Feb 2, 2018


Really Feeling...
U.S. Girls - In a Poem Unlimited [4AD,2018]
Nils Frahm - All Melody (Erased Tapes,2018)
Shame - Songs of Praise (Dead Oceans,2018)
VA - Call Me By Your Name (Original Motion Picture Soundtrack)

Insecure man - 2018

The Fall

Jan 6, 2018

“Mystery of Love” by Sufjan Stevens from the Call Me By Your Name Soundtrack

Music video for “Mystery of Love” by Sufjan Stevens from the Call Me By Your Name soundtrack featuring footage from the film as well as footage filmed at the M.A.N. (Museo Archeologico Nazionale of Naples).

Dec 24, 2017

2017... best of

The Moonlandingz - Interplanetary Class Classics (2017)
King Krule - The OOZ (2017)
Lone Taxidermist - Trifle (2017)
Slowdive - Slowdive (2017)
LCD Soundsystem - American Dream (2017)
Peter Perrett - How The West Was Won (Domino,2017)
John Maus - Screen Memories (2017)
Colleen — A flame my love, a frequency (Thrill Jockey)
Fever Ray - Plunge (2017)
Nezni Dalibor - U slojevima [Odlican hrcak, 2017]

Liima - 1982 (2017)
Lali Puna - Two Windows (2017)
The Horrors - V (2017)
The Raveonettes – 2016 Atomized (2017)
Four Tet - New Energy (2017)
Blonde Redhead - 3 O'Clock (EP,2017)
Hercules & Love Affair – Omnion (2017)
Otto A. Totland - The Lost (2017)
Peter Broderick - All Together Again (Erased Tapes,2017)
Piano Magic - Closure (2017)
Kevin Morby - City Music (2017)
Woods - Love Is Love (Woodsist,2017)
Methyl Ethel - Everything Is Forgotten (2017)
!!! - Shake The Shudder (2017)
Tim Darcy - Saturday Night (Jagjaguwar,2017)

Sep 24, 2017

Morrissey - Spent the Day in Bed

From the forthcoming album 'Low In High School' out November 17th.

Apr 19, 2017

The Moonlandingz

The Moonlandingz ft Rebecca Lucy Taylor 

Official video for the new single by The Moonlandingz.



Slowdive - Slowdive (Dead Oceans,2017)

‘Sugar for the Pill’ from Slowdive, out May 5th on Dead Oceans

Kevin Morby "Aboard My Train," from his forthcoming album, 'City Music', out 6/16 on Dead Oceans

WOODS – Love Is Love (2017)

Woodsist 090
Release Date: May 19, 2017

"Wisdom comes with age, so it’s no surprise that Woods have grown more sage in the twelve years since they formed, expanding from sylvan drum circles into increasingly elaborate, transcendent psychedelia."- Pitchfork

"We walked down streets and crammed onto trains, our faces masks of fear. Unsure how to react, we, collectively, did not react. We grieved for a country and an ideal we never thought would die. We grieved for a loss of certainty. We argued about what we thought would happen. We preached understanding. We advocated for anger. Some people said that we’d at least get some incredible art, other people said that was a small view of a world we were quickly realizing we’d misunderstood. Everyone was right. Everyone was wrong. Art made in precarious times matters as much as we let it matter. But what are we looking for from the art we enjoy? Escapism? A reckoning with harsh reality? A temporary shared hallucination? Music can heal because it presents the pain of being human as universal. Love is Love was written and recorded in the two months immediately following the election, but it’s not a record borne entirely of angry, knee-jerk reaction to what America is becoming. Instead, it’s a meditation on love, and on what life means now. Taking cues from last year’s City Sun Eater in the River of Light, it feels very much like a record made from living, shoulder to shoulder, in a major city: weaving psychedelic swirls of guitar between languid horns reminiscent of the best Ethiopian jazz—Love is Love is a distinctly New York record. It is a document of protest in uncertain times and an open-hearted rejection of cynicism in favor of emotional honesty. It is bright, and then, unexpectedly, a little dark sometimes too. There will be parts of life where we will watch as events unfold and we will feel helpless. We will not be sure of the future. On good days, we’ll have each other. On the bad ones, we’ll turn to the art that helps us feel something. Love is Love is a document of the new world we live in, proof that light can come from despair and hope is still possible. We just need a little help remembering it exists."- Sam Hockley-Smith

Mar 19, 2017

Nedelja popodne...

Track 10 of the album named "Music to the films of Andrzej Wajda" (mainly composed by Andrzej Korzynski). It has been use for a 1976 movie named "Man of Marble".

Feb 23, 2017

Jens Lekman - Life Will See You Now (Secretly Canadian,2017)

“…he’s made the journey from spindly, insular indiepop to glorious, primary-coloured music, explicitly referencing 80s chart hits, soul, funk and disco. The contrast with Lekman.s mordant lyrics “How I prayed that I could stop the pain / When the pain needed more than ibuprofen,” he sings on “Evening Prayer,” a joyous disco stomper about a tumour makes it, at times, desperately moving.” – The Guardian

Feb 18, 2017

Tim Darcy - Saturday Night (Jagjaguwar,2017)

Tim Darcy is no stranger to introspection. As the singer/guitarist of exuberant Montréal-based art-punk quartet Ought, he’s wrought thoughtful lyrics that delve into the nature of creativity and cast a critical eye on the mundane. These traits persist on his first solo effort, even as the songwriter jettisons his band’s jittery rhythms for a more laidback approach.
In fact, Darcy feels more like an easygoing troubadour than an anxious David Byrne acolyte on Saturday Night‘s early tracks. His limited instrumentation usually consists of wiry rhythm guitar, rudimentary drums and non-insistent bass.

This conventional approach works when Darcy’s songs have a direction. “You Felt Comfort” lends the album a little bit of garage-rock grit and “Still Waking Up” is tranquil without feeling stagnant. Unfortunately, “Tall Glass of Water” and “Joan Pt. 1, 2” linger on a single verse before slowly transitioning into new sections that, despite their rollicking rhythms, fall quickly into a monotonous groove that the lyrics are too cryptic to escape.

The album hits its stride when Darcy’s self-conscious streak seeps in. He trades his choppy strumming for a shrill bowed guitar on the title track, and his doubtful intonations have all the sweet vulnerability of a Roy Orbison performance. “Found My Limit” hinges on repetition, but his spare arrangements render his uneasy mantras striking.

Saturday Night is a confident debut from a creator who’s best when he seems uncomfortable. So long as he keeps evading his comfort zone, Darcy’s songwriting should remain potent for years to come.


From: Manchester
Sounds Like: The icons of old Manchester being torn down
For Fans Of: Fat White Family, Sleaford Mods, Happy Mondays

“The simple fact is that we don’t like anything dull or boring, we always want to be entertaining,” says Cabbage guitarist/vocalist Joe Martin. “There’s a lot of mundanity and routine in modern life. If you can bring some black humour into that, it’s a really effective way of getting your message across.”
From their “anti-band name” band name to their lyrics about wanking into quiche in the name of class warfare and wishing death upon the US president-elect, no-one could ever accuse Cabbage of being dull. Martin likens his band to a Frankie Boyle standup show – the four EPs they’ve released thus far might strain the boundaries of good taste, but they also have a lot to say about the state of the world we live in. “We’ve come out of the traps with songs about necrophilia, war and capitalism,” he explains, as if reading from a checklist of well-trodden paths to pop stardom. “When David Cameron called Jeremy Corbyn a terrorist sympathiser, we took a stab at that, too. Those kind of talking points come naturally to us. But we don’t want to be pigeonholed as a political band. It’s already happened, just because we sing about relatively serious issues, but we want to move onto something else, socially, musically and politically. We’re keen to explore different realms as soon as possible.”
It’s that desire to do things differently that originally brought Cabbage to prominence in their native Manchester, where they emerged from beneath the “Britpop ash-cloud the city’s still choking under,” and has seen them feted as rock ’n’ roll’s great white hope for 2017, not least by the BBC, who included them (somewhat incongruously) in their annual Sound Of… poll. For good or ill, they’re not the sort of band you can ignore, and however their debut album – due later this year – turns out, you can bet it won’t be boring.

Jan 31, 2017

Best new band in Britain : The Moonlandingz

Best new band in Britain : Goat Girl

Live at The Windmill, Brixton. Goat Girl round off Independent Venue Week, revving themselves up through the set to unleash their psychedelic country crowd-pleasers You're the Man and Country Sleaze.

Max Richter - Three Worlds: Music From Woolf Works

Max Richter explores time and memory in his latest Deutsche Grammophon album, Three Worlds: Music from Woolf Works

Virginia Woolf’s sharp eye for the detail of life guided her work as a writer, its presence felt in everything from pioneering novels and perceptive essays to compelling letters and diaries. The author’s gift for expressing fluid states of mind in lyrical prose and her ability to draw readers into the mindscapes of fictional characters and capture the peculiar meanderings of consciousness have influenced generations of artists since her death seventy-five years ago. Max Richter is the latest to evoke memories of Virginia. Three Worlds: Music from Woolf Works recalls her art’s vitality and the tragedy of a life scarred by mental illness and ended by suicide.

Richter’s album stems from his longer score for Woolf Works, choreographer Wayne McGregor’s first full-length creation for London’s Royal Ballet. Richter read several of Woolf’s novels, Mrs Dalloway and Orlando among them, when he was in his early twenties. While their language and imagery left lasting impressions, he discovered fresh perspectives on reading them again as part of the preparation for Woolf Works.

Three Worlds includes orchestral and solo instrumental sounds, music for wordless soprano, electronic compositions, and recordings from nature and the built environment. Its multi-layered collage of sounds and styles speaks of transformation and the impermanence of all things.