Name: Seres Live @ Bar72 Stage, Bankito Festival July 2015 by Seres <
Duration: 47 min 56 s
Description: Full live-act at Bankito Festival. Exclusively original material

hu ez a dallam nagyon elkapott Alkotón is:)

Alter)ring - Infinitely Gentle Blows [Scott Hardkiss Aural Hallucination Mix]

annie (nfake svalbard mix) (2005/6)

Lucrecia Protellor - Trueit's R Place (Radiohead - Everything in it's right place/True Love Waits)

PREORDER: http://nightschoolrecords.bigcartel.com/product/lssn028-happy-meals-apero-lp

Happy Meals is the Glasgow-based duo of Suzanne Rodden and Lewis Cook, life-partners since high school finding expression in cosmic form. Originally from the Scottish borders, Rodden and Cook (also of The Cosmic Dead) began Happy Meals in a flurry of experimentation at Glasgow’s creative hub The Green Door Studio. Initially the result of a free music production course, Apéro sees the pair embark on a blissful voyage into a love-fuelled, outward-looking hedonism. Both artists operate machines and sing but it’s the dominating Franco-Scottish lingua-franca of Suzanne Rodden that imbues a sense of seductive fun to the album.
Their first recorded statement, Apéro is an instant rush of Kosmiche-disco, utterly addictive and inviting. The epic Crystal Salutation welcomes the listener in with analogue synths delayed into the horizon before Electronic Disco ushers in distorted drum machines and Rodden’s disco-at- sunset vocal. Album stand-out Altered Images is a pop-masterpiece, mixing French / Italo disco, acid basslines and a sense of Scottish optimism. Age Of Love is unabashedly the feeling of being up until day-break, with layered synths climaxing all-around. Retro-futuristic visions abound on the beat-less Visions Of Utopia before closer
Le Voyage reprises back the cosmopolitan disco, playing out the perfect club night in ecstatic fashion. It’s an enchanting, inclusive vision; everyone is invited, the future is bright.

HAPPY MEALS - Altered Images (from Apéro LSSN028)

This track is the expression of a recurring dream I have about gigantic Tsunami-like waves approaching the shore.

recurring waves

http://nightschoolrecords.bigcartel.com/artist/molly-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: 1995 (from Zenith)

Full live-act at Bankito Festival. Exclusively original material

Seres Live @ Bar72 Stage, Bankito Festival July 2015

Norwell - Running Sculptures

Preorder here: https://www.bpitchcontrol.de/market/browse/10211

"They are as hypnotic and freaky as my DJ sets are. I used some of my favourite instruments, the 303, the 909 and the Minimoog to create two tracks full of murky, distorted vocals, strange breaks and pure drastic emotion in beat form. This record is my definition of the Allien sound."

Ellen Allien

Seres Live @ Bar72 Stage, Bankito Festival July 2015

Seres <

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