all’asilo non sono mai andato, e non comincio ora

Non sono affari miei quello che ho mostrato e che andava mostrato, facessero le loro scelte, io continuerò sulla rotta del sapere, ma il resto non mi riguarda

Danny Devito’s Dentist

Reissued by @phantasysound on 12" vinyl backed with Hot Chip - And I Was A Boy From School (Erol Alkan's Extended Rework).

Phantasy is proud to announce the release of Reworks Volume 1, a comprehensive collection of remixes from prodigious DJ and producer Erol Alkan, due for release on the 3rd November, 2017.

Pre-order and find out more about the release, including Erol's take on a selection of reworks (on the Phantasy blog) here: lnk.to/erolalkan

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www.youtube.com/erolalkan
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Buy the vinyl re-issue

Forever Dolphin Love (Erol Alkan's Extended Rework) - Connan Mockasin [radio edit]

Reissued by @phantasysound on 12" vinyl backed with Scissor Sisters 'I Don't Feel Like Dancing' (Erol Alkan's Carnival Of Light Rework).

Phantasy is proud to announce the release of Reworks Volume 1, a comprehensive collection of remixes from prodigious DJ and producer Erol Alkan, due for release on the 3rd November, 2017.

Pre-order and find out more about the release, including Erol's take on a selection of reworks (on the Phantasy blog) here: lnk.to/erolalkan

https://www.instagram.com/erolalkan/
https://www.youtube.com/erolalkan
www.facebook.com/erolalkan
www.twitter.com/erolalkan

Metronomy - 'The Bay' (Erol Alkan's Extended Rework) [Preview]

Transportation is the time-traveling vehicle of Chandra Oppenheim, a 12-year-old fronting a hair-raising post-punk / mutant-disco outfit. The year was 1980, and the setting was Hell’s Kitchen, New York, at the anomalous intersection of art and music. As the daughter of eminent conceptual artist Dennis Oppenheim, Chandra showed considerable promise as a songwriter and performer from the age of 7. This inspired New York noisemakers The Model Citizens (later transforming into The Dance) to approach the young firestarter and become her backing band.

The original Transportation EP was released in 1980 by Go Go Records, the band’s own imprint, and has since become a long-lost cult classic. Cantor Records is proud to reissue the four-song EP with the addition of four unreleased songs by The Chandra Dimension (Chandra’s touring band comprised entirely of teenagers). Following a previous 2008 pressing, the perpetually out of print and highly sought after release is available on vinyl once again.

Chandra - Transportation
Produced by Steve Alexander and Eugenie Diserio
For Initial Production, Inc.

Lyrics by Chandra
Music by Diserio/Alexander
C 1980 ON Music, Ltd. - ASCAP

Side A:
All vocals by Chandra
All instruments by Steve Alexander and Eugenie Diserio
Except: Fred Maher - drums on Opposite, Subways, Kate
Photography by Earl Ripling
Recorded at Unique Recording - NYC - May 1980

Side B:
All vocals by Chandra

Chandra - Kate

Medio Mutante - Another Land

Deux - Sex And Trouble

Rare and great 7" from 1981, produced by The Metronomes' Ash Wednesday.
http://www.discogs.com/Karen-Marks-Co...


Karen Marks - Cold Café (Oz Minimal Synth 1981)

Track from the album "Vodoo Rendezvous", a meeting with the legends of New Orleans and the Bayou.

Voodoo Rendezvous

Buy at Bandcamp

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)

Deux Dance With Me

Shinkansen No.1 / New Ways is the second release from CC DUST, a new duo from Olympia, Washington featuring Maryjane Dunphe and David Jaques. Shinkansen No.1 introduces the record with a more industrial, harder edge than much of the group’s debut 12” (CC DUST – S/T), a fast paced, urgent song powered by by fast kick drums and Jaques’ bassline acrobatics. CC Dust opened every show on their recent European tour with this salvo, a dark energy that spirals upwards, with Dunphe’s vocal giving the production space to build into a crescendo.

New Ways on the other hand, is perhaps Dunphe’s finest moment yet set to disc. Dunphe is a performer who battles restraint, her every vocal performance a tour de force and New Ways is one of the most emotional and transcendent performances imaginable. With a terse retraint in the verses, the chorus here erupts into an anthem for doomed youth, with every crack in Dunphe’s voice hitting the listener square in the chest.

A light that casts shadow, CC Dust is doomed, romantic music anchored by Jaques’ live bass and the powerful performance values Dunphe has honed both in her punk group Vexx and in various film and performance projects. Musically, CC Dust’s precedents might be considered the European synth pop originators of the early 80s, there’s also an abundance of low-end hooks played on baritone and bass guitars that teases the ear like early New Order productions, but in Dunphe’s passionate vocal performances there’s a close-to-the- 
bone reality that bypasses cool detachment.

CC Dust play and write real songs lived. A desire for desire. What is it? How does it manifest? Is it all worth the tumult? CC Dust offer no answers as there are none, but they ask the right questions in a life-affirming way. Doomed, romantic, unanswerable and vital.

CC DUST: New Ways (from Shinkansen No. 1 /New Ways 7" LSSN043)

Slowed/Pitched down -14.9%

Thick & Dank Swamp Edits -- Get Slow

Swamp Edits consist of purposely slowing music down and lowering pitch 10% or more, with the intent of creating a new version of the song.

Our favorites to do this to are Disco, Funk, Nudisco, House & Pop, but every now and then we find a good one outside of those genres.

Check out our blog at www.swaaamp.com for more music!

Justin Martin - Hello Clouds (Ardalan Remix) (Swamp Edit)-14.9%

Exploded View's 'Summer Came Early' EP isout November 10 on Sacred Bones Records.
12" EP Preorder: https://www.sacredbonesrecords.com/products/sbr180-exploded-view-summer-came-early-ep
Digital Preorder: https://explodedview.bandcamp.com/album/summer-came-early-ep

http://explodedviewband.tumblr.com/
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Summer Came Early

ANYONG

EWF - Lets Groove (Dipzy Remix)

Free Download

MGMT - Kids (Paradox City 'Stripped Back' Edit)

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.

Deux Dance With Me

Koer

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