Search "Brenk Sinatra Morlock Dilemma" 223 Items

Sleeve has handwriting

Japanese pressing, comes with Obi and inserts. Record is close to NM.

Vinyl close to VG+

Tiny cut out, otherwise solid VG+ copy!

Japanese pressing.

The show business is dead, long live the show business. Where have you been? We missed you. It was easy for them to take a break, it is even easier to come back. Birthday have returned. A pop duo, the kings of cool. Their new record is extraordinary. What is left to say? There is no business like show business.

Beginning seam split.

Dark Entries and Papi Juice Records team up for No Jack Swing, the solo electronic debut of multi-hype man Brontez Purnell. The Southern-raised, Oakland-based musician and writer has centered his queerness and Blackness in projects Gravy Train and Younger Lovers as well as in his award-winning books 100 Boyfriends and Since I Laid My Burden Down. On No Jack Swing, Purnell gives us a love letter to the most beloved (and secularized) of drum patterns - that is, the electronic 808 “Amen Break”. Beginning recording in 2020, Purnell conceived of No Jack Swing as an audio zine of found sound materials: chain letters of instrumentals recorded in bedrooms, poems from boys in France, found gospel tapes from his childhood family Baptist Choir, and the sound of records skipping on his bedroom turntable. No Jack Swing is as much a homage to No Wave and New Jack Swing as it is an answering to the gods of Indie, Electroclash, Disco, and Gospel. Amidst all this background noise, the unexpected occurs: all the niche pretensions collapse to a singularity - the sound of High Pop! No Jack Swing was produced by Nightfeelings. Each copy of includes a lyric sheet with a photo of Brontez.

Schneider is a Freiburg based duo that tells those everyday stories everyone has already experienced. Stories of desire and lost love, a confrontation with short-lived and powerful encounters. Their debut release Mitternacht is a two-track 7“. The name-giving A-side is about the desperate search for some love, accompanied by a distorted bassline, melancholic synths and echo-ringing church bells. The Bside culminates in howls of emotion. The perfect soundtrack for lonesome walks in restless morning hours.

With “The Giggle Gallery” musical performance duo Brik Tu-Tok takes you on a surreal trip to an obscure giggle theatre of the 21 century.

Tel Aviv super group Megaphonim are bringing their off-kilter energy to Feines Tier in form of their new „Namal Ashdod“ EP with four original tracks and hell of a Simple Symmetry remix. Even though they’re all quite unique on their own, what unites the tracks is the combination of raw beats and vocals with an oddly catchy pop approach to the writing of the music. Be it in the aptly titled „After of Disaster“ with its let-loose energy, the slow-rolling „Lo Titfos Oti“, which could have been picked from an Andrew Weatherall (rip) dj-set, or the title track with its break-beats and its unforeseeable left-turns, there’s always this playful and off-the-wall energy keeping the ball going and bouncing. And let’s not forget about the remix! Endlessly rising duo Simple Symmetry do what they have become known for very well here: Deliver an insanely groovy and relentless weapon of a track, guaranteed to blow the roof of every club, festival floor or after, however disastrous it might be. The EP also comes in form of a limited vinyl edition, so don’t sleep!

Includes original insert.
Sleeve has minor foxing.

New single "Breaking The Circle" and her forthcoming album "hana" were made with long-time collaborator and friend Ed Harcourt. It is their third in a trilogy of records, with each stemming around the thematic frame of a location. The collaboration began in 2014 with the critically and commercially successful "Wanderlust", which was inspired by Eastern Europe, and continued in 2016 with "Familia", inspired by Latin America. New album "hana", which Harcourt describes as "kaleidoscopic joy", is inspired by East Asia and began with the album track "Tokyo" and Sophie"s first trip to Japan pre-pandemic in 2020.

After appearing on some of the labels key releases, dub maestro Andre Kronert is back on Berg Audio doing what he does best : dubby, reduced, and highly efficient dancefloor breaking tunes - Incl. a highly awaited repress of >Triton<.

Avalon Emerson & the Charm is an evolution.

Created during an extended break from the hectic blur of her life as a touring DJ, the album is a personal statement of intent from an artist who’s long looked beyond the club for inspiration. It’s also the first time that Emerson has put herself, her emotions and, most notably, her voice fully into the spotlight.

Having spent her entire career working more or less alone, Emerson purposely sought out a small cast of like-minded artists to help bring the album to life. A Chief among them was UK avant-pop savant Bullion, who executive produced the record and, most importantly, shares both Emerson’s predilection for shimmering pop melodies and her boundary- less approach to music-making.

Working together, they cracked open her head and heart alike, creating a space where she could intimately reflect on the people and places she’s loved and left behind.

Woo-hoo! Two of the best Italian rare grooves ever are finally back on 7’’ for the first time since their original French release on the format! Both are from that most iconic film soundtrack of the Italian 70s (the LP is now a holy grail for collectors), Armando Trovajoli’s score to Dino Risi’s anthology sex comedy Sessomatto (1973) starring Laura Antonelli and Giancarlo Giannini. In the title track the influence of Manu Dibango’s afro-funk hit “Soul Makossa” is filtered through, and enriched by, an exquisitely Italian approach, with a sweet ’n’ groovy funk base (the terrific mid-song drum break has been a DJ favorite for decades) over which Edda Dell’Orso seductively laughs and repeats the words ‘sesso’ and ‘matto’ again and again. The wild and fun electronic samba “Kinky Peanuts” on side B is a wonderful example of ‘strange incredible music’, with infectiously quirky Moog themes and runs.

Barn Breaks vol Iii', presented by Owlvaro & Hugu, is the latest installment of oddball samples and loops from your favorite globe-trotting Texan trio, and is perfect for ant portablist scratch jam or 7" DJ set... The latest in the series, this "skipless" 7" contains scratch samples from "Mordechai" - band hits, isolated basslines & vocals, guitar notes, keyboard stabs and drum loops - as well as custom "ahhhh" & "fressshh" sounds. Do you know? Here we go!

"Sugar was the fourth album recorded by Nancy Sinatra in 1966, an uncanny feat considering The Beatles were recording around two albums a year at the time. The iconic Ron Joy cover photo of Nancy in a pink bikini (the first on an album cover!) was a daring move in 1967 that helped propel the album to #18 on the charts (Nancy’s second highest charting album after Boots). It is a peculiar record that pairs one of Nancy’s biggest songs, “Sugar Town,” with mostly 1920s compositions recorded in a contemporary Dixieland jazz pop fusion style that could have only been concocted by producer Lee Hazlewood. Equal parts strong, sultry, and savvy, Nancy Sinatra has long been ahead of her time—both in her choices as an artist and as a businesswoman. Unapologetically, she established her own path early on and paved the way for decades of female artists to come—all while firmly maintaining control over her career, her image, and her music. In 1965, Nancy Sinatra changed the face of music, fashion, and culture."

In 1967, Nancy Sinatra would continue her artistic ascent into the pop stratosphere with the James Bond You Only Live Twice theme song, the groovy technicolor television special, Movin’ With Nancy, recording one of the most beloved duets of all time, “Some Velvet Morning,” and a cross-country pilgrimage to the center of the country music scene. Nancy traveled to Nashville to cut her fifth album at RCA Studios, where many of the greatest country songs of all time were recorded. On Country, My Way, Nancy fuses her own personal style with country music, resulting in a new hybrid sound. Producer Lee Hazlewood called it “hippie-billy.” While many people get credit for pioneering the contemporary country sound, like many milestones of the 1960s, Nancy was one of the first. Equal parts strong, sultry, and savvy, Nancy Sinatra has long been ahead of her time—both in her choices as an artist and as a businesswoman. Unapologetically, she established her own path early on and paved the way for decades of female artists to come—all while firmly maintaining control over her career, her image, and her music. In 1965, Nancy Sinatra changed the face of music, fashion, and culture.

A record that should never leave any HiNRG sympathetic record bag. You get two monstrous club tracks from the second half of the 80s for the price of one. These two singles put the power couple (Pascal and Denise Languirand) on the HiNRG map worldwide. “Imagination” is an electro influenced anthem that will shift gears for any dancefloor. The percussive work on the break is a ground quaking homage to freestyle/latin influences from the scene in LA at the time, (reminiscent of the unconstrained drum machine programing on “Just My Love” by Umo Vogue for example). Flip it and you're left with “I'm Yours Tonight”: a highly sought after Patrick Miller holly grail that might have been too honest to be taken seriously by the already "house" infected zeitgeist which might have been dominating the mainstream for the tail end of the late 80s. But for many faithful HiNRG scholars this would never leave our radars, so here it is again at a now reasonable price and remastered for serious club application.

“You’re trouble” is an avant-garde electronic pop album about questioning and locating a sense of self in a disorienting, breaking environment of dissolving certainity which grows increasingly chaotic, about dysmorphic dissatisfaction, becoming disillusioned and alienated. It seeks to juxtapose beauty, serenity and vigour with instability, ugliness, chaos and crisis, expressing itself fluidly without genre or otherwise boundaries. A kind of sinister, anxious but still forward-pushing and at times positive and hot-blooded empowering energy can be felt that wants to urge the listener not to give up but to try and take courage and take control of the troubles and fears in their life. The tone is sometimes reflective, sometimes confronting. The album navigates fairly abstract musical territory, cathartic abrasiveness, heavy and unrelenting sounds of post-club music and noise fused with stretches of pop music, never settling down or resting for long, constantly breaking up and re-assembling itself. Between chaos and form, it’s finding relief in imperfection and the in-between. As such the music is ambivalent and is equal parts some kind of crisis club music as well as introspective reflection.

Alex creates with Tum Tum the soundtrack of a dreamed teen movie and sings for the lonely hearts that beat behind their screens. The hero of this film ventures into the meanders of a digital jungle, a digital psychedelism where words come into resonance with sounds, structures deform, because behind the pop evidence of Tum Tum lies a desire deconstruction of pre-established forms. As much influenced by the break-up songs of the Everly Brothers as by Ryuichi Sakamoto's compositions, by Kitano's films, and by Ninja Kids, Tum Tum is a map of Alex Van Pelt's influences that finds its form in an intimate patchwork.

Limited to 100 copies.

The millennium was one long bad prank / we looked at each other and knew right away: that's it." The world out there is going to the dogs. Well, not just since yesterday. And it won't be over tomorrow either. Shitty times, then. Of course, you could meet them with cynicism. Or with despair. But maybe not. Maybe we could also draw hope, precisely because it would be so much easier to lapse into doom and gloom and bitter laughter now. And maybe it's okay to need something to keep our spirits up in the midst of the apocalypse.

And that's how WIR SIND SCHÖN came to be, Jens Friebe's ninth album, which, like the previous albums, is also released on Staatsakt, punctually four years after the last one (2018's FUCK PENETRATION). It is a cheerful-melancholic, ironic-serious, nonchalant piece of music, which just has no desire for staleness and contemplation. The hymn-like, beautiful title track "Wir sind schön" (We are beautiful), which embraces kitsch with self-deprecating seriousness and is above all comforting, gets to the point: the better world out there, we can build it ourselves. Despite everything. "It's an anti-nihilist album," Friebe says. No Future is already not wrong, but not so funny anymore, if the Future really rather scorching earth in prospect. But it's not that the problematic is erased. It appears on the record in the most diverse forms: In the almost socially realistic depiction of a youth friendship destroyed by the multi-tiered education system with the beautiful title - shimmering between urban sociological treatise and fairy tale - "The Shrinking City", in the devastating protocol of failed self-care ("Das Nichtmehrkönnen") or the enigmatically gloomy fantasy "What Have We Done". But the listener never gets bogged down in these low points of mood, but is always pulled out and up into the euphoric, utopian. Or, as in the rousing protest song "Sing it to the Converted", into the militant. But what sounds at first like the sheer repetition of banal slogans, turns out in the next moment to be a reflection on the necessity of repeating banal slogans. Because, as the last few years have shown, even the seemingly self-evident must be reminded again and again. Or, as Friebe puts it, "Doesn't the priestess preach to the converted / How long would they be converted if they never heard her?"

Similarly immediately poignant and intricate at the same time is "Free": what is freedom? Neoliberal exploitation, a privilege of the better-off, as preached by certain federal finance ministers? Or naked skin in the sunlight, partying, wind in the treetops, rage unleashed? Yes, this is somehow also satire, but not only: Friebe does not leave it at simply denouncing a grievance like a tired cabaret artist. Between the shifted drums, minimalist instrumentation and velvety grooves and background vocals (as on other tracks by Elektrik Diva MALONDA and Pola Lia Schulten), the actual, truthful longing for a freedom that is not characterized by anti-social economic order and commercial exploitation also comes through.

Should we laugh or cry? Maybe just both, as on "Ende aller Feiern," a sixties-poppy, subtly queer love triangle, with probably one of the best lines ever to make it into a German-language break-up song: "Wir haben uns alles erzählt/Nur zuletzt wollt' ich nicht alles wissen/I think you noticed that/And bit me goodbye."

Standing still has never been Jens Friebe's thing, but this time it's musically a bit further from the indie rock habitus that still made up FUCK PENETRATION or NACKTE ANGST ZIEH DICH AN WIR GEHEN AUS (2014). Yes, a penchant for anthems, crooner-like and storyteller is always part of Jens Friebe, but this time Afrodiasporic musical styles play a bigger role. More soul, more grooves, a certain smoothness that suits the hope that flashes again and again between ironic distance and realistic description of the present on WIR SIND SCHÖN.

Although the real drums have been almost entirely replaced by the drum computer, Staatsakt colleague Chris Imler again has a style-defining role on this album with synths and additional percussion. On "Die Schrumpfende Stadt" (where Herman Herrmann can also be heard on bass) he programmed the beat. Mense Reents (Goldene Zitronen, Sophia Kennedy) mixed "Der Wahn" and "Ende aller Feiern". As with all albums since DAS MIT DEM AUTO IST EGAL (2007), Berend Intelmann was again responsible for the production.

WIR SIND SCHÖN is an antidote to our times, an embrace of all the ambivalences we have to endure every day and an adrenaline injection into the heart of apathy. The world is complicated, but that's okay. Because, "When our eyes get used to the dark / Look at us and you'll see: We are beautiful!"

Lyrics: Aida Baghernejad

A limited Edition in red vinyl of our christmas vinyl bestseller. 14 timeless chritsmas hits sung by the greatest artits: ELVIS PRESLEY ("HERE COMES SANTA CLAUS"), FRANK SINATRA ("JINGLE BELLS"), ELLA FITZGERALD (" SANTA CLAUS GOT STUCK IN MY CHIMNEY ")...

Dressed in a powder blue suit with the frilly shirt to match, DJ Yoda invites you to be his +1 for Prom Nite, his new album promising retro Americana full of daydreaming reverie, international megastar guests, trip hop acknowledging the likes of Morcheeba and Nightmares on Wax, and the turntable extraordinaire’s bread and butter of cuts, beats and rhymes.

Certainly no stranger to retro sounds having famously peppered his DJ and AV sets with the unexpected the world over, and his How to Cut n Paste mix series going all the way back to the 30s, Yoda’s harp-laden puppy love vibe spreads from the sweet and mellow sound of 2019’s Home Cooking, an album described as “boundary-breaking” by Mojo upon slotting nicely into the UK’s blooming jazz canon. Think deliciously harmonised doo-wop murmuring “Goodnight Sweetheart” with an eye for dreamboats en route to Makeout Point - on “My Energy”, Eva Lazarus takes the form of an earth angel, with Yoda on jukebox cut-ups, taking it back to starry-eyed, clean cut days of wonder (or more recently, Little Mix’s “Love Me Like You”).

Beginning enigmatically with the assistance of Hollywood A-lister (and former next-door neighbour) Lily James, “Breathe” demonstrate Yoda’s continued evolution as a musician (not to mention shrewd decision maker), with James’ vocal confidence - a little Lana del Rey to her breathiness - returning on the velvet-smooth “Airplane Mode.” It’s a smartly executed soundclash accentuated by LA rapper Choosey, the star of the album’s straightest hip-hop shooter “Harder I Rock”. Homeboy Sandman adds some kick to the prom punch with typical wordplay sent down “Coconut Grove”, and Liam Bailey is perfectly cast for the darkly cinematic sway of “Don’t Even Try It.”

On an album of many talking points, the LP’s crowning glory is opening single “Feel Like Home”: featuring the vocal comforts of the House Gospel Choir, it’s your go-to pick-me-up when the chips are down, targeting the hairs on the backs of necks like a softer focus version of Jamie xx’s “Loud Places.” Extended into an alternative, equally uplifting form by Beardyman’s “Don’t Mean Thing”, summer festival season already has its homecoming anthem. With tongues wagging, the twists and turns step away from Heartbreak Ridge when O Love tucks into the mouthwatering shopping list funk of “Way Home”; and “Lesson 1956”, featuring Jamie Cullum and DJ Woody, jauntily pays homage to classic Cut Chemist alchemy, Yoda’s celebrated turntable tomfoolery back in full effect and extending the flavours found in Home Cooking.

Magpie artwork supplied by London’s Endless, whose signature style has tagged Liberty and Lagerfeld as but two high profile clients, Yoda again maximises the experience and enjoyment gained from recording live instruments and prioritising songs over beats. His continued progress mixes risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making Prom Nite a date to remember.

Billie Eilish has revealed details on her highly anticipated sophomore album. The 16-track studio album, titled Happier Than Ever, will be released via Darkroom/Interscope Records on July, 30 Continuing the tradition on from her multi-Grammy Award, record-breaking debut album When WE ALL GO TO Sleep, Where DO WE GO?, Happier Than Ever features no outside songwriters or producers, and was written by 19-year-old Billie Eilish and her brother Finneas who produced the album in Los Angeles.

Billie Eilish has also teased her forthcoming single is coming this Thursday, April 29 at 9AM PT.

Billie Eilish has fast become one of the biggest stars to emerge since the release of her debut single “ocean eyes,” and continues to shatter the ceiling of music with her genre-defying sound. Fast forward from her humble breakout in 2015, Billie’s album When WE ALL Fall ASleep, Where DO WE GO? debuted at No. 1 on the Billboard 200 in the U.S as well as 17 additional countries around the world upon release, and was the most streamed album of 2019. When WE ALL Fall ASleep, Where DO WE GO? was written, produced and recorded entirely by Billie Eilish and brother Finneas in their childhood home of Los Angeles. Billie Eilish went on to make history as the youngest artist to receive nominations and win in all the major categories, at the 62nd Grammy® Awards, receiving an award for Best New Artist, Album of the Year, Record of the Year, Song of the Year, and Best Pop Vocal Album. Billie Eilish is also the youngest artist to write and record an official James Bond theme song, ‘No Time To Die.’ Most recently, Billie Eilish was nominated for four additional awards at the 63rd Annual Grammy Awards in 2021, and took home both Record of the Year for 'everything i wanted,' and Best Song Written For Visual Media for 'No Time To Die.'