O MELHOR ELEKTRO VAI PARA:

KAP BAMBINO - BLACKLIST
















BOAS ENTRADAS E BONS ELEKTROS

PHOENIX - Wolfgang Amadeus (2009)

NEON INDIAN

CatwalkTrash

GROUPGRIS

O PROJECTO A SOLO DE Orion Bouvier COMO PROMETIDO NA 2A POSTAGEM.

LESBIANS ON ECSTASY

DANDI WIND

Matias Aguayo

EFEITO ELEKTRO

Em 2º empatado com o 1º Album 2009

FEVER RAY -FEVER RAY

Album 2009 para mim! Animal Collective-Merriweather Post Pavilion

http://www.myspace.com/animalcollective dá uma vista de olhos!

The xx - Crystalised & Islands

Crítica do GoNgAs :)

The Best Indie 2009 - Burning Hearts

I Lost My Colour Vision


We Walked Amoung The Trees

Para a Rollingstone

http://www.rollingstone.com/news/story/31248017/100_best_albums_of_the_decade/44

BONO MUST DIE

JUST RELEASED (EDITORS)

Release Date
Oct 12, 2009

After two albums, England's premier post-punk revivalists Editors were at a crossroads. Their debut was a commanding snapshot of a young band whose emotional urgency outweighed its slavish devotion to the sounds of late-'70s/early-'80s Manchester — there was no getting around singer Tom Smith's similarity to Ian Curtis — but the power and passion of the songs trumped any "British Interpol" accusations. The follow-up found the band falling victim to the dread sophomore jinx, turning out a lackluster rehash of the same ideas as the debut. Ironically, it sold better than the first. Whether or not the band recognized they had come to a musical dead-end despite their booming sales, they were apparently wise enough to know it was time for a change in direction, and they decided to take a rather drastic left turn for their third outing. They've by and large ditched the guitars in favor of synthesizers, for a sound that's more New Order/Ultravox sleek than post-punk scrappy. If you open your mind up wide enough, you can draw a parallel to Van Halen's 1984 — the sound of a guitar band getting its synth on but retaining its musical identity. While the shift to an electronic approach opens up more possibilities for the band in terms of dynamics, arrangements, and melodic contours — there's a noticeable slant towards catchy refrains rather than billowing atmosphere — this is still very obviously an Editors album. Smith's Curtis-like tones still boom out authoritatively, and the ominous intensity of old is a constant presence. And while it seems they will probably never equal the majesty of their debut, Editors have dug themselves out of their artistic cul de sac at least long enough to plan their next move.

JUST RELEASED (The King Khan & BBQ Show)

Release Date
Nov 3, 2009

JUST RELEASED (STRICKEN CITY)

Release Date
Nov 3, 2009

JUST RELEASED (MORRISSEY - Swords)

Release Date
Nov 3, 2009

The latest in a long line of stray track compilations that stretches all the way back to Bona Drag, if not Hatful of Hallow, 2009's Swords gathers up 18 highlights from the B-sides of singles from You Are the Quarry, Ringleader of the Tormentors, and Years of Refusal -- the three albums that constitute the great Moz comeback of the new millennium. Not all the flipsides are here, but all the noteworthy ones are, including a cameo from Chrissie Hynde on "Shame Is the Name," a cover of David Bowie's "Drive-In Saturday" with new lyrics all about the New York Dolls. These little pieces of flair dress up a pretty drab selection of songs that sound like leftovers, cut from the original albums not because they didn't fit the mood, but because they didn't quite work -- covering similar territory as the proper album, only just not as well. Nothing here is quite an embarrassment, but compared to his other albums of this nature, including the muddled World of Morrissey, there's a distinct lack of humor and hooks, or anything else memorable.

JUST RELEASED (JULIAN CASABLANCAS)

Release Date
Oct 20, 2009

Perhaps it's fitting that Julian Casablancas' solo album arrived last out of all of the projects the Strokes pursued during their post-First Impressions of Earth hiatus. Albert Hammond, Jr. and Nikolai Fraiture stayed close to the band's mold with their extracurricular projects, and while Fabrizio Moretti's work with Little Joy might technically sound more different than his main band's music, it doesn't feel as bold as Phrazes for the Young. As the Strokes' singer and main songwriter, it's not surprising that Casablancas pushed himself to break away from the kind of music he makes with the band, but it's how he makes the music different that makes the album interesting. Only eight songs long, Phrazes for the Young begins with tracks that feel like typically catchy Strokes songs put in front of a funhouse mirror; they're stretched, twisted, and elongated into experiments that even First Impressions of Earth's most ambitious moments couldn't contain. "Out of the Blue"'s strummy guitars and new wave sheen are familiar, but its rush of emotional, confessional lyrics ("At least I'll be in another world while you're pissing on my casket") are anything but. "11th Dimension" comes the closest to what the Strokes would sound like near the end of the decade they kicked off with Is This It, full of brash, shiny charm and sleek electro-pop synths that suggest that Casablancas should collaborate with Daft Punk ASAP. Soon enough, however, Phrazes for the Young veers off into territory that should throw listeners expecting a Strokes album in all but name for several loops. "Ludlow St." is the first signal that Casablancas is up for anything: an unlikely but successful mishmash of shuffling country, a brass band, piston-like beats, and a recurring Asian-tinged motif, it plays like a drunken urban cowboy walking through a Chinatown street parade, recounting the history of New York, his history with the street, and his own history at the same time. Its quicksilver shifts and mix of experimental and traditional sounds make it more akin to a Fiery Furnaces song than any of Casablancas' previous work, and Phrazes for the Young just gets stranger and more personal with the hectic, hypnotic "River of Brakelights" and the baroque electro ballad "Glass," a moment of intimacy in the whirl of sounds and ideas the rest of the album sets spinning. Casablancas also shows off a new sophistication in his songwriting, particularly on the childhood vignette "Left & Right in the Dark" and the album closer, "Tourist," where he sings "feel like a teardrop streaming off your chin" over dubby bass and brass. It may not have the sugar rush immediacy of the Strokes, and at times it's downright indulgent, but Phrazes for the Young shows that Casablancas has more than enough ideas for several albums on his own and with his band -- and perhaps most importantly, he sounds more enthused about making music on it than he has since Is This It.

BIRDY NAM NAM

The four men behind the French turntabilist crew Birdy Nam Nam met as members of the much larger Scratch Action Hiro, winners of the 2000 DMC World DJ Team Championship. Crazy B, DJ Pone, Little Mike, and DJ Need formed Birdy Nam Nam the next year, taking their name from a line in the 1968 Peter Sellers film The Party. They went on to win the 2002 DMC World DJ Team Championship before shifting their focus to studio work. Released on the Uncivilized World label in 2005, their self-titled debut was created entirely on turntables and featured a mix of jazz, funk, and downtempo sounds. Touring to support the album influenced the band to create more energetic and dancefloor oriented tracks. When the "Trans Boulogne Express" single appeared in 2007, fans got a taste of the group's new, more electro flavored work. The track landed on their 2009 effort Manual for Successful Rioting, an album that found the four programming and playing synths along with their turntables.

JUST RELEASED (VITALIC - FLASHMOD)

Release Date

Sep 29, 2009

It took Vitalic's Pascal Arbez-Nicolas over four years to follow up OK Cowboy, but then he's never been a particularly speedy producer. After all, his debut album featured singles that were nearly a half-decade old by the time they appeared on the full-length. Even if Flashmob's title feels a little dated, suggesting mid-2000s trends a few years after they peaked, the same can't be said about its music. While the electro foundations of his sound remain the same after more than a decade, these tracks are sleek and innovative — proving that Vitalic spent the years between OK Cowboy and this album uniting everything he learned making groundbreaking singles like "Poney" with what's been going on since his last album. While there are more than a few cuts that are classic Vitalic, all masses of synths and hard-edged beats (see the sunny expanses of "See the Sea [Red]" and the interstellar closer, "Station Mir 2099"), he's not afraid to change things up, most strikingly on Flashmob's singles. The title track is particularly bonkers, using vocals and synths that get higher and swifter until they blur into streaks, giving the impression of going faster and faster even though the actual beat stays rock-solid. It may be as (aptly) flashy and immediate as, say, Justice, but it also has an artfulness that is all Vitalic. He also uses disco's influence in similarly unexpected ways, permeating the album with the style's spirit rather than rehashing its clichés. "Terminateur Benelux" piles on the handclaps, cowbells, and breakdowns, but balances them with a wittily sinister bassline that borrows from Belgian rave; "Your Disco Song"'s whip-cracking beat and 8-bit synths sparkle and crunch like a shattered mirrorball. "Poison Lips" is even more unusual, transforming Vitalic's vocal program Brigitte into a breathy, glitchy Donna Summer replicant surrounded by swirling pads. He explores Flashmob's surprisingly delicate side more deeply on "Still"'s icy, Moroder-esque atmosphere and fluttering vocalizations, and on the gorgeous "Second Lives," which boasts a melody so lovely it feels like a classical piece given a radical spin on the dancefloor. Even with tracks like "Chicken Lady," which is equally kinetic and goofy, Flashmob is some of Vitalic's most artful, even subtle work. It may or may not be as profoundly influential as OK Cowboy, but it's just as engaging and even more cohesive.

11 WORLD MUSIC (Hassane Idbassaid)

GENERAL ELECTRICS

JUST RELEASED (ECHO & THE BUNNYMEN)

Release Date
Oct 12, 2009


Echo & the Bunnymen's latter-day career has become a classic example of the old "live by the sword, die by the sword" adage. If an album like The Fountain was released by a band with no history, or one with an unexceptional track record, it would likely be deemed a promising effort. But the Bunnymen blazed a burning path through the '80s, turning out some of the era's most original, unforgettable sonic statements, a looming legacy that gives them a lot to live up to. The Fountain is the fifth album the band has released since their '90s reunion, and there have been consistently diminishing returns from 1997's Evergreen on out. There's nothing overtly unpleasant on The Fountain, and it's not without its high points, either, like the Jesus & Mary Chain-ish "Proxy" with its sunny '60s pop melodies and churning guitars, the lambent, Richard Hawley-gone-poetic ballad "The Idolness of Gods," or the driving, direct stomp of "Do You Know Who I Am." The trouble is, even these songs seem to have had their edges sanded off — all the creepiness, grandeur, and left-field eccentricity that made the band's '80s albums classic has been replaced by a play-it-as-it-lays feel that puts the Bunnymen more on a par with the Brit-poppers they've influenced than anything else. Maybe it would be easier to give The Fountain the benefit of the doubt if it hadn't been preceded by four similar efforts, or if singer Ian McCulloch hadn't spent the band's entire career unabashedly proclaiming their genius and preeminence in the rock world, but that's a lot of "if" to work with.

JUST RELEASED (GRIZZLY BEAR)

Release Date

May 26, 2009

BLONDE REDHEAD

Blonde Redhead's noisy, dissonant guitars, alternate tunings, and quiet, stilted lyrics have often been compared to early Sonic Youth. After randomly meeting at an Italian restaurant in New York, Japanese art students Kazu Makino and Maki Takahashi and Italian twin brothers Simone and Amedeo Pace formed the band in 1993. The name was taken from a song by the '80s no wave band DNA. With Makino and Amedeo on guitars and vocals, Simone on drums, and Takahashi on bass, the band's chaotic, artistic rock caught the attention of Sonic Youth drummer Steve Shelley, who produced and released the band's debut album, Blonde Redhead, on his Smells Like Records label. Shortly after the album's release, Takahashi left the band. The remaining members continued as a trio, releasing a second album in 1995 on Shelley's label, titled La Mia Vita Violenta. For their 1997 release Fake Can Be Just as Good, recorded on Touch and Go, the trio was joined by guest bass player Vern Rumsey from Unwound. By 1998, the band eliminated bass and scaled back to guitars, drums, and vocals for In an Expression of the Inexpressible. Melody of Certain Damaged Lemons and the Melodie Citronique EP followed two years later. The band's first for 4AD, Misery Is a Butterfly, was released in spring 2004. For 2007's 23, the group opted for a mix of dream-pop and delicate electronic textures.

11 WORLD MUSIC (SPEED CARAVAN)

10 WORLD MUSIC (YOSHIDA BROTHERS)

JUST RELEASE (KEITH CANISIUS)

Release 20/10/2009

KURT IS ALIVE?

JUST RELEASE (JUNK CULTURE)

Release Date
Oct 27, 2009

It might be a strange title given the album was recorded in Mississippi, but then again, calling it West Coast after the river's geography would be a little misleading (and more to the point, would actually be about Louisiana). A quick blast of nine entertaining songs, West Coast shows that Junk Culture aka Deepak Mantena actually has an ear for that kind of mythic (and often heavily Beach Boys-informed) place celebrated by acts from as far afield as the High Llamas as much as onsite performers with their own style like Spirit, a location of the mind that is constantly breezy and airy. Crucially, however, Junk Culture doesn't re-create endless sessions of Smile so much as pulverize and rework them — songs like the title track chop up bursts of vocal sweetness and uplifting melodies over breaks and beats, not revelatory in terms of new sampling approaches by any means, but perfectly accomplished at setting a slightly unexpected mood. Sometimes the results are pleasant, other times there's an actual sense of full drama, as on "American Minute Song" when a few whispers of "Check...check..." eventually lead into a fuller break. A quiet sense of humor doesn't hurt — thus, naming what sounds like a slightly woozy gamelan break "For Elise" as a reference to the Beethoven piano classic, though heaven knows what the classical performer might think of it. (Also, points for having a song called "Carmel Valley Girls" that sounds like a random anime robot lost in a weird underground tunnel — simply because that's probably the most un-Carmel Valley-like setting possible).

JUST RELEASE (BASSNECTAR)

RELEASE 27/10/2009





Following electronic dance music can easily lead to a sort of jaundiced lassitude. The more of it you listen to, the more every groove sounds like just another peg stuck into a well-established hole: a thumping house beat here, a jittery jungle breakbeat there, a chilly techno track over there. Although genres and subgenres splinter and proliferate with bewildering constancy, there's very little in the electro neighborhood that has sounded genuinely new or innovative in years. Except for the work of Bassnectar, a Bay Area DJ who takes all of these musical elements (and more), and folds, spindles, and manipulates them into something that is genuinely new and personal, and unbelievably fun. Like Fatboy Slim, he is immediately identifiable by the general flavor rather than by the specific style of his work; also like Fatboy Slim, much of his music seems to be animated by joy rather than by resentment, greed, or ego. The individual elements of his style are relatively easy to identify. In a Bassnectar mix you're liable to hear at least one (and sometimes several) of the following: a sudden lurch from duple to triple meter; a sudden drop into half-time; multiple layers of synthesized glockenspiels playing heartbreakingly lovely arpeggios; rappers and singers pitch-shifted beyond all recognition; spoken word samples that appear for no apparent reason, but whose rhythmic character is suddenly revealed by their incorporation into a blissfully funky groove. On Cozza Frenzy, you'll hear elements of dubstep, hip-hop, techno, house, and electro-pop, but none of it ends up sounding like anything other than Bassnectar. As on his previous two albums, highlights are almost impossible to identify — however, the brilliant remix of Fever Ray's "When I Grow Up" is especially thrilling, and in some ways unusually nuanced, and "The Churn of the Century" is more varied in tone and texture than usual, even by Bassnectars very high standards. Mesmerizing the Ultra is still the best introduction to the man and his style, but Cozza Frenzy is essential as well.

DAVID HOLMES

RATATAT

INDIE TODAY (SOLEX)

9 WORLD MUSIC (LONGITAL)

INDIE TODAY (Relaxed Muscle)

8 WORLD MUSIC (KTU)

INDIEROCK TODAY (PINK GREASE)

Pink Grease is a five-piece rock group from Sheffield, England. Drawing from prominent early influences like David Bowie, Iggy Pop, T.Rex, and even Kiss, the band's sound and style are often seen as glam rock while also being heavily influenced by such new wave artists like Duran Duran and punk rock artists like The Damned. Also relates well to more contemporary post-punk revival artists like Bloc Party, The Futureheads, and The Strokes and often shares much of the same fan base.

Pink Grease released their debut EP All Over You, in May 2003 to some minor critical praise. Then in June 2004 they followed up with the full-length This Is For Real with similar praise and some moderate commercial success. Their second album titled Mechanical Heart was planned for a release sometime in 2006/2007 but after the split from the record label Mute Records it is still unreleased and just a few promotional copies exist. At the moment they are unsigned.

7 WORLD MUSIC (LENINGRAD)

The Toxic Avenger - Bad Girls Need Love Too

Sexual Earthquake In Kobe

6 WORLD MUSIC (DESERT REBEL)

5 WORLD MUSIC (AMADOU & MARIAM)

INDIE TODAY (FLAMING LIPS)

The Flaming Lips (formed in Oklahoma City, Oklahoma in 1983) are an American rock band.

The band is known for their lush, multi-layered, psychedelic arrangements, spacey lyrics and bizarre song and album titles (for example, "Psychiatric Explorations of the Fetus with Needles", "Free Radicals (A Hallucination of the Christmas Skeleton Pleading with a Suicide Bomber)" and "Yeah, I Know It's a Drag... But Wastin' Pigs Is Still Radical"). They are also acclaimed for their elaborate live shows, which feature costumes, balloons, puppets, video projections, complex stage light configurations, giant hands, large amounts of confetti, and frontman Wayne Coyne's signature man-sized plastic bubble, in which he traverses the audience. In 2002, Q magazine named The Flaming Lips one of the "50 Bands to See Before You Die".

The group recorded several albums and EPs on an indie label in the 1980s and early 1990s. After signing to Warner Brothers, they scored a hit in 1993 with "She Don't Use Jelly". Although it has been their only hit single in the U.S., the band has maintained critical respect and, to a lesser extent, commercial viability through albums such as 1999’s The Soft Bulletin (which was NME Magazine's Album of the Year) and 2002’s Yoshimi Battles the Pink Robots. They have had more hit singles in the UK and Europe than in the U.S. In February of 2007, they were nominated for a BRIT Award in the "Best International Act" category. As of 2007[update] the group has collected three Grammy Awards, including two for Best Rock Instrumental Performance.

4 WORLD MUSIC (TGU)

Transglobal Underground (sometimes written as Trans-Global Underground or simply as TGU) is a London-based music collective who specialise in a fusion of western, oriental and African music styles (sometimes labelled as "world fusion" or "ethno-techno"). Their first four albums featured Natacha Atlas as lead singer and their single "Temple Head" was used in a Coca-Cola advertising campaign for the 1996 Olympic Games. [1] In 2008 they won the BBC Radio 3 Award for World Music after the release of their seventh official album, Moonshout.

3 World Music (didjeridoo)

90's

NIRVANA Vs HOLE

ROCK TODAY

BLACK KEYS

BLACK GRAPE - REVEREND

Black Grape é uma banda funky e electronica suave que foi formada em 1993 depois da desintegração dos Happy Mondays com os membros Shaun Ryder e Mark "Bez" Berry.

[edit] Albums
It's Great When You're Straight... Yeah (1995) #1 UK
Stupid Stupid Stupid (1997) #11 UK
[edit] Singles
"Reverend Black Grape" (1995) #9 UK
"In the Name of the Father" (1995) #8 UK
"Kelly's Heroes" (1995) #17 UK
"Fat Neck" (1996) #10 UK
"England's Irie" (1996) #6 UK
"Get Higher" (1997) #24 UK
"Marbles" (1998) - #46 UK

INDUSTRIAL PARK (PART V)

Feindflug - Stukas im Visier

2 World Music (Caravan Palace - Suzy)

Vive la Fête

Vive la Fête foi fundado em 1997 quando Danny (que integrava a banda dEUS) gravou alguns demos com Els. A gravação de oito faixas foi lançada num EP intitulado Je ne veux pas (ou Paris) que chamou atenção por causa de seu suingue que remetia aos anos 80. Ganhou notoriedade no começo dos anos 2000, quando virou xodó do mundo jetsetter da moda, tocando ao vivo em grandes desfiles e recebendo elogios rasgados de estilistas (entre eles Karl Lagerfeld). Ao mesmo tempo engrossou o coro do "neo electro safado", adotado pelos modistas na época com o primeiro sucesso no álbum de estréia Attaque Surprise (2000). Gravações subseqüentes como Republique Populaire (2001) e Nuit Blanche (2003).

Attaque Surprise — Surprise Records (2000)
République Populaire — Surprise Records (2001)
Nuit Blanche — Surprise Records (2003)
Grand Prix — Surprise Records (2005)
Jour de Chance — Surprise Records (2007)
Vive Les Remixes * Surprise Records (2008)
Disque D'or * * Firme de Disque (2009)

Dados do Wikipedia

1 World Music (Kerekes Band)

Trash Palace feat Brian Molko - The Metric System

As 500 melhores canções da década para o site Pitchforkmedia

http://blitz.aeiou.pt/gen.pl?p=stories&op=view&fokey=bz.stories/50371

Flaming Lips -silver trembling hands

KAP BAMBINO - Intimacy

requiem for a dream

HEARTSREVOLUTION // ULTRAVIOLENCE

You Love Her Coz She's Dead - Superheroes

dENTRO DA ONDA!!!

INDUSTRIAL PARK (Part IV)

Sigue Sigue Sputnik - Love Missile F1-11

BEM TÊM RAZÃO!!!

CRYSTAL CASTLES - CRY BABIES

Paredes Coura 2009 - KAP BAMBINO

ai vêm eles!!!
com um novo album!!!





http://www.youtube.com/watch?v=iiAQPRQjQ-8

Fever Ray - When I Grow Up

Não é elektro é.......... "THE CRAMPS"

RIP LUX INTERIOR



























O líder dos icónicos The Cramps faleceu, dia 05/02/2009, vítima de complicações cardíacas


Lux Interior, o líder dos The Cramps, um dos grupos mais icónicos das linguagens rock alternativas, faleceu dia 05/02/2009, em Grendale, Califórnia, devido a problemas cardíacos.

Tinha 62 anos, era conhecido pelas enérgicas e teatralizadas actuações em palco, e por ter originado uma música que devia tanto ao espírito punk como ao rockabilly, tal como foi popularizado por Elvis Presley. Em determinada altura, o grupo definiu a sua música como sendo "psychobilly".

O grupo, que se manteve activo durante mais de três décadas (actuaram, em Portugal, em 1998, em Lisboa, no Campo Pequeno e, há dois anos, no Festival Paredes de Coura) é ainda uma referência para bandas rock contemporâneas, com destaque para os The White Stripes.

Um dos seus álbuns mais marcantes é o segundo, "Psychedelic Jungle" de 1981, talvez o disco onde conseguem expor de maneira mais focada o seu imaginário, combinação de rock elementar e ambientes lascivos, numa celebração excessiva e perversa de tudo o que era sujo e incongruente na cultura pop americana desde os anos 50.

Lançaram cerca de uma dezena de álbuns de originais, o último dos quais foi "Friends Of Dope Island" de 2003.

De seu nome verdadeiro Eric Lee Purkhiser formou os Cramps com Kristy Wallace, mais conhecida por Poison Ivy, na primeira metade dos anos 70. Cresceram ambos no ambiente criativo da Nova Iorque, quando o punk emergia, mas distinguiam-se de grupos da época, como os Talking Heads, Television, Ramones ou Blondie, pelas performances fetichistas e pelo visual excêntrico, inspirado na cultura "trash" e no imaginário de filmes de série B.

Em palco, Interior não se poupava. Muitos viam nele um continuador da escola de Iggy Pop, sempre disponível para a exposição sem simulacros, com desempenhos muito físicos. Como se podia ler no comunicado oficial dos representantes da banda "Interior era um líder destemido que transformava qualquer palco num local de paixão, abandono e liberdade."

Durante três décadas, o núcleo do grupo - Interior e Ivy - manteve-se, com vários músicos a rodarem pela banda ao longo dos anos. Nos últimos tempos, as actuações ao vivo do grupo foram rareando, até porque os problemas cardíacos de Lux Interior eram conhecidos de todos os que o rodeavam.

Rinôçerôse - La Guitaristic House Organisation

Gorillaz - Sound Check (Gravity)

Groove Armada - Madder

Underworld - Born Slippy

Роботы

Riot In Belgium

"La Musique"

Three Cheers For Dirty

"Give Me Your Money Bastard"

Glass Candy

"Life After Sundown"

Glass Candy was formed by Ida No, from Vancouver, and Johnny Jewel, from Austin, in 1996.^[2]droney and weird."^[2] Their first two singles, which they self-released under the name "Glass Candy & the Shattered Theatre", were "Metal Gods" (2001) and a cover of Josie Cotton's "Johnny Are You Queer" (2002).^[2] They toured with The Convocation Of... in 2001, and released a live album that year on Vermin Scum.^[3] Their first studio album, Love Love Love, was issued on Troubleman Unlimited in 2003. A second full-length followed on Troubleman the next year. Jewel founded Italians Do It Better with Mike Simonetti as a subsidiary of Troubleman.^[2] In 2007 Glass Candy released their third album B/E/A/T/B/O/X on this label to considerable critical praise. In late 2008, a rarities, b-sides and remix album was released under the name Deep Gems. No describes their early work as "

Jewel also plays in Chromatics and is romantically linked to their singer, Ruth Radelet. No is involved with the Chromatics's drummer, Natty.

INDUSTRIAL PARK (Part III)

Skinny Puppy

"Human Disease"

Felix da Housecat - Harlot (Thee Glitz Extended Mix)

Zeigeist

"Cuffs"

InaClub

Ladytron vs Crossover

"Seventeen"



"Over Exposure"

INDUSTRIAL PARK (Part II)

Sheep On Drug

"Motorbike"

Justice vs Simian - We Are Your Friends / Vitalic - The 30 000 feet Club

New Young Pony Club vs Simian Mobile Disco

INDUSTRIAL PARK (Part I)

NINE INCH NAILS
"Closer"



"O Industrial é a música eletrônica intensa e por vezes pesada, cheia de ruídos e barulhos inesperados. Trata-se de um gênero musical que prima um conceito de independência e experimentalismo, com o uso de fontes não-musicais, como sintetizadores e guitarras distorcidas, timbres metálicos, ruídos plásticos, sons de sucatas, de correntes, vidros se quebrando, entre outros sons tirados de instrumentos “não-convencionais”. É normal usar também colagens e experimentações com sintetizadores primitivos, fitas magnéticas e rádio para produzir música eletrônica, que freqüentemente continua sons e estruturas abstratas. Tudo isso como modo de representação do fascínio pelas qualidades hipnóticas e "mágicas" da própria estrutura do som. A ligação cultural com a música é essencialmente underground e vanguardista. Muitas vezes são valorizados elementos artísticos abstratos, dadaístas e surreais, além de uma mentalidade contra-cultural." by Wikipédia

Crystal Castles vs Adult

"Air War"

" Kick In The Shin"

Fischerspooner

(Fischerspooner - Get Confused )

Fischerspooner é um duo de electro (electroclash) formado em 1998 em New York. O nome veio diretamente dos fundadores, Warren Fischer (musico) and Casey Spooner (video). A dupla produz uma música rápida e robótica.

Discografia

Álbuns:

Bootleg (1998)
Fischerspooner (2000)
#1 , (2003)
Odyssey (2005)
Entertainment (2009)

Singles:

#1 Supplement EP (2001)
"Emerge" (2002)
"The 15th" (2002)
"Come Into My World"
"LA Song" / "Sweetness" (2003)
"Just Let Go" (2005)
"Never Win" (2005)
"A Kick In The Teeth" / "All We Are" (2005)
"We Need A War" (2006)
"The Best Revenge" (2008)
"Danse En France" (2008)
"Amuse Bouche" (2008)

Membros da Banda

Warren Fischer (compositor)
Casey Spooner (letras / vocais)
Kearney Sam (Guitarra)
Peanuts, também conhecido por Jeremias Clancy (ajudante de Casey / ator)
Cindy Greene (vocais)
Lizzy Yoder (vocais)
Ian Pai (Diretor Musical / Bateria)
Vanessa Walters (Coreógrafa / Bailarina)
Stephanie Dixon (Bailarina)