Suche:pop 3

In the spring of 2020, Ben Cook _ a.k.a. Young Governor, Young Guv, or just Guv _ was holed up in the New Mexico high desert, his U.S. tour having been abruptly covid-cancelled during a southwest swing. He and his bandmates were living moment to moment in something called an Earthship, a solar-rigged adobe structure sustainably constructed with, among other things, recycled bottles and tires. And out there in the serene vastness, as a short ride-it-out stint turned into a nine-month sojourn, Ben was writing music, slowly, little by little, mostly at night while the others slept. By the New Year, almost in spite of himself, he had created a new album, two new albums actually, and through the ordeal he was forever changed. In a place he never expected to be, under circumstances no one could have predicted, and in the face of physical isolation, emotional desolation, and existential dread, Ben created GUV III & IV, a collection of songs dedicated and testifying to the eternal healing power of love _ how to find it in the world, in others, and most importantly, in himself. Written in the New Mexico wilderness and produced in Los Angeles, the double album will finally be available in it's entirety this summer via Run For Cover. Young Guv's talent as a songwriter has been with us for a long time. From forming iconic hardcore act No Warning in 1998 to joining Toronto legends Fucked Up, Ben Cook started writing songs as Guv in 2008 between a slew of other projects that were ambitiously working to define the genres they operated in. When he first started working with Run For Cover in 2019, the plan was to release a single record - but with too many songs to turn away, the project expanded into his first double album, GUV I & II. GUV III & IV finds the same ambition and expertise in hit-making, but this time the individual records hone into specific parts of Guv's sonic palette. GUV III is full of iconic hooks, power-pop guitar riffs and dancable-rock songs, while GUV IV takes notes from psych rock, electro pop and Laurel Canyon jangle to make something that as a whole, can only be defined as definitively GUV

DJ Swagger Minor Major Grand Schemes Nearing that halfway mark into 2022, you'd think Bielefeld's most illustrious producer DJ Swagger would have begun losing steam. Following a successful string of releases throughout the New 20's - consistently solid slabs on Thirty Year Records, ec2a, Timeisnow, plus killer collaborations with LUZ1E as DJ DOOM - the young musician pulls out his second full-length on his own GODDESS MUSIC imprint in the form of a slick, multi-genre double-pack: Minor Major Grand Schemes. MMGS is as much a refinement as it is an expansion of Swagger's stylistic bag of tricks, maneuvering through modern styles of club music, pop sensibilities and sleek production techniques that ticks off boxes for both DJs and casual listeners alike. You got your cheeky intros/interludes and your trap-pop miniatures; dusky UKG street devotionals and bonkers dubstep tools; sexy vocal features, clickity-clack percussion, and biiiig low-end. This is what DJ Swagger says about his new LP: This album is the most DJ Swagger sound yet. It wraps up all my influences from techno over hiphop to breakbeat and IDM. I had such a great time working on this and watching the process. I'm beyond grateful for the features and beautiful people that consistently helped me shape this piece of music. As said this is my very own project on my own label. Probably the largest project I ever started and drove to finish. Minor Major Grand Schemes stands for the balance between objective and subjective reality. Your perception of things mirrors on how you see them, feel them and take them for yourself. Minor major, so to say, important or not-so-important, grand schemes, means that things might get more or less important on how you value them. This is at least what I learned for myself doing a long-term therapy late 2020 into early 2021 against depression and OCD. As my view changed, so did my surroundings. As my surroundings changed, so did my view. I found that to be a really important and crucial lesson on how to deal with fear, anxiety and feelings alike. The toughest thing is to learn how to shift your mind towards another, more positive direction. That might take time, a lot of hard work and a strong will. Be sure that it is okay to ask for help, always. If I didn't get the help I got during my down times, I don't know where I would be now. This is why I decided on that name for this album. Consider yourself important and beautiful at any given time. Have fun and enjoy listening to Minor Major Grand Schemes.

About Last Night… is Mabel’s second debut studio album by English singer and songwriter Mabel, released on 15th July 2022 by Polydor Records. Mabel worked with artists such as 24kGoldn, Lil Tecca, Jax Jones, Galantis, Joel Corry on this album. A candid, positive and important voice in contemporary pop, the Brit Award winner’s new music emerged not just in the wake of a startling few years in the public eye, but through the life-changing lens of the pandemic. Right at the beginning of lockdown, Mabel and her dogs moved back in with her parents, she threw herself into dance classes, and channelled everything she missed (close friends, the big night out, young love, feeling unafraid) into this brand-new musical chapter. As she continued work on the record in the UK, US and between various lockdowns, Mabel first teased what she had been working on with first single ‘Let Them Know’ – an unapologetic anthem about dressing up with nowhere to go, and projecting confidence for anyone who needs it. Recent single ‘Good Luck’ distilled influences of house, heartbreak and female solidarity into perfectly realised pop – and the empowering song you need, when getting ready to go to the party of ‘Overthinking’. Pulling all these strings and tying them together is Mabel herself, with much more on the project to be revealed soon.

Dritte Auflage, blutrotes Vinyl. In Zusammenarbeit mit dem britischen Entwickler-Studio Kaizen Game Works veröffentlicht das Kölner Soundtrack-Label Black Screen Records im Frühjahr 2021 Barry "Epoch" Toppings funkigen "City-Pop meets Vaporwave"-Soundtrack zu dem von der internationalen Gaming-Presse gefeierten Open World Adventure Game Paradise Killer auf Vinyl. Barrys Toppings Soundtrack erscheint auf limitiertem 180g blutrotem Vinyl und kommt in einem von 80er Animes & City Pop-Alben inspirierten Artwork der deutschen Designerin Mizucat. Zudem enthält das Vinyl ein gefaltetes A2 Poster und einen Download Code. Die Sounds des Paradieses. Die Musik eines kosmischen Traums. Tracks einer anderen Realität. Das Tempo eines Verbrechens, dass alle Verbrechen beendet. Der Beat von lange verlorenen außerirdischen Göttern. Die Playlist des "Investigation Freaks". Lass dich von der Musik ins Paradies führen. Fühle die glühend heiße Sonne auf deiner Haut. Rieche unerträglich heißen Beton. Genieße den süßen Geschmack von Verbrechen, begangen, auf einer tropischen Insel in einer alternativen Realität. Erinnerst du dich daran, wie wir am Strand getanzt haben? Neben den paradiesischen Straßen? Du hast mir dieses Mix-Tape auf dem Dach deines Apartments gemacht. Wir haben den Mond angestarrt. Du sagtest, du würdest den Mond töten. Ich glaubte dir nicht. Wie falsch ich doch lag.

Red Vinyl

That we live in a world changed is beyond question. Since 2015's Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining a better world. For an artist who has so successfully created her own environment and gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings, engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. Imaginations is not escapism, it's a kaleidoscope and an alternative view, an agent of change.Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson's best songs a collision between the political and personal. Though potentially a love song, there's a glowing anger in the lines I want your ruin, I want destruction, I won't be through until we mend this...' this is rapturous transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel and this is no different... Who else could write a song about privilege (Let's Talk About Privileges) and make a heart-rending chorus of It's never being afraid of the police, it's expecting every thank you, every please.' The artist's vision on this album is perhaps more forceful than the emotionally fragile moments of previous album Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there's overt anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there's also seams of optimism sewn into the album's genetic code. Any revolutionary will tell you that anger alone achieves nothing - Nilsson's mission on Imaginations is to offer some alternatives we can hold close. Not Today Satan is a song about accepting love as the agent of change, Don't be sad, but do get mad at all the small men who act so tall, in the end they always fall, there ain't no sin in giving in to love, that's just how we're winning the fight.' Love can be visceral, a weapon with which to fight the power.On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism about the future when we need it the most. New boys, new girls.. give me your smile and I'll give you mine' Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we're never alone in the process.

On new record For The Birds, Atlanta-based Neighbor Lady expand the
boundaries of their country-kissed indie rock sound to encompass an
elegant style of lush and textural guitar pop sprinkled with, as songwriter
and vocalist Emily Braden puts it, with "reverb and magic
" Full of gorgeous top- line melodies, spirited rock hooks, and Braden's richly
emotive vocals (and plenty of twang), For The Birds takes a kaleidoscopic
approach to genre. The record features everything from catchy alternative
("Penny Pick It Up") and starry- eyed country ("I'm With You") to straightforward
indie rock ("Scared") and ambient- indebted otherworldly pop ("Haunted").
Neighbor Lady began as Braden's solo project, but is now a four-piece consisting
of Braden, guitarist Jack Blauvelt, bassist Payton Collier, and drummer Andrew
McFarland. The band recorded For The Birds with Jason Kingsland (Kaiser Chiefs,
Band of Horses, Belle & Sebastian) at Diamond Street Studios in Atlanta and it
was mixed by Noah Georgeson (Andy Shauf, Cate Le Bon, Devendra Banhart,
Joanna Newsom.) Though For The Birds is hallmarked by big sonic flourishes
and brave moments of experimentation, the overall feeling is one of intimacy —
four people in a room, making music together; fitting for a group of musicians
who say they feel less like a band and more like a family. "This record came out of
a lot of love and hard work and us caring so much about the music and each
other," says Braden. "And that's pretty much what we're about."

This LP repress is on black vinyl, includes A3 Theatrical Poster, Booklet + DL Card. Following the huge recent success of ‘King Rocker’, spotlighting The Nightingales as one of the best band’s in Britain, comes the soundtrack. Comedian Stewart Lee and director Michael Cumming (Brass Eye, Toast Of London) investigate a missing piece of punk history. Robert Lloyd, best known for fronting cult Birmingham bands The Prefects and The Nightingales, has survived under the radar for over four decades. But how, if at all, does Robert want to be remembered? The anti-rockumentary ‘King Rocker’ weaves the story of Birmingham’s undervalued underdog autodidact into that of the city’s forgotten public sculpture of King Kong, eschewing the celebrity interview and archive-raid approach for a free-associating bricolage of Indian food, bewildered chefs, vegetable gardening, prescription medicines, pop stardom and pop art. All of the highlights from the film are here, along with rarities which won’t appear on any of the deluxe reissues of the Nightingales’ catalogue, among them 7″ versions of “Use Your Loaf”, the Bob Luman hit “Let’s Think About Living” and “Black Country”, a glam remix of crowd favourite “Thick And Thin” and a version of Christy & Emily’s “Ghost” which rivals the Nightingales’ take on TLC’s “Unpretty” for sheer beauty. The only act with roots in the punk era that have gone on to make records more captivating, cutting and entertaining today than at any point in their past; 2022 will be a busy year for the Nightingales, with months of live dates planned, a limited edition remix 12″, deluxe reissues of both ‘Hysterics’ and ‘In The Good Old Country Way’, and a hardcover book collecting Robert’s lyrics. “An inspiring comeback story that feels profoundly necessary” The Quietus // “Lee tells Lloyd’s story with skill, passion and verve” The Times // Track listing: A1 Use Your Loaf

DENGUE FEVER's debut album was all covers of the cute, romantic
Cambodian pop of the 1960s - Having gotten that out of their systems,
they've followed it with an album of original material that shatters the
language barrier with mildly psychedelic, blissed out pop
On "Tip My Canoe", Zac Holtzman takes a stab at singing in Khmer, laying those
long, mellifluous syllables over a tweaky vamp, as Nimol uses her imposing pipes
to trace accents so dynamic that they sound almost vocodered as she leaps
around her impressive range. "Sni Bong" channels Dick Dale through its verses
and explodes into crunchy garage rock choruses, with a– wait for it– Cambodian
rap bridge. "One Thousand Tears of a Tarantula" pairs sun- baked spaghetti
western guitars with Nimol's clipped, forceful singing, and acoustic ballad
"Hummingbird" closes the album on a quiet note, with Nimol sliding between
English and Khmer. If that fact that Dengue Fever's music has been used in films
as diverse as Jim Jarmusch's Broken Flowers and the John Cusack vehicle Must
Love Dogs isn't proof enough of its potent versatility, then the ease and unity with
which the band conflates idioms should be.

sferic cruise the best coast with Jake Muir's solo debut, arriving in pursuit of the immersive ambient-architextural themes which also influenced Space Afrika's warmly received 'Somewhere Decent To Live' LP and Echium's lush 'Synthetic Space' side.
Jake Muir is a sound designer and artist from Los Angeles, California, where he's previously recorded and released albums under the Monadh moniker for Further Recordsand Dragon's Eye Recordings, the latter of which recently lead to his inclusion on the Touch compilation 'Live At Human Resources', where he took part in a beautiful group tribute to Jóhann Jóhannsson along with a number of solo contributions.
On 'Lady's Mantle' Muir unfurls a poignant sound image crafted from samples of a well loved American pop group and later smudged with field recordings made everywhere from Iceland to California. In nine succinct scenes, the results loosely limn a wide sense of space and place with its fading harmonic auroras and glinting, half-heard surf rock melodies rendered in an abstract impressionist manner that suggests a fine tracing of in-between-spaces, perhaps describing metropolitan sprawl giving way to vast mountain ranges and oceanic scales.
In effect the album recalls the intoxicated airs of Pinkcourtesyphone (a.k.a L.A. resident Richard Chartier) as much as Andrew Pekler's sensorial soundscapes and even the
plangent production techniques of Phil Spector. But for all its implied sense of space, ultimately there's a paradoxically close intimacy to proceedings which feels like you're the passenger in Muir's ride, and he patently knows the scenic route.

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late `50s and hasn't looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark's "American Bandstand" (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We first got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link - all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the first time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly influenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 - another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music.

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late `50s and hasn't looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark's "American Bandstand" (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We first got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link - all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the first time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly influenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 - another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music.

EAT is the brand new album from your favourite rapper trumpeter, Pan Amsterdam. Made with fans of both food and hip hop in mind, the LP opens up a new pocket in the Pan Am dimension: the rapper-producer album. The whole thing’s a collaboration with underground legend and Def Pressé family Damu The Fudgemunk.

EAT lands in the wake of the success of Pan Am’s second album, HA Chu. Food, of course, was a vital component in the culture of that work, with GUTS-produced single Carrot Cake receiving plaudits from the likes of BBC 6 Music, and interludes taking place over Chinese food. HA Chu was named his ‘hostile industry diss record’ by Bandcamp and ‘a jazz musician’s vision of what hip-hop can be’ by The Times.

Whereas HA Chu was conceptualised while Pan Am’s real life alter ego Leron Thomas was on tour as Iggy Pop’s bandleader (Iggy had loved Pan Am’s debut LP, The Pocket Watch, leading to him asking him to write and produce his 2019 album Free), and saw guests such as Sleaford Mods’ Jason Williamson and Doves’ Jimmy Goodwin in his El Diablo guise, EAT’s genesis was slightly different.

About to fly on tour in Europe last year, Pan Am was in need of a DJ. Up steps Damu The Fudgemunk, fresh from creating his KPM library-sampling opus Conversation Peace (on Def Pressé Editions). Tour life led to a mutual musical respect, Damu creating soundscapes in his head as he got to know Pan Am’s intricacies whilst performing together.

‘We had some good hangs and talks,’ recalls Pan Am. ‘In those hangs and talks, it seems Damu was taking musical notes because the music he would give me was fitting like a glove. It reminded me that artists be observant and it pays off in the end. Damn fun making this project.’

Perceiving the world in terms of taste, EAT is musically wistfully joyous and lyrically playful, a full menu with Pan Am your maître d' and Damu the chef du cuisine. Damu’s beats are deep, warm, melodic and progressive, a perfect playground for the duality of Pan Am’s beat poetry and Leron’s caressing trumpet, which as always is a persona in itself.

Amid massive global paradigm shifts Dave Hartley (aka Nightlands) became a father twice over and left his native Philadelphia for Asheville, where the pace of daily life is slower and it's easier to maintain a zoomed-out perspective on modern life. From the newfound refuge of a studio he built using the bones of a barn attached to his hundred-something-year-old house in the mountains, Hartley has tailored a collection of well-crafted pop rock, pointedly titled Moonshine. Guided by some of the harmonic sensibilities that have helped make The War on Drugs a force in modern music, Moonshine combines immaculate-yet-dense vocal stacks and billowy clouds of effected keyboards with classic songcraft, revealing previously unseen acreage in the unfurling dreamscape that is Nightlands. The surrealistic album art by Austin-based illustrator Jaime Zuverza depicts an archway opening to the stars over the surface of an idyllic sea flanked by both moon and sun. Similarly, Moonshine reveals portals within portals leading to ever deeper places in Hartley's vocal-centered labyrinth…

lynyn sounds like if Aphex Twin or Autechre could compose for symphony and shred jazz. Though lynyn is a new Artist, his debut LP lexicon is essential listening for anyone interested in the compositional heights of electronic, synth, and modular music. So, who is lynyn? lynyn is the moniker of Chicago artist Conor Mackey, a working symphonic composer who has scored for institutions including the Illinois Philharmonic Orchestra and Brain.fm (the neuroscience driven musical platform where he is currently lead composer on staff). He is also a guitarist / composer in the Chicago jazz fusion quintet Monobody. After years of quietly mastering the creation of electronic music in his home, Mackey first introduced his electronic alias lynyn as producer of NNAMDI's Are You Happy EP in the Fall of 2021 (Pitchfork described his production on that project as "a novel intersection of IDM" and contemporary pop). lynyn now offers up his debut electronic oevure lexicon via Chicago label Sooper Records. lexicon displays a mastery of both musical composition and sound design, as well as a deep appreciation of the vocabulary and history of the electronic genre_ with particular emphasis on the 90s IDM movement. Throughout lexicon we are propelled through the sounds of musique concrete, footwork, hip-hop, ambience, glitch-core, IDM, drum and bass, dub, break beats, and so much more. These influences work in tandem to produce a linear experience that can be spellbinding, euphoric, and sometimes destabilizing, but without ever feeling listless or wandering. The dense arrangements of lexicon are intentionally constructed with a painstaking attention to the most minute detail, and also with a masterful awareness of the macroscopic sound design profile of the entire work. Synth sequences and modular tones merge with sounds that seem wholly organic to create a series of purposeful movements from start to finish. Mackey is particularly adept at taking disparate, often difficult to control elements and introducing them harmoniously. He is a fastidious architect and designer of sound tinkering away in his modular laboratory. lexicon is an innovative entrant into the history of IDM and electronica with all the makings of an essential contribution. What Mackey accomplishes with lexicon is a progression; he's taking the sum articulation of a genre and attempting to carry it forward by imbuing it with his own unique language as a symphonic composer. His melting together of genres and techniques is a gateway into a more wide-ranging expression of the artform, particularly with respect to the sophistication of melodic composition. The result is arguably a landmark. While rightfully positioning the lynyn moniker as an electronic alias, lexicon leaves no doubt that Mackey is a composer above all else.

lynyn sounds like if Aphex Twin or Autechre could compose for symphony and shred jazz. Though lynyn is a new Artist, his debut LP lexicon is essential listening for anyone interested in the compositional heights of electronic, synth, and modular music. So, who is lynyn? lynyn is the moniker of Chicago artist Conor Mackey, a working symphonic composer who has scored for institutions including the Illinois Philharmonic Orchestra and Brain.fm (the neuroscience driven musical platform where he is currently lead composer on staff). He is also a guitarist / composer in the Chicago jazz fusion quintet Monobody. After years of quietly mastering the creation of electronic music in his home, Mackey first introduced his electronic alias lynyn as producer of NNAMDI's Are You Happy EP in the Fall of 2021 (Pitchfork described his production on that project as "a novel intersection of IDM" and contemporary pop). lynyn now offers up his debut electronic oevure lexicon via Chicago label Sooper Records. lexicon displays a mastery of both musical composition and sound design, as well as a deep appreciation of the vocabulary and history of the electronic genre_ with particular emphasis on the 90s IDM movement. Throughout lexicon we are propelled through the sounds of musique concrete, footwork, hip-hop, ambience, glitch-core, IDM, drum and bass, dub, break beats, and so much more. These influences work in tandem to produce a linear experience that can be spellbinding, euphoric, and sometimes destabilizing, but without ever feeling listless or wandering. The dense arrangements of lexicon are intentionally constructed with a painstaking attention to the most minute detail, and also with a masterful awareness of the macroscopic sound design profile of the entire work. Synth sequences and modular tones merge with sounds that seem wholly organic to create a series of purposeful movements from start to finish. Mackey is particularly adept at taking disparate, often difficult to control elements and introducing them harmoniously. He is a fastidious architect and designer of sound tinkering away in his modular laboratory. lexicon is an innovative entrant into the history of IDM and electronica with all the makings of an essential contribution. What Mackey accomplishes with lexicon is a progression; he's taking the sum articulation of a genre and attempting to carry it forward by imbuing it with his own unique language as a symphonic composer. His melting together of genres and techniques is a gateway into a more wide-ranging expression of the artform, particularly with respect to the sophistication of melodic composition. The result is arguably a landmark. While rightfully positioning the lynyn moniker as an electronic alias, lexicon leaves no doubt that Mackey is a composer above all else.

Austudy Records is proud to present it’s debut release Burning It Up: Australian Reggae (1979-1986). A
compilation surveying the influence of Reggae on Australia’s preoccupation with Rock, Pop and New Wave
between the years of 1979-1986. This selection of 8 obscure tracks originally issued on 7” records represent
some of the earliest examples of Reggae sounds in Australian recorded music.

The genre re-defining chameleons of Hard Ton are back on Schrödinger’s Box with their own brand of style splitting acid house disco. Bigger is Better, a double EP album, has all the depravity and drama you would expect from these disruptors. “Be Somebody” is a proud call to a dirty beat; chin up, chest out and let the claps and hi-hats fly. Flanger effect units are pushed to the max in “Trip To Your Mind”, an acid dripping, falsetto bending banger. Rhythms collide and sweat hits the floor in the body jacking “You Want Me” before new age rave mantra of “Transcend Your Body” with its steepling synth stabs and 303 barbs. The close, “Girls and Boys,” is inspired by a Brit Pop hit. Beefed-up, muscled-up, this club ready weapon will bring the house down.

Neue Mini-LP des in Brüssel lebenden, spanischen Produzenten Manu Dia, der Daft Punk, Brian Eno, Bon Iver und Burial als Einflüsse nennt und bereits mit Tokimonsta, Petit Biscuit, San Holo und Panama zusammengearbeitet hat. Das Ergebnis ständiger Experimente und einer schlichten, kreativen Herangehensweise ist die Kombination aus atmosphärischen Klanglandschaften und einer ausgeprägten Pop-Sensibilität, die Dancefloor-inspirierte Euphoria und flüchtige, vom Leben inspirierte Emotionen vermengt.

14 track vinyl version of the 2012 CD compilation. Pressed on pale blue vinyl, with printed lyric inner sleeve. First time on vinyl. Includes poster and postcard.
A swish compilation LP featuring fourteen of the most memorable songs in the career of the top notch indie band THE HIT PARADE.
Entitled ‘PICK OF THE POPS (VOL1)’ the LP collects together the most poignant moments in the career of THE HIT PARADE, and includes their thoughtful recording for Sarah Records “In Gunnersbury Park”, their tubthumping single for Minty Fresh USA “Hitomi” as well as other cuts, both cheerful and desolate in style, that feature CATH CARROLL (Factory Records), AMELIA FLETCHER (Heavenly and Talulah Gosh) and HARVEY WILLIAMS (Another Sunny Day and The Field Mice).
THE HIT PARADE was formed by JULIAN HENRY with his school friends MATT MOFFATT and RAYMOND WATTS in 1984 when they released their first single ‘Forever’ on JSH RECORDS. Since then they’ve clung to the sensibilities of pure pop and have become a curiosity item with their retro attitudes and songs about dead writers, disused swimming pools and failed love affairs.
Their early vinyl singles were lauded by John Peel, the NME and Melody Maker, the now defunct weekly paper that published JULIAN HENRY’S writing. In the 1990s the band toured alongside Edwyn Collins, The Milkshakes and Sarah Records notables, and signed to Japanese and US labels, releasing a sequence of albums that have since become collectible.

EAT is the brand new album from your favourite rapper trumpeter, Pan Amsterdam. Made with fans of both food and hip hop in mind, the LP opens up a new pocket in the Pan Am dimension: the rapper-producer album. The whole thing’s a collaboration with underground legend and Def Pressé family Damu The Fudgemunk.

EAT lands in the wake of the success of Pan Am’s second album, HA Chu. Food, of course, was a vital component in the culture of that work, with GUTS-produced single Carrot Cake receiving plaudits from the likes of BBC 6 Music, and interludes taking place over Chinese food. HA Chu was named his ‘hostile industry diss record’ by Bandcamp and ‘a jazz musician’s vision of what hip-hop can be’ by The Times.

Whereas HA Chu was conceptualised while Pan Am’s real life alter ego Leron Thomas was on tour as Iggy Pop’s bandleader (Iggy had loved Pan Am’s debut LP, The Pocket Watch, leading to him asking him to write and produce his 2019 album Free), and saw guests such as Sleaford Mods’ Jason Williamson and Doves’ Jimmy Goodwin in his El Diablo guise, EAT’s genesis was slightly different.

About to fly on tour in Europe last year, Pan Am was in need of a DJ. Up steps Damu The Fudgemunk, fresh from creating his KPM library-sampling opus Conversation Peace (on Def Pressé Editions). Tour life led to a mutual musical respect, Damu creating soundscapes in his head as he got to know Pan Am’s intricacies whilst performing together.

‘We had some good hangs and talks,’ recalls Pan Am. ‘In those hangs and talks, it seems Damu was taking musical notes because the music he would give me was fitting like a glove. It reminded me that artists be observant and it pays off in the end. Damn fun making this project.’

Perceiving the world in terms of taste, EAT is musically wistfully joyous and lyrically playful, a full menu with Pan Am your maître d' and Damu the chef du cuisine. Damu’s beats are deep, warm, melodic and progressive, a perfect playground for the duality of Pan Am’s beat poetry and Leron’s caressing trumpet, which as always is a persona in itself.