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1
Molly Nilsson - 1. Summer Cats
2
Molly Nilsson - 2. Perfect Past
3
Molly Nilsson - 3. Punks In Paradise
4
Molly Nilsson - 4. Plaza Italia
5
Molly Nilsson - 5. Blue Dollar
6
Molly Nilsson - 6. Maximo Says
7
Molly Nilsson - 7. Bar Roma
8
Molly Nilsson - 8. Malaysian Airlines
LP - Limited White VInyl Version
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
More records from Molly Nilsson
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1
Molly Nilsson - 1. Summer Cats
2
Molly Nilsson - 2. Perfect Past
3
Molly Nilsson - 3. Punks In Paradise
4
Molly Nilsson - 4. Plaza Italia
5
Molly Nilsson - 5. Blue Dollar
6
Molly Nilsson - 6. Maximo Says
7
Molly Nilsson - 7. Bar Roma
8
Molly Nilsson - 8. Malaysian Airlines
LP - Black Vinyl
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Label:Night School Records
Cat-No:LSSN060
Release-Date:03.11.2023
Configuration:LP Excl
Barcode:5060446122556
in stock
Last in:02.11.2023
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Cat-No:LSSN060
Release-Date:03.11.2023
Configuration:LP Excl
Barcode:5060446122556
1
MOLLY NILSSON - 1. In Real Life
2
MOLLY NILSSON - 2. You Always Hurt The One You Love
3
MOLLY NILSSON - 3. I Hope You Die
4
MOLLY NILSSON - 4. Bottles Of Tomorrow
5
MOLLY NILSSON - 5. Hiroshima Street
6
MOLLY NILSSON - 6. Intermezzo: The Party
7
MOLLY NILSSON - 7. Hotel Home
8
MOLLY NILSSON - 8. City Of Atlantis
9
MOLLY NILSSON - 9. Qwerty (Censored Version)
10
MOLLY NILSSON - 10. The Clocks
11
MOLLY NILSSON - 11. Skybound
Non Exclsuive, LP, LTD 300
1. In Real Life
2. You Always Hurt The One You Love
3. I Hope You Die
4. Bottles Of Tomorrow
5. Hiroshima Street
6. Intermezzo: The Party
7. Hotel Home
8. City Of Atlantis
9. Qwerty (Censored Version)
10. The Clocks
11. Skybound
“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us
at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade
YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in
her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on
History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s
home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an
intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has
excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves
as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life
crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s
excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in
love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title
into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also
one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived
on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing
trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to
comment on the patriarchal rendering of history by power. With by now trademark panache, she turns
complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that
propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer
is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time. More
1. In Real Life
2. You Always Hurt The One You Love
3. I Hope You Die
4. Bottles Of Tomorrow
5. Hiroshima Street
6. Intermezzo: The Party
7. Hotel Home
8. City Of Atlantis
9. Qwerty (Censored Version)
10. The Clocks
11. Skybound
“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us
at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade
YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in
her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on
History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s
home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an
intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has
excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves
as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life
crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s
excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in
love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title
into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also
one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived
on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing
trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to
comment on the patriarchal rendering of history by power. With by now trademark panache, she turns
complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that
propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer
is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time. More
Label:Night School Records
Cat-No:LSSN084
Release-Date:21.04.2023
Configuration:LP Excl
Barcode:5060446129241
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Release-Date:21.04.2023
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1
Molly Nilsson - No Title
2
Molly Nilsson - No Title
3
Molly Nilsson - No Title
4
Molly Nilsson - No Title
5
Molly Nilsson - No Title
6
Molly Nilsson - No Title
7
Molly Nilsson - No Title
8
Molly Nilsson - No Title
9
Molly Nilsson - No Title
10
Molly Nilsson - No Title
11
Molly Nilsson - No Title
Non Exclsuive LP
1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii
“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More
1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii
“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More
LP Excl
in stock
Label:Night School Records
Cat-No:LSSN054
Release-Date:21.04.2023
Configuration:LP Excl
Barcode:5060446121351
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Label:Night School Records
Cat-No:LSSN054
Release-Date:21.04.2023
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
4
Molly Nilsson - No Title
5
Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
8
Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
Non Exclsuive LP (Red Vinyl)
1. Tender
Surrender
2. Let’s
Talk
About
Privileges
3. Mona-Lisa’s
Smile
4. Memory
Foam
5. American
Express
6. Money
Never
Dreams
7. Not
Today
Satan
8. Think
Pink
9. Modern
World
10. Inner
Cities
11. Theory
Of
Life
12. After
Life
That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilsson
has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political
landscape and imagining a better world. For an artist who has so successfully created her own environment and
gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings,
engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into
the internal language of the solo auteur. Imaginations is not escapism, it’s a kaleidoscope and an alternative
view, an agent of change.
Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson’s
best songs a collision between the political and personal. Though potentially a love song, there’s a glowing anger
in the lines “I want your ruin, I want destruction, I won’t be through until we mend this…” this is rapturous
transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel
and this is no different… Who else could write a song about privilege (Let’s Talk About Privileges) and make a
heart-rending chorus of “It’s never being afraid of the police, it’s expecting every thank you, every please.” The
artist’s vision on this album is perhaps more forceful than the emotionally fragile moments of previous album
Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of
nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there’s overt
anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there’s
also seams of optimism sewn into the album’s genetic code. Any revolutionary will tell you that anger alone
achieves nothing - Nilsson’s mission on Imaginations is to offer some alternatives we can hold close. Not Today
Satan is a song about accepting love as the agent of change; “Don’t be sad, but do get mad at all the small men
who act so tall, in the end they always fall; there ain’t no sin in giving in to love, that’s just how we’re winning the
fight.” Love can be visceral, a weapon with which to fight the power.
On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to
live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism
about the future when we need it the most. “New boys, new girls.. give me your smile and I’ll give you mine”
Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we’re never alone in the
process More
1. Tender
Surrender
2. Let’s
Talk
About
Privileges
3. Mona-Lisa’s
Smile
4. Memory
Foam
5. American
Express
6. Money
Never
Dreams
7. Not
Today
Satan
8. Think
Pink
9. Modern
World
10. Inner
Cities
11. Theory
Of
Life
12. After
Life
That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilsson
has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political
landscape and imagining a better world. For an artist who has so successfully created her own environment and
gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings,
engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into
the internal language of the solo auteur. Imaginations is not escapism, it’s a kaleidoscope and an alternative
view, an agent of change.
Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson’s
best songs a collision between the political and personal. Though potentially a love song, there’s a glowing anger
in the lines “I want your ruin, I want destruction, I won’t be through until we mend this…” this is rapturous
transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel
and this is no different… Who else could write a song about privilege (Let’s Talk About Privileges) and make a
heart-rending chorus of “It’s never being afraid of the police, it’s expecting every thank you, every please.” The
artist’s vision on this album is perhaps more forceful than the emotionally fragile moments of previous album
Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of
nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there’s overt
anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there’s
also seams of optimism sewn into the album’s genetic code. Any revolutionary will tell you that anger alone
achieves nothing - Nilsson’s mission on Imaginations is to offer some alternatives we can hold close. Not Today
Satan is a song about accepting love as the agent of change; “Don’t be sad, but do get mad at all the small men
who act so tall, in the end they always fall; there ain’t no sin in giving in to love, that’s just how we’re winning the
fight.” Love can be visceral, a weapon with which to fight the power.
On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to
live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism
about the future when we need it the most. “New boys, new girls.. give me your smile and I’ll give you mine”
Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we’re never alone in the
process More
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Non Exclsuive LP (Yelllow Vinyl)
The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip More
The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip More
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
Non Exclsuive LP (Yelllow Vinyl)
DBL Gatefold LP w/ MP3, Galaxy Vinyl (Clear with Black smoke detail) &
Edition of 1000
2021 Vinyl aRepress, to co-incide with Molly Nilsson's new studio album and reissues of The Travels and Europa. First time this edition has been on CD
It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson's debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.
Molly Nilsson's first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson's songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on "The Lonely," "Whisky Sour," "Hey Moon!", the folly and intoxication of youth seen in "Joyride," "Poisoned Candy" and dogged self-reliance as on "The Diamond Song" or "Wounds Itch When They Heal." Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.
These Things Take Time tracklist:
A1 The Lonely
A2 The Diamond Song
A3 8000 Days
A4 Wounds Itch When They Heal
B1 Whiskey Sour
B2 Poisoned Candy
B3 (Won't Somebody) Take Me Out Tonight
B4 Hey Moon!
C1 The Home Song
C2 Joyride
C3 We're Never Coming Home
C4 Dinosaur Tears
C5 My Dream From Last Night
D1 Zur Tränen Bar
D2 Lend Me Your Love
D3 Some Need Powder
D4 Nightlife
More
DBL Gatefold LP w/ MP3, Galaxy Vinyl (Clear with Black smoke detail) &
Edition of 1000
2021 Vinyl aRepress, to co-incide with Molly Nilsson's new studio album and reissues of The Travels and Europa. First time this edition has been on CD
It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson's debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.
Molly Nilsson's first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson's songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on "The Lonely," "Whisky Sour," "Hey Moon!", the folly and intoxication of youth seen in "Joyride," "Poisoned Candy" and dogged self-reliance as on "The Diamond Song" or "Wounds Itch When They Heal." Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.
These Things Take Time tracklist:
A1 The Lonely
A2 The Diamond Song
A3 8000 Days
A4 Wounds Itch When They Heal
B1 Whiskey Sour
B2 Poisoned Candy
B3 (Won't Somebody) Take Me Out Tonight
B4 Hey Moon!
C1 The Home Song
C2 Joyride
C3 We're Never Coming Home
C4 Dinosaur Tears
C5 My Dream From Last Night
D1 Zur Tränen Bar
D2 Lend Me Your Love
D3 Some Need Powder
D4 Nightlife
More
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Non Exclsuive CD
The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip More
The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip More
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1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii
“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More
1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii
“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More
Label:Night School Records
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1
MOLLY NILSSON - No Title
2
MOLLY NILSSON - No Title
3
MOLLY NILSSON - No Title
4
MOLLY NILSSON - No Title
5
MOLLY NILSSON - No Title
6
MOLLY NILSSON - No Title
7
MOLLY NILSSON - No Title
8
MOLLY NILSSON - No Title
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MOLLY NILSSON - No Title
Format: LP
1. In The Mood For A Tattoo
2. The Revenge Of The Stalker
3. More Certain Than Death
4. When I Have No Words
5. Berlin, Berlin
6. Europa
7. I Whisper In My Ear
8. The Crisis
9. Asleep In Stockholm
“Is the future any brighter? Is the darkness any lighter?
When Molly Nilsson began recording her second album Europa in 2009 the world seemed to be at a turning point and
she along with it. In the aftermath of a global financial crash, at the dawn of a new decade, the Stockholm-born, Berlinbased singer was busy moulding her songwriting into an idiocyncratic, personal mythology that would take her to every
continent, speaking directly to hearts in every corner of the globe. The first album on her own Dark Skies Association
imprint, the first recorded in her home studio The Lighthouse, Europa broke new ground for Molly Nilsson at the time. But
also it spoke earnestly to the world about an idealism, an openness and hope that has not dimmed in the 11 years since
its release. Europa contains the songs of a young, idealistic songwriter coming to terms with her genius for cutting to the
chase, saying it as it is and, most importantly, as it should be. Over 10 years on the artists’ vim and urge for change has
only got stronger but here you can see the bright hope begin to dawn.
Europa saw Molly Nilsson move away from the minimal primitivism of her debut These Things Take Time and
remastered by James Plotkin for it’s 2021 reissue it reveals a growing depth in her songwriting. Opener In The Mood For
A Tattoo, with synth overdubs on top of impeccable vocal harmonising, boasts a killer chorus hook before melting into
The Revenge Of The Stalker, with its shades of 80s synth pop building layered dynamics out of simplicity. More Certain
Than Death is a song of youthful rebellion, even if you didn’t know it at the time, forever searching for a way out of youth
while young. Of course now, over a decade since their release, these songs have been canonised in the alternative pop
realm like all of Molly Nilsson’s catalogue. The DIY aspect of these recordings may place them firmly in the milieu they first
gained popularity – the exploding world of DIY pop, blog-based music discovery and the seemingly endless possibilities of
the beginnings of of social media – but Europa’s songs are really made to be sung to and by people, they’re statements of
intent, of togetherness and defiance.
The album’s title track is a kernel of righteousness, an archetypal Molly Nilsson moment that contains all hope in its fist,
which steadily opens outstretched to everyone who listens. Europa was written in 2009 about the ongoing refugee crisis,
an open love letter to humanity. “The borders are only lines in the sand, the borders are divided by land (and invented by
men.)” Europa praises the idea of people coming together to make things better, to help each other. It’s not about this
Europe but the idea of having no borders to imprison people. Think of Europa as an alternate universe, where no one is
illegal, but free. It’s heady stuff to sum up in a song but of course Nilsson’s effortless chorus-writing render all these
notions and feelings in a few simple words. This is of course her chief talent, whether singing about heartbreak or global
financial meltdown and it is in abundance here.
Europa is idealism never dimmed, hope never blunted.
Europa is the final album in Molly Nilsson’s catalogue to be reissued.
25% of all profits will be donated to sea- watch.org, A non-profit organization that conducts civil search and
rescue operations in the Central Mediterranean More
1. In The Mood For A Tattoo
2. The Revenge Of The Stalker
3. More Certain Than Death
4. When I Have No Words
5. Berlin, Berlin
6. Europa
7. I Whisper In My Ear
8. The Crisis
9. Asleep In Stockholm
“Is the future any brighter? Is the darkness any lighter?
When Molly Nilsson began recording her second album Europa in 2009 the world seemed to be at a turning point and
she along with it. In the aftermath of a global financial crash, at the dawn of a new decade, the Stockholm-born, Berlinbased singer was busy moulding her songwriting into an idiocyncratic, personal mythology that would take her to every
continent, speaking directly to hearts in every corner of the globe. The first album on her own Dark Skies Association
imprint, the first recorded in her home studio The Lighthouse, Europa broke new ground for Molly Nilsson at the time. But
also it spoke earnestly to the world about an idealism, an openness and hope that has not dimmed in the 11 years since
its release. Europa contains the songs of a young, idealistic songwriter coming to terms with her genius for cutting to the
chase, saying it as it is and, most importantly, as it should be. Over 10 years on the artists’ vim and urge for change has
only got stronger but here you can see the bright hope begin to dawn.
Europa saw Molly Nilsson move away from the minimal primitivism of her debut These Things Take Time and
remastered by James Plotkin for it’s 2021 reissue it reveals a growing depth in her songwriting. Opener In The Mood For
A Tattoo, with synth overdubs on top of impeccable vocal harmonising, boasts a killer chorus hook before melting into
The Revenge Of The Stalker, with its shades of 80s synth pop building layered dynamics out of simplicity. More Certain
Than Death is a song of youthful rebellion, even if you didn’t know it at the time, forever searching for a way out of youth
while young. Of course now, over a decade since their release, these songs have been canonised in the alternative pop
realm like all of Molly Nilsson’s catalogue. The DIY aspect of these recordings may place them firmly in the milieu they first
gained popularity – the exploding world of DIY pop, blog-based music discovery and the seemingly endless possibilities of
the beginnings of of social media – but Europa’s songs are really made to be sung to and by people, they’re statements of
intent, of togetherness and defiance.
The album’s title track is a kernel of righteousness, an archetypal Molly Nilsson moment that contains all hope in its fist,
which steadily opens outstretched to everyone who listens. Europa was written in 2009 about the ongoing refugee crisis,
an open love letter to humanity. “The borders are only lines in the sand, the borders are divided by land (and invented by
men.)” Europa praises the idea of people coming together to make things better, to help each other. It’s not about this
Europe but the idea of having no borders to imprison people. Think of Europa as an alternate universe, where no one is
illegal, but free. It’s heady stuff to sum up in a song but of course Nilsson’s effortless chorus-writing render all these
notions and feelings in a few simple words. This is of course her chief talent, whether singing about heartbreak or global
financial meltdown and it is in abundance here.
Europa is idealism never dimmed, hope never blunted.
Europa is the final album in Molly Nilsson’s catalogue to be reissued.
25% of all profits will be donated to sea- watch.org, A non-profit organization that conducts civil search and
rescue operations in the Central Mediterranean More
Label:Night School Records
Cat-No:LSSN075CD
Release-Date:21.04.2023
Configuration:CD Excl
Barcode:5060446124666
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Format: LP
1. In The Mood For A Tattoo
2. The Revenge Of The Stalker
3. More Certain Than Death
4. When I Have No Words
5. Berlin, Berlin
6. Europa
7. I Whisper In My Ear
8. The Crisis
9. Asleep In Stockholm
“Is the future any brighter? Is the darkness any lighter?
When Molly Nilsson began recording her second album Europa in 2009 the world seemed to be at a turning point and
she along with it. In the aftermath of a global financial crash, at the dawn of a new decade, the Stockholm-born, Berlinbased singer was busy moulding her songwriting into an idiocyncratic, personal mythology that would take her to every
continent, speaking directly to hearts in every corner of the globe. The first album on her own Dark Skies Association
imprint, the first recorded in her home studio The Lighthouse, Europa broke new ground for Molly Nilsson at the time. But
also it spoke earnestly to the world about an idealism, an openness and hope that has not dimmed in the 11 years since
its release. Europa contains the songs of a young, idealistic songwriter coming to terms with her genius for cutting to the
chase, saying it as it is and, most importantly, as it should be. Over 10 years on the artists’ vim and urge for change has
only got stronger but here you can see the bright hope begin to dawn.
Europa saw Molly Nilsson move away from the minimal primitivism of her debut These Things Take Time and
remastered by James Plotkin for it’s 2021 reissue it reveals a growing depth in her songwriting. Opener In The Mood For
A Tattoo, with synth overdubs on top of impeccable vocal harmonising, boasts a killer chorus hook before melting into
The Revenge Of The Stalker, with its shades of 80s synth pop building layered dynamics out of simplicity. More Certain
Than Death is a song of youthful rebellion, even if you didn’t know it at the time, forever searching for a way out of youth
while young. Of course now, over a decade since their release, these songs have been canonised in the alternative pop
realm like all of Molly Nilsson’s catalogue. The DIY aspect of these recordings may place them firmly in the milieu they first
gained popularity – the exploding world of DIY pop, blog-based music discovery and the seemingly endless possibilities of
the beginnings of of social media – but Europa’s songs are really made to be sung to and by people, they’re statements of
intent, of togetherness and defiance.
The album’s title track is a kernel of righteousness, an archetypal Molly Nilsson moment that contains all hope in its fist,
which steadily opens outstretched to everyone who listens. Europa was written in 2009 about the ongoing refugee crisis,
an open love letter to humanity. “The borders are only lines in the sand, the borders are divided by land (and invented by
men.)” Europa praises the idea of people coming together to make things better, to help each other. It’s not about this
Europe but the idea of having no borders to imprison people. Think of Europa as an alternate universe, where no one is
illegal, but free. It’s heady stuff to sum up in a song but of course Nilsson’s effortless chorus-writing render all these
notions and feelings in a few simple words. This is of course her chief talent, whether singing about heartbreak or global
financial meltdown and it is in abundance here.
Europa is idealism never dimmed, hope never blunted.
Europa is the final album in Molly Nilsson’s catalogue to be reissued.
25% of all profits will be donated to sea- watch.org, A non-profit organization that conducts civil search and
rescue operations in the Central Mediterranean More
1. In The Mood For A Tattoo
2. The Revenge Of The Stalker
3. More Certain Than Death
4. When I Have No Words
5. Berlin, Berlin
6. Europa
7. I Whisper In My Ear
8. The Crisis
9. Asleep In Stockholm
“Is the future any brighter? Is the darkness any lighter?
When Molly Nilsson began recording her second album Europa in 2009 the world seemed to be at a turning point and
she along with it. In the aftermath of a global financial crash, at the dawn of a new decade, the Stockholm-born, Berlinbased singer was busy moulding her songwriting into an idiocyncratic, personal mythology that would take her to every
continent, speaking directly to hearts in every corner of the globe. The first album on her own Dark Skies Association
imprint, the first recorded in her home studio The Lighthouse, Europa broke new ground for Molly Nilsson at the time. But
also it spoke earnestly to the world about an idealism, an openness and hope that has not dimmed in the 11 years since
its release. Europa contains the songs of a young, idealistic songwriter coming to terms with her genius for cutting to the
chase, saying it as it is and, most importantly, as it should be. Over 10 years on the artists’ vim and urge for change has
only got stronger but here you can see the bright hope begin to dawn.
Europa saw Molly Nilsson move away from the minimal primitivism of her debut These Things Take Time and
remastered by James Plotkin for it’s 2021 reissue it reveals a growing depth in her songwriting. Opener In The Mood For
A Tattoo, with synth overdubs on top of impeccable vocal harmonising, boasts a killer chorus hook before melting into
The Revenge Of The Stalker, with its shades of 80s synth pop building layered dynamics out of simplicity. More Certain
Than Death is a song of youthful rebellion, even if you didn’t know it at the time, forever searching for a way out of youth
while young. Of course now, over a decade since their release, these songs have been canonised in the alternative pop
realm like all of Molly Nilsson’s catalogue. The DIY aspect of these recordings may place them firmly in the milieu they first
gained popularity – the exploding world of DIY pop, blog-based music discovery and the seemingly endless possibilities of
the beginnings of of social media – but Europa’s songs are really made to be sung to and by people, they’re statements of
intent, of togetherness and defiance.
The album’s title track is a kernel of righteousness, an archetypal Molly Nilsson moment that contains all hope in its fist,
which steadily opens outstretched to everyone who listens. Europa was written in 2009 about the ongoing refugee crisis,
an open love letter to humanity. “The borders are only lines in the sand, the borders are divided by land (and invented by
men.)” Europa praises the idea of people coming together to make things better, to help each other. It’s not about this
Europe but the idea of having no borders to imprison people. Think of Europa as an alternate universe, where no one is
illegal, but free. It’s heady stuff to sum up in a song but of course Nilsson’s effortless chorus-writing render all these
notions and feelings in a few simple words. This is of course her chief talent, whether singing about heartbreak or global
financial meltdown and it is in abundance here.
Europa is idealism never dimmed, hope never blunted.
Europa is the final album in Molly Nilsson’s catalogue to be reissued.
25% of all profits will be donated to sea- watch.org, A non-profit organization that conducts civil search and
rescue operations in the Central Mediterranean More
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1
Molly Nilsson - 1. Summer Cats
2
Molly Nilsson - 2. Perfect Past
3
Molly Nilsson - 3. Punks In Paradise
4
Molly Nilsson - 4. Plaza Italia
5
Molly Nilsson - 5. Blue Dollar
6
Molly Nilsson - 6. Maximo Says
7
Molly Nilsson - 7. Bar Roma
8
Molly Nilsson - 8. Malaysian Airlines
LP - Black Vinyl
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Label:Night School Records
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1
Yuching Huang - 1. Fly! Little Black Thing
2
Yuching Huang - 2. Love
3
Yuching Huang - 3. Confessions From A Soul
4
Yuching Huang - 4. Thoughts
5
Yuching Huang - 5. Thunder In Heaven
6
Yuching Huang - 6. In My Room
7
Yuching Huang - 7. The Song Of Summer
8
Yuching Huang - 8. JohnJohn
9
Yuching Huang - 9. Alright
10
Yuching Huang - 10. You, An Illusion
LP - The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
1. Fly! Little Black Thing
2. Love
3. Confessions From A Soul
4. Thoughts
5. Thunder In Heaven
6. In My Room
7. The Song Of Summer
8. JohnJohn
9. Alright
10. You, An Illusion
The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar
work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a
hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal
style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.
The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal
performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration
and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little
else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding,
the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the
imagination.
On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat
floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and
Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s
third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world
reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether
with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new
perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened
mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing
smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly
at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian
60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes
Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by
Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between
people where desires, feelings and loss hangs in the air, resolute and unresolved. More
1. Fly! Little Black Thing
2. Love
3. Confessions From A Soul
4. Thoughts
5. Thunder In Heaven
6. In My Room
7. The Song Of Summer
8. JohnJohn
9. Alright
10. You, An Illusion
The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar
work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a
hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal
style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.
The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal
performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration
and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little
else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding,
the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the
imagination.
On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat
floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and
Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s
third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world
reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether
with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new
perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened
mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing
smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly
at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian
60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes
Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by
Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between
people where desires, feelings and loss hangs in the air, resolute and unresolved. More
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1
Sorrow - Soldier
2
Sorrow - Love Dies
3
Sorrow - Turn Off The Light
4
Sorrow - Haunting
5
Sorrow - Fear Becomes You
6
Sorrow - October Faul
7
Sorrow - Wishing Stone
8
Sorrow - Nomadic Man
9
Sorrow - Epiphany
10
Sorrow - Angel
11
Sorrow - Sleep Now Forever
2LP, LTD 500 , Black Vinyl - RSD 2024 , DO NOT SELL BEFORE 20.04.2024 - Territories: WW-US,UK,FR
1. Soldier
2. Love Dies
3. Turn Off The Light
4. Haunting
5. Fear Becomes You
6. October Faul
7. Wishing Stone
8. Nomadic Man
9. Epiphany
10. Angel
11. Sleep Now Forever
Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted
by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk
music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal
performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep
Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work
to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which
struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s
troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only,
original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release,
Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist
Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed
and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an
array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan
Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve
around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable
and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe
and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this
beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and
redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier
benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and
percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency
dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching
lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with
chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s
psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally
resurfacing from the darkness.
Sleep Now Forever is being released on 2LP on April 20th, 2024. Limited to 500. More
1. Soldier
2. Love Dies
3. Turn Off The Light
4. Haunting
5. Fear Becomes You
6. October Faul
7. Wishing Stone
8. Nomadic Man
9. Epiphany
10. Angel
11. Sleep Now Forever
Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted
by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk
music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal
performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep
Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work
to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which
struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s
troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only,
original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release,
Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist
Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed
and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an
array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan
Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve
around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable
and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe
and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this
beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and
redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier
benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and
percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency
dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching
lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with
chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s
psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally
resurfacing from the darkness.
Sleep Now Forever is being released on 2LP on April 20th, 2024. Limited to 500. More
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Label:Night School Records
Cat-No:LSSN090
Release-Date:12.04.2024
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1
The Space Lady - All Shook Up
2
The Space Lady - Slapback Boomerang
3
The Space Lady - Puttin’ On The Ritz
4
The Space Lady - Radar Love
5
The Space Lady - 20th Century Fox
6
The Space Lady - Shakin’ All Over
Mini LP, LTD 500 , Clear Vinyl - RSD 2024, No sales to UK,USA,FR, Benelux
1. All Shook Up
2. Slapback Boomerang
3. Puttin’ On The Ritz
4. Radar Love
5. 20th Century Fox
6. Shakin’ All Over
Since her re-discovery in 2013 via cult favourite The Space Lady’s Greatest Hits, The Space Lady’s mission of galactic
peace and celestial harmony has grown into a world-wide underground phenomenon. Recorded in 1990, The Space
Lady’s original repertoire is a parallel universe greatest hits: songs familiar are transmogrified into shimmering bliss
while new compositions amplify the message. The Space Lady’s Other Hits, released on April 20th for Record Store Day
2024, constitutes the songs recorded by Susan “The Space Lady” Dietrich Schneider as part of that repertoire that
never made the original Greatest Hits, save for a limited bonus CD on the first CD pressing. Remastered by Mikey Love
for vinyl, The Space Lady’s Other Hits completes the picture.
The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing
versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her
accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter, delay pedal and headset
mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its
leading exponents ever since.
The Space Lady’s Other Hits were recorded as they were played on the street, live, one-take, with Schneider playing, singing
and simultaneously manipulating the various effects. Beginning with Elvis Presley’s iconic All Shook Up, the walking bassline
underpinning the vocal, phasing in and out of this dimension, providing a fragile, extraterrestrial shadow to Presley’s original
lust-driven performance. Slapback Boomerang is an original composition, written by Schneider’s then-husband Joel Dunsany
a Rock ’n’ Roll pounder that could have been performed by The Cramps, its tale of relationship turmoil changed into a
meditation on the nature of echo and feedback. There are moments where Schneider performs vocal caesuras, swimming in
delay and phase for the pleasure of it, a pantomime drama performance that rings out. Closing Side B, Puttin’ On The Ritz is
Irving Berlin’s 20s smash hit manipulated into a sombre ballad with its latent class struggle narrative brought to the fore.
A staple of The Space Lady’s performances to this day, Golden Earring’s 70s global hit Radar Love retains something of the
original’s driving gallop but in The Space Lady’s telling it is shorn of the tight-trousered, taut machismo. The Space Lady coos
and reaches up into the heavens away from the road, the phaser waves drenching the composition with transcendence.
Schneider’s falsetto performances in the choruses do nothing but lift the spirits ever-arching upwards. Next, The Space Lady
emasculated Jim Morrison’s performance in The Doors’ 20th Century Fox. Faithfully playing Ray Manzarek’s keyboard parts on
her Casio, Schneider disintegrates Morrison’s lust into waves of echo and delay, creating a Dubbed out version of the song,
sounding eroded and decayed in all its ghostly glory. Pioneering Rock ’n’ Roll outfit Pete & The Pirates’ 1960 hot Shakin’ All
Over, something of a response to Elvis’ All Shook Up, is blown out in warm fuzz and the celestial hug of The Space Lady’s
spirit.
The Space Lady’s Other Hits is released on April 20th 2024 on clear vinyl 12”, limited to 500. More
1. All Shook Up
2. Slapback Boomerang
3. Puttin’ On The Ritz
4. Radar Love
5. 20th Century Fox
6. Shakin’ All Over
Since her re-discovery in 2013 via cult favourite The Space Lady’s Greatest Hits, The Space Lady’s mission of galactic
peace and celestial harmony has grown into a world-wide underground phenomenon. Recorded in 1990, The Space
Lady’s original repertoire is a parallel universe greatest hits: songs familiar are transmogrified into shimmering bliss
while new compositions amplify the message. The Space Lady’s Other Hits, released on April 20th for Record Store Day
2024, constitutes the songs recorded by Susan “The Space Lady” Dietrich Schneider as part of that repertoire that
never made the original Greatest Hits, save for a limited bonus CD on the first CD pressing. Remastered by Mikey Love
for vinyl, The Space Lady’s Other Hits completes the picture.
The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing
versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her
accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter, delay pedal and headset
mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its
leading exponents ever since.
The Space Lady’s Other Hits were recorded as they were played on the street, live, one-take, with Schneider playing, singing
and simultaneously manipulating the various effects. Beginning with Elvis Presley’s iconic All Shook Up, the walking bassline
underpinning the vocal, phasing in and out of this dimension, providing a fragile, extraterrestrial shadow to Presley’s original
lust-driven performance. Slapback Boomerang is an original composition, written by Schneider’s then-husband Joel Dunsany
a Rock ’n’ Roll pounder that could have been performed by The Cramps, its tale of relationship turmoil changed into a
meditation on the nature of echo and feedback. There are moments where Schneider performs vocal caesuras, swimming in
delay and phase for the pleasure of it, a pantomime drama performance that rings out. Closing Side B, Puttin’ On The Ritz is
Irving Berlin’s 20s smash hit manipulated into a sombre ballad with its latent class struggle narrative brought to the fore.
A staple of The Space Lady’s performances to this day, Golden Earring’s 70s global hit Radar Love retains something of the
original’s driving gallop but in The Space Lady’s telling it is shorn of the tight-trousered, taut machismo. The Space Lady coos
and reaches up into the heavens away from the road, the phaser waves drenching the composition with transcendence.
Schneider’s falsetto performances in the choruses do nothing but lift the spirits ever-arching upwards. Next, The Space Lady
emasculated Jim Morrison’s performance in The Doors’ 20th Century Fox. Faithfully playing Ray Manzarek’s keyboard parts on
her Casio, Schneider disintegrates Morrison’s lust into waves of echo and delay, creating a Dubbed out version of the song,
sounding eroded and decayed in all its ghostly glory. Pioneering Rock ’n’ Roll outfit Pete & The Pirates’ 1960 hot Shakin’ All
Over, something of a response to Elvis’ All Shook Up, is blown out in warm fuzz and the celestial hug of The Space Lady’s
spirit.
The Space Lady’s Other Hits is released on April 20th 2024 on clear vinyl 12”, limited to 500. More
LP Excl
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Label:Night School Records
Cat-No:LSSN089
Release-Date:23.02.2024
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1
J.McFarlane's Reality Guest - Hotel Suite
2
J.McFarlane's Reality Guest - Full Stops
3
J.McFarlane's Reality Guest - Sensory
4
J.McFarlane's Reality Guest - Wrong Planet
5
J.McFarlane's Reality Guest - Electrix Blue
6
J.McFarlane's Reality Guest - Precious Boy
7
J.McFarlane's Reality Guest - Apocalypse
8
J.McFarlane's Reality Guest - YouTube Trip
9
J.McFarlane's Reality Guest - Slinky
10
J.McFarlane's Reality Guest - Caviar
LP, LTD 300 , Restrictions: UK,USA, AUS/NZ
1. Hotel Suite
2. Full Stops
3. Sensory
4. Wrong Planet
5. Electrix Blue
6. Precious Boy
7. Apocalypse
8. YouTube Trip
9. Slinky
10.Caviar
From out of nowhere - if nowhere is the febrile, warped and twilit imagination of Julia McFarlane - comes Whoopee, the second album by J.McFarlane’s Reality Guest. Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth.
Recorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member
in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves,
largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist,
monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues.
Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro
music, puffing up the listener for the heart-squeezing bathos of Full Stops. Over a bleary backdrop of walking bass lines, jazzinflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop
where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable pain, the narrator is
revelling in the drama of a relationship, addicted to tumult and heightened emotion. On Sensory, a space age bachelor lounge
pad ballad, the converse state of the previous song is explored, here the narrator is battling the numbness of being out of the
drama, stuck in a sensory-deprivation tank, anaesthesized and battling to emerge from the fog. Wrong Planet explores an
otherworldly pop music, hewing a bright hook out of a sense of confusion. A bona-fide, sing-along chorus bursts out of the
narrator musing on the absurdity of existing in this reality. It speaks of one of Julia McFarlane’s main talents, her knack of
inspecting human relationships and states with a clear perspective, like an alien visiting Earth and realising everything we are is
really, really strange.
Whoopee is both more accessible than previous Reality Guest work and somehow more obfuscated. Where the production on
Ta Da was dry, sharp and strange, this Reality Guest is blurred, almost smeared with the effluvium of 90s+00s culture and
existence. Through it all, it’s hard to deny the undeniable pull of the songs. Precious Boy carries on the lounge theme with a
whole sampler of cut up sounds fading in and out of the haze as McFarlane’s voice is right up to the speaker cooing and freeassociating, maybe in love or maybe in confusion… maybe they’re the same thing? Sometimes the listener is invited to just
bathe in the tone of the vocal, as on Apocalypse, where the texture and timbre of the vocal is luxurious, bathing in piano tinkles
and double bass throb. On lead single Slinky, a cut up beat reminiscent of Washingtonian Go-Go drum patterns leads, the
song slipping through your fingers, elusive and presenting sound as pure pleasure. Closer Caviar jumps back into the broken
breakbeats of a surreal funk, fuelled by the sensory pleasure of the music, a hedonistic whirl in rapture, the narrator now living
life to the fullest in all its giddy heights and deep troughs. This is the album’s main character fully-actualised and in the terrible,
beautiful moment. You don’t emerge from this cinema with any new knowledge, but you see the world how it really is. Until the
next time.
More
1. Hotel Suite
2. Full Stops
3. Sensory
4. Wrong Planet
5. Electrix Blue
6. Precious Boy
7. Apocalypse
8. YouTube Trip
9. Slinky
10.Caviar
From out of nowhere - if nowhere is the febrile, warped and twilit imagination of Julia McFarlane - comes Whoopee, the second album by J.McFarlane’s Reality Guest. Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth.
Recorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member
in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves,
largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist,
monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues.
Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro
music, puffing up the listener for the heart-squeezing bathos of Full Stops. Over a bleary backdrop of walking bass lines, jazzinflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop
where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable pain, the narrator is
revelling in the drama of a relationship, addicted to tumult and heightened emotion. On Sensory, a space age bachelor lounge
pad ballad, the converse state of the previous song is explored, here the narrator is battling the numbness of being out of the
drama, stuck in a sensory-deprivation tank, anaesthesized and battling to emerge from the fog. Wrong Planet explores an
otherworldly pop music, hewing a bright hook out of a sense of confusion. A bona-fide, sing-along chorus bursts out of the
narrator musing on the absurdity of existing in this reality. It speaks of one of Julia McFarlane’s main talents, her knack of
inspecting human relationships and states with a clear perspective, like an alien visiting Earth and realising everything we are is
really, really strange.
Whoopee is both more accessible than previous Reality Guest work and somehow more obfuscated. Where the production on
Ta Da was dry, sharp and strange, this Reality Guest is blurred, almost smeared with the effluvium of 90s+00s culture and
existence. Through it all, it’s hard to deny the undeniable pull of the songs. Precious Boy carries on the lounge theme with a
whole sampler of cut up sounds fading in and out of the haze as McFarlane’s voice is right up to the speaker cooing and freeassociating, maybe in love or maybe in confusion… maybe they’re the same thing? Sometimes the listener is invited to just
bathe in the tone of the vocal, as on Apocalypse, where the texture and timbre of the vocal is luxurious, bathing in piano tinkles
and double bass throb. On lead single Slinky, a cut up beat reminiscent of Washingtonian Go-Go drum patterns leads, the
song slipping through your fingers, elusive and presenting sound as pure pleasure. Closer Caviar jumps back into the broken
breakbeats of a surreal funk, fuelled by the sensory pleasure of the music, a hedonistic whirl in rapture, the narrator now living
life to the fullest in all its giddy heights and deep troughs. This is the album’s main character fully-actualised and in the terrible,
beautiful moment. You don’t emerge from this cinema with any new knowledge, but you see the world how it really is. Until the
next time.
More
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Cat-No:LSSN086
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1
Teresa Winter - 1. Circles
2
Teresa Winter - 2. Plume
3
Teresa Winter - 3. Flower of the Mountain
4
Teresa Winter - 4. Blood Moon Myrtle
5
Teresa Winter - 5. Like an Apple
6
Teresa Winter - 6. Fireworks
7
Teresa Winter - 7. Child of Nature
8
Teresa Winter - 8. Lamento
9
Teresa Winter - 9. New Water
LP LTD 400
1. Circles
2. Plume
3. Flower of the Mountain
4. Blood Moon Myrtle
5. Like an Apple
6. Fireworks
7. Child of Nature
8. Lamento
9. New Water
Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.
On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.
Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.
While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.
More
1. Circles
2. Plume
3. Flower of the Mountain
4. Blood Moon Myrtle
5. Like an Apple
6. Fireworks
7. Child of Nature
8. Lamento
9. New Water
Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.
On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.
Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.
While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.
More
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1
Marina Zispin - 1. Flowers In The Sea
2
Marina Zispin - 2. Ski Resort
3
Marina Zispin - 3. Backworth Golf Club
4
Marina Zispin - 4. Hymn
5
Marina Zispin - 5. Surprise Party
Non Exclsuive,Mini LP, LTD 300
1. Flowers In The Sea
2. Ski Resort
3. Backworth Golf Club
4. Hymn
5. Surprise Party
‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal
scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren
and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid.
Life And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in
the inky blackness.
Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca
Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively,
Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca
Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile
Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion.
Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noisebased productions; the result is a new entity, the underground pop star that exists only in darkened dreams.
Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent
of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning
the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and
tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts
before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring
down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the
horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline
and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before
Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key.
Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in
space, floating and obscure.
On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above
in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and coproduction is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other
points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in
the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the
fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or
just another layer of mystery behind the enigma?
Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in
obscurity, leaving everything unanswered but open. More
1. Flowers In The Sea
2. Ski Resort
3. Backworth Golf Club
4. Hymn
5. Surprise Party
‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal
scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren
and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid.
Life And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in
the inky blackness.
Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca
Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively,
Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca
Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile
Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion.
Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noisebased productions; the result is a new entity, the underground pop star that exists only in darkened dreams.
Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent
of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning
the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and
tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts
before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring
down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the
horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline
and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before
Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key.
Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in
space, floating and obscure.
On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above
in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and coproduction is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other
points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in
the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the
fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or
just another layer of mystery behind the enigma?
Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in
obscurity, leaving everything unanswered but open. More
Label:Night School Records
Cat-No:LSSN060
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1
MOLLY NILSSON - 1. In Real Life
2
MOLLY NILSSON - 2. You Always Hurt The One You Love
3
MOLLY NILSSON - 3. I Hope You Die
4
MOLLY NILSSON - 4. Bottles Of Tomorrow
5
MOLLY NILSSON - 5. Hiroshima Street
6
MOLLY NILSSON - 6. Intermezzo: The Party
7
MOLLY NILSSON - 7. Hotel Home
8
MOLLY NILSSON - 8. City Of Atlantis
9
MOLLY NILSSON - 9. Qwerty (Censored Version)
10
MOLLY NILSSON - 10. The Clocks
11
MOLLY NILSSON - 11. Skybound
Non Exclsuive, LP, LTD 300
1. In Real Life
2. You Always Hurt The One You Love
3. I Hope You Die
4. Bottles Of Tomorrow
5. Hiroshima Street
6. Intermezzo: The Party
7. Hotel Home
8. City Of Atlantis
9. Qwerty (Censored Version)
10. The Clocks
11. Skybound
“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us
at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade
YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in
her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on
History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s
home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an
intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has
excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves
as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life
crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s
excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in
love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title
into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also
one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived
on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing
trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to
comment on the patriarchal rendering of history by power. With by now trademark panache, she turns
complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that
propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer
is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time. More
1. In Real Life
2. You Always Hurt The One You Love
3. I Hope You Die
4. Bottles Of Tomorrow
5. Hiroshima Street
6. Intermezzo: The Party
7. Hotel Home
8. City Of Atlantis
9. Qwerty (Censored Version)
10. The Clocks
11. Skybound
“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us
at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade
YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in
her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on
History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s
home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an
intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has
excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves
as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life
crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s
excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in
love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title
into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also
one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived
on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing
trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to
comment on the patriarchal rendering of history by power. With by now trademark panache, she turns
complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that
propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer
is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time. More
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1
APOSTILLE - 1. Saturday Night, Still Breathing
2
APOSTILLE - 2. Rely On Me
3
APOSTILLE - 3. Spit Pit
4
APOSTILLE - 4. People Make This City
5
APOSTILLE - 5. Natural Angel
6
APOSTILLE - 6. Disease To Please
7
APOSTILLE - 7. Nothing But Perfect
8
APOSTILLE - 8. Summer Of ’03
9
APOSTILLE - 9. Feel Good (You Can Make Me)
Non Exclsuive, LP, LTD 300
1. Saturday Night, Still Breathing
2. Rely On Me
3. Spit Pit
4. People Make This City
5. Natural Angel
6. Disease To Please
7. Nothing But Perfect
8. Summer Of ’03
9. Feel Good (You Can Make Me)
'Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in
all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents his
third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with
Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities
between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s
power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.
This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be
read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator
struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in
a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and
pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick
and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming
together, making it through together. Written as private ritual magic, manifesting community during a time of
isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop,
Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes
the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told
with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal
performance.
On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his
version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it
provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s
power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in
relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song
about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the
album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal
summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced
within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make
Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with
heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also
to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with
tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the
eternal now.
More
1. Saturday Night, Still Breathing
2. Rely On Me
3. Spit Pit
4. People Make This City
5. Natural Angel
6. Disease To Please
7. Nothing But Perfect
8. Summer Of ’03
9. Feel Good (You Can Make Me)
'Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in
all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents his
third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with
Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities
between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s
power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.
This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be
read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator
struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in
a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and
pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick
and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming
together, making it through together. Written as private ritual magic, manifesting community during a time of
isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop,
Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes
the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told
with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal
performance.
On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his
version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it
provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s
power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in
relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song
about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the
album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal
summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced
within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make
Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with
heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also
to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with
tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the
eternal now.
More
Label:Night School Records
Cat-No:LSSN084
Release-Date:21.04.2023
Configuration:LP Excl
Barcode:5060446129241
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Cat-No:LSSN084
Release-Date:21.04.2023
Configuration:LP Excl
Barcode:5060446129241
1
Molly Nilsson - No Title
2
Molly Nilsson - No Title
3
Molly Nilsson - No Title
4
Molly Nilsson - No Title
5
Molly Nilsson - No Title
6
Molly Nilsson - No Title
7
Molly Nilsson - No Title
8
Molly Nilsson - No Title
9
Molly Nilsson - No Title
10
Molly Nilsson - No Title
11
Molly Nilsson - No Title
Non Exclsuive LP
1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii
“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More
1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii
“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love More
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
Non Exclsuive LP (Red Vinyl)
1. Tender
Surrender
2. Let’s
Talk
About
Privileges
3. Mona-Lisa’s
Smile
4. Memory
Foam
5. American
Express
6. Money
Never
Dreams
7. Not
Today
Satan
8. Think
Pink
9. Modern
World
10. Inner
Cities
11. Theory
Of
Life
12. After
Life
That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilsson
has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political
landscape and imagining a better world. For an artist who has so successfully created her own environment and
gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings,
engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into
the internal language of the solo auteur. Imaginations is not escapism, it’s a kaleidoscope and an alternative
view, an agent of change.
Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson’s
best songs a collision between the political and personal. Though potentially a love song, there’s a glowing anger
in the lines “I want your ruin, I want destruction, I won’t be through until we mend this…” this is rapturous
transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel
and this is no different… Who else could write a song about privilege (Let’s Talk About Privileges) and make a
heart-rending chorus of “It’s never being afraid of the police, it’s expecting every thank you, every please.” The
artist’s vision on this album is perhaps more forceful than the emotionally fragile moments of previous album
Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of
nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there’s overt
anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there’s
also seams of optimism sewn into the album’s genetic code. Any revolutionary will tell you that anger alone
achieves nothing - Nilsson’s mission on Imaginations is to offer some alternatives we can hold close. Not Today
Satan is a song about accepting love as the agent of change; “Don’t be sad, but do get mad at all the small men
who act so tall, in the end they always fall; there ain’t no sin in giving in to love, that’s just how we’re winning the
fight.” Love can be visceral, a weapon with which to fight the power.
On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to
live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism
about the future when we need it the most. “New boys, new girls.. give me your smile and I’ll give you mine”
Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we’re never alone in the
process More
1. Tender
Surrender
2. Let’s
Talk
About
Privileges
3. Mona-Lisa’s
Smile
4. Memory
Foam
5. American
Express
6. Money
Never
Dreams
7. Not
Today
Satan
8. Think
Pink
9. Modern
World
10. Inner
Cities
11. Theory
Of
Life
12. After
Life
That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilsson
has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political
landscape and imagining a better world. For an artist who has so successfully created her own environment and
gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings,
engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into
the internal language of the solo auteur. Imaginations is not escapism, it’s a kaleidoscope and an alternative
view, an agent of change.
Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson’s
best songs a collision between the political and personal. Though potentially a love song, there’s a glowing anger
in the lines “I want your ruin, I want destruction, I won’t be through until we mend this…” this is rapturous
transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel
and this is no different… Who else could write a song about privilege (Let’s Talk About Privileges) and make a
heart-rending chorus of “It’s never being afraid of the police, it’s expecting every thank you, every please.” The
artist’s vision on this album is perhaps more forceful than the emotionally fragile moments of previous album
Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of
nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there’s overt
anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there’s
also seams of optimism sewn into the album’s genetic code. Any revolutionary will tell you that anger alone
achieves nothing - Nilsson’s mission on Imaginations is to offer some alternatives we can hold close. Not Today
Satan is a song about accepting love as the agent of change; “Don’t be sad, but do get mad at all the small men
who act so tall, in the end they always fall; there ain’t no sin in giving in to love, that’s just how we’re winning the
fight.” Love can be visceral, a weapon with which to fight the power.
On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to
live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism
about the future when we need it the most. “New boys, new girls.. give me your smile and I’ll give you mine”
Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we’re never alone in the
process More
LP Excl
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Label:Night School Records
Cat-No:LSSN017
Release-Date:21.04.2023
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Release-Date:21.04.2023
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
12
Molly Nilsson - No Title
Non Exclsuive LP (Yelllow Vinyl)
The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip More
The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip More
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
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Molly Nilsson - No Title
Non Exclsuive LP (Yelllow Vinyl)
DBL Gatefold LP w/ MP3, Galaxy Vinyl (Clear with Black smoke detail) &
Edition of 1000
2021 Vinyl aRepress, to co-incide with Molly Nilsson's new studio album and reissues of The Travels and Europa. First time this edition has been on CD
It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson's debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.
Molly Nilsson's first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson's songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on "The Lonely," "Whisky Sour," "Hey Moon!", the folly and intoxication of youth seen in "Joyride," "Poisoned Candy" and dogged self-reliance as on "The Diamond Song" or "Wounds Itch When They Heal." Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.
These Things Take Time tracklist:
A1 The Lonely
A2 The Diamond Song
A3 8000 Days
A4 Wounds Itch When They Heal
B1 Whiskey Sour
B2 Poisoned Candy
B3 (Won't Somebody) Take Me Out Tonight
B4 Hey Moon!
C1 The Home Song
C2 Joyride
C3 We're Never Coming Home
C4 Dinosaur Tears
C5 My Dream From Last Night
D1 Zur Tränen Bar
D2 Lend Me Your Love
D3 Some Need Powder
D4 Nightlife
More
DBL Gatefold LP w/ MP3, Galaxy Vinyl (Clear with Black smoke detail) &
Edition of 1000
2021 Vinyl aRepress, to co-incide with Molly Nilsson's new studio album and reissues of The Travels and Europa. First time this edition has been on CD
It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson's debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.
Molly Nilsson's first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson's songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on "The Lonely," "Whisky Sour," "Hey Moon!", the folly and intoxication of youth seen in "Joyride," "Poisoned Candy" and dogged self-reliance as on "The Diamond Song" or "Wounds Itch When They Heal." Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.
These Things Take Time tracklist:
A1 The Lonely
A2 The Diamond Song
A3 8000 Days
A4 Wounds Itch When They Heal
B1 Whiskey Sour
B2 Poisoned Candy
B3 (Won't Somebody) Take Me Out Tonight
B4 Hey Moon!
C1 The Home Song
C2 Joyride
C3 We're Never Coming Home
C4 Dinosaur Tears
C5 My Dream From Last Night
D1 Zur Tränen Bar
D2 Lend Me Your Love
D3 Some Need Powder
D4 Nightlife
More
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Release-Date:21.04.2023
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Adela Mede - No Title
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Adela Mede - No Title
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Adela Mede - No Title
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Adela Mede - No Title
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Adela Mede - No Title
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Adela Mede - No Title
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Adela Mede - No Title
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Adela Mede - No Title
9
Adela Mede - No Title
Non Exclsuive LP, Black Vinyl
1. Háromszorra Jövök Össze
2. Interlude I
3. Spolu
4. Interlude II
5. Gyöngyvirág
6. Interlude III
7. Sloboda
8. Na Jar Sa Všetko Roztopí
9. Voda Sa Vráti Tie
“Ostensibly speaking, Szabadság, the debut album from Adela Mede, is an avant-garde/experimental composition
record with a deep interest in voice. Peel back the layers, and it’s also an art-pop record that reaches for the stars.”
- Dazed
“The vocals on Szabadság navigate between three languages: Hungarian, Slovak, and English. But the melancholy
inflexion in her voice transcends meanings, words, and linguistic systems across any borders.” - The Quietus
“It’s an exploration of what it means to find home across different countries, cities and languages, revelling in the
dis/comfort of a life stretched across borders” - The Wire
Slovak-Hungarian musician Adela Mede explores the interplay between voice and technology with field recordings.
She sings in three languages (Slovak, Hungarian and English). Intimate ambient utterances with themes of spiritual
growth accompanied by experimental electronics with a wide scope of influences; from minimalism to folklore.
Initially released in early 2022 to universal acclaim on digital and cassette, Night School is extremely excited to
share Szabadság on vinyl. Mastered by Rupert Clervaux for vinyl, the clearer format teases out new nuances in the
music, revealing a physicality and permanence to Mede’s first masterwork.
"Szabadság is a navigation. This debut by Adela Mede, recorded in her family home on the Slovakian border with
Hungary, searches through the personal, familial, cultural, folkloric and geographic of her past and present.
Examining both the vulnerability and determination of her voice - as it leaves the lips, raw, and in the ways it can
be transformed with digital processing - the embodied memories of language, of utterance, are explored.
Airy, open sound worlds and tentative strings of improvised naked vocal transform themselves into insistent
repetition. Fizzing, sparkling electronics are set against the beautiful grainy depth of field recordings. The locations,
these places, are found and lost - home is found and lost - in a dance of fragmented vocal harmonies. Three
languages (English, Hungarian, Slovak) weave a song of spring, nature, forgiveness, togetherness and rebirth.”
– words by Lisa Busby
More
1. Háromszorra Jövök Össze
2. Interlude I
3. Spolu
4. Interlude II
5. Gyöngyvirág
6. Interlude III
7. Sloboda
8. Na Jar Sa Všetko Roztopí
9. Voda Sa Vráti Tie
“Ostensibly speaking, Szabadság, the debut album from Adela Mede, is an avant-garde/experimental composition
record with a deep interest in voice. Peel back the layers, and it’s also an art-pop record that reaches for the stars.”
- Dazed
“The vocals on Szabadság navigate between three languages: Hungarian, Slovak, and English. But the melancholy
inflexion in her voice transcends meanings, words, and linguistic systems across any borders.” - The Quietus
“It’s an exploration of what it means to find home across different countries, cities and languages, revelling in the
dis/comfort of a life stretched across borders” - The Wire
Slovak-Hungarian musician Adela Mede explores the interplay between voice and technology with field recordings.
She sings in three languages (Slovak, Hungarian and English). Intimate ambient utterances with themes of spiritual
growth accompanied by experimental electronics with a wide scope of influences; from minimalism to folklore.
Initially released in early 2022 to universal acclaim on digital and cassette, Night School is extremely excited to
share Szabadság on vinyl. Mastered by Rupert Clervaux for vinyl, the clearer format teases out new nuances in the
music, revealing a physicality and permanence to Mede’s first masterwork.
"Szabadság is a navigation. This debut by Adela Mede, recorded in her family home on the Slovakian border with
Hungary, searches through the personal, familial, cultural, folkloric and geographic of her past and present.
Examining both the vulnerability and determination of her voice - as it leaves the lips, raw, and in the ways it can
be transformed with digital processing - the embodied memories of language, of utterance, are explored.
Airy, open sound worlds and tentative strings of improvised naked vocal transform themselves into insistent
repetition. Fizzing, sparkling electronics are set against the beautiful grainy depth of field recordings. The locations,
these places, are found and lost - home is found and lost - in a dance of fragmented vocal harmonies. Three
languages (English, Hungarian, Slovak) weave a song of spring, nature, forgiveness, togetherness and rebirth.”
– words by Lisa Busby
More
LP Excl
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Label:Night School Records
Cat-No:LSSN080
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1
HELENA CELLE - If You Can’t Handle You At Your Worst, Then I Don’t Deserve Me At My Best (LP)
2
HELENA CELLE - No Title
3
HELENA CELLE - No Title
4
HELENA CELLE - No Title
5
HELENA CELLE - No Title
Non Exclsuive LP, Black Vinyl
1. I Did It My Way
2. Ennobled Reception of The Excellector (My Face When
Mix)
3. Real Time (Five Track Pentangle Edgelord Mix)
4. Snow-Filled Chalice of My Magonian Exile (ft Jennifer
Walton)
5. Original Besttrack (Abe's Oddysee Extended Mix)
Dedicated 21st Century polymath Kay Logan continues to expand her soundworld in every
direction at once with her Helena Celle alias. A maximalist internal landscape of broken Jungle
patterns, distorted synths and heavily warped instrumentation bent out of cognisance, If You
Can’t Handle You At Your Worst, Then I Don’t Deserve Me At My Best is Logan’s most
danceable, most fun and most gloriously congealed record to date.
Conceived in part as a response to her 2016 debut release If I Can’t Handle Me At My Best, You
Don’t Deserve You At Your Worst, 2023’s update employs similar principles (degrading technology,
the joy of chance, an outsider’s gaze onto the dance floor, an embracing of the occult) to delirious
effect. If “I Can’t Handle” was lo fi and fragile in its technoid recasting of dance music, here Logan’s
confidence allows a frantic playfulness that retains the spontaneity of all her output. It’s the work of a
creative spirit revelling in the possibilities of sound, rhythm, texture and pattern.
Helena Celle’s music opens up psychic space in front of the listener and invites them in. In this world,
sounds and tropes once recognisable are rendered fractal, spectral and continually melting in and out
of recognition. Simply put, Helena Celle might be detouring Drum & Bass, Techno and Breakbeat with a
prankster’s grin but the result is pure ecstasy crushed into a part of the listener’s consciousness
hitherto untroubled. Opener I Did It My Way pokes fun at Sinatra but the message is clear, Helena
Celle has no regrets. Sounding like a Jungle track shorn of a MC and deep fried in greasy acid, it uses
cassette compression effects to push the sound far beyond the red. A breakbeat suffers multiple
lashings of noise solos, heavily filtered synths and white noise blowing a crazy gale across the stereo
pan. Ennobled Reception Of The Excellector (My Face When Mix) approximates French House
perhaps or 90s dance chart music as performed by a rotting homunculus gurgling down the phone. It’s
really that fun and carefree. Real Time… takes a stab at a kind of Techno EBM Cold Wave with no
desire to sound like any of it, with waves of tape hiss rising up from some dark shore to wash over
proceedings.
Fellow sound artist and musician Jennifer Walton guests on the last track on Side A, an epic, fuzzed
out Noise and rhythm excursion into cyber breakdown. Snow-Filled Chalice Of My Magonian Exile
(titles of the year so far, right?) builds into a wall of beats, pads, manic, haywire synth patterns and a
world-ending, distorted riff that points to an appreciation of Metal. The track posits all of reality as one
massive computer game played by gods and this is the track played at the Game Over screen. A
pixelated, fantastical club track that would simply eviscerate any club it was played in. The whole of
Side B is given over to a 20 minute epic, Original Besttrack (Abe’s Oddysee Extended Mix). A
cohesive summation of the previous 4 tracks but stretched out, it recalls Aphex Twin’s furthest out
tracks albeit boiled underwater, every element blown out so that even the ambient passages scramble
brains and re-wire expectations. The restless, overwhelming music is glazed with a patina of hiss that
renders the whole almost meditative: over the 20 minutes there is so much information to digest your
brain starts plugging in directly to the music, settling in and accepting the mania as it comes. At the
other end you’re wondering how you coped without it.
In truth, it can be a full time job keeping up with Logan’s ceaseless creative spirit, her prodigious output
can be wilfully bewildering and is all the more exciting for it. Beginning her solo recording career as a
teenager under the Helena Celle alias, Logan has progressed into almost every conceivable area of
future music. Exploring eldritch, aleatoric chamber music under the name Time Binding Ensemble and
Residents-influenced slices of distinct bricolage under Otherworld, Logan’s career has spanned
multiple labels, genres and mediums. A regular writer for The Wire magazine, she is also active in
programming, game and sound design and has appeared on live stages around the world both
performing music and lecturing on sound and its social context and implications. Through her Patreon
page she releases new music monthly and continues to play music in other groups and collaborations.
It’s important, though, to reach in to the flowing music and single out a single volume of work, a
signpost in an artist’s career. If You Can’t Handle You At Your Worst, Then I Don’t Deserve Me At
My Best is one example of this, a mesmerising, virtuoso simultaneous take down and celebration of
Dance Music and all its ridiculousness. Because that’s the way it should be, right? More
1. I Did It My Way
2. Ennobled Reception of The Excellector (My Face When
Mix)
3. Real Time (Five Track Pentangle Edgelord Mix)
4. Snow-Filled Chalice of My Magonian Exile (ft Jennifer
Walton)
5. Original Besttrack (Abe's Oddysee Extended Mix)
Dedicated 21st Century polymath Kay Logan continues to expand her soundworld in every
direction at once with her Helena Celle alias. A maximalist internal landscape of broken Jungle
patterns, distorted synths and heavily warped instrumentation bent out of cognisance, If You
Can’t Handle You At Your Worst, Then I Don’t Deserve Me At My Best is Logan’s most
danceable, most fun and most gloriously congealed record to date.
Conceived in part as a response to her 2016 debut release If I Can’t Handle Me At My Best, You
Don’t Deserve You At Your Worst, 2023’s update employs similar principles (degrading technology,
the joy of chance, an outsider’s gaze onto the dance floor, an embracing of the occult) to delirious
effect. If “I Can’t Handle” was lo fi and fragile in its technoid recasting of dance music, here Logan’s
confidence allows a frantic playfulness that retains the spontaneity of all her output. It’s the work of a
creative spirit revelling in the possibilities of sound, rhythm, texture and pattern.
Helena Celle’s music opens up psychic space in front of the listener and invites them in. In this world,
sounds and tropes once recognisable are rendered fractal, spectral and continually melting in and out
of recognition. Simply put, Helena Celle might be detouring Drum & Bass, Techno and Breakbeat with a
prankster’s grin but the result is pure ecstasy crushed into a part of the listener’s consciousness
hitherto untroubled. Opener I Did It My Way pokes fun at Sinatra but the message is clear, Helena
Celle has no regrets. Sounding like a Jungle track shorn of a MC and deep fried in greasy acid, it uses
cassette compression effects to push the sound far beyond the red. A breakbeat suffers multiple
lashings of noise solos, heavily filtered synths and white noise blowing a crazy gale across the stereo
pan. Ennobled Reception Of The Excellector (My Face When Mix) approximates French House
perhaps or 90s dance chart music as performed by a rotting homunculus gurgling down the phone. It’s
really that fun and carefree. Real Time… takes a stab at a kind of Techno EBM Cold Wave with no
desire to sound like any of it, with waves of tape hiss rising up from some dark shore to wash over
proceedings.
Fellow sound artist and musician Jennifer Walton guests on the last track on Side A, an epic, fuzzed
out Noise and rhythm excursion into cyber breakdown. Snow-Filled Chalice Of My Magonian Exile
(titles of the year so far, right?) builds into a wall of beats, pads, manic, haywire synth patterns and a
world-ending, distorted riff that points to an appreciation of Metal. The track posits all of reality as one
massive computer game played by gods and this is the track played at the Game Over screen. A
pixelated, fantastical club track that would simply eviscerate any club it was played in. The whole of
Side B is given over to a 20 minute epic, Original Besttrack (Abe’s Oddysee Extended Mix). A
cohesive summation of the previous 4 tracks but stretched out, it recalls Aphex Twin’s furthest out
tracks albeit boiled underwater, every element blown out so that even the ambient passages scramble
brains and re-wire expectations. The restless, overwhelming music is glazed with a patina of hiss that
renders the whole almost meditative: over the 20 minutes there is so much information to digest your
brain starts plugging in directly to the music, settling in and accepting the mania as it comes. At the
other end you’re wondering how you coped without it.
In truth, it can be a full time job keeping up with Logan’s ceaseless creative spirit, her prodigious output
can be wilfully bewildering and is all the more exciting for it. Beginning her solo recording career as a
teenager under the Helena Celle alias, Logan has progressed into almost every conceivable area of
future music. Exploring eldritch, aleatoric chamber music under the name Time Binding Ensemble and
Residents-influenced slices of distinct bricolage under Otherworld, Logan’s career has spanned
multiple labels, genres and mediums. A regular writer for The Wire magazine, she is also active in
programming, game and sound design and has appeared on live stages around the world both
performing music and lecturing on sound and its social context and implications. Through her Patreon
page she releases new music monthly and continues to play music in other groups and collaborations.
It’s important, though, to reach in to the flowing music and single out a single volume of work, a
signpost in an artist’s career. If You Can’t Handle You At Your Worst, Then I Don’t Deserve Me At
My Best is one example of this, a mesmerising, virtuoso simultaneous take down and celebration of
Dance Music and all its ridiculousness. Because that’s the way it should be, right? More
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1
THE SPACE LADY - No Title
2
THE SPACE LADY - No Title
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THE SPACE LADY - No Title
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THE SPACE LADY - No Title
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THE SPACE LADY - No Title
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THE SPACE LADY - No Title
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THE SPACE LADY - No Title
8
THE SPACE LADY - No Title
9
THE SPACE LADY - No Title
10
THE SPACE LADY - No Title
Non Exclsuive, LP ,: Moon Blue vinyl repress
The Space Lady began her odyssey on the streets of San Francisco in the late 70s, playing versions of
contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and
harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard,
birthing an otherworldly new dimension to popular song that has captured the imaginations of the
underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah
being devotees.
Of her early street sets, only one recording was made, self-released originally on cassette and then
transferred to a home-made CD. "The Space Lady’s Greatest Hits"(LSSN021) features the best of these
recordings - mostly covers but with some originals - pressed on vinyl for the first time and features
archival photographs and liner notes from The Space Lady herself. “Greatest Hits” contains The Space
Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last
Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also 4 originals that
easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new
material and travelling the world to present her message outside the United States for the first time.
In the mid 90s The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring
from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, shehas surfaced with the first ever official release of her timeless, startling music and, even more remarkably,
has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of
peace, harmony and love. More
The Space Lady began her odyssey on the streets of San Francisco in the late 70s, playing versions of
contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and
harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard,
birthing an otherworldly new dimension to popular song that has captured the imaginations of the
underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah
being devotees.
Of her early street sets, only one recording was made, self-released originally on cassette and then
transferred to a home-made CD. "The Space Lady’s Greatest Hits"(LSSN021) features the best of these
recordings - mostly covers but with some originals - pressed on vinyl for the first time and features
archival photographs and liner notes from The Space Lady herself. “Greatest Hits” contains The Space
Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last
Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also 4 originals that
easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new
material and travelling the world to present her message outside the United States for the first time.
In the mid 90s The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring
from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, shehas surfaced with the first ever official release of her timeless, startling music and, even more remarkably,
has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of
peace, harmony and love. More
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1
FRANKIE ROSE - No Title
2
FRANKIE ROSE - No Title
3
FRANKIE ROSE - No Title
4
FRANKIE ROSE - No Title
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FRANKIE ROSE - No Title
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FRANKIE ROSE - No Title
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FRANKIE ROSE - No Title
8
FRANKIE ROSE - No Title
9
FRANKIE ROSE - No Title
10
FRANKIE ROSE - No Title
Non Exclsuive, LP - Blood in Glass Vinyl
Tracklist:
1. Sixteen Ways
2. Anything
3. Had It Wrong
4. Saltwater Girl
5. Feel Light
6. DOA
7. Sleeping Night And Day
8. Molotov In Stereo
9. Come Back
10. Song For A Horse
"This album is about having to focus our collective energies on the small things around that we
can control to find joy. A distraction from the the larger systemic problems that feel so
overwhelming and are so very out of our collective hands… for now…”
Love As Projection is the new album by Frankie Rose, her fifth studio LP and second for Night
School following the reissue of her interpretation of The Cure’s Seventeen Seconds. Frankie Rose
has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls
but on Love As Projection she takes a bold step into electronic pop production. A sumptuous recorded
statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal
proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and
choruses but still touched with an optimism undimmed.
After spending nearly two decades establishing herself across New York and Los Angeles independent
music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over
the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal
melodies and harmonies, Love As Projection is a reintroduction of her established style through the lens
of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term
collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.
More than a rebirth, a refinement, a resurgence, Love As Projection boasts a widescreen scope: a longform project heavily considered for half of a decade, culminating in the most personal and accessible
collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead
track Anything, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible
chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry
Switchblade “It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning
fear even if the world is quite literally on fire.. In the end, at least we have each other,” says Rose.
Sixteen Ways further boasts a propulsive, massive chorus, though tempered by a cynicism built in
global post-truth, global malaise. “It’s about getting your hopes up, but simultaneously making lists in
your head about how it will never work out in your favour.”
The big anthems don’t let up there. On DOA some massive, rolling drums lathered in big mid-80s gated
reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The
effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds
in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones
and there are plenty of them. Sleeping Night And Day takes its time with an off-the-cuff chorus,
swirling around in harmony and chorus-bass. Saltwater Girl picks up the balladeering baton with
another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track
and soupy, digital atmospherics. Album closer Song For A Horse, reimagines modern Pop production
a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with
major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like
these are big oceans of emotion to fall into before being led out by Rose into a bright new day.
Love As Projection is released in the USA by Slumberland.
Press: fra More
Tracklist:
1. Sixteen Ways
2. Anything
3. Had It Wrong
4. Saltwater Girl
5. Feel Light
6. DOA
7. Sleeping Night And Day
8. Molotov In Stereo
9. Come Back
10. Song For A Horse
"This album is about having to focus our collective energies on the small things around that we
can control to find joy. A distraction from the the larger systemic problems that feel so
overwhelming and are so very out of our collective hands… for now…”
Love As Projection is the new album by Frankie Rose, her fifth studio LP and second for Night
School following the reissue of her interpretation of The Cure’s Seventeen Seconds. Frankie Rose
has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls
but on Love As Projection she takes a bold step into electronic pop production. A sumptuous recorded
statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal
proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and
choruses but still touched with an optimism undimmed.
After spending nearly two decades establishing herself across New York and Los Angeles independent
music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over
the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal
melodies and harmonies, Love As Projection is a reintroduction of her established style through the lens
of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term
collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.
More than a rebirth, a refinement, a resurgence, Love As Projection boasts a widescreen scope: a longform project heavily considered for half of a decade, culminating in the most personal and accessible
collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead
track Anything, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible
chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry
Switchblade “It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning
fear even if the world is quite literally on fire.. In the end, at least we have each other,” says Rose.
Sixteen Ways further boasts a propulsive, massive chorus, though tempered by a cynicism built in
global post-truth, global malaise. “It’s about getting your hopes up, but simultaneously making lists in
your head about how it will never work out in your favour.”
The big anthems don’t let up there. On DOA some massive, rolling drums lathered in big mid-80s gated
reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The
effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds
in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones
and there are plenty of them. Sleeping Night And Day takes its time with an off-the-cuff chorus,
swirling around in harmony and chorus-bass. Saltwater Girl picks up the balladeering baton with
another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track
and soupy, digital atmospherics. Album closer Song For A Horse, reimagines modern Pop production
a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with
major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like
these are big oceans of emotion to fall into before being led out by Rose into a bright new day.
Love As Projection is released in the USA by Slumberland.
Press: fra More
Label:Night School Records
Cat-No:LSSN017CD
Release-Date:21.04.2023
Configuration:CD Excl
Barcode:5060446129340
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Configuration:CD Excl
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Non Exclsuive CD
The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip More
The Travels represents a signpost in the continuing journey that is the songs of Berlin-based artist
Molly Nilsson.
Starting out by hand-dubbing CDrs and forging a singular path in the global pop underground, Nilsson’s
art has grown to the extent where hers is a precise songwriting devoid of unnecessary flourish. Her songs
are perfect silhouettes of feelings everyone shares but that few can articulate with such heart-rending, icy
pathos.
Journeys offer change - the possibility of renewal - and accordingly on The Travels Molly Nilsson’s
resonant voice is found curling around a new sense of optimism and wide-eyed discovery that was only
alluded to in her previous work. Songs like “Dear Life” might be spiked with a barbed sense of the
dejected, but the presiding feeling is one of optimism, of being in love with life despite a shield of
cynicism. “Dirty Fingers” brings a melancholy recognisable from previous work but with an incessant beat
and ecstatic underpinning it becomes apparent that a new force is at play here. In case the listener
missed it, “The Power Ballad” brings an endearing, sincerity to proceedings that also offers a tantalising
question: can you be sceptical about love but still be bewitched?
On her 5th long-player, Nilsson’s perspective is challenged and manipulated by changes in
environment and psychological space: like any other traveller the protagonist brings their own set of
values and emotional states to new places, colouring them with a wash of subjectivity. Like any other
traveller Molly Nilsson reacts to her environment and shares her unique version of it to other people.
Based loosely on Marco Polo’s “Travels” and reading like a map of the protagonist’s geographical and
inner journey, The Travels reveals new places and new emotions that are never the same to the
beholder. Nilsson’s art is in turning this subjectivity into a cloak that almost anyone can don for the trip More
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Extrawelt - Riverrun
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Extrawelt - Midi Waters
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GENRE/S: Electro/Techno
TRACKLISTS:
A1) Extrawelt - Riverrun
B1) Extrawelt- Midi Waters
SHORT INFO:
Arne and Wayan of Extrawelt hardly need an introduction, yet their latest release is notably special as it marks their debut on Marc Romboy's Systematic Recordings imprint.
Renowned for their releases on Cocoon, Kompakt/Speicher, and Border Community, they masterfully blend techno with rich sound structures, harmonies, and intricate arrangements.
Their new track "Riverrun" features a captivating bass line that twists and transforms throughout the piece, showcasing their skills as sound architects. Alongside, "Midi Waters" delves into a darker, deeper soundscape that commands respect from Detroit Techno enthusiasts with its powerful, dystopian narrative. Experience the sound for yourself with this unique two tracker.
VITAL SALES POINTS:
- Debut EP from Extrawelt on Systematic
- Strictly limited vinyl (300 only)
- Special Sound Mastering by LUPO More
GENRE/S: Electro/Techno
TRACKLISTS:
A1) Extrawelt - Riverrun
B1) Extrawelt- Midi Waters
SHORT INFO:
Arne and Wayan of Extrawelt hardly need an introduction, yet their latest release is notably special as it marks their debut on Marc Romboy's Systematic Recordings imprint.
Renowned for their releases on Cocoon, Kompakt/Speicher, and Border Community, they masterfully blend techno with rich sound structures, harmonies, and intricate arrangements.
Their new track "Riverrun" features a captivating bass line that twists and transforms throughout the piece, showcasing their skills as sound architects. Alongside, "Midi Waters" delves into a darker, deeper soundscape that commands respect from Detroit Techno enthusiasts with its powerful, dystopian narrative. Experience the sound for yourself with this unique two tracker.
VITAL SALES POINTS:
- Debut EP from Extrawelt on Systematic
- Strictly limited vinyl (300 only)
- Special Sound Mastering by LUPO More
Label:Running Back
Cat-No:rb128
Release-Date:10.05.2024
Genre:House
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Barcode:4251804144773
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Cat-No:rb128
Release-Date:10.05.2024
Genre:House
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1
Krystal Klear - Entity
2
Krystal Klear - Typhoon
3
Krystal Klear - Love Is All I Need
4
Krystal Klear - Rampage
Tracklist
A1. Entity
A2. Typhoon
B1. Love Is All I Need
B2. Rampage
New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let‘s hear it from the artist himself:
“ No notes or real inspiration behind this EP. Rb128 consists of four tracks that I made to keep gigs coming and the calendar full - In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it).
These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music (Gerd does a high kick and claps his hands)! Love is all we need.
Short:
New Running Back by the ever-reliable Krystal Klear.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music! Love is all we need.
More
A1. Entity
A2. Typhoon
B1. Love Is All I Need
B2. Rampage
New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let‘s hear it from the artist himself:
“ No notes or real inspiration behind this EP. Rb128 consists of four tracks that I made to keep gigs coming and the calendar full - In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it).
These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music (Gerd does a high kick and claps his hands)! Love is all we need.
Short:
New Running Back by the ever-reliable Krystal Klear.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music! Love is all we need.
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Release-Date:31.05.2024
Genre:House
Configuration:12" Excl
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Cat-No:FAT042
Release-Date:31.05.2024
Genre:House
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1
Marek Hemmann - Inessa 08.08
2
Marek Hemmann - Gemini 09:09
2024 repress
Tracklist:
A Inessa 08.08
written & produced by Marek Hemmann
B Gemini 09:09
written & produced by Marek Hemmann
The Hemmann lasagna is ready! With a healthy dose of ground beef and sun-ripened tomatoes between the sauce and layers of pasta with a peppy salad.
Once again Marek has two tracks with which he arms the planet richly, but also where the cooking spoon just explodes in the kitchen. The writer has quite a steam building upÖbut this music is just so filling, that the stomach just knows that there was a hole there.
To prepare for this first album from the Hemmann kitchen, two long sides strike a tone with a powerful punch, breathless grooves with a long puff and an empire of sounds for the endorphin thrust within and without the headphones. This isnít a construction, but rather a composition.
Exquisitely vibrating grooves with a hopping deepness, percussive elements together with a melodic party radiating in a finely sensed positivity. Itís as if you could together with Inessa and Gemini mutate into a bouncing ball. When his tracks begin to spin, that which happens to the listeners is the stuff dreams are made of.
A Inessa
A track like the remembrance of an energetic dream. The typically exhilarating Marek tribalism (without the tribal) cares for the ëhousyí elegance and hearty thumps for an enriching regarding the musical vocabulary of techno. Music for ass and hips, likewise for knees and shoulders and not to forget the calves and lumbar regions which just pulsate relentlessly.
B Gemini
A balance of driven sounds called from the crowd, and that exactly with a concentration and cunning confronted which one doesnít so soon let go of. Fully packed and tidy kept brings Hemmann to the fore with this solsticeish enterprise. Emotionality in the laptop space and leaving the machines croaking and singing. With an impactful and gentle interior, cheerfulness is probing just in case!
Regards,
Oliver Goldt More
Tracklist:
A Inessa 08.08
written & produced by Marek Hemmann
B Gemini 09:09
written & produced by Marek Hemmann
The Hemmann lasagna is ready! With a healthy dose of ground beef and sun-ripened tomatoes between the sauce and layers of pasta with a peppy salad.
Once again Marek has two tracks with which he arms the planet richly, but also where the cooking spoon just explodes in the kitchen. The writer has quite a steam building upÖbut this music is just so filling, that the stomach just knows that there was a hole there.
To prepare for this first album from the Hemmann kitchen, two long sides strike a tone with a powerful punch, breathless grooves with a long puff and an empire of sounds for the endorphin thrust within and without the headphones. This isnít a construction, but rather a composition.
Exquisitely vibrating grooves with a hopping deepness, percussive elements together with a melodic party radiating in a finely sensed positivity. Itís as if you could together with Inessa and Gemini mutate into a bouncing ball. When his tracks begin to spin, that which happens to the listeners is the stuff dreams are made of.
A Inessa
A track like the remembrance of an energetic dream. The typically exhilarating Marek tribalism (without the tribal) cares for the ëhousyí elegance and hearty thumps for an enriching regarding the musical vocabulary of techno. Music for ass and hips, likewise for knees and shoulders and not to forget the calves and lumbar regions which just pulsate relentlessly.
B Gemini
A balance of driven sounds called from the crowd, and that exactly with a concentration and cunning confronted which one doesnít so soon let go of. Fully packed and tidy kept brings Hemmann to the fore with this solsticeish enterprise. Emotionality in the laptop space and leaving the machines croaking and singing. With an impactful and gentle interior, cheerfulness is probing just in case!
Regards,
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Label:Running Back
Cat-No:rb132
Release-Date:24.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804181372
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Label:Running Back
Cat-No:rb132
Release-Date:24.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804181372
1
Robert Dietz - A1. Crane Song (HnH Mix)
2
Robert Dietz - A2. Deranged Self Therapy
3
Robert Dietz - B1. Crane Song (Dopanin Mix)
4
Robert Dietz - B2. Centro Di Gravita
5
Robert Dietz - B3. Any Plan(t)s This Weekend
12"
Tracklist
A1. Crane Song (HnH Mix)
A2. Deranged Self Therapy
B1. Crane Song (Dopanin Mix)
B2. Centro Di Gravita
B3. Any Plan(t)s This Weekend
Johann Wolfgang von Goethe is always a reliable source for a good quote: "We must always change, renew, rejuvenate ourselves; otherwise, we harden." Sure as death, there is an excerpt of his that states the opposite. In the case of Robert Dietz, it holds true. Since his first appearance on Running Back in 2009 (Forward Snipping), he did a marvelous job staying on his toes as a producer and DJ.
Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with Crane Song being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics.
If you need help afterwards, Deranged Self Therapy is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots.
Centro Di Gravita reconnects those qualities with the aforementioned Crane Song ones, while giving it an acid spin, before the ambient salts of Any Plan(t)s This Weekend closes the EP off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.
Short: One Rejuve-Nation EP under a groove with Robert Dietz' return on Running Back. Proggy meets acid house, IDM leanings mix with stylistic devices of new wave and extra special ambient aerobatics round out the EP. Special attention goes to Crane Song and its peak time perfection. A bouquet of bangers for different needs.
More
Tracklist
A1. Crane Song (HnH Mix)
A2. Deranged Self Therapy
B1. Crane Song (Dopanin Mix)
B2. Centro Di Gravita
B3. Any Plan(t)s This Weekend
Johann Wolfgang von Goethe is always a reliable source for a good quote: "We must always change, renew, rejuvenate ourselves; otherwise, we harden." Sure as death, there is an excerpt of his that states the opposite. In the case of Robert Dietz, it holds true. Since his first appearance on Running Back in 2009 (Forward Snipping), he did a marvelous job staying on his toes as a producer and DJ.
Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with Crane Song being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics.
If you need help afterwards, Deranged Self Therapy is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots.
Centro Di Gravita reconnects those qualities with the aforementioned Crane Song ones, while giving it an acid spin, before the ambient salts of Any Plan(t)s This Weekend closes the EP off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.
Short: One Rejuve-Nation EP under a groove with Robert Dietz' return on Running Back. Proggy meets acid house, IDM leanings mix with stylistic devices of new wave and extra special ambient aerobatics round out the EP. Special attention goes to Crane Song and its peak time perfection. A bouquet of bangers for different needs.
More
12" Excl
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Label:Life and Death
Cat-No:LAD071
Release-Date:28.06.2024
Genre:House / Techno
Configuration:12" Excl
Barcode:4251804142106
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Label:Life and Death
Cat-No:LAD071
Release-Date:28.06.2024
Genre:House / Techno
Configuration:12" Excl
Barcode:4251804142106
1
Orofino - Amsterdam
2
Orofino - Amsterdam - DJ Tennis Remix
2024 repress
Tracklist:
A1. Amsterdam
B1. Amsterdam - DJ Tennis Remix
Release Info:
Sicilian musician Luigi Orofino delivers his debut single Amsterdam for Life and Death records, due for release on 19th May. The song features regular Erlend Øye collaborators La Comitiva, and comes together with a dancefloor friendly remix by DJ Tennis.
Amsterdam might sound effortless, but the laid-back groove and easy atmosphere that Luigi has conjured up isn’t something you can just pluck out of thin air. It’s taken everyone involved several years of playing together to get just the right marinade of Brazilian rhythm and Mediterranean musicianship. It’s a flavor they’ve mastered while on the road with Erlend Øye as La Comitiva, and their touring schedule has become a way of life. When the travel ban was finally lifted, Luigi headed straight to his friends in Amsterdam, and that freedom to travel once more inspired this song. That trip put the color back into life, and the result was this timeless slice of sunny samba rock.
The song has many collaborators, all operating under the gentle guidance of Luigi. Players from La Comitiva and I Calafatari gelled in the studio, also accompanied by Lucio Aquilina (NuGenea) and Luigi Scialdone (Fitness Forever), while the lyrics were written together with Alberto Locatelli. A breezy piece of Brazilian-tinged funk and easy soul, Amsterdam is more than the sum of its parts - it’s the sound of friends playing together and simply enjoying life.
The single is topped off with a remix by Life and Death chief Manfredi Romano aka DJ Tennis, who boosts the kicks while keeping the loose samba magic. The pair met in Mexico, and the kindred spirits immediately hit it off. After bouncing versions back and forth between Siracusa and also a studio in Paris, the final version was realized, full of floaty Rhodes chords and cavaquinho thrills that will lighten any dance.
It’s a testament to Amsterdam’s catchiness that many of Luigi’s friends are involved - the song is reflected in the people it brings together, and in this sense, it’s as much about the art of encounters as it is about the city.
More
Tracklist:
A1. Amsterdam
B1. Amsterdam - DJ Tennis Remix
Release Info:
Sicilian musician Luigi Orofino delivers his debut single Amsterdam for Life and Death records, due for release on 19th May. The song features regular Erlend Øye collaborators La Comitiva, and comes together with a dancefloor friendly remix by DJ Tennis.
Amsterdam might sound effortless, but the laid-back groove and easy atmosphere that Luigi has conjured up isn’t something you can just pluck out of thin air. It’s taken everyone involved several years of playing together to get just the right marinade of Brazilian rhythm and Mediterranean musicianship. It’s a flavor they’ve mastered while on the road with Erlend Øye as La Comitiva, and their touring schedule has become a way of life. When the travel ban was finally lifted, Luigi headed straight to his friends in Amsterdam, and that freedom to travel once more inspired this song. That trip put the color back into life, and the result was this timeless slice of sunny samba rock.
The song has many collaborators, all operating under the gentle guidance of Luigi. Players from La Comitiva and I Calafatari gelled in the studio, also accompanied by Lucio Aquilina (NuGenea) and Luigi Scialdone (Fitness Forever), while the lyrics were written together with Alberto Locatelli. A breezy piece of Brazilian-tinged funk and easy soul, Amsterdam is more than the sum of its parts - it’s the sound of friends playing together and simply enjoying life.
The single is topped off with a remix by Life and Death chief Manfredi Romano aka DJ Tennis, who boosts the kicks while keeping the loose samba magic. The pair met in Mexico, and the kindred spirits immediately hit it off. After bouncing versions back and forth between Siracusa and also a studio in Paris, the final version was realized, full of floaty Rhodes chords and cavaquinho thrills that will lighten any dance.
It’s a testament to Amsterdam’s catchiness that many of Luigi’s friends are involved - the song is reflected in the people it brings together, and in this sense, it’s as much about the art of encounters as it is about the city.
More
2LP Excl
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Label:Freude Am Tanzen
Cat-No:FATLP004
Release-Date:03.05.2024
Genre:House
Configuration:2LP Excl
Barcode:880319423512
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Label:Freude Am Tanzen
Cat-No:FATLP004
Release-Date:03.05.2024
Genre:House
Configuration:2LP Excl
Barcode:880319423512
1
Marek Hemmann - Alias
2
Marek Hemmann - Kaleido
3
Marek Hemmann - NTMYT
4
Marek Hemmann - Yvette
5
Marek Hemmann - Tagoma
6
Marek Hemmann - Compass
7
Marek Hemmann - Swarm
8
Marek Hemmann - Down
Tracklist:
A1. Alias
A2. Kaleido
B1. NTMYT
B2. Yvette
C1. Tagoma
C2. Compass
D1. Swarm
D2. Down
Info:
The first LP is always a reason to celebrate, and also grounds for elated expectation (for more, of course): and now, respect is in order because here is the double premier. The first LP from Marek Hemmann, the multifaceted electro-tinkerer near side of the Saale River, and as well the first CD-Long player from the house of FAT!
We know Marek Hemmann is solo as well as half of the congenial duo Hemmann & Kaden, who for years have been the pillars of the new house & techno scene, both as producer and live act. The complete releases are in the meantime around a dozen; the innumerable remix business for colleagues from Trentemøller to Monika Kruse can it be counted. After the most recent EP, the floor storming Gemini, it was clear that the time is now to get a load of the night fulfilling complete artwork. On to the in between.
What Mr. Hemmann offers here on technoid material, despite the stacked title, is but a small universe. Not quite a snack, but rather right in the middle we find ourselves standing in an eclectic house-world, which in every corner offers a new discovery. From classic deep-droning dub epos over the ëfrizzed-upí house with Bossa shots and demanding horn action up to highly complex sample tone-art. Yes, it is a long trip through techno-land; one in which Marek takes us along, and one which it must be said, is quite wonderful. In the best way. With a round of wholly comprehensive melancholy, it comes over us like a sunrise through the broken club doors after a completely danced-through night. That happens often enough, but for the swinging beauty and manually-labored final touch, flashes forth Mr. Hemmann’s golden hands, bringing back the hypnotic bass lines. The humming monotony lives, as does the subconscious when it says to us: Stay! Move your ass! And look, what beauteous northern melodies there on the horizon. Then the sun arises. Blazing through those same - broken club doors...
Thank you Mr. Hemmann! More
A1. Alias
A2. Kaleido
B1. NTMYT
B2. Yvette
C1. Tagoma
C2. Compass
D1. Swarm
D2. Down
Info:
The first LP is always a reason to celebrate, and also grounds for elated expectation (for more, of course): and now, respect is in order because here is the double premier. The first LP from Marek Hemmann, the multifaceted electro-tinkerer near side of the Saale River, and as well the first CD-Long player from the house of FAT!
We know Marek Hemmann is solo as well as half of the congenial duo Hemmann & Kaden, who for years have been the pillars of the new house & techno scene, both as producer and live act. The complete releases are in the meantime around a dozen; the innumerable remix business for colleagues from Trentemøller to Monika Kruse can it be counted. After the most recent EP, the floor storming Gemini, it was clear that the time is now to get a load of the night fulfilling complete artwork. On to the in between.
What Mr. Hemmann offers here on technoid material, despite the stacked title, is but a small universe. Not quite a snack, but rather right in the middle we find ourselves standing in an eclectic house-world, which in every corner offers a new discovery. From classic deep-droning dub epos over the ëfrizzed-upí house with Bossa shots and demanding horn action up to highly complex sample tone-art. Yes, it is a long trip through techno-land; one in which Marek takes us along, and one which it must be said, is quite wonderful. In the best way. With a round of wholly comprehensive melancholy, it comes over us like a sunrise through the broken club doors after a completely danced-through night. That happens often enough, but for the swinging beauty and manually-labored final touch, flashes forth Mr. Hemmann’s golden hands, bringing back the hypnotic bass lines. The humming monotony lives, as does the subconscious when it says to us: Stay! Move your ass! And look, what beauteous northern melodies there on the horizon. Then the sun arises. Blazing through those same - broken club doors...
Thank you Mr. Hemmann! More
12" Excl
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Cat-No:rbtw-12
Release-Date:24.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804181181
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Cat-No:rbtw-12
Release-Date:24.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804181181
1
Tiger & Woods - Cotton & Silk feat. ‘Em
2
Tiger & Woods - Mary Babe
3
Tiger & Woods - Cotton & Silk (Instrumental)
4
Tiger & Woods - Emotional Frequency
5
Tiger & Woods - Danzin’ Dayzz
Tracklist
A1. Cotton & Silk feat. ‘Em
A2. Mary Babe
A3. Cotton & Silk (Instrumental)
B1. Emotional Frequency
B2. Danzin’ Dayzz
Cotton and Silk compliment each other like cookies and milk, you and your lover or Tiger & Woods. The new leading track of Dancing without Headphones by the always reliable Italian duo. Now featuring the tried and tested heavenly vocal chords of ’Em and meaningful lyrics. Hardcore boogie peak time vibes!
The rest of the record suits these needs and follows Larry Tiger's and David Woods‘ highest production standards.. Play- and powerful, formidable and floor-shaking, you will be hard-pressed to find the same quality somewhere else. With or without headphones: essential listening!
More
A1. Cotton & Silk feat. ‘Em
A2. Mary Babe
A3. Cotton & Silk (Instrumental)
B1. Emotional Frequency
B2. Danzin’ Dayzz
Cotton and Silk compliment each other like cookies and milk, you and your lover or Tiger & Woods. The new leading track of Dancing without Headphones by the always reliable Italian duo. Now featuring the tried and tested heavenly vocal chords of ’Em and meaningful lyrics. Hardcore boogie peak time vibes!
The rest of the record suits these needs and follows Larry Tiger's and David Woods‘ highest production standards.. Play- and powerful, formidable and floor-shaking, you will be hard-pressed to find the same quality somewhere else. With or without headphones: essential listening!
More
LP Excl
backorder
Label:Bad Vibes Forever/EMPIRE
Cat-No:ERE436
Release-Date:12.04.2019
Genre:Dope Beat/Hip Hop
Configuration:LP Excl
Barcode:0888915663776
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Last in:08.05.2024
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Label:Bad Vibes Forever/EMPIRE
Cat-No:ERE436
Release-Date:12.04.2019
Genre:Dope Beat/Hip Hop
Configuration:LP Excl
Barcode:0888915663776
Terriotory: Germany Only
LP features spot UV print on back + Side A/Side B - Marbled White & Black vinyl
About:
* The debut album, 17 from the late musician, XXXTENTACION will be available for the first time ever on CD and LP formats.
* The album was a departure from the single that gained him noteriety, Look At Me!, and foreshadowing of what was to come. With a talent ahead of his time, and a life cut too short, XXXTENTACION's legacy will forever live on in physical form via these releases.
* The album, which is certified GOLD also features the 2x PLATINUM songs, Jocelyn Flores & Fuck Love, and also features deluxe packaging.
* Album features Trippie Redd
Tracklisting:
A1. The Explanation, A2. Jocelyn Flores, A3. Depression & Obsession, A4. Everybody Dies in Their Nightmares, A5. Revenge, A6. Save Me,
B1. Dead Inside (Interlude), B2. Fuck Love (feat. Trippie Redd), B3. Carry On, B4. Orlando, B5. Ayala (outro).
More
LP features spot UV print on back + Side A/Side B - Marbled White & Black vinyl
About:
* The debut album, 17 from the late musician, XXXTENTACION will be available for the first time ever on CD and LP formats.
* The album was a departure from the single that gained him noteriety, Look At Me!, and foreshadowing of what was to come. With a talent ahead of his time, and a life cut too short, XXXTENTACION's legacy will forever live on in physical form via these releases.
* The album, which is certified GOLD also features the 2x PLATINUM songs, Jocelyn Flores & Fuck Love, and also features deluxe packaging.
* Album features Trippie Redd
Tracklisting:
A1. The Explanation, A2. Jocelyn Flores, A3. Depression & Obsession, A4. Everybody Dies in Their Nightmares, A5. Revenge, A6. Save Me,
B1. Dead Inside (Interlude), B2. Fuck Love (feat. Trippie Redd), B3. Carry On, B4. Orlando, B5. Ayala (outro).
More
Label:Flaneurecordings
Cat-No:FR007
Release-Date:24.05.2024
Genre:House
Configuration:12" Excl
Barcode:
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Label:Flaneurecordings
Cat-No:FR007
Release-Date:24.05.2024
Genre:House
Configuration:12" Excl
Barcode:
1
Dj Jauche - Body, Funk´n Soul
2
Dj Jauche - The Balance
Red Coloured Two Track Ep by DJ Jauche
A Dj Jauche - Body, Funk´n Soul
B Dj Jauche - The Balance
More
A Dj Jauche - Body, Funk´n Soul
B Dj Jauche - The Balance
More
12" Excl
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Label:WRWTFWW
Cat-No:wrwtfww041
Release-Date:14.06.2024
Configuration:12" Excl
Barcode:4251648411826
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Label:WRWTFWW
Cat-No:wrwtfww041
Release-Date:14.06.2024
Configuration:12" Excl
Barcode:4251648411826
1
Grauzone - Eisbär
2
Grauzone - FILM 2
3
Grauzone - Ich Lieb Sie
2024 repress
The First Authorised, Official Re Edition of this Electronic, New Wave, Cold Wave, Pop, Synth, Post-Punk Classic, Personally Overseen by Stephan Eicher, Everything Original: Art, Tracklist, Cut on 45 rpm - Printed on 350 GSM Paperstock incl. Sticker!
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.
Tracklisting:
A1. Eisbär
B1. FILM 2
B2. Ich Lieb Sie
Info:
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.
Ich möchte ein Eisbär sein…Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track?
"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli’s Cosmic C75 1982 mixtape online for a great example of this).
The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.
At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone’s music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.
Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin’s Rephlex label.
Grauzone and WRWTFWW will continue to collaborate on the band’s 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.
More
The First Authorised, Official Re Edition of this Electronic, New Wave, Cold Wave, Pop, Synth, Post-Punk Classic, Personally Overseen by Stephan Eicher, Everything Original: Art, Tracklist, Cut on 45 rpm - Printed on 350 GSM Paperstock incl. Sticker!
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.
Tracklisting:
A1. Eisbär
B1. FILM 2
B2. Ich Lieb Sie
Info:
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.
Ich möchte ein Eisbär sein…Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track?
"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli’s Cosmic C75 1982 mixtape online for a great example of this).
The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.
At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone’s music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.
Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin’s Rephlex label.
Grauzone and WRWTFWW will continue to collaborate on the band’s 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.
More