Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. Operating in their unique orbit within dance music’s nebulous echosystem, the duo’s hyper-detailed productions are inventive, groundbreaking but always possessing a signature joyful experimentation. A genre-less embrace of cutting-edge technologies have ensured that each Mouse on Mars release sounds strikingly modern, a fact made more remarkable when one reflects on the duo’s 25 years of making music. New album AAI (Anarchic Artificial Intelligence) takes Toma and Werner’s fascination with technology and undogmatic exploration a quantum leap further. Collaborating with writer and scholar Louis Chude-Sokei, a collective of computer programmers and longtime Mouse On Mars collaborator/percussionist Dodo NKishi, the duo explores artificial intelligence as both a narrative framework and compositional tool, summoning their most explicitly science-fiction work to date.

Music From Memory are excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

"Out of Control" was the third single from The Rolling Stones' album Bridges to Babylon. Credited to Mick Jagger and Keith Richards, it was their second and final single of 1998…

A unique imprint, based in Vancouver but operating with a global perspective, issued a retrospective in 1995 to celebrate a major anniversary. Decadence: 10 Years of Nettwerk offers a captivating, five-disc overview of the label's multiple personalities. Nettwerk's roots lie in leading-edge electro-pop and techno-rock, although it has also nurtured a talented lineup of semi-acoustic-based singer-songwriter types, led by introspective thrush Sarah McLachlan. The combination works because the acoustic contingent isn't American-style granola/folkie stuff, but a sophisticated, Euro-artsy variety that shares compatible reference points with its more wired division.

It’s 2020, and everyone is exhausted. Things are falling apart, and then there’s the day-to-day stress of simply existing in the modern world. Screens are everywhere, we’re all tethered to our phones and social media; trying to keep up with it all seems just as impossible as unplugging altogether, especially when we’re all feeling that neverending push to always be productive—inspiration and motivation be damned.

Yellow Magic Orchestra (YMO) is a Japanese electronic music band formed in Tokyo in 1978 by Haruomi Hosono (bass, keyboards, vocals), Yukihiro Takahashi (drums, lead vocals) and Ryuichi Sakamoto (keyboards, vocals). The group is considered influential and innovative in the field of popular electronic music.They were pioneers in their use of synthesizers, samplers, sequencers, drum machines, computers, and digital recording technology, and effectively anticipated the "electropop boom" of the 1980s. They are credited with playing a key role in the development of several electronic genres, including synthpop, J-pop, electro, and techno, while exploring subversive sociopolitical themes throughout their career.