Where Arca’s previous release Xen (2014) was introspective, Mutantis outwardly emboldened. Dedicated to and coloured by the important people in Arca’s life, Mutantillustrates the continuing mutations catalysed by loved ones: friends, family, acquaintances. Arca morphs for them and because of them. Both releases are contortionist shape-shifters, but where Xenasked us to meet her in her world, Mutantcomes out to meet us in the light. Mutant is suggestively agape, embracing multiple sensualities with refreshing softness. Jesse Kanda’s organic cover art, luminous where Xen’s was shrouded, is a reflection of this. In the artist’s words: ‘Mutant is about sensuality and impulsiveness as escape routes out of rigidity. Softness as a weapon when the mind attacks itself.’ Mutations in the records’ textures parallel the malleability of identity; tension is harmonised by openness and the inclusiveness of transformation. Pride is taken in deformity, innocence, distortion and vulnerability: traits often ostracised as undesirable. Themes that have animated Arca’s work – tension, polarities, playfulness, eroticism, mutability – have been refracted into newer, more nuanced shades. Fluctuation, in-betweenness, intimacy and chaos are celebrated. The title track softens the space between abrasion and enlightenment, morphing from snarling aggression to elusive vapour, the atmosphere shifting at unexpected moments. Its impulsive video consists of an unchoreographed first and single take of Arca dancing. The attached self-portraits of Arca are comparably raw. ‘Anger’ is celebratory and carnival-esque, while ‘Faggot’ concludes with rhythmic allusions to the title track from Xen. The dripping sounds of ‘Umbilical’, fused with the title’s connotations of birth, clash with digital static. ‘Enveloped’ is a label suggestive of overwhelming but comforting containment, yet the track itself feels liberated, with warped strings crawling from the uniform rhythm in the piece’s latter moments. ‘Vanity’, ‘Snakes’ and ‘Soichiro’ are personal and intimate sweltering rainforests of sound. Buds open as tracks unfold, petals of the darkest reds and most vivid blues bloom. Deep roots of bass crawl through the earth beneath the record, anchoring each organism. The only essential consistency between the tracks is a refusal to sit still. The constant liminality of Mutant is hard to pin down; something seen out of the corner of one’s eye that has moved elsewhere in the time it takes to bring it into focus.
On the heels on highly regarded collaborations with FKA Twigs, Björk and Kanye West comes Arca's much-anticipated second album Mutant, out November 20th and 2LP vinyl January 14th on Mute.
Xen is the latest in a line of uncompromising, forward-thinking releases from the 24 year old Venezuelan artist, Arca aka Alejandro Ghersi, who first started turning heads with his Baron Libre, Stretch 1 and Stretch 2 EPs in 2012, before further wowing with his work on FKA twigs’s EP1 (and then subsequent work this year’s LP1), Kanye West’s Yeezus and his own blistering &&&&& mixtape the following year. A 15-track exploration of Ghersi's alter-ego as well as the concepts of “ugliness and beauty” Xen comes complete with stunning artwork from long time visual collaborator Jesse Kanda.
Performed by Ben Frost with Greg Fox, Shahzad Ismaily and Thor Harris and largely written in Eastern DR Congo, ‘A U R O R A’ aims directly, through its monolithic construction, at blinding luminescent alchemy; not with benign heavenly beauty but through decimating magnetic force. Starved of all the adornments of its predecessor; wholly absent of guitar, of piano, of string instruments and natural wooden intimacy, ‘A U R O R A’ offers a deﬁant new world of ﬁercely synthetic shapes and galactic interference, pummelling skins and pure metals.
Ben Frost's remix EP V A R I A N T features remixes from Frost's most recent album, A U R O R A, which has been named 'Album of the Year' by Rolling Stone, The New Yorker, Stereogum, and Drowned in Sound. Remixes include British producer, Evian Christ, Downward label boss and techno producer, Regis, and HTRK to name a few.
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Can was founded in 1968 by Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit who formed a group which would utilize and transcend all boundaries of ethnic, electronic experimental and modern classical music. Throughout the changing eras of the band, they enlisted the talents of different powerful singers like Malcom Mooney and Damo Suzuki and collaborators such as Reebob Kwaku and Rosko Gee.Can’s wide-reaching influence has never diminished, and their indelible mark is apparent in subsequent acts who freely acknowledge their importance – from Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West and Radiohead to John Lydon, The Fall, Ariel Pink, Fuck Buttons, Sonic Youth, Factory Floor and Queens Of The Stone Age.Ege Bamyasi, originally released in 1972, is the fourth album from the German rock experimentalists and follow-up to their critically acclaimed 1971 album Tago Mago. The album finds the band transitioning from the edgy excursions of their earlier albums to the more nuanced ambience of their later fare, a sound that would lend itself to many soundtrack opportunities. Ege Bamyasi features the single "Spoon," which became the theme tune for the crime thriller "Das Messer" and also the band's first chart success in Germany. The track, which was the first time that Can used an early version of a drum machine, led to a Goldene Europa TV award in recognition of the band's soundtrack work. The album also included the music from another TV crime series in the form of "Vitamin C."
After a breakthrough debut album, more than three full North American tours in one year a tour with Zero 7 and major TV performances, José González returns with this, his sophomore album. in Our Nature sees José González coming into his own as a songwriter - with songs that are as instantly accessible as they are brimming with darkness and brooding intensity.
M83 was formed as a musical vehicle by French electronic/dream pop artist Anthony Gonzalez in 2001. Gonzalez has released six albums under the M83 moniker to date, including the Grammy-nominated album Hurry Up, We're Dreaming in 2011. He has also provided material for the soundtracks to the two 2013 films Oblivion and You and the Night.Co-produced with Jean-Philippe Talaga and Antoine Gaillet, 2005's Before the Dawn Heals Us is M83's powerful follow up to the outfit's 2001 self-titled album and 2003 second effort Dead Cities, Red Seas & Lost Ghosts and the first full-length sans original duo member Nicolas Fromageau. The album radiates with walls of electronic drones, big rock beats and hauntingly beautiful vocals which seem to fly alongside everything seamlessly. Anthony Gonzalez consistently creates music with incredible maturity and vision, which in this day and age is truly unparalleled.
M83 (named for the spiral galaxy Messier 83) is Electronic artist Anthony Gonzalez. M83 's Gonzalez and former member Nicolas Fromageau founded the group in 2001 in Antibes, France. Key to M83's style are attributes often associated with shoegaze which is the emphasis on tonality, extensive use of effects and often softly-spoken lyrics at times submerged in instrumentation. Whether guitar or synthesizer based, M83's parts typify the tone common both to dream Pop and contemporary Electro. All three of M83's albums were well received, in particular Dead Cities, Red Seas & Lost Ghosts, their second album, which allowed them to break through to a larger audience.
Three years in the making, this sixth album from M83 (aka Anthony Gonzalez) is one of 2011’s most highly anticipated releases. Grandiose in scale, Hurry Up, We're Dreaming is inspired by Smashing Pumpkins' revered double disc Mellon Collie and the Infinite Sadness. Produced by Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and including contributions from Brad Laner (Medicine) on guitar, Saturdays=Youth vocalist Morgan Kibby, and guest vocalist Zola Jesus, Hurry Up, We're Dreaming is a double-album journey that takes us to the horizon and introduces us to new landscapes. About awakening, craving, and conquering, Hurry Up, We're Dreaming pushes into new vocal territory for M83. Here we see Anthony Gonzalez test out different ways of singing, ranging from a spectral breathy whisper to a howling scream. Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best.
M83 presents the epic new Mute Records full-length album Junk. Following Grammy nominated album Hurry Up, We're Dreaming, featuring platinum single, "Midnight City," and two triumphant years of world touring, Anthony Gonzalez – who serves as M83's musical architect, songwriter, front man and primary vocalist – returns with an artistic evolution, explaining, "I want to show different sides of me on this album. I want to come back with something more intimate, yet somehow with...less me!" Feeling a renewed kinship with Gonzalez's early musical inspirations like Tangerine Dream, Aphex Twin, and genre-expanding visionaries like Brian Wilson and Kevin Shields, M83 both returns to his roots with this album, yet makes a logical leap forward. And while M83 albums have always combined genres in a nostalgic and provocative way – from shoegaze and ambient to synth-pop and '90s alt-rock – for Junk, Gonzalez experiments adventurously with sounds and styles he's never previously attempted in his music. "All my albums have layers of eclecticism to them, but with this album I wanted to take that even further," he adds. On the album title Junk Gonzalez divulges, "Anything we create today is going to end up being space junk at one point anyway, and I find it really fascinating and scary at the same time – beautiful too in a way. I have this image of pieces of humanity floating in space, lost forever. It also means that nowadays everything goes so fast and everybody is kind of throwing away art in a certain manner. People will listen to an album for instance and just pick a track they like to put on a playlist. They're not going to take the time to listen to an album anymore because they have to jump on the next thing."
Saturdays= Youth is the fifth studio album by M83 produced by Ken Thomas, (Sigur Ros and the Cocteau Twins) with co-production by Ewan Pearson (Tracey Thorn, The Rapture, and Ladytron) and M83's Anthony Gonzalez. The album was originally released on Mute in 2008 to widespread critical acclaim including an 8.5 "Best New Music" by Pitchfork, and being named album of the year by Drowned in Sound.
Intent on creating something that contrasted their own individual projects, Moderat — the trio comprised of Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) — complete the trilogy with III. III pairs an emotional pull with sensual imagery, creating dynamic sound and depth with sophisticated lyrics and themes as they direct their gaze inward. Apparat gives unfiltered insight into his personal take on the journey we call life – he is opening up, discussing his shadow, his fears and doubts. Modeselektor reach another level, develop an intoxicating energy with their distinct rhythmical textures. One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. With III, they update the songwriting tradition with an intriguing palette, born of careful attention and skill, informed by their experiences with sounds of nearly 25 years of sub-and-club culture. These three were initially brought together by Berlin’s now legendary rave scene and with this as their common foundation as individuals, III signifies Moderat’s maturation in modern pop and mastery of the group.
New Order announces the fourth single release to be taken from their acclaimed new album, Music Complete. “People on the High Line” summons the funk. It’s the kind of tastefully deployed dance track that the band has spent decades articulating—perfect, polished, airtight. Chic meeting Kraftwerk on the dancefloor, which is exactly where New Order should be. New Order released their new album, Music Complete, on September 25, 2015. Music Complete finds the group revitalized, and where the group has previously pushed toward electronics or guitars, here the two are in balance. Music Complete also marks a return to the studio for Gillian Gilbert; this is her first album with New Order since 2001’s Get Ready. “People on the High Line” is supported with a special 7” remix package on picture disc vinyl including remixes by Claptone and Richard X available on September 30, 2016. New Order is: Bernard Sumner, Gillian Gilbert, Stephen Morris, Tom Chapman and Phil Cunningham.
Two vinyl LP pressing of the 2005 sophomore album from this Swedish brother/sister duo. The Knife have an appetite for bright, quirky electro-pop and unabashed emotions. The result is Deep Cuts, a colorful album that makes up for an absence in subtlety with an immediacy that should surely reap some commercial rewards. The formula pays dividends on 'Heartbeats' where Karin's vocals are exuberant whilst Olof's synths are brimming with the echo of late 80's disco pop.
Amen & Goodbye is the fourth studio album from Brooklyn-based band Yeasayer, and it will be released worldwide via Mute Records. Yeasayer offer a peek into the world of Amen & Goodbye with “I Am Chemistry,” the first track to be heard from their highly- anticipated forthcoming album. Featuring guest vocals from the legendary folk singer Suzzy Roche of The Roches, “I Am Chemistry” is a linear psychedelic journey proving Yeasayer still has the knack for writing very odd pop songs. Amen & Goodbye is the follow up to 2012’s work Fragrant World. Moving away from a digital - heavy approach, Yeasayer recorded Amen & Goodbye to tape at Outlier Inn Studio in upstate New York, then brought on board Joey Waronker (drummer - Atoms For Peace / Beck) to deconstruct everything to make the final document. Amen & Goodbye features Yeasayer’s trademark sound without sounding like anything the band has done before. They have created a collection of strange fables from the Bible from a universe that does not yet exist.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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