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"I locked in a glass box in a drawer storms that we have." I've never been very good at telling things in order and precision. For this reason, I start from the end. From the fact that those storms, in the end, we closed in here. In the middle are the days of last summer, 2013, in which we Kaufman we closed the studio together with Alessandro Raina and Marco Franzoni and we tried to tell one way of seeing things and music. And it was a way built through discussions on the Smiths, on the pains of being pure at heart, the way to look through facebook. There was football, reflections, discussions on the use of a word in the text or another. There was even tendonitis Ale Micheli, the tavern Sicilian each day, the calm of Andrew and Simon. We rewrote the entire stanzas, played, and sounded notes and noises. And Ale Raina has become more of a music producer, wrote and performed. One day while driving he told me that it is not necessary at all costs to make a record, you do if there is a need, if you must say something and asked me what I really wanted to tell. I'm a bit 'I looked at the road, a little' I turned around and I said that I was confused and uncertain, yet we found in this sense. What I did not know what would have been my face from there to 5 years. Then he looked at me and said that this was the most interesting sentence I had said. Then, of course, to even the score added, but you have not put in the disc. Aliens, vampires, astronauts, I Lotus Flower, revolutions. Everything speaks of a non -membership that wants to change things and that creates riots and storms. Perhaps we were able to close them in a box. And here they are.

01. Alieni
02. Modigliani
03. 3. Il manifesto struggente di giovani vampiri
04. Astronauta
05. Santa Kryptonite
06. Cacciatori di zombie
07. Un aprile immaginato
08. Il fiore del loto
09. La mia piccola rivoluzione francese
10. Gotham

The June Brides are back again with two Phil Wilson songs (Being There, She Seems Quite Free) plus guitarist Simon Beesley's I'm Undone. The EP sees a return to the band's original harder-edged sound, following acclaimed 2012 single Moon/Cloud ('Glorious' Sabotage Times (UK), '...a stunning comeback' Critical Mob (USA), '...Song of the summer by a mile' PennyBlackMusic (UK), 'Wonderful' The Big Takeover (USA)). On this recording original Brides Phil Wilson, Simon Beesley, Frank Sweeney and Jon Hunter have been joined by Steve Beswick (drums) and Arash Torabi (bass). Background: The June Brides are true indie innovators, with fans including Manic Street Preachers, Morrissey and Belle and Sebastian. In the mid-1980s they produced five singles/EPs and one LP, There Are Eight Million Stories, which reached no. 1 in the UK Independent Albums Chart. They appeared on the cover of NME, toured with The Smiths and were cited by Morrissey as his favourite group of 1985. After The June Brides broke up in 1986, Phil Wilson cut two solo singles for Creation Records. His final single of the 1980s, Better Days was a collaboration with Primal Scream guitarist Andrew Innes on Bob Stanley of Saint Etienne's Caff Records. After 20 years as a civil servant, Phil Wilson returned to music in 2008. He has since recorded several solo singles and the lauded God Bless Jim Kennedy LP to excellent reviews from David Quantick (Uncut), Gavin Martin (Daily Mirror), Stewart Lee (Times) and Andrew Perry (Mojo) plus three Marc Riley BBC sessions. Performances
in the UK, Europe and USA have included Indietracks, the Port Eliot Festival, and the San Francisco and Madrid Popfests. When Phil was rejoined by original guitarist Simon Beesley in 2011 it became natural to revert to the 'June Brides' name.

CAR CRASH SET were one of the very few electropop acts coming out of New Zealand and have released several vinyls nationally between 1983 and 1986. Their 1983 12' 'Two Songs' and the V/A 'We'll do our best' LP are at least highly collectible items amongst electropop connoisseurs and many people will be happy to see these tracks being available again as well as four previously unavailable demos from both their earliest and later days.

Erlend Øye is a skinny nerd, but maybe that's what makes him a pop star. His huge thick spectacle-lenses act as an interface between his inner life and his numerous collaborators and fans. Erlend Øye is a travelling singer-songwriter, who has been making music in various constellations since the late nineties. He sang for Röyksopp, while his own bands are Kings of Convenience and The Whitest Boy Alive, who recently split up. A laid back, everyday vibe runs through Erlend Øye's music. Erlend is not larger than life, at the most his songs may be. The pop star from next-door doesn't make any drama, but leaves that to life itself. His relaxed, laid back sound opens your eyes and ears for places, situations and encounters. A certain mournfulness runs through the songs, although they deal with a longing for self-fulfilment. Erlend sings of loneliness, and in doing so, he creates a 'we'. Until now Erlend's projects have often been based on simple concepts - two guitars and two vocals with Kings of Convenience, and four instruments with The Whitest Boy Alive. With his new solo album he frees himself of these parameters; for the first time everything is possible, for the first time Erlend Øye stands alone. The songs on 'Legao' were arranged and recorded with the Icelandic reggae band Hjálmar.

The magic of 'Legao' lies in the fact that Erlend's vulnerable vocals and his sincere lyrics are supported by the elegance and consistency of the band. Today roughness is often used to counterbalance roughness, whereas on Legao a equilibrium is sought - and found. A simplicity, clarity and minimalism is created that is rarely found in pop music. Erlend Øye has grown up. He accomplishes nothing less than the step towards an independent, free-standing solo musician, who can perform in any constellation - with a band, orchestra or alone with a guitar.

A dusty Korg organ is powered on in an old Texas dancehall, while the jukebox plays 30 yrs of number ones. There is a stage but no one is on it. Soft Vision is Brad Barr and Kelly Winchester, of Austin, TX, and they are responsible for the hit song "Feel It Coming On."

Debut 7" vinyl from Mexican imprint TNT DISCOS, run by world famous Latin crate digger RUFFT TNT. A fantastic single that mixes boogaloo, Northern soul, and Jamaican ska with seductive MINNIE RIPERTON style female vocals. Flip is SKATALITES style ska scorcher with sweet vocals. Limited ed of 300. DUB SOUL INDIE

2 x vinyl in a spined sleeve, non-printed inner bags

4pg digi, 6pg poster

01. Fantastic Explosion Of Time
02. When It Explodes
03. Elegant Design
04. Sorry I Was Under The Sky
05. Sun And Sea And You
06. Allergies
07. You Broke My Cool
08. Moth Wings
09. Leisure Pony
10. Mystery
11. Dig Brother
12. Eye Pattern Blindness
13. Moreno's Blend

Standard sleeve, one page insert, sticker

4pg digi, 4pg poster

01. Whatever Happened To The Million Head Collide
02. Xanman
03. O Dharma
04. Aloneaflameaflower
05. Giant Tortoise
06. Hobo Rocket
07. Midnight Mass (At The Market Street Payphone)

01. It Is Not Meant To Be
02. Desire Be Desire Go
03. Alter Ego
04. Lucidity
05. Why Won't You Make Up Your Mind
06. Solitude Is Bliss
07. Jeremy's Storm
08. Expectation
09. The Bold Arrow Of Time
10. Runway Houses City Clouds
11. I Don't Really Mind

01. Be Above It
02. Endors Toi
03. Apocalypse Dreams
04. Mind Mischief
05. Music To Walk Home By
06. Why Won't They Talk To Me
07. Feels Like We Only Go Backwards
08. Keep On Lying
09. Elephant
10. She Just Won't Believe Me
11. Nothing That Has Happened So Far Has Been Anything We Could Control
12. Sun's Coming Up

Die Peaking Lights melden sich mit ihrem vierten Album "Cosmic Logic", welches Anfang Oktober auf Domino erscheint, zurück. Das neueste Schaffenswerk des Duos entstand während der letzten eineinhalb Jahre in Los Angeles, der Wahlheimat von Aaron Coynes und Indra Dunis. Produziert wurde "Cosmic Logic" in Eigenregie im neugebauten Studio der Band. Beim Feinschliff half Matt Thornley, der auch schon für DFA und LCD Soundsystem gearbeitet hat. "Cosmic Logic" spinnt den psychedelischen Sound von Peaking Lights weiter und vereint funkelnde Synths und rhythmische Drums zu einem erneuten musikalischen Lichtblick.

Knapp zwei Jahre nach Mars begeistert Ahmed Gallab und seine Band Sinkane mit seinem neuen Album Mean Love.

War das Vorgänger Album noch ein Geheimtipp, so hat sich Mean Love da einiges mehr vorgenommen. Ein Album das sich galant durch Stile und Epochen schwingt und dabei sowohl nostalgisch als auch ultramodern klingt, vertraut und gleichzeitig wie sonst nix anderes da draußen.

Mean Love ist Soulmusik mit anderen Mitteln: Pedal Steel und Country Einflüsse, allerbeste amerikanische Songwriting-Kunst, Afrobeat und ostafrikanische Bläser, Rock, Prog, Pop...ja, und dann immer wieder Soul. Wie kein anderer schafft es Ahmed Gallab unterschiedlichste kulturelle und musikalische Ansätze zu einem großen Ganzen zu verbinden.

Infokasten: Dieses Jahr wurde Gallab musikalischer Direktor bei der kürzlich gefeierten Wiederentdeckung des nigerianischen Synthesizer Virtuosen William Onyeabor. Ein Projekt namens Atomic Bomb, mit dem seine Band Sinkane als Kern mit wechselnden Gästen wie Damon Albarn, David Byrne, The Lijadu Sisters, Money Mark und Leuten von Hot Chip, LCD Soundsystem, The Rapture und Blood Orange große Hallen in London, New York und LA zum Tanzen und Kochen gebracht haben.Die LP kommt inkl. MP3 Album.

'He can do quiet intensity- made possible by his voice, abstract (yet heartfelt) lyrics, innovative arrangements, and top-notch performance- delivered with complete and authentic sincerity. Arranged Waves is a great introduction to the music of Stephen Steinbrink- and it is quickly becoming one of my favourite albums of the year. ' 8.5/10 - Louder Than War

LP is 180g and comes with CD inside.
LP Includes download code

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

Medical Records presents the singles collection by UK's Play as the second in a series of crucial reissues from the Survival Records imprint. Play was made up of Wayne Kennedy and David Rome, and all of their output was released on Survival. David Rome previously had worked with the recently passed Martin Lloyd in the group Analysis (later evolved into Oppenheimer Analysis) as well as was the founding member of Drinking Electricity. Play released 3 singles between 1982-1984, and a compilation LP ''Red Movies'' in 1985 (which compiled a majority of the singles but not all). This edition of Red Movies is complete with 2 extra tracks not featured on the 1985 compilation LP including 3 remixes. Play can be best described as perfect moody synth pop. The songs exude excellent synth work by both members as well as the sprinkled in jagged/angular guitar work by David Rome (so well illustrated on the Drinking Electricity output) reminiscent of UK post-punk. The songs also tend to lean towards new romantic at times but are more sparse yet dynamic. The opener ''Red Movies'' sets the tone with cascading synths and heartfelt vocals by Mr. Kennedy. ''This Little Girl'' is a great dance floor ready track with catchy percussion and vocals. Other standout tracks are ''In My Mind'' and ''You Don't Look The Same''. The remixes featured are ''Chasing The Sung'' (remix of ''This Little Girl''), ''You Don't Look The Same'', and ''In My Mind''. The LP features preserved original front cover art (of the UK version as the Japanese version was slightly different). Art is modified to include updated credits and additional photos of Wayne Kennedy. Pressed on high quality 180gram ''half and half'' colored vinyl (blue and red).

Following Komon & Appleblim's pensive 'Motion Blur' on Will Saul's Aus imprint is a collaborative effort from the label boss himself under his Close moniker and Al Tourettes' latest incarnation Second Story featuring vocals from Kid A. On remix duties is the man of the moment - Seven Davis Jr. 'No Love Lost' sees the first Close contribution to Aus following up his debut LP 'Getting Closer' on Berlin's !K7 and follows up efforts on Houndstooth from both Second Story and Kid A. Together, they lay out a deluge of ghostly tones across three tracks built from broken rhythm structures, capacious sweeps and haunting vocals. The title track steadily swells behind tumbling delayed signals before sinking into a passage of clattering rim-shots, hurried hat shuffles and Kid A's pellucid vocal tones all set to a stuttering half-time pace. 'Lacuna Slide' then loosely wades forward, growing in magnitude over a purposeful, bumping low-end. 'Wal' then utilises a brazen 4/4 thump and crystalline synth patterns to render an icy landscape before Seven Davis Jr.'s remix of 'No Love Lost' rolls out behind a tight, floor-ready groove shot-through with his resistless Soul that brings yet another Aus coup to a close.'

With Soon Away, GRMLN veers from the pop-punk-rooted road the band traversed with last year's Empire; it's an aggressive album, darker and heavier than what's come before. While it carries these characteristics, there is also a certain peace to Soon Away, thanks to songwriter Yoodoo Park's personal growth.

The teachings of Krishna were an inspiration to Park while writing the record and it's a force that helped define his perspective in these songs. The singer-guitarist sees the constant changes of life allowing people to embrace the true nature of living. Still, there's intensity to these guitar-driven tracks. On the opener of the album 'Jaded' Park sings, 'Go, but you're breaking without me / When days can crawl around / To waste myself away,' which is built around one of GRMLN's catchiest riffs to date.

The album grapples with letting go and getting used to good-byes. 'Find a way to be wanted and here for someone else / Break away from the notion, the poison in my head,' Park sings on the cathartic 'Faux.'

After writing the songs in Japan and whilst on tour in the U.S., Park went back to Different Fur Studios in San Francisco with engineers Patrick Brown and Sean Paulson, who worked on GRMLN's previous album Empire. On Soon Away, Park is joined by his brother, Tae San, who assisted with bass parts and arrangements; with the addition of long-time drummer Keith Frerichs providing a rhythmic backbone.

GRMLN is the musical project of 21 year old, Yoodoo Park. He was born in Kyoto, Japan and moved to southern California at a young age (though he still goes back to Japan every summer). Yoodoo started playing music at the age of 13 when he was given a bass guitar and released his debut album Empire in 2013, preceded by the debut EP Explore.

All LPs include free download coupon.

Eskimo Recordings is proud to present the new single of London based disco advocate Blende. Following his breakthrough release Fake Love on Eskimo - supported by A-Trak, Aeroplane, Yuksek, Dimitri from Paris and The Magician - and a bunch of remixes for the likes of Lana Del Rey, Skrillex, Azari + III and Two Door Cinema Club, he is now returning with this new unique effort of his own. 'Rikki' is a top of the line indie dance tune that once again serves up a generous dose of nu-disco, combining the old school with the new.

This release includes a stellar line up of remixers, with Moonlight Matters (Kitsuné), Phonat (OWSLA), Le Crayon (Partyfine), French Horn Rebellion (Vitalic Noise) and Majestique (Eskimo) each giving a whole new twist to the original.

Es rumorte schon länger im Internet, nur konkretisiert es sich endlich: Das langersehnte Comeback-Album von Death From Above 1979 The Physical World erscheint über Last Gang Records / Caroline International.

Mit 'Trainwreck 1979' präsentiert die Band nun ein erstes Lebenszeichen aus dem kommenden Album.

Death From Above 1979, das sind Jesse F. Keeler (E-Bass, Synthesizer) und Sebastien Grainger (Gesang, Schlagzeug), ein Indie-Rock-Trio aus Toronto, Kanada.

10 Jahre nach dem erfolgreichen und in Kritikerkreisen gefeierten Debütalbum You´re a Woman, I´m a Machine, erscheint nun endlich Album Nummer zwei The Physical World. Produziert wurde das Album von D. Sardy, der unter anderem schon mit Oasis, den Red Hot Chili Peppers und LCD Soundsystem im Studio geschraubt hat.

Diese Zusammenarbeit macht sich schon auf der ersten Auskopplung 'Trainwreck 1979' bemerkbar.
Ein treibendes Zusammenspiel aus E-Bass und Schlagzeug, dazu die schon immer gerne eingesetzten Elektro Beats und Sebastien´s Gesang machen 'Trainwreck 1979' zu einer unglaublichen Hymne und zu mehr als nur einem einfachen Lebenszeichen.

So verwundert es nicht wenn Zane Lowe, der berühmte BBC Radio One Moderator, die Nummer gleich zwei Mal in einer seiner Sendung spielt und sämtliche Musikmagazine und Blogs dieser Welt eine Lobhudelei sondergleichen ins World Wide Web befördern.

Im Oktober 2014 sind Death From Above 1979 auf Deutschland Tour in Köln, Hamburg, Berlin und München.

01. Cheap Talk
02. Right On, Frankenstein!
03. Virgins
04. Always On
05. Crystal Ball
06. White Is Red
07. Trainwreck 1979
08. Nothing Left
09. Government Trash
10. Gemini
11. The Physical World

Es rumorte schon länger im Internet, nur konkretisiert es sich endlich: Das langersehnte Comeback-Album von Death From Above 1979 The Physical World erscheint über Last Gang Records / Caroline International.

Mit 'Trainwreck 1979' präsentiert die Band nun ein erstes Lebenszeichen aus dem kommenden Album.

Death From Above 1979, das sind Jesse F. Keeler (E-Bass, Synthesizer) und Sebastien Grainger (Gesang, Schlagzeug), ein Indie-Rock-Trio aus Toronto, Kanada.

10 Jahre nach dem erfolgreichen und in Kritikerkreisen gefeierten Debütalbum You´re a Woman, I´m a Machine, erscheint nun endlich Album Nummer zwei The Physical World. Produziert wurde das Album von D. Sardy, der unter anderem schon mit Oasis, den Red Hot Chili Peppers und LCD Soundsystem im Studio geschraubt hat.

Diese Zusammenarbeit macht sich schon auf der ersten Auskopplung 'Trainwreck 1979' bemerkbar.
Ein treibendes Zusammenspiel aus E-Bass und Schlagzeug, dazu die schon immer gerne eingesetzten Elektro Beats und Sebastien´s Gesang machen 'Trainwreck 1979' zu einer unglaublichen Hymne und zu mehr als nur einem einfachen Lebenszeichen.

So verwundert es nicht wenn Zane Lowe, der berühmte BBC Radio One Moderator, die Nummer gleich zwei Mal in einer seiner Sendung spielt und sämtliche Musikmagazine und Blogs dieser Welt eine Lobhudelei sondergleichen ins World Wide Web befördern.

Im Oktober 2014 sind Death From Above 1979 auf Deutschland Tour in Köln, Hamburg, Berlin und München.

Limited White Vinyl Pressing! Kilo Kish is an American vocalist, songwriter and visual artist living between New York and Los Angeles. After 2 eps released on Soundcloud (Homeschool and K+), many collaborations (with SBTRKT, A$AP FERG, Chet Faker, Childish Gambino...), several features in fashion magazines (Vogue, Elle, Glamour, Nylon...) and modelling for Levi's and H&M, she has been named an 'artist to watch' by influential music publications (Rolling Stone, New York Times, MTV...) and a 'style star' of the year 2014 by the fashion industry.

After showcasing two tracks on recent Kitsuné compilations ("Goldmine" and "Turquoise" on Kitsuné Maison 15 and Kitsuné New Faces), Kish is collaborating again with the French label to release 'Across', a conceptual project chronicling her drive across America in August of 2013. Conceived as a real audio road trip, the EP presents 8 inseparable tracks themed in self-exploration, progress, and the vulnerability of growing up interpreted.

And because both Kitsuné and Kilo Kish have one feet in music and the other in fashion, a capsule collection designed by the artist in collaboration with the French brand and also themed in traveling will be available in the Fall. Incidentally, she's also the ambassador of Maison Kitsuné's new Fall Winter 2014 collection!

Finally, Kish will be paying at a selection of Kitsuné shows around the world and plans to tour and host another installation for her photographs and art associated with this project.

Als 2004 das erste Magnus Album The Body Gave You Everything erschien gelang dEUS-Frontman Tom Barman und Dance-Legende C.J. Bolland (Camargue, Sugar is Sweeter, The Prophet...) mit ihrem Seitenprojekt etwas Überraschendes: Sie verbanden so geschickt Rock und Elektronik, dass sie sowohl Dance- als auch Rockfans begeistern und auf die Tanzflächen dieser Welt holten. Das Album stieg auf Platz 2 in die belgischen Albumcharts ein und erreichte dort kurze Zeit später Goldstatus. Doch nicht nur in ihrer Heimat wurde Magnus die verdiente Aufmerksamkeit zuteil, auch in Deutschland und anderen europäischen Ländern wurde das Projekt mit Spannung erwartet und von Kritikern und Fans gelobt. Nicht zuletzt erfreuen sich dEUS ja auch hierzulande einer großen Gefolgschaft.

Doch dann verschwanden Magnus fast ebenso schnell wieder von der Bildfläche wie sie gekommen waren. Absolute Ruhe folgte, es schien ein One-Off Projekt zu sein. Obwohl die beiden Bandbegründer mit ihren anderen Projekten beschäftigt und erfolgreich waren, haben sie aber im Hintergrund nie aufgehört, zusammen zu arbeiten. 2013 nahm das Ganze dann wieder konkretere Formen an, man begann detaillierte Ideen zu Musik und Songs auszutauschen, traf sich regelmäßig im Studio und schließlich wurde ein neues Album fertig gestellt. Das Ergebnis ist einmal mehr einzigartig und überraschend, die Einflüsse und Verweise reichen von Prince bis hin zu JJ Cale, mischt man hier nun noch ein paar frühe 80er Jahre Wave Einflüsse dazu dann bekommt man das, was man uneingeschränkt als den ganz eigenen Magnus-Klang bezeichnen kann.

Where Neon Goes to die wird über Caroline International veröffentlicht. Haupt-akteure des Albums sind Tom Barman und C.J. Bolland, aber es werden auch so prominente Namen wie David Eugene Edwards (16 Horsepower, Woven Hand) und Blaya (Buraka Som Sistema) gefeatured. Die erste Single 'Singing Man' wartet mit niemand Geringerem als Editors-Sänger Tom Smith am Mikro auf.

01. Puppy
02. Last Bend
03. Trouble On A Par
04. Future Postponed
05. Catlike
06. Regulate
07. Everybody Loves Repetition
08. Getting Ready
09. Singing Man
10. Death Of Neon

Als 2004 das erste Magnus Album The Body Gave You Everything erschien gelang dEUS-Frontman Tom Barman und Dance-Legende C.J. Bolland (Camargue, Sugar is Sweeter, The Prophet...) mit ihrem Seitenprojekt etwas Überraschendes: Sie verbanden so geschickt Rock und Elektronik, dass sie sowohl Dance- als auch Rockfans begeistern und auf die Tanzflächen dieser Welt holten. Das Album stieg auf Platz 2 in die belgischen Albumcharts ein und erreichte dort kurze Zeit später Goldstatus. Doch nicht nur in ihrer Heimat wurde Magnus die verdiente Aufmerksamkeit zuteil, auch in Deutschland und anderen europäischen Ländern wurde das Projekt mit Spannung erwartet und von Kritikern und Fans gelobt. Nicht zuletzt erfreuen sich dEUS ja auch hierzulande einer großen Gefolgschaft.

Doch dann verschwanden Magnus fast ebenso schnell wieder von der Bildfläche wie sie gekommen waren. Absolute Ruhe folgte, es schien ein One-Off Projekt zu sein. Obwohl die beiden Bandbegründer mit ihren anderen Projekten beschäftigt und erfolgreich waren, haben sie aber im Hintergrund nie aufgehört, zusammen zu arbeiten. 2013 nahm das Ganze dann wieder konkretere Formen an, man begann detaillierte Ideen zu Musik und Songs auszutauschen, traf sich regelmäßig im Studio und schließlich wurde ein neues Album fertig gestellt. Das Ergebnis ist einmal mehr einzigartig und überraschend, die Einflüsse und Verweise reichen von Prince bis hin zu JJ Cale, mischt man hier nun noch ein paar frühe 80er Jahre Wave Einflüsse dazu dann bekommt man das, was man uneingeschränkt als den ganz eigenen Magnus-Klang bezeichnen kann.

Where Neon Goes To Die wird über Caroline International veröffentlicht. Haupt-akteure des Albums sind Tom Barman und C.J. Bolland, aber es werden auch so prominente Namen wie David Eugene Edwards (16 Horsepower, Woven Hand) und Blaya (Buraka Som Sistema) gefeatured. Die erste Single 'Singing Man' wartet mit niemand Geringerem als Editors-Sänger Tom Smith am Mikro auf.s

Few who witnessed Kasabian's Glastonbury headlining set earlier this Summer could deny that for all their divisive qualities, this was clearly a British band with the charisma, balls and sheer chutzpah to stand proud in almost any situation, no matter how daunting. Moreover, their recent '48:13' album is imbued with just this kind of boundless confidence and party-starting zest, particularly this swaggering anthem, which hammer together dancefloor shapes and rock intensity with attitude and elan to spare.

Blue Hawaii, Arbutus Records and many of their Montreal counter- parts all began with the same breath in early 20

Erlend Øye is a skinny nerd, but maybe that's what makes him a pop star. His huge thick spectacle-lenses act as an interface between his inner life and his numerous collaborators and fans. Erlend Øye is a travelling singer-songwriter, who has been making music in various constellations since the late nineties. He sang for Röyksopp, while his own bands are Kings of Convenience and The Whitest Boy Alive, who recently split up. A laid back, everyday vibe runs through Erlend Øye's music. Erlend is not larger than life, at the most his songs may be. The pop star from next-door doesn't make any drama, but leaves that to life itself. His relaxed, laid back sound opens your eyes and ears for places, situations and encounters. A certain mournfulness runs through the songs, although they deal with a longing for self-fulfilment. Erlend sings of loneliness, and in doing so, he creates a 'we'. Until now Erlend's projects have often been based on simple concepts - two guitars and two vocals with Kings of Convenience, and four instruments with The Whitest Boy Alive. With his new solo album he frees himself of these parameters; for the first time everything is possible, for the first time Erlend Øye stands alone. The songs on 'Legao' were arranged and recorded with the Icelandic reggae band Hjálmar.

The magic of 'Legao' lies in the fact that Erlend's vulnerable vocals and his sincere lyrics are supported by the elegance and consistency of the band. Today roughness is often used to counterbalance roughness, whereas on Legao a equilibrium is sought - and found. A simplicity, clarity and minimalism is created that is rarely found in pop music. Erlend Øye has grown up. He accomplishes nothing less than the step towards an independent, free-standing solo musician, who can perform in any constellation - with a band, orchestra or alone with a guitar.

01. Fence Me In
02. Garota
03. Say Goodbye
04. Peng Pong
05. Bad Guy Now
06. Who Do You Report To
07. Whistler
08. Save Some Loving
09. Rainman
10. Lies Become Part Of Who You Are

12" Vinyl LP (+ CD insert*)

"It's about time someone got together a killer compilation of Time And Space Machine Mixes. From start to finish this is a full set of end to end burners - Warpaint, Jagwar Ma, Psychemagik and more all get the treatment.
The perfect soundtrack to those phased-out psychedelic summer nights."Rough Trade Shops Ample Play Records release a heavy duty collection of Richard Norris' recent Time And Space
Machine Mixes on August 25th. A man of many guises, he has operated as a duo - as The Grid with Dave Ball, as Beyond the Wizard's Sleeve with Erol Alkan - but when it's time for some
solo sonic action, he records and remixes as The Time and Space Machine. We find him at it here: 'The Way Out Sound From In', reworking the most cosmic beat combos around into
hitherto unheard psychedelic shapes. Warpaint, Jagwar Ma, Temples, Psychemagik, The Sufis and more fall into the Time and Space Machine and come out the other side with wider grins and shinier eyes. It's The Way Out Sound From In....all aboard.
LP limited to 500 only "I'm lucky enough to work with some of my favourite artists, i try and stay true to them while adding technicolor and hypnosis to the mix" - Richard Norris

Fresh remixes of Blamma! Blamma!'s slo-mo, disco track 'Zsa Zsa'.
In form duo, Psychemagik serve up a funk-laden remix oozing real class. Morphed guitars and synths drive the track, providing a futuristic tone.

Next up is Andy Cato who keeps the slow vibes of the original, whilst adding a slight balearic touch with the drums. The track builds nicely with a crescendo provided by an uplifting piano and electronic synths.

Wolf + Lamb are on the flip with their deep, rolling house remix - harnessing trippy, undulating synths to create great layers within the track. Snare drums also inject pace and groove to hypnotic effect.

Kiani & Red D inject a little more pace into the track, with elements of vintage electro infecting this house remix. The echoed vocals in parts add a chilling edge, with Kristina Train's voice sitting nicely over the top of the catchy bassline.

We have some of the EP which was only available on tour at Xmas time. Fat White Family announced details of a split EP. The 10' EP, with Trashmouth Records label-mates Taman Shud, will be available to download on Christmas Day. The EP features three new songs, including the 8-minute crawling, swampy & menacing 'sick epic' Wet Hot Beef parts one and two, and Now That I Am Taking Myself As An Artist (Wet Hot Beef part three). The B side features two songs from Taman Shud's forthcoming psychedelic cave-rock debut album - The Ziggurat, A Mirrage (premiered on Tom Ravenscroft's 6 Music show) & Crime Cycle. "Raw-assed rabble rock as dark, deviant and disgusting as the '70s" - NME // "Fat White Family are sick. I don't mean this like, they're well sick la, like some scouse teenager would have said eight years ago. I mean, they're seriously not well... they're also slightly brilliant" - The Quietus // The band who have been compared to The Birthday Party, The Fall and The Gun Club. Fat White Family are: Lias Saudi (vocals), Saul Adamczewski (vocals/guitar), Adam J Harmer (guitar), Nathan Saudi (organ), Joseph Pancucci (bass) & Dan Lyons (drums)..... Taman Shud are: Nick Richardson (vocals/drums), Derry Tomlinson (bass), Tasha Vorontsova (bass/organ) & Greg Hilditch (guitar).

After almost exactly two years and more than 300 concerts worldwide, the band "HONIG" releases it's new album "It's Not A Hummingbird, It's Your Father's Ghost" on the 22 August 2014 across Europe, through Haldern Pop Recordings/Rough Trade. Now they play folk-pop for the bigger stages, and fear neither grandiosity nor sensitivity. "Lemon Law" is the first single from the album. As a B-Side you get a live-version of "Overboard".

they are back - great new album !!!