is probably the best and rarest soundtrack composed by the Maestro.

A Science Fiction soundtrack, featuring electronic music played with Mellotron synthesizers and a jazz/rock orchestra in a very Ennio Morricone-like style. An epic space-funk masterpiece!!!

Master and sound restoring done by Roberto Zamori at Film Music Art Studio.

Ltd double LP vinyl format of the new 13 track album that was released 13th Nov.

Drone-based experiments (notably with Tony Conrad, extremely present on the album, and John Cale), and purely electronic compositions - a path (almost) nobody knew MacLise had explored. Miraculously salvaged by Gerald Malanga, these archives provided a new perspective on the artist's whole body of work and expanded considerably his artistic palette. And so we are now able to draw a whole record's worth from MacLise's early electronic music. Angus MacLise, born, March 4,1938 in Bridgeport, Connecticut, was a percussionist composer, poet, and calligrapher. He was a member of La Monte Young's Theater of Eternal Music, with John Cale, Tony Conrad, Marian Zazeela and sometimes Terry Riley. He contributed to the early Fluxus newspaper V Tre, edited by George
Brecht and George Maciunas, and was also an early member of The Velvet Underground, having been brought into the group by flatmate John Cale when they were living at 56 Ludlow Street in Manhattan. MacLise played bongos and hand drums during 1965 with the first incarnation of the Velvet Underground. Although the band regularly extemporised soundtracks to underground films during this era (The Invasion of Thunderbolt Pagoda by Ira Cohen, Chumlum by Ron RiceŠ), MacLise never officially recorded with them. Later in the 1960s, Angus and his wife Hetty traveled around between Vancouver, Paris, Greece and India, finally settling in Nepal. They also
had a son, Ossian Kennard MacLise, who was recognized by Rangjung Rigpe Dorje, the 16th Karmapa, as a reincarnation of a Tibetan saint, or tulku, and at age four became a Buddhist monk. MacLise died of hypoglycemia and pulmonary tuberculosis in Kathmandu
in 1979, aged 41. He recorded a vast amount of music that went largely unreleased until 1999. These recordings, produced between the mid-'60s and the late-'70s, consist of tribal trance workouts, spoken word, poetry, drones and electronics, as well as many collaborations with his wife Hetty. In 2008, Hetty MacLise bequeathed a collection of her husband's tapes to the Yale Collection of
American Literature.

12" LP limited to 100 coloured vinyls 180gr, w/ printed inner sleeve, comes sealed

Includes unlimited streaming of A Certain Idea Of Love via the free Bandcamp app, plus high-quality download in MP3, FLAC and more

Der Noir is an italian coldwave trio composed by Manuele Frau (vocals), Manuel Mazzenga (electric & bass guitar) and Luciano Lamanna (drummachines, synthesizers). The group formed in Roma in summer 2011 as a project for the members to create something totally different from their usual musical out-fits, in fact all the members come from as different musical fields as hiphop, black metal and psychedelic rock. Faith wanted to give a possibility to theese guys to try other ways of expression, and they began recording their debut album over a one-month period in the Audio Division's studio where Lamanna works as sound engineer. The debut album, 'A Dead Summer' came out in early 2012, and the sound result blends cold wave, dark pop, shoegaze and depressive with a focus on vocal and guitar textures. The usage of 80′s synths, drum machines and recording equipment gives the sound a particular old & cold shape.

French electronic music has a rich history and one that has broken through internationally at times without the limitations of language of traditional songs. But it has been some time now since a new generation has broken through, and with Fakear (alongside luminaries Dream Koala, Stwo, Superpoze and Nowadays Records releases) a new dawn has broken.

Whilst previous EP's and a few high profile remixes have put Fakear, firmly in the French consciousness (The Sauvage mini-album went Top 10 in the French LP chart) and landed him a cover of the respected Tsugi magazine, it is the Asakusa EP (released via
Nowadays Records) that is set to take this sound global. The fact he is already selling out London venues, supporting Bonobo and remixing Andreya Triana is evidence of that.

Coming from a 'band' background Fakear creates highly potent and hypnotic electronic, melodious compositions. A sound that a new generation of music fans are helping to explode on the internet and in clubs organically away from any notion of manufactured,
business minded McDance music.

The Asakusa EP leads with 'Ueno' and takes influence from the East via a harmonious walk through the streets of downtown Tokyo backed by lush piano and strings. 'Skyline', is the takeoff single of the EP and showcases Fakear's addictive and complex beat making.

It's a flight to New York, the city that never sleeps. Asakusa finishes with 'Venus', the end to an emotive journey that signpost a major talent. It is however for Fakear in someways the start, as an early live favourite from his self-released days in 2011 and now cemented to
record for the first time. Already selling...

Die drei Bigstyler sind zurück, um mit ihrem programmatischen Meisterwerk WELCOME TO THE INTERNET abermals die Tür zur Zukunft einzutreten. Wer glaubt, drei Elektro-Opas auf der
Wiederholspur zu erleben, bekommt von den Techno-Pionieren die rote Karte gezeigt. Schluss mit verlogener Zurückhaltung: HERE COMES THE REAL SHIT! Mit diesem Opus Maximus vereint FRAKTUS endgültig die Akzeptanz der Opinionleader mit der Kompatibilität am Massenmarkt. Heißt:
FRAKTUS gehen endgültig durch die Decke! Dickie Starshine (ehemalig Schubert), Bernd - Bernd' Wand und Torsten Bage (sprich Bäätsch), deren - Köpfe den gleichen Innenarchitekten' (O-Ton Wand) haben, beweisen mit ihrem Mach3-Kraftwerk, dass sie alles andere sind als ein Freak Accident, ein psychotischer Farbtupfer im globalen Musik-Schrott. Technisch auf Pole-Position, ausgerüstet mit den modernsten Tools, Apps und Gadgets, buchstabieren sie mit diesem Masterpiece die Zukunft der Musikgeschichte. Wie immer haben sie sich nichts geschenkt.

5X0D has always been Mark Phillips and Rob Lawrence since it began in 1981 in Bristol UK. Early influences were many going back to pop, prog and krautrock bands of the early 70s, through punk and new wave to industrial, then later Japanese technopop like YMO. We made our tapes one by one directly copying from the master reel to reel tape and we distributed them through the cassette scene postal network of the early 80s. We definitely were only interested in sounding original though we had influences like Art of Noise, YMO, Der Plan and Yello. We weren't very interested in UK synth pop - maybe only Caberet Voltaire early on. We did much solo recording during the 80s, most of which is on the Soundcloud site. We do still like to make music, but just for fun. We've always been attracted to electronic and modified sounds, but have tried to write interesting songs to use the sounds in. We have lived through an era of technological advancement, and we felt positive about that whilst recognising the dehumanising potential of all machines.

Chris Alexander: Musician, Director and former editor of Fangoria presents this, his first album in quite some time, remastered and rejigged for vinyl by us here at GDHQ. The soundtrack for your bleak midwinter. Dark as space, drugged-out helltracks for paranoid dreamers and night-fantastists. Spooktactular art by Eric Lee, Mastered by Alek Stark.