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Italo Disco

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  • Super Animal Brothers III Super Animal Brothers III Quick View

    $10.99
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    Super Animal Brothers III

    Blistering thumpers with infectious melodies, disco chants with wild-eyed electro anthems - all part of the unique electronic vision of Baltimore's Ear Pwr. This duo has blended bits of Italo disco, Baltimore club, and twee indie pop to create a nuclear party grenade that'll blow your mind. Their booty-shaking aesthetic has never sounded more enticing than on this, their new record.
    1. Tripodium
    2. Beam Of Light
    3. Super Animal Bros. III
    4. Future Eyes
    5. Sparkley Sweater
    6. Cats Is People Too
    7. You Are The Bomb
    8. Boys II Volcanoes
    9. Jams O Jamz
    10. Diamonds Liquor Leather
    11. Goofy Award
    12. Discover Your Colors
    13. Ghostride The Buffalo
    14. Mexican Newspaper
    15. Epic Suitcase
    16. Secret Stars
    Ear Pwr
    $10.99
    Vinyl LP - Sealed Buy Now
  • Gold Nights Gold Nights Quick View

    $19.99
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    Gold Nights

    Female/male duo White Hex (Tara Green and Jimi Kritzler)
    released their debut album Heat in 2012 released on Avant!
    Records. 2014 sees their return with the follow up full-length,
    Gold Nights. The album is the second in a series of three
    thematically connected records which is based on a period of
    three years. The album's themes include tackling the deaths of
    friends over the past few years and somehow staying optimistic
    through that loss.


    Recorded after shows in Paris, Berlin, New York and Melbourne,
    Gold Nights explores Italo disco, minimalist techno and the more
    primitive end of 1980's German underground. They embrace their
    love of high fashion, 1980's New York vogue techno and the
    mutant explorations of Whitehouse, Arthur Russell, Craig Leon
    and Gianni Rossi. Gold Nights retains certain elements of their
    beloved debut, but moves in a more sophisticated direction as a
    result of White Hex's vision and with the help of producer Alex
    Akers (Forces-Siberia Records).

    1. Only A Game
    2. Paradise
    3. Sisters
    4. Gold
    5. In The Night
    6. United Colours of KL
    7. Burberry Congo
    8. Battleground
    White Hex
    $19.99
    Vinyl LP - Sealed Buy Now
  • Diamonds and Death Diamonds and Death Quick View

    $19.99
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    Diamonds and Death

    They say location is everything, so it should come as no surprise to learn that the aesthetic shift audible on Diamonds & Death, the fourth album by VHS or Beta, was accompanied by a change of zip code. Two years ago, founding band member, Mark Palgy relocated from Louisville, KY to Brooklyn, NY. Six months later, his creative foil, Craig Pfunder followed. New surroundings exerted a powerful influence on the predominantly electronic grooves of their first full-length since 2007's Bring on the Comets.


    The album juxtaposes more straightforward dance floor tracks like the jittery Watch Out with experimental yet sublime electronic fare such as Jellybean, a trippy excursion pitched somewhere between Pink Floyd and the dark side of Italo-disco. While the grooves of Diamonds & Death are among the band's most optimistic and propulsive to date, it is no accident that they are often paired with dark lyrics, as on the crisp, percolating single Breaking Bones.

    1. Breaking Bones
    2. Under The Sun
    3. Diamonds and Death
    4. I Found A Reason
    5. Everybody
    6. Watch Out
    7. All Summer In A Day
    8. Eyes
    9. Jellybean
    10. Over
    VHS or Beta
    $19.99
    Vinyl LP - Sealed Buy Now
  • Generation Generation Quick View

    $20.99
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    Generation

    Joyrides atop a walloping disco beat and furious percussive guitars, headed somewhere between the Rapture, Chic, and Talking Heads, but with a cartoonish giddiness that takes me back to the heyday of Junior Senior and Scissor Sisters. - Stereogum


    Rising stars - DJ Mag


    On their full-length 2014 debut Voyage, L.A duo De Lux learned how to
    take their influences and create a sound all their own-a beyond-their-years
    synthesis of post-punk, disco, funk and of course synthesizer wizardry,
    drawing inspiration from the same combination of agitation and exhilaration
    that helped LCD Soundsystem and Talking Heads deliver some of the most
    danceable social commentary ever. And now that they've found their sound,
    De Lux are creating a story to go with it on their new album Generation: "All
    of these things that they put us through," sings co-founder and multi-instrumentalist
    Sean Guerin, "I'm writing it down / I'm writing it down."


    They first started writing Generation in the kind of uncommitted
    instances that happen so rarely once a new band puts out its first album. Once
    Voyage was released, De Lux found themselves playing and interviewing and
    touring and remixing-"All fun!" says Sean-but they had to fight to find time
    to write. A random Instagram of work-in-progress song "It's A Combination"
    was the tipping point, when Sean and co-founder Isaac Franco realized they'd
    been rough-drafting for a year: "Let's finish it now," they decided, and that's
    the exact moment when Generation officially started.


    They returned to the L.A. practice space where they wrote and recorded
    Voyage, this time with new instruments-like the little-known but sought-after
    synthesizer guitar beloved of King Crimson's Adrian Belew-and new inspirations,
    chief among them punk peformance artist Karen Finley, whose 1987
    debut album Sean discovered at a Seattle record store simply because it
    looked promising. Her infamously uncensored lyrics made him realize there
    was more he could sing about, too: "You admire the ambition behind her
    saying whatever she wants," he says.


    So if Generation is a darker album than Voyage-and it's inherited plenty
    of the modern urban anxiety of David Byrne-that's because it's a fearlessly
    honest and candid album, too. In fact, call it a millennial documentary. In
    Generation's eleven songs, De Lux chart the distance between childhood and
    adulthood, nostalgia and aspiration and dream and reality, all with unflinching
    autobiographical detail. (And with a secret nod to the Pokemon theme, too.)
    Says Sean: "When I write lyrics, I try and be as specific as possible. We think
    about if someone listens to us in 30 years: 'Oh, that's what was going on at
    that time.'"


    The result is a sort of Less Than Zero for the post-Social Network era.
    Think of it as a nighttime freeway drive that starts with the propulsive "L.A.
    Threshold" and rides the borderline between feel-good rhythm and artfully
    sophisticated sentiment. "There's dark moments, but it's still fun," explains
    Sean. "The first album was just more innocent." There's new space in De Lux's
    sense of rhythm and groove, says Isaac, for Sean to say what he needs to say:
    "The song gives him the freedom to be himself."


    And so Generation is an album about high highs, low lows and the vast
    space in between. "Center of L.U.B" is a roller-skate jam that starts with a
    Can-style guitar riff before spinning into an examination of one utility company
    employee's ennui-you knew this wasn't going to be a love song,
    right?-while "It's A Combination" is a brooding Italo disco track and
    unexpected piano piece "Conditions" is like Harry Nilsson or John Lennon
    suddenly transplanted to Rough Trade Records. Then there's the alternately
    hilarious and harrowing "Oh Man The Future"-a satirical reading on the shape
    of things to come, propelled by a bass-and-drum rhythm right off one of ESG's
    first EPs-to the desolate-yet-funky "When Your Life Feels Like A Loss," where
    De Lux dissect just what happens when "you think you're special/no, you're
    not special/you're just an average guy."


    In other words, Generation isn't a departure. This is De Lux going
    deeper, not farther away, and the result is surely the most anthropologically
    daring dancefloor album of the year. That might seem difficult to pull off, but
    that's why they did it, explains Sean: "At some point we realized creativity is
    just limitless," he says. "You can do anything. There might be certain people
    who think, 'Oh, you can't do that.' That's when you say, 'Well-I'm doing it!'"

    1. LA Threshold
    2. 30
    3. Living In An Open Place
    4. Center of L.U.B.
    5. Simba Simba Simba
    6. No One Really Cares Who You Are
    7. Oh Man The Future
    8. Conditions
    9. When Your Life Feels Like A Loss
    10. It's A Combination
    11. Someday Now
    De Lux
    $20.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Moonlight Moonlight Quick View

    $19.99
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    Moonlight


    Engine-revving dose of filthy, leather-clad blues.
    - NME


    A shit-kicking garage greaser with badass hooks.
    - SPIN


    Stripped- down garage rock with crunching guitars
    and kiss-off cockiness.
    - GQ


    This is desert-burned blues rock boosted by punk,
    soul and hip-hop
    - ROLLING STONE


    On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried
    something he'd never tried before-making a bedroom-style
    recording of his then stripped-to-the-skeleton guitar-and-drums
    rock 'n' roll mostly for the sheer joy of making it. For his ferocious
    2013 follow-up Head In The Dirt, he tried something new again,
    showing up at producer Dan Auerbach's analog-dreamland
    Nashville studio with nothing but the clothes on his back and an
    open mind.


    But after Head In The Dirt's release and almost a year of relentless
    touring, Hanni knew he needed to go past 'unpredictable' all the
    way to 'unprecedented.' He needed isolation, time and the chance
    to experiment. So after 30 days locked in hand-picked L.A. studio
    The Lair, the result is the album Moonlight-the rarest and most
    welcome kind of album, made at that perfect point in life where
    confidence, experience, and technique unite to help an artist do
    anything they want.


    That's why it starts with a song that sounds like a Mobb Deep beat
    under a Suicide-style synth drone and ends with an
    ESG-meets-LCD Soundsystem gone italo-disco song about life and
    death. That's why it collides crushing crate-digger drumbeats
    that'd be right at home on a Can LP or an Eddie Bo 45 with
    bleeding distorto guitar, bent and broken barroom piano and
    hallucinatory analog flourishes. (In fact, some smart producer is
    going to sample the drums from this album and complete the circle
    of life.) And that's also why Moonlight feels like the album he's
    always wanted to make: "What would it sound like if RZA got in the
    studio with Iggy Pop and Tom Waits?" he asks. "I don't know! That
    was my approach on everything."


    It's a personal album in the most primal sense, put together in any
    way that worked. Iggy Pop and David Bowie did this kind of thing
    on The Idiot, the Wu-Tang Clan did it on 36 Chambers and the
    Clash did it three times over on Sandinista. And now it's Hanni's
    turn, across 11 new lightning-struck songs, each written and
    recorded in its own flash of inspiration. It sounds like an album
    made by an endless list of collaborators, but really Moonlight was
    more like the first do-it-almost-all-yourself music Hanni ever made,
    except after six years recording and touring, he'd learned to do so
    much more.

    1. Moonlight
    2. Melt Me
    3. The Teeth
    4. Chasin'
    5. Worship Song (No 2)
    6. Mexico
    7. Servant
    8. All Black
    9. Home
    10. Dance Hall
    11. Two Brothers
    Hanni El Khatib
    $19.99
    Vinyl LP - Sealed Buy Now
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