The Rakes are trying to get through. They’re rushing, bobbing, and weaving. They’re pushing ahead, avoiding the crowds. They’ve got a place to reach, a message to pass on. But there’s stuff in their way. Traffic. Strangers punting street hassle (Give us that pizza! What kind of mobile you got?). The network’s down. A disruption on the line (underground and telephone). The arteries at the heart of the city are clogged. But they’re up for it, no matter how much they’re ground down by the daily grind. They’ve got the drive. The Rakes will get through. Ten New Messages is the brilliant second album from London’s most switched-..ed-up young band. It is, literally, ten new messages contained in ten new songs. Musically for The Rakes it was about broadening their palette – the short-sharp-shock of their first album, Capture/Release, has given way to more developed, melodically strong songs. ‘We’ve not gone avant-garde or experimental or anything,’ the band say. ‘We’ve just got better at our jobs.’ So it’s about communication and travel, about reaching out to people, leaping over barriers, dodging buses on your bike, getting home on the night bus, getting hold of your girlfriend when there’s no sodding signal on your phone or the battery’s done. About how we move through the modern world. It’s real life, as opposed to globalised existential angst and pretension. Half of Ten New Messages was recorded in Lincolnshire with producer Jim Abbiss (Arctic Monkeys, Editors, Kasabian), half in London with Brendan Lynch (Primal Scream, Paul Weller). It’s testament to the strength of the songwriting and the playing that it sounds like one scorching whole. This is a band who, in the same year, as well as collaborating with Statik, produced a cover of a Serge Gainsbourg standard, demonstrating a broad spectrum of influences that reaches further afield and into territory uncharted by your average trilby sporting/eyes-glazed-over indie band. They’re a band who are economical with their writing: they work on the songs they need, that are good enough to pass muster. Focus on the job at hand. Be right. Be tight. Be concise. The Rakes will get through. Their songs – sharp, meaningful, glorious – will see to that.

Von den Mamas & Papas zu den wundervollen Shins - schöner und großer Pop erwartet uns hier. Aus dem Sonnenschein-Staat Los Angeles, Kalifornien kommt die Fünf-Mann-Band The Little Ones. Für Qualität bürgt deren Plattenfirma Heavenly Recordings. Edward Reyes singt und spielt Gitarre; sein kleiner Bruder Brian spielt Bass. Ian Moreno ist der Gitarrist; Lee LaDouceur spielt Keyboard; David Esau spielt Schlagzeug. "giddy guitar pop music infused with lashings of wit and effervescence. If you’re a fan of singing, whistling or indeed smiling, it’s the kind of music you’ll take to like a kid to candy." “Of course we have times when we’re not smiling every day,” says Lee, smiling. “But not many. We’re big fans of classic pop singles, and what we’ve done with ‘Morning Tide’ is pay homage to those great songs by filling it with the same emotion and soul. They’re songs that are supposed to make you feel happy. To make life that little bit sweeter.”

Die Karrera Klub DJs Tim, Christian und Spencer und Ihre Parties stehen für Indiepop- Electronics-Britpop-Indierock und für DIE Indie-Parties in Berlin. Von Oldschool-Britpop à la Happy Mondays über Schwedenrock wie Friska Viljor oder auch ElectronicHeads wie LCD Soundsystem bis zu den Standard-Hypes wie Maximo Park oder Hot Chip kommt alles in die CD-Player, was Jungs und Mädels tanzen lässt!

Indie Pop - Retro - Brit Pop - Neo Garage - Madchester Rave - Electronics - 80s Revival - Punkrock

Karrera Klub helping people dance since 1996

Im Jahr 1996 begann der Karrera Klub als feine kleine Partyreihe, die ausschließlich - ohne auszuschließen :) - Britpop und Indie-Rock auf den Plattentellern laufen ließ. Viele gab’s damals nicht, die sich das trauten. Die meisten Disko-Veranstaltungen erlaubten nur ’ne Runde Indie zwischen der großen Runde Crossover und der großen Runde Rock.
Neu war auch der Rahmen, in denen die DJs Tim, Christian und Spencer die regelmäßigen Indie-Disko-Termine rotieren ließen – keine Begrenzung auf einen Club, sondern eine mobile und flexible Disko in den besten und tanzbarsten Locations der Stadt mit gelegentlichen Ausflügen über die Landesgrenze hinaus. Nach einer Weile ergänzte man - ebenfalls ziemlich revolutionär - das Disko-Konzept um Bands, die zur besten Party-Zeit live auf der Party spielten. Hier gab man nicht nur deutschen Bands, wie zum Beispiel den Sportfreunden Stiller lange vor ihrem Durchbruch Starthilfe, sondern auch internationalen Karrieren wie Franz Ferdinand, Vampire Weekend, White Lies oder The xx einen Extra-Schubs. ... und die Disko-Gänger können für ’nen schmalen Taler die frischesten Neuzugänge im Indie-Bereich entdecken.