Digipsych/Dreampunk/AnalogSynths/Chillwave/RetroFuture

Formerly known as Bright Pylon.
Southern half of Redpoint and French Curves.

Albums

(2018) Impact Winter OST https://tinyurl.com/y7rzzzrg
(2016) Megamagic OST  https://tinyurl.com/h5dtrw2
(2015) Kung Fury OST  https://tinyurl.com/y8t2x7j6
(2014) Interceptor    https://tinyurl.com/ybjpgyzd
(2011) Current Events https://tinyurl.com/kzsg3ur
(2010) Burning Chrome https://tinyurl.com/y823o9af

EPs

(2018) Instances      https://tinyurl.com/y9zyqsf6
(2017) Zero Strike    https://tinyurl.com/ycln82w5
(2016) The Real Deal  https://tinyurl.com/ztloezr
(2016) MECH HUNTER    https://tinyurl.com/helayuw
(2015) Kung Fury (LT) https://tinyurl.com/os69htx
(2013) Another Place  https://tinyurl.com/ycbbgnvv
(2013) Descent        https://tinyurl.com/y8fuab2r
(2013) The Touch      https://tinyurl.com/y7xvkddj
(2012) Planet V       https://tinyurl.com/lrxynpd
(2012) SPRAWL         https://tinyurl.com/yb7zh34b
(2012) Glass Cities   https://tinyurl.com/yd894ojq
(2012) MARS           https://tinyurl.com/ya2z2zz3
(2011) Elevator Music https://tinyurl.com/ybm89xun
(2011) This is Now    https://tinyurl.com/yayk4apy
(2010) Television     https://tinyurl.com/ycmogozj
(2009) After Hours    https://tinyurl.com/yawecqsd

Compilations

(2016) Selection 4    https://tinyurl.com/gny83g4
(2015) Selection 3    https://tinyurl.com/mwpcruq
(2014) Selection 2    https://tinyurl.com/ycfjwdft
(2012) Selection 1    https://tinyurl.com/yc5l247k

Two lawyers sent back from the streets of future, post apocalyptic Los Angeles 2043.

Playback OUT NOW - https://tinyurl.com/y4a8akun
Management - mgmt@powergloveaudio.com
Contact - info@powergloveaudio.com

Since the birth of the label in 1997, FatCat has always had a solid engagement with material sent to us as demos. Where numerous labels will throw demos straight into the trash unopened, at FatCat we've always made an effort to listen and reply to every demo received. Numerous FatCat artists have been picked up having been discovered in this way (including Frightened Rabbit, The Twilight Sad, David Karsten Daniels, Welcome, Odonis Odonis, Get Back Guinozzi!, Silje Nes, Ensemble, Xinlisupreme, Songs Of Green Pheasant, Janek Schaefer - to name just a few), and it has always been really exciting to unexpectedly discover something great in this way. Just as when we started, this philosophy of keeping an ear to the ground and attempting to support good new creativity remains at the core of what we do.

With rapid changes in technology of recent years, the majority of demos are now sent to us electronically, but we are still happy to receive material through the post as CDs (please mark as 'demo submission' and mail FatCat Records, PO Box 3400, Brighton, BN1 4WG). Whilst we are still receiving a high quantity of demos, with our ever-busy release schedule and ongoing commitments to an expanding roster of signed artists, FatCat are now finding fewer opportunities to physically release material from new artists. As an antidote to this, back in 2004, we began using our website to showcase the best of the demos we were receiving. Alongside a DIY microsite built specifically to help people who wanted to release their own music, we hosted the our favourite demos online, with artwork and MP3s available for free download. In 2010 we began to use the more immediate freedom of SoundCloud as a platform - setting up a dropbox for people to submit tracks to and a player on the front of our site to showcase the best demo submissions. 

In February 2012, the new and improved FatCat demo site you are now using was launched, again using SoundCloud as the engine to drive the site. We have kept all of the the original demo artists on the new site - grouping them in collections archived by year. There is a lot of really great material stored away here, so please do spend some time looking around. 

The choices of who we have asked to join this archive are highly selective, and we make no apologies for this. These are tracks we consider to be really good quality material, tracks that we are happy to help promote and to have associated with FatCat. If you like what you hear here, then please do download the tracks and share this music with your friends.

Lövslottet 

Performance 

Installation 

Improvisation 

Utopia


Hollows ep out now on Black Leather Records

Miami Nights 1984 is Michael Glover from Victoria, BC, Canada. His obsession with the 1980s has led to the founding of Rosso Corsa Records and a revival of synthesizer music. With Rosso Corsa he is championing many artists such as Mitch Murder, Lazerhawk, Jordan F and Lost years to make 1980s-inspired music with modern fidelity.

Being among the pioneers of this revival, Mike’s first project Actrazer initially defined the Rosso Corsa sound together with output from label co-founder Lazerhawk. They coined their music Outrun, a genre of soundtrack music with epic leads and arpeggiated synths. At the same time, Kavinsky, the Outrunners and the Valerie Collective were all contributing to this new sound.

Since 2010 Michael Glover has been ecstatic about the success of his second project known as Miami Nights 1984 (MN84). Characterized by smooth synthesizers and nostalgic solos, this new sound accentuates the carefree feel of the 1980s.

The Miami Nights sound garnered support on an international scale with the official remix of ‘Somebody I Used To Know.’ by Gotye. It infuses 1980s charm with Gotye’s powerful voices and moody lyrics. Rollings Stone says it’s an “eighties-inspired synth-pop remix, inspired by [mike's] love of old John Hughes films” while VH1 says “It’s a synth-led 80s redux, and it’s pretty rad”

When asked about influences, Mike says he obviously takes from the 80s: “The music, movies, shows, cars and girls are all running through my imagination when I write a piece of music. I’m not happy with a piece of music unless I can imagine it as the soundtrack to a film or show. Ever since I was a child I enjoyed synth-based music like Tangerine Dream, Jean Michael Jarre and Ray Lynch.” His name coincides with the original run of the Miami Vice TV show on September 28, 1984.

In creating his sound he uses “a variation of analogue synths and virtual instruments in Abelton Live. I’ve been using more virtual instruments for convenience and ability to leave a project without worrying about getting the same sound again.” Many of the parts are first recorded from live instrumentation and tweaked afterward in Ableton.

Building on the successes of Rosso Corsa Records and an official Gotye remix, Mike released the second Miami Nights 1984 full length album Tubulence. Spanning 12 tracks, Turbulence builds upon the synth-pop charms and synthesizer solos from Miami’s first album with more character: orchestra stabs, percussive rushes, slow motion bends and epic interludes distinguish the album. So does the album’s more intense moments which promote the Outrun electro sound we have championed for many years.


muhhecon is following