Elefant

ELEFANT: Releases [2025]

JANUARY 2025

ER-D389 ALPACA SPORTS \"Always On My Mind\" Single Digital (2 Tracks) [8-1-2025]
ER-1281PLP BUBBLE TEA AND CIGARETTES \"There’s Nothing But Pleasure\" LP (Pink Coloured Vinyl Edition) [10-1-2025]
ER-D381 AMOR BUTANO \"Virgen De Las Desamparadas\" Single Digital [15-1-2025]
ER-1298 ALPACA SPORTS \"Another Day\" LP [17-1-2025]
ER-D393 LISASINSON \"Quiero Que Perdamos La Cabeza (Otra Vez) (David Van Bylen Remix)\" Single Digital [31-1-2025]

FEBRUARY 2025
ER-D394 THE PRIMITIVES \"Sweet Sister Sorrow\" Single Digital [7-2-2025]
ER-D390 MADDIE MAE \"Medusa\" Single Digital [14-2-2025]
ER-D396 MARIA RODÉS (Feat. DELAFÉ) \"Hechizo\" Single Digital [21-2-2025]
ER-D397 PAPA TOPO \"Ven A Mis Brazos\" Single Digital [28-2-2025]

MARCH 2025

ER-1300 THE PRIMITIVES \"Let\'s Go Round Again • Second Wave Singles & Rarities 2011-2025\" Doble-LP [7-3-2025]
ER-1299 IBON ERRAZKIN \"Nubes Y Claros\" Álbum Digital [14-03-2025]
ER-D399 PAPA TOPO \"Emasculación, La Solución\" Single Digital [18-03-2025]
ER-D398 MARIA RODÉS \"Lo Que Me Pasa\" Single Digital [21-03-2025]
ER-D401 LISASINSON \"Si Me Pierdo\" Single Digital [26-03-2025]
ER-D400 MARIA RODÉS (Feat. CALIFATO ¾) \"Lo Que Me Pasa (Califato ¾ Trip Hop Remix)\" Single Digital [28-03-2025]

APRIL 2025

ER-1301 PAPA TOPO \"Presto y con Toda la Fuerza\" LP [25-4-2025]

MAY 2025

ER-1302 MARIA RODÉS \"También Esto Pasará (Original Motion Picture Soundtrack)\" Álbum Digital [9-5-2025]
ER-D402 SOLEÁ MORENTE \"Mi Cura\" Single Digital [23-5-2025]
ER-D403 MARIA RODÉS (Feat. Paco Pecado) \"Pienso En Ti\" Single Digital [30-5-2025]

SEPTEMBER 2025

ER-363 LIGHTNING IN A TWILIGHT HOUR \"There\'s More to Life Than Crooks\" Maxi-Single 12\" [5-9-2025]
ER-D404 SOLEÁ MORENTE \"Azalea\" Single Digital [9-9-2025]
ER-1305 SOLEA MORENTE \"Sirio B\" LP/CD [19-9-2025]
ER-D405 MARIA RODÉS (Feat. LA BIEN QUERIDA) \"El Parque\" Single Digital [23-9-2025]

OCTOBER 2025

ER-D407 MARINITA PRECARIA \"La Nieve\" Single Digital (1 tema) [3-10-2025]
ER-D406 LISASINSON \"Deberíamos Vernos Más\" Single Digital [7-10-2025]
ER-D408 PIPIOLAS \"No Tocar\" Single Digital [10-2025]
ER-D410 MARINITA PRECARIA \"Conmovedor\" Single Digital (3 temas) [31-10-2025]

NOVEMBER 2025

ER-1163SLP THE PRIMITIVES \"Echoes And Rhymes\" LP Reissue [7-11-2025]
ER-400 THE PRIMITIVES \"40th Anniversary Single\" Single 7\" [7-11-2025]
ER-1303 LIGHTNING IN A TWILIGHT HOUR \"Colours Yet To Be Named\" Doble-LP/CD [21-11-2025]

LIGHTNING IN A TWILIGHT HOUR "Colours Yet To Be Named" Doble-LP/CD [

“Colours Yet To Be Named” marks the third album release by LIGHTNING IN A TWILIGHT HOUR, the latest project of Bobby Wratten (THE FIELD MICE, NORTHERN PICTURE LIBRARY, TREMBLING BLUE STARS). The follow up to 2022\'s “Overwintering”, which was chosen by BBC 6Music\'s Mark Radcliffe, as his album of the year.

A soundworld of alternate tunings, experimental guitar, clicks, crackles, strange atmospherics and mournful synths, “Colours Yet To Be Named” seeks to communicate feelings, long before any lyrical content hits home; knowing that the beating heart of a record is first and foremost the sound palette on display. The album undertakes a journey beginning with American poetry in England and ends with English poetry in Switzerland. Between these two points are visits to mid-sixties Paris and mid-eighties London. A trip to a Nico-inspired subterranean cocoon and a place of authoritarian atrocities and dehumanisation. The latter, drawing parallels between the past and present.

In other songs, Brian Eno meets a simple Yoko Ono inspired lyric where the vocal line must continually adjust to the five circling chords underneath and a storm at sea encroaches on an initially tranquil song of friendship that becomes ever more uncertain and adrift.

Written, recorded and mixed between autumn 2024 and spring 2025, the album features Anne Mari Davies taking lead vocals on four tracks and contributing an array of additional vocals ranging from spoken word to unison, to the highly processed and experimental. Beth Arzy sings lead and harmony on the closing song and contributes backing vocals to three others. Michael Hiscock is featured playing bass on seven tracks, and Ian Catt resumes his role as producer and engineer, continuing to push the envelope of what pop can be. Building on techniques developed in the making of “Overwintering”, digital technology was employed to turn improvised landscapes into song shapes which continued to be adjusted as lyrics and vocal parts were written. The sessions were a process of discovery; a road towards a complete self-contained statement of songs of introspection and observation, that slowly revealed itself as each came to fruition, adding another piece to the picture.

TRACKLIST: 01 Red Comet 02 Fortress 03 Inner Heat 04 Addicere 05 Opaque Retreat 06 Every Flame a Sunset 07 The Quiet and the Confusion 08 The No-sound of Falling Snow 09 Graph Paper 10 Blue Traces 11 Folk Radio

THE PRIMITIVES "40th Anniversary Single" Single 7"

On November 14, 1985, THE PRIMITIVES performed their first concert at The Hope & Anchor pub in Coventry. Tracy Tracy had only been in the band for a month, but even then, they played unforgettable songs like \"Thru The Flowers\", \"Crash\" and \"Spacehead\". On November 14 this year, to mark their 40th anniversary, THE PRIMITIVES will kick off an eleven-date UK tour in Milton Keynes to celebrate, bringing with them a setlist full of some of the most important songs from the different stages of their career.

On October 30, 1985, two weeks before that concert, Paul Court and company recorded some demo tracks including \"Thru The Flowers\", which was considered striking enough to release as their debut single, and is one of the songs that has always been at the top of Elefant Records\' hit parade. And this November 7, 2025, we will release a 7\" Single in a limited edition of 500 copies in white colour vinyl, which includes two tracks: a new mix of the aforementioned \"Thru The Flowers\" with overdubs and guitars added to what was, according to Paul, just a bare- bones live demo recorded by a band trying to find its sound, and the original unreleased version of \"Sweet Sister Sorrow”— their first song in an updated version and their last composition in its original form.

You can imagine how important this release is to us because of what a song like \"Thru The Flowers\" represents to Elefant Records, because of what THE PRIMITIVES have been and still are on the global pop scene, because of what they mean, and because of the very special relationship we have with the band’s musicians. And also, because we are thrilled to have them celebrating this anniversary tour in Spain at the end of February 2026.

Long live THE PRIMITIVES!

TRACKLIST: 01 Thru The Flowers (85/25) 02 Sweet Sister Sorrow (First Version)

THE PRIMITIVES "Echoes And Rhymes" LP Reissue

REISSUE 2025 IN WHITE COLOUR VINYL – YELLOW/RED SPLATTER

To mark the band’s 40th anniversary, we are thrilled to present the reissue of “Echoes And Rhymes” on striking white vinyl with yellow/red splatter. A brilliant collection of covers of 60s female gems that THE PRIMITIVES made their own with jangle-pop spark, punk energy, and Tracy Tracy’s unmistakable voice.

A unique opportunity to rediscover an album that shines as brightly as the band’s classics, and that joins to the reissue of “Spin-O-Rama”, the recent release of “Let’s Go Round Again • Second Wave Singles & Rarities 2011-2025” which compiles much of the band’s hit collection from the second stage of their career, and the tribute record titled “40th Anniversary Single” also released in November 2025, which includes two songs: a new mix of “Thru The Flowers” with overdubs and added guitars, and the previously unreleased original version of “Sweet Sister Sorrow”. Their very first song in an updated version and their last composition in its original form.

It is time to celebrate these 40 years of career and let the echoes and rhymes keep sounding more alive than ever.

ORIGINAL PROMOTIONAL TEXT

We were already spreading the word with that Christmas gift THE PRIMITIVES gave us – PJ Court’s band has a new album! This is great news! The reunion that came about as a result of the death of their bassist, Steve Dullaghan, and that put them back on stage after 17 years away, has culminated in a surprising album that is full of energy and that shows that the authors of “Crash” are still in enviably good shape.

What’s more, “Echoes And Rhymes” really grabs the attention. All of the songs selected for the album are versions of songs by obscure, female-fronted groups from the sixties. Curiously, the album is a long way from suffering from disparateness; these Brits knew how to make each and every one of the songs on this marvellous album reflect and mesh with their electric personality. They took over these songs with surprising urgency and energy while still managing to salvage the marvellous essence of melodies that were born in the decade that most-cared for such things. The result is a tremendously addictive album, seasoned with a sixties-halo that functions as a vindication and takes us directly to research every one of the (in some cases) little-known names that make up the details of its track-list. Who doesn’t wonder what incredible songs can be included in the repertoire of someone who wrote songs like “Turn Off The Moon”, “Sunshine In My Rainy Mind” and “I\'m Not Sayin\'”? From garage to psychedelia, with touches of soul and sunshine pop, multiple styles come together to form a special type of compilation, revisited with all the love and affection and energy of THE PRIMITIVES. Following their love for independence, but with their unchanging capacity to reach everyone, as they already proved with their first recordings more than twenty years ago.

Track by track by Paul Court [THE PRIMITIVES]

Panic

REPARATA AND THE DELRONS’s “Panic” was one of those girl group tunes that became a big northern soul spin. It also sounds like a musical blueprint for early 80s punk pop outfit BOW WOW WOW, and I can’t help thinking they missed a trick not covering this song. We’ve kept the spikiness of the original, whilst giving it THE PRIMITIVES bubblegum/jangle treatment.

Turn Off The Moon

This song was on the B side of a single called “Lolita Ya Ya”, from the soundtrack of Stanley Kubrick’s “Lolita”. The singer was its 14 year old star Sue Lyon. We’ve given it a punk edge, with some period Joe Meek sounds.

Move It On Over

Until recently we’d only known of one record by the exotically named Legrand Mellon “Baby Please Don’t Go”. Turns out she released three 45s, and one of those was the original of this fiery little kiss off.

Sunshine In My Rainy Day Mind

We hadn’t even heard Polly Niles’ folk psych groover till we were half way through recording “Echoes And Rhymes”, but it was love at first listen. There was something inherent within the song that reminded us of post “Lovely” PRIMITIVES, so it seemed an obvious tune to cover for the album.

Till You Say You’ll Be Mine

This Jackie DeShannon penned ditty is probably one of the better known songs on the album. Luis from Elefant played us the Olivia Newton-John garage band style version, and we’ve based our rendition on that.

I’m Not Sayin’

We’ve replaced the jauntiness of this 1965 Nico single, written by Gordon Lightfoot, with the kind of chiming folk drone and incessant floor tom and snare pounding associated with the band she joined the following year. The song is about someone who wants to have their cake and eat it and, as it’s one that I’ve sung lead on, I’m glad Tracy’s unison vocal comes in on “Baby if you let me have my way”, hopefully rendering the line a little less tacky. There’s an angelic little harmony at the end courtesy of TT, which should help coax the listener into overlooking the devious pussyfooting of the song’s protagonist.

The Witch

Nothing else on the “Paradise Of Sounds” LP by Germany’s ADAM AND EVE, is a patch on the groovy little oddity entitled “The Witch”. We’ve accentuated the VELVET UNDERGROUND elements of the song and replaced the owl impersonations etc with wind style sound effects a la HAWKWIND’s “Silver Machine”. Janie Jones, the notorious 60s pop star turned madam, also recorded the song (she was married to “Adam” aka Johnnie Christian Dee at the time). Her spine-tingling version sounds like Fenella Fielding’s character in the British comedy film “Carry On Screaming”, fronting some proto-heavy metal band, and it’s a charming slice of late 60s goth rock.

I Surrender

It’s surprising that no one, to our knowledge, has recorded a cover of this hipster floor filler, so here’s our take on Bonnie St. Claire’s Tamla-esque pop stomper.

Amoureux D’une Affiche

Well, we hope we’ve managed to pull this one off. Tracy is the only one of us that’s bilingual, but her other language is Spanish. The song, as far as we can make out, is about being in love with a poster of a girl who isn’t wearing much. One line translates into English as “Two sirs raise their eyes towards my naked thighs” - Ooh la la! One of the main things that attracted us to Laura Ulmer’s spirited yé-yé gem, was its brash, almost punk fervour; a sound and style which, in retrospect, a fair few 60s French pop tunes seem to have. It also, of course, has that killer “la la la la la” vocal hook and a cracking little arpeggio guitar riff that’s very PRIMITIVES.

Where Will You Be?

“You Just Gotta Know My Mind” might have been the more obvious song for us to cover from Dana Gillespie’s “Foolish Seasons” album, seeing as we used to have a song called “You Don’t Know” (only ever played live and not very well) that sounded just a tinsy bit similar. We opted instead for this dreamy, anthemic heart melter.

Single Girl

Unlike everything else on the album, this Sandy Posey song was an international hit record. We’d forgotten all about it until recently, but hearing it afresh, we decided it would be a good one to include. What at first appears to be the standard, lonely woman must find a man type scenario, soon slips into somewhat more illicit territory, with talk of having rent to pay, followed by the line “I need a night time love, to get me through the day”. Could be all perfectly innocent, but it does seem as if something a little saucier is being implied.

Who Are You Trying To Fool?

Little Anne’s soul shouter, which resurfaced in the 90s, starts off with the vocals sounding quite restrained, but soon builds into an octave jumping frenzy. We tried it like that, but it didn’t sound very PRIMITIVES, so we resorted to our original plan, which was to take a full throttle 60s soul tune and calm it down a bit, i.e., the opposite of when soul singers would tear into hits by THE BEATLES, etc.

Time Slips Away

SHOCKING BLUE, a female fronted band who had a few other good tunes besides the one big hit that they’re mainly remembered for. Can’t help feeling a bit of an affinity, so of course we had to do one of theirs.

Wild Flower

There’s something unwittingly psychotic about THE SHE TRINITY’s “Wild Flower”. We’ve ramped up the mayhem with bongos, feedback and amp kicking, as you do. We also decided to uphold the tradition of me singing two songs per album, so it’s another one with me on lead vocals.

TRACKLIST: 01 Panic 02 Turn Off The Moon 03 Move It On Over 04 Sunshine In My Rainy Day Mind 05 Till You Say You’ll Be Mine 06 I’m Not Sayin’ 07 The Witch 08 I Surrender 09 Amoureux D’une Affiche 10 Where Will You Be? 11 Single Girl 12 Who Are You Trying To Fool? 13 Time Slips Away 14 Wild Flower

MARINITA PRECARIA "Conmovedor" Single Digital

Creative processes are truly amazing. That’s why MARINITA PRECARIA is opening a new chapter with the collaboration of different producers, and the first release comes with Christophe Vaillant. Yes, the mastermind behind LE SUPERHOMARD and the marvelous “Meadow Lane Park” (Elefant, 2019), who later joined Maxwell Farrington to release two albums and several singles that brought the band widespread recognition in France. Christophe has also collaborated with and co-written songs for Paul Weller on the last two albums by the former leader of THE JAM, and has remixed tracks for THE MOONS, BADLY DRAWN BOY, THE SPITFIRES, and many more.

Christophe has gone all out for Marina’s new songs, recording keyboards, guitars, bass, and a variety of other instruments. On drums, none other than Loic Maurin (M83), and on backing vocals, Lorene Murzilli (LE SUPERHOMARD). The result is the EP “Conmovedor”, where Christophe’s production wonderfully enhances the elegant yet endearing melancholy of MARINITA PRECARIA, imbuing it with unprecedented strength.

“Conmovedor” is a showcase of Christophe’s mastery with synthesizers, set to a northern soul rhythm, accompanying Marina’s wonderful ability to craft delicate yet powerful, attractive, and addictive melodies. One of the great surprises of this collaboration is how the French producer has brought out, in such an astonishing way, the latent strength and candid energy of MARINITA PRECARIA’s songs, leaving the listener completely disarmed.

“Fiestas” is an evocative piece that drifts across layers of synthesizers, evoking echoes of THE RONETTES, THE BEATLES, and Brian Wilson. And what a vocal line it delivers. Christophe, as always, carries us into the upper layers of the atmosphere, playfully orbiting stars and satellites. Exciting, dazzling. Pop of the finest caliber.

“La Nieve” opens with a clavichord before bursting forth with tremolos, synthesizers, and cosmic arpeggios. A perfect metaphor for a luminous song that embraces and stirs the listener, showcasing a Marina who is energetic, powerful, poetic as ever, yet more direct than ever before.

The outcome of this collaboration can only be described as fascinating. Symbiosis, the seasoned ones would say. Magic, the music lovers would say. What will the next collaboration be? Where will it go, given these references? Let’s set speculation aside and enjoy something truly “moving”.

TRACKLIST: 01 Conmovedor 02 Fiestas 03 La Nieve

PIPIOLAS "No Tocar" Single Digital

From the very beginning, their songs hinted at something special: two multidisciplinary artists, in the truest sense of the word, writing music that feels like it comes from everywhere and nowhere at once, and making sure their voices are heard. “No Hay Un Dios” was their big breakthrough—a collection of songs that opened up a new way of understanding music, full of possibilities to explore. Collabs with Rigoberta Bandini, GINEBRAS, or Kiko Veneno say it all: established artists see in them freshness and inspiration. Now “No Tocar”, the new single from PIPIOLAS, takes things even further. Another hit, another bold, fearless, high-energy track. Produced with Vau Boy and mastered by Xavier Alarcón.

And if before they were singing, dancing, acting, and composing, now they’ve added yet another layer to the mix. Paula directed the music video herself, shot entirely inside Madrid’s Museum of Romanticism. The video tells the story of two romantic women who get lost in romanticism until they become part of a museum where nothing can be touched. “It’s a trip back to the 80s, with the irreverent spirit of the divas of that era, to say: don’t touch us, don’t stare at us, but listen to us”. For the shoot they teamed up with Joel Burgès as director of photography—a photographer who started out taking pics in his music bar and is now working with artists like Amaia, MORAD, DELLAFUENTE, and Bad Gyal, plus shooting campaigns for Nike, Damm, Reebok, Zara, or Mango.

If you follow them social media, you already know Paula and Adriana live and breathe culture and art with intensity and devotion. Their energy—so diverse, bold, and unique—isn’t something you see every day. This is the real deal. Don’t touch. Just listen.

LISASINSON "Deberíamos Vernos Más" Single Digital

“Deberíamos Vernos Más” is the fifth single taken from LISASINSON\'s new album. Following “Un Año De Cambios”, “Desde Cuándo Todo” will be released in early 2026. And, given that we\'ve been treated to songs such as “Salgo A La Calle”, “Decidí Desaparecer”, “Quiero Que Perdamos La Cabeza (Otra Vez)”, “Si Me Pierdo” and this one, “Deberíamos Vernos Más”, this run of hits is going to be a landmark.

This new Digital Single is once again a display of energy and sensitivity, with one of the most well-rounded vocal melodies Míriam has ever written and a powerful, forceful, irresistibly addictive chorus. Two minutes without a single second wasted. A story of infinite friendship that arose from reading the fanzine “best friends4ever” by Cris Lizarraga (BELAKO), who is referenced in the lyrics. The Valencian band\'s ability to craft hits is incredible, and “Desde Cuándo Todo” is set to be another smash. Enjoy, dance, shout.

MARINITA PRECARIA "La Nieve" Single Digital

This song opens with a clavichord before bursting forth with tremolos, synthesizers, and cosmic arpeggios. A perfect metaphor for a luminous song that embraces and stirs the listener, showcasing a Marina who is energetic, powerful, poetic as ever, yet more direct than ever before.

A little preview of the surprising and wonderful results of MARINITA PRECARIA’s new EP, which will be out in full very soon.

MARIA RODÉS (Feat. LA BIEN QUERIDA) "El Parque" Single Digital

Maria Rodés continues to dazzle with her new project, this time joined by LA BIEN QUERIDA on “El Parque”, a radiant electro-pop single that moves gracefully between the intimate and the everyday.

On this track, their voices intertwine until they become indistinguishable, as if they were two sides of the same consciousness. A union that amplifies the strength of the story: that of the deceived lover, so often stigmatized, who here speaks up to reclaim her desire, her pain, and also the possibility of a miracle.

The everyday universe of the park (with its children, its families, and its apparent normality) collides with the intimate and the subversive: the revelation of a life that is growing, the fruit of a secret night. This tension is wrapped in a luminous electronic production, giving the confession a moving, danceable pulse.

With “El Parque”, Maria Rodés and LA BIEN QUERIDA bring light to a silenced narrative, proving that music can be an act of poetic justice.

Step into “El Parque” and let yourself be swept away by the electricity of this encounter.

SOLEÁ MORENTE "Sirio B" LP/CD

Each new album by Soleá Morente is a marvelous mystery. Where will she go this time? On this occasion, we already had clues, because the big news is that Guille Milkyway and Soleá have come together at a moment of special inspiration in their careers, and the previews of “Vamos A Olvidar”, “Gitana María”, “Mi Vida Es Para Mí”, “Ahora O Nunca”, “Con Los Nudillos”, “Mi Cura” and “Azalea” show that the chemistry between the two couldn’t be more amazing. Yes, Guille has always shown a taste for rumba. And yes, Soleá has more than once made clear her love for disco and electronic music. The common ground is endless. What music brings together, let no genre separate.

“Sirio B,” an album named after the brightest star in the universe, is characterized as a boundless, limitless musical endeavor. It enters our ears as a perfect fusion of the musical identities of two of the most important figures in the Spanish music scene. An album where the musical palette is inexhaustible. Sit down and listen. Or stand up and dance. Or do it all at once.

And it opens at full volume. “Ensoñación Nº 9” lies halfway between copla and bolero, paying tribute to the colombianas of Juanito Valderrama, the spacey sounds of Esquivel, LOS PANCHOS, or even DANIEL, ME ESTÁS MATANDO. A song that blends lyricism with Caribbean ambiance, featuring genius-level production and melodic construction—something that only happens in the best dreams.

And dreamy is also “Ahora O Nunca”, the duet between Soleá and Guille. An epic, emotional track that gives you goosebumps, defying the laws of chemistry with a captivating europop alloy. Next, “Con Los Nudillos” is one of those cheeky rumbas, a mix of bravery, tenderness, and vulnerability that Soleá handles so well. “Gitana María” is the hit – a mystical, divine song, perfect for blowing up dance floors and becoming an anthem. A breakstep track with touches of breakbeat and garage, full of gypsy flair, that includes a tribute to an ancient song sung by the gypsies of Sacromonte.

“Soleá Del Mar” plays with autotune, vocoder, drill rhythms, and Spanish guitars by Gonzalo Bruno. A dark song, a face-to-face confrontation with reality. Soleá surprises with her ease in rapping and the use of palmas (handclaps) in a track like this. We’re disoriented. The mysticism continues in “El Lenguaje De Las Estrellas”, a tribal, psychedelic, profound track, full of roots but at the same time with futuristic production that evokes a conversation with the stars from deep within the caves of Granada. The stunning impact of that song continues with “Mercurio Y Seda”, where our hearts tighten, and our excitement explodes. A trance-house track that features Enrique Morente himself reciting “Omega”, Lorca’s poem for the dead. Guille achieves the long-awaited dream of bringing Soleá together with her father in a song. Something magical and hard to describe. Overwhelming.

“Vamos A Olvidar” features the vocals and cheers of LAS NEGRIS, elevating a wonderful chorus to new heights with a cumbia rhythm, and those twists that only Guille can pull off so well. Catchy and infectious, just as only these two geniuses can do. On the other hand, “Azalea” is an intimate bedroom pop exercise in which Soleá immortalizes a stage of her life living in front of the Almudena cathedral. And listen closely to that bridge—it could have been signed by HARPERS BIZARRE, THE LEFT BANKE, or Roger Nichols. Because great albums stand out with songs like this.

“NO LIKES goes full blender mode. A juicy rumba with backing vocals by Nerea Marcos, flamenco guitar by Kiki Morente, and cheers from her mother Aurora Carbonell, Ana Soler, and Enrique Amaya. Pure breed: the Caño Roto sound, LOS CHORBOS, MORENA Y CLARA, EL LUIS. That’s that. Let’s see who can resist dancing to this.

“Mírame (tengo WOAAA)” plays with frequencies and crosses styles like jungle and avant-pop while being inspired by the seguiriya “Mírame A Los Ojos” by Enrique Morente on “Despegando”. “Mi Cura” is a europop hit with modern Brazilian funk influences. A track that’s danceable to the limit and, once again, pays special tribute to the omnipresent father figure in Soleá’s life. “Mi Vida Es Para Mí” reminds us of the most escapist moments of LA CASA AZUL. It floats between the misty landscapes of WEYES BLOOD, the sonic confidence of ST. VINCENT, the intimate epicness of Lorde, the introspective melancholy of BEACH HOUSE, and the dense textures of TAME IMPALA.

Finally, “Amor Mío (siento si no estuve aquí)” plays with soft, velvety soul to trace a farewell between the elegance of Jeanette and SUPER FURRY ANIMALS. A tribute to something once lost or left behind despite loving it with all your soul.

There probably hasn’t been such a bold, inspired, powerful, and hallucinatory fusion of flamenco with other musical styles since “La Leyenda Del Tiempo”. Such an event deserves an equally striking live presentation, and “Sirio B” will feature a new band to bring this special album to life on stage. The tour will include Víctor Cabezuelo and Julia Martín of RUFUS T. FIREFLY, Nieves Lázaro, Gonzalo Navarro, and Javi Martín of THE LOW FLYING PANIC ATTACK. A powerful stage concept with strong electronic elements and a clear focus on the dance floor.

It’s going to be a great year. Guille and Soleá have made sure of it. They are the stars who shine on us with their warm, close language.

LIGHTNING IN A TWILIGHT HOUR "There's More to Life Than Crooks" Maxi-Single ...

\"This really is gorgeous. One of those rare songs which, irrespective of time considerations, demands to be something more than just a 7” or whatever the post-vinyl equivalent is – a “Blue Monday”, “Primitive Painters”, “Revolutionary Spirit” or, yes, “Missing The Moon!” Something that just sounds Big and Important\".

Matt Haynes, Sarah Records

Elefant Records presents the first two tracks to be released from the sessions for the third LIGHTNING IN A TWILIGHT HOUR album. “There\'s More to Life Than Crooks” and “Haar” form a stand-alone 12\" single reflecting two contrasting approaches; a pop song and a dark tone poem.

The A side combines ideas such as touching the grass in a world of noise and the Albert Camus inspired \"existence is an act of rebellion\". Written as an immediate reaction to world events, it explores the need to formulate some kind of response when presented with the very worst of times. Musically it takes its cues from Factory Records 12\" singles, and pioneering experimental English rock band, DISCO INFERNO. Using a sound pallete of drum machine, sequencer, abrasive electric rhythm guitar and an outstanding Michael Hiscock (THE GENTLE SPRING, THE FIELD MICE) bassline, the music unfolds patiently over six minutes. Anne Mari Davies (THE FIELD MICE) provides additional vocals which lift the chorus to where it shimmers and sparkles, releasing the tension.

\"Illuminate what\'s tender. Illuminate what\'s wise\".

“Haar”, on the B side, is another world altogether. An ominous landscape featuring feedback loops, shortwave radio and autumn waves recorded at dusk in Dungeness (Kent). Anne Mari Davies this time provides layered, wordless vocals as the track\'s intensity increases. Recommended if you like MAIN, LABRADFORD, COIL & NORTHERN PICTURE LIBRARY.

Produced by Ian Catt in association with LIGHTNING IN A TWILIGHT HOUR.

SOLEÁ MORENTE "Azalea" Single Digital

With “Azalea,” there are now seven advance singles taken from “Sirio B,” the album that Soleá Morente has made together with Guille Milkyway from LA CASA AZUL. This is a remarkable album and, although it’s not their first collaboration, it is undoubtedly a moment of unmatched inspiration and chemistry. “Azalea” is a great example of this. The song captures the intimate bedroom pop sound and the playful sonics reminiscent of tracks like “A T A R A X I A”, combined with the delicacy and sweetness that Soleá brings to this very special lyric. She explains it like this: “A song about what you neglect when you get distracted along the way. When this happens, you lose the ability to fully give yourself to the beautiful and good things, both within yourself and around you. It’s a reflection on how important it is to value what we take for granted. It’s about revealing the intention to see what no one sees where everyone is looking. Also, for me, it’s a special song because it captures a phase of my life in the neighborhood of the Almudena Cathedral, which I’ll carry with me forever”.

And special mention must go to that baroque pop bridge, complete with harpsichord, heir to great bands like HARPERS BIZARRE, THE LEFT BANKE, or Roger Nichols. It enters as if a chamber ensemble were trying to find its place in a frequency lab. What a wonder.

There are only a few days left until “Sirio B” – the brightest star – arrives, an album that will undoubtedly mark a turning point in pop music made in our country.

SOLEÁ MORENTE live: Presentation of "Sirio B" album

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Soleá Morente is known for being a chameleon-like artist, with a spirit similar to Bowie\'s, capable of latching onto different musical trends as they emerge with unusual success. But with her latest album, she has taken a striking leap forward. \"Sirio B\" is the result of many months of work with Guille Milkyway (LA CASA AZUL). It is an album in which fusion, pop and electronica come together to make us dance, move us and leave an indelible mark on our memories. It features undeniable hits (“Gitana María”, “Ahora O Nunca”, “Vamos A Olvidar”), overwhelming sound experiments (\"Mercurio Y Seda\", \"Soleá Del Mar\") and catchy rumbas (\"Con Los Nudillos\", \"NO LIKES\"). An album that is sure to be the talk of the town.

Such an inspiring work requires a revamped stage concept, with a greater emphasis on electronics and a more powerful, danceable sound. This tour will feature Víctor Cabezuelo and Julia Martín of RUFUS T. FIREFLY, Nieves Lázaro, Gonzalo Navarro and Javi Martín of THE LOW FLYING PANIC ATTACK to bring together all the elements of a sound that seeks to thrill the audience while getting them dancing. Without a doubt, one of the best acts around today and one of the best live performances. A show in which Soleá Morente will perform her new album, but all the great hits from her previous albums will also be included.

MARIA RODÉS (Feat. Paco Pecado) "Pienso En Ti" Single Digital

In this fourth advance taken from her new album, Maria Rodés joins forces with Paco Pecado to bring “Pienso En Ti” to life – a raw, unfiltered declaration from the very heart of love obsession. Here, desire doesn’t hide, it speaks loud and clear: with a chorus repeated like a mantra, the protagonist clings to the mental presence of a love that is no longer there, or perhaps was never fully there.

“Pienso En Ti” is the song that plays when you can\'t stop looking at your mobile phone, when every corner holds its face, when love becomes a ghostly presence that fills in everything. Somewhere between tenderness and despair, Maria\'s voice interlaces with Paco Pecado\'s, who sings in the chorus, becoming the echo of the object of desire: that ghostly presence that, although absent, responds from some corner of the memory, as if it had never left completely.

Produced by Joel Condal, and moving between the lament of tango and the sway of bachata, the track pulses with the tension of the unresolved. “Pienso En Ti” doesn\'t ask permission to hurt, to stay, to play on repeat. A song for those who once loved without limits and didn\'t know (or want) to stop.

Listen to carefully. You may also start thinking about someone.

TRACKLIST: 01 Pienso En Ti (Feat. Paco Pecado)

IBON ERRAZKIN Proyección de la película-videoclip "Nubes Y Claros"

Después de la película, habrá un coloquio con la moderación de Javier Marzal(TIGRES LEONES) y la participación del propio Ibon Errazkin y del director Antonio Morales. Una oportunidad única para descubrir esta maravillosa pieza audiovisual de la mano de sus autores. Una experiencia hipnótica y sensorial en la que la música guía el ritmo y la mirada.

Espacio Vacío y Elefant Records tienen el placer de presentar, por primera vez en cines, la película-videoclip “Nubes y Claros”, de Ibon Errazkin, dirigida por Antonio Morales. La proyección será en el Cine Paz de Madrid (C/ Fuencarral, 125) el sábado 21 de junio en una sesión matinal a las 12 de la mañana. Después de la película, habrá un coloquio con la moderación de Javier Marzal (TIGRES LEONES) y la participación del propio Ibon Errazkin y del director Antonio Morales. Una oportunidad única para descubrir esta maravillosa pieza audiovisual de la mano de sus autores. Una experiencia hipnótica y sensorial en la que la música guía el ritmo y la mirada.

Rodada íntegramente en la ciudad de Tánger, la película “Nubes y Claros” es un homenaje al cine contemplativo del director Tsai Ming-liang. En ella, el músico Ibon Errazkin recorre diferentes rincones de la ciudad marroquí en una sucesión de planos fijos de gran belleza y quietud en los que Tánger se convierte en un escenario vivo de viaje silencioso y poético.

ENTRADAS AQUÍ

SOLEÁ MORENTE "Mi Cura" Single Digital

There are now six advance singles taken from the album that, after this summer, will be released by Soleá Morente with the incredible production of Guille Milkyway. We can\'t call it a partnership or a collaboration. Let\'s call it an alloy. Because the creative spirits of two of the key composers of Spanish pop music of the 21st century merge in composition and, accompanying each other hand in hand, give new meaning to the concept of teamwork. Together they have created an album that will mark a milestone in their careers and which, we can already say it, will be entitled “Sirio B”, like the brightest visible star in the night sky. Which explains a lot about this new album by Soleá Morente, by Guille, about its songs and the lyrics and messages they contain.

“Mi Cura” is a new wonder that comes to us as a preview. An Europop hit with influences of contemporary Brazilian funk, that mercilessly attacks the dancefloor, and at the same time unfolds an existentialist discourse. It does so through lyrics that speak of the memory of the father and reflect on the concern about how the world works, the fear of madness in the face of confusion, and love as a response to the vicissitudes that life sometimes imposes. A lyric that dialogues with Hamlet and Franco Battiato, that contrasts the mysticism of believing in what awaits us somewhere in the world with the description of the process of love. It moves and liberates us in equal parts.

And while we listen and dance, we look at the sky and wait with infinite desire for the arrival of the brightest star in the universe.

MARIA RODÉS "También Esto Pasará (Original Motion Picture Soundtrack)" ...

A few days ago, we began to discover the surprising new songs of Maria Rodés, in which she was exploring other musical styles and new sounds. Today we bring you the first soundtrack she has just made for “También Esto Pasará”, the latest film by María Ripoll.

Although she had already lent compositions for films (such as, “Me Quedo Contigo” for Nacho García Velilla\'s “Villaviciosa De Al Lado” or “Ay, Pena, Penita, Pena” and for Jaume Balagueró\'s “Venus”), this is the first time Maria has the challenge of composing the complete music for a film. And, during the process, the magic soon began: “También Esto Pasará” revolves around grief, and the project came just as our composer was going through one. That feeling is evident in these songs, which connect with the intimacy of a process as unique as saying goodbye to a loved one.

The soundtrack consists of old songs (such as “Prefiero No Decir Nada” and “Se Nos Fue La Luz”, taken from the album “Fuimos Los Dos”, or “Fui A Buscar Al Sol”, included in “Eclíptica”) and new ones (such as “Lo Que Me Pasa” and “Hechizo”, both advance singles of an album to be released after this summer). But above all we find incidental music for the film and new songs made especially for it.

The first ones are notable for their delicacy, constantly evoking the spirit of Erik Satie in his minimalism, searching for those silences that make each note feel like a skin deep. With the help of their usual collaborators, such as Isabelle Laudenbach (guitar), Marta Roma (cello) and Pep Pascual (sax), and the involvement in the production of Simon Smith, compositions such as “Vivir Con Ligereza”, “También Esto Pasará”, “La Casa” or the two parts of “Te Veo Por Todas Partes” succeed in making us see that blurred line between solitude and closeness in which one finds oneself navigating in the usual sound universe of Maria Rodés, both in the instrumental themes and in those with vocals.

The unreleased and new songs for this record require a separate paragraph. Each of them deserves it. The album opener, “Un Amor” (in its introductory version), starts with the melancholy of Edith Piaf and drags that elegant and proud sadness to suddenly dive right into a luminous and lively bossa. It becomes Astrud Gilberto, Rita Lee, Tuca or Wanda Sá and lights up the skies. Just imagining this piece in the film, together with its images, really moves us.

“Senza Di Te” is another incredible surprise. This song evokes the melodic Italian compositions of the eighties with those dark verses and emotional choruses and, of course, it is written and sung in Italian. We think of Mina, Patty Bravo, Gino Paoli and Lucio Dalla.

“Un Amor”, in the credits version, moves away from the initial and revisits the main character in a folk and ranchero spirit. This is more intimate and precious, with majestic arrangements, and serves to close an album that is an intense sentimental journey.

Hay músicos que sacan canciones para que suenen en las radios y para llenar festivales. Otros acometen el proceso creativo como un desafío, como la búsqueda de espacios donde la comunicación con sus oyentes sea especial y única. Maria Rodés lleva años demostrando su versatilidad, su capacidad expresiva y compositiva y su ambición a la hora de abordar proyectos distintos y desafiantes. Cada vez que nos envía uno de sus mensajes sentimos que el mundo es un poco mejor. Por siempre, Maria Rodés.

There are musicians who release songs to be played on the radio and to fill festivals. Others undertake the creative process as a challenge, as a search for spaces where communication with their listeners is special and unique. Maria Rodés has been demonstrating for years her versatility, her expressive and compositional capacity and her ambition when it comes to tackling different and challenging projects. Every time she sends us one of her messages, we feel that the world is a little better. Maria Rodés forever!

TRACKLIST: 01 Un Amor (Intro) (Feat. Simon Smith) 02 El Funeral (Feat. Simon Smith) 03 Prefiero No Decir Nada 04 Vivir Con Ligereza (Feat. Simon Smith) 05 Te Veo Por Todas Partes, Pt. 1 (Feat. Simon Smith) 06 Se Nos Fue La Luz 07 La Casa (Feat. Simon Smith) 08 Senza Di Te (Feat. Simon Smith) 09 Lo Que Me Pasa (Feat. Albert Cases) 10 Hechizo (Feat. Delafé) 11 Te Veo Por Todas Partes, Pt. 2 (Feat. Simon Smith) 12 Fui A Buscar Al Sol 13 También Esto Pasará (Feat. Simon Smith) 14 Un Amor (Créditos)

PAPA TOPO "Presto y con Toda la Fuerza" LP

PAPA TOPO is back with their long-awaited second album, “Presto y con Toda la Fuerza”. This album is by far their most ambitious and complex work to date. Despite staying true to their exaggerated, melodic, catchy pop, the group is releasing an existentialist album, full of loneliness, unease, and rage that comes from contemporary society.

Adrià Arbona has spent the last almost three years writing and arranging and producing this collection of songs, and he did it all with such great passion and attention to detail. After a long period of creative crisis, Adrià decided that, considering what is takes to produce an album, he shouldn’t be shy about it. If art is capable of transmitting messages, you need to use that platform to talk about what you’re really feeling, take a stand and leave the pleasantries behind. So Adrià started a new and fruitful path with the band he had already gotten together with the song “Por España”. In this new stage, without letting go of the more fantastical qualities that have always characterized PAPA TOPO, the political and social activist qualities have become more prominent.

The album title is a quote from one of Joseph Haydn’s tempo and dynamics annotations for the last movement of his piece “The Seven Last Words of Christ”, which was commissioned to be played in the Oratorio de la Santa Cueva church in Cadiz. That movement, called “The Earthquake”, describes in sound how the earth shook and trembled after Christ’s passing, an image that represents this apocalyptic, end-of-days theme so well that it runs through a large part of PAPA TOPO’s new album. “Presto y con Toda la Fuerza” can be understood as a declaration of intentions; it is an album made to shout with rage against a consumeristic society, and to hit our oppressors hard with music, with all of the strength and force possible. The title also works as an indication of tempo and dynamics for the whole album, since, in terms of sound, it is full of thunderous and dizzying tempos.

Musically, the album stands out for the profusion of orchestral arrangements and omnipresence of electronic music. Since the release of “Ópalo Negro” in 2016, Adrià has finished studying composition at the Taller de Músics in Barcelona, where he acquired the necessary technical knowledge about orchestration to be able to write the elegant and complex string and wind arrangements that he had been dreaming of since PAPA TOPO first started. He also started getting into nightclub electro music, expanding the band’s soundscape and creating a personalized ambiance where different influences like classic impressionism, dance music, pop, punk, folklore, cuplé, and atonality all coexist. In between songs, there are interludes with names of baroque dances that give a sense of unity and continuity to the collection of songs and gives the album an air of an old instrumental suite.

The album opens with “Frágil”, a song that mixes impressionistic-tinted orchestral music with drum & bass to talk about something Adrià is really concerned with: the fragility that living in this exponentially more algorithm-based world causes, with the value of things and people measured by the number of followers or likes. In this digital society, we are more and more slaves to ourselves and we have so much pressure to be constantly promoting ourselves online in order to be successful personally and professionally. This song is inspired by reading Remedios Zafra’s texts and reflections, which resonated really intensely with Adrià, who identified with a lot of the topics the author talked about in her bibliography.

“Dime Mentiras” continues in the same line both lyrically and musically. It narrates the experience of feeling profoundly alone in a time when, despite it being easier than ever to connect with people thanks to social networks, the majority of our relationships wind up being superficial connections. It talks about the desperate search for intimacy and depth in the “meat market”, even if it’s dishonest.

“Ven a mis brazos”, which initially seems like a love song, is really about the constant apocalyptic feeling we have in today’s world. Adrià started writing it on March 14, 2020 (the day before Spanish confinement started) and it is somehow a farewell letter to the world as we know it. The threat of a pandemic, the rise in the far-right, the dawn of AI, the spread of disinformation on social networks and climate change and its catastrophic consequences make it feel like the world as we know it is coming to an end, that the end is near, a paradigm shift is sending us into dark and terrifying unknown territory. The song repeats the cry “ven a mis brazos” (let me hold you) and claims that love for our fellow loved ones is the only thing that can protect us from this new dystopian world. Musically, however, it is quite possibly the happiest, poppiest song on the album and it reminds us of ABBA at their most Eurovision-esque.

“Me Voy A Desenamorar De Ti” (a collaboration with the great Argentine diva Juliana Gattas, the lead singer from MIRANDA!, the most important pop duo in Latin America) and “Como el Mar” are similar both in music and lyrics. Both are heartbreaking songs that tell the story of toxic and impossible love surrounded by melodramatic, Almodovar-esque music that comes together to create a beautiful contrast with the intense electronic sound.

“Nunca Digo No” is a cry of rage against people who take advantage of the weakness of others who are afraid of saying no. The song’s reflection is that even with consent, we can’t be sure that a relationship (whether it’s sexual, professional, or any other kind) is really consensual. There are so many factors to think about, like fear or shame that could make us accept things that we don’t really want. The song is equally as aggressive lyrically as it is musically, and it is one of the noisiest in PAPA TOPO’s repertoire. The melody is melancholic, like a Spanish folk song, and it contrasts ferociously with the intense instrumentation, halfway between shoegaze and gabber, representing that mix of profound sadness and rage caused by feeling like you can’t say no out of fear of upsetting someone else.

“Dinero Rosa” is an ironic and fun portrait of gay capitalism or “gaypitalism” as it was coined by Shangay Lily. In recent decades there has been a new and powerful industry with the LGTBIQ+ collective as the target public and PAPA TOPO are aware that, somehow, they are a part of it. This commercialization of the rainbow initials promotes the assimilation of the collective within capitalist logic and turns the fight for rights into something that can be bought and sold. Musically, this is a crazy atonal parody that differs from some of the current cliches of music made with the gay crowd in mind, like an impossible cross between Schönberg and CHARLI XCX.

“Crist de la Sang” takes the form of an old romance, with a melancholic folk melody inspired by Mallorquin songs and wrapped in production that mixed elements of folklore with other electronic elements. The lyrics, written in Adrià’s native Mallorquin, tells the story of someone who has had an accident that has left their face disfigured, and who feels a deep and secret pleasure at the reaction their injuries cause their loved ones. These desires of victimization and self-harm in search of affection are an exaggerated hyperbole, but that blatantly and grotesquely show the twisted thoughts loneliness can lead us to.

To close the album, “Emasculación, La Solución” is a powerful, sharp and hilarious conclusion that takes on the topic that cuts through the whole album: hegemonic masculinity as the origin of all the world’s evil. To the beat of a fast-paced, rave-like Spanish pasodoble, and full of the irony of Álvaro Retana’s cuplés, the song cries out against manhood and encourages all its victims to fight against it. The lyrics explain that, historically, men have defended the impenetrability of their anus as a symbol of pure virility, which turns reclaiming anal penetration into, in some way, reclaiming the symbolic elimination of the masculine – emasculation.

The album was recorded, mixed and mastered by Lorenzo Matellán. The cover art, paintings that bring together the whole crazy and diverse universe that has been a part of PAPA TOPO since the very beginning, is the work of Rafael Rojas.

Welcome to this new adventure! We hope you enjoy the show.

TRACKLIST: 01 Fanfarria 02 Frágil 03 Dime Mentiras 04 Ven a mis brazos 05 Me Voy A Desenamorar De Ti (Feat. Juliana Gattas) 06 Como el Mar 07 Zarabanda 08 Nunca Digo No 09 Ricercare 10 Dinero Rosa 11 Pavana 12 Crist de la Sang 13 Jácara 14 Emasculación, La Solución 15 Cadencia

MARIA RODÉS (Feat. CALIFATO ¾) "Lo Que Me Pasa (Califato Trip Hop Remix)" ...

“Lo Que Me Pasa”, is, in its original version, the third advance single from the highly anticipated new album from Maria Rodés, and the song explores that confusing space between acceptance and denial, that moment when the heart is having trouble letting go of what is already gone. The collaboration with the flamenco artistAlbert Cases, whose passionate flamenco-style vocals add a new layer of energy to the song and create a perfect tension: the contrast between the protagonist’s raw pain and that push toward freedom. It’s a call to keep moving forward despite the sadness.

Now, “Lo Que Me Pasa” has a remix by the group CALIFATO ¾, who add their unmistakable and unique style. The remix takes the song to new heights, creating a fusion of rumba with the group’s electronic rhythms, and taking the song’s emotions to completely new ground. Because, just like in life, every time a door closes, another bigger door opens.

LISASINSON "Si Me Pierdo" Single Digital

There are new changes happening for LISASINSON but that doesn’t stop them from making music. This time, the news come in the form of an advance single – the fourth from an album that is looking to be a new peak for them to conquer. LISASINSON’s growth has been gradual: despite the ups and downs they have come across along the way, Míriam and company have slowly and smoothly sought out their sound, their identity as a group, and each new song has new and small surprises. “Si Me Pierdo” was produced by Marc Fernández and recorded by Antoni Laguna, and begins in a way that Chrissie Hynde or Debbie Harry would have loved: powerful bass, syncopated guitar, melodies that hit from the first notes, especially fluid phrasing. Then comes the explosion, that energy that characterizes them, overflowing, powerful, purifying. The chorus hits hard and immediately gets stuck in our heads. Then there’s that ending that makes us think that somehow, although they are on the recording, Marc and Paula aren’t in the group anymore. “Cuántas cosas han cambiado” (So much has changed). It breaks our hearts. Another bullseye.

After “Salgo A La Calle”, “Decidí Desaparecer” and “Quiero Que Perdamos La Cabeza (Otra Vez)”, “Si Me Pierdo” confirms LISASINSON as a group with an amazing ability to create hits, who are naturally electrifying, and who make us totally lose our heads. All of this just makes us even more impatient for this new album to get here and resolve all the unknowns.