J'marchais dans la rue, Paris était gris. J'pensais à toi, j'espèrais t'croiser en fait.  J'me souvenais plus exactement de ton visage, si ton nez était droit, si ta bouche était pleine. Mais j'me souvenais du goût de tes lèvres, j'espèrais te croiser à tous les coins de rues.  Tous les garçons de dos avaient ton allure, mais quand ils se retournaient ce n'était pas toi, personne n'était toi enfaite. On me disait que c'était un amour d'enfant, qu'il fallait oublier. On me disait que c'était bête, ou irrationnel, complètement infondé. Mais moi je m'en  foutais. Je savais que là où tu étais tu pensais la même chose.  J'marchais dans la rue, Paris restait gris. Les murs étaient les mêmes, les champs étaient les mêmes. Tout était pareil sauf toi. Tout était pareil mais toi t'étais pas là. Je savais que là où tu étais tu pensais la même chose.  J'marchais dans la rue, Paris restait gris. Les murs étaient les mêmes, les champs étaient les mêmes. Tout était pareil sauf toi. Tout était pareil 

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)

taken from the 1981 album 'Running Out Of Time' to be re-issued on URU/Lucky Number on March 18th, 2016. 

Pre-order:
http://smarturl.it/rexy
http://www.roughtrade.com/albums/100400

http://www.luckynumbermusic.com
http://uru.world




Rexy - Alien

from the "Eternal Delight" CD/LP (NNF316)
Not Not Fun / 2016

DELIGHT:
https://purplepilgrims.bandcamp.com/album/eternal-delight
midheaven.com/item/eternal-delight-by-purple-pilgrims

Purple Pilgrims "Thru Evry Cell"

From Sean Nicholas Savage's "Flamingo"
Arbutus Records (2011)

Other Life

Chin Chin

Sean Nicholas Savage - Chin Chin

Motel Music Part ll

Pre-order Link

Cruisin'

Dirty Beaches - 'Lord Knows Best'

SUGAR

(the death of ruby) by Ruby Haunt

Lead single from ShitKid's new EP "This Is It", the follow-up to the acclaimed debut LP "Fish". "This Is It" is due on January 19th, 2018 via PNKSLM Recordings on limited edition vinyl and digital. "Fish" available on vinyl, cd and digital. Order at www.PNKSLM.com/store

www.facebook.com/shitkidmusic
www.facebook.com/PNKSLM

ShitKid - "Favourite Thing"

John Maus 'No Title (Molly)' is available on a limited edition transparent orange Flexi Disc as part of Smugglers Way, Ribbon Music and Domino's first ever FlexiDisc Zine available exclusively on Record Store Day, April 21st.

Smugglers Way features unreleased songs by Dirty Projectors, Real Estate, Cass McCombs, Villagers and John Maus on FIVE individual, multi-colored Flexi Discs.

The 24pg zine is comprised of contributions by Domino & Ribbon artists including Alison Mosshart (The Kills), Laura Marling, Owen Pallett, Bjorn Copeland (Black Dice), Alex Bleeker (Real Estate), Andrea Estella (Twin Sister), Orange Juice, James Yorkston, Jon Hopkins, Ade Blackburn (Clinic), Jana Hunter (Lower Dens), Conor O'Brien (Villagers), King Creosote & Tom Fleming (Wild Beasts).

Smugglers Way is a limited, one of kind item, conceived and designed exclusively for Record Store Day. We couldn't be more proud of this and we hope you find Smugglers Way as exciting to read and listen to as it was for us to put together.

For more information visit: http://smugglersway.tumblr.com/

(the death of ruby) by Ruby Haunt

UGUMU

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