Molly Nilsson "Haiyan"

DBL Gatefold LP w/ MP3, Black/White Vinyl & A2 Screenprinted Chrome on Black Poster
Edition of 600.
It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson’s debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.

Molly Nilsson’s first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson’s songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on “The Lonely,” “Whisky Sour,” “Hey Moon!”, the folly and intoxication of youth seen in “Joyride,” “Poisoned Candy” and dogged self-reliance as on “The Diamond Song” or “Wounds Itch When They Heal.” Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.

Lend Me Your Love - (from These Things Take Time - Vinyl Edition)

Molly Nilsson - Silver

Molly Nilsson - I Whisper in My Ear

Molly Nilsson "Innocence"

•̛)ྀஇꉺლ༽

Signals - Beautiful Emotional Cinematic Sound Track

nightschoolrecords.bigcartel.com/artist/m…-nilsson

A sweeping, cinematic, emotional change is in the air. Molly Nilsson’s sixth studio album Zenith begins with clear, wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson’s big statement and consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings, bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and puzzlement.

That Molly Nilsson is a DIY cult figure is beyond question; she has always written directly and with wit straight down the line between the universal and the personal. The difference with Zenith, and you can hear it in the opening chords of opener The Only Planet, is that her scope is now much wider and her heart heavier than ever before: over a post-ecstatic dusk, Nilsson serenades the globe in a loving embrace. Following on, 1995 is, arguably, one of Nilsson’s finest songs to date. It’s one of those songs to learn the lyrics to, to listen to on repeat, a reason to wear the grooves down to the bone, it’s why pop music can be one of the greatest art forms we have. It’s an example of how, on this album, Molly draws the listener closer to her heart than ever before. There’s simply no escape from the line “The plans that you made / when you still had the time / I’ve saved all the things that you left behind but by now I guess I’d consider them all mine /Windows 95, is only a metaphor for what I feel inside / Although I’m older now / there’s still an emptiness that’s never letting go somehow.” Show-stopper Mountain Time is the soundtrack to being on the run, from societal conventions, from normative ideas of happiness, from your surroundings. It’s the intoxicating call of the renegade. That’s not to say that Nilsson’s light touch has been forsaken for grandiose statements. Bunny Club begins as a demo-sketch before breaking into a fast-paced tale of doomed romance with big rave synths and Bus 194 (All There Is) sees Molly joyride through a city on a happy hardcore bus. But it’s tracks like Tomorrow and another contender for best-ever-Molly moment, Happyness that the true scale of what she’s accomplished reveals itself. We’re locked in a spiraling orbit, strings and bass whirling, gazing at the spinning planet below us as we contemplate both the ultimate freedom in loneliness and the glimmer of hope in the Other. Can we ever be truly with someone? Are we ever truly alone?

Over the 13 tracks here we get the impression that Nilsson may always be restless; like anyone else she has conflicting feelings of love and hate. It’s just not many other people can tell you exactly how you feel before you know it yourself.

MOLLY NILSSON: Mountain Time (from Zenith)

Pre-order: http://anotherdarkage.bigcartel.com/product/exek-biased-advice-another-dark-age

Another Dark Age is proud to release Exek's debut LP, Biased Advice, which follows one self-titled cassette EP (2014) and a single contribution to a split cassette (2015). The album collects rerecorded and past material, which together stands as the fullest realisation of an Exek identity, honed during two years of haunting Melbourne’s live gig circuit. 

Before forming as a four-piece band in 2014, Exek remained an abstract concept in the mind of front man-to-be, Albert Wolski. With songs written but no musicians to perform them he enlisted Andrew Brocchi (synthesiser), Henry Wilson (bass) and Sam Dixon (drums) and together they began recording material according to Wolski 's vision.

"Then they were there, on my arms, on my legs, everywhere." - 'Foregin Lesions'

The addition of Nell Grant on saxophone made previously murky reference points plainly obvious: Exek are the progeny of a Melbourne scene that established itself around Dave Chesworth and Philip Brophy’s Innocent record label of the 1980s and its greatest offering,  Essendon Airport’s Palimpsest LP (1981). But Exek  dared to abandon the pop and funk tropes of the early Australian new wave scene reaching out to  German post-punk of the same era. Wolski’s songwriting is akin to that of the records put out by Hannover’s No Fun Records and Hamburg’s Zickzack, channeling the droll lyricism of The 39 Clocks and saturated with self-deprecating Attitude. 

"New friends, new influence, new ring around the finger, a hedonist who finds regret.”  - ‘A Hedonist’

Exek are messengers for today’s young, unemployed, immobile, self-obsessed middle-class.  The themes of societal isolation, heartbreak, consumerism are all funnelled through metaphors of terminal illness, monsters and bondage. Their vision mirrors Tuxedomoon’s ‘Holiday for Plywood’ but crucially Biased Advice is a sermon that Exek preach to themselves. The band pit themselves as both victims and saviours living in a world that’s trying to extinguish them, or worse still, mould them into boring automatons. 

“Spitting image, two legged, stick figured, adolescent, disinfectant, replicant.”  - ‘Replicate’

The conceptual weight carried in Wolski’s lyrics follows on from process. Dub and other studio techniques are used throughout Biased Advice and are no better evidenced in the 16-minute modern (and instant) classic, ‘Baby Giant Squid.’ This song remains unchanged from it’s cassette release on Melbourne’s Resistance/Restraint label but spread out over one side of a record it lays bare its perfection. Basslines that stand out one moment give way to dubbed out percussion, hissing tape delay and reverb drenched vocals. Simply, this post-kraut-dub-psyche-punk excursion looks back over it’s shoulder as it leaves ‘Bella Lugosi’s Dead’ for dead. It’s a sublime balance of improvisation and cold calculation. 

“Excitement entails the probability of murder to eliminate stress.”  - ‘Baby Giant Squid’

It’s the tension between this teetering psychotic nihilism and arrangement with studio-like precision that gives Biased Advice the tone of a forewarning. But of what?

“Listen well.”  - ‘Submitted’

Exek - A Hedonist

Another mash up of Molly Nilsson's "We're Never Coming Home" and Mc Sleazy's remix of Foals' "Hummer"

Humming Home (Molly Nilsson vs Foals vs McSleazy)

ANYONG

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Molly Nilsson "Innocence"

DARK SKIES ASSOCIATION

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