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Ezra swears it is not meant for entertainment but he doesn't mind if listeners find pleasure in the grooves. This cycle of ten songs designated for the months of the year (Jan and Feb are missing) aim for the self-professed "lofty goal of real protest."

Ezra Furman is a young singer-song writer with a punky spirit who is not afraid to cram a lot of words in among the hooks and jabs. While taking one for Team Earth he is determined to remain standing in the ring at the center microphone bloody but unbowed.

Hailing from Gothenburg, Sweden, Facit is the project of Joakim Karlsson. For almost a decade, he has been producing tearful synthesizer music under various aliases, often teaming up with compatriot Mai Nestor on vocals. Smartly drawing a line between Swedish chanson and minimal synth, 'Måndag Mon Amour' is Facit's second EP after having stopped at Veronica Vasicka's Cititrax in late 2013 with «Mat Åt Duvorna » (understand : Food For Pigeons).

Picture two passengers with paralyzing hemophobia, riding a sad carriage and smiling with tranquil melancholy, endlessy playing early 80s analog gear through some spring reverb. It doesn't take long to remember « notre amour était dans un igloo » and never forgetting it.

Dream Pop. Never a critical category with well-policed borders, the name usually refers to somehow indistinct music: melodies semi-obscured by thickly-layered blankets of sound, rhythms like falling feathers rather than propulsive motors.

Yet Dream Pop's comforting haze doesn't speak the language of dreams. It is the sound of the rapidly departing memory of dream upon waking, or the mind's drowsy slide into incoherence in the last moments before sleep. No, pleasant waves of pedal effects are not the sound of dreams. Dream itself is utterly vivid; it can be the medium of an almost terrifying lucidity. This is the quality of dreams captured by fOREVER TILL YOU DIE. In dream, one sees colors of an intensity unavailable to the eyes. Here, one can almost imagine timbres beyond aural comprehension. If Dream Pop's teenage brother Chillwave was a worn VHS recording of a late 80s TV movie, fOREVER is a restored 35mm print of Wojciech Has' masterpiece The Hourglass Sanatorium. (In fact, this album's title would be a good subtitle for that film.)

Born in Argentina and based in Poland, Candelaria Saenz Valiente, stage name PICTORIAL CANDI, is well equipped to transport us to dream-space. A graduate of Buenos Aires film school Universidad del Cine and the Arranging and Composition program at Boston's Berklee School of Music, Valiente is a truly wide-ranging multimedia artist. She has, among other things, written a collection of short fiction and a novel, conceived the "Ebertonium Candidus" a light bulb-amplifying analog synthesizer, created the performance installation piece La sensación de ser Mr. Luxus Reinstaldt, and formed the band Paristetris. Her whole career reflects the wild bricolage of the slumbering mind: her last solo musical work, the EP Drink, was released as a 600 bottle run of carbonated beverage, in two flavors. A concrete artifact of dream logic if ever there was one.

From the first second of opening track "Tonic (Paso De Los Toros)", fOREVER TILL YOU DIE declares itself hypnotic rather than simply hypnagogic, the insistent synth chords are a count-in to the victory of the unconscious as effective as the swing of a mesmerist's pocket watch. Everywhere there are little signs of dream logic's incongruous transitions. In the cut-and-paste aesthetic of "Dead Teens"; in the quickening drums that suddenly appear in the middle of "Lithium Starline"; in the curious slide from third person to second in "Got Things To Do"- "who's that girl who no one sees and no one cares for you" Spoken word interlude "Extra Stale Time" reads like a bedtime prayer for the already-asleep ("...the cosmos along with the smoking giant, the ancients were right, time to put banana peels on your breasts..."). Valiente describes fOREVER as "a coming of age album, with an endless coming and no aging." Like the mind's nighttime journey, it is a narrative without time or direction, following the whims of the id along ever-twisting pathways of shrouded meaning.

At the serene heart of the album lies "Meteor Shower." Languidly enveloping the listener, in its self-possessed grandeur it seems to promise the perfect conciliation of cerebrum and cosmos, as its refrain proceeds to almost prayerfully meet a rising wall of organ. Yet it is followed by the unsteady march of "Rhoda" out from the dream-space, accompanied by the paradoxically triumphal cry "I'm...so...tired!" and the badgering condescension of pragmatism - "we're sorry to hear you're an artist now." Next, the appropriately somber "Emo Boy Bukowski" its middle section erupting into a funereal jumble of drum pads: here we are back in a half-aware, regret-tinged predawn. Its opening guitar chime a mirror of Tonic's count-in, closer "Sherry TV" is the moment of reflection in morning light. A meditative strum, eventually joined by a snippet of distant plaintive flute, serves as backdrop for an accounting of the waking hours' weight. Fortunately, fOREVER TILL YOU DIE is a dream one can dive right back into.

Liverpool is Frankie Goes to Hollywood's second and last studio album, released in October 1986. It would be the band's final album of all-new material, and lead singer Holly Johnson would leave the band following the corresponding world tour.

The album's production was handled by Trevor Horn's engineer Stephen Lipson, who urged the band to play their own instruments on this album (Horn having replaced the band's performances and arrangements with his session musicians or his own performances on Welcome To The Pleasuredome [MOVLP116]).

Liverpool is generally regarded as having a heavier Rock
sound than Welcome To The Pleasuredome.
The album charted at #5 in the United Kingdom, #7 on the
Austrian and Swiss music charts and #8 in Norway.

Necessity is the mother of invention. Routinely, we are irritated by not having that we desire, or even require, frustrated by what is lacking. Creativity theorists would now most likely identify the frustration as a driving force for creative activity. OFRIN flips this notion on its head. What drives the Berlin-based Israeli is the creation of an absence. She offers her creativity to serve the art of omission. In doing so, she proves herself as a master of the art. Her new album "ORE" is defined by the lacking musical elements, causing tension and drive throughout. over the past few years artists have played into listener's expectations too much, OFRIN refuses to fall victim to that particular practice.

We only notice something is missing if initially we recognize something. OFRIN uses familiar pop tropes without shame and to great effect. The track "BEST REQUEST" could be referred to as a new form of EBM, something akin to disembodied Electronic Body Music, as contradictory as that may sound. Orchestral hits, filter progressions and saw-tooth bass create an unmistakable 80's sound that will warm the heart of every self-respecting old school waver. The lack of beats is what defines this piece, catching the listener off guard and causing a slight abstraction. This variant theme occurs throughout the entire album.

"DIRECTION ECLIPSE" is a dark ballad drenched in trip hop nostalgia and takes the best from the genre. And here is yet another contradiction: OFRIN achieves an orchestral grandeur without pathos. Her clear yet never predictable melody stands alone without any orchestral backing as it is forced into modesty, virtually intimate. OFRIN resists the temptation to overload the piece with strings, making it a dark delicate lullaby.
We do get a 'proper' EBM track in the end with a slapping snare and metallic synth-bass. "SISYPHUS" is a captivating piece, cutting through a classic arrangement with triplet rhythms. OFRIN tirelessly builds up the track over and over but never gives us the satisfaction of resolving this build up. The hook never comes; we are left out in the open.

"STOP DISTA" starts out innocent and calm, only to lead us into madness. What starts as a dreamy acapella, ends up a in a fierce tribal rhythm. OFRIN even takes on the classic Ragamuffin style, opting for a bare bones approach of purely Vocals, throbbing synth and a noise brass groove. OFRIN uses simple arrangements to great effect, fooling us over and over again into a false sense of security before taking it all away.

OFRIN is the master of her own voice, not showing off any flourishes for the sake of it - exercising restraint at all times. She avoids the excessive use of expressive bel canto techniques in favor of unusual melodies. Her voice is cool and composed. Her vocals are confident and incisive - free of vanity.

OFRIN is both a musician and a video artist. She has created a multipart video production for her album "ORE", an approach which she developed with her last video music project "THE BRINGER". "ORE" tells an archetypal story about two opposing forces within the same universe. The narrative builds on astrophysical phenomena, linking the real universe to an imaginary one.

Label mate T.RAUMSCHMIERE is behind the outstanding production of her new album. "ORE" is OFRIN's fourth studio album.

After the release of their debut Till Monkeys Fly [MOVLP1667], Here We Go, Stereo! is the second album of Dutch Rock band Racoon, released in 2001.

Racoon started in 1997 as an acoustic duo made up of singer Bart van der Weide and guitarist Dennis Huige. They were joined by bass player Stefan de Kroon and drummer Paul Bukkens a year later, and their self-released demo It's An Ice Cream Day earned them the attention of several record companies and many positive reviews from the Dutch press.


In 1999, Racoon were signed to Sony's S.M.A.R.T. label and at the end of the year they went into the ICP-studios in Brussels to record their full-length debut, Till Monkeys Fly, which included the single 'Feel Like Flying'. Here We Go, Stereo!, was buoyed by the hit 'Eric's Bar'.

Recordstore Day 2016 Release - Limited to 600 numbered units. Special remarks: 2LP in gatefold sleeve with printed inner-sleeves and CD included
The CD included features the 16 tracks of the album. Short info: For the first time, the mythic live of Catherine Ringer at the 'Cigale' that was recorded in 2008 is available! Here, we can recognize the legendary punch of the singer that performs some of The Rita Mitsouko's classics, among others. Numbered edition limited to 600 units.

Sego is rhythm distilled and pure. The Los Angeles-by-way-of-Provo duo of Spencer Petersen and Thomas Carroll churn out percolating and pummeling beats that coalesce into persistent grooves that are just as jittery as they are danceable. Once Was Lost Now Just Hanging Around, their debut album (out March 5, 2015), introduces them as a band turned inside out, the rhythm section taking lead while the guitars and keyboards add jaded, jagged texture. It's the sound of postmillennial city life chronicled by two millennials from rural Utah: '80s kids updating those sounds to the '10s and in the process rendering the familiar fresh and unfamiliar.

Spencer and Tom operate out of what they call the Cube, a warehouse in downtown L.A. that's part industrial-park facility, part urban hippie commune. "It's in this weird industrial wasteland downtown," says Spencer. "We share a perimeter with the UPS trucking yard and a cement factory." They are upstairs in the loft with a few other bands as roommates; downstairs is for storing gear, rehearsing, recording, and hosting the occasional concert or party.

Invisible 1' it's sometimes good to keepadmirers at a distance. For her come-back' album, Brisa Roché follows this rule to the letter.
After four albums in France, she returned to her native California — not the one with six-lane highwaysand palm trees, but the one up north, where mountain lions roam, and sequoi as tower. There, hiddenin her home-studio, she channeled song after song, inspired by tracks arriving from producers all over the world. Some sent sound hoping to re-provoke songwriting in the vein of jazz-singer. Brisa freshly arrived in France the moment the Twin Towers fell, who haunted the stages of Parisian caves with a high shadowy voice, forcing journalists to compare her to Billie Holiday. Others sent what revealed a preference for the avant-gardism of Mystery Man' off of her first record on Blue Note, that transported fans with pop as daring as it was sweet. Still other composers sent tracks they hoped would prolong the sound they loved in her hits Whistle'and Call Me', from her psych-folk period.
But of course, Brisa did not revisit the past. She invented a future, a space-time exercise, creating songs across thousands of miles, across musical genres, where a voice springs as easily from a computer, an applauded stage, ora virgin forest.
The album INVISIBLE 1 is titled such because anything is possible when limitations imposed by a studio setting are discarded, when judgments and timidity are veiled by distance, when collaborations multiply across the waves, when intimacy with strangers makes art.

For fans of: Cat Power, Joni Mitchell, Michael Jackson, Prince

Having previously released two demos under her Sequoyah Tiger moniker, the Italian producer Leila Gharib returns with her debut EP on Germany's Morr Music.

"Ta-Ta-Ta-Time" comprises five songs Leila Gharib wrote in her home town Verona between 2013 and 2015. Gharib, who had previously been a member of the local Indie Rock trio Bikini The Cat and co-founded the performing arts trio Barokthegreat, both takes her cues from various forms of arts and also makes use of them to create a multi-disciplinary gesamtkunstwerk.

If it is the zine she designed for the release of her first demo "Brother/Brother" in late 2014 or a slew of washed out, impressionistic videos she directed herself, she channels a passion for that which inspires her: Her so-called own "visual alphabet" is made up from a wide array impressions like drawings of animals, VHS aesthetics, adventure books, amongst others. Gharib even describes the EP's title as a "graphic stutter" which expresses "the duration of an emotional experience", much like what she calls a "Bolero effect" in regards to her music, which refers not to Ravel´s famous piece, but to a spanish, traditional dance of the same name, which heavily relies on the interplay of the progression of time and rhythmic repetition.

It would thus perhaps not be wrong to label "Ta-Ta-Ta-Time" EP a piece of Synth Pop. Only that "Synth" here would be short for "synaesthetic": Gharib's songs, which take their cues from traditional genres like Doo-Wop as much as from contemporary experimental Pop acts like Panda Bear, refer directly to visual art and language. Language is indeed the starting point of Sequoyah Tiger's songs, which revolve around her processed and at times layered vocals, complemented by gripping rhythms and rich harmonies. Breakages, repetition and delays are not flaws, but rather integral elements in Gharib's songwriting process, in which the musical quality of language develops a life of its own. Sequoyah Tiger's opaque lyrics aim less at creating narratives than generating new meanings and expressing emotions which tie in perfectly with her highly allusive music.

12'' in printed sleeve RSD 2016 Release
Since their first album in 2009, Django Django have covered some distance. Indeed, their first album has been acclaimed by critics and sold more than 250 000 units worldwide. After their international tour and a fantastic 2nd album released last year, we are glad to be able to hear them again through a bunch of clever remixes, in which you'll have the chance to hear Tim Burgess' (The Charlatans) brilliant contribution to this limited edition EP.

Next single up on the Great Pop Supplement, following super quick sell outs already this year of previous releases from the likes of The Hanging Stars and Dean & Britta, is the debut 45 from Youth of America.



Youth Of America is the new songwriting project of Simon Shaw from Trembling Bells. Featuring all of the Bells, plus singers Lucy Sweet (Lucky Luke) and Sophie Sexon (Big Hogg). It was born out of his love of US West Coast power pop (The Go-Gos, Bangles, Redd Kross etc), and an ongoing obsession with US counterculture films from the same period.



Navigator has been described as "Big Star with gurls" while the flip side Night Of The Comet is a tribute to the 80s zombie cult classic of the same title.



A killer 45 limited to a pressing of 400 with (proudly) no links whatsoever to Record Store Day. Destined to sell out real quick. Get on it!

TROPY is a new musical project consisting of Artur Mackowiak and Bartek Kapsa of Something Like Elvis, Contemporary Noise Sextet, Innercity Ensemble or Potty Umbrella fame. They say their debut album, "Eight Pieces", was inspired by the experimental films by Pedro Fereira. The music included on the album can be said to constitute an amalgam of their previous musical experiences. The eight tracks seamlessly fuse elements of improvisation, psychedelic synths, jazz rhythms and noise-rock guitars. Even though each of the pieces tells a separate story, evoking unique moods and emotions, they definitely belong together.

A.DYJECINSKI is an enigma wrapped up in a ball of gently mysterious wool. He is originally from Canada, 'The Valley of Yessiree' is his first album as a solo artist: A self-recorded autobiographical concept record on failure in the pursuit of loneliness and the ghosts that occupy his mind.
LIVE: May 6th Freds Ale House, Manchester (solo support), May 7th All FM session Manchester, May 8th The Castle, Manchester (solo support), May 10th Oporto, Leeds (headline), May 12th Deaf Institute, Manchester w/The Travelling Band, May 13th Hoxton Square Bar and Kitchen, London w/The Travelling Band, May 15th About Songs Festival, Hamburg, May 16th Auster Club, Berlin w/The Travelling Band, May 17th Cologne w/The Travelling Band tbc, May 20th The Grand, Clitheroe w/The Travelling Band, July 3rd Just like heaven' Festival, Italy tbc.

A.DYJECINSKI is an enigma wrapped up in a ball of gently mysterious wool. He is originally from Canada, 'The Valley of Yessiree' is his first album as a solo artist: A self-recorded autobiographical concept record on failure in the pursuit of loneliness and the ghosts that occupy his mind.
LIVE: May 6th Freds Ale House, Manchester (solo support), May 7th All FM session Manchester, May 8th The Castle, Manchester (solo support), May 10th Oporto, Leeds (headline), May 12th Deaf Institute, Manchester w/The Travelling Band, May 13th Hoxton Square Bar and Kitchen, London w/The Travelling Band, May 15th About Songs Festival, Hamburg, May 16th Auster Club, Berlin w/The Travelling Band, May 17th Cologne w/The Travelling Band tbc, May 20th The Grand, Clitheroe w/The Travelling Band, July 3rd Just like heaven' Festival, Italy tbc.

Since the release of Intersectons in the fall of 2013, Into It. Over It. have toured signifcantly,
headlining throughtout the world and supported a wide variety of bands including Minus The Bear,
Saves The Day, American Football, Kevin Devine. Into It. Over It. have also made appearances at
numerous festvals including Lollapalooza, Riot Fest, Surf and Skate and many others. This has helped
develop a rabid fan base. Afer taking some tme to record with his other projects, Pet Symmetry (Asian
Man), Their/They're/There (Polyvinyl), Evan has returned with a new Into It. Over It. full length fans
have been eagerly awaitng.
'Into it. Over. Over It. takes cues from early Death Cab for Cute and The Promise Ring, as verbose,
melodically winding acoustc guitars lead while more distorted parts add texture.' -Pitchfork
'Into It. Over It. honors the traditon of Midwest indie rock oversharers, by wrapping cutng lyrics in
languid guitar lines and bruised yelps.' -Spin
'A breath of fresh air for the emo archetype.' -Stereogum

John Dieterich & Jeremy Barnes began 'The Coral Casino' as an attempt to understand one another. They met one day and the next they were in a blank room with unfamiliar instruments in their hands and zero expectations, each agreeing to do his utmost to ignore the other. Yes, their first forays into musical collaboration began with the stipulation that each had to improvise in a rhythmic manner while not listening to what the other was doing. This idiosyncratic process proved to be the unlikely genesis of songs like "Special Questions" "Sandwild" and "The Frost Pocket" Their shared love of melody and pop provided the anchor for wild performances and deep, rich textures, laying the groundwork for many more moods: the euphoric "Out & About" the stirring tribute to the satellite Philae ("Philae lands on comet 67p_churyumov-gerasimenko"), the first satellite to land on a comet, and so on.

Expansive, unafraid of complexity yet wide-eyed with elation, their sound embodies risk that genuinely rewards. While flirtations with danger and darkness occasionally appear, in the end everything becomes a laughing pile on the floor. An optimistic homage to a possible future, 'The Coral Casino' is both childish and sophisticated, seemingly tossed off yet at the same time exhibiting a depth that reveals itself on each subsequent listen; an exploration of friendship and the pure joy of ecstatic communication.

Take a trip to 'The Coral Casino': the perfect destination, where everything is topsy-turvy, no one is in control and yet all are mysteriously spirited to their beds before dawn.

"I always have a spatial vision of music" says Cico Beck, mastermind of Joasihno and bandmember of The Notwist and Aloa Input. Sitting in his basement studio among self-made synthesizers, records and weird instruments, he points at a tiny robot beating an electronic drum: "That's one of my new musicians". Alongside Nico Sierig, bandmember and co-producer of Joasihno, the band will be accompanied by a robot orchestra.

But first things first. The third album Meshes is a spectacular transformation. "I always had an experimental set-up and some sort of rules for the production of my records... but not this time". If you imagine Meshes as a certain space, you are standing in an endless glossy black room surrounded by flashing stroboscopes with Joasihno in the centre of a blinking cloud of strange objects which sound like some kind of synthetic whales. Glimpsing from the back: the robot orchestra. With mere fragments of this vision, Cico Beck took off for Berlin to meet co-producer Tad Klimp in one spring night 2015. Some ecstatic sessions later the vision was evolving: "Nuh Nuh" - an experimental electronic piece winding into infinity with a friendly grin, reflecting the amplitude between modular synthesizers and Fisherprice keyboards. Once you're under the hypnosis of this soft monster, you are floating peacefully into the new world of Joasihno's Meshes. Despite a plethora of oscillating ideas and acoustic bubbles, Joasihno never lose touch with the Listener, while sailing placidly through all aspects of Beck's vision of electronic anti-pop.

The entertaining Meshes features another 9 sparkling miniature gems, simultaneously complex and accessible, melancholic and hilarious, bright and deep. The music breathes ideas of smart UK-Garage-philosopher Four Tet, the crazy street composer Moondog and some sort of Nils Frahm neo classical approach - and of course: pop music. Even if most tracks deny structures and rules of pop composing, they are always interacting with it - sometimes with a twinkling eye, sometimes in a deep lust for destruction. "In the end I found out, that I was approaching my own roots, the vision I had when I started Joasihno. I wanted the music to be more raw, intuitive and playful". From this perspective, Meshes is some kind of liberation for him: "I had a good time ignoring popular music" he says with a grin on his face. His former records "We say: oh well" (2011) and "A lie" (2013) were acting in the space between Iceland and Africa. Meshes puts a new spot on his musical map: New York - residency for the great magicians like Steve Reich, Philipp Glass and Raymond Scott. The transformation to the complex electronics of "Meshes" is both harmonious and unavoidable. This transformation was just a matter of time for a magic man like the 31-year-old Cico Beck: with his fuzzy-head, professor's attitude and two meters height, he's always looking for a new expedition into extraordinary acoustic spaces. The journey from Iceland to Africa to New York is just about far enough for this trip - but the next destination is about to appear.

Kid Congo and The Pink Monkey Birds' fourth full-length for In The Red Records, La Araña Es La Vida feels the Mexican muse of The Great Spider Goddess of Teoticuhan, who sprouts hallucinogenic morning glories and protects the underworld—or in Kid's eyes, the world of underground music. Recorded at The Harveyville High School gym in Kansas, this self-produced album finds guitar slinger and singer Kid Congo Powers (The Gun Club, The Cramps, Nick Cave and The Bad Seeds), bassist Kiki Solis (Knife in The Water, Rhythm of Black Lines) and drummer Ron Miller (Switch Hitter, Up The Academy) joined by Chicano-Mosrite-playing guitarist Mark Cisneros (Medications, Deathfix). La Araña Es La Vida rocks 'n' rolls its way through a planet of Glamazons ( Psychic Future'), blisters with the tricks of a Magic Machine,' then gets to work out a low-rider groove on Chicano Studies.' Tales of gender-bending disembodied heads, gente from La Puente and even a TCB-era Elvis-inspired rave up on Karate Monkey' are merely a smattering of the mythic magic on this platter! The world is a wild and wooly place and with the help of La Araña Kid Congo and The Pink Monkey Birds will continue to reflect it.

Kid Congo and The Pink Monkey Birds' fourth full-length for In The Red Records, La Araña Es La Vida feels the Mexican muse of The Great Spider Goddess of Teoticuhan, who sprouts hallucinogenic morning glories and protects the underworld—or in Kid's eyes, the world of underground music. Recorded at The Harveyville High School gym in Kansas, this self-produced album finds guitar slinger and singer Kid Congo Powers (The Gun Club, The Cramps, Nick Cave and The Bad Seeds), bassist Kiki Solis (Knife in The Water, Rhythm of Black Lines) and drummer Ron Miller (Switch Hitter, Up The Academy) joined by Chicano-Mosrite-playing guitarist Mark Cisneros (Medications, Deathfix). La Araña Es La Vida rocks 'n' rolls its way through a planet of Glamazons ( Psychic Future'), blisters with the tricks of a Magic Machine,' then gets to work out a low-rider groove on Chicano Studies.' Tales of gender-bending disembodied heads, gente from La Puente and even a TCB-era Elvis-inspired rave up on Karate Monkey' are merely a smattering of the mythic magic on this platter! The world is a wild and wooly place and with the help of La Araña Kid Congo and The Pink Monkey Birds will continue to reflect it.

Are you ready for a bewitching pop adventure Morr Music is releasing Slow Steve's Adventures, the debut album by Ex-Fenster member Rémi Letournelle. Following a 7" split single on Berlin DIY label Späti Palace and Steps, a six-track EP released on Morr Music last year, Adventures is the first LP of the French man. His bubbling vintage synths (together with an impressive variety of instruments) will take you on a strange trip through imagined galaxies and secret deep-sea worlds. Call it weird, but this is amateur pop in all its glory, and the most natural outlet for Slow Steve. Think of Ariel Pink, John Maus, early Future Islands, old Krautrock luminaries or Arthur Russell - a whole school of alternative pop music that Rémi is very likely to join. Adventures is more than just an application.

In January 2015, he started working on the eleven songs that make up the album. While the Steps-EP was mainly jams Rémi created in his room with a bit of pot, whiskey, Casios and a TR707, he got deeper into songwriting for his first LP. The songs were recorded with producer Tadklimp for 5 days in the Worm Studio in Rotterdam, using their many glorious vintage synthesizers, and in Tadklimp's studio in Berlin. Apart from Charley Vecten, who started Slow Steve with Rémi as a live duo back in 2012, most of the instrument parts on the record were written and performed by Rémi himself.

When Rémi moved to Berlin, he met psychedelic pop outfit and fellow Morr signees Fenster. Rémi has been part of their live shows as well as contributing to their first two albums. There are certain familiarities between the washed-out sound of Fenster and Slow Steve, but Adventures sees Rémi doing his own thing. He says "I had weird science fiction in mind, visions of Jules Verne drawings from the early 20th century and science fiction/action movies from the end of that same century. That's why it's called Adventures: I'm picturing a kind of Indiana Jones going down to the bottom of the sea, to Lilliput and other crazy, weird worlds." Song titles like "The Giant Spider Crab From Japan" literally imply that this is a cosmic synth dive into creepy depths, while in "Joséphine II (Rivière)" Rémi sends his two teenage nieces through the universe in some cute spacecraft. Elsewhere, you hear the inspiration that 70's French sci-fi movies and their experimental electronic scores had on Rémi, for instance in the blissful nostalgia reverberating in "Oscillation". Even the sunshiny guitar pop and blurred synths of "Sloth" or "Bali" sooner or later end up in humorous excursions. All song structures seem to follow some secret rules - challenging but always easygoing.

Adventures does what it says on the sleeve: surprise and mesmerize, somewhat wild and spaced out. Welcome to the curious world of Slow XSteve.

Summer Flake returns in full force with Hello Friends , the followup to the critically acclaimed 2013 debut LP You Can Have It All . The album marks a new era for Melbourne-via-Adelaide musician Stephanie Crase (whose former credits include No Through Road, Birth Glow, Hit the Jackpot and Batrider), having enlisted the production finesse of Geoffrey O'Connor to propel her idiosyncratically sun-drunk guitar pop into new and more lush territories. Drenched in a timeless reverb, Summer Flake's transcendent songs float on the ethereal wings of pop , via the Crystals and the Paris Sisters, wander down the lonely byways of Karen Dalton and Laurel Canyon folkies, amble up alongside the hard-edged '90s alternative rock of Hole and Sonic Youth, before finally emerging into the sunshine of other dream-pop contemporaries like Best Coast or Mac DeMarco. It's only the second full-length release for Summer Flake but Crase's output has been prolific over the last four years, with four EPs under her belt that garnered increasing attention in Australia and internationally. Hello Friends continues Crase's tendency for the thoughtful arrangements, '90s-tinged frankness and dizzying harmonies that have led her from strength to strength, this time adding a deeper layer of emotional reflection to an already enduring sound. These songs, as delicate as a snowflake on a summer beach, unmoor one from the drudgeries of place and time, and Hello Friends confirms Summer Flake as a band to watch.

Brighton 4 piece BLACK PEAKS can today finally announce details for their massively anticipated debut album 'Statues', along with the first new single 'Saviour'. 'Statues' will be released on February 26th through Easy Life/Sony Red, with single 'Saviour' being available to buy (digital) and stream from Monday 9th November AND will be part of any album pre-order as an instant grat track. . The single received its first ever play last night on the Radio 1 Rock Show with Daniel P Carter, and will be played again this evening on Radio 1 during the Annie Mac show.

Released on cassette last year, Katie Von Schleicher's Bleaksploitation took the tape world by enough of a storm to thunder demand for more formats. Consequence of Sound described her songs as like ghosts trying to communicate through a cassette deck', Paste claims they sound like a vintage girl group playing in the basement of a haunted house.' This is exciting music from someone we'll be hearing about for a long time to come. Bleaksploitation was recorded in a dark room on a Tascam 4-track cassette machine. The result is hazy, terrifying and playful. This is what happens when well-crafted songs are made in the moment, warped, drunk on themselves. Von Schleicher's voice sinks like anchors and rises like a phoenix, wrestling its way through its very own form of basement tapes. '70s piano rock provides the core, sad lyrics form the shell. The LP is limited to 300 copies, with silk-screened covers made by the asshole herself! They also come with liner notes by Jay Ruttenberg.

Released on cassette last year, Katie Von Schleicher's Bleaksploitation took the tape world by enough of a storm to thunder demand for more formats. Consequence of Sound described her songs as like ghosts trying to communicate through a cassette deck', Paste claims they sound like a vintage girl group playing in the basement of a haunted house.' This is exciting music from someone we'll be hearing about for a long time to come. Bleaksploitation was recorded in a dark room on a Tascam 4-track cassette machine. The result is hazy, terrifying and playful. This is what happens when well-crafted songs are made in the moment, warped, drunk on themselves. Von Schleicher's voice sinks like anchors and rises like a phoenix, wrestling its way through its very own form of basement tapes. '70s piano rock provides the core, sad lyrics form the shell. The LP is limited to 300 copies, with silk-screened covers made by the asshole herself! They also come with liner notes by Jay Ruttenberg.

"Woods have always been experts at distilling life epiphanies into compact chunks of psychedelic folk that exists just outside of any sort of tangible time or place. Maybe those epiphanies were buried under cassette manipulation or drum-and-drone freakouts, or maybe they were cloaked in Jeremy Earl's lilting falsetto, but over the course of an impressive eight albums, Woods refined and drilled down their sound into City Sun Eater in the River of Light, their ninth LP and second recorded in a proper studio. It's a dense record of rippling guitar, lush horns, and seductive, bustling anxiety about the state of the world. It's still the Woods you recognize, only now they're dabbling in zonked out Ethiopian jazz, pulling influence from the low key simmer of Brown Rice, and tapping into the weird dichotomy of making a home in a claustrophobic city that feels full of possibility even as it closes in on you.

Following her acclaimed debut 'Ett' (Editions Mego) and the subsequent Msuic EP (Peder Mannerfelt) Editions Mego is very proud to present the second full length lp by Klara Lewis.

Lewis' skill at sculpting the hermetic shines on Too as she twists her idiosyncratic vision into nine tracks of blurred rhythms and haunted backdrops. Too is a powerful statement where the individual works tread a vast landscape as dour and aggressive elements rub shoulders with warmer optimistic works. Neither looking behind nor forward these works spiral in a time of their own devising, presenting themselves as a most audacious theatre for the ear. With a strong momentum developed from an organic outset the works move into a logic of their own, forming themselves as abstract landscapes, jitered rhythms and even pop like structures.

Too is a deeply engaging display of sound and skewered sensibility which hovers the cusp of reason and eludes the concrete. The results are Lewis' boldest statement to date.

Following her acclaimed debut 'Ett' (Editions Mego) and the subsequent Msuic EP (Peder Mannerfelt) Editions Mego is very proud to present the second full length lp by Klara Lewis.

Lewis' skill at sculpting the hermetic shines on Too as she twists her idiosyncratic vision into nine tracks of blurred rhythms and haunted backdrops. Too is a powerful statement where the individual works tread a vast landscape as dour and aggressive elements rub shoulders with warmer optimistic works. Neither looking behind nor forward these works spiral in a time of their own devising, presenting themselves as a most audacious theatre for the ear. With a strong momentum developed from an organic outset the works move into a logic of their own, forming themselves as abstract landscapes, jitered rhythms and even pop like structures.

Too is a deeply engaging display of sound and skewered sensibility which hovers the cusp of reason and eludes the concrete. The results are Lewis' boldest statement to date.

This is the first vinyl rerelease of the classic Tarwater album "Silur" since 1998. One of the most important albums in german electronic music in the 90's. It was the real start of big international career of Tarwater. Now after 18 years Gusstaff Rec. is releasing the album again, as 180g heavy vinyl with downloadcode (with bonus tracks) in original cover-design. Limited to 500 copies worldwide. The Berlin-based electronic duo Tarwater (Ronald Lippok and Bernd Jestram) formed in 1995. They have produced twelve regular studio albums and various collaborations (eg with Piano Magic, Tuxedomoon, B. Fleischmann), as well as numerous film and theater scores. The Tarwater albums were released on many labels like Kitty-Yo, Gusstaff Records, Mute USA, Morr Music, Bureau B... Lippok also played in the band To Rococo Rot and Jestram in Rats Live On No Evil Star. In 2016 Morr Music has released a collaborative EP "Leaves Of Grass" between Tarwater, Alva Noto and Iggy Pop. Each of the seven featured tracks scores a poem by American wordsmith Walt Whitman. Iggy Pop contributes spoken word recordings, while Tarwater and alva noto create the music.

Hinter Anohni verbirgt sich Antony Hegarty, die Sängerin von Antony and the Johnsons. "Hopelessness" ist ein Dance Album mit Soul-Gesang und politischen Texten, die staatliche Überwachung, Drohnen-Krieg und Umweltzerstörung thematisieren. Indem Anohni zeitgemäße elektronische Musik mit politischen Inhalten kollidieren lässt, wirft das Album gängige Erwartungen an Pop-Musik über den Haufen. Passend dazu erschien die erste Albumauskoppelung, "4 Degrees", zur Pariser Weltklima-Konferenz im Dezember 2015, was der "Guardian" mit "Hugely affecting (...) instantly earns its place in the pantheon of great musical protests' kommentierte. Im selben Fahrwasser bewegt sich auch die zweite Single. Musikalisch wunderschön, inhaltlich erschütternd brutal: "'Drone Bomb Me' is a love song written from the perspective of a young girl in Afghanistan whose family has been executed by unmanned U.S. drones. She dreams of being annihilated." Visuell wird das Ganze von einem atemraubenden Clip des bekannten Musikvideo-Regisseurs Nabil (Foals, Bon Iver, Bruno Mars, Kanye West) unterfüttert, in dem Naomi Campbell in der Hauptrolle zu sehen ist. "Hopelessness" entstand in Zusammenarbeit mit Oneohtrix Point Never und Hudson Mohawke.

Die amerikanische Avantgarde- und New-Wave-Band Tuxedomoon wurde 1977 in San Francisco gegründet.
1979 unterzeichnete Tuxedomoon einen Plattenvertrag mit Ralph, dem Label der Residents. Kurze Zeit
später erschien das Debütalbum "Half-Mute". Anfang der Achtziger siedelte die Band von Amerika nach
Europa über und fand sich, nach einigen Zwischenstationen, in Brüssel wieder, dem Heimatort ihres
europäischen Labels Crammed Discs (Marc Hollander). Und genau in diesem Kontext ist auch die
Wiederveröffentlichung von "Half-Mute" zu sehen. Das Album kommt - remastert als CD und LP - erneut auf
den Markt, da die Originalmitglieder Steven Brown und Bruce Geduldig angekündigt haben, im Frühjahr 2016
die Albumstücke während einiger ausgewählter Konzerte in Europa einer zeitgemäßen Interpretation zu
unterziehen. Die Neuauflage des Debüts wird von einem Tribute-Album mit dem Titel "Give Me New Noise"
flankiert. Dieses enthält 13 Coversongs der "Half-Mute"-Titel bzw. albumzugehöriger Single-Tracks. Mit von
der Partie sind neben Foetus/Jim Thirlwell, Aksak Maboul (Marc Hollander und Vincent Kenis), Simon Fisher
Turner und DopplAr (Amatorski) auch drei der Tuxedomoon-Musiker, die vor 26 Jahren "Half-Mute"
einspielten, nämlich die beiden Bandgründer Blaine L. Reininger und Steven Brown sowie der Bassist Peter
Principle.

We Are Scientists, the Brooklyn, New York based power pop troupe are set to return this coming April 22nd with their fifth album. Titled 'Helter Seltzer' and released via 100% Records, it is preceded by the single release of 'Buckle', the album's opening track, available today for stream and download.

For this album We Are Scientists asked their ex-keyboard player Max Hart to produce. Max had just finished a three-year stint as the keyboardist for international super-mega-person Katy Perry, choosing as his final gig Ms. Perry's performance at the 2015 Super Bowl. After a number of small producing projects squeezed in between tours, he was ready to roll up his sleeves and dive in.

Max rented a studio space in Brooklyn's DUMBO neighbourhood, outfitting it with gear he had accumulated over a decade of obsessive internet shopping. In early March, the team got to work. At their disposal was a trove of new We Are Scientists demos as well as Max's inside-out familiarity with hits like 'Teenage Dream' and 'Firework' and 'Dark Horse.' Sifting through the options, a direction emerged: they would use the tones and trickery of radio pop to add a sweet sheen to the new crop of distinctively We Are Scientists songs. Months of toil and trial and error finally brought the right balance, and the finished recordings were shipped to mixer Chris Coady at Sunset Sound in L.A. Coady has quietly emerged in recent years as one of the finest mixers of glossy indie pop, with credits that include Future Islands, Beach House, and !!!.

In 'Helter Seltzer' he knew he had an album that should shimmer but also bang, and he applied all of the magic and sauce at his disposal to insure it did exactly that. Finally, the music was passed through the deluxe mastering machine that are the ears of Greg Calbi (Yeah Yeah Yeahs, Noel Gallagher, Perfume Genius) to add a coat of heft and sparkle, and in January of 2016, nearly a year after construction began, the album was pronounced complete.

"We've always made overtures toward being a pop band, but we've generally had the inclination to obscure those pop leanings in grit and chaos — to screw them up with fuzzed-out tones and raucous performances," says guitarist and vocalist Keith Murray. "It's made us really think about what our musical genre is. We're not punk — we're too interested in making our songs as pretty as possible. We're not straight-up rock — our tastes our too left-of-centre. We're not indie-rock — our heads aren't far enough up our own butts. So finally, after putting as much time into thinking about it as we're apt to — about ten minutes, over beers — we decided that our genre is 'Helter Seltzer.'"

"Declaring a new genre is obviously douchey as hell, though, and impossible to deliver with a straight face," adds bassist Chris Cain, "so we did the noble thing and just made 'Helter Seltzer' the album title. It's especially apt for us these days, though. The songs here are more effervescent than we've ever managed to deliver, but they've still maintained a measure of that 'Helter Skelter' element — no matter how fizzy and refreshing the tunes are, they've always got a bit of that seamy, scuzzy, 'cult on Spahn Ranch' vibe."

We Are Scientists, the Brooklyn, New York based power pop troupe are set to return this coming April 22nd with their fifth album. Titled 'Helter Seltzer' and released via 100% Records, it is preceded by the single release of 'Buckle', the album's opening track, available today for stream and download.

For this album We Are Scientists asked their ex-keyboard player Max Hart to produce. Max had just finished a three-year stint as the keyboardist for international super-mega-person Katy Perry, choosing as his final gig Ms. Perry's performance at the 2015 Super Bowl. After a number of small producing projects squeezed in between tours, he was ready to roll up his sleeves and dive in.

Max rented a studio space in Brooklyn's DUMBO neighbourhood, outfitting it with gear he had accumulated over a decade of obsessive internet shopping. In early March, the team got to work. At their disposal was a trove of new We Are Scientists demos as well as Max's inside-out familiarity with hits like 'Teenage Dream' and 'Firework' and 'Dark Horse.' Sifting through the options, a direction emerged: they would use the tones and trickery of radio pop to add a sweet sheen to the new crop of distinctively We Are Scientists songs. Months of toil and trial and error finally brought the right balance, and the finished recordings were shipped to mixer Chris Coady at Sunset Sound in L.A. Coady has quietly emerged in recent years as one of the finest mixers of glossy indie pop, with credits that include Future Islands, Beach House, and !!!.

In 'Helter Seltzer' he knew he had an album that should shimmer but also bang, and he applied all of the magic and sauce at his disposal to insure it did exactly that. Finally, the music was passed through the deluxe mastering machine that are the ears of Greg Calbi (Yeah Yeah Yeahs, Noel Gallagher, Perfume Genius) to add a coat of heft and sparkle, and in January of 2016, nearly a year after construction began, the album was pronounced complete.

"We've always made overtures toward being a pop band, but we've generally had the inclination to obscure those pop leanings in grit and chaos — to screw them up with fuzzed-out tones and raucous performances," says guitarist and vocalist Keith Murray. "It's made us really think about what our musical genre is. We're not punk — we're too interested in making our songs as pretty as possible. We're not straight-up rock — our tastes our too left-of-centre. We're not indie-rock — our heads aren't far enough up our own butts. So finally, after putting as much time into thinking about it as we're apt to — about ten minutes, over beers — we decided that our genre is 'Helter Seltzer.'"

"Declaring a new genre is obviously douchey as hell, though, and impossible to deliver with a straight face," adds bassist Chris Cain, "so we did the noble thing and just made 'Helter Seltzer' the album title. It's especially apt for us these days, though. The songs here are more effervescent than we've ever managed to deliver, but they've still maintained a measure of that 'Helter Skelter' element — no matter how fizzy and refreshing the tunes are, they've always got a bit of that seamy, scuzzy, 'cult on Spahn Ranch' vibe."

Fresh from playing with Actress at his sold-out London Barbican show as part of the London Contemporary Orchestra, acclaimed cellist Oliver Coates releases his album 'Upstepping'.
Fuelled by cafeine, nervous energy and early Orbital and Photek, 'Upstepping' is an album of new- classical electronic experimentalism where Coates pushes the boundaries of what a cello is capable of. As Coates explains, 'About 95 per cent of the sounds are derived from recording the cello and
processing it digitally. A hi-hat equivalent is ofen a distorted, compressed and heavily EQ'd horsehair-on-steel stroke. All the melodic pitched sounds, even the ones that feel like keys, are samples of the tail of a cello harmonic. For example, 'Perfect Love' is a study in grey, concealing the source - it's 100 per cent made from diferent types of cello atack.'
The result is an astonishing record rich in the sonic and rhythmic palete of dance and electronic music - with hints of early rave, garage and the sounds of 1980s London pirate radios - and one which re-defnes the possibilites of classical instrumentaton.

OREN AMBARCHI, STEFANO PILIA and MASSIMO PUPILLO (ZU) team up for an instrumental trip bridging post rock, drone and improvisation. "Aithein" is available as limited 180gr LP, housed in a silk-screened sleeve (artwork by SARA D'UVA) incl. DL code, and download on Karlrecords.

Since the late nineties Oren Ambarchi has been exploring new grounds as composer and multi-instrumentalist (mainly focusing on guitar), fusing a wide range of influences and inspiration from improvisation, contemporary music, modern electronics and rock, and has been building an impressive catalogue of solo or collaborative albums with acclaimed artists such as KEIJI HAINO, JOHN ZORN, OTOMO YOSHIHIDE, JIM O'ROURKE, PHIL NIBLOCK, EVAN PARKER or SUNN O))). Bassist MASSSIMO PUPILLO has gained high reputation as founding member of Italian jazz-core trio ZU and in different projects / collaborations with a.o. FM EINHEIT, MATS GUSTAFSSON, LASSE MARHAUG and both BRÖTZMANNS (PETER and CASPAR). Last but not least there's STEFANO PILIA on guitar, member of the BELFI / GRUBBS / PILIA trio, playing with MIKE WATT in IL SOGNO DEL MARINAIO and for ROKIA TRAORE and featured on collaborations with DAVID TIBET, JOHN PARISH or GIUSEPE IELASI. On "Aithein", recorded live in Bologna in april 2015, the three embark on a captivating trip that starts quietly with reductive sounds only to raise volume and intensity on its way towards an cathartic peak (or skywards, considering the album title that references different meanings of ether). Available as 180gr LP, housed in a silk-screened sleeve (artwork by SARA D'UVA) incl. DL code, or as download.

Ben Harper & The Innocent Criminals veröffentlichen am 08.04. mit 'Call It What It Is' erstmals seit neun Jahren ein neues gemeinsames Album. Als sich Ben Harper 2015 mit The Innocent Criminals traf, war der Band schnell klar, dass es ihm nicht nur um die bevorstehende Reunion-Tour gehen würde. Tatsächlich hatte er massig Material für eine neue Platte dabei und erste Aufnahmen fanden sogar noch vor den Proben für die vier ausverkauften Konzerte im Fillmore statt. 'I thought we would be more energized and revitalized by thinking outside the box and starting with new material in the studio before we dug into the old stuff,' erklärt Ben Harper. "It was meant to be a signpost that we're here to forge new ground musically and personally.'

Ben Harper & The Innocent Criminals veröffentlichen am 08.04. mit Call It What It Is' erstmals seit neun Jahren ein neues gemeinsames Album. Als sich Ben Harper 2015 mit The Innocent Criminals traf, war der Band schnell klar, dass es ihm nicht nur um die bevorstehende Reunion-Tour gehen würde. Tatsächlich hatte er massig Material für eine neue Platte dabei und erste Aufnahmen fanden sogar noch vor den Proben für die vier ausverkauften Konzerte im Fillmore statt. I thought we would be more energized and revitalized by thinking outside the box and starting with new material in the studio before we dug into the old stuff,' erklärt Ben Harper. "It was meant to be a signpost that we're here to forge new ground musically and personally.'

Mark Kozelek und Justin Broadrick veröffentlichen das Debütalbum ihrer Zusammenarbeit als Jesu/Sun Kil Moon am 22. Januar. Das Album ist 79 Minunten lang und enthält Gastbeiträge von Rachel Goswell, Low, Isaac Brock, Will Oldham und anderen. Zwei Songs gab es bereits vorab im Netz zu hören, einer davon, "Exodus" ist Nick Caves verstorbenem Sohn gewidmet.

Nachdenkliche Sammlung neun musikalischer Vignetten mit geheimnisvollen Geschichten aus dem Alltag.

Terry Lee Hale wurde in Texas geboren, gilt als einer der Paten der Seattle-Szene und veröffentlicht seit über drei Jahrzehnten Musik. Die Songs auf "Bound, Chained, Fettered" sind Lektionen fürs Leben - wahre Geschichten, getragen von Hales emotionaler Stimme, die Hindernisse überwunden und Weisheit erworben hat. Es ist ein Album, das Bilanz zieht und die komplexen Zusammenhänge unserer Gegenwart zu erforschen versucht. Die spärliche, aber immer noch detaillierte Produktion verstärkt diese nachdenkliche Stimmung zusätzlich. Doch was in den Liedern offenbart wird, ist positiv und menschlich. Hale geht es um Tiefe, nicht um bloße Wiederholung oder leichte Unterhaltung. Für die Albumproduktion reiste Hale nach Norditalien, um dort mit Produzent Antonio Gramentieri (Hugo Race, Dan Stuart) zusammenzuarbeiten. Hale nahm alle Parts live mit Gramentieri in dessen Studio auf. So gelang es den beiden, eine freie, ungezwungene Stimmung zu erzeugen. Im Gegensatz zum Vorgängeralbum, "The Long Draw", hat sich auch am Sound einiges geändert. Vielen der Songs unterliegen leichte Percussions und atmosphärische Geräusche. Ein subtiler Mix aus Piano, Hammond, dezentem Synthesizer-Einsatz, Bassklarinette, Baritonsaxofon, Mellotron und Gramentieris 6-saitigen Texturen bildet die Grundlage für Hales nachdenkliche Geschichten.