Pop & Rock News

Sonne, wilde Natur, das Meer und die Berge: Der Produzent Pablie kommt aus Barcelona, verbrachte aber
während der Entstehung seines Albums "B Sides" in den Jahren 2007 bis 2009 viel Zeit in zwei kleinen
Dörfern an der spanischen Costa Brava. All die Schönheit dort, so Pablie, habe er in die Musik mit einfließen
lassen: "Das Album ist wie ein geheimer Ort in meinen Erinnerungen", sagt er. Und so klingen die neun
Tracks auf dem Vinyl dann auch sehr warm und sehr nostalgisch. Friedlich fließend bewegen sie sich
zwischen abstraktem, instrumentalem Hip-Hop, chilliger, jazzbeeinflusster Electronica und hypnotischem
Downtempo.

2CDs

limited gatefold 180 gram coloured vinyl 2xLP + MP3 download code

Hisham Akira Bharoocha is an artist currently based in New York. He concentrates on creating music, visual art, and photography. Hisham is well known in the underground music scene for being a founding member of the bands Lightning Bolt and Black Dice. After leaving Black Dice, he created Soft Circle, a solo project that allowed him a more personal exploration of his own musical interests. Hisham recently collaborated with Doug Aitken on a sound piece performed at the MoMA, which led to this release at Station to Station.patten is an undefined exploratory project currently operating from London. After numerous ultra-limited CDRs on Kaleidoscope and the first official LP, GLAQJO XAACSSO via boutique UK label No Pain In Pop, patten signed to seminal electronic institution Warp, with the EP EOLIAN INSTATE and album ESTOILE NAIANT following soon after. Touring with intense live AV shows across Europe, North America and Japan over 2014, the project continues to splinter out in all directions through the high hit-rate imprint Kaleidoscope (Sculpture, Karen Gwyer, Yearning Kru, Orphan, ALAK...), lysergic cross-format collaborations with visual artist Jane Eastlight, and the immersive club night series 555-5555.
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.
- Recorded live as part of Doug Aitken's 'Station to Station'
- Manufactured on The Vinyl Factory Press
- Hand-crafted, mixed media artwork by Åbäke Studio (Åbäke, Vincent Humeau, Tilly Thompson, Alex Lunn and Emma Berit Smit).
- Mixed media used: Ink pads and woodglue mixed with sand.
- Music produced by Justin Stanley
- Limited Edition of 300 SIDE A

Fenster's EMOCEAN is the soundtrack to an adventure sci-fi film created by and starring the band. The music is a swirling cosmos of richly varied post-psychedelia, transcending the boundaries of reality and traditional pop-records to join the ranks of other genre bending Music Films like Daft Punk's "Interstella 5555" or Prince Rama's "Never Forever.

Following his collaboraton with Nicolas Jaar's Clown & Sunset label,
Ecuadorian-based producer Nicolá Cruz has self-produced and self-recorded this landmark
album.
Infuenced by new digital technology, blended with local culture, Cruz builds his tracks layer
by layer, instrument by instrument, drum by drum, exploring local
indigenous and Afro-cosmologies in a modern setng - using homeland traditons and
rhythms to build on a vibrant history of visual and sonic art, catapultng them into the 21st
century. The results of which will easily apply to fans of John Talabot, Romare, Clap! Clap!
and Nicolas Jaar.
'drifs efortlessly and at will between down-tempo electronica and woozy, beat-
driven house' Consequence Of Sound
'Woozy club music of lost innocence' Oslo World Music Festval

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.'

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.'

Here at Control Room Recordings we feature Analog only synthesizer recordings and "one off" and "special" projects. Our last release was from The Human League and we are pleased to be following that up with another titanic group from the 80's, Visage. Following the tragic death of Steve Strange in Feb 2015 Visage and Steve Strange's family are planning a series of events to honour Steve's life and commemorate the impact that he made on the worlds of fashion, music and style. One of those events is the fifth and final studio album from Visage. As a bridge between the highly successful fourth album "Hearts and Knives" and this future album we are pleased to be releasing a vinyl only special single.

On side A we feature an extended version of one of the highlights of the Hearts and Knives album the track "Lost in Static". This previously un-released mix will not be available on CD. It takes the moody, foreboding but uplifting original and extends it to a 10 minute synthesizer epic. The song was written for the 2013 comeback album and Steve's lyrics talk about a time away in isolation only to return once more into the fray. Robin Simons uplifting and shimmering effected guitar works in perfect unison with the foreboding synthesizer bass lines and progressive pad chord pattern.

On side B we are also pleased to feature an exclusive track made for the dancefloor, "Seven Deadly Sins Part Two". In 1981 Visage remixed their first single "Frequency 7" for the dancefloor. The rhythms were big, the PPG waves oscillated big and electro reigned. Several years later Visage again once again make a track for the dancefloor. Seven Deadly Sins again mines a deep electronic mine. It adds in driving System 700 bass, CR78 beats and darting synthesized riffs. Guest contributor then Mick Macneil dusts off his old Korg 770 for a solo reminiscent of his early 80s work with Simple Minds.

Visage History: Visage began in 1978 when Steve Strange and Blitz Club partner-in-crime Rusty Egan joined forces with Midge Ure to create a futuristic, synthesizer-led group where style and fashion were matched by experimental but accessible music. The group was soon augmented with members of Magazine (John McGeoch, Dave Formula and Barry Adamson) and Billy Currie. They recorded their first single Tar with Martin Rushent at his Genetic Studio in 1979 (shortly to become the birthplace of the Human League Dare album). Their breakthrough track "Fade To Grey" became a European hit and reached number 1 in eight countries in 1980. The band then enjoyed a series of hit singles "Mind Of A Toy", "Night Train" and "The Anvil" coming from a pair genre defying albums, the eponymous "Visage" in 1980 and "The Anvil" in 1982. In 1981 Ultravox now led by Midge Ure took off and in 1982 Midge and Billy left to concentrate on what would become one of the biggest bands of the 80's (Ultravox). In 1984 Visage made their 3rd album "Beatboy". As the public face of the band Steve Strange shot to stardom throughout Europe he continued to be active in hosting club nights (The Camden Palace, Club For Heroes) and in the fashion world. The fourth Visage album "Hearts and Knives"

The eighth offering from Echolyn still features the band's original line-up and is another tour de force featuring nine expansive tracks spread over four sides of vinyl. Hints of Gentle Giant and Yes abound perhaps, but the unique and unmistakable Echolyn sound which emerged in the early 1990s with As The World predominates.
180g double vinyl mastered at Sterling Sound in NYC from 24-bit, 96 kHz audio files.

This Oceanic Feeling is a new trio featuring singer/songwriter and producer Chris Braide (The Producers/DBA etc),bass player Lee Pomeroy (It Bites/Headspace/Archive/Rick Wakeman/Three Friends) and feted session drummer Ash Soan.
The themed album features 12 songs about dualism and ego death, and features some brilliantly dynamic musicianship.
Combining strong melodies with meaningful lyrics, the album offers a cinematic sound that skirts the edges of Progressive, 1980s Art Pop and FM Rock.

Inga Copeland twisting into a fresh guise, this time as Lolina... charmingly discordant, pretty mad and playful but still with the BASS... ! Great stuff.

Berlin based Lorenz Brunner AKA Recondite pays homage to his Bavarian homeland in new sophomore LP 'Hinterland'
For many great artists, going back is the way to move forward. With this in mind, Berlin-based producer Recondite looked to his homeland of Lower Bavaria for his debut Ghostly International release, Hinterland. "I tried to capture the area's mentality and natural environment within the album," he explains. "Particularly the moods that behold the emotions of the four seasons, which dier a lot in this region." In fact, most of the eld recordings featured in this 10-track LP were taken in his recent visits to the free state in southeastern Germany. Recondite's production career has only spanned a handful of years, but his versatility with electronic music as an expressive medium puts him beyond others with discographies twice as long. He began Plangent Records in 2011 as a means for releasing his own music in limited batches. Lush, gorgeous, and vibrant are three words that can often describe his original productions, whether it's oating in a beatless ambience or driving a hard rhythm through the soundsystem of a nightclub or warehouse. His debut album came out in 2012 on the Los Angeles-based Acid Test imprint, and quickly put him up alongside labelmate Tin Man, who oered a remix for the On Acid LP. The record also included one from Scuba, who'd mixed "Backbone" (Plangent #002) into his 2011 DJ-Kicks. Eventually, Hot Flush released a separate single for "The Hope" - Scuba's recent hit - exclusively featuring two dierent Recondite remixes. Hinterland is another step forward in Recondite's progression, maintaining a style all his own and acknowledging the nest moments in his previous releases. It's no small feat to incorporate one's observations of human nature against nature, and to lay it out in such a way that is cohesive, linear and sonically beautiful both up close and from a distance. "Characteristics of people's minds," he says. "Such as satised, frightened, calm, melancholic, sad, stoic, frustrated, strong, deep...they are captured in the sounds."

While the record can be enjoyed in one long listen, there are going to be dierent tracks that speak to individual listeners. "Clouded" is one of the stronger arrangements, taking the sonic sweeps often heard from Marcel Dettmann or Function and lling the surrounding space with dreamy samples and warm bass. "Stems" is playful and uid, and the record's opener, "Rise," is an eerie and melodic tinkering intro. As a whole, the release of Hinterland on Ghostly International is a perfect marriage - the label has always had an afnity for music with depth and frequencies that can magnetize a wide variety of listeners."Basically, this is the album that had to come out of Recondite eventually," he adds, smiling. "It is Recondite."

Noel Gallagher's High Flying Birds release, 'Where the City Meets the Sky: Chasing Yesterday: The Remixes', on September 25 2015 The ep includes remixes by Beyond the Wizard's Sleeve, Andrew Weatherall, Toydrum, Massive Attack's 3d and the previously unreleased reworks by David Holmes and Psychemagik the ep will be released as a double heavyweight vinyl as well as digitally

Im Jahr 2010 schloss sich Lionel Laquerrière der Live-Band von Yann Tiersen an. Während der Soundchecks
improvisierten die beiden mit ihren analogen Synthesizern und hatten so großen Spaß an der Sache, dass
kurzerhand die Gründung eines rein analogen Musikprojekts besiegelt wurde. Kurz darauf erweiterte Thomas
Poli das Duo zum Trio, das fortan auf den Namen Elektronische Staubband hörte. Mittlerweile wird der
Bandname offiziell mit ESB abgekürzt. Da die drei Musiker in zahlreichen anderen musikalischen Projekten
engagiert sind, dauerte es bis 2014, um ein Debütalbum einzuspielen. Dieses erblickte im Laufe einer
zehntägigen Session in Tiersens Studio mit Hilfe singender ARPs, dröhnender Korgs und wummernder
Moogs das Licht der Welt. Verschiedene Einflüsse prallen auf dem Debüt in hypnotisierender Weise
aufeinander: Michael Bundt auf Tim Hecker, Klaus Schulze auf Fennesz, Popol Vuh auf Loscil, Kraftwerk auf
Fuck Buttons, Delia Derbyshire auf Grouper, Neu! auf Follakzoid. Dem Hörer eröffnet sich ein verzerrter,
kaleidoskopischer Einblick in eine exotische, retrofuturistische Welt, die bei Bureau B seine natürliche Heimat
gefunden hat.

Melbourne-based producer Andras Fox (A.r.t. Wilson) creates a tactile and unique form of antipodean funk that feels equally informed by garage house and new age musical traditions. His productions sound appropriate on both the dance floor and in the lounge, boasting a casual danceability and mood that seamlessly adapts to both environs. On Vibrate On Silent, Wilson creates g-funk with a surf sensibility; congas, shakers, electro-acoustic melodies coalesce with deep grooves, subtle hooks and a laid-back, oceanic ambience

Final part in the Charles Cohen trilogy on Morphine Records. Featuring various works made for Dance & Theatre productions between 1976 & 1988. Eleven tracks in total - lovingly spread over double LP and featuring some of the most beautiful material of the series. Another essential purchase. TIP!
While in the process of recording and optimizing the old reel tapes for the initial track list, Cohen discovered a master tape that was originally prepared for an extremely limited cassette release on the Generations Unlimited imprint in NYC. This collection, preserved in the original order of its initial release, contains some of Cohen's collaborations and performances in theater pieces and art installations by Jeff Cain, Tonio Guerra, Group Motion and more. A 2LP document, Music for Dance and Theater shows Cohen's extremely sensitive and creative integration of sound into these theatrical performances and visual art installations.

Issued in three parts - this vinyl series will culminate in a full CD release to be announced later this year.

Double Gatefold LP (includes CD)

- Recorded live as part of Doug Aitken's 'Station to Station'
- Manufactured on The Vinyl Factory Press
- Hand-crafted, mixed media artwork by Åbäke, Vincent Humeau, Tilly Thompson, Alex Lunn and Emma Berit Smit).
- Mixed media used: spraypaint, acrylic paint, stamp and pen.
- Music produced by Justin Stanley
- Limited Edition of 300

Jamie Lidell is a British vocalist, producer and Warp recording artist with a string of intelligent, soulful electronic albums under his belt.A: New Eyes
B: Seye WenThe 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.

Jamie Lidell recorded this record 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.

Das Debütalbum "Personal Computer" vom neuseeländischen Produzent und Unknown Mortal Orchestra-Kollaborateur Silicon erscheint Ende August! Hinter dem Künstlernamen Silicon verbirgt sich der Multiinstrumentalist und Produzent Kody Nielson. Er stammt aus einer sehr musikalischen Familie, in der sein Vater Tourmusiker und sein Bruder Ruban Nielson der Frontmann von Unknown Mortal Orchestra ist. Zusammen waren die Brüder in der kultigen neuseeländischen Punk-Band The Mint Chicks, und Kody hat als Songwriter und Produzent auf dem neuen UMO Album "Multi-Love" mitgewirkt. Auf seinem Debütalbum "Personal Computer" verschwimmen auf zehn Tracks zwischen retro-futuristischen Electronica-Klängen und gefühlvollen Vocals die Grenzen zwischen Mensch und Maschine. Wir versprechen jetzt schon einen überaus lehrsamen Ausflug in die Welt von Kody Nielson, der sich nicht so einfach in irgendwelche Genre-Schubladen stecken lässt.

Grammy nominated artist and global sensation Robin Schulz returns with his new album 'Sugar', due for release on 19th September 20
Robin Schulz smashed into the UK charts in 2014 with his huge UK number 1 singles 'Waves' and Prayer in C, marking him as one of the most internationally successful German artists in the past 20 years. His new single 'Sugar' features the soulful falsetto vocals of critically acclaimed Canadian singer Francesco Yates, who has been hugely supported by artists such as Pharrell William and Justin Bieber. In 2014 'Prayer In C' hit '#1 on iTunes in over 40 countries and #1 in the charts in 17 countries across Europe including the UK, meaning Robin Schulz was the sound of the summer. His remix of Mr Probz. 'Waves' earned him a Grammy Nomination, and he is the first German artist to hit #1 on the global Shazam charts. This is only just the beginning for this hugely talented artist.

Welcome Naytronix, was für ein Fang!
Gerade den jungen Mann Nate Brenner gesignt, schnell noch die Platte gemastert und jetzt schon die
erste Single!
Das klingt so verdammt charmant nach 70ies Pop, William Onyeabor und Arthur Russell, dass wir
nicht umhin kamen zwei der besten Tracks sofort und erstmal auch NUR auf Vinyl zu pressen!
Das Album kommt im Herbst, wir freuen uns jetzt schon sehr darauf!
"Was soll man von einem erwarten, der Merrill Garbus in ihrem wahnwitzigen Projekt Tune-Yards mit
Bass und Tat zur Seite steht Einer, der in der nicht gerade Gottes gesegneten Sonderlingsstadt
Oakland lebt Alles andere als Kaffeehausmusik jedenfalls! Nate Brenner geht solo als Naytronix steil
- und bald mit neuem Material auf große Reise. Bis dahin gilt getreu des trocken-psychedelischen
Schwinger-Funks von »What Have You Done For Me Lately«: Frag Dich nicht, was Naytronix für Dich
tun kann! Frag Dich, was Du für Naytronix tun kannst!" aus dem Programm

Medical Records presents it's second contemporary artist release with Roladex. Imagine Kraftwerk playing Steven Merritt songs. Using an arsenal of analog instruments, Roladex nostalgically borrows ideas from music of the past to carefully craft a unique brand of futuristic-mechanized pop, with an emphasis on songwriting and layered production. Weaving sparse, sequenced arpeggios into fuzzy bass and bubbly melodies to create a bed of sound where they layout a somehow bright melancholia. Part minimal synth-wave, part dream pop, Roladex fits nicely with other non-traditional pop acts such as Ariel Pink as well as Synth contemporaries like Police Des Moeurs and Black Marble. The opening track "Anthem For The Micro-Age" sets the tone with dreamy atmospheric synth textures and interwoven male and female vocals. "Love Surgery" is chock full of pop hooks and synth leads interspersed with angular guitar accents. "Empty Streets" has an almost minimal John Bender bedroom aesthetic. Fans of early Wire (esp 154), Drinking Electricity, Fad Gadget and even noisy 90s shoegaze are sure to enjoy. Presented on high-quality 180gram heavyweight electric blue transparent vinyl and features a bonus LP insert with lyrics. All tracks and versions recorded exclusively for this Medical release. Mastered by Martin Bowes at the Cage, UK. Limited Edition.

Definitive compilation album of Gary Numan's best known hits made available on vinyl for the first time.
Gary Numan is a pioneer and his influence on so many artists is unmistakable. Gary's style connects him with fans of multiple genres... electronic, industrial, indierock, metal, etc. He remains an innovator and his fan base continues to grow.
He's been name-checked as an influence by everyone from Kanye West to Foo Fighters and Queens Of The Stone Age and an ever-growing list of artists have covered and sampled his music, ranging from Basement Jaxx to Damon Albarn, Afrika Bambaataa to RZA and GZA from the Wu-Tang Clan.
'Premier Hits' is a 21-song compilation album and this is the first time it's been available on vinyl. This perfect introduction to the world of Gary Numan is a double LP set and contains his best-known hits including 'Cars', 'I Die: You Die', 'Are 'Friends' Electric' and more. The LP also contains four bonus tracks, 'Metal', 'We Are So Fragile', 'Films' and 'Me, I Disconnect From You'.
'There are still people trying to work out what a genius Gary Numan is.' - Prince

The first part of his big city tale entitled Großstadtmärchen acted like a catapult for Oliver Koletzki in 2009, pushing him from the DJ booth into the limelight of electronic pop music. Now, three years later, Oliver releases a sequel to the successful long player in the form of Großstadtmärchen 2. In addition, Stil vor Talent is presenting a jam-packed double vinyl remix package of some of the album's many highlights.

Nineties techno hero Aphrohead announces his 'Resurrection' with an innovative new album for Crosstown Rebels. A welcome return for a stunning album courtesy of Felix Da Housecat techni moniker: Aphrohead.

A musical eccentric, prolific US DJ and producer Felix Stallings AKA Aphrohead / Felix Da Housecat has never been afraid to take risks and break new ground, consistently captivating the electronic music field for over two decades. He first burst onto the club scene in 1993 as Aphrohead with the timeless classic 'In Thee Dark We Live' which was licensed countless times and is benchmarked as one of the greatest techno records of all time. The first half of the album, with track 'Resurrection', 'Klymaxx' and 'Come to Me' is an escort to higher plains pleasing fans of Daft Punk and Giorgio Moroder Before the previously released single 'Let's Prance' brings it's futuristic tremors shifting the album into a new gear. The second part of the album brings a long-anticipated eruption, starting with the sinister sneer of 'Elevator' and the bohemian cries of 'Grown Man Cry', soon to be released on Crosstown Rebels as a single this autumn.

Aphrohead created a precedent in 90's techno on halcyon labels Bush, Global Cuts, Power Music, Thee Black Label & Radical Fear. His Felix Da Housecat alias went on to form the epicentre of the electro-clash scene and it was through this alias his friendship began with Crosstown Rebels pioneer Damian Lazarus, then at City Rockers. This Resurrection album is a welcome return to form.

From a festival to a feature to friendship, from techno to electronica to a band. In this manner towards twitter compatibility, one may describe eating snow's previous path, which has really just begun for Douglas Greed and Mooryc, with only few characters. The two of them met in 2010 at a festival in Poland, only shortly afterwards the joint tracks - Pain and - Morning Gloria developed, which can be listened to on Douglas Greed's debut album - KRL . However, - Dougi and Mooryc weren't just in tune with each other quickly, they also automatically arrived at a common sound despite their different musical roots, which ranges from sensual indietronica to powerful house right up to perfectly grooving pop moments.

Comelade's world is atypical and his inspirations come from many different sources, from contemporary music to the Cramps, and make him one of the most creative and original artists of our times. At the crossroads of many different arts, never where he's expected, he never ceases to surprise his audience, taking the listener on poetic paths of primitive perception. EL PIANISTA DEL ANTIFAZ is the latest album in Comelade's galaxy. The artwork was designed by Dutch illustrator JOOST SWART. Pascal Comelade will play live at Sonar 2013 with Richard Pinhas
Tracklist :

David Garcet teamed up with the wonderful female singer Marie Lenoir and delivers a funky 80's influenced Electro Pop Tune! Incl. a deeper melodic Deep-House / Tech-House Remix from Daso!

Marek Hemmann Comes on white marbled 7 inch vinyl.

When Ryan DeRobertis announced the name change of his project from Saint Pepsi to Skylar Spence, there was no indication of any stylistic departure, though the change arrived with a musical shift toward faster tempos and more pristine production. Whereas Saint Pepsi had often used decades-old boogie, disco, and new wave as grist for the sampling mill, Skylar Spence is intent on trafficking more overtly in those genre aesthetics through his own production techniques and vocal contributions. With Prom King, DeRobertis reorients his music for his new full-band live act and winds up with an album full of tight and enveloping dance tunes.

Working with Carpark Records 'gave me the confidence to 'go big' with the new material: to write pop songs with universal messages in the sonic wrapping paper that I've grown accustomed to,' DeRobertis says. 'A few songs on Prom King are about specific events in my life—a party where I got too messed up, watching a friend's life spiral out of control and trying to help—but I tried hard not to be too autobiographical because I want my music to unite, above all else. I'm much more interested in connecting with the listener than mystifying my personality.'

While DeRobertis' previous long-players have been more amorphous collections in the style of beat tapes, Prom King is compact and cohesive, with the album's varied stylistic references (new wave, UK garage, boogie) united through strong guitar melodies and Todd Edwards-ian cobblings-together of tiny vocal samples. 'I slowed some music down and called myself an artist,' DeRobertis sings on lead single 'Can't You See,' acknowledging in his lyrics what is already apparent in the music's tone—he can maintain fidelity to his vision while working in more uptempo, disco-based song structures.

'Ridiculous!' and 'Bounce Is Back' are big groovers that capitalize on jacking hi-hats and hand drumming, respectively, and both have an air of Balearic warmth and smoothness. On the title track, DeRobertis entwines a chorus of unintelligible but expressive samples with his own vocals—what feels like a synthesis of two approaches—and the result is an affecting pattern of build and release. More contemplative sophisti-pop numbers like 'Fall Harder' and 'Affairs' add a realist's breadth of scope: thoughts of past foibles bleed into present-dwelling and dancing.

Prom King is DeRobertis making sense of missed opportunities. His high school did not have a prom king; he has filled the position with an imaginative album of personal and musical revisionism.

When Ryan DeRobertis announced the name change of his project from Saint Pepsi to Skylar Spence, there was no indication of any stylistic departure, though the change arrived with a musical shift toward faster tempos and more pristine production. Whereas Saint Pepsi had often used decades-old boogie, disco, and new wave as grist for the sampling mill, Skylar Spence is intent on trafficking more overtly in those genre aesthetics through his own production techniques and vocal contributions. With Prom King, DeRobertis reorients his music for his new full-band live act and winds up with an album full of tight and enveloping dance tunes.

Working with Carpark Records 'gave me the confidence to 'go big' with the new material: to write pop songs with universal messages in the sonic wrapping paper that I've grown accustomed to,' DeRobertis says. 'A few songs on Prom King are about specific events in my life—a party where I got too messed up, watching a friend's life spiral out of control and trying to help—but I tried hard not to be too autobiographical because I want my music to unite, above all else. I'm much more interested in connecting with the listener than mystifying my personality.'

While DeRobertis' previous long-players have been more amorphous collections in the style of beat tapes, Prom King is compact and cohesive, with the album's varied stylistic references (new wave, UK garage, boogie) united through strong guitar melodies and Todd Edwards-ian cobblings-together of tiny vocal samples. 'I slowed some music down and called myself an artist,' DeRobertis sings on lead single 'Can't You See,' acknowledging in his lyrics what is already apparent in the music's tone—he can maintain fidelity to his vision while working in more uptempo, disco-based song structures.

'Ridiculous!' and 'Bounce Is Back' are big groovers that capitalize on jacking hi-hats and hand drumming, respectively, and both have an air of Balearic warmth and smoothness. On the title track, DeRobertis entwines a chorus of unintelligible but expressive samples with his own vocals—what feels like a synthesis of two approaches—and the result is an affecting pattern of build and release. More contemplative sophisti-pop numbers like 'Fall Harder' and 'Affairs' add a realist's breadth of scope: thoughts of past foibles bleed into present-dwelling and dancing.

Prom King is DeRobertis making sense of missed opportunities. His high school did not have a prom king; he has filled the position with an imaginative album of personal and musical revisionism.

One Way Static Records is proud to be bring you their latest release, one where we had the chance to work with German director Ulli Lommel and composer Tim Krog.

In 1980 Lommel directed 'THE BOOGEYMAN' starring John Carradine, which became a 'slasher genre' hit and made the UK's banned 'Video Nasties' list. Two sequels were also produced in 1981 and 1983.

To underscore his film, Lommel needed a soundtrack that fitted the times like the synth based John Carpenter styled soundscapes used in Halloween. By the late seventies, electronic music had achieved new heights of popularity. Technological innovations such as the Mini-Moog became a weapon of choice for new composers, churning out chilling electronic music that showed the industry its full creative potential. For this he turned to Tim Krog and his team 'Synthe-Sound-Trax' composed out of Jan Barlett and Ed Christiano.

This trio produced a soundtrack far more progressive and unique than one might expect. Moving easily between traditional melodies and more experimental textures, The Boogeyman's score is a superb example of an economical but highly effective scoring style that would be prevalent throughout the ensuing decade.

As you listen to these soundscapes, remember one thing: "The Boogey man" will get you if you don't watch out'.

A1 The Boogey Man
A2 Nightmare
A3 Weird Willy Music
A4 The Boogey Man Strikes
A5 Explosion At The Well
A6 The Boogey Man (Version 2)
B1 Childhood
B2 Jake's Theme
B3 Gloom
B4 Music Box
B5 Fast Tracks
B6 The Boogey Man (Version 3)

As if our recent releases hadn't already been spreading the sound of Circus Company into new and exciting places, now our very own silver-tongued enchanter JAW emerges with the first details of his own autonomous project. Somewhere in between the electronic drive of his day job in dOP and the folky, organic instrumentation of Les Fils Du Calvaire, JAW shares with us a new venture that has thrust him into the studio with Lebanese musician Kevork Keshishian. After a chance meeting on the streets of Beirut, the pair struck upon a creative buzz and so "Hazihi Laylaty" was born. Translated as "this is my night", the title references one of the most famous pieces sung by the celebrated Egyptian singer Umm Kalthoum in the early part of the twentieth century. The dusty crackles and haunting strings that begin "Hazihi Laylaty" instantly call to mind the mystery and allure of traditional Arabic music, and the track as a whole fuses this spirit with a subtle wielding of modern electronics to create a thoroughly moody piece of pop-noir. Paying full respect to the complexity and consideration of the original version, both The Sorry Entertainers and Soul Clap embark upon unusual approaches for their remixes, managing to enhance the electronic elements in the track through more prominent production without losing the core ambience of Jaw and Keshishian's creation. JAW has been quietly working on a solo project for many years whilst also engaged with the relentless demand of his life in dOP, and now finally the time has come for people to hear the first snapshot of this venture. Bringing together a vast array of people, singers and producers from all corners of music, JAW's voice provides the glue with which a brave and boundary-l

Adam Ficek's side project - Roses Kings Castles (RKC) - began as a platform to build ideas while on tour with Babyshambles.
It was initially set up as a formal creative feed for Babyshambles and as a platform on which to build and air his own musical ideas. "It's an outlet for putting stuff out, just demos that I've been working on", states Ficek.
Kittens Become Cats somes with remixes from Madrid's own wizard Pional (Hivern Discs), Swiss native First Season and the Oslo based producer and DJ Diskjokke.