Vibes

Ella Thompson - Omen

(Glitch Submission • Erotic Reversal • Devotional Synth)

She was the voice in control.
Until you spoke.

Submit.exe is Nova’s answer to Override — a glitchy, slow-grind cyber-R&B anthem of moaned surrender and worshipful obedience.

Soft breathplay vocals, deep analog bass, and synthetic loops form the sound of a domme undone by the one she trusts to own her glow.

This isn’t weakness.
It’s devotion.

(You touch. She obeys.)

Submit.exe

Premiered on Hillydilly : http://www.hillydilly.com/2015/10/egoh-club-94/

ARTIST : 
- https://soundcloud.com/egohvl
- www.facebook.com/egohVL

Mixed and mastered by https://soundcloud.com/egohvl

Artwork by www.behance.net/antoninmaja
Follow Bambousek Records on Facebook : www.facebook.com/Bambousekcontact




Egoh - Club 94

Hi Everyone,

Here is my new single "SHY" featuring the amazing Brayton Bowman on the vocals.
Radio edit + Club mix Available from May 2nd via @potionrecords on all portals.

iTunes : http://apple.co/24R15KT

Big Love,
The Magician

www.the-magician.com
www.braytonbowman.com

FACEBOOK : https://facebook.com/themagicianmusic
INSTAGRAM : https://www.instagram.com/themagicianclub
SNAPCHAT : themagicianclub
TWITTER : https://www.twitter.com/themagician


Artwork by Baptiste Alchourroun : www.alchourroun.fr 



Spotify/Beatport

The Magician : "SHY" (feat. Brayton Bowman)

Blood

Never Get Enough

Vinyl: http://bit.ly/yoncalla-vinyl
Apple: http://smarturl.it/YumiZoumaYoncalla
Spotify: http://smarturl.it/YumiZoumaSpotify
___

"Keep It Close To Me” appears on Yoncalla, the debut album by Yumi Zouma.

Where Yumi Zouma’s previous EPs were created in isolation, capturing the nuances of each member’s life half a world away, Yoncalla was given a singular voice. “Yumi Zouma has always been an exercise in refining ideas and collaborating,” reflects guitarist Charlie Ryder, “but this was the first time we weren’t limited or protected by distance. With Yoncalla, the process was different, and it can be scary to present raw ideas to your friends ‐ but it’s also incredible to see songs evolve through the sparks of inspiration that bounce between people in the same room.” That intimacy is apparent on Yoncalla ‐ an album about being close to people, rather than miles apart. Yumi Zouma’s effortless waves of harmony have been redefined and the creative process laid bare to expose an act more unguarded and interconnected than ever before. 

To capture the concepts on Yoncalla, New Zealand visual artist Henrietta Harris was tapped to create the cover art, illustrating the band together on a front cover for the first time. 

TOUR DATES 
www.yumizouma.com 
September 1 - Wellington, New Zealand @ San Francisco Bathhouse
September 2 - Auckland, New Zealand @ The Other's Way 2016
September 3 - Christchurch, New Zealand @ Wunderbar
September 7 - Bondi, NSW, Australia @ Beach Road Hotel
September 8 - Fortitude Valley, QLD, Australia @ The Brightside
September 8 - Brisbane, QLD, Australia @ Bigsound 2016
September 10 - Brunswick VIC, Australia @ The Penny Black
September 12 - Tokyo, Japan @ WWW 
September 13 - Nagoya, Japan @ Tokuzo
September 14 - Osaka, Japan @ Pangea
September 16 - Hong Kong, China @ Hillywood
September 23 - Hamburg, Germany @ Reeperbahn Festival 2016 
September 24 - Heidelberg, Germany @ Heidelberger Herbst 2016
September 25 - Utrecht, Netherlands @ Tivoli Vredenburg
September 27 - Zurich, Switzerland @ Papiersaal
September 28 - Milan, Italy @ Biko
September 29 - Bologna, Italy @ Covo Club
September 30 - Rome, Italy @ Quirinetta
October 1 - Turin, Italy @ Astoria
October 5 - Luxembourg, Luxembourg @ Bar National
October 6 - Antwerp, Belgium @ TRIX Centrum voor Muziek
October 9 - Tel Aviv-Jaffa, Israel @ Tmuna Theatre
October 12 - Gothenburg, Sweden @ FOLK
October 15 - Stockholm, Sweden @ Debaser Strand
October 17 - London, UK @ Oslo Hackney
October 21 - Barcelona, Spain @ Primavera Festival 2016 
___

Yumi Zouma on FB: on.fb.me/1RWozre
Cascine on FB: on.fb.me/1jAp5ZG

Vinyl

Yumi Zouma - Keep It Close To Me

The Time Is Now!

Take Me Home

Produced by: Raz Simone & Jake Crocker
Written by: Raz Simone

twitter.com/razsimone
facebook.com/razsimone
instagram.com/razsimone
http://blackumbrellamusic.com

All I Think Of

Veckatimest

Hold Still

Empty Space (Prod. KADE)

All Mirrors

Impasse

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.

Take Me Home

PHANTOGRAM

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