This is a b-side track from the upcoming release with Jay Simon on @musthaverecords It’s called “ All Kinds “. It’s about being around people, friends, family, lovers, loved ones, that make you happy. Surrounding yourself with people that bring you joy and vice versa.


Read the full interview here: http://amselcom.de/seven-davis-jr-interview-exclusive-track/

Seven Davis Jr. - All Kinds - Exclusive Preview from Must Have Records

Anangu Moon

Anangu Moon (Aaaron Remix) [feat. Boskasie]

Fire & Rain

Thimble - Take Me Home

Dixon (Wilderness) Aux 88 - Sharivari (Digital Original Aux 88 Mix)

Depth and emotion perfectly complemented this instrumental landscapes song.

04 - Casa De Arps


Excited about this :-)

Out 16th July with remix from Steffi.

http://www.juno.co.uk/ppps/products/459633-01.htm

BICEP & EJECA | YOU (AUS Music) Out Now

Release date: may 10, 2019 - available here: 
https://pampa-records.lnk.to/GerryRead 
https://pamparecords.com/products/pampa033-it-ll-all-be-over

Gerry Read - It'll All Be Over (Dj Koze Radio Edit) available here: https://pampa.lnk.to/Gerry_Read_DJ_Koze_Remix_Edit

Read’s second cut, “Satyricon,” is woven in the spirit of micro-house. Sharp waveform cuts, timely pauses, loops of noodling keys and hints of percussion shakers combine for a low-slung psychedelic effect. With the sunniness of a vintage folk-pop sample and sultry snatches of Spanish dialogue added atop a deep mid-tempo shuffle, Read secures his place alongside the Bradocks and Leclairs who came before him.

More Infos: www.pamparecords.com
(C) Pampa Records 2019

IT'll All Be Over

Pampa033A2 - Gerry Read - Satyricon

On their second release of the year, La Dame Noir welcome Tel Aviv's finest: Eliezer. 

The EP opens with Bauhaus, an indie anthem led by a mad vocal from prolific maestro, Curses. A hit in the making that bears the hallmarks of cold wave.

Two clubs-ready originals follow: "White Snow" and "Post Love" are full of overdriven guitars, chugging dancefloor-driven grooves, understated female vocals, and indie-indebted melodies. 

The 6 tracker ends with 3 strongs remixes straight out of Tel Aviv with Middle Sky Boom, Niv Ast and Uriah. The Israeli electronic scene has been on fire for more than a minute now and La Dame Noir is delighted to continue pushing that sound and scene forward.

ELIEZER
https://www.facebook.com/lazeperez/
https://soundcloud.com/doneliezer

LA DAME NOIR
https://www.facebook.com/La-dame-Noir-130279630357223/
https://soundcloud.com/la-dame-noir

Bauhaus ft. Curses (Original Mix)

WIRE – CHANGE BECOMES US – pinkflag (pf20)

“Well, it seemed like a good idea at the time…,” laughs Colin Newman when asked to explain Wire’s original motivation for Change Becomes Us. While that might sound like the kind of feeble excuse you’d offer in mitigation when a drunken escapade goes horribly wrong, not only was it a good idea, it actually turned into a superlative one. 

In spring 2012, Wire’s plan had been to convene at Rockfield Studios in Wales to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band was disintegrating. The aim wasn’t simply to resuscitate and record old songs – in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealised work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes, a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been or what it might have become if it had been pursued in 1980. 

“Love Bends” is a case in point. Its roots lie in “Piano Tuner” -- the raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden and preserved on Document and Eyewitness -- but it’s now morphed, improbably, into an irresistible, totally modern pop song. “It had to be turned into something else,” explains Lewis, “because it only really had one bit.” Just as improbably, the gently lilting “Re-invent Your Second Wheel” is tangentially connected to the notorious “Zegk Hoqp,” which was more of a one-time happening than a song at the Camden gig -- mostly shouting and banging, executed by a stage-full of Wire cronies in funny hats. “It was written for performance, around people with newspaper headdresses; not with music in mind,” Lewis emphasizes. Similarly transformed, “& Much Besides” is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in “Eastern Standard” --  a dreary, obtuse three-minute geography lesson delivered with former manager Mick Collins at the Electric Ballroom concert.

Newman’s writing and production reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces; and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, “Adore Your Island” veers between what Newman describes as “prog and unhinged punk rock,” never quite resolving itself; the drama of “Attractive Space” hinges on a progressive splitting of the song’s personality, between its calm expansive, anthemic orientation and an increasing sense of intensity and claustrophobia. 

Change Becomes Us encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic -- one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd. This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable, distinctive work -- from the epochal innovations of Chairs Missing and 154 to the electronic-pop deconstructions of A Bell Is A Cup to Send’s postmodern-punk expressionism and the widescreen lyricism of Red Barked Tree.

Change Becomes Us is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Wilson Neate


Change Becomes Us

Time Lock Fog

Since their formation in London in 1976, the members of Wire have maintained and advanced a musical project which treats the creative potential of a rock band as a fluid, amorphous medium. As removed from self-conscious intellectualism as they are from the inherent conservatism of much rock music, Wire employ their unique, endlessly restless and risk-taking creativity to question every aspect of songwriting, recording and performance. They delight and disturb in equal measure, troubleshooting the circuitry of perfect pop, or patrolling the limits of focused experimentalism. In terms of working together as Wire, the group's members disbanded in 1980, reformed in 1985, disbanded in 1992 and reformed for the second time in 2000. Such sabbaticals from their career as Wire have served to sharpen the group's edge and focus, updating the tactics with which they pursue this shared project.

see more - www.pinkflag.com

Time Lock Fog

WireHQ