Fancy Stuff :)

Joy Division - Love Will Tear us Apart (original)

Now available as a bonus track on 'The Inevitable End':
http://royksopp.com/music/the-inevitable-end

’Running To The Sea’ and ‘Something In My Heart’ are in essence both expressions of compulsion and its strong, often uncontrollable, persisting pull. Dependence is a returning theme in our music 
-B+B

The equally elegant singing on b-side ‘Something In My Heart’ - a melancholy, synth hybrid - is provided by Jamie of cult orchestral pop ensemble https://soundcloud.com/the-irrepressibles.

Something In My Heart (feat. Jamie Irrepressible)

Komor Kommando remix of KMFDM's new single KRANK.
#15 on the Billboard Single Charts
\m/

KMFDM - Krank [ Komor Kommando mix by Seb ]

DJ SET LOGGIC PERFORMANCE @ PSYCHOBLOCO - LAGUNA - SC.. DEIXE
SEU FEEDBACK! Play (;

DOWNLOAD!

Set Loggic @ Psychobloco 2014

Gus Gus - Crossfade (Maceo Plex Remix)

A Winged Victory for the Sullen - 'ATOMOS'
Double-Vinyl/CD/Digital out on Erased Tapes/Kranky on October 6, 2014

PRE-ORDER the album now!

Worldwide (excl. North America):
via Erased Tapes: www.erasedtapes.com/store/index/ERATP061
or via iTunes: http://snip.ftpromo.net/atomositms

In North America:
via Kranky: www.kranky.net
or via iTunes: https://itunes.apple.com/us/album/atomos/id894692856

TOUR DATES: 
https://www.facebook.com/awvfts/app_123966167614127

After releasing a first glimpse in the form of the ‘Atomos VII’ EP earlier this year, A Winged Victory For The Sullen finally reveal their second full-length album entitled ‘Atomos’, which besides familiar piano, string and drone sounds also sees the duo introduce flurries of electronics, harp and modular synthesisers.  

Wayne McGregor, founder of Random Dance Company and resident choreographer at the Royal Ballet, chose to play the album repeatedly during practices with his core group of dancers. After noticing the group's reaction with the music, he contacted Adam and Dustin to see if they could write the score for his new oeuvre. The duo were given complete artistic freedom and they treated the score with the same care and attention as their debut album. They recorded more than sixty minutes of music over a four-month period during the summer of 2013 across studios in Brussels, Berlin and Reykjavik, with the help of their long time collaborative sound engineer Francesco Donadello. During the recording process they realised, that this would become their official second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique record.  

“As a wise man once said, one who procrastinates their own choosing will inevitably have their choice served to them by circumstance. We had virtually no time for second guessing ourselves. That being said, we tried to balance the discordance between being creative, and fulfilling our duties for a commissioned soundtrack with a very strict deadline, and all the while staying true to our collective melancholy.‘’ – Adam Bryanbaum Wiltzie  

“We never imagined 2013 would be such an explosively creative year. The first record took us two years from start to finish, but in the micro span of time over last summer we were able to change the formula for the way we write, record, and let go. It was incredibly liberating.” – Dustin O’Halloran

OFFICIAL WEBSITES:  awvfts.com · erasedtapes.com · kranky.net

Atomos VI

The Supremes Where Did Our Love Go

FAT WHITE FAMILY - I AM MARK E SMITH

Gus Gus - Arabian Horse

Illisit (from Weapon)

Salvo (from Weapon)

Out now on @black-butter-records

Download on iTunes - po.st/HMTiTunes
Listen on Spotify - http://po.st/HMTAHSpotify

Official Video:  https://www.youtube.com/watch?v=xlEpCNLZQEI

www.facebook.com/andhimmusic
Tweet with us: twitter.com/andhim_official
Instagram: andhim_music

iTunes

Elderbrook x Andhim - How Many Times

https://www.youtube.com/watch?v=9tJbqNRGSl0

Chain of Fools is a song written by Don Covay originally intended for the majestic Otis Redding. It is claimed that the song is an unauthorized rewrite of a gospel song named "Pains of Life" recorded by Rev E Fair & The Sensational Gladys Davis. Covay recorded his demo version of Chain of Fools while singing Gospel with his brothers and sisters. After listening to the demo Jerry Wexler, an Atlantic Records producer, chose to place the song with their rising female star Aretha Franklin in 1967 rather than with Redding as he felt a women’s voice would do more right to the song.

This retreat is done with respect to the original by RocknRolla Soundsystem

Aretha Franklin - Chain Of Fools (RocknRolla Soundsystem Edit) | 7" on Act Of Sedition Records

Covenant - The Men

Gus Gus, Within You - Lulu Rouge Remix

Lulu Rouge: http://facebook.com/lulurouge
Gus Gus: http://gusgus.com

Gus Gus, Within You - Lulu Rouge Remix

Gus Gus - Full Performance (Live on KEXP)

The first single off of Bronski Beat's "The Age of Consent", "Smalltown Boy", was recorded at The Garden studio (owned by former Ultravox singer John Foxx) and mixed at Maison Rouge studio, both of them based in London. It was released in June 1984, peaked at number 3 in the UK singles pop charts and is a poetically poignant, soul searching composition addressing homophobia, loneliness and family misunderstanding. It is accompanied by a video of Jimmy Somerville with fellow band member friends Larry Steinbachek and Steve Bronski who, while cruising at a public swimming pool and changing room, are attacked and beaten up by a gang of homophobes. Somerville is returned to his family by the police; he leaves home alone and has a reunion with friends Steinbachek and Bronski, travelling to a new life on a train.

Smalltown Boy - Bronski Beat - The Age Of Consent

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

& Much Besides

Oldschool_Trance_vol1

www.futuredisco.net 
www.facebook.com/FutureDisco

Listen to full track free on Spotify >> http://spoti.fi/1ymSjEa
Listen to whole album free on Spotify >> http://spoti.fi/Ub1MiP

After the success of last year's Poolside Sounds, Future Disco are back with the second installment of the informed summer soundtrack. They take us straight to the deep end for a plunge into the perfect laidback House mix that will guide you through those long hot days and warm summer nights.

Tracklist

1. DFNRT – Nobody Stop Me (Feat. Caye Slaymaker) 
2. Kiwi – Mayfly (Feat. Amy Skippings) 
3. James Welsh – The Way 
4. J.Wiltshire – Take It Off My Mind 
5. Last Magpie – Who Knows Where Love Goes 
6. Bonar Bradberry – 3two5 
7. Man Tear – Outside Amore 
8. Softwar – This Time Around 
9. Axel Bowman – Cubic Mouth 
10. Nightplane – Gates Of Dawn 
11. Cleov – Crush On you (Chasing Kurt Remix) 
12. Locked Groove – Do It Anyway 
13. Paolo Rocco – Move Body, Move Forward 
14. Romanthony – Bring You Up (PBR Streetgang Remix) 
15. Antonio Olivieri – Tiny Nut 
16. Artful & Ridney – Missing You Feat Terri Walker (Future Disco Odyssey Edit) 
17. Panama – It’s Not Over (Dave DK Dub)

Fancy Stuff :)

Luis