SUPERNATURAL

pic: Church of the Most Holy Trinity, designed by Fritz Wotruba

John Maus - The Silent Chorus

Quantum Leap is from John Maus' forthcoming album, We Must Become The Pitiless Censors Of Ourselves, out on June 28th in North America on Ribbon Music and June 27th in the UK / Europe on Upset the Rhythm.

Hear another track, Believer, from the album here: http://soundcloud.com/ribbonmusic/john-maus-believer

JOHN MAUS lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science, he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesizers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for John's deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that partially helps to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of 80’s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.

We Must Become The Pitiless Censors Of Ourselves breaks new ground for Maus. The shirt pulling and air punching of his impassioned live performance is finally captured in all its frenzied appeal alongside a tender inner space that wasn’t as apparent on his previous albums. It’s a record where promise takes the lead for the first time, providing a counterpoint to John’s default existential calling.

Signup to stay informed of the latest John Maus news, including a chance to pre-order the new album on CD/limited-edition LP:
http://www.ribbonmusic.com/label/
http://www.upsettherhythm.co.uk/

John will be playing shows across the US this summer including co-headlining shows with LA's Puro Instinct.

05-13 Los Angeles, CA - The Echo
06-18 San Francisco, CA - Brick And Mortar Music Hall *
06-20 Portland, OR - Doug Fir *
06-21 Seattle, WA - Chop Suey *
06-24 Minneapolis, MN - 7th St Entry *
06-25 Chicago, IL - Empty Bottle *
06-26 Detroit, MI - Magic Stick *
06-28 Brooklyn, NY - Glasslands *
06-29 New York, NY - Mercury Lounge *
06-30 Boston, MA - Great Scott *
07-02 Winooski, VT - Monkey House
07-03 Philadelphia, PA - Making Time @ Voyeur *
07-05 Washington, DC - Black Cat Backstage *
07-06 Atlanta, GA - The Earl *
07-07 Birmingham, AL - Bottletree Cafe *
07-08 New Orleans, LA - Wolf Den at Howlin Wolf *
07-09 Austin, TX - Mohawk Inside *
07-12 San Diego CA - Casbah *
07-13 Costa Mesa, CA - Detroit Bar *
07-15 Los Angeles, CA - Echoplex *

* w/ Puro Instinct

We Must Become the Pitiless Censors of Ourselves

Quantum Leap

John Maus - Quantum Leap

<i>New York has the rhythm, L.A. has the rhythm, Detroit has the rhythm, Paris has the rhythm, 
Miami has the rhythm, Seattle has the rhythm, Hong Kong has the rhythm, and London has the rhythm 
Atlanta has the rhythm, Chicago has the rhythm, Honolulu has the rhythm, Portland has the rhythm, 
Phoenix has the rhythm, Dallas has the rhythm, Shanghai has the rhythm, and Dublin has the rhythm 
Denver has the rhythm, Toronto has the rhythm, Eugene has the rhythm, Berlin has the rhythm, 
Cambridge has the rhythm, New Delhi has the rhythm, Beijing has the rhythm, and Austin has the rhythm 
St. Paul has the rhythm, Las Vegas has the rhythm, Sydney has the rhythm, Des Moines has the rhythm 
I've got the rhythm 
You've got the rhythm 
We've got the rhythm, yes we've got the rhythm 

What's that lousy sound I hear? 
It could only be one thing and that is music 
Don't let that music get to you 
First it takes your mind and then your soul 
Copper strings and bows comprised of horsehair 
Don't let that music... 

I hate music 
(Rock) 
(Jazz) 
I hate music 
(Classical) 
I hate music 
(Folk) 

Octaves will rise, higher and higher 
Until they break my heart in two 
Singers will sing, making my head ring 

I admit 
That only the angels (only the angels) 
Yes, only the angels heralding the trumpets of doom 
can make music sweet enough for me to hear 
Yes, I admit 
What's that lousy sound I hear? 
It could only be one thing and that is music 
Don't let that music get to you 
First it takes your mind and then your soul 
Copper strings and bows comprised of horsehair 
Don't let that music...</i>

John Maus - I Hate Music

John Maus - Keep Pushing On

Recorded and Mixed by Chris Campion
Mastered by Roland Hlavka
October, 2014


Control

Case Closed

nightschoolrecords.bigcartel.com/artist/m…-nilsson

A sweeping, cinematic, emotional change is in the air. Molly Nilsson’s sixth studio album Zenith begins with clear, wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson’s big statement and consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings, bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and puzzlement.

That Molly Nilsson is a DIY cult figure is beyond question; she has always written directly and with wit straight down the line between the universal and the personal. The difference with Zenith, and you can hear it in the opening chords of opener The Only Planet, is that her scope is now much wider and her heart heavier than ever before: over a post-ecstatic dusk, Nilsson serenades the globe in a loving embrace. Following on, 1995 is, arguably, one of Nilsson’s finest songs to date. It’s one of those songs to learn the lyrics to, to listen to on repeat, a reason to wear the grooves down to the bone, it’s why pop music can be one of the greatest art forms we have. It’s an example of how, on this album, Molly draws the listener closer to her heart than ever before. There’s simply no escape from the line “The plans that you made / when you still had the time / I’ve saved all the things that you left behind but by now I guess I’d consider them all mine /Windows 95, is only a metaphor for what I feel inside / Although I’m older now / there’s still an emptiness that’s never letting go somehow.” Show-stopper Mountain Time is the soundtrack to being on the run, from societal conventions, from normative ideas of happiness, from your surroundings. It’s the intoxicating call of the renegade. That’s not to say that Nilsson’s light touch has been forsaken for grandiose statements. Bunny Club begins as a demo-sketch before breaking into a fast-paced tale of doomed romance with big rave synths and Bus 194 (All There Is) sees Molly joyride through a city on a happy hardcore bus. But it’s tracks like Tomorrow and another contender for best-ever-Molly moment, Happyness that the true scale of what she’s accomplished reveals itself. We’re locked in a spiraling orbit, strings and bass whirling, gazing at the spinning planet below us as we contemplate both the ultimate freedom in loneliness and the glimmer of hope in the Other. Can we ever be truly with someone? Are we ever truly alone?

Over the 13 tracks here we get the impression that Nilsson may always be restless; like anyone else she has conflicting feelings of love and hate. It’s just not many other people can tell you exactly how you feel before you know it yourself.

MOLLY NILSSON: Mountain Time (from Zenith)

Proximamente podremos disfrutar de una nueva reedicion de este magnifico album, agradecer a todas esas escuchas que hacen posible que nunca muera la musica como esta.

Martin Dupont - Love On My Side (Hot Paradox 1987)

Solid Space - Tenth Planet (1982)

We are honored to present the first vinyl reissue of French legends Martin Dupont’s seminal album from 1987, ‘Hot Paradox’. Martin Dupont was originally founded by Alain Seghir in Marseille in 1980. He enlisted numerous collaborators throughout the years, including Beverley Jane Crew, Brigitte Balian, and Catherine Loy. Martin Dupont was immensely talented with a rare dynamic between its varying members that was likely inspired by a combination of their magnetic personalities, creative vision, and the home studio where they recorded. Their music was colorful, enthusiastic, and delicate, but also melancholy and mysterious. A mixture of hot and cold, light and dark. They created electronic music that incorporated guitars, clarinets, and saxophones and is described by many as New Wave yet truly transcended genres. Aside from having been released as part of ‘The Complete Collection: 1980-1988’ 5-LP box set, the ‘Hot Paradox’ album hasn’t been available on vinyl since 1987. It is one of Martin Dupont’s most exquisite albums, illustrating the band’s mastery of synthesizer work, drum programming, and vocal duets. The album is vibrant and emotive, simultaneously somber and bright, theatrical and danceable. It is an essential album in the French cold wave, new wave, and minimal synth scenes, and in recent years, has finally received the recognition it deserves beyond any musical categorization. The Hot Paradox album reissue is pressed on 180-gram black vinyl, is accompanied by the original insert/lyrics sheet, and is housed in a heavy-weight sleeve featuring art by Yves Cheynet. The Hot Paradox LP is now available for pre-order with a release date of October 10th, 2023.

Purchase here:
https://minimalwave.com/releases/release/hot-paradox/

John Maus - Keep Pushing On

pollo asado

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