a handful of record labels to be aware of

Unlike the myriad ignorant long-forgotten mobile units of demolished never-was nostalgia who think the age of creativity and originality in music is over and are still confined in obscure walls of Exile on Main Street and LA Woman, we here are getting a kick out of what this nutritious post-post-all era of music as non-physical entity is bringing us. Folks behind these music labels have tactfully walked back to the glory days of their favorite genres or have hand-picked a coherent collection of artists to shape their astoundingly cool portfolios. So if you enjoy what you are listening to, keep track of their exotic feeds.

Of course it does not end there. Multiply this big five by only a few of the works they have offered and you will get weekends of sweet reveries. 

There is not a trace of doubt in the fact that anything that can aurally illustrate naked brutality is fruit for music (especially music that comfortably sits on this nocturnal post-apocalyptic playlist that this blog proudly is). Moreover, if you manage to create a horrifying soundscape of suspense, delusion and trepidation while avoiding torture devices of thrash, doom and heavy metal, it is automatically a remarkable achievement. One that the likes of Cannibal Corpse, Morbid Angel, Slayer or Anaal Nathrakh have failed to create. And by the word “fail”, we respectfully must annotate that they somehow only lack the ghostly element that we are ravenously webcrawling for. No offense to metal zombies. 

And the above paragraph is a mere portal to our infatuation with cock-and-bull analog machines of Sludge Tapes and their latest drop Ryo Murakami’s Terminal the Culture. Epidemic Prevention and Water Purification Department of the Kwantung Army anyone?


The song was "A1"
performed by Ryo Murakami
from Terminal the Culture

By the time you are reading this post or wholeheartedly skipping it and only pushing play above on the blissful synthwave of Sweden’s Lost Years, I am in Budapest cooling out my half-baked worries and dedicating them sincerely to history’s garbage collector (written in C#). 

I believe this new icy wave of furnished 1980s nostalgia is indeed a very pleasant phenomenon. Stylistic digital record labels a la Rosso Corsa are working as themed cherry-picking tastemakers investing on their passion for a uniform yet profound body of musical talents while solicitously trimming down their own facade to keep up with the zeitgeist. 

Thus, as more futuristic and post-apocalyptic this cyber joint is becoming on a daily basis, we are developing an eager crush on such auspicious neon delights.

"Red Horizon" is from Lost Year’s last year album Amplifier. Due to the ambiguous nature of the band, we are still yet to provide more information about them as of now. However, through the majestic fortress-free village of social networks, we can - with a high possibility - announce an upcoming EP tentatively called Venom. It might have already seen the light of day by the time you are reading this. But you know physics. So don’t blame us please!

P.S. If anyone of you charming followers of the blog lives in Budapest or has been there and would like to be a recommender agent, feel free to tweet me. I will be very central in town planning to get tanned to a safe level, swim a little and read Ann Leckie’s space opera Ancillary Justice.


The song was "Red Horizon"
performed by Lost Years
from Amplifier

top 10 favorite albums of 2006

  1. The Knife Silent Shout
  2. Grizzly Bear Yellow House
  3. Joanna Newsom Ys
  4. Neko Case Fox Confessor Brings the Flood
  5. Belle & Sebastian The Life Pursuit
  6. John Foxx Tiny Colour Movies
  7. Cat Power The Greatest
  8. Junior Boys So This Is Goodbye
  9. J Dilla Donuts
  10. Camera Obscura Let’s Get Out Of This Country

top 10 favorite songs of 2006

  1. Joanna Newsom “Emily”
  2. Grizzly Bear “Knife”
  3. The Knife “We Share Our Mother’s Health”
  4. Neko Case “Margaret vs. Pauline”
  5. Midlake “Roscoe”
  6. Camera Obscura “Tears For Affairs”
  7. Cat Power “Lived In Bars”
  8. The Knife “Forest Families”
  9. Beirut “Prenzlauerberg”
  10. Arctic Monkeys “When the Sun Goes Down”

All false claims! They do it just because they are stuck in a tiny time window of memory lane and brainlessly coerce their hogwash on our innocent eardrums. Here is the deal: There was absolutely no truth in spreading the thought that “Hey Jude” is the song that could go on forever. And now even you are getting it the wrong way perhaps. No! “Hey Jude” is just as flawless as your mother thinks it is (though she was born a long long time ago). It goes on for 7:11 (no pun intended) and every repetition of that ethereal “la la” loop is obligatory. You cannot change or shorten it or you deserve to be lynched. But still it cannot go on forever! And neither can this Rod Bernard song. It’s quite a peculiar realm if you are to define a song that is capable of going on forever. 

One false mocked example is Lamb Chop’s “Play-along” composed by Norman Martin in 1988. As annoying as it sounds and is, the third line is vaguely giving us a clue on how a never-ending song should sound like.

This is the song that doesn’t end. Yes, it goes on and on my friend. Some people started singing it not knowing what it was, And they’ll continue singing it forever just because …

If you have the nerve, there is a ten-hour version of this. See it for yourself if you think there ever exists such phenomenon. 

Almost the same formula - with a few decades fast-forward - can somehow be used for Panda Bear’s “Bro’s”? But can you imagine Noah Lennox going on and on about keeping up with healthy family relationships forever? Isn’t this juicy opus a tad too perfect to be looped indefinitely and isn’t it exactly why the duration of the song is just… let’s not touch that topic!

But according to the Norman Martin composition, if people start singing and not knowing what it was, then it can somehow be looped. Shall we just eradicate lyrics from our recipe though? They make our tunes time-bound and that is not what we are looking for.

I think if such song ever exists, it has to be wordless. Also it has to be electronic. Electronic music is not subject to time. It simply does not wear out. That’s how any Kraftwerk single sounds just as fresh out of oven as the next Kieran Hebden project. It should also carry a small dose of nostalgia but it has to do it in a very tactful way so it can catch up until somewhere near eternity. It should contain a loop that is… good! I mean presentable. I mean tame and presentable so it can stick. So it does not drive you bonkers. It should just be good. And for nostalgia, how about “faded images and analog sounds of childhood”?

A great part of what we frameworked is already found on Tommy 86’s collaboration with Sferro in what you are going to press play above also known as “Rapture”. This is no joke. You can paint your own perfect day. But I conveniently managed to stay at the mild head-banging state despite repeated listens. And no moving species in my surrounding seemed to be disturbed. This pain-relieving analgesic synthwave is introduced with an Italo disco keyboards neighboring Depeche Mode’s “Just Can’t Get Enough” but ascends to a consummate maze somewhere in the bright pop cloud of Human League. The 16-measure silent ping-pong bridge in the midst of this trance only seconds our denoted claim.

No hard feelings really! If your cerebral popsicle is melted through a strumming lo-fi hippie on MDMA, that I can totally understand. But I’m not going to push stop on this any time soon. And that makes Girlfriend Records a strong addition to our ghost radar. Especially when it is run by Sferro who is basically half of why “Rapture” is an inevitable heavy rotation per se.


The song was "Rapture"
performed by Sferro & Tommy '86
from Matters of the Heart