Pop International

It’s more timeless than fashionable” is a line, or at least sentiment, you hear many artists spout when referring to their own music. However, more often than not, it’s an idealism rooted more in fantasy or delusion than reality. Although when LeRoy Skläsh (the Munich-based one-man project of Leo Hopfinger) says it of his album, a record crammed with Krautrock dub, lo-fi funk, esoteric jams and DIY sparseness, it seems almost irrefutable. Of the project Hopfinger says, “My approach to creativity is diverse. It's like collecting pieces of various puzzles” and of these puzzles comprises different musical approaches and styles, “Tools, strange ambient sounds, noises, field recordings. I put unusual things together and try to feel how they react on different levels.” What this has resulted in is a vast unpredictably and rich sonic depth that rarely sounds like it’s the same artist, let alone the same genre or timeframe, “I try to spread the gap between abstract and pop as far as possible.” Hopfinger says of the musical disparity present on the finished record, whilst also picking up on the vast spread that the seven track LP offers, “I see this album more like a collection, a musical chronicle. Like a DJ who is digging some strange tunes, no matter which era they are from.” Hopfinger admits it doesn’t sound “Very Munich” but given there is no notable Munich scene that he is aware of, that is hardly surprising, “I live in the centre of Munich and really enjoy living in this slow city. There are some interesting places here but you really have to search for them - as well as for the small, but go-getting, music scene.” There is a refined quality to the record, whilst diverse and stylistically broad, there is a plain, straight forward approach to the album that almost feels like it’s a long-lost bedroom recording dug up in parts over decades. This approach was intentional, “I started to restrict things. To become very simple and focused.” He says, “Straight up, no gimmicks”. There was also an intentional element to include some moments that didn’t turn out as planned, “For me it is important to keep all the mistakes in the songs because they make the sound more human and sympathetic.” Despite their being a purity and honesty to the sounds captured on this record – the opening ‘Like a Disease’ sounding like a long lost Faust classic – there is a purposeful creative vision behind that approach, “Nowadays everybody can produce bold sounding songs, so that's no big thing for me.” So keen to follow his gut instincts and let experimentation lead him by the hand that a previous selection of more commercially palatable songs were replaced before making this record, “There were definitely a lot more crowd-pleasing songs on the album but we kicked them all out! First I felt uncomfortable about this, maybe because of production or ego issues, but now I am very, very happy with the album. It is music for opened-minded people, lovers, collectors.” However, whilst this record unquestionably delves deep into the experimental and sonically erratic, there remains an undercoating of accessibility that carries this record with a flowing charm that results in a record possessing one of the most genuinely sought after and difficult attributes to attain: originality. Record Label: Schamoni Style: Indie Pop

While superficial comparisons to Natalie Merchant or Tarnation’s Paula Frazer wouldn’t be wholly misplaced, Diane’s spellbinding voice, tender and flinty at once, casts a more quietly dazzling spell.” – Spin Magazine “The energy was incredible… The best kinds of concerts are those at which you feel a connection with the band beyond the music, and both The Parson Redheads and Alela Diane & Wild Divine offered that kind of experience.” – Dig Magazine, Boston “Nimble and graceful like a jazz singer, sad and knowing like a blues crooner, but always restrained like a bedroom-pop auteur speaking softly into a four-track…” – Pitchfork Singer/songwriter Alela Diane and guitarist Ryan Francesconi have uniquely collaborated to create Cold Moon. The two musicians talked at a friend’s show in October 2014, chatting about how they were both experiencing creative standstills. Ryan was lacking inspiration to make more instrumental music, and Alela was at a loss for how to dive into writing a new record after the birth of her daughter. A few days later, Ryan asked Alela if she would be into collaborating and then sent her several recordings of intricate, beautiful guitar pieces. Alela listened on repeat while staring out the window at the changing leaves, initially unsure how to sing even a note over what she heard. Eventually, something clicked. Words came first, and with words, melody followed. Throughout the winter, Alela made trips across town to Ryan’s house to woodshed the songs over cups of tea. Before they knew it, they had a record–a collaboration of voice and guitar with intangible moods and resonances–a collection that calls you to reflect and be hopeful. A wintry music born in December. And so rose the Cold Moon. Record Label: Believe Digital Gmbh Style: Pop

Record Label: Season Of Mist Style: Pop

Record Label: Seayou Records Style: Alternative

It’s more timeless than fashionable” is a line, or at least sentiment, you hear many artists spout when referring to their own music. However, more often than not, it’s an idealism rooted more in fantasy or delusion than reality. Although when LeRoy Skläsh (the Munich-based one-man project of Leo Hopfinger) says it of his album, a record crammed with Krautrock dub, lo-fi funk, esoteric jams and DIY sparseness, it seems almost irrefutable. Of the project Hopfinger says, “My approach to creativity is diverse. It's like collecting pieces of various puzzles” and of these puzzles comprises different musical approaches and styles, “Tools, strange ambient sounds, noises, field recordings. I put unusual things together and try to feel how they react on different levels.” What this has resulted in is a vast unpredictably and rich sonic depth that rarely sounds like it’s the same artist, let alone the same genre or timeframe, “I try to spread the gap between abstract and pop as far as possible.” Hopfinger says of the musical disparity present on the finished record, whilst also picking up on the vast spread that the seven track LP offers, “I see this album more like a collection, a musical chronicle. Like a DJ who is digging some strange tunes, no matter which era they are from.” Hopfinger admits it doesn’t sound “Very Munich” but given there is no notable Munich scene that he is aware of, that is hardly surprising, “I live in the centre of Munich and really enjoy living in this slow city. There are some interesting places here but you really have to search for them - as well as for the small, but go-getting, music scene.” There is a refined quality to the record, whilst diverse and stylistically broad, there is a plain, straight forward approach to the album that almost feels like it’s a long-lost bedroom recording dug up in parts over decades. This approach was intentional, “I started to restrict things. To become very simple and focused.” He says, “Straight up, no gimmicks”. There was also an intentional element to include some moments that didn’t turn out as planned, “For me it is important to keep all the mistakes in the songs because they make the sound more human and sympathetic.” Despite their being a purity and honesty to the sounds captured on this record – the opening ‘Like a Disease’ sounding like a long lost Faust classic – there is a purposeful creative vision behind that approach, “Nowadays everybody can produce bold sounding songs, so that's no big thing for me.” So keen to follow his gut instincts and let experimentation lead him by the hand that a previous selection of more commercially palatable songs were replaced before making this record, “There were definitely a lot more crowd-pleasing songs on the album but we kicked them all out! First I felt uncomfortable about this, maybe because of production or ego issues, but now I am very, very happy with the album. It is music for opened-minded people, lovers, collectors.” However, whilst this record unquestionably delves deep into the experimental and sonically erratic, there remains an undercoating of accessibility that carries this record with a flowing charm that results in a record possessing one of the most genuinely sought after and difficult attributes to attain: originality. Record Label: Schamoni Style: Indie Pop

Switzerland's greatest indie-pop band, feat. singer, producer and theatre musician Oliver "Guz" Maurmann," show top form. 10 tracks which have all facets of their unique style in telling stories with music and combining lyrics and sound to something bigger. Great melodies meet their driving brass section, charming lyrics meet everyday life absurdities of the 40+ generation. These guys are likeable and truthful, their music is timeless, good and extremely danceable. 10 Songs on vinyl, thereof three instrumentals, one sung in Swiss German, the CD bonus track 'Ik Heb Geen Zin Om Op Te Staan ' even in Dutch! Record Label: Rookie Records Style: Indie Pop

Record Label: Real Gone Music Style: Pop

Artist: Sedlmeir Label: Rookie Records (Cargo Records)

Artist: Gems Label: Carpark Records

Jane Fonda; Frank Kovacs Label: LIGHTYEAR VIDEO

Artist: Euros Childs Label: National Elf

Artist: Gems Label: Carpark Records

Artist: Sedlmeir Label: Rookie Records (Cargo Records)

Jane Fonda; Sid Galanty Label: LIGHTYEAR VIDEO

Jane Fonda; Sid Galanty Label: LIGHTYEAR VIDEO

Artist: Euros Childs Label: National Elf

Artist: Tom mit Flowerpornoes Liwa Label: Grand Hotel Van Cleef (Indigo)

Artist: GEMS Label: Carpark Records

Brooklyn based duo Lushes have thought long and hard about the pros and cons of quitting their day jobs and they are confused. Don't you worry. They're not looking for an answer. They have an album for you, though - Service Industry - out October 16, 2015. The album is a rollercoaster through the maze of modern living. It was recorded and mixed by Sonic Youth's long time engineer Aaron Mullan at Echo Canyon, during a period of intense money, work and life stress. The record also includes some guest appearances from Zs front man Sam Hillmer, Justin Frye of PC Worship (Upright Bass on "You Only Have") and Jonathan Schenke (Parquet Courts' engineer and member of Eaters). Service Industry extends the tensions begun with Lushes' debut album, What Am I Doing. In their first album, the themes of anxiety were often held back in pursuit of serene moments, brief escapes from our mundane lives. With Service Industry, Lushes give you something more raw, more guitar-and-drum driven, more primal. The album throws a wrench in things. It stands as a map of a crisis, a bleak and gorgeous snapshot of our world, and a question: why continue living like we do? Record Label: Felte / Sc Style: Alternative Rock

JACKED HEAVY PAPER, + CD + PRINTED INNERSLEEVE PLEASE WELCOME TO THE VOODOO RHYTHM FAMILY: THE ONE AND ONLY: ROLANDO BRUNO Y SU ORQUESTRA MIDI !!! In 2005 he started playing and recording in BUENOS AIRES as a side project for his raw 60's Garage Punk outfit LOS PEYOTES (DIRTY WATER RECORDS). They were touring Europe several times, after they split up he created the MIDI one man band, cutting old Cumbia Tracks together on his computer and transformed them into PSYCHEDELIC GARAGE BEAT DANCE MONSTERS. Today he writes all the songs by himself. For the recordings he went to the ESTUDIO7 (Buenos Aires, recorded and mixed by Miguel Mactas) and hires Guest Musicians for the sessions and this is the SHIT!!! This is full blast PSYCHEDELIC LATINO CUMBIA GARAGE with a very cheesy touch of a 70'S SUPERMARKET !!! Hahaha, he has ASIAN MUSIC influences in Thai Cumbia with oriental solos incl. PROG ROCK LSD PSYCH Breaks!! The same in the fantastic song: Falafel King, with a TURKISH DELIGHT touch. He takes things and trows it into the Rolando Bruno shredder and what comes out is super unique. Cumbia Music what could be recorded in 1967 he played countless shows in Buenos Aires, toured Europe and played on festivals: Funtastic Dracula Carnival (ES) Cine Lation Festival Tübingen (GER) Guacamayo Fest with Chicha Libre (ES) Tri Marchi (mar del Plata, AR) etc. and this man is not to stop. This is just the beginning! Be prepared for a bright big future of the one and only ROLANDO BRUNO. Record Label: Voodoo Rhythm Style: Latin