Cerca:lifestyle lifestyle 02

The year is 1989 and it's the peak of the Belgium New Beat craze. Not limited to records and clubs, the New Beat lifestyle was marketed to death with all sorts of fashion items, a plethora of accessories, and at least one erotic movie.

Fast forward a few decades. In the middle of nowhere, Switzerland, tucked inside a long-forgotten video store that closed its doors in 1999 and sat untouched for 20 years, we stumbled upon a strange treasure amongst tons of VHS hidden in the adult section. A mysterious VHS labeled "Erotiques New Beat."

What we found was pure 1989 Belgian erotica-low budget, fog-drenched, and neon-soaked. Minimalist sets. Girls in PVC. Flashing lights. Mirrors. Fog machines. Loud colors. It was erotic, sure-but also oddly sweet, almost innocent in its surreal, lo-fi dreaminess.

And then came the soundtrack.

That's what really floored us. A collection of New Beat gems, raw, simple, irresistible. Somehow, it captured the full spectrum of the genre: 100-110 bpm grooves with shades of EBM, sleazy coldwave rhythms, sensual synths, proto-Goa pulses, monk choirs, oriental melodies, and a healthy dose of movie samples. It felt alive. Timeless. Utterly perfect.

We had to know more. We dug, tracked down the source, and in 2020, reissued the soundtrack on vinyl. It sold out fast. Now, five years later, we thought about pressing one final batch. A special edition on picture disc, featuring the original smileys from the VHS.

Finally the wait is over. Played for years as an unreleased weapon – not only by Priku - Ave is this kind of track where you just can’t forget the synths. You will still hum them while walking the streets months after. The mighty melody can catch the whole crowd creating memorial moments on the dancefloor.

B1 with „For your love“ is an older track but old is gold, right? It fits perfectly with its house beat and sexy vocals on the B-Side. The track gets even more love on top from Bärtaub with an excellent sounding remix – as usual for their work - completing the Ep as the B2. Thank you guys.

Paul Walter, who definitly defined producing as his lifestyle, runs also Meduka Records and has released music on labels such as Do Easy Records and Neostrictly.

The second release from the Époque label is a major one, featuring Niels Van Gogh’s 1998 hit single "Pulverturm”, which earned gold certifications in Belgium and South Africa and climbed into the Top 10 in the charts of many European and worldwide countries. The esteemed Brazilian techno artist ANNA delivers a rework, adding her signature touch to this iconic track.

"In 2023, while preparing for my Tomorrowland set, I was exploring iconic tracks that resonated in Belgium and could be perfect for an edit. I chose 'Pulverturm' for its powerful vocals and strong melody”, says ANNA. “What started as a quick edit turned into a labour of love, and I was so happy with the outcome that I wanted to try to release it as an official rework. We were in conversation with Niels Van Gogh when I sent the track to Charlotte de Witte, who loved it. She introduced me to Époque, and we decided to release the rework together. It's been a year since I crafted this rework, and I've never had so many artists from various genres, Techno, House, Melodic Techno, Tech House, Hard Techno, requesting a track like they did with my rework of 'Pulverturm.' It's incredibly exciting to finally share it with the world!"

Charlotte de Witte adds: “I fell in love with ANNA's masterfully crafted touch on ‘Pulverturm’ the moment she sent it to me. Being a bit of a sucker for legendary tracks that have left a deep mark on the history of electronic music myself, this one just hits all the right spots. It's been a long and challenging road to make it happen but I'm incredibly proud and honoured to have Niels Van Gogh's timeless classic ‘Pulverturm’, seen through ANNA's eyes, for the second release of Époque. A label we founded earlier this year to honour nightlife, club culture and dancefloor legacies.”

The original “Pulverturm” is a twitchy and hypnotic cut with trance infused synths over the top of the rumbling drums. There is progressive energy in the melodies and plenty of emotion in the vocals. ANNA’s version is driving and emotive with sensual vocals and bright, trance infused chords over rolling drums that bring the power.

About Époque:

Époque is a Belgian label and nightlife archive created by KNTXT and run by KNTXT and Charlotte de Witte. In collaboration with clubs and labels, past and present, Époque captures the spirit and lifestyle of our bygone discotheque culture. The Époque label reworks iconic tracks, brings back dance classics and uses club memories and aesthetics to translate these legendary compositions into unique new releases produced by today’s leading electronic music talent. Époque also designs high quality merch and party gear as an homage to the global club scene.

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

After almost two years without a release, Naarm 5-piece Zombeaches return with a post-punk whirlwind of a track. A Taste of Oxygen immediately hooks you with its chaotic garage rock sound, with frantic drums, and scratchy guitar lead. The reverb and distortion partnered with a commanding vocal performance create a hypnotic feeling, drawing you in completely.
What sets this track apart is the energy switch from the raw, aggressive energy in the verses entirely flipped to a more brooding chorus with beautiful harmonies, before being taken right back to the madness of the verses, almost experiencing whiplash as a listener.
Amongst this sonic chaos, lyricist James Young shows off his impressive songwriting skills, detailing how exciting and colourful the big city looks from the outside, only to realise how unhealthy the lifestyle can be.
A Taste of Oxygen is our first taste of their upcoming album, which is set for release later this year. This track sounds like it was made to be experienced live in a sweaty, crowded venue, so definitely keep an eye out for that opportunity

Jack Adkins, the creative force behind the moniker Jamin’ Jack, has a multifaceted musical journey that began in the mid-'60s in Cincinnati. Initially cutting his musical teeth in garage bands like the Coachmen, Adkins would later embark on a decade-long journey as Jamin’ Jack, the One Man Band, from 1983 to 1993. A pivotal moment unfolded in the early '80s when, at the age of 36, Adkins walked into London Music studio in Tampa to record his debut LP, 'American Sunset.' This album, distinguished by its evocative portrayal of the West's decline, emerged as a defining piece in Adkins's musical repertoire. Its sonic landscape, characterized by guitars and drum machines, resonates with a familiar and poignant atmosphere. The subsequent decade witnessed Adkins assuming the persona of Jamin’ Jack, the One Man Band, embarking on an extensive ten-year tour. Adapting to a corporate presentation style, he not only refined his musical craft but also mastered the art of bantering and entertaining, overcoming his initial shyness. During this nomadic period, Adkins carried the master tapes of 'American Sunset' with him on the road. In a poetic expression of his transient lifestyle, he pressed LPs and tapes in Houston, selling them directly at various venues. The album, at its zenith, serves as a sonic backdrop to the lonesome and transient life on the road, encapsulating the essence of a nation seemingly heading into the sunset. 'American Sunset' stands as a must-listen for enthusiasts of Trans-era Neil Young and the dystopian vibes reminiscent of Repo Man, offering a captivating musical narrative that echoes the spirit of its time. Neofolk electronica? we're not sure, but its just amazing! Only 500 units of this 'sunset' coloured vinyl will ever exist. You waited 40 years for this anniversary meeting, so don't blow it, buy it!

Crucial reissue of the cult Electric Capablanca LP, on SWIMS.

"A mechanical ghost in the corner of our room, The Electric Capablanca spins spectres, shades and sonics while nobody looks.

Lifestyle product for a Dolce Vita dreamer, the device – abandoned by one careless owner – now dreams up probable chaos."

Released September 2019, enjoy these new hallucinations from no known author; a machined mega-puzzle of miscalculated patterns, automatic failures and lost coffee house betas.

Turn the dials to creak splinters of 70s Italian midi classical (Venosta, Musci), imagined mitteleuropa ambient (Froese, Popol Vuh) and spiritual mathematics from the old new world (Spiegel, Hassell, Riley).

CapablancaCapbalancaCapalabancaCapabalanca

Les yeux grands fermés is a spontaneous new EP that is an ode to freedom, both in the creative process and in everyday life. This opus depicts the rather raw feelings of a young artist who had a tough time of it when he was starting out, and who is now finally experiencing the success he had been hoping for. More liberated, the protagonist is now enjoying a new life: a more freestyle lifestyle full of surprises and lightness, with days governed by studio sessions, parties and carnal relations... all the while keeping his feet firmly on the ground and his goals firmly in mind! In terms of songwriting and production, Les yeux grands fermés is an improved blend of ABSOLEM's last two projects, Leur dire and Balle d'Argent, featuring both their introspective songwriting, here even more touching, and their arrogant, second-rate side. ABSOLEM continues the journey begun on Balle d'Argent, a project in which the rapper discovered himself to be more than ever in harmony with his music (spontaneity, introspection, fluidity of text) and less concerned by all the external factors (industry, the race for numbers, social networks, pressure, etc.), social networks, pressure, etc.).

Produced in a very short space of time, Les yeux grands fermés is a highly intuitive and spontaneous project with some tracks created from scratch in just a few hours.

Entirely produced, recorded and mixed by Dee Eye in their cellar-home studio, the project retains the 'live' touch. studio, the project retains the 'home-made' touch that characterises the duo and which they are constantly perfecting. The featuring with JeanJass, who is very close to the duo, was just as natural, having worked with with Dee Eye and advises them on the creation of their projects. projects. The result is a track with a very intimate theme (esotericism and introspection), which takes the form of an astral journey.

Project after project, the chemistry between ABSOLEM and Dee Eye grew stronger and stronger and the main objective remains the same: to break new ground in every area production, writing, interpretation, mixing and mastering). Continuing to continue to work on a number of projects on their own, Dee Eye continues to progress experience and a keen eye in the artistic direction of ABSOLEM's projects. projects. With quality, consistency and efficiency always in mind and efficiency, ABSOLEM and Dee Eye are increasingly asserting their desire to create their own musical colour, a sort of hybrid between Slowthai and Asap Rocky with and Asap Rocky, with innovative production and flows, featuring rap lyrics.

Sharpshooters is the long-awaited collaborative album from Destruct & DJ Zole. The two Natives from Southern California who have been true contributors to the Los Angeles Hip-Hop scene for over a decade now. Sharpshooters showcases a vast arrangement of styles blended into one solid LP with a hint of nostalgia hence the title of the project.

Sharpshooters while paying homage to the golden era of Hip-Hop also has a fresh perspective on how the culture sounds today and at the same time inspired one of the greatest wrestlers, Bret Hart.

In a refreshing way it all culminates into a unique experience for the listener with amazing guest features to back it, at the end of the day Sharpshooters represents two genuine and diverse artists entering their prime and creating a timeless piece of art appropriately named after a legend’s finishing move.

Sharpshooters is released on vinyl by the label Mind The Wax as of March 8th, 2024 and includes 11 tracks.
Destruct has been in the music scene and has released over 30 studio albums including two with his live band "Inner City Soul". He has been blessed as well to run his own studio "Area 52" where he provides recording and executive producer services. He also has a film production company now called “The Resident People” where he has directed and filmed several music videos and short films with much more to come.

By today, Destruct has rocked hundreds of shows with legends like KRS-One, Slum Village, Dilated Peoples, Rakim, Psycho Realm, Method Man from Wu-Tang & more. He has also collaborated with artists such as Grammy award-winning Sirah, Sean Price, Kev Brown, Blu and Exile to just name a few.

All and all Destruct is here to be much more than your everyday Hip Hop artist, but a true contributor to the culture and lifestyle, progressing the movement forward. Destruct is here for a legacy, not a trend.

DJ Zole is a DJ/Producer from Southern California. He gained his experience coming up as a touring HipHop DJ and Producer/ Turntablist who has been a DJ for major acts ranging from Sage Francis (Strange Famous Records), Atmosphere, Abstract Rude, Project Blowed, 2Mex, and many others.

Since 2004, DJ Zole has travelled the globe performing and creating. He's a highly decorated engineer and producer with his degree in Audio Engineering Mixing and Mastering Certified through Musicians Institute Hollywood.

Most of Gen X-ers who grew up in the mid-1980s Indonesia must have seen Soedjarwoto Soemarsono, known with his nom de guerre “Gombloh” performing on a state-run television station, playing some of his biggest hits from that era, pop gems like “Kugadaikan Cintaku (I Pawn Off My Love)”, “Setengah Gila (Half-Crazy).”

But of course, it is not fair to judge Gombloh only from these hits. Dig deeper and you will find buried treasure in his early stuff from Indra Records, and there are many of them.

His album with the band Lemon Tree’s Anno ‘69 (yes, that’s the name of the band) is all remarkable, but what he did for Chandra Records was no less spectacular. How can you go wrong with songs like “Kebyar-Kebyar”, the unofficial national anthem for Indonesia, dan “Berita Cuaca” one of the better epic songs in a catalogue full of epochal songs? These were all long out of print and in our journey to source the original master for these albums we met Bob Djumara of Nirwana Records, the Surabaya, East Java-based label which broke Gombloh into the mainstream in the mid-1980s. Almost all albums Gombloh recorded for his early labels, Indra Records and Chandra Records were critically acclaimed, but commercially they bombed, big time. Nirwana Records came up with an ingenious plan. What if they recorded Gombloh performing live and release it as is. After all, the first song in Gombloh debut record Nadia & Atmospheer is him strumming on his guitar backed by the cheering of a crowd, who could be heard going wild when he hurled that epithet “bastard” at the end of the song

The end result is a brilliant recording which despite being recorded live the sound quality so pristine leading many to doubt the claim of being live. Regardless, Nirwana shipped a decent number of units and Gombloh could buy his first car, a Katana Jeep, with money from the royalty.

One of the best things about Live Gila is its perfect sequencing, beginning with Gombloh’s social commentary on the rich’s debauched lifestyle of preying on young boys and girls, one of the most popular subjects allowed by the censoring machine of the New Order authoritarian government. The second song “Untuk Persada” is a soaring ode to the nation. For this song, Gombloh could be heard drawing his inspiration from The Police, which was undoubtedly popular in the early 1980s, even in a faraway port city like Surabaya.

Listening to this record as a whole (we omitted the last song from the original master tape “Bagimu Negeri” which sounds too jingoistic), we could not help but point to some of similarities it has with Bob Dylan’s Blood on the Tracks. Not a single composition in this record sound indigenous (the Malay-influenced rock of Panbers or Koes Plus come to mind); they all sound modern and effortlessly catchy, and had it not been for the language, this album could be mistaken for a musical output from someone growing up in Laurel Canyon or Southern France.

There are only limited copies of vinyl records in the second-hand market today available for Gombloh music, if at all. For his ardent fans, they have to scavenge for old cassettes to continue to be able to enjoy his music and have to pay top dollar for that. In Indonesia, where he was a superstar in the early 1980s, Gombloh was largely forgotten. With this project, we can only hope that the time is ripe for Gombloh to reemerge and now, more than ever, his music could speak to a bigger audience.

Repress.

EYE is back. Metamujer marks the third installment on the Knekelhuis label and we’re extremely happy to release this document of another chapter in Laurène Exposito’s life. Recorded on various locations ranging from the Swiss mountains to the chalky coasts of Brittany, Metamujer is an 8-track ode to salty love and closeness to nature, a tribute to a modest lifestyle à la Henry David Thoreau. Far from being praise for self-sufficiency, this new LP is deeply influenced by Laurène’s environment. We can hear Korg MS-10 created synthetic waves (Sanatorium) and birds (Luscinia), but one can also catch her singing in Italian, one of 3 languages spoken in Switzerland. Still minimalist and yet more aesthetically diverse, her new sounds are on the edge of EBM and synth pop, between classic minimal wave tunes and rustic ballads on acid.

Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

«Opening Soon» is a culinary buddy movie with a background of gourmet grooves where body tricks at the turntables have been replaced by acrobatic pizza tricks. This album from Jean Tonique and Mi Man is a real tomato concentrate and ingredients cleverly dosed which abound in suave and feel good tracks. 11 tracks that we can imagine as the perfect soundtrack to accompany the dolce vita 2.0 of this great musical duo (between Mario Bros and Cheech & Chong).

A tasty and pop cuisine that gives pride of place to a nostalgia that gathers behind the tiled counter («No One Really Knows», «Memories») or on the dancefloor («Running After Time», «The Music»). We let ourselves slide and be lulled by the smoothness of the arrangements as silky as an «Extra Virgin Olive Oil».

Do The Right Thing, as they say, and it seems like those two found a way to celebrate a lifestyle full of friendly looks.

Tonique, who had already accustomed us to the spiciness of his sharp guitars continues to demonstrate a knowledge all in funk and finesse. He is accompanied by Man, who brings his sweetness and harmony. They combine their strength on this project initiated with the title «Day & Night» and its languorous disco tinged with rhodes and percussions with Salsoul accents.

If the tablecloths are white and red, we don't doubt that the inside of the delivery van is lined with silk and velvet of the most beautiful effect to "cruise" the night as in Brooklyn and East Harlem to the rhythm of «Never Get Old». Lightness and nonchalance for a songwriting full of coolness and analogical charisma boosted by a Moog which invokes the best of the 70/80's.

Iconic and timeless, with or without a disco ball, wouldn't the key word be Pizza-Yolo?

King Krule, Interpol, Alex G, Orion Sun, Snail Mail, Toro Y Moi, Unknown Mortal Orchestra. “Transparent Yellow” Indie Store Colour. (LPC1) available while stocks last. For Lutalo, creating music is an act of hope in and of itself. Throughout their meticulously crafted folk, rock, and soul, on which they sing and play all the instruments, the Twin Cities-raised, Vermont-based musician embeds golden lines of poetry that inspire curiosity about the world and empathy for everyone searching for a way through it. After releasing their 2022 debut EP, Once Now, Then Again, Lutalo emerged as a rising talent in the indie world, catching the attention of Fleet Foxes’ Robin Pecknold and Big Thief’s Adrianne Lenker, who invited the young musician on tour. Following a vinyl release with that breakthrough project, they are releasing its companion EP, AGAIN, on August 25 via Winspear. On the ambitious AGAIN, a collection of kinetic indie rock tracks, Lutalo makes bold critiques of systemic oppression, capitalism, and the digital attention economy. Though these topics are heady, their writing always sits at an accessible place of personal introspection. Like on the arresting single “Push Back Baby,” whose fuzzy electric guitar lines twist and unfurl in intricate patterns, Lutalo paints a complex portrait of our current reality that’s “rooted in the greed or narcissism of capitalists,” they explain. “I’m analyzing those systems and patterns, and also asking, ‘Can we continue to not perpetuate this?’ Because it’s hurt a lot of people historically. I’m just asking people to question it.” Through their music, but also through their lifestyle that’s alternative to America’s economic and political systems, Lutalo asks listeners to imagine new possibilities. “I want to help people question the way they’re living,” they say, “so we can create a better reality for us to exist in together.”

King Krule, Interpol, Alex G, Orion Sun, Snail Mail, Toro Y Moi, Unknown Mortal Orchestra. “Transparent Yellow” Indie Store Colour. (LPC1) available while stocks last. For Lutalo, creating music is an act of hope in and of itself. Throughout their meticulously crafted folk, rock, and soul, on which they sing and play all the instruments, the Twin Cities-raised, Vermont-based musician embeds golden lines of poetry that inspire curiosity about the world and empathy for everyone searching for a way through it. After releasing their 2022 debut EP, Once Now, Then Again, Lutalo emerged as a rising talent in the indie world, catching the attention of Fleet Foxes’ Robin Pecknold and Big Thief’s Adrianne Lenker, who invited the young musician on tour. Following a vinyl release with that breakthrough project, they are releasing its companion EP, AGAIN, on August 25 via Winspear. On the ambitious AGAIN, a collection of kinetic indie rock tracks, Lutalo makes bold critiques of systemic oppression, capitalism, and the digital attention economy. Though these topics are heady, their writing always sits at an accessible place of personal introspection. Like on the arresting single “Push Back Baby,” whose fuzzy electric guitar lines twist and unfurl in intricate patterns, Lutalo paints a complex portrait of our current reality that’s “rooted in the greed or narcissism of capitalists,” they explain. “I’m analyzing those systems and patterns, and also asking, ‘Can we continue to not perpetuate this?’ Because it’s hurt a lot of people historically. I’m just asking people to question it.” Through their music, but also through their lifestyle that’s alternative to America’s economic and political systems, Lutalo asks listeners to imagine new possibilities. “I want to help people question the way they’re living,” they say, “so we can create a better reality for us to exist in together.”

Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; The "Grey" EP by North London post-punks Lack of Knowledge, and "Beware" by US anarchists Sleeping Dogs. Sleeping Dogs were one of only two American bands to release on Crass Records and in 1982 their sardonic and sludgy, but politically sharp, hardcore made up the "Beware" EP. They were first formed under the moniker Arsenal by the late artist, and designer of the iconic Crass logo, David King. "Beware" showed the originality and potential of Sleeping Dogs, even as Rimbaud and Crass guitarist Phil Free augmented the band"s sound for the studio session. The front cover of the single featured its own striking image, courtesy of King. Sleeping Dogs disbanded shortly after, re-emerging briefly under the new guise of Brain Rust a few years later. Distorted, biting, and beat-driven, the collection is a well-researched and poignant expose of Western imperialism. First released on 7" vinyl, limiting the sound, the new series has been remastered for 12" by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound. Penny Rimbaud notes that "Our (Crass") interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Talking the talk was never enough for us, no, we demanded that we also walk the walk. Ours wasn"t a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference - rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street."

Vanuit het niets, ontsproten uit hetzelfde ecosysteem dat ons eerder al zegende met namen als NTREK en Brihang, was daar plots olsan. olsan - geen hoofdletter vereist - is het geesteskind van rapper D. Meeuws en producer DJ SNS, twee artiesten die de kilometers op hun teller allang niet meer hoeven te tellen. Om het hoofd te bieden aan de chaotische tijd waarin we leven, werkten zij in de afgelopen jaren elke maandag aan nieuw materiaal. Zonder vastomlijnd doel op voorhand, tot de urgentie het overnam. Het losse project dat ze hadden aangevat, bleek voor beide mannen al snel cruciaal om grip te blijven behouden op alles wat ze om zich heen zagen gebeuren. De vraag was niet langer of dit tot een plaat zou leiden, de vraag werd hoe snel dit zou gaan gebeuren.

Nog geen jaar later is daar dan dat debuutalbum 'millimeter', wederom zonder hoofdletter, en het is een bijzonder solide plaat geworden. De heerlijk tijdloze producties van DJ SNS vormen het ideale achtergronddecor voor D. Meeuws om de balans op te maken van z'n ervaringen in zijn eerste dertig levensjaren. De pieken, de dalen en zowat alles daar tussenin, ongefilterd. Singles 'millimeter' en 'asjeblief' (ft. Brihang) lichtten al een tipje op van de sluier, maar de andere nummers van deze plaat doen daar allesbehalve voor onder. De plaat werd gemixt door Tobie Speleman en gemasterd door Jeffrey De Gans.

De vinyl, ontworpen door Fabrice Parent, is een erg mooie uitgave op 300 exemplaren, die zich qua afwerking onderscheidt door het reliëf en de papieren feel van de outer sleeve, maar ook door het strategisch verstopte gedicht aan de binnenkant. De fysieke release staat gepland op vrijdag 10 juni. 'millimeter' is uitgegeven door Fake Records en geproduceerd en gedistribueerd door News Distribution Benelux.