Crammed Discs

Tuxdeomoon

Tuxedomoon

WireGit+

Ostinato 16Apr14

darki

despair

A glimpse of music released

From "Tradi-Mods vs. Rockers", the tribute album to Congotronics, out on Crammed Discs.


Deerhoof vs. Kasai Allstars - Travel Broadens The Mind (from "Tradi-Mods vs Rockers")

Juana Molina vs. Kasai Allstars - Hoy supe que viajas (from "Tradi-Mods vs Rockers")

Track from "Tradi-Mods vs. Rockers", the tribute album to Congotronics, out on Crammed Discs.


Skeletons vs. Sobanza Mimanisa - Kiwembo Unstuck (edit) (from "Tradi-Mods vs Rockers")

An excerpt of Ali Helnwein's score to a documentary about director Frank Borzage.  

Frank Borzage - Great Depression

The opening music, written by Ali Helnwein, to Stephen Kalinich's story "The Violin That Played by Itself" . . . a Christmas Story.

The Violin That Played By Itself

DAKSINAKALI  3

Laden with my sin
I don't know how to swim
This ocean of life
This river of desire
I'm drowning
I'm drowning
Far is the shore...
You are my only hope
My Tara...
This body
This worn-out boat
You...
The ferryman of the soul
I'm drowning
I'm drowning
I'm drowning
Laden with my sin


Daksinakali3

Staff Benda Bilili - Je t'aime (from "Très Très Fort")

Tuxedomoon - Desire (from "Desire / No Tears")

Tuxedomoon - Triptych (from "Bardo Hotel Soundtrack")

Live Track "Ambulayi Tshaniye", recorded during the premiere at Cirque Royal, May 12 2011.

Congotronics vs. Rockers - Ambulayi Tshaniye

Lonely Drifter Karen - Russian Bells (from "Fall Of Spring")

Hoquets - Couque De Dinant (from "Belgotronics")

Taraf Of Haidouks & Kocani Orkestar - Mandrulita Mea (from "Band of Gypsies 2")

Tuxedomoon - Devastated (Demo 77) (from "Unearthed")

I always loved this song and wanted to start of a mix tape with it and since the original is so stripped down i decided to add bass, drums and synths to make it flow perfectly into to the next song. After doing the mixtape i realized that it's quite good as a standalone track too. You can get the mixtape here: http://this.bigstereo.net/2009/07/10/turbotito/

Tuxedomoon - In A Manner Of Speaking (Turbotito Jam Along Rerub)

The first single from the upcoming release "God Is My Bike". "Follow Me" explores the themes of want, flirtation and desire. 

Maïa Vidal - Follow Me (from "God Is My Bike")

THE UNITS - High Pressure Days (Todd Terje disco mix)

NY Times' "Touch of Evil"
Directed by Alex Prager; music by Ali Helnwein

Ryan Gosling

Balkan Beat Box - Political Fuck (from "Give")

Taken from Metronomy’s remix album, The English Riviera Unreleased Remixes, out March 6, 2012!  

Find it on iTunes - http://itunes.apple.com/us/artist/metronomy/id94504129


Metronomy - The Look (Two Inch Punch's Shook Shook Refix)

Red Barked Tree

Adapt

Read & Burn 01

Comet

Free Download! http://www.mediafire.com/?do2jano79o4l7tp
Just finished this new tune, found some Witney Houston vocals that i really liked too.

Hope you guys enjoy this!
-EvenS

EvenS - Tell

16-bit remixes.

seventh in an eight-part series of remixes of tracks from björk’s biophilia album.

buy links : 
http://bit.ly/bjorkstore 
http://bit.ly/oli_shop

björk : hollow (16-bit remix)

From the upcoming live album LIVELAND: Tuxedomoon in Concert! | available only to pledgers: http://www.pledgemusic.com/projects/tuxedomooninconcert
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Recorded live in The Silver Church, Bucharest, 05.11.2012
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Produced by LIVELAND
www.liveland.ro
www.pledgemusic.com/artists/liveland
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Mixed and mastered by Dan Serbanescu

Tuxedomoon - Baron Brown [Live In Bucharest]

WIRE – CHANGE BECOMES US – pinkflag (pf20)

“Well, it seemed like a good idea at the time…,” laughs Colin Newman when asked to explain Wire’s original motivation for Change Becomes Us. While that might sound like the kind of feeble excuse you’d offer in mitigation when a drunken escapade goes horribly wrong, not only was it a good idea, it actually turned into a superlative one. 

In spring 2012, Wire’s plan had been to convene at Rockfield Studios in Wales to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band was disintegrating. The aim wasn’t simply to resuscitate and record old songs – in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealised work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes, a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been or what it might have become if it had been pursued in 1980. 

“Love Bends” is a case in point. Its roots lie in “Piano Tuner” -- the raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden and preserved on Document and Eyewitness -- but it’s now morphed, improbably, into an irresistible, totally modern pop song. “It had to be turned into something else,” explains Lewis, “because it only really had one bit.” Just as improbably, the gently lilting “Re-invent Your Second Wheel” is tangentially connected to the notorious “Zegk Hoqp,” which was more of a one-time happening than a song at the Camden gig -- mostly shouting and banging, executed by a stage-full of Wire cronies in funny hats. “It was written for performance, around people with newspaper headdresses; not with music in mind,” Lewis emphasizes. Similarly transformed, “& Much Besides” is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in “Eastern Standard” --  a dreary, obtuse three-minute geography lesson delivered with former manager Mick Collins at the Electric Ballroom concert.

Newman’s writing and production reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces; and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, “Adore Your Island” veers between what Newman describes as “prog and unhinged punk rock,” never quite resolving itself; the drama of “Attractive Space” hinges on a progressive splitting of the song’s personality, between its calm expansive, anthemic orientation and an increasing sense of intensity and claustrophobia. 

Change Becomes Us encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic -- one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd. This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable, distinctive work -- from the epochal innovations of Chairs Missing and 154 to the electronic-pop deconstructions of A Bell Is A Cup to Send’s postmodern-punk expressionism and the widescreen lyricism of Red Barked Tree.

Change Becomes Us is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Wilson Neate


Change Becomes Us

Keep Exhaling

Time Lock Fog

MNQ 034 VARIOUS - THE END OF CIVILIZATION LP

Mannequin has the dual and parallel aim to unearth hidden or unpublished gems, running along a road that starts from the period of reference for this kind of music (late 70s – mid 80s) and comes to nowdays, with a vision deeply influence by Factory Records / 4AD labels. 

Catching the same spirit of such great labels, we asked to the italian synth wave princess Mushy to create a compilation starting from a tabula rasa. The mission was hard. Following her tastes and heart, she had to select a dozen of new bands from all over the world with unreleased and unique for this project tracks, picking up the title and realizing the graphic design and artwork. The full process of "The End Of Civilization" took almost 1 year but the result was touching us ￼deep into our soul. 

Mushy began her career crafting noise bursts and aggressive oblique instrumentals before, in her newest form, blooming into a beautiful, epic and heart-heavy icy synth sound, having both "Faded Heart" (2011) and "Breathless" (2012) as album of the week at Rough Trade. "The End Of Civilization" perfectly represents her double sided synth-wave / kraut-psychedelic soul. Every track she selected for us is an absolute highlight, moving from the analog minimal / cold wave sounds of Police Des Moeurs, ASSS, The Circa Tapes, TEEEL and Rosemary to the tempestuous post punk and psychedelia of Deathday, The Murder Act, Phosphor and The Strange Forces, ending with spectral cold folk of Tablets and The Long Wives. 

- Limited edition of 500 copies on black vinyl 
- Digital distribution by The Orchard 
- Exclusive unreleased tracks 
- Artist Selection and graphic design by Mushy
credits


Deathday - After Dark

Red Barked Tree is the new album by Wire
It is released in the UK on January 10th