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We finally have the whole thing. The TELECLUB EP produced by LEFTEE and with cover art by Olaya Pedrayes (AXOLOTES MEXICANOS) is finished. We had already heard the fresh, summery, concise, and lively techno-pop of “Al Final Del Verano”. We have also heard the festive and simultaneously melancholic spirit of “El Karry”, like the hangover from an unforgettable Saturday. But the EP is rounded out with two surprising songs. “Vibrar” pulls from the epic and electronic for an exercise in marvelous, luminous techno-punk. What a shot of energy. It is impossible not to feel like you’re on top of the world after listening. And the pure, hard post-punk takes center stage with “El Centro De Atención”, with unstoppable power, pure rage and spite. Four solid, addictive hits that make this barely 10-minute-long EP a hotbed of post-millennial energy, transmitting that euphoria you feel when it seems like nothing can go wrong, when it seems like the only thing in the world that matters is that very moment.

TRACKLIST: 01 Al Final Del Verano  02 Vibrar  03 El Centro De Atención  04 El Karry

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Yasuharu Konishi is one of the members of the legendary Japanese band PIZZICATO FIVE, capable of taking lounge music, samba, and sixties sounds to the dance floor; the Japanese producer and composer has always been a reference for Elefant Records. Recently, he agreed to compose the soundtrack for an ad campaign for a product from the company SOYJOY, and he asked Carlos, Nico and Scialdone from FITNESS FOREVER to join him for the occasion and do the vocals. And the Italian group put their all into those marvelous harmonies that accompany the accelerated, contagious music that Konishi composed. These kinds of collaborations make it possible for the artists to develop a mutual admiration, from the confines of pop.

FITNESS FOREVER is currently recording songs that will be included on their fourth album, so we will have more news from them about their new songs very soon. [ Read more ]

The third advance single from PIPIOLAS’ debut album. This is nothing close to “San Peter” and “Romancero Propio”. Because no PIPIOLAS song is anything like the rest. They are able to move through different musical parameters without losing an ounce of their personality or sound. And here we have an authentic hit for the dance floors. Merciless. This is a song that should be played non-stop in all clubs and festivals, on all the radio stations, on every platform available… With aromas pulling from trap and reggaeton (but with sufficient skill and originality to give it just the right touch and sound suggestive and elegant), and the powerful disco of THE WEEKND and DAFT PUNK. That bass! That chorus! To play the song once is to want to play it again, and again. It is impossible to not instantly imagine yourself giving everything you’ve got on a Saturday night, to every drumbeat. The production work is, once again, by Vau Boy and the cover by Laurel Cala.

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A few weeks ago, we gave you “Final Explicado”, the first song introducing us to MARINITA PRECARIA’s debut album. We are still following the trail that Marina is building with her songs, leading us to that anticipated moment, and we have gotten to “El Mundo No Es Para Tanto”. A song where, amidst tropical echoes, the songwriter lets her most colorful pop spirit loose. And once again, it seems that with so few and such intimate resources, she talks about such grand and immense things: “El mundo no es para tanto / Y esta calle está bien / Ya has visto las Pirámides / Qué más quieres ver” (The world isn’t all that / And this street is just fine / You’ve already seen the Pyramids / What more do you want to see). The production work of Sergio Pérez(LOS PUNSETES, Soleá Morente, Joe Crepúsculo, MUJERES, LA BIEN QUERIDA, CABIRIA and many more) stands out again, giving the sound a solidness and certain complexity that pushes the song to be even more emotionally intense. And the beautiful, cloudy cover photo is by Neelam Khan Vela. We are still building the path, and we feel like Marina is leading the way and holding our hand, and that makes us feel SO good.

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After “El Karry”, we are bringing you the second advance single from the imminent new EP by TELECLUB, “Recordarás Mi Nombre”. This time, “Al Final Del Verano” gives us another great example of their fresh, lively, colorful and direct techno-pop. It is a new ode to hedonism, unforgettable moments, and escapism: “Y esperaremos otro año / La distancia no me hará olvidar / Para siempre guardaré todas las fotos que hice este verano” (And we’re waiting for another year / The distance won’t make me forget / I’ll always keep all the pictures I took this summer). With the production work by LEFTEE and cover art again by Olaya from AXOLOTES MEXICANOS, Daniel, Juanjo and Andrea leave us with the sweet taste of honey on our lips, waiting for their EP to arrive. And until then, we will be dancing.

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No reservations. A more solid, more powerful sound every time. With harmonies that make us fall even harder. And their rage. Their ability to let it go. Their aggressiveness and power. All of these things are AIKO EL GRUPO’s new hit, “k pesao”. One of their strongest songs so farcategoría That’s saying a lot, but the way the song builds, the way the harmonies open, and how the guitars get dirtier until they get to that final coda, with all of them singing “Qué me dejes en paz” (Just leave me alone), definitely places it among their best compositions, and radically among the most moshable songs in recent years. What a hit! What a shot of energy!

GRAPA (Jorge Pesquera, Teresa Iñesta and Bárbara López) is once again responsible for the music video, a mix between innocent and dark, where esthetic is key. The group unleashes all of their fury in an ambiguous setting, a kind of room that is both sweet and disgusting. Rage, bile, revulsion. In the video, art (Nuria López and Irene Rujas) takes a leading role, as does makeup (Paula del Río), hair (Manu Repila) and wardrobe (Dana Sevillano), all focused on creating an esthetic that transmits these feelings from the first viewing.

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This is the fifth advance single before the arrival of “Un Año De Cambios”, the first full length from LISASINSON. We have been hearing a more powerful, solid, potent sound on recent singles like “Cuchillos”, “Canción De Entretiempo” and “No Sé Muy Bien”. But “Mochi” has something that makes us understand the reasoning behind the album title. Yes, there are ferocious guitars and overflowing energy. But there aren’t only songs driven by anger, there is melancholy from lived and missed experiences these last few months: “Quiero que estés a mi lado / Cuando el verano se acabe / Y tenga ganas de llorar” (I want you to be by my side / When summer ends / And I feel like crying), although with a trademark gesture at the end. It’s the story of a long-distance relationship that almost sounds dreamy. And the melodies are open, even precious. As if THE BREEDERS or BIKINI KILL had wanted to make a radically pop song, with a more dynamic structure, and more playful harmonies.

And we also have a new music video to go with it, this time directed by the production company GRAPA, where Teresa and Bárbara from AIKO EL GRUPO are, along with their friend Jorge Pesquera. In the video, we see Míriam and Paula doing everyday things in a house, enjoying the different spaces, and of course, eating mochis. Once again, the camera shows us the magn [ Read more ]

After that gorgeous 10” vinyl called “El verano que me debes”, that fascinating version of “What Dreams Are Made Of” and that amazing way of advancing their upcoming album with “Romancero Propio”, we continue to pull out Digital Singles that will give us the dimensions of the highly anticipated full-length debut from PIPIOLAS.

And Paula and Adriana have done it again. They surprise us again, showing us that their music explores multiple grounds and is laying out its own identifying marks. And “San Peter” is an exercise in energy and aggressiveness. Rage and spite. Sarcasm and celebration. Between punk and synth-pop. As they themselves say: “Nos habrán robado la dignidad, nos habrán robado el tiempo físico y mental, nos habrán robado hasta canciones que ya no podremos escuchar; pero, nene… Al menos devuélveme las bragas” (They may have robbed us of our dignity, they may have robbed us of mental and physical time, they may have even robbed us of songs we will never be able to listen to, but, babe… At least give me back my underwear). Literally. That is this duo’s goal, while trying to elude the police, in the music video directed by Jorge de la Cruz. A secret operation to get back what’s theirs. An explosive, epic, immediate single, with production work once again by Vau Boy, with guitars, bass and drums recorded [ Read more ]

“Toro” is without a doubt one of the most important songs in EL COLUMPIO ASESINO’s repertoire, and one of the most celebrated songs in their powerful live shows. It turns out that others who also have a solid repertoire and unleashed live shows – AIKO EL GRUPO – have covered this song in an exercise of overflowing energy and distortion. The cover was recorded for an album that included the original song, a version by DELAPORTE and this one by our AIKO, and it was released as a 500-copy limited-edition white vinyl in honor of the label Mushroom Pillow’s 20th anniversary. And we are bringing you this incredible exercise – unforgiving rival of any electric company worth its name – as a Digital Single that will definitely raise the decibels any time a good shot of power is needed. Oh – and the cover! Trademark work. Oh, and another thing – it will be included on a movie soundtrack! More information coming soon.

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TRACKLIST: 01 Creation Of My Ghosts (Feat. Clarissa Rustico)  02 Embracing Livia (Feat. Clarissa Rustico) 03 Prisma Clarisse (Feat. Clarissa Rustico)  04 Lasciamoci In Allegria (Feat. Gaia Rollo)

We know that talent isn’t normally recognized in the music industry. But we created an independent record label to make space for people we believe have something to say. Giorgio Tuma has always been one of those people really focused on his commitment to creating beauty in this world. His albums, somewhere between lounge music, psychedelia and Brazilian music, have been exquisite exercises for the most dedicated music lovers. Collaborations with Laetitia Sadier (STEREOLAB, for whom he even wrote a song), Lena Karlsson (KOMEDA), Sean O’Hagan (THE HIGH LLAMAS), Malik Moore, Matias Tellez (frontman of YOUNG DREAMS and in charge of production work for some Sondre Lerche and KAKKMADDAFAKKA albums), Michael Andrews (soundtrack composer for films as important as the sci-fi classic “Donnie Darko” and “Me you and everyone we know”), POPULOUS, among others. Elegance, fantasy, creativity, dreaminess… His disappearance from the music scene seven years ago was terrible news.

Soon after “This Life Denied Me Your Love”, he put together his friend guitarist Alberto Zacà a bossa nova tribute band called WE LOVE GILBERTO where he played drums, and Clarissa Rustico sang. Clarissa’s voice inspired him to [ Read more ]

We have big news for fans of that very special duo formed by Anna Fredriksson and Elena Comas. DIE KATAPULT are reuniting for a performance in the Scenica festival in Sicily on May 12, and are simultaneously releasing two Digital Singles, with two different songs produced by Ian Catt (SAINT ETIENNE, TREMBLING BLUE STARS, THE FIELD MICE, SHAMPOO, THE SCHOOL…), and two different album covers.

The first is “Waschmaschine” which dives right into their catalog of pedagogical songs: step by step instructions to learn how to use the washing machine, with the approval of Karl Bartos, Florian Schneider and everything that at some point had something to do with KRAFTWERK and robots. Even Isaac Asimov would give his blessing to an exercise like this. Have you ever imagined dancing disco while doing the laundrycategoría Well, if you haven’t then you clearly have a problem. Thank goodness we have DIE KATAPULT to solve it. That problem and all the others too.

The second is “Mücken”, probably one of the craziest songs never released by the band, insistent, martial, moshable, with the buzz of a mosquito included. How many choruses have you heard that cry “Hay que fumigar / Sin pesticidas” (We need to fumigate / Without pesticides)categoría A cry for environmentalism. And with an exquisitely fun melody.

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TRACKLIST: 01 íntró (éstádó cónstánté dé críngé)  02 síndrómé dél ímpóstór / nó mérécé lá péná / párá nó dár péná ft. Berna Wang 03 ántífá káwáíí / nárrátívá  04 ámóré (ábró híló – té ódíó) / chínító dé ámól ft. Paloma Chen  05 mámá hé mátádó á ún sím 06 pólly dé hácéndádó / lá gállíná cápónátá  07 dé dóndé víénés / ní dé áqúí ní dé állá

Just a few days ago we advanced “Auphmoy” as an appetizer of their new project, “SMHD (Arte Contenido)” (acronym for Seconds Minutes Hours Days), and today we have in our hands the first of the four albums that will make up this creative combo with which Chenta Tsai makes it clear once again that their creativity is in full drive. Each new step that Chenta takes gives us the feeling that we are two kilomet [ Read more ]

TRACKLIST: 01 Fuckboys  02 xfa  03 Nuevos Heteros  04 Último Perdón (Feat. Laborde)

Celia Spellman has been shelling out, piece by piece, the contents of what is going to be her first release under the name NENAS, while managing to maintain that delicate mystery of her identity, which is actually a part of her musical discourse. Somewhere between chiptune and bubblegum, and closely in line with PUTOCHINOMARICÓN, we have been enjoying her spiteful perspective of the night on “Fuckboys”, between clicks and pops, delicate rhythms and melodies that go straight to your toes; we have danced like crazy to that impossible love story that is “xfa”, somewhere between loneliness, shyness and madness; and we have exploded with that exercise in surrealism overflowing with cynicism that we got on “Nuevos Heteros”, with that chorus that is an anthem in and of itself: “Los nuevos heteros / Ya no van de duros / Sólo quieren ser modernos” (The new heteros / Don’t try to be tough anymore / They just want to be hipsters).

But we still had “Último Perdón” left to discover. It’s an unleashed digicore song with the collaboration of Míriam LABORDE (LISASINSON), who continues growing her surprising roster of collaborations. This is another song that builds a multifaceted universe, that plays with religious re [ Read more ]

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We have seen this before. It happened with Morrissey. It happened with Carlos Berlanga. And of course, it happened with John Lennon. Inspired minds within collective groups seek out their own paths, apart from the environment that helped them grow as artists and creators. Carlos CARABALLO uses introspection and personality where there was partying and celebration in his COLECTIVO DA SILVA. And he lays it out in an absolutely marvelous debut album, mapping out the history of pop, a treatise for atypical post-millennials, a tête à tête with his listeners. And, of course, for a project like this, he used his own name.

But let’s take a closer look, to explain what we mean. For example, since we mentioned Lennon, wasn’t there something of his BEATLES in that “Nube Negra” that opens the album and closes the stormí “Déjame Vivir” is a synthesis of the album: bedroom pop, digi-core, a bit of lounge, hyperpop and a huge, unexpected hit as big and surprising as a roller coaster. “Atrás En El Tiempo” is the soft middle, the proof that there are no tricks: it’s him, these are his melodies, his stories, his timeless choruses – it’s pop. “No Me Importa” has the perfect touch of funk, just the right breath of soul, the programming that decorates the rooms of our solitude, the chorus that makes North American R&B groups sigh. “Vacío” is folk, [ Read more ]