Name: Anywhere You Looked (Your Twenties remix 1.1) by moshi moshi music in iwassuck
Duration: 5 min 8 s
Description: your twenties having a go at au revoir simone

iwassuck

Warpaint - Disco//Very remixed by Richard Norris/The Time and Space Machine. Taken from the album "Warpaint' (Rough Trade). This mix now released on 12" vinyl - available here - http://store.roughtraderecords.com/Store/WarpaintKeepItHealthy.html

Buy from Rough Trade

Warpaint - Disco//Very - The Time and Space Machine Remix

your twenties having a go at au revoir simone

Anywhere You Looked (Your Twenties remix 1.1)

Joakim - In The Cave

01 - Dzihan & Kamien - Smile

The Ghost Culture remix of 'Sorry My Love, It's You Not Me' is available from iTunes here: http://po.st/sorrymylove

The original is taken from Ghospoet's third studio album 'Shedding Skin' out now: http://www.ghostpoet.co.uk

Sorry My Love, It's You Not Me

Sorry My Love, It's You Not Me (Ghost Culture Remix)

Pre-order limited vinyl: bit.ly/1qrPmUF
iTunes: apple.co/206Lc0l

https://twitter.com/makeness
https://www.facebook.com/makenessmusic
 https://instagram.com/makeness_

14 Drops

This is the cutdown edit, there's a longer loopier one coming

Sunday Mourning by Night Beats (Jono Ma Remix)

Song written by Mikhael Paskalev
Produced & Mixed by Joe Wills
Engineered by Henning Svoren & Joe Wills @ Ocean Sound Recordings
Mastered by Robin Schmidt @ 24-96 Mastering

Vocals & Guitar - Mikhael Paskalev, Piano & Vocals - Jonas Alaska, 
Vocals & Percussion - Billie Van, Lead Guitar & Backing Vocals - Joe Wills,
Bass - Georgi Paskalev, Drums - Andreas Westhagen, Backing Vocals - Stian Skaaden

Mikhael Paskalev - I Spy

Strange Or Be Forgotten - Jono Ma Remix Even Stranger Version

Elegant, melancholic, sometimes menacing, with smoldering piano melodies, desolately whistling organs, and a jaunty jaw's harp loop; kissed by the golden Californian sun, or shrouded in gloomy, dreary fog: Sophia Kennedy is currently the most versatile composer in German pop music – not to mention the greatest singer. Her debut album "Sophia Kennedy" reveals her as a dramatic romanticist and distanced diseuse, as a deft lyricist and master of melody. In her eleven songs, she travels from doo-wop to dubstep, from classic crooning to breathless R'n'B, from Frank Sinatra to Beyoncé. Her talent for songwriting is deeply rooted in history, yet it seeks nothing but the present: both historically versed and timelessly beautiful at the same time.

Sophia Kennedy grew up in Baltimore. Upon arriving in Hamburg to study film, she instantly became a source of enchantment. On the single "Angel Lagoon", which she recorded in the autumn of 2013 with the keyboard-maestro Carsten "Erobique" Meyer, she sounded as lovely, enthralling and blasé like no other singer of the season. In the years that followed she mainly composed music for theater, feeling around for what would eventually become her own style: irony is not an important factor, it's more about appropriation and adaptation, and through effectively minimalistic means, to create space for the voice – for the singing.

Sophia Kennedy produced and recorded the album together with Mense Reents, best known for his work with Die Vögel and Die Goldenen Zitronen. Together they developed the spartan arrangements and electronic textures that determine the willfully dense sound of this album. Often, Kennedy's voice is the only instrument that pursues a harmonic development over the repetitive structures. Then she doubles and multiplies her voice and sings alongside herself in a choir. She shines with bold syncopation over a hobbling piano, as well as in the field of the melancholic lament that suggests a late Beach Boys ballad. This results in multi-dimensional, highly individual music, which easily escapes all the traps of inwardness: just as her lyrics unfold from seemingly simple wordplay to subjective confessionals without ever regressing into the euphuistic pathos of romantic self-reflection.

This is the first songwriting record to be released on Pampa Records, and yet "Sophia Kennedy" is perfectly at home on this label, which for almost a decade has been making the connection between tradition and modernity, avant-garde inventiveness and pop sensibility. One can detect different traditions and historical impressions in every track – yet you can forego all the analysis and simply enjoy the craftsmanship with which Sophia Kennedy creates an absolutely contemporary musical language from her knowledge of classic songwriting: "I want to take tradition to the limits, to where it becomes extreme," she says, yet it sounds so easy and not at all preconceived. The unheard-of refinement of this music lies in its apparent simplicity: "You just can’t be afraid," says Sophia Kennedy, "that it turns out to be pop music."

01 - Build Me A House

Modafinil Blues finds Matthew Dear four years removed from his last LP and lost in the low-hanging gloam of Topanga Canyon. The producer and pop auteur wrote it there in the evening hours with Troy Nōka, a longtime Frank Ocean collaborator. The song hints at conceptual roadblocks requiring more than a simple or single solution; the manifestation of a meteoric spike in cognitive function, yearning for some form of collective freedom, followed by the inevitable descent into the complexity of the fix. Dear’s baritone verse acknowledges that this existential arc is flawed, and therein lies the blues. Moody and nuanced, slightly undone and hugging the curves of the canyon; a polyrhythmic glissade through cerebral fog.

Modafinil Blues

Matias Aguayo -  Rollerskate

From album SOLO PIANO II, out now
http://smarturl.it/solo_piano2

http://www.facebook.com/chillygonzales

Chilly Gonzales - WINTERMEZZO

Order: http://latenighttales.co.uk/product.php/200/r-yksopp-late-night-tales
iTunes: https://itunes.apple.com/gb/album/late-night-tales-royksopp/id643663833

The new edition of Late Night Tales journeys to Scandinavia to invite Norwegian duo Röyksopp to delve through their record collection. Their Late Night Tales mix is eclectic, diverse and wonderful. Sliding from light folk to widescreen ambience to experimental rock to prog-pop (seasoned with the occasional guilty pleasure); it’s all in the spirit of the night.

Following the exclusive introduction track 'Daddy's Groove', Rare Bird's beautiful 1975 B-side'Passing Through' then leads into Australian supergroup Little River Band. The first of several delicate folk moments, it's joined by the ever soulful John Martyn. There's a strong representation of alternative European sounds. Röyksopp mine deep and wide to unearth the rare and unusual German psych-pop of Richard Schneider Jnr (featuring none other than Can's Jaki Leibezeit on drums), France's unique F.R. David and the new age melodies of Switzerland's Andreas Vollenweider - it's pop Jim, but not as we know it. There are also the more familiar names of XTC and Thomas Dolby, as well as Röyksopp's exclusive cover of Depeche Mode's 'Ice Machine' and brand new track opening Daddys Groove. The music draws to a close with goth-dream-pop 4AD founders The Mortal Coil's Emmylou Harris cover 'Till I Can Gain Control Again'; blending into a cinematic moment from German electronic avant-garde band Popol Vuh, contributing to the soundtrack of Werner Herzog's 1972 movie Aguirre, the Wrath of God. The second part of the Benedict Cumberbatch narrated story 'Flat of Angles' closes time on this coolly individual edition of Late Night Tales.

Follow Late Night Tales:

Web: http://latenighttales.co.uk
Facebook: http://www.facebook.com/latenighttales1
Twitter: http://twitter.com/LateNightTales
SoundCloud: http://soundcloud.com/latenighttales
YouTube: http://youtube.com/latenighttalestv
Instagram: http://instagram.com/latenighttalesofficial
Spotify: http://goo.gl/Q98T7d
Apple Music: https://music.apple.com/us/curator/late-night-tales/1233898093
Bandcamp: https://latenighttales.bandcamp.com/

Röyksopp - Daddy's Groove [Exclusive New Track] (Late Night Tales: Röyksopp)

Moshi Moshi Records started off as a hobby in 1998. Set up by three friends who had jobs working for major record labels. It was intended as a way of working with the bands that they loved but which didn’t fit in with the agenda of the day-job taskmasters. Early single releases from Zan Lyons, Kathryn Williams & Pedro and J Xaverre earned the label some plaudits. And sold a few records. Over the next five years Moshi Moshi slowly started to build a reputation for interesting, slightly leftfield, low-key releases. Then in 2004 things changed. For a start Moshi stopped being a hobby and became a fulltime job. Very soon after, Hot Chip and Bloc Party arrived and Moshi Moshi quickly became a name known to more than a few. Chart success followed with Yeti and The Rakes and higher-profile album releases from Architecture In Helsinki and Au Revoir Simone helped lift the label onto a new level. Then from 2006 onwards came artists such as Hot Club De Paris, Tilly And The Wall, The Wave Pictures, Slow Club, James Yuill, The Drums, Summer Camp, the list goes on.

In late 2006 the two remaining Moshi Moshi founders decided they wanted to get back to their one-off 7” release roots and the Moshi Moshi Singles Club was born. The intention was to try and release one 7” each month by a new up-and-coming artist. It would be limited to 1000 and only be available in a select group of indie stores. The artwork would be restricted to one colour and be designed by the bands themselves. Now some 40+ releases later the singles club’s roster makes an impressive list – (including) Kate Nash, Late of The Pier, Friendly Fires, Lykke Li, Florence and The Machine, Kindness, Dananananayckroyd. Disclosure. In 2011 Moshi Moshi expanded its remit by partnering up with some very talented young A&R folk to set up the imprints Tender Age, Not Even, Apricot and Dream Beach. Working under the Moshi Moshi umbrella these new labels have already yielded a clutch of exciting releases by artists from as far afield as Kenya and Seattle.

At the same time as running the record label Moshi Moshi Management has been quietly guiding the career of Metronomy and Slow Club as well as producers Ash Workman and Ollie Bayston. From 2012 this side of the business started to expand dramatically and now features a sizeable roster of emerging artists.

Looking back on the Moshi Moshi roster (particularly since the label ‘went fulltime’ in 2004) it’s a collection that bears comparison with any of its peers. For a label run by two people with no financial backing, it’s nothing short of an inspiration.

Anywhere You Looked (Your Twenties remix 1.1)

moshi moshi music

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