𝕯𝖔𝖗𝖐𝖜𝖆𝖛𝖊 𝕮𝖔𝖜𝖇𝖔𝖞

artist | vocalist | songwriter | producer|
⚫
 okandi2020@gmail.com

Their Names est un duo franco-suédois aux influences 80's, basé à Paris et qui s'est formé en 2017. Il est le fruit de l'association de Max Future à la production, également co-fondateur du groupe Concorde et de Shugi à l'écriture et au chant, qui est aussi DJ, productrice et chanteuse trip- hop/soul. Leur premier single électro-disco «Burning Star» sorti en juin 2017 se révèle dans un clip nous guidant à travers l'odyssée érotique de Romain Laurent, réalisateur connu dans le monde entier pour ses gifs originaux et ses publicités singulières.
Compositeur depuis plusieurs années, Max, qui ne se sépare jamais de son Juno-60, propose un univers musical synth-pop et vintage, soutenu par la voix douce et sexy de Shugi. Leur premier EP influencé par des artistes tels que Glass Candy, Class Actress ou encore Prince, est prévu pour janvier 2019.

all tracks mixed and mastered by no one. use headphones

Milan Records is an independent label that has been operating for 30 + years. Specialized in soundtracks to film and TV, Milan Records has released classics soundtracks such as Ghost, Brazil, City of God, Monsoon Wedding, Tsotsi, Pan's Labyrinth and many more....Milan Records is also the home to a wide array of talents such as The Devil Makes Three, Emily Jane White, Alaska in Winter, Astor Piazzolla, The Five Corners Quintet.

Milan Records is distributed in the USA by Warner's ADA, in France by Universal, in Japan by JVC/Victor, and in the rest of the world by Warner Music Group.

NEON was the main musical project led by Paulo Alegria, during the 90s, under the pseudonym NeKryXe, produced by Paulo Miranda with frequent appearances by Maria Cunha on vocals and Miguel Pereira on guitars among other noises. With strong influence from the Industrial and EBM scene, he recorded 2 albums between 1994 and 2000, also, some unique themes for compilations and jingles for radio, through hardcore dance to trip-hop.

NEON marked the first Portuguese live act at the Midem festival in Cannes, KRYPTON gave sound to performance art shows, video installations and x-rated sex tapes, while XENON chilled many galleries before NeKryXe's retirement in the beginning of the 21st century.

Since the final of the 80's he also constructed many ambient soundscapes with Miguel Ribeiro on ZURICH POUND, an electronic post punk and dark wave inspired duo project.

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

New album "Dreamweaver" out now:
https://trentemoller.lnk.to/Dreamweaver

2025 Tour Dates:
https://tix.to/trentemoller

Copenhagen’s Anders Trentemøller has long been respected as a creator of extraordinarily memorable melodies and dark soundscapes. While many artists follow a pattern of invention and reinvention, Anders’ arc has been a series of points along the same curve, playing the long game with each release representing the next chapter in a constantly evolving series.

Dreamweaver continues on this track, combining elements of shoegaze, dark wave, motorik, noise rock and somber, introspective takes on electronic pop but in a considerably more psychedelic manner. The chronology of its 10 songs is an immersive experience that presents additional otic pleasures when headphones are strapped on.

NKX / paulgi is following