Indie Tracks (Vol.32)

Deep Melodic samba Jungle. Organic bass, piano, trumpets and minimal drums. 

ZERO 7 - TODAY (DESYPHER LIQUID MIX)

Cut Copy remix of "Uncertainty", as featured on Jagwar Ma's "Uncertainty (Remixes)" EP, available now on iTunes: http://smarturl.it/UncertRemix

Uncertainty (Cut Copy Remix)

Lost in Love

Things Are Gonna Get Easier

Art work by Henry Colborne 
Produced by Elliot James at Eastcote Studios 
Mixed by Nathan Boddy
Mastered by Greg Calbi at Sterling Sound

Going West

Out Now!

https://wolfandlambrecords.lnk.to/midnight

@emmettkai

Midnight

Emmett Kai - Midnight

Final Form features on Benin City's forthcoming new album 'Last Night', an ode to London's fading nightlife. Available for pre-order now before release on 15th June: http://www.moshimoshimusic.com/BeninCity

http://www.facebook.com/benincitybandpage
http://www.twitter.com/wearebenincity
http://benincity.bandcamp.com

Benin City - Final Form

Sprawl II (Soulwax Rmx)

Original photo by Julie Francois.
https://www.instagram.com/juliefrn__

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Track written and produced by REEKÄRLB.

See You On The Other Side

The first single from Wild Nothing's forthcoming, 'Indigo', out August 31st on Captured Tracks.

Order: https://wildnothing.lnk.to/Indigo

Indigo

Wild Nothing // Letting Go (Official Single)

Pre-order here: http://smarturl.it/bodrfa

Corey Cunningham's Business of Dreams is all about emotional catharsis. When his father passed away a few years ago, Cunningham took leave from his long-running Bay Area/LA musical partnerships Magic Bullets and Terry Malts to return to his home state of Tennessee to grieve and confront his past.

Making music to cope with this loss resulted in Business of Dreams' lovely eponymous debut album, an unexpected pop pleasure that wound up on Bandcamp's and Raven Sings The Blues' year-end lists for 2017. Soon the live version of Business Of Dreams took shape as Cunningham opened for Rogue Wave on a national tour and played scores of local shows with Frankie Rose, Real Estate and many others.

With his new album "Ripe For Anarchy," Cunningham has honed the songwriting with an eye towards regret, existence, and perseverance. "When I’m gone you won’t cry for me, focus on the moment, be free," he sings on "Chasing That Feeling." And that’s the mantra here: it’s time to let go. "The album is about living in the moment, shedding neurosis, and the desire to discard the general societal malaise we’ve been roped into."

"Ripe For Anarchy" is a through-and-through ode to indie pop, in the historic definition of the genre. "My Old Town" and "N.R.E.A.M." could be album cuts on a Grant McLennan solo album, "Don’t Let Our Time Expire" and "Naive Scenes" could be The Smiths, the Sparklehorse cover "The Hatchet Song" bears an uncanny resemblance to Australian pop pioneers Even As We Speak, and "I Feel Dread" has the unmistakable earmarks of The Field Mice.

And while he may be more noted for playing guitar in Terry Malts, Smokescreens, and Merge Records' Mike Krol's backing band, Cunningham is most at home making soft sounds extolling the wounded and mournful. "I think music is the most personal of mediums. You can work and listen, you can run and listen, you can drive and listen. And I think I’m a misfit. If I can make the most personal music for misfits, then I’m satisfied."

Ripe For Anarchy

Business of Dreams - N.R.E.A.M.

Lianne La Havas - Is Your Love Big Enough (Soul Clap remix)

The Cleaner

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.

Benin City - Final Form

moshi moshi music

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