Buscar:electro pop

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Fehler Kuti
Munich, Autumn 2019

Music by Julian Warner, Markus Acher & Tobias Siegert
Saxophone on RINDERMARKT by Franz Brunner
Trombone on RINDERMARKT and IL by Matthias Götz
Recorded and mixed by Tobias Siegert in Munich.
SONTAGSFAVORIT mixed by Dario Albiez in Dusseldorf.
Mastered by Duphonic in Augsburg.
Artwork by Atelier Grande, Munich.

In the fall of 1978, after working with a series of bands, New York-based musician and composer NickWest became interested in experimenting with minimalism, collaborating with guitarist and songwriter Ramona Jan and Lyn Byrd. They decided to play pure pop but to substitute a primitive electronic beatbox for a human drummer. The result was Comateens, becoming one of the first groups to discard the traditional sounds and line-ups used by everyone else in New York City’s downtown music scene of
the late 1970s. In 1980 Nick’s brother Oliver joined them as guitarist, and after going on to release three major label albums (Comateens, Pictures On A String, and Deal With It), and with some
successful tours and dance-club hits behind them, the band split up following the terribly untimely death of Oliver in June 1987.
However in 1988 Virgin Records issued another LP entitled West & Byrd, recorded by Nick and Lyn as a duo, and in 1991 released a retrospective compilation called ‘One By One: Best Of Comateens’, now a rare and much sought-after record among collectors of new wave music. Acclaimed by Etienne Daho, the band has made a name for itself with the singles “Late Night City“, “Get Off My Case“ and “Don't Come Back“.

Fresh from the release of their third album ‘Autonomy’ earlier this summer, comes Autonomy Variations: four brand new perspectives from four exciting, innovative kindred spirits of the avant-pop duo.

South London’s Medlar breaks the seal. Following a series of incredible live collaborations with Dele Sosimi (Fela Kuti), he’s has turned ‘Autonomy’ into a minimal, percolating house track. Swapping the acid spikes for analog bleeps, Medlar’s signature can be felt every step through this vivid energetic stomper.

Fabric resident Anna Wall follows with another beautiful subversion as ‘New Politik’ is given a smouldering take. Moody, intimate, downtempo; there’s some serious late night HTRK-esque vibes to Anna’s twist.

Further into the remix trip we glide to find Dischi Autunno, Ombra International affiliate Curses pulling ‘Electric Light’ into the fringes. Taking the upbeat, crystalline pop of Penelope and Stephen’s original and flipping it into a stark postpunk Bauhaus-inspired take, Curses’ live bass and driving new wave beat shine a whole new light on the original and write it a whole new chapter.

Finally, brand new act, Isolating have the honour of closing the EP with industrial modular apocalyptic take on ‘Infinity’. A vast playground of contrasts, at points it’s dirty and pounding. At others it’s quiet and menacing. File under ‘Dystopian Techno.’

Four extensions on one of the most interesting electronic albums released this year, if you haven’t treated yourself to ‘Autonomy’ yet, you’d be wise to. DJ Mag stated it’s The Golden Filter’s best work yet while Clash called a it a bruising return. These remixes follow with complete forward-thinking consistency. Enjoy…

Matthias Vogt is back on Polytone with two strong original tracks, plus legendary producer Carl Finlow is adding his remix magic. The title track "Imaginary Friend" is an ode to Electro, with a hint of Pop and both: taking us back to the sound of the 80s, yet still sounding fresh and crisp. Carl Finlow's transforming Imaginary Friend into a sci-fi-something - it's out of this world. The B-Side is all about "Crevasse", a timeless beauty - we are in love with this Matthias Vogt trademark sound.

All Music Written & Recorded by David Drucker at The Skinny Apartment in Ridgewood, Queens, 2017
Featuring Mike Green (Mezzanine Swimmers) on guitars on "I Took Too Much Acid in 7th Grade," Cop Funeral on
electronics on "Seafood Special," Chris “Mr Transylvania” Shields on background vocals on "Massachusetts Is a Magical
Place," Eva “Nighttime” Goodman on violin & backing vocals on "The Ridgewood Ripper"
Painted Faces is the long (strange/trip) running voyage of weirdo David Drucker, began in Florida in 2009 and decamped
to NYC in 2011. It has sometimes been a loose band in the past with a revolving lineup of outsiders and interlopers
(known as The Freak Band), but is usually a solo endeavor, and the bulk of the recordings have been done as such. PF
has always been a home recording solo project, one-man-band style heavy on psychOdelic/outsider
folk/noise/experimental vibes. He started self releasing CD-Rs in the early days and quickly jumped to tapes on a variety
of labels including Already Dead, Lava Church, J&C, Null Zone, Tall Tapes. A "legendary" CD compilation on Gulcher
Records and an LP from Already Dead and Almost Halloween Time in Italy brings us to the here and now. Tales from the
Skinny Apartment is somewhere around the 20th or so Painted Faces release...he has long lost count.
Drucker runs/curates gigs (and records at) the Skinny Apartment, his dwelling place in Ridgewood Queens,
which some folks have called the "realest DIY zone in NYC." He also rips in Dead River Company, Big Hiatus, Shecky,
Canyon River Blues and countless other unknown subterranean improv zoner outfits. "Ripping" involves keeping it
freaky and weird and ripping sets wherever/whenever, i.e. always being down to perform whether in a kitchen or a
packed ballroom....no diva bullshit, just plugging in (or going sans electricity) and playing...always giving it your
all...Ridgewood Rippers are the crew of artists that populate Ridgewood and the loose "scene" around the Skinny
Apartment...much of it is in jest, a self-inflated mythology of nonsense which is pervasive in all rock and roll "scene"
histories. As a student of rock/pop history, Drucker is fascinated by the loose associations that connect folks from
various zones together...i.e. Miles Davis and The Grateful Dead...it's all the same though, the labels and genre
distinctions are completely arbitrary. We're all in this together, now more than ever...to be a "ripper" is simply to
"rip"...no nonsense!
Painted Faces has toured all over the USA and Canada numerous times, spreading the ripper gospels, and is
gearing up for their second European tour. He is known for falling apart on "stage," with performances heavy on humor,
horror, stoned digressions, and cathartic bouts of therapy, part performance art/part standup comedy, eradicating the
lines between performer, performance, and audience one show at a time

“Experimental trio Giraffe crystalize time on ‘Desert Haze’, their new LP on Marionette. Giraffe is the musical project of Sascha Demand (guitar), Jürgen Hall (keys), and Charly Schöppner (percussion). Sascha Demand is a composer that comes from a contemporary and improvised musical background, collaborating with the likes of Ensemble Integrales and Vinko Globokar. Jürgen Hall works in electroacoustic experimental projects, theatre and film scores, with releases on Staubgold and Edition Stora. Charly Schöppner is known for his popular music releases such as Boytronic on major production companies in the 1980´s and composes for theatre, dance, and film scores. With only a couple of releases to date on the wonderful Meakusma imprint as well as an EP on Marmo, little is known about Giraffe. After letting go of other artistic projects, the trio now focuses solely on Giraffe by continuously searching for and finding their own unique language.

Sascha, Jürgen and Charly have quite diverse musical backgrounds, though morphing into Giraffe they tower into one single composer. Their music is a critical statement, not in a political sense but rather an artistic one. Being mindful about what it means to create and how to position themselves as artists nowadays (without the constant hassle of being en vogue and short-lived trends) shaped their rather rare and stoic artistic stance. It is refreshingly honest to see their expression develop so naturally.

On Desert Haze, they’ve created a vibrant and minimalistic tribal sound that feels inspired by the Saharan traditional music of the Tuareg, Jazz, and German psychedelic krautrock. Giraffe themselves also list the radical music of the Viennese School (Schoenberg along with his pupils Berg and Webern) as well as the Köln School with its early electronic experiments as their main influence and inspiration. More precisely the composition process and the organization of musical material within space and time, where a conceptual and intellectual approach melds with an experimental yet expressive sound searching method.

Side A focuses on the trios studio work; it is built around tone color and pitch analysis of resonating prepared guitar sounds. Through a unique mixture of free improvisation and a serialism "rule set”, they develop instrumental layers and structures to form their tracks. Side B sees Giraffe playing more freely with a reduced setup - representative of what you may hear when listening to them live.
Desert Haze, along with its track-titles, showcases an almost mimetic approach to art. The haptic music grabs the listener not as a passive recipient but as an active resonant body to vibrate through. One can almost feel the Elements, pressure and heat forming a diamond, hypnotic overtones ringing through windy caves, shamanistic rhythms conjuring up mysterious and ancient landscapes - where the constant cycle of sedimentation and erosion reveals structures of fragile beauty - always gentle to the hand’s touch and the mind’s eye.”

This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

With absolute devotion Shook has created an exceptional listening experience in which timeless influences of Hiroshi Yoshimura, Ryuichi Sakamoto, Steve Reich and Erik Satie are honored and thoughtfully integrated in his modern, energetic sound. Shook merges Japanese ambient and Indonesian gamelan with an uplifting mixture of electronic pop, jazz and funk. Inspired by city pop, techno pop and ambient Music for City and Nature spreads a new light on the contrasting balance between what we make and what we are. Shook: “In my 5th album I tried to document my emotional and mental state at this point in my career. It is inspired by the conflict between the energetic and busy city life and the calm, warmth and peace that nature gives. It isn’t a city ‘versus’ nature album though, it is about daily life existing in a gray area in between. I try to find a balance by connecting both sides. We can build a future in the city, but we must not forget that nature is our future.”

Stroboscopic Artefacts releases ‘X – Ten Years Of Artefacts’, a 13-track album curated by Lucy, the nom de techno of Luca Mortellaro. It celebrates ten years of his label by boldly confirming its raison d’être: a continual redefinition of modern techno.

‘X – Ten Years Of Artefacts’ is a various artists album in which the label’s key artists respond to its tenth anniversary with fresh compositions. Artists with divergent perspectives and MOs are equally at home expressing themselves. These tracks’ timbres, tempos and moods differ greatly yet—somewhat improbably—they seem together, ideologically unified.

The album will be later complemented by a special remixes EP, with four new reworks of pivotal back catalogue material from the label (Donato Dozzy, Caterina Barbieri, Xhin and Klock). And from fall 2019, Lucy and an incredible cast of Stroboscopic Artefacts artists will begin an extended club tour to mark the anniversary.

On ‘X – Ten Years Of Artefacts’, Mortellaro features solo as Lucy, in collaboration with Rrose as Lotus Eater and together with Speedy J as Zeitgeber. (Rrose also appears alone with “The Myth of Purity.”) Shifted, Efdemin, L.B. Dub Corp (Luke Slater), James Ruskin, Denise Rabe, Adriana Lopez, Chevel, Alessandro Adriani and Serena Butler each feature, representing a group of singular artists whose relationships with the label range from years to months—Stroboscopic Artefacts’ past, present and future must exist simultaneously.

Back in September 2009, Lucy released “Why Don’t You Change/Dub Man Walking,” the first record from Stroboscopic Artefacts, which began a discography that, ten years later, is almost unparalleled in its ambition and vision. Put simply, Mortellaro wanted to create something that didn’t exist. Stroboscopic Artefacts would be respectful of, and indebted to, the great techno and electronic music artists of the past but would develop new paths forward for the label and the genre. The label refused to perpetuate the established dichotomies of electronic music — between the dance floor and home listening, between club music and experimental music, between the past and the future. It took risks knowing it wouldn’t always work. But within a year or so of the label’s inception, it was obvious Stroboscopic Artefacts’ approach had captured imaginations far beyond its Berlin base, showing us that the boundaries of techno are often constructs of limited imagination.

The label pursued constantly evolving methods of releasing music. It created concept-driven series like Monad, Stellate and Totem, establishing frameworks that would give freedom in limitation. Standout albums by Lucy, Xhin, Dadub, Zeitgeber, Chevel, Kangding Ray, Lotus Eater and Alessandro Adriani were deeply considered longform presentations.

With this new album, remix EP and tour, now is the moment for Stroboscopic Artefacts to look fondly at its past while drawing breath, reenergised, and hinting at new chapters.

Mecanica Popular is back 9 years after their LP “Neguentropia” and 4 years after Dead Cert reissued their first LP “”Que Sucede Con El Tiempo”

Mecánica Popular is ’s an experimental and industrial band formed in the late 70s by Luis Delgado (Finis Africae, Ishinohana...) and Eugenio Muñoz (Randomize), who rapidly gained cult status between the genre fans. The band experienced a renovated international success after their record "Que Sucede Con El Tiempo" (1984) was repressed in 2015 in Andy Votel and Demdike Stare's Dead Cert imprint.

Arriving 9 years after “Neguentropia”, “Estridentismo” is the group’s fourth record and the product of new material that was developed over the last 3 years.

“Estridentismo” is based on the avant-garde movement of the same name that was born in Mexico during the early 1920s (known as Stridentism in English). Each track uses this lens to explore a different thematic concept, from “Jouer Avec Schaeffer,” based on musical pioneer Pierre Schaefer, to “Mikado,” which draws inspiration from the sounds of Mikado steam locomotives.

Following the sound of their previous releases while also introducing elements that reflect their continued evolution, “Estridentismo” is a record that owes as much to the Industrial movement as it does to the work of early electronic pioneers.

Mecánica’s inventive style, and their blending of older techniques like tape manipulation with newer digital technology, allows the record to incorporate Industrial and experimental aesthetics to create a sound that plays with categories and ultimately creates its own.

The record has received praise from the press and artist alike, and it has been played by the likes of JASSS, Demdike Stare, Cera Khin and Ossia.

“Estridentismo” comes in a luxury vinyl edition with a printed inner sleeve full of text and pictures.

Editions Mego is proud to present the latest addition to the compelling discography of Thomas Brinkmann. Throughout his career Brinkmann has focussed on the human operating amongst industry alongside rhythms that manifest as a result of technological advancement. With this new release Brinkmann makes a u-turn, looking back to the early industrial age. Comprised of recordings of various looms, Raupenbahn investigates the sonic properties and consequences of the first automatic loom as constructed by Jacques de Vaucanson in 1745. Thomas Brinkmann once again adheres to his tendency for clarity and simplicity whilst further investigating not only the sound and rhythms of the machines (looms) but also what role they serve in society and what consequences they have on the environment. Raupenbahn presents 21 tracks in total, 11 feature on the vinyl, the remaining 10 as digital bonus tracks. The majority of recordings were undertaken by Brinkmann in 2017 with a Neumann KM 184 stereo set. Additional recordings were sourced with permission from Monika W. recs. from 2014 Central Museum of Textiles Łódź, Poland. Each piece presents a diversity of material which borders on the breathtaking and beautiful in richness and complexity. The various looms unravel rhythms and patterns unexpected from machines of the early industrial age.

The loom holds a significant role in shaping our world being the catalyst for Charles Babbage's Analytical Engine which, alongside the subsequent work of Byron's daughter Ada Lovelace, paved the way for modern computing. There is a linage of the loom that fits succinctly in Brinkmann's overall argument. Here we encounter a parallel between machine driven economies and the music that rose from such places, consider the Sheffield steel industries, the Manchester weaving industry or the Rhineland / Düsseldorf loom and machine industry. Is it a coincidence that the practice of such machines in the environment gave rise to today's predilection for electronic dance music, in pop, soundtracks, etc.

Raupenbahn features no treatment or processing and explicitly displays varying tempo and timbres which ascertain a wide range of acoustic structures. The artwork features Ingrid Wiener, Rosemarie Trockel and Alexandra Bircken, three different generations who would with ideas of fabric weaving, loming and the like. This exceptional release works on a number of levels alongside it's striking sonic palette.


i 9 Günne (Irmscher) BO Möhnesee / D

Blaue Blume are a Danish alternative art pop band with a deep connection to the romanticism of the early 80s UK scene. Referencing artists such as Talk Talk, The Smiths and Cocteau Twins, it's clear their influences are with the more sensitive, magical aspects of music - and the eternal questions of love, life and death. Following two singles (Lovable and Vanilla) the album Bell of Wool is finally with us. It’s suitably enchanting from start to finish. Two themes dominate Blaue Blume’s new album Bell Of Wool, darkness and adventure. With the record mostly made before singer Jonas Smith slipped into a depressive episode, the album’s lyrics and moods draw pictures of the darkness, anxiety and tension that would mark Smith’s depression. Sonically, the album sounds a distance away from anything they’ve done before. Indie and electro pop and rock are out, and instead the album is crafted from soft, glowing synthscapes, dawns and skies transformed into sounds. Even on hints of their older work, like on the acoustics of “Rain Rain”, the synthwork comes into the picture and swells the song into something bigger and more majestic. Opener “Swimmer” introduces the listener to the softness and subtlety of the new sound, whereas songs like “Morgensol” and “Bombard” show it at its biggest and more grand.

Auf ihreneuen Album "Plexus" präsentieren die französischen Electro-Popper Hypnolove eine gekonnte Mixtur aus Eurodance, Italo, Space Disco und Boogie-Funk mit vielen 1980er Anleihen.

After several apparitions of the modern electronic scene, Warzou strikes again, here on the Lyon based Mystery Booms Records for a détour dub called "J'irai dormir chez Mouss"! Tripping to a digi-dub exercice with two silent and ritual songs, from aerian flutes to pop arrangements composed with cheap instruments, including an MPC 2000, keyboard Casio VZ-1, Digital Delay and Mother Reverb. Tribute to the old way with this futil contemporary feeling! Expected red eyes' soundboys tunes to play them loud on your system!

Red eyes sound boys from Lyon strike again with this second record from Warzou. After several apparitions on the modern electronic scene, the local producer plays a digi-dub exercice for a detour dub called "J'irai dormir chez Mouss ». Tripping on two quiet and ritual songs, composed with MPC 2000, keyboard Casio VZ-1, digital delay and spring reverb, as the tradition! To play loud on your system!

Ok, this one is different from the usual standard of re-edits releases on GAMM.

Swedish duo Pomona Dream from Gothenburg is no re-edit outfit but an official artist. The main track 'Blame It On the Groove' is a vocal rare groove jam which is based on Aged In Harmony's highly sought after 'You're A Melody'.

Together with catchy soul/pop vocals from Pomona Dream and tasteful additional production this simply just works...yup it's that good.

To make the case even stronger Pomona Dream got an extra treat on the B-side. 'San Francisco' got an uptempo electronic / hip hop feel that is very modern yet very timeless with its simplistic vocals and synth(ish) melodies.

It's basically a solid song with an edgy production. All in all, this a real nice 7" inch with lots of character. Check check!

Electronic pioneers Rick Smith and Karl Hyde announce the conclusion of their groundbreaking fifty-two week DRIFT series: a new single, a new album and their biggest ever live headline shows

Released on October 25th 2019, the new album DRIFT SONGS marks the conclusion of their hugely ambitious 52-week DRIFT Series. During that period, music, film and text pieces are created and published every Thursday as part of the band’s on-going, very public recording process; a unique and visionary space Smith and Hyde have created for themselves to exist within. By the end of the DRIFT series, more new music and film will have been released by Underworld in its one-year duration than in the last fifteen years.

DRIFT SONGS expands and enhances a selection of the recordings the duo have released since they began their audio/visual experiment in November 2018. The album will be released as a single CD, double vinyl and crucially an all-encompassing box-set featuring the music, visuals and text pieces released throughout the entire 52-week DRIFT.

DRIFT SONGS is Underworld’s first album release since 2016’s Barbara, Barbara we face a shining future (“an album full of heart, soul and brilliant noise” The Observer ) and the first physically released music since 2018’s Q award winning collaboration with Iggy Pop, Teatime Dub Encounters (“Born of the friction from a restless need to create… others of their standing may choose the wallowing legacy of safety. These guys do not.” NME ).

Underworld are Rick Smith and Karl Hyde. The press say they are: “Electronic heroes” The Observer “Hugely ambitious and unimaginably relentless” Q “True mavericks” Prog “Thrillingly relevant” The Times “(Underworld) boast a breadth and attack largely lacking in contemporary laptop electronica ” The Guardian
“The Drift experience is one of a torrent of ideas, with its own internal logic… (where) instinct, experience and chance lead to a strange kind of harmony” Mojo

ehind Dosage there is Sayoko, a Japanese woman living in Paris, who works with a rich, organic, yet destabilized musical style, but with a pulsating life that makes her pieces fascinating.

His songs - since they are songs here - on the edge of pop music, are made for re-listening; each passage revealing new secrets hidden in the complex mechanics of his compositions. Evidence is never at the rendezvous, and yet the pleasure of listening, the joy of being carried away by texts that border the surreal without ever complacent, grooves that always seem on the verge of "collapse without ever poking the nose, this pleasure and this joy, unique, do not leave us from one end to the other of this theory of the pink, UFO album, for those who seek this, and to surprise the others too.

Sayoko: voice, piano, bass, electronics;
Buz: battery; Franca Mai: poems;
Dirty_Pink: guitar;
Gaspar Claus: cello;
Vincent Epplay: electronics;
Nicolas Laffererie: guitar;
BN Würtz: electronics, bass, composition;
Simon Takahashi: electronics, composition

Emotional Rescue again delves in the world of private pressings, with a reissue of British electronic pop meets proto-House duo 4AM. With copies of their self titled album now highly sought after, this timely reissue presents two of their songs as a stand alone 7".

Consisting of multi-instrumentalist Steve Kirby - piano, guitar, bass, programming - and vocalist Kevin Finch, 4AM came together after youths filled with a love of music. Following a string of band attempts, Steve dived in to the world of midi, allowing him to build a studio set up and play solo. A meeting with new work colleague Kevin quickly developed to joining forces to expand on his early demos.

Their melodic, dance-influenced pop draws on a love of Japan, OMD and The The, but also ECM jazz and a touch of "white boy soul". The TR-808 drum and hi-hats, string stabs and random acid squelches - although no TR-303 was used - highlights the influence the nascent House sounds emanating from the "second summer of love" of 1988 / 89 had in their music melting pot.

Over this, personal lyrics flow, full of honest emotions and a touch of youthful naivety thrown in - of relationships, love, sex and passions. Intended as a personal artifact, the original album was released in 1990 with no promotion or live shows and has taken until now, some 30 years, to find a cult audience. I want you with a Passion.

We love pop music. You’ve probably noticed. Witness our vinyl love-ins with Kylie, Róisín and Cassie if this has somehow passed you by. So when Lou Hayter (London-based musician, style-DJ to the stars, one of our besties) asked us to put her sumptuous funk-lite hit “Cherry On Top” on vinyl it felt like a neat fit. But this isn’t just any old Be With record. We decided such a monumental track would make the perfect inaugural release on Be Pop, our new, most likely sporadically active, side-label.

For those not paying attention in 2005, Lou Hayter was the keyboardist in Mercury nominated electro-pop outfit New Young Pony Club (who were a really good band, beyond the hype, and arguably a little ahead of their time) and she is currently one half of electronic duo Tomorrow’s World, a project with Air’s Jean-Benoît Dunckel. Her comeback single “Cherry On Top” originally appeared in late October 2018, but as a digital only concern. Unsurprisingly it caused a blog stir (Gorilla vs Bear correctly gushed) and what seemed like 6 Music’s entire roster of DJs had it on repeat.

But it’s not a proper single unless you can buy it in a record shop. So accordingly we’ve issued it as a full picture sleeve 12", pressed on white vinyl. And just to make certain, the instrumental and a cappella are on the flip. This is our homage to the classic dance/pop 12" singles of the late 80s and early 90s.

Riding an infectious sample of Marc Jordan’s yacht-rock classic “Generalities”, it’s a glistening, sun-soaked daydreamy jam, perfect for convertibles, pool parties, and roller-discos. It’s quite delicious. Whilst it’s pop without question, it wouldn’t be a Lou Hayter track without ice-cool nods to other magical genres; with Italo flecks and dream-pop vocals, this is cherry coloured funk indeed.

“Cherry On Top” screams “Mighty Summer Pop Radio Anthem”. We might have just missed the end of Summer 2019, but this 12" comes out just in time for every summer from now until the end of time.

NO MORE don't need much of an introduction - the legendary Kiel-based (No)Wave / PostPunk band project took the worlds dancefloors by storm with the release of their seminal single "Suicide Commando" in 1981 which was later re-introduced to the Techno / Electro youth of the world, when Munich's DJ Hell famously reinterpreted the tune in 1998.

Still actively touring and releasing on a regular NO MORE are now making their debut on the freshly launched Intrauterin Recordings-offshoot EL CABALLO SEMENTAL..

The labels cat.no. 001 is a first time on vinyl release taken off NO MORE's "The Return Of The German Angst" digital mixtape and sees one of the bands hit tunes being reworked in a unique, highly captivating manner, pressed exclusively as a limited to 200 copies whitelabel edition on purple / violet vinyl.

"123456789 (baze.djunkiii + Herr Brandt Dream A Nudream Remix)" exceeds the bands natural musical realm by far and transfers the song into MoombahGoth / DubWave territories previously unheard of, not only for a classic band like NO MORE.. The rework picks up latest developments from the urban and bass music world whilst keeping the haunted vibe of the original songs chorus intact, slighty references NuBeat / PostPunk and Dub, adds lush, dreamy Cosmic guitar textures and even winks to the underground whistle and rave posse with a sweet as candy piano breakdown.

In their conjunctional remix work we see Intrauterin Recordings-founder baze.djunkiii, quality electronic music activist and prolific DJ for more than 20 years, and Herr Brandt, founding member of the classic German Wave / Indie / Alternative outfit The Convent as well as of the praised underground Synth Pop / Minimal Wave band Sonnenbrandt, effortlessly merge the best of two musical worlds to create something new and captivating, like they used to do on the decks with their former BETA-ZERFALL parties which were the main and initial reason the two of them and NO MORE came together in the first place.

a A- 123456789 BAZE.DJUNKIII + HERR BRANDT DREAM A NUDREAM REMIX