Search:the new romantic

Sacred Skin is back! Their sophomore album Born in Fire hits turntables everywhere September 2024. Pre-order now to reserve your copy! This latest effort builds off the band’s full-length debut (2022’s The Decline of Pleasure) and takes their sound to a completely new level. Painting a blackened, dystopian vision of life in modern-day Los Angeles, Born in Fire is a movie soundtrack inspired by a forgotten era. Anthemic pop music steeped in romanticism and melancholy and drenched in layers upon layers of new wave nostalgia. For fans of ’80s soundtracks, Tangerine Dream, INXS, Depeche Mode, and New Order.

Midnight Mannequin Records is proud to present this deluxe pressing of Born in Fire on 2xLP colored vinyl and housed in a gatefold jacket, complete with OBI strip.

Warped and dragged through the murky underbelly of the Levantine underground comes 'Volume 1' the x-rated left-field debut from the pseudonymous DJ GAWAD.

Via pitched up vocals dripping with delay, DJ GAWAD takes us on a tour of the region's most urgent artists, his interjections oscillating between cocky boast and frustrated lament.

Through this new persona, DJ GAWAD pulls back the curtain to reveal himself as the protagonist of the mixtape-like album, as replete with features as it is with expletives, an enigmatic ghoul in the back of the studio with an endless supply of broken sample flips, giving the album its old school feel while still speaking to contemporary hip hop aesthetics.

A Jordanian/Palestinian Memphis gangster rap parody par excellence, the album is infused with satirical commentary on the state of the contemporary music scene, yet DJ GAWAD shows as much as he tells, expertly fashioning a sound that makes you wonder about the identity of the artist behind the braggadocious persona of the self-titled "best producer in the Middle East."

Drawing heavily from the Memphis rap mixtapes of the mid 1990s, DJ GAWAD has clearly identified the same brooding atmosphere in his own surroundings. On Mat3'anish (feat. Bleng & Fara7) DJ GAWAD makes his most explicit reference to the Memphis sound, twisting the hallmark cowbells that defined that movement to reflect the equally raw nature of his own setting.

Similarly, in Bandana (feat. Jurum), DJ GAWAD finds the perfect tension between his romantic sampling tendencies and the brutal sensibilities of his featured artist. As if liberated by DJ GAWAD's anonymity and irreverence, his menagerie of artists appear to have been emboldened, embracing the obscene free naturedness of the album, setting their lyrical prowess free to wander.

No expense was spared in the post production treatment of DJ GAWAD's debut, with Iraqi-American artist Mark Gergis incorporating the Nakamichi Dragon cassette deck in the mastering process, as is evidenced by the crisp saturation of the album's sonics.

For the past two decades, Dr Roman Belavkin (Solar X) has been deeply involved in AI research and mathematics at British universities. His albums from the 1990s are a testament to an era defined by the early internet-bulletin boards, FTP sites and mailing lists. In keeping with this, Solar X's music sounds surprisingly futuristic, a romantic artifact of a time eagerly anticipating tomorrow.

Following the re-issue of Solar-X's "Xrated" in 2019, GALAXIID is releasing his debut "Outre X Mer". All tracks are from the original DAT tapes and have been remastered for this release. "Pozdno Utrom", "Dileg" and "Solar X" were originally released on the "Outre X Mer EP" on Defective Records in 1995. Other tracks are out on vinyl and digital platforms for the first time.

"I was homebound for two years between 1992 and 1994, and the only way I could escape was through computer networks and writing," Belavkin recalls. Before the nasty car accident he was a member of the USSR/Russia national wushu team. Confined to his home, Belavkin started creating tracks based on ideas from his school days in the late 1980s, when he first recorded melodies on cassette tapes. This time, however, he fused those sounds with Soviet analogue synthesizers and PC sound cards. He shared these tracks via email with friends in different countries, becoming part of the "Analogue Heaven" mailing list, a community of enthusiasts united by their passion for analogue synthesis dating back to the 1960s.

During his initial pursuit of a PhD in Computer Science, Roman wanted to explore the intersection of what electronic music could offer humanity, the potential for AI to experience emotions, and whether emotions enhance or hinder intellect. These themes resonate in the music of Solar X. The album embodies ambient techno with intricate rhythms and ear caressing melodies, choppy percussion and blissful synths, making it both tranquil and danceable. Like a shimmering spaceship navigating between anxious dreams and visions, it transports the listener to a naively hopeful era yet to come.

Within the quiet, cascading corners of Pittsburgh lies a community - essentially one large family - that spans neighborhoods and generations. Upon this foundation, Merce Lemon built her latest album: Watch Me Drive Them Dogs Wild. These are earnest songs, of belonging and longing, in which romantic and familial love rip into and out of themselves in a flurry of reckoning. There is a fierceness, a persistence in this vulnerability, that is matched by the wildness of her band. Merce took a step back from music in 2020, after releasing her debut album Moonth, to reassess. "Music was just something I'd always done, and I didn't want to lose the magic of that - but I was just having less fun." In this time of restless confusion, she got back to her roots. "I got dirty and slept outside most of the summer. I learned a lot about plants and farming, just writing for myself, and in that time I slowly accumulated songs." A creative hunger, supported by her community, had been newly fertilized. From this rediscovery, imbued with the vitality of earth's green magic, Watch Me Drive Them Dogs Wild sprouted forth.

Limited Bubblegum Pink Vinyl. Within the quiet, cascading corners of Pittsburgh lies a community - essentially one large family - that spans neighborhoods and generations. Upon this foundation, Merce Lemon built her latest album: Watch Me Drive Them Dogs Wild. These are earnest songs, of belonging and longing, in which romantic and familial love rip into and out of themselves in a flurry of reckoning. There is a fierceness, a persistence in this vulnerability, that is matched by the wildness of her band. Merce took a step back from music in 2020, after releasing her debut album Moonth, to reassess. "Music was just something I'd always done, and I didn't want to lose the magic of that - but I was just having less fun." In this time of restless confusion, she got back to her roots. "I got dirty and slept outside most of the summer. I learned a lot about plants and farming, just writing for myself, and in that time I slowly accumulated songs." A creative hunger, supported by her community, had been newly fertilized. From this rediscovery, imbued with the vitality of earth's green magic, Watch Me Drive Them Dogs Wild sprouted forth.

Prepare to experience a true soul gem reimagined for the modern age with this special 7-inch reissue of Matt Covington’s classic, I'm So In Love With You. Originally released in 1983, this rare groove masterpiece captures the essence of early '80s R&B with its smooth, heartfelt vocals and lush instrumentation. Covington’s romantic delivery and the track's elegant arrangement have made it a coveted piece for collectors and soul aficionados alike, with the original pressing becoming increasingly hard to find over the years. For the first time ever, I’m So In Love With You is being reissued, allowing a new generation of listeners to discover its timeless charm. On the flip side, we’ve included Muhammad Ali, a standout cut from Covington’s self-titled album that resonates with soul, funk, and infectious energy. A favorite of acclaimed DJ Floating Points, Muhammad Ali pays tribute to the legendary boxer with a groove that’s as fierce as its namesake. Whether this has been sat in your wantlist for years or new to Matt Covington’s music, this 7-inch offers an essential addition to your collection. With its impeccable blend of silky soul and rhythmic punch, this reissue promises to become as cherished as the original release.

"“Few artists combine the thrills of danceable pop with a higher purpose, but that's exactly what Israeli singer Noga Erez does”
– NPR Music

“One of Israel’s few breakthrough indie stars… and one of the country’s most hyped artists”
– The Guardian

July 17, 2024 (New York, NY): Today, alt-pop singer, rapper & multi-hyphenate Noga Erez debuts her brand new single and accompanying music video entitled “AYAYAY” featuring sensational Argentinian rapper Dillom, out via Neon Gold/Atlantic Records. The track marks the latest single off Erez’s highly-anticipated, third studio album THE VANDALIST out Friday, September 20.

“AYAYAY” sees Erez and partner ROUSSO dabble in the world of reggaeton, layering her dynamic and wide-ranging vocals with lyrically packed bars, over a frenetic house beat. The sexy, tropical track emblemizes the romantic appeal of the “papí azucar” (“sugar daddy”) along with extravagant living from both the male (provided by Dillom through a brilliantly crafted verse) and female perspectives, the desire to maintain it, and the self-imposed expectation to chase it when a relationship doesn’t live up to standards. Directed by Erez & ROUSSO, the music video for the track, filmed almost entirely through a kaleidoscope lens DIY-style, is brimming with personality as Erez lives her best life.

THE VANDALIST is a satirical, yet confessional look at real and online life, the project arrives brimful of monster tunes, intricate production, wit, charm and attitude, representing a significant leap from her previous work, expanding her emotional range from sultry to savage, and demonstrating even greater ambition with quickfire lyrics, broadened vocal styles, and the elaborate backing crafted with partner and producer ORI ROUSSO. THE VANDALIST primes Noga for yet another evolution in her musical journey, which is set to resonate strongly with listeners everywhere.

Recently released singles include “PC People (feat. ROUSSO),” along with title track “Vandalist,” and “Come Back Home,” all of which are joined by official “Against The Machine (Live)” performance videos, streaming now at YouTube
"

Spectres have been stirring in the shadows for years now. Dark eyes watching from pallid faces. Siren songs calling to lost souls. In the blackest corners of the UK underground, a name whispered relentlessly amongst the faithful, first with curiosity, then soul-shuddering awe: Zetra.

Zetra is also the title of their striking debut LP. Ten tracks whose indefinable blend of shimmering shoegaze and pulsating goth-metal work deep beneath the skin, it is a masterclass in intimate dark romanticism and sweeping elemental beauty. It could be seen as a reaction to the geography of a strange new world, but also to the jagged topography of the human psyche itself. Is it a manifesto? A roadmap? A riddle waiting to be solved? Profound pleasure lies in peeling back its many layers.

Travelling alone, armed only with synths, guitar and drum-machine to compose, The Wanderers’ music could sound skeletal. Instead its early metallic bones have been fleshed-out with the electronic new-wave of Gary Numan and Pet Shop Boys and dreamy, droning guitars that hark to heroes like Slowdive and Sonic Youth as well as dark contemporaries Deafheaven and Alcest. As harsh as the truths with which they deal may be, these songs deliver beguiling brilliance.

Acolytes to spread the word of Zetra aren’t hard to find. British ‘contemporaries’ like Burner and Wallowing, Celestial Sanctuary and Employed To Serve have been dementedly singing their praises as far back as they can remember. Tours with the heavyweight likes of Creeper and Godflesh, VV and SKYND have taken their once-subterranean sounds into the spotlight. Unto Others’ Gabriel Franco (‘Moonfall’), Svalbard’s Serena Cherry (‘Starfall’) and Sólveig Matthildur Kristjánsdóttir from Iceland’s Kælan Mikla (‘Shatter The Mountain’) even crop up amongst these recordings, dissolving into the cult of Zetra themselves. But none are as important as the legions of fans Zetra are yet to reach with a dark gospel still unpicking all manner of psychological knots and existential truths.

New York’s Sarah Kinsley is fascinated by creating imaginary worlds and alternate realities. We all need an escape. To that end, Sarah’s first album is called Escaper, and to which world you choose to escape is ultimately your own decision. This is vibrant, bold, beautiful music that confronts death and loss, the decimation of old friendships, romantic love’s shortcomings compared to the love shared with close friends, and fraught relationships that flourished and then fizzled. It sounds hugely confident, a real body of work. “A huge way of how I get through life and pain and horrible experiences is through the creation of these spaces where you can become someone else as a distraction—as a means to solving grief,” Sarah says. She works through it all as if the centerpiece of an epic poem, with high drama melodies and huge sweeping choruses.

Los Angeles-based ASHRR are back on 2020 Vision ahead of a new album and this time serve up their own superb version of The Romantics's 1983 hit 'Talking in Your Sleep.' In their hands, it becomes a club-ready sound with a vocal you may recognise as it featured in the Mad Max episode of Stranger Things. Add in some DFA-inspired punk funk vibes and with all the instruments reapplied while new layers of bass and synth are added and you have one fantastic new version. Balearic don Fernando steps up for two remixes, first stripping things back to a deep house sound and then bringing some dub disco vibes to the fore.

UNSURPASSED SPACIOUSNESS, IMAGING, AND TRANSPARENCY: MASTERED FROM THE ORIGINAL TAPES, MUSIC EMERGES WITH NEW DETAILS AND TONES
1/2" / 30 IPS analogue master - Plangent Processed - to DXD to analogue console to lathe

Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman – his first appearance in what would be a long string of collaborations with Mark Knopfler – ensures stunning sonic properties that now come to life like never before.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments – marimbas, acoustic and electric guitars, vibes, synthesizers – further enhance the ambitiousness of the 1982 album.

On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.

It doesn't take long to realize Love Over Gold is like no other Dire Straits album – and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening "Telegraph Road" is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.

Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions colour the sweeping "Telegraph Road" and barren "Private Investigations," which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed "wracking schizophrenia between the heart and the heartless, the loving and the pain."

Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labelling and avoids ageing.

*BLACK VINYL*Asher White's third album in two years (and fifteenth overall), Home Constellation Study is less a refinement of last year’s sly, quaint New Excellent Woman and more an explosion of it. Her meticulous chamber pop has given way to resplendent swells of horns and squeals of noise, throbbing bass and queasy orchestral loops. The cover, painted by White, frames a burst of flowers against a dark blue abyss, mimicking the music: over frenzied sambas, bleary slacker rock, hushed ambient meditations, and surprisingly slick disco. The past year has found the prolific Providence-based singer-songwriter ascending through her city’s fertile experimental rock scene alongside the breakout synth-punk act BabyBaby_explores and her labelmates Or Best Offer. Live, White’s band plays riotous, unpredictable noise rock that nods to their city’s storied DIY scene; on Home Constellation Study, mid-album highlights like “Downstate Prairie” and “Hymn” nod to Providence’s bands of yore with their blistering sheets of feedback and pummeling drums, placing White, improbably, within the lineage of local heroes Les Savy Fav or the broken pop dispatches of Black Pus. At its core, however, Home Constellation Study is the product of studied, monastic auteurism. Like New Excellent Woman, it was arranged, performed, recorded and mixed by White alone in her basement studio in Providence. “Happy Birthday” is an earnest psalm, a paean of devotion and remorse to God a la Beverly Glenn-Copeland that drifts along with Panda Bear haziness. White’s concept of “toxic femininity” undergoes further investigation on “Good luck!” and “Runes,” both with Elliott Smith-like chord changes and the barbs of cynical romantics like Aimee Mann. Asher White’s vision has never been so expansive and unpredictable.

The EP lands hot on the heels of her relocating to London after selling out three
Australian headline shows in Melbourne, Sydney & Brisbane and a packed out
summer of touring across the UK/ EU festival circuit. The multi- hyphenate has
been releasing left- leaning house & techno over the last few years which has
been causing a stir on dancefloors worldwide alongside playing dozens of
festivals across the UK, Europe & Australia (Glastonbury, Lost Village, AVA,
Parklife, Gottwood & more) With DJ support from Bonobo, Fred Again.., Barry
Can't Swim, George Fitzgerald, Romy (from The xx), Confidence Man alongside
international media support from Resident Advisor, Mixmag, BBC Radio 1, DJ
Mag, Triple J, Dazed & more.
Enveloping the space between all-out bangers and bittersweet love songs, Pretty
Girl's new EP is a six- track missive that demonstrates her ability to balance
romantic mood pieces with euphoric club moments. Glittering vocals, high-energy
drums and masterful production provide the musical backdrop for the new EP,
which is laced with symbols of transformation and personal development.

At its best, harmony duo singing can transform simple math into a magic trick. One plus one, instead of equaling two, suddenly yields an unexpected third thing. An upper-case ONE. A universal hum. A deep vibration that encompasses two different points of view. On their latest release, Every Time I Think About You, brothers Page Burkum and Jack Torrey, aka The Cactus Blossoms, once again prove themselves to be among the most adept - and instinctive – modern practitioners of the classic tradition.

All sorts of emotional colors shine through on their new album. “Something's Got A Hold On Me” is pure Saturday night two-steppin' joy, “Keep Walkin'” has a Stones-y swagger and “There She Goes” casts its romantic regret against a danceable bop beat. “Statues” is a gorgeous meditation on the weight of permanent honor, “Is It Any Wonder” weaves its pledge of enduring love through nature images, and the title track is a heart-wrencher about loss and letting go. In all, the ten beautifully open-ended songs here invite listeners in to find their own stories as they revel in the old-school melodies and harmonies.

At its best, harmony duo singing can transform simple math into a magic trick. One plus one, instead of equaling two, suddenly yields an unexpected third thing. An upper-case ONE. A universal hum. A deep vibration that encompasses two different points of view. On their latest release, Every Time I Think About You, brothers Page Burkum and Jack Torrey, aka The Cactus Blossoms, once again prove themselves to be among the most adept - and instinctive – modern practitioners of the classic tradition.

All sorts of emotional colors shine through on their new album. “Something's Got A Hold On Me” is pure Saturday night two-steppin' joy, “Keep Walkin'” has a Stones-y swagger and “There She Goes” casts its romantic regret against a danceable bop beat. “Statues” is a gorgeous meditation on the weight of permanent honor, “Is It Any Wonder” weaves its pledge of enduring love through nature images, and the title track is a heart-wrencher about loss and letting go. In all, the ten beautifully open-ended songs here invite listeners in to find their own stories as they revel in the old-school melodies and harmonies.

On Hindsight, Nick Zanca's first album as a singer-songwriter, Zanca leads a crack band of musicians from all over New York's musical map. After nearly a decade making electronic music under the name Mister Lies, Zanca began focusing his energies as a producer, working with adventurous up-and-coming artists such as Wendy Eisenberg and Lucy Liyou and sculpting songs of his own. Hindsight moves boldly beyond the synthetic textures of his early career, blending AOR, jazz fusion, electroacoustic improv, and even musical theater into wholly organic music. He examines age-old quandaris from his own unique viewpoint: the dehumanizing effects of industry and capitalism, a childhood developmental diagnosis, a difficult romantic situation. It's unapologetically itself, honest - and relatable. It doesn't equivocate: Zanca's world is ours, too.

The year 2020 sure wasn't the most ideal time to form a band, especially for a group of musicians who never played together before. But for New York rock quintet GIFT, this strangest of periods was the auspicious backdrop for a bold new sound - a dizzying blend of early shoegaze, classic `90s alternative rock and even modern pop. Indeed, that GIFT emerged somewhat fully formed on their 2022 debut album Momentary Presence was a testament to the creative possibilities laying deep within. Now, Illuminator, their Aug. 23 debut album for revered New York independent label Captured Tracks, is the long-awaited payoff of GIFT's ever-growing musical and human chemistry. And while nods are apparent to label forerunners such as Beach Fossils, DIIV and Wild Nothing, GIFT are shepherding those elements into wondrous new vessels for the present moment - sleek, often danceable and frequently mesmerizing. GIFT - vocalist/guitarist TJ Freda, multi-instrumentalists Jessica Gurewitz and Justin Hrabovsky, drummer Gabe Camarano and bassist Kallan Campbell - are firmly enmeshed in the New York scene as talent buyers, photographers, DJs, audio engineers, art directors and, in the case of Campbell, an owner of the beloved Brooklyn DIY venue Alphaville. GIFT introduced Illuminator with "Wish Me Away," their first new song in the 18 months since the debut. With its earworm guitar lines, propulsive rhythms, riveting vocals and mind-expanding aural flourishes, "Wish Me Away" is the perfect sonic springboard from Momentary Presence to where GIFT are going next. It's also a potent reminder that you can still preserve that twinkle in your eye even when you feel like everything's slipping away. On songs such as "Light Runner", "Going In Circles" and "Destination Illumination," Freda demonstrates a newfound confidence and versatility, embracing pop music as a vehicle. The relentless, often painful dance of love has never sounded as exhilarating as on "Going in Circles," while the strident tone poem "Water in My Lungs" conjures the unreal feeling of watching a romantic partner both figuratively and literally fade from view. "This album has a lot of themes of going fast, time passing and things changing," Freda says. Throughout, Freda and company thankfully do much of the hard work for us: falling in love, heartbreak. Watching events and moments go by like cars on the highway. People you once knew coming in and out. Grieving the loss of different phases. Watching everything happen simultaneously. For these and many other reasons, Illuminator, friends, will be the soundtrack to the throughline of your life.

"Waxwork Records, in conjunction with Hollywood Records and Paramount Pictures, is thrilled to present SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman for the very first time on vinyl! SLEEPY HOLLOW is a 1999 gothic supernatural horror film directed by Tim Burton and starring Johnny Depp, Christina Ricci, and Christopher Walken. It is based loosely on Washington Irving’s 1820 short story “The Legend of Sleepy Hollow”. The plot follows police constable Ichabod Crane (Depp) sent from New York City to investigate a series of murders in the village of Sleepy Hollow by a mysterious Headless Horseman.

Danny Elfman is an award winning American film composer, singer, and songwriter. He has garnered international recognition for composing over 100 feature film scores. Elfman is a longtime collaborator of director Tim Burton having scored such films as Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas.

Sleepy Hollow stands as one of Elfman’s largest orchestral scores and utilizes weighty brass, eerie choral pieces, and unnerving strings. His use of romantic themes cut a calming tone throughout the dark and mysterious gothic-fairy-tale.

Waxwork Records is proud to present the debut vinyl release of SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman as a deluxe double LP album. Album features include 150 gram colored vinyl (Metallic Silver and Blood Red Swirl), new artwork by Steven Reeves, heavyweight gatefold jackets with matte satin coating and spot UV gloss varnish, and a 11”x11” art print."

Step into a world where authenticity meets emotional resonance with Maxo's 2018 album, "Smile," produced by the mastermind Lastnamedavid. This release marks the genesis of a new era, a departure from prevailing trends, and an introduction to the genuine artistry of Maxo.

"Smile" is a testament to Maxo's effortless storytelling and emotional delivery, setting a refreshing tone in the contemporary music landscape. Lastnamedavid's soulful production serves as the perfect backdrop, creating a sound that is as real as the content it supports. The album captures a range of emotions, painting a vivid picture of Maxo's journey through the realms of honesty, youthfulness, troubles, and hope.

From the reflective "Same Hoodie Since ‘05," a sobering exploration of identity and roots, to the anti-romantic ballad "Evelyn," Maxo invites listeners to join him on a personal and introspective journey. "Smile" serves as a reminder, not just to Maxo but to an entire generation, to appreciate every situation, irrespective of the circumstances.

The project features a notable collaboration with Sharp, adding an extra layer of depth to the already rich tapestry of "Smile." As Maxo unfolds his narrative, the synergy between his lyrical prowess and Lastnamedavid's production creates a sound that is not just music but an authentic expression of self.

"Smile" is more than an album; it's a sonic exploration of the human experience, capturing the essence of Maxo's voice and vision. In a world of fleeting trends, Maxo and Lastnamedavid deliver a timeless record that resonates with honesty, making "Smile" a standout release in the musical landscape of 2018.

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.

This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.

London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.

40th anniversary edition of this seminal work by the multi-talented musician and producer Carlos Perón. After the release of “Impersonator” and the score of the film “Die Schwarze Spinne”, “Nothing Is True; Everything Is Permitted” is his third album released in the beginning of 1984. While still being an active member of Yello, it was around the start of the recording of “You Gotta Say Yes To Another Excess” that Carlos met the American musician Chris Lunch in Hamburg. He invited Chris to Zurich and together played with projects such as Romantic Rubber, Heavymetallen and recorded some sessions that become the basis of “Nothing Is True; Everything Is Permitted”. After the release of “You Gotta Say Yes To Another Excess”, Carlos decided to leave Yello and focused to finish the recording and mixing of his new solo album.

“Nothing Is True; Everything Is Permitted” has gone down in music history as a dark soundtrack without a film, influenced many artists and helped to develop diverse genders of electronic experimental and dance music.

Limited edition of 300 copies including all original tracks and new artwork.

Sweet soul and sentimental music has never really gone out of style, and in the particular cases of the innovative wave of 1950's filin era Cuban boleros, or 1960's Nuyorican street soul, they both remain a thriving beacon of timelessness and universality, capturing a particular style of breezy Caribbean romantic music that has stubbornly thrived in the tough concrete landscape of New York City.

Perhaps there is some love in the heart of the city, as the new ensemble La Triunfadora has managed to tap into something of significant substance on their debut recording, Clasicos Sentimentales Para Una Nueva Generación. Co-produced by band leader Benjamin R. Juliá and renowned talent William Holland aka Quantic (recorded and mixed at the latter's Selva Recording studio in Brooklyn), the group has managed to capture the essence of this reemerging style of classic music, while further injecting their own inspired vision of experimental and psychedelic arrangements.

On A-side display for this debut 7-inch release on Names You Can Trust are two canonized Cuban boleros from maestro composer and guitarist Cesar Portillo De La Luz, stacked together in an old school continuous medley, and transformed with lush orchestration that has the talented musicians sparkling behind the duet of lead vocalists Candace Camacho and bandleader Juliá.

The B-side jumps from 1950's filin into Ralfi Pagan's iconic 1969 latin soul masterpiece "Hijo De Mama." Once again La Triunfadora peppers in just enough exquisite arrangements and musicianship to transform the original into something fresh, yet still guided from an analog sensibility, and ultimately performed with a familiar romanticism that these classic lovers' songs have managed to express over the decades to different generations.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

Formed by high school buddies Andreas Gregor and David Rout, Techniques Berlin started in 1984 experimenting with synthesizers, drum machines and guitars. In the early stages, the band was heavily influenced by UK new romantic acts The Human League, Visage, Yazoo, OMD and Depeche Mode, as well as rising Canadian synth-pop bands Rational Youth, Men Without Hats and Trans-X. It took them a few years to master their electronic toys and create a unique blend of addictive electro-pop melodies and beautifully crafted alternative beats.

In the late 80s, Techniques Berlin played live on a regular basis and their 3 self-released tapes received frequent local airplay in Canada. Despite their moderate success, the band failed to secure a record deal. Eventually both members had developed a strong interest in the burgeoning electro-industrial scene. Dave and Andreas founded !Bang Elektronika and were working with Digital Poodle as live drummers. Both of these projects were soon picked up by record labels. Techniques Berlin played their last show in November of 1991 at the University of Toronto, debuting the last track they had recorded, fittingly called ‘Time Fades to Nothing’. Or so they thought…

The proliferation of Internet radio and streaming music platforms introduced the band to a new generation of fans, enabling Techniques Berlin to stage a remarkable comeback. Within the next years they released the compilation “Suburban Playgrounds and Concrete Beaches” (Fabrika Records), recorded a new album “Breathing” (Nadanna) in 2018 and offered a series of shows in Toronto, Montreal, Mexico City and Leipzig.

“The Language of Machines” compiles a selection of original recordings between 1985 and 1991, including some favourite tunes like ‘Dancing to the Fall of the Berlin Wall’, ‘Metropolis’, ‘Watching You’ and a few unreleased tracks/versions. Limited edition of 500 copies on double vinyl with gatefold sleeve.

a 1 I Desire Dave Vocal Version








j 10 And You LinnDrum Version




o 15 My Suburban Playground [Extended Remix]

In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name): “Haunted”/”Nothing Is Forever” and “I Believe In You”/”Someone Who Cares.” A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, “Faithful” (in mono), as a bonus track on the 1990s CD release of Dusty’s 1970 Atlantic album A Brand New Me. The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts.

Then, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —assembled Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful on LP presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks meant for the album release out on vinyl over 50 years later. All tracks are in stereo, while the liner notes on the new gatefold spread, penned by The Second Disc’s Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic. A missing/ jumbled part of Dusty’s august recorded legacy, finally set right and available in its intended format. Out on metallic gold and purple “royalty” vinyl as befitting The Queen of Blue-Eyed Soul…limited to 1500 copies!

Dieser Tage erscheint das Ted Kessler Buch "To Ease My Troubled Mind: Die autorisierte unautorisierte Geschichte von Billy Childish". Als die Idee für das Buch die Idee für das Buch aufkam, wollte Billy ein prägnantes Doppelalbum zusammenstellen, das die 47 Jahre seines musikalischen Schaffens zusammenfasst. Dies ist das Ergebnis. Mein Name ist William Ivy Loveday, alias Steve Hamper, alias Guy Hamper, alias Jack Ketch, alias Billy Childish. Ich wurde in Medway, Kent, geboren, wo ich immer noch lebe. Ich verließ die Schule 1976, als ich 16 war. Da ich keinen Schulabschluss hatte, wurde ich von der Kunstschule abgelehnt und ging in der Werft von Chatham als Steinmetzlehrling arbeiten. Später schaffte ich es, aufgrund meiner Bilder in einen Malkurs an der St. Martin's School of Art aufgenommen zu werden. Ich, Bruce, Big Russ und Little Russ gründeten 1977 The Pop Rivets und machten unsere ersten Aufnahmen. Unsere Inspiration war Punkrock, TV21 und The Swinging Blue Jeans. Ich lernte Gitarre zu spielen und arbeitete 1979 vier Wochen lang im Oakwood Mental Hospital als Pförtner, dann gründeten ich, Mick und Bertie The Milkshakes. Unsere Inspirationen waren Link Wray, die Beatles-Live-at-the-Star-Club-LP, der Song "Gotta Get the First Plane Home" von den Kinks und unser Hass auf die New Romantics-Szene. Dann wurde ich von der St. Martin's School of Art verwiesen, weil ich etwas geschrieben hatte, das als "die schlimmste Art von Toilettenwand-Humor" bezeichnet wurde. Ich verprügelte meinen Vater, als er aus dem Gefängnis kam, wo er wegen Drogenschmuggels gesessen hatte. Wir haben uns bei The Milkshakes nie selbst bezahlt und das ganze Geld in die Herstellung unserer eigenen Platten gesteckt. Ich bewahrte das Geld auf einem Bankkonto unter dem Namen Kurt Schwitters auf. Ich lebte 12 Jahre lang von der Sozialhilfe. Im Jahr 1985 gründeten wir Thee Mighty Caesars. Unsere Inspiration waren Bo Diddley und The Troggs. Ich wurde Mitglied von Greenpeace. 1989 gründeten Bruce und ich Thee Headcoats. Unsere Inspiration waren Son House und Downliners Sect. 1999 gründeten ich, Wolf und Johnny Barker The Buff Medways. Unsere Inspiration war Jimi Hendrix in Beatle-Stiefeln und The Who, bevor Roger Daltry anfing, die Vorhänge seiner Oma zu tragen. Etwa 2008 gründeten Julie und ich The Musicians of the British Empire. Daraus wurde dann CTMF. Daraus wurden dann die Chatham Singers. Unsere Inspiration basierte auf uns selbst. Als Nächstes war es an der Zeit, dass Neil und ich die Spartan Dreggs gründeten, inspiriert von Homer und A. E. Housman. Andere Gruppen entstanden und zerfielen - damit niemand wusste, wer wir waren oder warum. Im Jahr 2019 entstand The William Loveday Intention - inspiriert von Hollis Brown und den Mississippi Sheiks. Das Guy Hamper Trio tauchte noch einmal auf, zusammen mit Jamie an der Hammond. Einige dieser Gruppen sind geblieben, viele haben sich zu fernen Ufern mit scharfen, versteckten Felsen aufgemacht. Hauptsächlich male ich und schreibe Gedichte und Romane. Zusammen mit der Musik, die ich spiele, ist nichts, was ich tue, jemals besonders modisch gewesen, aber genau darum geht es auch. Schon 1977 haben wir gerne Nein gesagt. Dann, als der Punk sich in New Romantic verwandelte, fielen wir in den frühen Rock 'n' Roll und den Blues zurück. Bei The Milkshakes sagte man uns, dass wir zu viele LPs veröffentlichten und damit kommerziellen Selbstmord begingen, also brachten wir an einem Tag vier verschiedene LPs heraus. Ab und zu kommt jemand Berühmtes vorbei und ein kleiner Krümel rollt über den Tisch und spritzt in unsere lauwarme Suppe. Ein anderes Mal eifern uns Unbekannte nach und erweisen sich nur als besser. Ich liebe Pop, aber keine Popstars. Ich interessiere mich nur für Klang und Farbe und das in einem kleinen Maßstab zu sein. Ich verstecke mich nicht hinter Lautstärke und Off-Stage-Mixing. Ich brauche keine Show zu spielen, weil ich lieber daheimsitze und eine Tasse Tee trinke. Meine Arbeit gehört nach unten, zum Instinkt und zum Elementaren, und ist nahe am Boden. Ich glaube an selbstgemachte Musik, selbstgemachte Kunst und selbstgemachtes Kochen. Die Musik war über die Jahre hinweg ein lohnendes Hobby. Ich habe viele gute Freunde getroffen und mit ihnen gearbeitet, und Gott hat mich vor dem Ruhm bewahrt. Ich möchte die Straßenbahn und das Pferd zurückbringen.

C
elestial Season originally started as an early death/doom metal band. Having released their first material in 1992, the Dutch band developed a romantic, violin-led sound which partially mirrored (but mostly coincidentally existed with) the classic ‘Hammy‘ Peaceville sound (My Dying Bride, Anathema, Paradise Lost a.o.). Having released two classic gothic/death/doom metal albums (“Forever Scarlet Passion“- 1993 and “Solar Lovers“- 1995), Celestial Season abruptly shifted to a more stoner rock-oriented sound, casting off their original doom metal sound for half a decade before folding in 2001. In the year 2011 Celestial Season surprisingly regrouped with a mix of their ‘doom era’-line-ups. The fans had to wait until 2020 though for new music when the “The Secret Teachings“-album saw the light, which marked their definitive return to their original ‘sad & slow‘ doom sound. In 2022, we were blessed with yet another Celestial Season album. “Mysterium I“ was a further continuation of that classic 1990s gloomy doom sound, and “Mysterium II” was their next treat 2023. This new album “Mysterium III” - the last and final chapter of this trilogy - picks up where “I” and “II” left off stylistically, but now with even more intriguing weeping string sections, forlorn piano lines & slow-moving doom compositions, full of bleak despair and melancholic beauty!

"The Red Room Crystal-Ruby Splatter Vinyl". Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed-with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense. In as much as Netherworld is a work that exists on a lineage of progressive music and the visionary artists who've expanded their boundaries of exploration to form sound-worlds as big as their imagination, it's also a work of magical realism in the tradition of Pan's Labyrinth, The Company Of Wolves or the work of Gabriel Garcia Marquez and Haruki Murakami-in which the supernatural and otherworldly, lead to a shortcut to the essence of being human. In this World, Louise Patricia Crane is our Storyteller.

Netherworld Double Gatefold Vinyl in 'Celestial Dust' transparent gold CD / DVD - 5.1 Surround mixed by Jakko M. Jakszyk: 'Storybook' Edition 'Ladies' Double A-Side 7" Single - Ladies Of The Road / Dirty (Black Vinyl) Netherworld A6 illustrated 'Little Stories' book All housed in a Black Textured Box with Gold Hot Foil Embossing Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed_with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense.

Unverkalt is an alternative rock band based between Athens, Greece and Berlin, Germany (where they currently operate from). Their raw and versatile vocals combined with influences rooted in post-rock, sludge/doom metal and alternative pop/rock scenes create a unique bond that makes Unverkalt stand out. Unverkalt’s music is also inspired by European cinema, art movements and human experiences, embracing darkness and romanticism. The band was established in 2017 by guitarist Themis Ioannou and vocalist Dimitra Kalavrezou in Athens, Greece. Guitarist George Stamkos joined the band during the recordings of their debut album “L’Origine Du Monde” (2020), attracting positive feedback from all over the world. Unverkalt entered Rawbite Studios early 2023 to record their second full-length album “A Lump Of Death: A Chaos Of Dead Lovers” in Berlin, Germany, with new bassist Spyros Olivotos. Their next chapter shows clearly that the band has acquired its own identity and has a clear vision of their musical direction. Red vinyl edition.

The Guardian wrote “the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist.” With Uncut describing his songcraft “as delicate and lovely as a rare orchid” and Record Collector praising the album’s “sublime alien balladry” such are the accolades that have accrued throughout Chenaux’s unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux’s solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux’s own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux’s previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux’s spartan home studio in rural France, Driver’s harmonically warped organ and Melanson’s electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux’s signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing “This Ain’t Life” that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux’s tunes have the uncanny ability to sound like jazz standards; songs you feel you’ve heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind

2024 repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

The Gloss is the second album from Cola. From their inception Cola have expanded on the d.i.y. ethic of the Dischord and SST eras, creating potent sounds from a minimal palette of drums/bass/guitar and lacing their songs with winsome one-liners and societal commentary. What’s another word for commentary? Gloss, apparently. Never basic, the lyrics reward repeated listening for deeper meanings. David Berman’s poetry-via-garage light pennings are an inspiration, as equally so are the lighter side of UK first-wave New Wave and the Dunedin sound. The results are in the pudding: at times sparse and poetic, at others a thrilling, hook-laden good time, as with the cheeky romantic sketch of a one-night stand that is so overflowing with innuendo-cum-journalism talk that it almost teeters over into self-parody. But the results are the right combination of lightheartedness and sincerity. Romanticism is never far from laughter, and equally never far from righteous anger in the music of Cola: “Pulling quotes now in the dark/Our outlook is restrained/Your tongue might weaken to be-fit your smile/Til nothing ill remains.” ‘nuff said. It's an album bursting with energy and wit and ideas–filled to the margins.

"Since 2012, New York City singer-songwriter Nate Amos (Water From Your Eyes, My Idea) has recorded and self-released hundreds of songs under the This Is Lorelei moniker, and perhaps surprisingly, after a decade plus, ""Box for Buddy, Box for Star"" marks the first attempt at a traditional, intentionally written full-length album. Amos describes the bulk of This Is Lorelei’s discography as “unedited diary entries,” written and recorded without much forethought, regard for genre or reverence for albums as thematic bodies of work, so oddly enough, ""Box for Buddy, Box for Star"" is both a fresh start and the culmination of years of diligent, interesting songwriting.

""Box for Buddy, Box for Star"" embraces traditional pop songcraft and a confessional, carefully written brand of lyricism, dabbling in the kind of classic singer-songwriter cliches he never imagined toying with—but not without the counterbalancing force of shitpost-y irony, which listeners have come to expect from Amos. Inspired by the gritty romanticism of Shane MacGowan and the Jim Croce mimicry of Tim Heidecker’s ""What the Brokenhearted Do…"", the LP exudes both a grizzled charm and youthful intensity. Sonically, Amos adorns the record with quaint country gestures—a full-circle artistic choice for Amos whose father is a veteran bluegrass musician.

And it wouldn’t be a Nate Amos release without a few curveballs, like “Dancing in the Club,” a bouncy auto-tuned pop song, which he likens to Bruce Hornsby-via-Blink-182, or “Perfect Hand,” an intimate piano-led track with vocal samples, alarm bell-like effects and skittering electronic beats. He also mischievously opens the album with a red herring of sorts, “Angel’s Eye,” a twangy sci-fi country duet about an angel who abducts a cowboy and unintentionally falls in love."

Walt Discos Debütalbum "Unlearning" wurde 2022 für den "Scottish Album Of The Year" (SAY) Award und das AIM "Independent Album Of The Year" nominiert, die Band begleitete Primal Scream und Duran Duran auf Tour. Bei dem Nachfolger, dessen aufnahmetechnischen Grundlagen im Studio von Phil Manzanera (Roxy Music) gelegt wurden, hievte das Glasgower Glam-Pop-Quintett seinen Sound dank klassisch ausgebildeter Orchestermusiker auf eine völlig neue Ebene, die sich sowohl fantastisch organisch als auch technisch vollendet anfühlt. Man heißt den Hörer in einer theatralischen Welt willkommen, die zugleich euphorisch und beunruhigend ist. "The Warping" macht die Barrieren von Zeit und Selbst durchlässig, pendelt zwischen Erinnerung und Zukunft hin und her und ruft imaginäre Identitäten hervor. Wir sind nicht mehr in Kansas.

- "Irgendwo zwischen kostümiertem Glam-Rock in unwiderstehlicher New-Romantics-Ästhetik, Musical-Grandeur und bollernden Synths, die den Eurovision Song Contest im Alleingang für sich entscheiden könnten, ist die Band aus Glasgow das nächste Symptom des unaufhaltbaren Spätsiebziger- beziehungsweise Achtziger-Revivals – und bislang dessen wahrscheinlich queerste Vertreter." - plattentests.de zum Debütalbum 2022

Walt Discos Debütalbum "Unlearning" wurde 2022 für den "Scottish Album Of The Year" (SAY) Award und das AIM "Independent Album Of The Year" nominiert, die Band begleitete Primal Scream und Duran Duran auf Tour. Bei dem Nachfolger, dessen aufnahmetechnischen Grundlagen im Studio von Phil Manzanera (Roxy Music) gelegt wurden, hievte das Glasgower Glam-Pop-Quintett seinen Sound dank klassisch ausgebildeter Orchestermusiker auf eine völlig neue Ebene, die sich sowohl fantastisch organisch als auch technisch vollendet anfühlt. Man heißt den Hörer in einer theatralischen Welt willkommen, die zugleich euphorisch und beunruhigend ist. "The Warping" macht die Barrieren von Zeit und Selbst durchlässig, pendelt zwischen Erinnerung und Zukunft hin und her und ruft imaginäre Identitäten hervor. Wir sind nicht mehr in Kansas.

- "Irgendwo zwischen kostümiertem Glam-Rock in unwiderstehlicher New-Romantics-Ästhetik, Musical-Grandeur und bollernden Synths, die den Eurovision Song Contest im Alleingang für sich entscheiden könnten, ist die Band aus Glasgow das nächste Symptom des unaufhaltbaren Spätsiebziger- beziehungsweise Achtziger-Revivals – und bislang dessen wahrscheinlich queerste Vertreter." - plattentests.de zum Debütalbum 2022

Limited White VInyl Version
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.