Epilogue(s)" ist eine sinnliche Reise mit 3 Bonustracks von CELESTEs letztem Studioalbum "Assassines". Von Riffs, die an GOJIRA erinnern, bis hin zu Shoegaze-Klängen, erkundet die Band neue Horizonte. CELESTE bietet wieder einmal die Gelegenheit, ihre Klangvielfalt zu entdecken, ein 100% französisches Produkt.
The soundtrack to the comic strip "Lou! Sonata 2" will plunge you into the heart of Dead Dung Fest, the music festival organised by the heroine and her friends. The ten (fictional, created by the Krystal Zealot collective) bands who perform there are present on this record.
Existential bossa nova (Le Marquis du Néant), Swedish electronic folk (Frikoppling), steamy fusion (Cyriak's Oak) or relaxed disco pop (Fur Pants): each track reinterprets the themes of the story and the moods of the characters.
The vinyl edition includes several bonus tracks based on the world of "Lou! Sonata" and the Dead Dung Fest: a poster, a series of 10 illustrated album covers corresponding to the different groups, the flyer and the official festival woven bracelet.
Music compilation and art book. We open the GLITZERBOX again and look into a glittering kaleidoscope of music and illustration. Crossing genres, in handmade editions and with great attention to detail, Jimmy Draht fuses artistic ideas into a new whole.
The vinyl contains beautiful folk songs, experimental collages, field recordings and lo-fi pop. All tracks are exclusive or have never been released on vinyl before.
Featuring music by: Maxine Funke, Tenniscoats, Mouth Harp Ensemble, How to count planets, A Happy Return, Benoit Pioulard, New North Wales, Dump, My Two Toms, Oro Swimming Hour, Matthew de Gennaro, The Gentlist, Andersens, Jam Money, Michael Tanner.
The artists, whether they paint, draw, scribble or cut, whether analogue or digital, whether they are graphic artists, illustrators or visual artists: they combine image and sound, discover connections and show that music can create images and vice versa.
Art by Petra Péterffy, Laurent Impeduglia, Nadine Spengler, Michael Dumontier, Tomoko Mori and Nicholas Stevenson.
A limited and numbered edition of 300, with hand-printed 3 color silkscreen book. Compiled by Markus Acher (The Notwist) and Jimmy Draht.
Since the late 90s JIMMY DRAHT publishes elaborately designed music-graphic-comic-text hybrids, most of them handmade and screenprinted. Initiated by Marion Epp, often in cooperation with a music label, artists from various genres are invited to participate. Each release is accompanied by exhibitions and music events.
Bands such as Calexico, The Notwist, Lali Puna, Neoangin, Pram, Otomo Yoshihide, A Million Mercies, Ted Milton, MS John Soda, Schwermut Forrest, Tied & Tickled Trio have participated (to name a few).
In terms of design we were lucky to showcase the works of ATAK, Anna Sommer, Knust, CX Huth, Katz & Goldt, Judith Zaugg, Thomas Ott, Jochen Gerner, Martin tom Dieck, Jim Avignon, Le Denier Cri, Elvisstudio and many more.
ALIEN TRANSISTOR was founded in 2003 by Markus & Micha Acher of The Notwist. The concept of the label is to produce music that has a musical or personal reference to the Notwist microcosm: From electronic soundscapes to abstract hip-hop to laptop-treated contemporary, from processed oriental music to Nick Drake-inspired songwriting. Alien Transistor respects no musical boundaries.
Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.
Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.
Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.
Unknown Mortal Orchestra came to life in basements and bedrooms, the musical vision of Portlander-via-New Zealand Ruban Nielson that fused guitar-god riffs, choppy percussion, soul and funk. II, the sophomore album from UMO, emerged in an era rampant hedonism and isolationism and became the blueprint for everything Nielson has become renowned for. It was, and is, the solidification of Unknown Mortal Orchestra as an endlessly intriguing, brave and addictive band. Ten years on, it's back with an expanded edition. Written during a punishing, debauched touring schedule during which Nielson feared for both his sanity and health, II illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair. These conflicting themes are evident immediately; on the album's sleeve is an unnerving image of Janet Farrar, the famous British witch, Wiccan, author and teacher of witchcraft. The chilling refrain of opener "Into The Sun" sees Nielson deliver the line "Isolation can put a gun in your hand," softly, his words starkly intelligible above a warm, slow-burning melody that quickly brands itself onto your brain. His playful imagery ("I'm so lonely I've gotta eat my popcorn all alone") mirrors the melody, before a solo that borders on psychotropic ends II`s introduction. UMO is unafraid to dig deeper than the rest, their intoxicating, opiate groove bringing rock'n'roll's exaggerated myths to life. And as it unfolds, II does find Nielson reenergized. "One At A Time" and "Faded In The Morning" boast dizzying choruses and instrumentals; these crusty hunks could have been excavated from a lost 1960s treasure trove. "Monki" unravels over seven minutes like the yarn from a stoner's cardigan with an eye-frying pattern. "Dawn" is a minute of disconcerting noise that stands out between the nooks and crannies of the choruses, guitar solos, groove-heavy bass and drums that were recorded live by newly-recruited drummer Greg Rogove and Kody Nielson in a move away from the electronic percussion employed on album one. II closes with "Secret Xtians," a tender observational puzzle that fizzes to a satisfied end. In celebration of the album's 10th anniversary Nielson's complete collection from the II era is finally available in one compilation, and features the five acoustic tracks from the Blue EP as well as two additional B-sides. Unknown Mortal Orchestra was once Nielson's closeted concern. With an album that uses his singular musical imagination and extraordinary talent to parade his emotions with unyielding honesty, it is now a fully realized band operating at the peak of its powers ten years on.
New release for 'To Pikap Records' by Raj Pannu, British producer, DJ and long-time collaborator of electronic music pioneers Coldcut (Ninja Tune). This fiery 5-track EP will make your brain blush and your body sweat with its sexy, futuristic blend of everything considered danceable. Coming straight from the underground, these sick compositions of hypnotic new born grooves are here to heal our cosmic souls with fluid dynamics, rumbling bass and bubbling repetition which some would consider illegal. It's a must have.
Curren$y (aka Spitta Andretti) once again teams up with long-term collaborator and legendary producer Harry Fraud on Vices. This nine track album is a time capsule to the 1980s and taps into the nostalgia and style of that decade. The music and artwork of Vices is a continuation of their theme of jet-setting and smuggling illegal substances on jet boats through the marina (Cigarette Boats, The Marina, The OutRunners, and Regatta) and proves to be yet another instant classic from the duo. Entirely produced by Harry Fraud, with features from Benny The Butcher, G.T., Jim Jones, Larry June, Rome Streetz and Vico, this limited edition release is a must have.
Glen S debuts on Craigie Knowes with the Elation Station LP. 7 club-handy tracks shaped to elate minds and elevate dancefloors. A reflective trip glimmering with positivity and illumination.
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Orange vinyl. Time is supposed to mellow us, but for Petrol Girls it has distilled their feminist politics into an ever more potent cocktail. Fitting, given that their logo from day one has been a flaming molotov. Since their formation in 2012, the band has been known for playing fast-paced, chaotic punk that takes aim at everything from sexual violence to immigration policy, but over the last few years their sound has evolved in a more nuanced direction. Their 2016 debut album Talk of Violence was a blast of pure political rage, while 2019's Cut & Stitch saw vocalist Ren Aldridge exploring familiar themes from a more personal perspective. Now their latest offering, Baby - to be released through the London-based independent label Hassle on June 24th - sees the band turn another new corner. This time, by embracing irreverence. "We wanted this album to be less epic and less preachy from day one," Aldridge says. "I hate sanctimoniousness. Like, really fucking hate it. But I also know that I have been mega preachy, and felt very pressured to be sanctimonious, because we've always played in a very political punk scene. I lost my fun side, and I really needed to come back to that." Recorded with Pete Miles at Middle Farm Studios in Devon, Baby embraces a more playful sound. A focus on groove and repetition - driven by guitarist Joe York, drummer Zock and bassist Robin Gatt - give the songs a Talking Heads feel, while retaining the band's formative post-punk energy. The lyrics, too, are a departure for Aldridge. While she continues to address heavy topics like burn out, femicide and police violence, the lyrics balance directed anger with tongue-in-cheek humour where appropriate. Angular opener "Preachers" puts the self-aggrandising nature of call-out culture on blast with lyrics like "feeling dead important in the comments", while lead single "Baby, I Had An Abortion" is intentionally puerile from title to finish. On the flip side, tracks like "Violent By Design" see the band kicking back against carceral feminism in the wake of a news cycle dominated by Black Lives Matter protests and PC Wayne Cousins' brutal murder of Sarah Everard. Similarly, "Fight For Our Lives" - a harsh, borderline industrial song - was lyrically co-written by activist and vocalist Janey Starling. Aldridge deliberately wrote the verses to sound like a manifesto, and the lyrics reference Starling's Dignity For Dead Women Campaign with Level Up, which successfully called for the UK media to change the way it reports on fatal incidents of domestic violence. Baby saw Petrol Girls working in new ways - scrapping entire songs rather than trying to force things that didn't feel right, recording to tape for the first time, and deliberately leaving in imperfections. It was a more carefree process, which Aldridge - having gone through a particularly bad period of mental ill-health at the start of 2021 - welcomed. "Our whole thing for a long time, and a big focus of the last record, was making political struggle sustainable," Aldridge says. "And I think having a good time where possible, and things being not totally serious all the time, is really essential."
The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_
The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_
It is our pleasure to announce an exciting collaboration born out of the resounding success of UMAY and BASHKKA's iconic EP, "Maktub." Together, we are thrilled to unveil the culmination of BASHKKA's initial vision: the release of a meticulously crafted vinyl edition, complete with fresh and iconic remixes courtesy of some of her closest comrades and confidants. Ever since its electrifying debut in February, "Maktub'' and its mesmerizing title track, 'Act Bad,' have set dance floors ablaze across the globe. This explosive track earned the esteemed title of Top Summer Hit from Germany's venerable Groove Magazine, leaving us with no choice but to bestow upon it the grand physical manifestation it so rightly deserves. This offering is tailor-made for the discerning vinyl aficionados, dedicated collectors, and music connoisseurs who have fervently championed both this release and the incomparable talent of BASHKKA throughout the year. Graciously funded by the generous support of Initiative Musik, we have not only breathed life into this iconic release but have also empowered BASHKKA to co-direct her very first music video, in collaboration with the visionary director Valentin Noujaim, based in Copenhagen. Within the grooves of this vinyl masterpiece, you will discover four exquisite remixes thoughtfully crafted by BASHKKA's esteemed friends: Roza Terenzi, Hyperaktivist, Sedef Adasi, and AKUA. This illustrious ensemble perfectly encapsulates the essence of the project--an impassioned homage to the tight-knit community of allies and pioneering femme leaders who remain steadfast in their mission to challenge prevailing industry norms and dismantle the barriers that have long hindered marginalized communities' path to success. As each contributor works tirelessly on their own endeavors, they collectively construct vital support systems that foster sustainable growth and uplift those in need within our midst. With an exceptional team standing firmly in our corner, we eagerly anticipate unveiling a treasure trove of delightful surprises that this release promises to deliver. Stay tuned for tantalizing hints and immerse yourself in the tangible embodiment of BASHKKA's iconic creation.
New Interplanetary Melodies, continues its space journey, among the most interesting musical galaxies of the Italian electronic music scene. For this new release, Simona Faraone, relies on the skilful hands of producers and musicians Marco Antonio Spaventi and Enrico Demuro, who return to work together after the experience of The Great Walk to give us this dense musical experience in the imaginary soundtrack form of a retro-futuristic sci-fi movie that embraces the ever more topical theme of survivalism.
Back in stock
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Moderat are Modeselektor and Apparat. Hardly anybody has brought electronic music from Berlin to the farthest flung corners of the world with more passion and enthusiasm than these two heavyweights.
INFODUMP Recordings, a Tokyo-based independent music label, releases a new EP produced by the label owner Takuro Hasumi. A Japanese outsider artist Pinkski created the illustration of the new EP’s cover art.
“A 3 track ep from Takuro Hasumi that dives deep into the mystical weirdness of house music. Out-there melodies and synths come together on a bed of machine funk grooves that demand you shuffle your body and mind too. My fav here is Ticktack, a house track from a wonky, chunky parallel universe.”
John Osborn (DRED RECORDS)
Der OST des französischen Produzenten Arnaud Rebotini aka Black Strobe zum belgisch-französischem Spielfilm 'L'Ile Rouge / Red Island' (2023) von Regisseur Robin Campillo (der nach der Grand Jury Prize-Auszeichnung bei den Filmfestspielen in Cannes 2017 für seinen Film '120 BPM' Kultstatus genießt). Das semi-autobiografische Drama 'L'Ile Rouge' handelt vom Heranwachsen eines 10-jährigen Jungen Anfang der 1970er Jahre auf einem französischen Militärstützpunkt in Madagaskar und läuft im September 2023 beim 71. Internationalen Filmfestival von San Sebastián.
