Posts Tagged ‘Mute Records’

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Our new album “Acr Loco”, is our first album in 12 years, will be released September 25th 2020! Listen to the first single ‘Always In Love’ A Certain Ratio are back with their album, Revitalised by their most successful tour in over two decades, the band returned to the studio to record their first album in 12 years – due for release on Mute Records on 25th September 2020.

ACR Loco was recorded by the core line up of Jez Kerr, Martin Moscrop and Donald Johnson with contributions from the ACR live line up – Tony Quigley on sax, Denise Johnson adds vocals and Matt Steele provides keyboards. Additional guests include Sink Ya Teeth’s Maria Uzor and Gemma CullingfordGabe Gurnsey (Factory Floor) and Manchester luminaries Mike Joyce and Eric Random.

“This album is a culmination of everything we’ve ever done,” explains Kerr. The album distils the different directions and styles that have run throughout the band’s career – one that began in the late ‘70s with Factory Records first ever 7” release. “Digging into the past for the boxset [ACR:BOX was released in 2019 on Mute] must have rubbed off on us and influenced the current album,” says Moscrop. “I think it helped spark up our imagination. It allowed us to work in some of the past as we move forward into the future.”

Keen on the joys of collaboration and sharing, it makes sense that adding the ACR touch to other artists via a series of reworks led to their latest album taking shape. Recent reworks of tracks for the likes of Barry Adamson, The Charlatans and Maps saw the band return to the studio to unpick those original tracks. “The reworks were crucial,” says Donald Johnson. “They got us back in the studio and forced a union and a bond. They allowed us to start getting a groove again.” Kerr mirrors this. “We love doing the reworks because it’s just us doing our thing,” he says. “The three of us jamming is really the basis of it all. Once you get that groove there’s no stopping us.”

The first sounds from the album were heard earlier this month when ‘Friends Around Us (Part 2)’ debuted after Tim’s Twitter Listening Party. This was followed by a limited edition 7” released in two parts across both sides of the vinyl, in homage to some of the great soul releases of the ‘70s and ‘80s, the 7” was available exclusively through the Love Record Stores Event to help struggling independent retailers.

The new 10-track album is out on CD, cassette and limited edition coloured vinyl. The vinyl will be available in one of four colours: white, blue, red and turquoise, randomly packed, with each colour of varying rarity.

Always In Love, taken from the forthcoming album ACR Loco, released September 25th.

Mute Records is arguably one of the most important independent music labels of all time, and certainly most successful and prolific. Since founding the label to release his debut single, The Normal’s ‘Warm Leatherette’ / ’T.V.O.D’ in 1978, Daniel Miller went on to spearhead the careers of such music luminaries such as Fad Gadget, Depeche Mode, Einstürzende Neubauten, curating an enviable roster of artists that culminated recently with the signing of defunct rival Factory Records most popular act: New Order.

Now Daniel Miller is curating Mute: A Visual Document—a 320 page book of comprehensive discographies, including photography and video stills from legendary photographers, conceptual artworks, and “rare ephemera and equipment”. Also included is a family tree of Mute artists,  and anecdotal and photographic contributions from important figures in the label’s history that include Moby, Alison Goldfrapp, Anton Corbijn, Bleddyn Butcher, Brian Griffin, Jon Spencer, Barry Adamson, Ivan Novak (Laibach), Angus Andrew (Liars), Adrian Shaughnessy and Tom Hingston.

The book follows the comprehensive 10-disc singles and b-sides boxset Mute: Audio Documents 1978 – 84, which was released in 2007. Exhaustive 10 CD box set from Mute Records, a collection of their singles, a and B-sides, released between 1978 – 84. The box contains four two-CD sets, each covering a specific time period (1978-81, 1982, 1983 and 1984) plus a bonus two disc set that contains 20 rarities by most of the artists featured in this box including Depeche Mode, Yazoo, Fad Gadget, Nick Cave, Non, Silicon Teens and the Normal. The first four volumes will be available separately later in 2007, but the bonus two CD set will only be available with this box! 128 groundbreaking tracks by one of the finest independent labels to emerge during the ‘new wave’ revolution. Also features cuts from D.A.F., Boyd Rice, Smegma, Robert Rental and more. 2008.

Sure, it’s definitely just label friends, to which I only partially count myself. So I was all the more surprised by what there was to discover.
For those interested in buying: Here on 10CDs you will find the complete back catalogue of all MUTE 7″ singles from 1978- 1984 nice with A & B-page.
From this not only “things that are on the books and are also on the albums”. I’ve discovered a lot, I was amazed at what was pressed on vinyl at the time.
The rarities are all rather live stuff, of which the concert by The Normal & Robert Rental 1978 was the absolute highlight for me. (The label connoisseur already knows this as a vinyl bootleg) If you ignore the sound quality, the gig was 25 years ahead of its time. That could have rocked the club in 1993.

The only shortcoming is the price. But maybe there are for those who don’t need everything, download the single tracks at Mute The box should probably also be picked and the CDs appear individually – apart from the rarities, this definitely should not give any more. Who knows? I’m looking forward to part 2! 85- 91 I also find exciting.

Mute Audio Documents / Various

Mute: A Visual Document, is a project helmed by author and musician Terry Burrows is being released by Thames & Hudson on November 28th

In June 2017, New Order returned to the stage at Manchester’s Old Granada Studios where Joy Division made their television debut on Tony Wilson’s So It Goes programme in 1978. For the celebrated show ∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes .., New Order deconstructed, rethought and rebuilt a wealth of material from throughout their career: familiar and obscure, old and new. Featuring tracks such as Disorder, from Joy Divisions Unknown Pleasures and not played live for 30 years, up to 2015’s Plastic from New Order’s critically acclaimed Top 5 album Music Complete– this is the perfect document of those magical 5 nights. The album was recorded live on 13th July 2017 and includes the full show and encore plus 3 additional tracks recorded over the residency to give listeners a full representation of the breadth of material performed.

If you’re looking for a New Order live album chock full of their greatest hits, go pick up Live at the London Troxy or Live at Bestival 2012. If you’re looking for a New Order live album with a more unconventional setlist, a broader artistic vision and a 12-piece synthesizer orchestra, check out this new one, the arty-mathy, horrendously titled ?(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes.

Their MIF performance featured a bold stage setup and dramatic light show, which “reacted” to the music and was designed by English conceptual artist Liam Gillick. Its aesthetic devotion to sharp lines and spiraling motifs can be found throughout. Above all, this is an album full of intention. The way it toggles between the dreamy, the rave-y, the interstellar and the mathematical is what makes it uniquely transcendent. It’s so easy to get locked into the pulsing grooves and club beats on “this weird New Order live album” (which is likely how you’ll refer to it) that you won’t even realize songs like “Age of Consent” or “Blue Monday” are missing.

New Order Ltd. Under exclusive licence to Mute Artists Ltd. Released on: 2019-07-12

3LP – Limited Edition Triple album pressed on transparent coloured vinyl. Packaged in individual sleeves and into a hardback slipcase, all with spot gloss finish.24 page 12″ sized booklet with silk finish containing exclusive imagery and text relating to the legendary event. Includes hi definition digital download of all 18 tracks.

No photo description available.


Later this month, Depeche Mode will launch a series of box sets collecting the band’s 12-inch singles.  On August 31st, the first two boxes, Speak & Spell and A Broken Frame, will be released.  All audio in this series has been newly remastered from the original tapes and cut at Abbey Road Studios.

The first box, Speak & Spell: The 12″ Singles, collects all of the singles around the era of the British electronic band’s 1981 debut Speak & Spell.  It kicks off with a replica of the rare flexidisc containing “Sometimes I Wish I Was Dead” b/w Mute Records labelmate Fad Gadget’s “King of the Flies,” and continues with three 12-inch singles headlined by “Dreaming of Me,” “New Life,” and “Just Can’t Get Enough.”  The original single versions of both “New Life” and “Just Can’t Get Enough” reached impressive peaks in the U.K. at No. 11 and No. 8, respectively.  Despite their success, however, Speak & Spell proved to be Depeche Mode’s only album with founding member Vince Clarke.


The second box set, A Broken Frame: The 12″ Singles, addressed the period of the band’s 1981 sophomore album, their first to feature Martin Gore.  This box has three 12-inch singles, with the A-sides “See You (Extended Version),” “The Meaning of Love (Fairly Odd Mix),” and “Leave in Silence (Longer).”  All three songs placed in the U.K. top 20, with “See You” reaching the top ten.


Depeche Mode commented in the press release, “Our 12-inch singles have always been incredibly important to the band.  It’s great to be able to re-share these songs with old and new fans in the way they were originally intended to be experienced.  We hope you enjoy them as much as we do.”  The cover of each box set features street art iconography inspired by the original albums, while the sleeves of the actual 12-inch singles are replicas of the originals.

Look for the first two box sets from Rhino and Mute Records on August 31st!  You’ll find full track listings and pre-order links below!

Speak & Spell: The 12″ Singles (Mute/Rhino, 2018)

Flexidisc (released as Flexipop 011, 1981)

  1. Sometimes I Wish I Was Dead – Depeche Mode
  2. King of the Flies – Fad Gadget

Dreaming of Me 12″ (released on 7″ as Mute Records 7 MUTE 013, 1981)

  1. Dreaming of Me
  2. Ice Machine

New Life 12″ (released as Mute Records 12 MUTE 014, 1981)

  1. New Life (Remix)
  2. Shout! (Rio Remix)

Just Can’t Get Enough 12″ (released as Mute Records 12 MUTE 016, 1981)

  1. Just Can’t Get Enough (Schizo Mix)
  2. Any Second Now (Altered)

A Broken Frame: The 12″ Singles (Mute/Rhino, 2018)

See You 12″ (released as Mute Records 12 MUTE 018, 1982)

  1. See You (Extended Version)
  2. Now This Is Fun (Extended Version)

The Meaning Of Love 12″ (released as Mute Records 12 MUTE 022, 1982)

  1. The Meaning Of Love (Fairly Odd Mix)
  2. Oberkorn (It’s a Small Town) (Development Mix)

Leave In Silence 12″ (released as Mute Records 12 BONG 1, 1982)

  1. Leave In Silence (Longer)
  2. Further Excerpts From: My Secret Garden
  3. Leave In Silence (Quieter)

Can made music from an imaginary country, one with its own traditions and language — which means none at all. In its work, jazz, funk, electronic, psychedelic and minimalist music ran wild through impossible valleys and fantastic mountaintops. Some call it krautrock by virtue of the band’s German home base in Cologne. Most just call it Can.

For all of its sprawling albums releases, Can also maintained a healthy appetite for singles, which have now been collected. Out June 16th on Mute Records, “The Singles” will collect… well, guess. From radio edits of fan favorites like “Halleluwah” and “Future Days” to lesser-knowns.

As a preview the following track is available “Turtles Have Short Legs,” Can’s third single, originally recorded during the Tago Mago sessions and only ever issued on 7″ vinyl. It’s a hilariously goofy attempt at a novelty single,  Writing about the song on Head Heritage, Julian Cope says, “It’s unlike any Damo [Suzuki]-era Can piece ever, appropriating an absurd Teutonic toy town piano phrase that winds up subverting it in waves into a slow, untrammeled monster.”

Farther down the line comes exciting news about a new Can book in spring 2018. There will be a complete, authorized biography written by The Wire’s Rob Young, plus the Can Kiosk by band member Irmin Schmidt, a “collage of thoughts, visuals and interviews,”

LUH: Ellery Roberts (left) and Ebony Hoorn.

I&I is the opening to the work we spent the past 18 months developing. The visual was directed by Ebony Hoorn & Florian Joahn.
I&I speaks of impulse & limitation, the thoughts that pass thru the morning air, the embers of a dreams left unspoken then forgotten. The visual finds  portraying the taunts of duality, invocation of the rising sun to find the courage to act. What a strange old musical journey Ellery Roberts has had. The centre point of a million blogs about his old band Wu Lyf a few years back, he went from being someone with a few great songs to The Next Big Thing within the proverbial five minutes.

Wu Lyf split messily in 2012, with a statement from Roberts claiming, “The sincerity of [debut album Go Tell Fire to the Mountain] was lost in the bull shit of maintaining face in the world we live”. As parting words go, even that felt like a brilliantly orchestrated manoeuvre that only added to the cult appeal the band had fostered

Within a year he’d put out new solo track, Kerou’s Lament’, but the music was literally all we got. No interviews, no record deals, not even much in the way of social media. And then he disappeared again. Various rumours about Ellery over the past few years – of rehearsals with members of the best of Manchester’s music scene, of obsessions with dubstep, of a return to university, and moves to Japan and Amsterdam.

Today the story becomes a little clearer. Ellery and his partner Ebony Hoorn played their first live dates as LUH (aka Lost Under Heaven), as well as their signing to Mute Records and a slow-building, piano-led track called ‘I&I’ which was produced by the Haxan Cloak and recorded on the island of Osea last May. It’s dynamic and euphoric, with Hoorn and Roberts’ distinctive vocals intertwined throughout.

So BJH ditched the hooves, went blonde and hitched her wagon to a brand new edgier sound. Good for her, so it seems. Sold to the fish in the corner on the chorus alone, with it’s epic drum/guitar mash-up, she’s got one hell of a vocal range that wallops a whole range of emotions into orbit. ‘Welcome Back To Milk’ is out now on Mute Records.

Zola Jesus performing live in the KEXP studio. Recorded January 9, 2015. Last year, Zola Jesus returned to the scene with a new look, a new label, and new vastness that she’s never shown off before. “Taiga”, her first LP on Mute Records, puts Nika on a new plane of existence, much more natural and much stronger than she’s ever presented herself to be before. And with it, she has created the biggest, best live Zola Jesus experience to date. The Taiga  tour shows off a new side for Nika, not only in the music it uses, but in the interactive experience and the presentation of her entire body of work. Truly, this is a more vibrant, more magnificent picture of the whole that we are ecstatic to see here for Zola Jesus.


Dangerous Days

”Stranger” is taken from the Goldfrapp album “Tales of Us”, out now on Mute Records. The digital deluxe edition, featuring 10 tracks recorded live at Air Studios was released in mid June .Goldfrapp has unveiled the fifth music video from their latest album, Tales of Us. The final chapter of a 30-minute film directed by Lisa Gunning that weaves disparate tales of love, loss, madness, and identity, “Stranger” is shot in the same gauzy, low-contrast black and white as “Drew” and “Annabel,” the dreamy, nostalgic tone initially edging perilously close to that of a Calvin Klein fragrance commercial. Like the stunning “Annabel,” which also cleverly features singer Alison Goldfrapp in a minimal role, the video focuses on a queer character (played by Irish actress Laura Donnelly) who revisits the seaside location of a Sapphic tryst with a married stranger. While the earlier clip told the tale of a young child coming to terms with her gender, “Stranger” seems to perpetuate a much thornier concept: that of the homosexual as a lethal predator. It’s one that’s been explored to varying degrees of success, from the divisive 1980 film Cruising to last year’s acclaimed Stranger by the Lake. Here, what at first seems like a symbol of remorse, her dead lover’s wedding band still hanging from her neck years later, turns out to be not a memento for what could have been, but one of many that will never be. 

Taken from the new album “Before The Dawn Heals Us” their third studio album On August 25th Mute Records will re-issue the albums M83, Dead Cities Dead Seas and Lost Ghosts and Before The Dawns Heals Us, so here is a freshly released video from the aforementioned album

And just because it’s so good, also  among’st Pitchforks  tracks of the decade here is the song” Midnight City”