Ellen Allien , Live @ Club 11 Amsterdam

As a DJ I have always tried to connect genres, styles and audiences. I want to feed people new music and capture their interest. I want to fill the room with sound. And I have always been searching for an acceptance of what exists. We all live in the here and now! And it was that common thread that I wanted to share with the audience. When I DJ, body and music become one, they become brainy. To me, music was always the only way to soar through epic parallel worlds, to relax, to experience excess, to find myself. Music is both my motor and my outlet.
As a producer, music is a playback of my emotions and moods. I tease them out of me with alternating technical devices. Music becomes a chronicle, each album is a work from a period of my life, which grounds me after the stress of DJ-jetting. Albums are like diaries. With my first album “Stadtkind” I wanted to express my close relationship with the city I live in. It was like an explosion. “Stadtkind” is my homage to Berlin. The testing, work and experimentation with the structures and the sound spectrum of electronic music then became more and more crucial for me. I used my various compilations and remixes to beam myself into the musical cosmos. With my next album “Berlinette” I processed what I had experienced after the release of “Stadtkind”. It was like a flash of lightning, I was everywhere and everyone around me was euphoric and supportive. “Berlinette” illustrates all that and it is also my very personal discourse on what is possible in the world of pop music and abstract sounds. Then I released my third album “Thrills”. It moves back and forth between constant excitement and playing the ARP 2600 and other analogue instruments.Ellen Allien

Mp3 | Ellen Allien Live @ N.A.M.E. Festival, Rubaix(22.o9.o7)
Mp3 | Ellen Allien - Down

Video | Ellen allien - Stadtkind
Video | Way Out - Ellen Allien / Apparat
Video | interview Ellen Allien

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Ellen Allien
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Label
bpitch control

Friday 02 Nov
Club 11

What if u could love forever ?

The Fountain , directed by Darren Anorofsky.

This fountain requires a philosophical approach to our believes and knowledge of live , the way we understand our lives and what is our place in the same .
How far can u stretch a thought or an emotion , can u thing beyond ? can u thing what no one ever thought before ? u have to try harder , think deeper , can u find it ...can u find it ?
the key for creation , the moment of conceive , two stars , two parallel worlds , two humans , are they so different after all , are we so different ?
What's our ultimate goal , where do we go ? is this all someone's dream ? my dream ?
The begin and the end are easy , tricky part is in between , survival in a world in witch the days are counted , because everything that as beginning , as an end , live and death bounded by love. Tiago 28/11/2007



“The Fountain” is an odyssey about one man’s eternal struggle to save the woman he loves. His epic journey begins in 16th-century Spain, where conquistador Tomas (HUGH JACKMAN) commences his search for the Fountain of Youth, the legendary entity believed to grant immortality. As modern-day scientist Tommy Creo, he desperately struggles to find a cure for the cancer that is killing his beloved wife, Isabel (RACHEL WEISZ). Traveling through deep space as a 26th-century astronaut, Tom begins to grasp the mysteries that have consumed him for a millennium. The three stories converge into one truth, as the Thomas of all periods—warrior, scientist, and explorer—comes to terms with life, love, death and rebirth.


Trailer | The Fountain
Trailer | The Fountain In-Depth Interview

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Darren Aronofsky
Myspace

Radiohead - In Rainbows

These wily boys may have a secret album-title exchange program with Kelly Clarkson, but everything else about In Rainbows is typically hard-rocking Radiohead. Like every other Radiohead album except Kid A — still their most famous album, but they only made it once — In Rainbows has uptempo guitar songs and moody acoustic ballads, full of headphone-tweaking sound effects. All of it rocks; none of it sounds like any other band on earth; it delivers an emotional punch that proves all other rock stars owe us an apology.

In a brilliant move, Radiohead released In Rainbows via optional-pay download; I paid $5.27, in honor of my mom's birthday. Almost all the songs are already familiar to fans from live versions, but here they become expansive new creations. "Arpeggi" and "Bodysnatchers" ride on white-heat rhythm-guitar overdrive, while "House of Cards" is a fragile lovers-rock ballad closely resembling Dusty Springfield's (and the Byrds') "Going Back." "All I Need" has erotic pleading ("I'm an animal trapped in your hot car"), sad chimes in the "No Surprises" mode, and an ominoso synth-piano rumble.

On 2003's Hail to the Thief, Yorke's vocals were all punk rage, but here his voice has an R&B lilt that suits the songs' romantic directness. The end of "Videotape" is the only time the band dips back into dated glitch-blip electronics. Otherwise, the music is full of vividly collaborative sonic touches, from the Gary Numan synth-nightmare drones of "All I Need" and "House of Cards" to drummer Phil Selway's surprisingly deft way with his brushes and woodblocks. No wasted moments, no weak tracks: just primo Radiohead. Hell, I'm going back and tipping them another quarter just for the finger-cymbal solo on "Reckoner." rollingstone, Rob Sheffield , Oct 10, 2007



Mp3 | Radiohead - 15 Step
Mp3 | Radiohead - House Of Cards

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Radiohead
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Pj Harvey - White Chalk

If there's been a constant in Polly Jean Harvey's 15-year career it's that she seems uncomfortable in her own skin-- which may explain why she sheds it so often. Harvey has a penchant for self-correction, to an almost compulsive degree: After To Bring You My Love made her a marquee act, Harvey released the dark, more atmospheric Is This Desire? When her 2000 album Stories From the City, Stories From the Sea accidentally captured the tenor of the times (its songs had an eerily prescient relationship to post-9/11 paranoia), Harvey responded with the stripped-down and studiously raw Uh Huh Her. In recent years, reports even swirled that Harvey was considering retiring, and in at least one regard she temporarily has: White Chalk-- Harvey's most radical self-correction to date-- finds her setting aside the guitar and the blues touches that marked past releases in favor of chamber-gloom, a ghostly piano her tool of choice.
In Uh Huh Her's liner notes, there's a scribbled note from Harvey which reads, "TOO NORMAL? TOO P J H?" On White Chalk, there might be more Polly Jean Harvey than we've ever heard before-- if not quite enough of what traditionally falls under the "PJ Harvey" moniker. One problem is that Harvey isn't nearly as creative a pianist as she is a guitarist. However, the instrument switch has forced her to alter the way she composes as well as the way she sings. From opener "The Devil" on down, she's singing almost exclusively near the top of her range, using the piano as much as for percussion as melody. There are very few distracting trills on "Dear Darkness" or "Grow Grow Grow", where every note rings with loneliness, and the simple repetitive pattern that gently drives "When Under Ether" drips with menace.

The rest of the album's instrumentation is equally spare and strictly old-fashioned, with such mood-setters as broken harp fleshing out (ahem) "Broken Harp"; when some (fake) brass enters the song, it's somber and subdued. Even the scant use of drums is largely intended to accent the songs. While there's probably more room than usual for Jim White, only "The Piano" finds him playing with any force.

Lyrically, White Chalk is oppressively bleak. Harvey's songs never seem as if they come easily; they instead sound like the product of much effort, rigor, and even some pain. Her music is so raw it's a far cry from fun, even when she's trying to be funny; when she commanded Robert De Niro to "sit on my face" in 1993's "Reeling", she made it sound part dare, part threat. But there are no chuckles to be had on White Chalk, which is dark and austere, the songs striking an uneasy balance between indulgence and confrontation.



Despite the presence of regular collaborators John Parish, Captain Beefheart alum Eric Drew Feldman, and producer Flood, White Chalk sounds as lonely and isolated as any album Harvey has made. There is a rich history of depressing British folk that Harvey taps into here, but without a hint of catharsis, much of White Chalk's miserablism just hangs in the air like a noose. On the right day, at the right time, the album's powerfully claustrophobic intimacy is more palatable; on the wrong day, at the wrong time, in the wrong frame of mind, White Chalk may be the longest half-hour in the world. pitchfork, Joshua Klein, September 24, 2007

Mp3 Pj Harvey - White Chalk
Mp3 Pj Harvey - The Devil

Video PJ Harvey interview

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Pj Harvey
Myspace

Label
islandrecords

mY Indie Soul # 19

Yeah , and yet another collection of kick ass tunes. for these one had some friends over , a real kick ass team , Franklishhhh Yann Eve and moi to listen and enjoy on these nearly winter sunday afternon. so decided to make something more pleasent and less dramatic , dont want my friends to leave my house all depresed.
today im in a kick ass modeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

Download Listen

mY Indie Soul # 19
Indie Electronic Electro Experimental Rock Punk

Darkel - Be my Friend
The name "Darkel" may sound cooler than "Dunckel," but there is little darkness of note in the first solo album from Jean Benoit Dunckel (whose surname means "dark" in German), half of the French electronic duo Air. Since Air first arose during the electronic heyday that was 1998 with its classic Moon Safari, the group has continued to evolve, but it's never been able to re-create the distinctness or listenability of that album. Perhaps, then, Dunckel went solo to return to those sounds he may not have spent enough time with. More pop-oriented than Air's previous two studio albums (2001's 10,000Hz Legend and 2004's Talkie Walkie), Darkel's self-titled debut comes closest to achieving the tasteful kitsch of Air's debut.

Swayzak - Pukka Bumbles
Swayzak - apparently in polish this means "union" , or so someone told us ! born 1996 london england . james taylor and david brown, friends and former work colleagues, have made music together since 1993. brown , born glasgow scotland 1966 , taylor, born london england 1967. started their own label out of lack of interest from other labels! a true union of british culture, swayzak recordings ........

Gui Boratto - Arquipelago
Born in 1974 in São Paulo Brazil, Gui Boratto, architect, musician, composer and producer initiated his career in the advertising sector in 1993. From 1994 until 2004 he performed various works for countless record labels both national and international, such as EMI, Virgin, Irma, BMG, Edel, Vidisco, ZYX, among others.
From 2005 he began to dedicate himself to his own productions and compositions, displaying to the public an authoral and more personalized side to his abilities. With countless licenses with respected European labels, such as Plastic City, Circle, Kompakt, Audiomatique, among others, Gui Boratto has managed to appear in the chart and playlists of people like Michael Mayer, Tiefschwarz, Steve Bug, Phonique, Martin Landsky, Hernan Cattaneo, among others.

Booka Shade - Body Language
Booka Shade is a German electrohouse duo. It is made up of Walter Merziger and Arno Kammermeier, described as veterans of the Frankfurt electronic music scene. They have released two albums, Memento and Movements. Their 2005 singles "Mandarine Girl" and "Body Language" (with M.A.N.D.Y.) were widely played in clubs [1][2] and licensed on many mix CDs; Resident Advisor called "Body Language" "one of the biggest releases of the year".

The Glass - I Wonder
Dominique Keegan and Glen Brady (DJ Wool) are The Glass. We're also very lucky to have Graham Finn (Gdog) rocking the bass duties live... We make Dirty Hard hitters and Beautiful music too. Fun. We like Rock, Rave, Electro, Dancefloors, Fit Birds, Alcohol, Music that isn't trendy and our friends! ........

white williams - New Violence
Nurtured in the arson-prone fatalism of Cleveland's DIY scene, 23-year-old Joe Williams, noise-rock dilettante and White Williams' mastermind, made a name for himself twice touring with Gregg Gillis (Girl Talk), Andrew Strasser, Frank Musarra (Hearts of Darknesses) and Luke Venezia (Drop the Lime). Together, through countless venues of ill-repute, they forced their cartooned audio effluvia in the ears of hapless art-students, transients and skin-heads. Inevitably, Joe was saved by pop music.

Lcd Soundsystem - Watch The Tapes
LCD Soundsystem is the musical project of producer James Murphy, co-founder of dance-punk label DFA Records. The music of LCD Soundsystem is a mix of dance music and punk, along with elements of disco and other styles. LCD Soundsystem is particularly popular in Britain, with two albums reaching the top 40 of the UK Albums Chart.

Passions - Emergency
Passions is a Mathhead alias. Mathhead is a part of the Trouble & Bass crew out of NYC along side Drop The Lime a.k.a. Curses!. ‘Emergency’ is a fat electro track featuring Star Eyes on the vocal & of course, doesn’t skimp on the bass. And Homecoming is The Teenagers powerhouse track that has been remixed by many & loved by all.

U.N.K.L.E. - Morning Race
Part of Unkle’s success lies is their ability to coerce music’s top vocalists into singing; this and their knack of matching the ‘right’ voice with the most suitable instrumentals is central to their music hallmark – tracks that sound individual but which fall under the distinctive Unkle umbrella. War Stories, a genre-hopping feast, follows this mould. Some may argue this signals a drying up of ideas on Unkle’s part or an over reliance on a failsafe formula – not so; album number three is diverse and engrossing.
The signature fusing of trip-hop beats with rock energy is here in abundance. “Mayday” with its pilfering of the bouncing prog rock riff in Kasabian’s “Empire” features garage rock group the Duke Spirit. Ian Astbury of the Cult features on “Burn My Shadow” with its similarity to the ear-drilling drumming of Pendulum’s “Voodoo People” remix; Astbury reappears on “When Things Explode” which uses the same sparse drumming as Radiohead’s “Climbing Up The Walls”.

Wolf Mother - Woman (mstrkrft remix)
Wolfmother is an Australian hard rock band from Sydney, New South Wales. Their works have earned them one Grammy Award and three ARIA awards.
Wolfmother have enjoyed considerable success in reaction to the mid-2000s Retro Metal movement, at which they are often considered the chief pioneer. Many of their songs have been featured in the advertising of many products including the Apple iPod, multiple Playstation 2 and Xbox 360 games, the 2008 Mitsubishi Lancer, and TV programs and movies such as Jackass Number Two, Dane Cook's Tourgasm, House, the 2006 Australian Football League (AFL) finals, the Winter X Games.


Digitalism - I Want I Want
Digitalism are German DJs Jens Moelle and Ismail Tuefeki -- has been making music together since 2000 when Tuefeki met at Moelle at a record store. Since then, the stylish duo has gone on to deliver high profile remixes for Klaxons, the Futureheads, Depeche Mode among others. Their debut LP, Idealism, is out now via Astralwerks.

Justice - Let There Be Light
Justice is a French electro duo consisting of Gaspard Augé and Xavier de Rosnay . They are the most successful group on Ed Banger Records, Their main trademark is a large light-up cross that shines throughout their shows. A controversial group among dance music fans, they are known for incorporating a strong rock influence into their music and image

Ascii Disko - Aldimarkt
From Hamburg, Germany ascii.Disko is guitarist Kat D.D. Rokk, former guitarist of the band Slown and current guitarist/keyboardist of the Sci-Fi indie-rock band Venus Vegas. Merging his indie rock background with electronics, ascii.Disko creates new possibilities of sound. Showing no fear, he dives into electronica with refreshing ideas. Currently on the German label L'Age D'Or , ascii.Disko recreates classic melodies and sounds from acid house and techno to 80's synth pop.

ascii.Disko does not have one style or appeal to one scene, instead it is exciting and intelligent music that all can enjoy. The strong beats and harmonic vocals are an excellent blend. Not only will it be enjoyable for the DJ but for all those on the dance floor as well.

I Robots - Frau (boysnoize mix)
Gianluca Pandullo began his career in the early '80s playing the various genres of black music that included funk, disco, and afro rhythms, with a personal interest in electronic music. These roots are still evident in his musical selections. Over the years he has promoted many musical styles; he has played dj sets that included the rhythms of soul, jazz, funk, and latin, as well as everything that has derived from them: hip-hop, house, acid-jazz, trip-hop and drum'n'bass. Gianluca Pandullo is also an avid collector and trader of vinyl. He's a journalist and reviewer, he's also an active promoter, and has worked with the biggest and best-known names in every musical scene. His skills and experience in every musical environment allow him to create a truly original and alternative dj set, with influences that find inspiration in the various styles of House Music, incorporating traces of tech, electro, deep, afro, and jazzy. And all of it meshes perfectly with his innate ability to read the crowd and create an instant mood. He's currently busy with his NEMESI project, on Relish Records, which will soon be releasing its new 12" single: "JURASSICO" and with I-ROBOTS - "LAWS OF ROBOTICS" project out soon on Lucy Lee Quality Recordings; also out soon on Lucy Lee too will be his second single of the project EBBRO produced with Patrick Di Stefano & Nemesi Team.

Im Not There

Trailer | I'm Not There

Mp3 | Bob Dylan - Creep (Radiohead cover)

With I'm Not There, his hotly anticipated follow-up to Far From Heaven, Todd Haynes attempts to find the key to Bob Dylan's life and art by unfolding the larger-than-life personality over seven distinct characters. Christian Bale, Heath Ledger, Marcus Carl Franklin, Ben Whinshaw, Richard Gere and Cate Blanchett play the legendary musician at different stages of his career -- or rather, his imagined career, with events and characters drawn as much from the songs as from Dylan's actual biography.

The seven strands of narrative are told in distinct styles peppered with in-jokes, out-and-out delights, and a generous helping of Dylan songs. Marcus Carl Franklin plays Dylan as a black boy growing up in the south, riding boxcars and impersonating Woody Guthrie, Christian Bale covers the early folk years (with Julianne Moore as Joan Baez's alter ego). Cate Blanchett, in delicious black-and-white, goes electric at the Newport jazz festival, meets Allen Ginsberg (David Cross) and stumps reporters with witticisms during the famous tour of England chronicled in D.A. Pennebaker's Don't Look Back.
Richard Gere plays the most curious incarnation, an aged and withdrawn Billy the Kid who has somehow survived and returned to an earlier "weird America" full of carnival freaks and one beautiful dead girl in a casket. Heath Ledger and Charlotte Gainsbourg enact the early seventies with their infidelities and disappointments, overshadowed by the Vietnam War.

I'm Not There is certainly an enjoyable experiment. The innovative approach pushes further than any traditional biopic could, managing to bite its own tail in a nice cyclical twist that makes Dylan's life appear both specific and inevitable. Ultimately, though, Haynes' quest is as fruitless as reporter Jerry Thompson's search for the truth about Charles Foster Kane -- the mystery of this American Giant can't be solved by splintering him into his constituent parts. Besides, the answer was there all along: like Kane's sled, Dylan's body of work contains everything we ever needed to know about the man. I'm Not There is worth seeing, but in the end, the music of Bob Dylan will outlast anything anybody might have to say about it.
Jürgen Fauth

Fennesz

"its most glimmering elements shining like sunlight through cracks in a wall, sharp as diamonds."

At the frontier of contemporary music is Fennesz: a meticulous laptop conceptualist who weaves tangible melodies and glowing guitars through dense, symphonic electronica.
Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. "Imagine the electric guitar severed from cliche and all of its physical limitations, shaping a bold new musical language." - (City Newspaper, USA).

Christian Fennesz is know from his own particular musical world as well as his impeccable work in creating beautiful compositions for guitar. Somewhere between concrete music, classical and ambience sounds, he stretches musical resources and effects to create melodies and atmospheres that fuse classical and orchestral concepts with conceptual musical research and complex digital structures.
Fennesz has been recording with Ryuichi Sakamoto, with whom he also plays live, with Keith Rowe and Sparklehorse. He has also worked alongside Peter Rehberg and Jim O'Rourke in the improvisional trio Fenn O'Berg, and with David Sylvian who sang on his album Venice and for whom Fennesz composed the music for the song "A Fire in the Forest" for his album Blemish.

Rolling Stone described him as "the most pictorial composer-programmer in laptop electronica".

Ben Bortwick (the wire 09/05): Fennesz guitar and laptop live set demonstrate why he remains one of the most engaging musicians using electronics. His treatment of the laptop and guitar allow each to give up its identity to the other, exquisite guitar washes loosing their specificity to the crackling textures of the laptop. Live guitar chords become loops on the laptop and he constantly shifts between contradictions and possibilities of each.

Mp3 | Fennesz - Endless Summer
Mp3 | Fennesz - Got To Move On



Video | Fennesz at 'Lovebytes' digital media festival, Sheffield 2006
Video | Fennesz - Shisheido
Video | Fennesz - Caecilia

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fennesz
myspace

Label
mego
Touch

Weekend Records

James Murphy and Pat Mahoney delve into their New York roots for FABRICLIVE 36, a hot sweaty blend of seminal disco, deep rare grooves and edgy tech-infused funk from influential artists such as Donald Byrd & 125th St, Chic, Lenny Williams, Junior Byron and Love of Life Orchestra. A delightful nod to their future, past and present (including LCD Soundsystem's own "Hippe Priest Bumout"), this mix is unashamed hand-clapping fun, full of upfront rhythms, obscure treats and heart warming guilty pleasures. fabriclondon

“We're pretty excited. We find doing mix CDs horrifying to a certain degree because there's nobody there, so it's just like, "What are we doing?!" It's like you're just yelling into the air. We bought an old Bozak for this - the first DJ mixer ever built, hand-built. It sounds incredible. Everything sounds nicer and bigger and smoother and beautiful. The mix itself will have a little bit of stuff that isn't necessarily what we'd play in a club. But we'd like it to be fun. So we'll just do it a bunch of times live. Do it until you like it, that's actually our motto.” - James Murphy & Pat Mahoney .


Top Get Physical producers Booka Shade are the unlikely choice for the latest volume in the 'DJ Kicks' series, out in October.

Are Booka Shade DJs? Well, not really. But that little fact doesn't phase !K7, who in the past have invited such non-DJs as Trüby Trio, Erlend Øye and Annie behind the decks for their 'DJ Kicks' series. As the PR puts it: "Booka Shade have an intimate knowledge of the dancefloor and the differing tools required in a DJ's arsenal, but Jeff Mills or Richie Hawtin…they are not."

But the lack of a DJ resume isn't going to stop Booka, who promise something a little different from the run of the mill DJ mix in their first foray into the format. "DJ-Kicks is the perfect project for us," says Arno Kammermeier. "It allows us to do our own thing. It allows us to make a musical statement. And that was what was appealing to us. People don't see us as hot DJs, so this isn't a snapshot of summer 2007, it's about creating something that will last."

Rather than documenting their the latest club tunes, Booka Shade mix up older gems with unreleased newies on a CD which promises to be eclectic. Amid dance music from Carl Craig, Matthew Dear and Lopazz, Booka Shade find room for French disco (Cerrone), rap (The Streets), '70s soundtracks (John Carpenter), '80s electro-pop (Heaven 17, Yazoo) and even the downright odd (Brigitte Bardot, The Tubes). "We really got into the material that we were using," explains Walter Merziger, "Putting it together was like creating a remix."

Many of the cuts are mixed together using Booka Shade rhythm tracks, while the mix also contains two Booka exclusives, 'Numbers' ("The mix inspired us to write a song with vocals. It's the first time we've had real vocals on a Booka Shade track") and 'Estoril'. "We came at it from a producer's background," Walter explains. "It wasn't just about choosing tracks that blended rhythmically, but we were interested in the harmony as well. The transition of the mixes had to be harmonically correct too. That's why there's lots of layers in there." residentadvisor


Latest mix on Kitsuné comes from club night of choice for London hipsters: BoomBox. 'Kitsuné BoomBox' arrives at the end of the month.

This is truly a collaboration of the hippest. BoomBox is the dressed-up East End party where ravers share water bottles with the likes of Naomi Campbell, and fashion-forward French label Kitsuné puts out clothing lines as well as records.

‘Kitsuné BoomBox’, mixed by resident Jerry 'JBAG' Bouthier, includes tried-and-tested maximal party-starters from Riot In Belgium and Digitalism, new material from live electro band Big Face and the junior Justice, Revolte, as well as the exclusive comeback of original acid popsters S-Express. With tracks from Daft Punk and Chromeo, and remixes from Guns 'n' Bombs and Van She, it looks set to be the soundtrack to a thousand future fashion shows. Darling. residentadvisor



This is a rich and layered new work from Prefuse 73. The album is a mix psychedelic hip hop music. a well honed work which is just stunning for headphone listening, like a dense musical puzzle, crossing genres but always harnessed back in by the rhythms of hip hop.

The album on cd also contains a bonus album called 'Interregnums' which is made up of orchestral work and the arrangements that make up the preparations album. It's a kind of shadow album that reveals part of the dense makeup and skill of Preparations. A copy of the orchestral album also comes with the double vinyl too.
warprecords

22 Oct Amsterdam - Perfuse 73 @ paradiso

Poni Hoax @ Conclub Rotterdam 20 Oct

Audiopleasures super favorites.
Poni Hoax are an electronic music outfit from Paris. A five man army of ´jeunes gens modernesª, great musicians and extremely talented composers. Their lead vocalist, Nicolas Ker tackles an ambitious and unique style that walks the thin line between a decadent Morrissey or an elegiac Jim Morrisson. This quizzical dandy with an exotic touch (born from French-Cambodian parents in Egypt). The symbiosis he shares with the band's lead composer, Laurent Bardainne is brilliant. Next to this ubiquitous duo, Arnaud Roulin (keyboard/bass), Nicolas Villebrin (guitar) and Vincent Taeger (drums), partners in crime and ¸ber-accomplished musicians who have co-oped with the gotcha of French ´ variÈtÈs ª (Feist, Romain Humeau, etc.). Together they fuel the fire of an iridescent musical flame laced with infectious, nearly fatal melodies. Their influence is a extatic mix of rock 'n roll music, goth disco, post-rock, italo disco, and noisy garage murderbalads (ý la Nick Cave) as in in their song Budapest, from the self-titled album released by Parisian label Tigersushi. The song itself received a remix by electro disco Dj and producer Joakim. In Paris, Poni have played a series of exclusive gigs in as prestigious venues as Agnes B's GalÈrie du Point du Jour or the more dance inclined scenes of RESPECT and Nouveau Casino. Such a wide array of taste is something quite unprecedented this side of the Atlantic and recalls the exceptional musical genius of the likes of Roxy Music or Sonic Youth.
conclub

Mp3 | Poni Hoax - Budapest
Mp3 | Poni Hoax - She's On The Radio (Radio mix)
Mp3 | Poni Hoax - cheerleader in my dreams



Video | Poni Hoax - Antibodies
Video | Poni Hoax - Shes on he radio
Video | Poni Hoax - LIVE @ PS.ONE / NYC

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myspace
conclub

Label
tigersushi

The Rapture

The Rapture was formed in early 1998 by drummer Vito Roccoforte and guitarist/vocalist Luke Jenner. The whimsical indie group had extensive touring behind them by the time they recorded 1999's Mirror for Gravity. More touring ensued -- with the likes of Sunny Day Real Estate and Nuzzle -- and the band eventually relocated to New York City. They lost their original bassist and found a new one in Matt Safer, who had recently moved from Washington, D.C. After some more touring, the band recorded the six-song Out of the Races and Onto the Tracks EP and had it released by Sub Pop in 2001. Thanks to their sloppy brand of scratchy post-post-punk, the Rapture was hailed as a forerunner of the post-punk revival that was taking place in the early 2000s. Their profile increased significantly with 2002's "House of Jealous Lovers" 12"; that same year, they added multi-instrumentalist Gabriel Andruzzi to the fold. The full-length Echoes followed for Gary Gersh's Strummer label in late 2003. The follow-up, Pieces of the People We Love, was released three years later by Mercury. Andy Kellman, All Music Guide

Mp3 | The Rapture - house of jealous lovers
Mp3 | The Rapture - Get Myself Into It
Mp3 | The Rapture - the sound
Mp3 | The Rapture - Sister Saviour (Blackstrobe Remix)
Mp3 | The Rapture - Sister Saviour [DFA Dub]



Video | The Rapture - Wooh Alright Yeah!
Video | The Rapture - Pieces of the People We Love
Video | The Rapture - Sister Saviour

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The Rapture
myspace

Label
Vertigo
SubPop

Ursula "the goddess" Rucker

,

There, that place, deep, inside, up and above, where she carves emotion with piercing lyrical cadence. There, where poetry and music intertwine, melodies and words mingle. On her third album, Rucker sets her sights There, aspiring towards an ancient Egyptian kemetic principle, the foundation of universal order and balance maat truth. Hence the album title: maat mama. Ma'at is also the name of the goddess whose power works to keep this truth, this balance, ever present and functional, she muses at home in Philadelphia, surrounded by her four children, all under age of 12. Some believe she is at the top of the hierarchy of Egyptian gods and goddesses, for without universal order there is nothing but chaos and destruction. Mother of four, Rucker has reached a personal balance that is evident in maat mama. It has been something I keep in my heart, something that is beautiful, simple, powerful and a guide through this crazy life, she explains of the balance between motherhood and living as an artist. Now that I am a mama of four black boys in America, I need all the strength to raise them and do my best to achieve good human being-ness, so I can show them the way. Supa Sista has evolved into ma'at mama. From her native Philadelphia, Ruckers affinity for crafting words catapulted her message into hungry ears when she began to read publicly in 1994 at Zanzibar. The Temple University journalism graduate struck a chord in Phillys soul that reverberated around the world with her mezzo-soprano speak.Read More Here

Mp3 | Ursula Rucker - Humbled
Mp3 | Ursula Rucker - Broken
Mp3 | Ursula Rucker - Supa Sista
Mp3 | Ursula Rucker - Lonely Can Be Sweet




Video | 4hero - Loveless feat. Ursula Rucker
Video | Def Poetry - Season 3, Episode 2 (Part 2 of 4)
Video | Ursula Rucker - What A Woman Must Do

Visit
Ursula Rucker
myspace

Label
K7

Amsterdam Dance Event

The Amsterdam Dance Event, organised by Buma Cultuur, is Europe's main electronic and dance music conference, and is one of the world's biggest club festivals. Join music industry professionals from all corners of the world for 3 nights at 40 venues, with more than 600 DJs and acts at this 12th edition. October 18th - 20th 2007.

Expect the unexpected this year: from groundbreaking electronic terrorists to the artists that you will hear more of in the year to come.

The ADE club festival was conceived from the idea that the dance business needed a stage to present their DJs and acts during the conference. This has evolved into an extremely diverse and exciting night program of label showcases, CD presentations, guest performances, live acts and special one off performances in record stores and museums.

Apart from the club festival, ADE offers music industry professionals the opportunity to meet international business partners, introduce their business to an international audience and get in touch with new people, new music and new trends. Held in the centre of Amsterdam at the historic canal-side Felix Meritis building, the ADE conference is not only a great place to do business but also a place to get inspired. With four networking and business lounges and a broad program of panels, keynotes and meetings, ADE provides a platform and gateway for anyone who's working in the electronic music business. The ADE gives you the opportunity to get heard, be seen and experience the best of what dance music has to offer.

Audiopleasures tips

18 October
Nouvelle Vague @ Melkweg
Vitalic + Alter Ego @ Melkweg
Dixon + Ame @ Club 11
Kompakt Records - Michael Mayer + Gui Boratto @ Sugar Factory
Miss Kitten + Hacker @ Paradiso
19 October
Compost Records - Michael Reinboth , Ben Mono , Robert Owens , Tj Kong + Nuno dos Santos , Eddy meets Yannah @ Sugar Factory
Ascii Disko @ Club 11
Bpitch Records - Zander VT - Ben Klock @ Flex Bar

Video | Nouvelle Vague - Blue Monday
Video | Vitalic - My Friend Dario
Video | Âme - Rej
Video | MICHAEL MAYER @ KOMPAKT BEACH SONAR 2007
Video | Gui Boratto live @ Warung club
Video | Miss Kittin @ Sonar 2007
Video | stereolize (the hacker remix)
Video | Alter Ego - Rocker
Video | Ben Mono - Protection (Sirius Mo Remix)
Video | Robert Owens + coldcut - Walk a mile Live
Video | Nuno Dos Santos Live @ WTTF
Video | Ascii Disko - Einfach
Video | Zander VT @ club 11 Amsterdam
Video | Ben Klock @ Villa Rouge

Amsterdam Dance Event

I love you but I've Chosen Darkness

Produced in summer 2003 by Britt Daniel of Spoon, I Love You But I've Chosen Darkness' eponymous debut perfectly captures the band's strong pop-sensibility also found on their debut long-player "Fear Is On Our Side" from earlier this year. Included among the EP's five tracks is the live favorite and venerable set closer "Your Worst Is The Best" which features dueling vocals over a chiming Rhodes and epic guitar lines. Insound

They've got the moody name, the brooding sound, even a dark, shadowy video for their single "According to Plan," but nothing else about Austin's I Love You But I've Chosen Darkness seems to fit the New Wave rock band bill. For starters, the name was not, as it sounds, meant to reflect any goth tendencies. At least not according to lead singer Christian Goyer (formerly of Windsor for the Derby), who answers the obvious question by claiming that his eleven-year-old son came up with the band's moniker. "I'm not saying that's the truth, but that's my answer," laughs Goyer. "He's very mixed up." ROLLING STONE


Mp3 | I love u but Ive Chosen Darkness - Your Worst is the Best
Mp3 | I love u but Ive Chosen Darkness - according to plan

Video | I love you but I've chosen darkness - Your worst is the best
Video | love you but I've chosen darkness - according to plan
Video | I love you but I've chosen darkness - The Owl

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I Love u but ive chosen Darkness
myspace

Label
secretly canadian

Lusofonia a (R)evolução

In Lisbon, a new generation of musicians, producers and DJs is asserting itself. Tuned in to the aesthetical and technological developments in music, it nevertheless carries a distinctive trait inherited from the culture which they are a part of: the Lusophone world.
It is this trait that uphold the uniqueness of our artists in a historical context in which homogenization in the creative sphere thwarts all originality. Lusophony, the (R)Evolution is a calling card for the Lusophone musical identity.

It all began in the 15th century, when Portugal embarked on its maritime expansion.
A small country of around one million inhabitants travelled across the Atlantic and reached Brazil, ventured round Africa and Asia - of India, Japan or Indonesia. It wrought an empire, one of the foundations of which lay on the slave trade. This dark side of history (present from the empires of Antiquity up to the present age) created in Portugal a community of Africans who brought their customs, rituals, music and dances with them to Lisbon. Around the1450s, 10% of the population of Lisbon was of African origin. With the passage of time, the miscegenation between blacks and whites gave birth to multicultural peoples - it's not by chance that Brazil is the most multicultural country in the world. Read More Here

Trailer | Lusofonia a (R)evolução

EXTRAS
Trailer | “The scratch is out on the street”

Largo do Carmo was a key place in the 25 April 1974 Revolution, which ended Fascism in Portugal. 32 years later, Hip Hop paid it a tribute through the most emblematic of Portuguese turntablists, DJ Nel’Assassin. In this conceptual performance he used recordings from the morning of the 25th of April 1974, together with scratching and contemporary beats.

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lusofoniaa revolucao
Carnation Revolution

Ran Slavin

Ran Slavin is a cross media audio-visual artist from Tel Aviv. Working with digital and acoustic music, experimental cinema, video art and live sound and video performances.

Working between the contemporary art world and the experimental music scene, his visual work often probes and scrutinizes intense urban scenarios, fabric and panoramas, texture text and motion, with a sensibilty and perception of a fragmented fast contemporary culture.

His audio work is a culmination of processed acoustic sources, error music and sonic panoramas often guitar/piano based/derived.

Known for his videos, music and live performances that present audio-visual realms unfolding between the urban and the abstract, super impositioning the real and hyper real.

His diverse catalogue of videos blurs distinctions between present and future, documentary digital and fiction and presents a hybrid of moving images, stills in motion, at times on the threshold of digital painting, resulting in dream like sequences, intense suspension and altered states. cronica electronica

Trailer | Insomniac City - Ran Slavin

This edgy, inventive film from cutting-edge Israeli audiovisual artist Ran Slavin is ongoing and ever-changing; in its current incarnation, it is 40 minutes long, and explores a variety of philosophical issues as it presents a shifting, fragmented narrative about a Tel Aviv man who, unable to sleep, struggles to separate reality from confusing hallucinations, and tries to remember exactly how he got shot.

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Ran Slavin

Label
cronica electronica
Mille Plateaux

Luomo vs. Uusitalo vs. Vladislav Delay

Sasu Ripatti, conspicuously enigmatic for ten years, is coming out of his shell. Despite his notorious wariness of the publicity machine, he has agreed to do an interview in the lead-up to the release of his new Uusitalo album ‘Karhunainen’. Even more surprising – I've been invited to his house.

It’s a rainy, late-summer morning in Berlin when Ripatti opens the door of his Prenzlauer Berg home studio, apologises wryly for the mess, and ushers me past the bathroom, kitchen and into his living room/bedroom.

Friendly and relaxed, he makes tea and makes small talk easily, that is until a camera is pulled out. He flinches, and refuses any photos. "Last week I had a photo shoot – it was a horrible experience, I really wouldn’t like to repeat it now."

Ripatti is a shy boy from Oulu in Northern Finland, a remote city best known for metal bands and as the birthplace of the Air Guitar World Championships. He began making music in Oulu before moving to Helsinki, and then to Berlin, soon after the Luomo album ‘Vocalcity’ (Force Tracks) and the early Vladislav Delay explorations on Chain Reaction and Mille Plateaux. Janet Leyton-Grant @ residentadvisor read full article here

Mp3 | Vadislav Delay - I saw a Polysexual
Mp3 | Uusitalo - lumimies
Mp3 | luomo - tessio

Video | Vladislav Delay - Sutemos Live
Video | B.D.M Vladislav Delay & Corilla Art (Brain Disco Million)
Video | Vladislav Delay - Pietola

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vladislav delay
Luomo
uusitalo

Label
huume
Force Tracks
Mille Plateaux

Jeniferever

Taking the earth-shattering beauty of the most delicate post-rock moments, Jeniferever complete the difficult task of making the music accessible without losing the expansive impact fans of the genre demand.

For listeners this is not simply an exercise in testing patience, grabbing attention in the manner of the catchiest rock tunes and making Choose a bright morning one of those rare things - an experimental album that could crack the mainstream.
national student Mag

Jeniferever are definitely on the top of my favourite artists. „Fragile guitars and an even more fragile voice making way for some gorgeously textured music as their songs develop. The band completely lose themselves in their music as they play…“ (Stayfun). Hushed and whispering vocals that evoke the atmosphere of hauting beauty. Thrilling melodies, emotive, intense and infective sound.
getecho

Whatever the reason, the latest band to attempt the Sigur Ros/Explosions in the Sky formula of taking the three seconds of orgasm and stretching them out to fill an album are five angular and interesting looking Swedes called Jeniferever. In common with the aforementioned Icelandic/Texan purveyors of wonderment, Jeniferever fashion long drawn-out bliss-fests out of echos, chimes, sparkly bits and Mogwai's early classic Helicon 1 (given that the 'gwai have been having far more fun indulging their darkside since then, this seems fair enough). In contrast, they ditch the no-vocals/
funny-falsetto-choirboy-vocals-in-made-up-language approach in favour of Kristofer Jonsen's hushed breathy tones and even the occassional traditional song structure. The results are fucking great, songs that are light and airy but somehow rumblingly powerful, calling to mind many adjectives you can't use in a music review without sounding like a twat: magical, bewitching, fluffy.
diskant

Mp3 | jeniferever - marks
Mp3 | Jeniferever - swiming Eyes
Mp3 | jeniferever - kapfarvel

Video | Jeniferever - Alvik

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jeniferever
myspace

Label
drowned in sound

Will Oldham a.k.a Bonnie "Prince" Billy

We were just hanging out on the corner near the studio, when Will Oldham made a wide left turn and pulled into a parking space. The first thing you notice about Will is his trademark mustache (often used in combination with a wily beard of haphazard proportions), whether you’d be expecting him or not. It’s a crude observation, yes, but the thing’s bushy, thick as a cattail and twice as long as two flat erasers linked end-to-end. The night was already dark – some just because it was becoming night and some because of an imposing storm system rumbling in from the west. A trail bike was affixed to the top of Oldham’s hood and he got out of the car cautiously. He was wearing pink socks. We weren’t really prepared for any of this as the session came together in a flash of time, the details hammered out just two days prior to the recording. There were possibilities and doubts and finally a confirmation that sounded too perfect to not still keep it in the category of hopeful optimism. We weren’t ready for the pink socks, the bicycle lovery and Oldham actually being there. Being in the presence of this particular American icon is a much more comfortable thing than say, spending the evening or a dinner with Bill Maher. I secretly began thinking the other day what a terrifying thing it would be to have dinner and have to speak intelligently with Maher. It would be relatively tough enough to have a dialogue with Mr. T, though, granted, you could get away with asking a lot of B.A. Baracus questions and at least survive. But Oldham is the icon of a billing that warns you to let him do all the talking or none of the talking. Let him choose, let him make the first move and then follow in step. Most consider the man to have a layer of granite around him that doesn’t allow interactions to get too far. He’s a gatekeeper with very strict requirements for entering and going. This, I’m here to say, is not so true. Sure, even after spending a good hour and a half with Oldham, there’s a tilt to his eyebrow and a faint leer to his gaze that is probably some sort of mechanism, but he can automatically become warm. He’s engaging in everything he does and says, often surprising you with his candidness. These songs – recorded with a sort of autumnal blush to them and a feeling of stark communion—are ideal representations of everything that Oldham is and will always be – a kind enigma with the right to bare whatever it is he damn well wants to bare. We will be listening. We can’t make ourselves not. – Sean Moeller - daytrotter


Mp3 | Bonnie "Prince" Billy - Love Comes to me
Mp3 | Bonnie "Prince" Billy - cursed

Video | Bonnie "Prince" Billy - Strange Form Of Life
Video | Bonnie "Prince" Billy - No Bad News

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Bonnie "Prince" Billy
myspace

Label
Domino

Ciccone Youth

Sonic Youth's seventh album sort of originated with a long-running band joke involving SY's claim to one day cover the Beatles' White Album in its entirety -- somehow this project morphed into a twisted beatbox/sampler experiment masquerading as a tribute to Madonna... SY even took Madonna's surname for their own, calling themselves "Ciccone Youth". The first Ciccone Youth single, featuring SY's version of "Into The Groovey" and Mike Watt's cover of "Burnin' Up" was initially released in 1986. Ciccone Youth unveiled themselves again on the "Master-Dik" EP, and decided to round out an entire album in late '87/early '88. Supposedly the finished project was put on hold until after the release of Daydream Nation, to ensure that attention wouldn't be diverted from the more "serious" album effort. In any case, "The Whitey Album" is a weird, wild, hit-or-miss collection of sampled beats, fresh rhymes, 80s pop covers, and a few really good tunes.

Their Madonna obsession already apparent in gig posters and song titles, SY recorded their own version of her single "Into The Groove" along with a brief but amusing Thurston freestyle vocal jam called "Tuff Titty Rap" during the EVOL sessions in March 1986. The songs were recorded for a proposed Madonna "tribute" 7" to be released on New Alliance, the A-side featuring Mike Watt's rendition of "Burnin' Up" (a full band version, not the solo demo that ended up on the Whitey Album). This single came out in late '86 under the alias "Ciccone Youth", and both artists went on their merry way. Ciccone emerged again during sessions for a piece entitled "Master-Dik", of which 2 versions were mixed -- one w/ live drums which was the bonus track on the Sister CD, and one w/ a robotic beatbox track, released on the "Master-Dik" EP (though not technically credited to Ciccone Youth, Thurston's insistent cries of "We're Ciccone" seem pretty clear). Toying with drum machines and samplers must have delighted the band enough to make an album project out of it, and so they did, recording from November 1987 through January 1988 with Wharton Tiers at his studio.

Dinosaur guitarist J Mascis stepped in to guest on one track, "Two Cool Rock Chicks Listening To Neu" (which also featured Kim discussing management duties with Susanne Sasic, SY's lighting director). They recorded a few fairly tuneless destructive beatbox explosions like "Needle-Gun" "Hendrix Cosby" & "March Of The Ciccone Robots", some nicely constructed instrumental jams like "MacBeth" and "Third Fig", a revamped drum machine driven version of "Making The Nature Scene" from Confusion Is Sex, and more. Steve reads one of Lee's poems. Kim sings a haunting tune called "G-Force", which is reprised instrumentally as "Platoon II". She also sings Robert Palmer's hit "Addicted To Love", recorded at a karaoke booth in a mall (a video was produced in the same fashion). And for your easy listening pleasure, a solid minute of silence is offered (their radio edit of John Cage's "4'33"). The album is rounded out with the 3 tracks from the '86 Ciccone single (though Watt's "Burnin' Up" is an alternate solo demo). "The Whitey Album" finally saw release in January 1989, several months after Daydream Nation. "Sonic Youth" were not credited on the release, instead each member was given a secret Ciccone codename (a hilarious NME gag "interview" gives these identities a life of their own). Around this time an "Into The Groovey" single/sampler CD was released, along with a 12" promo insightfully titled "The Whitey Album Promo". The Whitey Album CD was reissued by DGC in 1995 w/ liner notes by Mike Watt. The CD versions feature an unlisted bonus version of "MacBeth", which appears to have an official title on the longbox scan to the right -- anybody who can tell me what the sticker says would make my day.
Source | Sonic Youth

Mp3 | Ciccone Youth - Into the Groovey
Mp3 | Ciccone Youth - Me and Jill
Mp3 | Ciccone Youth - Burnin' Up (Mike Watt orig. demo)
Mp3 | Ciccone Youth - Me and Jill - ( Chicken Lips Rework )

Video | Ciccone Youth - Addicted To Love ( Robert Palmer cover )
Video | Ciccone Youth - Macbeth

Visit
Sonic Youth
myspace

Label | Geffen

Ian Curtis , Control

Control is a biopic film about the late Ian Curtis (1956-1980), lead singer of the post-punk rock band Joy Division. The screenplay is based on the book Touching From a Distance, by Curtis' wife, Deborah, who is also a co-producer of the film.

The film details the life of the troubled young musician, who forged a new kind of music out of the punk rock scene of 1970s Britain, and the band Joy Division, which he headed from 1977 to 1980. It also deals with his rocky marriage and extramarital affair, as well as his increasingly frequent seizures, which were thought to contribute to the circumstances that led to his suicide on the eve of Joy Division's first U.S. tour.

The title is a reference to one of Joy Division's more memorable songs, "She's Lost Control". The song title is believed to be a reference to an epileptic girl Curtis befriended while working at a rehabilitation center in Manchester. The girl died during a seizure and thus inspired the title.[1]

The film premiered at the Cannes Film Festival, on 17 May 2007 (coincidentally one day prior to the anniversary of Curtis' suicide), where it was received well by the critics, especially for Sam Riley's performance.[2] Although shown outside the Palme d'Or competition, Control was the big winner of the Director's Fortnight winning the CICAE Art & Essai prize for best film, the "Regards Jeunes" Prize award for best first or second directed feature film and the Europa Cinemas Label prize for best European film in the sidebar.

Mp3 | Joy Division - Love Will Tear Us Apart [Permanent Mix]
Mp3 | Joy Division - Heart and Soul

Video | Joy Division - Atmosphere

Trailer | Control the Movie
Producer Anton Corbijn

Visit
Joy Division
myspace

mY Indie Soul # 18

After a few delays where is my first Indie Soul of the new bloging era.
It requires much more work and resarch , its also good because im always learning new and interesting stuff about what im listening.
Because this is the first mix i've recorded to be on the blog , i've decided to bring some of my favorite songs and bands and also some new stuff .

Download <> Listen


Scout Niblett - Kiss feat Bonnie 'Prince' Billy
A pretty girl in a wig, playing the drums and singing so loudly and gleefully it sounds like her lungs might burst.

Shapes and Sizes - Annihilator
They Say:
Shapes and Sizes inhabit a world in which humanity is stratified into three possible classifications; kindergarteners who don’t wear brand names, Dads who look like wild, forest dwelling warlocks, and undergrads who sometimes laugh aloud when alone in the school computer lab. If you don’t fit into one of these categories, we’re willing to bet you’re lying

Nina Nastasia & Jim White - The Day I Would Bury You
Following last year’s critically acclaimed ‘On Leaving’ album, Nina Nastasia makes a rapid return with a stunning collaborative album with Jim White, the peerless drummer of beloved Australian instrumental trio, Dirty Three.

My Brightest Diamond - magic rabit
What more can i say about them ??

Autolux
A noisy trio out in L.A. , sometimes they sound even better than the Sonic Youth itself

Yeah Yeah Yeahs - Kiss Kiss
New stuff from Karen O ant the YYY , as good as always.

Be your own pet - Electric Shake
These guys have a awesome sound. Nothing’s gonna stop 'em. Four friends (3 dudes, 1 femme) get together in Nashville basement and compare notes. Likes: caffeine, spicy food, T-Rex, Television, bicycles, Iggy & the Stooges, skateboarding, Afri Rampo, sea horses, Velvet Underground, asthma inhalers, Animal Collective. Dislikes: boredom, posers, posers, boredom, flat tires, runny eggs, lameness, boredom.

Pixeltan - Thats the way i like it
One of my favorites edits from DFA , New York label from James Murphy a.k.a Lcd Soundsystem.
PIXELTAN are from the ever-growing scene in Brooklyn, NY and were formed in the Spring of 1999. Their sound is similar to bands such as LIQUID LIQUID, ESG, PIL, MEDIUM MEDIUM, or any other percussion-based bands to come out of the NYC scene of the late '70s, but with a harder, more electronic edge. The band contains Hisham of BLACK DICE on the drums. His style is erratic and machinelike and leaves many in awe. The guitarist plays unlike anyone we have seen, using pedals and effects to create one of the most original sounds we have ever heard. The vocals are used like an instrument as well. She yelps, screeches and wails away in an almost Patty Waters like style. All of this with a dance beat in the background! PIXELTAN is definitely a force to be reckoned with, and is one of the most original bands to come out of NYC.

Test Icicles - Circle Square Triangle
Test Icicles were a short-lived rock band formed in the UK, primarily influenced by indie rock but containing musical elements from a variety of genres (notably rapcore, hip-hop, crossover thrash and punk).

Clap your hands say yeah Satan Said
They are notable for achieving their initial fame and commercial success via internet. They garnered even more press after David Bowie and David Byrne were spotted at some of the band's shows in 2005

!!! - Must be the Moon
Awsome Emperor Machine remix

Chicken Lips - Me and Jill (Ciccone Youth Rework)
Theres a lot to write about this song , but have to get back to this another day.
Ciccone Youth was a tribute to Madonna's long-lost last name, Sonic Youth produced a cover album of Madonna songs. More dance-oriented than typical lo-fi Sonic Youth sounds, the album was still much harsher than Madonna's original versions of the songs. Anyway i love what the Chickens did to it.

Lcd Soundystem - Losing my Edge
Probably one of my favorite songs ever.
For someone who hails from the very epitome of small-town America, James Murphy is extremely partial to a very English insult. Particularly when it's a self-deprecating one. Despite being labeled as a tragically hip super-producer - 'the Pharrell Williams of punk-funk' - the wiseass sarcasm that comes out of his own songs is generally aimed, first and foremost, at himself. The 'tit' reference is provoked by a conversation about Losing My Edge, the 2002 single that launched LCD Soundsystem's recording career, skewered the vanity, insecurity and one-upmanship of the ageing hipster with hilarious accuracy, and remains, thus far, his signature tune. 'It still kinda weighs on me a bit', confesses James, 'because we keep getting better and better at playing it live. It's surprising how long Losing My Edge lingers around, for a dance song. But everyone's silly and shallow and insipid and vain and the more they accept it the less boring records we'll have. This year I made 'Yeah', which pretty much consists of me saying yeah over and over, to try and erase the expectation that it was gonna be another clever diatribe of lyrics. Etched into the vinyl of Yeah is, "Not as good as Losing My Edge". I always try and help people write the reviews.'

Black Strobe - I'm a man
Dark lords of electro , a world class apart .
I will make a full post about them another day

Justice - Phantom Pt. II (Soulwax Nite Version)
Another kick ass remix from the belgium Soulwax team .

Justice takes this history of the French rave era and blows it out by embracing 21st-century stadium-rock production. They squeeze everything into a mid-range frequency band so loud that the riffs on tracks like "Let There Be Light" and "Stress" practically cock-slap you in the face. ("Stress" in particular sounds like a disco-era string arranger came to an in-house orchestra with the injunction "make it sound like Emergency Broadcast System.") The drums on "Let There Be Light" and their big breakthrough single "Waters of Nazareth" are the rat-a-tat rhythms of electro scraping like Freddie Krueger's fingertips along the slimy walls of some basement dungeon. That's it-- engorged electronic riffs, dizzying astringent strings, vocal samples torqued to all hell, and nasty metallic drums. It's astoundingly unsubtle stuff and bracing as fuck, a decade's worth of French electronic music stripped down like a Peugeot parked overnight in a bad neighborhood. -Jess Harvell, June 12, 2007

Soulwax " Most Of The Remixes We've Made Over The Years Except For One By Einsturzende Neubaten Because We Lost It And A Few We Didn't Think Sounded Good Enough Or Just Didn't Fit In. But Including Some That Are Hard To Find Because Either People Forgot About Them Or Just Simply Because They Haven't Been Released Yet. A Few We Really Love. One We Think Is Just OK. Some We Did For Free. Some We Did For Money. Some Just For Ourselves Without Permission And Some For Friends As Swaps But Never On Time And Always At Our Studio In Ghent"

Anders Trentemøller

The Last Resort, a surprisingly accessible and wide-ranging work by minimal and tech-house phenom Anders Trentemøller, is a winter wonderland of quiet phosphorescence and pristine beats. Not that the Danish composer/producer/remixer is above contrasts, as in "Evil Dub," where he allows down-tuned and distorted guitars to run like the proverbial bull in a china shop of elegant, understated programming. But tracks like "While the Cold Winter Waiting" beg comparison to the frosty, glockenspiel-laced ambience of Iceland's múm, and the closer, "Miss You," is a hypnotic lullaby sure to receive ample acclaim. After all, Trentemøller's music is distinctly his own, and his eerie command of dynamics allows him a broad palette, exemplified by a gripping bit of turntablism that pops up in one of the album's first singles, "Always Something Better." The second disc's bonus material reveals the man the DJ community has long known: the patient architect who unobtrusively builds beats, loops, and motifs into a critical mass of refined minimalism. All this leaves little doubt that The Last Resort will earn Trentemøller converts from downtempo and electronica circles well beyond his established fan base. Brent Kallmer - Amazon

Mp3 | Trentemoller - Evil Dub
Mp3 | Trentemoller - moan

Video | Trentemøller - Moan - Vocal Remix ft. Ane Trolle
directed by Niels Gråbøl and Ulrik Crone. In memory of Laika (1957), the first living creature to enter orbit. Original version of Moan appears on the Trentemøller album "The Last Resort".

Video | Interview Anders Trentemoller

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Trentmoller myspace

Label | Pokerflat

Broadcast

The Broadcast vision is the meeting of human emotion in the electronic world. The optimistic belief in the compatibility of man and machine. A nature and nurture approach to music. The potential of folk, nursery rhyme and electronics to provoke memory and imagination. The past set in the future. A retrospective lyric set in an electronic description of an organic word.

Mp3 | Broadcast - America's Boy
Mp3 | Broadcast - papercuts

Video | Broadcast - Black Cat

Visit

Broadcast
Myspace

Label | Warp