"Darker, deeper, hotter" - going down and danger is lurking! "Vagina dentata", the teethed cavern, the gate to hell, the lethal femininity is an ancient myth, reintroduced and reinterpreted by the famous psychoanalyst Siegmund Freud as fear of castration… and also the title of the fourth album by Aranea Peel's "Grausame Töchter", that constitutes another significant artistic advancement of the band.

All of the 15 powerful tracks on this album revolve more or less clearly around that subject; the lyrics are in parts homicidal, sexual, obsessive, sadomasochistic and sometimes nightmarish, but also implicitly offer the hope of liberation, of sensuality, self-determination and lightness. Aranea Peel seems to take quite a liking to water as evident in the presence of the sea with all it's sometimes bizarre creatures that are featured in many songs as symbols of freedom and lust. In "Wie eine Krake" (Like an Octopus) for example the sea creature lives in freedom, lust and chaos while the sailor on the surface anxiously tries to get across this chaos but of course is doomed to fail. This song is probably most representative of the general spirit of the album.

Stylistically this album like the previous albums of the girlgroup offers an amazingly wide array of styles: electropop, electropunk, EBM, industrial, electrorock and even chanson, tango and bizarre circus music. E-Guitar and baritone-guitar, often with a 1960s style band echo, are much more present in "Vagina Dentata" than in previous albums. Accompanying bass guitar player Era Kreuz is the Berlin based guitarist Valeria Ereth who recently joined the band and already has been touring with them across Europe for a few months now.

The most extraordinary tracks musically would probably be "Die ganz Welt ist ein Zirkus" (The entire world is a circus) and "Nordsee-Tango" (Northsea-Tango) where a lot of guest musicians with brass and percussion instruments joined the band, probably a result of Aranea's love of chansons. The most catchy tunes however are the more danceable tracks like "Annika ist tot" (Annika is dead) and "Ich liebe meine Vagina" (I love my vagina). On this their fourth studio album, Grausame Töchter prove themselves as a band that has developed it's unique style with intelligence and freshness, confidently going their own unique way in a world of otherwise interchangeable commercial music, which gives these girls their own distinctive image.

Following the announcement at the end of 2015 for seven shows celebrating the 20th Anniversary of the MANIC STREET PREACHERS fourth album ‘Everything Must Go’, the band have now confirmed there will be a very special reissue box set of the album which will feature vinyl, CD’s, DVD’s and a book. The band’s 21 song performance at the Nynex Arena in Manchester to over 20,000 people on 24th May 1997 has been fully restored will be available in full for the first time both on CD and DVD and long-time collaborator BAFTA Award-winning director Kieran Evans (Kelly & Victor) has shot a new film to accompany the album. There will also be a double CD and both formats will be released on 20th May 2016, exactly 20 years to the date of the original album. 2016 also sees the band celebrate the 30th Anniversary of their formation in Blackwood, South Wales.

The live shows will see them play the album in full for the very first time and then after an interval, returning to play some of their greatest hits, new songs and some seldom heard nuggets from their twelve album history. Editors will join the band as special guests for the tour, excluding Swansea where Super Furry Animals and Public Service Broadcasting will support. Prior to the UK shows they play dates in Europe and headline the Victorious and Truck Festivals later in the summer.

Originally released in spring 1996, ‘Everything Must Go’ was the band’s first massive commercial success. The record was certified triple platinum in the UK and went on to sell over a million copies and bag multiple Brit awards. It features four top ten singles (‘A Design for Life’, ‘Everything Must Go’, ‘Kevin Carter’ and ‘Australia’). Touring the record, the band played an early show in the tiny basement bar of the Haçienda to headlining to 20,000 people at Manchester’s Nynex Arena in less than twelve months. Although some songs from ‘Everything Must Go’ are still cornerstones of Manic Street Preachers gigs, several of the album tracks haven’t been played live since ’96.

On August 19th Marius Lauber AKA Roosevelt releases his stunning, self-titled debut album via Greco-Roman / City Slang records.

To mark its launch Roosevelt unveils this video, which features two tracks from the album - ‘Colours’ and ‘Moving On’. This double-bill approach gives more insight into the album than the usual standard one song video format, but the intention was creative as much as it was practical. With a surreal sensitivity akin to his previous videos, ‘Colours’ stars Roosevelt alongside various characters in an abstract exploration of the five senses (touch, sight, smell, taste and hearing). The segue into ‘Moving On’ then follows the protagonists’ walk from their dream-like state into an everyday street scene, where they find themselves lost in the sensory overload of real world modern life.

Roosevelt’s signature hazy sound which ascends ever skywards is still present and correct on the album - but this time it’s honed, crafted and less loop based. ‘Roosevelt’ showcases Lauber as a fully developed recording artist, with an instinctive synthesis of different soundscapes. This is a record with a deep affinity to the dance music world unified with sophisticated, classic song structures.

The glistening and gently undulating disco of ‘Night Moves’ features uplifting layers of delicately constructed guitars atop propulsive beats and expanding acid synths lines, whilst ‘Moving On’ utilizes Balearic slo-mo percussive grooves to mesmerising effect. The Tangerine Dream-esque ’Belong’ is pure euphoria, ‘Heart’ is a bright and breezy airborn anthem, and the stunning sunrise instrumental hypnosis of ‘Daytona’ blends seamlessly into the sublime, cooly life-affirming ‘Fever’.

Influences span continents and decades - from a pinch of French electro pop, a smattering of LA yacht rock, the hypnotic repetition of German pioneers like Ash Ra Tempel/Manuel Göttsching and Neu!, to classic floor-friendly 80s pop from Chic, Talk Talk and New Order. Nu school figureheads like Floating Points, Todd Terje and Metro Area are also partially audible - all weaved into his own unique sonic tapestry.

Roosevelt’s growth was catalyzed by an early DJ residency at Kompakt’s Total Confusion party alongside Superpitcher & Michael Mayer, with the label also releasing an early remix of his for COMA. These experiences helped Lauber realize how dance music connects to its audience in a different way to what he'd experienced from earlier days spent performing in bands. “What I really enjoyed about DJing was that you could see the results immediately - there was feedback and interaction from the crowd”, he explains.

The darkness hinted at in the title of ’Night Moves’ is also a nod to the energy you can get from a well-timed crowd climax. “It's about the situation at night in a club when the energy is created as the night comes to an end,” he says. “The later the night gets there's this peak of energy and people are having the illusion that there's no end to it, and that power is incredibly strong.”

Following this nightclubbing baptism, his career as an electronic artist gathered momentum. With praise from a selection of taskemaker media, mixes for Boiler Room, Electronic Beats and i-D, support tours with Hot Chip and Totally Enormous Extinct Dinosaurs and a litany of high-profile festival slots around the world, Lauber steadily built up a dedicated following.

Written, recorded and produced by Lauber over a period of two years. ‘Roosevelt’ the album is a pillow-soft hallucinatory dreamscape of nocturnal reveries and a lilting sense of melancholia, where sounds build and swell like waves.

Maybe the murder of screeching crows that surrounded Connecticut's Clubhouse Studio—turning all the trees jet black—was a sign that something was up with its latest tenants, Xeno & Oaklander. Well, that and the lunar eclipse that lit the starry night sky while Liz Wendelbo and Sean McBride plowed through another propulsive minimal-synth piece called "Palms." "We've always referred to our synths as elemental," says Wendelbo. "Fire is what powers energy, voltage, and electricity. Electromagnetism is electric energy, like lightning in the sky. We control it with potentiometers and buttons; we shape it with filters and envelopes."

That explains why Xeno & Oaklander's music has always felt so alive, the result of chemical reactions at its core and chain-linked keys that rattle, hum, and howl. The duo's fifth album, Topiary, is no different; taking its title from hand-sculpted gardens like the stately grounds of Versailles and the highly ornamental Levins Hall, it's an enchanting listen, welcoming you into its self-made world with warm synth washes, moody chamber melodies, and Wendelbo's haunted yé-yé hooks. (Topiary is the first Xeno & Oaklander album McBride—a.k.a. solo artist Martial Canterel—didn't sing on, although his plush keyboard parts more than make up for it.)

Much like their seamless live sets—which have won over contemporary art crowds, underground dance clubs, and painlessly cool indie kids—songs bleed into one another, too, becoming moving parts of one streamlined organism, textured and orchestral at every turn. To reinforce the duo's self-aware sequencing, each side of the vinyl pressing is even bookended by a striking pop song and opulent instrumental. Another reason it's so fluid is the fact that Xeno & Oaklander broke out of their comfort zone by transplanting their synth-flanked Brooklyn space to a pro setting: Tom Tom Club's longtime studio, the Clubhouse.

"We began from a kind of Year Zero," explains McBride, "nothing written, nothing recorded, just a bracketed amount of time in which to compose, arrange, record, and mix the album. For me, this was a highly inspired month—living and breathing music from sun up to moon up."

Topiary's artwork echoes its electromagnetic themes as well; Wendelbo based it on a blown-up X-ray of protein molecules, shot through an electron microscope—a form of crystallography. Or as she puts it, rather cryptically, "What is deep inside of us is a reflection of what is above us. And electricity runs through it all."

Tour Dates:

05.03 Vienna, AT @ Rhiz

05.07 Bratislava, SK @ Subclub

05.14 Leipzig, DE @ Wave Gothik Treffen Festival

05.19 Antwerp, BE @ Der Kleine Hedonist

05.20 Paris, FR @ Petit Bain

05.25 Rennes, FR @ Bar'Hic

05.26 Bordeaux, FR @ Café Pompier

05.28 Madrid, ES @ Club 33