pic: Church of the Most Holy Trinity, designed by Fritz Wotruba

John Maus - The Silent Chorus

'Never Really Been Into It' will be available in LP / CD / Digital formats on September 25, 2014.

www.mexicansummer.com

Buy on Mexican Summer

Ashrae Fax - "CHKN"

Crystal Stilts - The Dazzled

Taken from the album "Leftover Land" available now: https://tr.ee/LeftoverLand

Website: https://tr.ee/ElephantRunWeb

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IG: https://tr.ee/ElephantRunIG
FB: https://tr.ee/ElephantRunFB

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Recorded in July 2022 in São Lourenço, Minas Gerais - Brazil

Written by Elephant Run

Vocals, Piano - Amanda Wahlström Plantin
Guitar - Fernando Coelho 
Bass - Renato Cortez
Drums - Ladislau Kardos

Recorded & mixed by Renato Cortez at Mato Records (MG - Brazil)
Mastered by Jonas Siöström at Dynamic Audio (Malmö - Sweden)

Collage & cover artwork by Fernando Coelho

Lyrics:

Don't want you to be afraid 
As I hold your head right under the surface 
Don't shake or shiver, don't hesitate 
Feel my warm hands around your neck 

You say you wanna save the world 
You say you wanna save the world 

I am afraid, like you, like you 

So, come and save me, change me, take me! Here I am! 
I'm just a poor lost creature, break me if you can
Don't look back on the life that you used to embrace 
Welcome the world of mine, you're now lost in my maze

I am afraid, like you, like you 

Whenever I am ready, I will shoot them dead
They are all looking for us, hide here in my bed 
I'm never gonna blame you, they’ll say it's your fault
I will take care of you here deep down in my vault 

I’ll whisper tender words to you to keep them out
I’ll gently tie your hands to mine when you’re in doubt
Don’t you dare try to leave this fortress without me
As long as you keep quiet I'll promise you'll be free 

De letar efter dig, de letar efter oss 
Kom, ta min hand nu, kom, kom försvinn med mig 
Kom, med mig, kom! 
Kom, Kom, Kom! 
Lita på mig, inte på någon annan
 
Du ska aldrig, nånsin, mer vara rädd, kom med mig, kom!

Leftover Land

Buy Digital Track

Autophobic

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)

Proximamente podremos disfrutar de una nueva reedicion de este magnifico album, agradecer a todas esas escuchas que hacen posible que nunca muera la musica como esta.

Martin Dupont - Love On My Side (Hot Paradox 1987)

The debut album from Light Asylum. 

Available May 1st from Mexican Summer. 

www.mexicansummer.com

Hour Fortress

Solid Space - Tenth Planet (1982)

Molly nilsson - truth

Released May 27th. Night School Records.
CD/LP/Digital.
Pre-Order: http://nightschoolrecords.bigcartel.com/product/lssn016-terror-bird-all-this-time-lp

“All This Time” is the 3rd full length LP from Terror Bird - aka Nikki Nevver - and is by far the most personal, emotionally affecting and musically developed. Recorded at home over a period of 5 months, the 10 songs on “All This Time” document a period of intense emotional upheaval, a period wherein Nevver underwent major shifts in her personal life, rediscovered the solo recording process (previous albums having used live drumming and studio production) and married a raw, personal music with a straight-to-tape aesthetic most in-tune with her early recording experiences. The difference this time is that Nevver’s unique voice - at turns operatic and fragile, untutored and wearing its heart on its sleeve - serves as the perfect conduit for the emotional turmoil in the songs.

Nevver’s voice has grown into a formidable instrument, a towering, unabashed vocal whose resonance curls around the synth and drum machine production, at times duetting with itself, at times scaling the vocal register to reach new dramatic heights. Brought up on the music of the 80s “studio” - The Smiths, Kate Bush, The Cure - Nevver’s music exists beyond modern zeitgeists or considerations, subverting “big production” music into a personal DIY aesthetic. It’s a pure songwriting that outgrows genre and thrives purely on the merits of direct communication between songwriter and listener. 

Each song on “All This Time” serves as a chapter in a narrative that is universal; from the self-doubt and loneliness of opener “The Wrong Way,” to the doomed bedroom romance of “Try To Break Me,” from the masochistic guilt of “Locket” to the near-anthemic “Lust & Violence.” Each song speaks directly, plainly, to the listener, dispensing as much as possible with the unnecessary augmentation of modern pop music; “All This Time” is simply the deeply romantic, part-doomed / part-hopeful songs of a singular, unique talent.

The Wrong Way (From LSSN016 - "All This Time" CD/LP/Digital)

ARTIST: Solid Space
SONG: A darkness in my soul
DISC: Space Museum (1982)
LABEL: In Phaze Records

Solid Space - A Darkness in My Soul

Ignatius Reilly Ignatius

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