Je vous ai connu avec ce morceau fou,  ce clip de machine molle du futur, un plaisir inégalable, intemporel, unique, osé. Merci Air. 

Style à l’époque parallèle à paranoid android de Radiohead

Portis

"FIRE" VIDEO OUT NOW ON YOUTUBE -----> https://www.youtube.com/watch?v=0Vd-aGTmTdY

seaweed chains, hold me down 
Tear my skin, claw my heart 
I can feel, I can feel, the water, fill my lungs

Emptiness vastness, everlasting darkness 
anchor me, to the sand, underneath

this body is mine no longer 
scales creep up all over (x2)

seaweed chains let me go, fins for wrists, cold blood 
I can feel, I can feel the air fill my gills

emptiness, vastness, everlasting darkness 
welcome me, to my home, underneath

this body is mine no longer 
scales creep up all over (x2)

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Ocean

SOLDOUT - A DROP OF WATER

AUSTRA "American Science" (July 15th, 2014; MODERN)taken from the upcoming LP 'Making Patterns Rhyme: a tribute to Duran Duran' (August 12th, 2014; MODERN) curated by MANIMAL for the benefit of AMNESTY. Limited Edition CD coming via RANDM RECORDS.

AUSTRA - "American Science"

Order: https://itunes.apple.com/album/id923405001

David Douglas Ft. Blaudzun - White Heat Blood (Dollkraut Remix)

from 1st Album "Tristesse Contemporaine "

51 Ways To Leave Your Lover

Remixed by Donny Benet at Donnyland Studios
Additional mixing by Ivan Vizintin
Original version taken from the Jack Ladder & The Dreamlanders album 'Playmates', out now on Fat Possum & Self Portrait.
bit.ly/JLDLplaymatesiTunes

'Her Hands' (Donny Benet Special Edition)

Amor Fati

'Quazarz: Born on a Gangster Star' (release date: July 14, 2017) 
Order Now - Sub Pop Mega Mart  http://u.subpop.com/2oZIUq6

Song contains material from “I REALLY LOVE YOU” performed by Dee Dee Sharp on ABKCO Records

Shabazz Palaces https://shabazzpalaces.com/
Facebook https://www.facebook.com/shabazzpalaces
Twitter https://twitter.com/shabazzpalaces 
Instagram https://www.instagram.com/shabazzpalaces 
On Tour https://www.subpop.com/tours/shabazz_palaces

Shabazz Palaces - Shine A Light (feat. Thaddillac)

After a rip-roaring tour of the US with his live band at the end of 2011, a healthy wedge of new remixes under his belt for the likes of David Lynch, The Dø, The Drums and M83, Copenhagen‘s Anders Trentemøller remains in the spotlight.

Last year also saw the release of ‘Reworked / Remixed‘, a must-have double CD release featuring some of the inspired producer‘s favourite remixes, and his pick from remixes of his music by other artists. The release was preceded by the mixed-media collaboration with Efterklang in September 2011, where both artists remixed each other‘s songs in the ‘Raincoats vs Tide‘ EP.

Now we are excited to announce the next chapter of that project, with a special Trentemøller version of Gun Club‘s ‘My Dreams‘, featuring the sultry vocal talents of Marie Fisker. With a heavy electronic approach and slow-burning tempo, the ingenious re-working takes pride of place on a lovely 7‘‘ record, backed with a haunting live acoustic version.

Marie Fisker, who ist part of Trentemøller’s live band, provides the urging, aching vocals as Trentemøller crafts a slowly thumping and evolving moment of wonder, inspired by the dramatic synths. ‚You cannot take my dreams, you cannot take and steal from this body‘ Fisker hauntingly cries, as we get drawn into this melancholic and beautiful story for modern times.

A charming acoustic version features as a partner to the full-bodied original, where we hear yet another side to the song - the pairing of gifted song writing and Fisker‘s sensitive vocal talents stand out in a hair-raising live performance.

As if that wasn‘t enough, the mysterious ‘Blue Hotel‘ can be snapped up as a digital bonus. It‘s a cover of Chris Issac‘s tale of heartbreak which was previously only available on Trentemøller‘s ‘Late Night Tales‘ Mix-CD, released in May 2011.

My Dreams

Trentemøller - Blue Hotel (Digital Exclusive)

Air - Electronic Performer

New Album 'The Road: Part II / Lost Highway' available to pre-order now. https://ffm.to/theroadptii

Ar.Mour (Feat. Elliott Power & Miink)

Matthew E. White 
"Big Inner" LP/CD/DIG
Out January 2013 in Europe on Hometapes and Spacebomb.
www.matthewewhite.com
www.home-tapes.com
www.spacebombrecords.com

Like all of us, Matthew E. White was born into a constructed world. His unfolded out of the mingled sands of Virginia Beach and Manila, the youngest son in a family that raised him barefoot between the blurred racket of that far eastern jungle city and the backyard lightning-bug-hum of a trimmed southern lawn. His first moves, from picking up a basketball to picking up a guitar, were cast in the dual glow of these latitudes. Something between them taught him to love. Something between them taught him to time travel. Here began the lessons of Big Inner.

On that day in August, when the earth shifted into the shape of Matthew E. White, there was so much to listen to, so much to put your heart into, already. The dusts of the Delta had swirled into Rock and Roll. Alan Lomax's recordings sat in a big building in Washington, DC. Lee Perry had built The Black Ark in his backyard in Kingston. Somebody else lived in Big Pink. Mac Rebennack was Dr. John. King Tubby was dubbing. Terry Riley was overdubbing. Sly Stone had hit #1. Randy Newman's Sail Away was a decade old. Caetano Veloso had just turned 40. Muddy Waters was just about gone. Jimmy Cliff had sung "Many Rivers to Cross." So had Harry Nilsson. White shared this common inheritance. He stitched his own flag out of it.

And so it begins with "One of These Days," looking in, up, and over in its declarations of love. It's waking up next to someone. It's feeling the wood of the church pew on your back. This is your introduction to Matthew E. White and the world of Spacebomb; he's convincing you to stay the night. You give me joy like a fountain deep down in my soul. You can hear him breathe in. The first time around, White only hums the chorus. Hums it. Plants it in your head as it blooms in his. Strings enter like a siren. The guitar only talks when it has something to say. The choir lets you know you're not alone. Overdubbed woodwinds and muted brass like it on top, dancing around the embers of the bass line. Whether you're a woman or man, White's mournful, get-it-on voice may be all you can hear: I don’t want to live a day longer than you, so let’s meet the Lord together. You can call it soul music if you want. It's his soul and it's his music. 

Big Inner is told in seven songs that mingle memory with the rawness of any given human moment. The references — from the lyrics that echo the common conditions of love, death, seeking, and finding, to open tributes to artists like Washington Phillips, Allen Toussaint, Jorge Ben, Jimmy Cliff, and Randy Newman — are their own scavenger hunt through history and through White's place in it. "Big Love," the album's whopping second track, evolves the serenade of the opener into an all-out field holler. The vibe is farmed by Trey Pollard's cinematic string arrangement, Megafaun's Phil Cook on near-frantic keys, baritone sax squawks, pacemaking congas, and the first appearance of a burning White guitar solo. I am a barracuda, I am a hurricane. You don't need the seven-voice choir chasing White's voice to make you believe it, but it sure doesn't hurt.

For a record so personal, built on such code, it's never been a secret. Inseparable from Matthew E. White is Spacebomb — the process, the sound, the spirit, and the record label which White's debut launches. A gifted jazz arranger and exceptional guitarist, White is joined by bassist Cameron Ralston (the Wise) and drummer Pinson Chanselle (the Mighty) in the formation of the Spacebomb House Band. You won't forget those names. This core group, multiplied by horns, strings, and a choir (all culled from and roused by the venerable landscape of Richmond, Virginia), was captured to tape in White's own tricked-out attic on the west side of town. This is Spacebomb: an inimitable House Band, a producer, and a unified crew of arrangers and musicians join with an artist and cut a record — with staggering results. White assumed the actor-director role for Big Inner; it's the first Spacebomb album, the playbook and the highlight reel all at once, for a colossal series of upcoming albums from Natalie Prass, Karl Blau, Joe Westerlund (Megafaun), and Ivan Howard (The Rosebuds, Gayngs). A conductor in every sense of the word, an ambitious new label and a solo album were an easy segue from White's well-known post as the leader of the avant-garde jazz band Fight the Big Bull. 

As you swing into "Will You Love Me," you're a goner. Big Inner is an album of firsts, for White and for our place in time. He trades his guitar in for piano. He coos into the piano mic on the first take, a hunch that turns into an ice-breaker for the tingling dirge of "Gone Away." Written on the night of his young cousin's death, it walks the line between worldly gloom and heavenly lightness — and questions the validity of both. As on the rest of the album, White arranged the horns; they speak volumes beyond the limitation of his earthbound vocabulary.

The album culminates in the riverbed of "Brazos," a parable for the whole of Big Inner. Take every story you've heard, every note that's shaken your bones, every sunrise, and every friend you've got — and run. Like the rest of Big Inner, this closing track stands at full attention, the Spacebomb House Band, Horns, Strings, and Choir waiting their turn to kindle a flame that lights up the endless desert. Like every man before him, Matthew E. White is leaving a mark on the landscape. It's there, on records. It's there, on stage. But, like rare few, what Big Inner has brought to its glistening surface is what very well might be right inside of you.

-Sara Padgett Heathcott, Hometapes

Matthew E. White "Big Love"

Follow Midnight Juggernauts : http://facebook.com/midnightjuggernauts / http://twitter.com/juggernauts

http://soundcloud.com/midnightjuggernauts have forged a unique path, refusing to be bound by boundaries of genre, convention, or expectation. The band are now on the verge of releasing a new anticipated album, Uncanny Valley, out on June 17th, their first output since previous albums Dystopia and The Crystal Axis. This EP is the first taste of their new material, which sounds uniquely Midnight Juggernauts. Situated at a self-styled nexus between genre and era, their new output may be described as warm-hearted cold wave, interstellar harmony's, early 1950's house, steeped in the darkness of dusty Giallo soundtracks, audio spomeniks at once futuristic and rustic, a bold musical future envisaged through a soundtrack to a forgotten Eastern Bloc Tarkovsky film, sifting through the ruins of LPs past.

A1. Memorium : a twirl through the memories of the mind...
A2. Ballad Of The War Machine : crushing of the waves. Godspeed, Travel well...
B1. Memorium (Turkish Prison Dub) : continues beneath the water level...

iTunes link : http://bit.ly/1656pPZ

http://midnightjuggernauts.com 
http://recordmakers.com 
http://siberiarecords.tumblr.com

Air - Electronic Performer

Tony Hoffer

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