look what we sneaked online while you were sleeping…..part 10

Look what we sneaked online while you were sleeping….part 10

A little something we eyed on the band camp release page, this is the quite lilting and lulling sound of panamint manse who are currently sporting a strictly limited set entitled ‘call of the cactus wren’. Featuring the production duties of a certain Allan Murphy – indeed he of the soon to be retired Midwich Youth Club, ‘cactus wren’ is your old school electronic vintage whose simplistic, innocent and unfussed minimalistic portraits capture a kind of golden age TV Test card / Ceefax aura, had ISAN of course been given the job of applying the melodic mural’s, for on ‘sunrise on panamint’ there’s an affectionate oceanic playfulness at work here wherein the library analogue settings waltz upon a lulling starry eyed trajectory to transmit love notes from a distant La Dusseldorf satellite. http://panamintmanse.bandcamp.com/album/call-of-the-cactus-wren    

Venturing ever close to the Goon-ish craft of a youthfully playful Volcano the Bear, this is a rehearsal take from the Plum Pyne Thornton Trio, which we suspect will, at some point in the near future rear its beard stroking crookedness on the foolproof projects imprint just when you least expect it. Entitled ‘do you think they’ll mind if I take off the front of the piano’ – it’s a curiously whacked out slice that blends, fuses and skedaddles its way through a teetering minefield of freeform no wave, primitive chamber groove, throat chants, art pop, art jazz, boogie woogie and all round general lunacy with unhinged aplomb not to mention a dollop of disinterest to form or fashion and which at times has the delightful effect of bordering on the edge of collapse whilst impishly wearing its inside ov a butchers shop affections on its sleeve along with a grinning nod to Henry Cow. Consider yourselves well warned. https://soundcloud.com/user-407788439/do-you-think-theyll-mind-if-i-take-the-front-off-the-piano

Mentioned Arc Lab a few weeks ago in readiness of a forthcoming release entitled ‘Anthem’ through hidden shoal due July end, not that I’m suspecting you need nudges or the slight arm twist of persuasion but another of its gems has been leaked with the appearance on our listening radar of ‘all these worlds are yours’. As though emerging from the dark side of slo-mo docking alignment of Warm Digits and Art of the Memory Place types, this divinely demurred slice of starry eyed dreaminess is showered in the seductive spray of sonic sun spotting activity all propelled and purred by the head bowed grace fall of vintage kosmiche.

That’s what you like to hear, the Pixies sounding scuffed, feral and very, very loose. This scab picking slab of skewed howling hillbilly blues comes dragged kicking and screaming from an Autumn pencilled full length ‘head carrier’ and finds the Pixies acutely licking their wounds and chomping at the bit following disappointing notices for their comeback set ‘indie cindy’. A back to basics bad boy ‘um chagga lagga’ that has the kind of scuzzy surf appeal that used to glue itself to the grooves of Estrus platters of yore while simultaneously coming across like a smacked around the head dragster scowling Ministry. Artwork by the legendary Vaughan Oliver with an indie dealer special arriving replete with a slipmat, could this be ‘doolittle II’ – guess we’ll have to wait and see.


Here’s a laid version recorded for Rolling Stone…..

More loveliness from the graveface stable following a showing of fondness for the Stargazer Lilies at little earlier. This time of asking centre spot goes to the lava children amid whose – we assume – self titled set – is featured a woozy little dissolving psych pill entitled ‘the green word’ – a ghostly Barrett Floyd flashback peppered in surreal kaleidoscopes and 60’s styled mind trips which to these ears have an air of a fracturing Curved Air and a stoned Jefferson Airplane about it wares, that is after mirror mirror had had a little impish goofing around the studio mixing decks. That said ‘snail garden’ is quite a cutie to sounding like its emerged from out of a lysergic haze fresh from a seafaring Toshack Highway piloted magic mushroom head trip. http://graveface.bandcamp.com/album/the-lava-children

if your listening loves veer between the shadowy junctures that loosely separate and distance Clinic from the Black Heart Procession, then I’m guessing Ivan the Tolerable’s ridiculously limited 8-inch hand cut – incidentally by those 3.45 rpm dudes – lathe outing ‘crathorne final’ might well be up your street. Clues found on this here web page suggest that Ivan the Terrible be Oli Heffernan of whom we’d love to regale you items of interest and gossip hot or cold, but alas cannot. Safe to say the three tracks perched here, bolstered to seven if you buy the blighter and download the additional four tracks that missed the final vinyl cut, are carved with a brooding atmospheric which on the opening salvo ‘the landlord’ grizzles and groans its way prowling murky Waits-esque back lanes with a hanged chamber growled glee. In sharp contrast ‘the biblical block’ is a wiring schizoid sore thumb scalped in fuzzing discordance and the kind of festering blues rock-a-hula that one might suspect the Mummies at one time kicking out for fun for estrus had they turned their glare to a homage to Mark E Smith. ‘stalling’ rounds up the pack, best of the set all said, very spikey and impishly gouged in all manner of youthful Clinic crookedness.  https://endless-records.bandcamp.com/album/crathorne-final

Time to don the fright wigs in readiness for your listening space dissolving into the abstract and surreal, more strangeness a-bound from the peculiar Petunia-Liebling MacPumpkin. Again another cut from her outlandishly bizarre and weirdly fried ‘fish drive edsels’ set, this being the clearly frazzled and creepy ‘veggie medley’ – an out there 9-minute head scrambling bizarro that defies categorization or easy description, acutely kaleidoscopic / acid art house is, I reckon, the best way to nail the blighter, a wired and seriously freakish imagining of a kind of Residents outer world, as were, envisaged by a very youthful David Cronenberg in an attempt to exorcise child hood night tremors brought on by skewed memories of an acid fried viewing of ‘Wizard of Oz’ and dinner table gatherings where sprouts and garden peas where clearly a feasting feature, clearly the work of folk whose minds have been long since lost to the labours of chemical consumption given there’s a seriously bad tripping element running amok throughout. In truth, even by the bench mark standards for the wonky, awkward and abstract set by the criminally cool Bearsuit records, this goes the extra yard or five, as an added bonus features the malicious use of kazoo’s, squeaky toys, fisher price keyboards and glove puppets. Scrambled in a word not to mention desirably deranged.

Not sure whether this is the version that emerged on – was it – the empty imprint in the early 00’s as well as the Generation X 3 disc ‘Anthology’ set, however reading the press info on the Munster site by guitarist Bob Andrews I’m suspecting not. With the 40th anniversary looming marking their first gig, one of my first loves – Generation X get a two disc make courtesy of Munster records. Available on all formats, indeed including limited vinyl, both ‘live at Sheffield’ and ‘sweet revenge’ get a deserved airing. The former, long out of circulation, catches them in the flesh late ’78 previewing material that would eventually appear on ‘Valley of the Dolls’ while the latter are the early recordings by the original four for what would become their third and final album ‘kiss me deadly’ the story going that Andrews on being shown the door by the band, along with drummer Mark Laff, as I recall for being to ‘metal’ – scarpered with the original master tapes. The sessions would of course be later re-visited by a group of hired hands that included spots for ex Pistol Steve Jones, John McGeoch and Steve New. Anyhow what follows is the information gubbins, a video collage featuring the track ‘modern boys’ and a much overlooked killer cut from ‘Valley of the Dolls’…..



Latest fix of shade wearing hazy effervescence from those lovable 60’s adoring scallywags the Orange Kyte. Recently discovered on a rummage through pop’s back waters, these dudes hooked and snared our earlobes with the audaciously catchy ‘inside out n’ upside down’. Word from Kyte-r Stephen White has turned our heads to a newly picked psychedelic nugget in the shape of the acutely addictive ‘international caveman’ – a beat grooved strut sassy slab of kaleidoscopic swagger toning that initially checks out early Barrett in situ Floyd to sound like some lost vintage gem rescued from a recently unearthed vault by those sundazed dudes before freefalling into the same kind of sonic slipstream as those mega dodo heads Octopus Syng.


The memory and the to do list have gotten so bad around these here parts that we’ve had to recently invest in a white board in our gaff for the purpose of scribbling notes and reminders of stuff we need to hear, have promised to review or indeed, just fancy a nose of. Trouble is, we maybe should have invested in several of the blighters given we’d filled the first within five minutes of hooking it up to the wall space we had specially set out as its home. Anyway among the numerous names of labels, artists, PR emails and occasional web site addresses we’ve fallen over, Arell have long been promised a space in our much laboured and stretched time schedules with which to sit with their releases, the latest of which being, judging by the teaser excerpt currently being broadcast on their bandcamp page, an excellent cosmic odyssey crafted out by in darkness there is light. Entitled ‘scan line transmit delay’. A thirty-minute sonic spacewalk encompassing both the beauty and wonder of the galactic plains spliced together and peppered by an immeasurable sense of isolation both serene and sinister, for here amid the euphoric pulsar fanfares the fanciful notion of the incalculable unknown teeters between the contrasting feeling of fascination and dread. https://arell.bandcamp.com/album/scan-line-transmit-relay-preview

Scrumptiously tasty turntableness from Beyond the Wizards Sleeve whose new set ‘the soft bounce’ we are actually now kicking ourselves for not picking up yesterday when we were out battling with rain, more rain and plenty of rain, and there’s me optimistically decked out in a surfing t-shirt, could have done with a board to navigate the rivers of precipitation. Still while everything else seems to be falling apart at the seams as this once fine nation fractures into comedic chaos its always refreshing to know that you can depend on the great British Summer to be predictably unpredictable. Ah, where were we. Beyond the Wizards Sleeve, new single ‘creation’ – a bit of a dandy this ‘un, featuring guest vocals from Jane Weaver and Hannah Peel all set upon a sexily smoking 60’s cosmic tropicalia bossa-nova shimmering that beams feel good radiance much like the type that reminds us ever so much of an ‘emperor tomato ketchup’ era Stereolab as were getting all very ‘Hair’ / the fifth dimension styled ‘Age of Aquarius’ – a positive blighter to rid your headspace of once its laid its seductive sonic seeds…..

Many thanks to Keith over at fruits de mer for shipping out the rather amazing eye feast that is the special edition box set of Sendelica’s ‘cromlech chronicles’ – more about the Sendy ones a little later……for now though here’s a sneak teaser showing of the forthcoming Fruits de Mer summer season platters….all of course mentioned a few days ago elsewhere somewhere around here….

Sidewalk Society….


The fruits de mer guide to the hitchhikers guide to the galaxy…..

A little Bowie, no reason needed……such a killer cut……


I’d almost forgot how much this particular track appeared to channel both Nico and Broadcast, a solitary lunar satellite whose demurring kosmiche guide lights whispered a soft seduction that purred prettily to an, as were, orbital re-enactment of Paul Giovanni and Magnet’s ‘wicker man’ score shimmered in moon dust. Anyhow Jane Weaver’s ‘the amber light’ gets a deserved limited repress – on translucent amber wax no less via the Bird imprint.

Another in our ongoing Lost Things occasional, #99 is the tasty head turning sounds of garage beat wig flippers the Mystic Tide who cut something of a critically cool dash around the scene setting Long Island area in the mid 60’s with this feral and freaky dandy tripping out of the shadows sometime c.1966.

I blame the proliferation of releases tumbling out of the era in question, still I’m furiously scratching my head wondering how the hell I missed this, it’s not like I might have had a brief passing acquaintance with it which has somehow momentarily escaped the recall, I haven’t. Recorded one evening at the Rainbow Theatre, the date the title of the album ‘June 1, 1974’ – or ACNE as it was more familiarly referred in later years – it featured an all-star gathering of talent credited largely to Ayers, Cale, Nico and Eno yet featuring Oldfield and Wyatt. Amid its grooves some tasty turns, a killer version of Eno’s ‘baby’s on fire’ and Ayers’ ‘may I’ – however it’s the wasted and howling down at the heel grind of Cale’s cover of ‘heartbreak hotel’ that steals the show, a brutal forefather of the Bad Seeds to come whose agitated edginess was no doubt borne of the fact that Cale had discovered his band mate Ayers with his wife the night before.

It’s not as if we are in need of excuses to feature the Fuzztones in these pages, much to our hopelessness with keeping lists we’re still yet to nail a copy of that killer 5-disc box set that tripped out of the shadows at the tail end of last year entitled ‘psychorama’ which featured liner notes penned by head Fuzztone Rudi along with a red vinyl 4 track 7 inch of the band collaborating with Screaming Jay Hawkins on ‘I put a spell on you’. However, the latest edition of Shindig features a rare extended interview with the man himself on the eve of the publication of his two volume autobiography ‘raisin a ruckus’ – book available via the fuzztones web shop and both featuring bonus CD’s – in short they are the coolest, most happening and essential garage psych band of the last four decades. Nuff said – here’s ‘the bag I’m in’…..

Arguably the best Beatles full length ‘revolver’ is shortly to celebrate its 50th anniversary and what better way to celebrate than having Andrew Liles tooting on the peace pipe to craft a totally bonged out 50 minute head ‘shrooming dope droning dream-coat out of the albums parting shot ‘tomorrow never knows’ – a truly transcendental experience mellowed in murmuring locked-grooved sitar mirages which once having you subdued and dreamily floating off suddenly fire into activity with the waking kick of Ringo’s drums at 15.40 from therein dissolving at the 22.57 mark whereupon the emergence of raptures of euphoria rushes melt in and out of focus, by the time hitting 35.10 point the blighter is flying and frying. Stunning in short. https://www.mixcloud.com/andrewowenliles/50-minutes-of-tomorrow-never-knows-by-the-beatles-for-50-years/

Incoming via stolen body, a double disc set from Dan Melchior entitled ‘filthy frozen river rag’ due mid-August from which ‘ice cream and hailstones’ has been sent on up ahead serving as a trumpeting herald. This foggy soul trips out of the kind of fracturing smoky soft psych haze that admirers of the Doleful Lions might well recognise and adore, possessed of a wasted vibe its courted by a somewhat lazy eyed slacker-esque grooving that awkwardly sits marooned upon a sepia skewed crookedness that sours and sizzles in an off centring and out of it fuzzy blues goo not unlike, it has to be said, a clearly caned Anton Barbeau. https://soundcloud.com/stolenbodyrecords/dan-melchior-ice-cream-and-hailstones

More well-heeled vault finds from optic nerve recordings, this time of asking their digging unearths to light up the burning bright but brief recording life of the Tempest. Formed out of the ashes of Religious Overdose and where’s lisse, they variously featuring future members of Venus Fly Trap (Novak)) and Spacemen 3 / Slipstream (Refoy), despite courting a good deal of press acclaim, radio plays by both Peel / Jensen as well as securing prestigious support slots with fellow Northampton-ers Bauhaus, by the time their debuting full length ‘5 against the house’ hit the racks in ‘84 the band had already imploded and gone their separate ways. Now after years of being out of print / circulation ‘5 against the house’ finally gets a repress, a limited 500 only blue and white splatter wax event featuring the album on CD for the first time bolstered by the addition of three bonus cuts. By way of a taster here’s their indie chart bothering ‘montezuma’ – a chill waving death disco-fied shadow playing dance floor sortie whose sparing aloof minimalist funk post punk iciness of a youthful prototype getting the fear getting down with 23 Skidoo whilst simultaneously fusing elements of Clock DVA and Brilliant to their sonic skin. 

My word, 33 years old, sounds quite apt with all the shenanigans afoot at labour hq today…..this is the mighty and criminally overlooked 23 Skidoo…..

Blake and Tim’s recent Radio Brum broadcast finds the duo going in search of horror’s relevance in film and culture, this being a radio show the focus draws heavily on the musical content of the posed question with a smattering of key note examples from such hallowed filmic corner stones as ‘rosemary’s baby’, ‘wicker man’, ‘the witch finder general’ and of course ‘Halloween’ along the way occasional stops at deserted motels in the company of Broadcast, the Stones and Tindersticks along with a chilling show closing fireside reading by James Earl Jones of ‘the Raven’ by Edgar Allen Poe. Amongst all the creeps, creaks and frights Wigan based weird ear’s Duke St. Workshop drop by for a chat.  https://www.mixcloud.com/BrumRadio/screen-brum-8716/

Mentioned a little earlier, we return back to beyond the wizards sleeve for duo Richard and Errol where invited in to the Clash sound kitchen recently for tea n’ chat on the understanding that they bring along a record bag comprising of psych selections they’d gathered over the years. So sit back a spell as the Wizardy ones take you by the hand for a strange and pleasant walk amongst the kaleidoscopic backwaters to partake in an eccentric out-there head phonic mind trip that includes oft overlooked aural accounts by the likes of Skip Spence, Lee Hazlewood, Bill Holt’s ‘dreamies’ which I must admit had us adoring of its knack for falling in and out of consciousness and Fifty Foot Hose’s frankly bad tripping psychorama mamma ‘cauldron’ here in all its undiluted feral freakiness. http://clashmusic.com/features/beyond-the-wizards-sleeve-pick-out-lost-psych-classics

Frankly sublime and certainly the most essential listening experience in planet pop right this very moment, now shall we agree to say that there is tripping and that there is out there, well this goes that one step beyond. In short if Powell and Pressburger had set their collective minds to sound rather than vision, this would be it. Pressed upon old school slabs of shellac acetate, there’s a limited quantity available to purchase which are really an eye catching must have acquisition alas I fear the cost of shipping and their fragile nature bar us from ordering our own copy – darn. Anyhow this is Severed Heads and one side of a twin set heading out of the BUGHLT stable, ‘beautiful Arabic surface’ be its name (mentions for the flip come later in the week) – a truly full on immersive aural experience, its initial greeting moments an imagining of the micro minimalist murmurs of the Silver Apples set upon an as were hypno grooving subliminal messaging service, however stay with it for this soon elevates into ethereal environs, the shimmering pulsar tones silvered in blissful corteges of sepia tweaked dream draped ghost lights have the effect of venturing beyond the veil, the haloing crackle of celestial chorals casting an almost monochromatic wonderland of fracturing Disney-esque kaleidoscopia. Quite something else.  https://severedheads.bandcamp.com/album/beautiful-arabic-surface-cheerio-inner-moon  

Blimey, find a podcast we actually like and think ‘hey that’s right up our listening street’ and the blighters go and announce its their last – well for now at least. So now here we are rummaging around looking for the other twelve, mindful that this may well be another sleepless night. ‘electronic oddities’ podcast – this ominous being #13 – is as it says on the tin lid – a journey into the electronic sound outlands, a near two-hour odyssey populated largely by sound alchemists and aural experimenters who’ve previously managed to shy away from our listening radar, a set that pretty much caters for all your kosmiche, drone, technoid and ambient needs, among the ear picks the deeply serene celestial isolationism of Iceman Bob’s enigmatic ‘darkness theory’. There’s no denying that behind the banks of synth hardware, Ian Haygreen hides an intuitive prog mindset for ‘relaxing in the sun’ is a gem like noodling head tripper trimmed in a vintage detailing that has you imagining Gong dude Steve Hillage sporting his System 7 hat impishly recalibrating Tangerine Dream nuggets and wiring bastardised Moroder / Oldfield grooves to their template. Those fancying their head space shroomed in all manner of Wagon Christ space walking trippiness might do well to relocate to the floor cutting chill tipped cool of Owen J’s ‘060908’ while admirers of sounds best experienced from the relative yet mistaken safety afforded from behind the sofa might dare to venture into the ever darkening sonic temple of DODSRIGE’s despair laden sonic black hole that is the forbidding and brooding light sucking dark star ‘poisto’. Elsewhere there’s the exquisitely frail and fragile lunar hymnal that is Scott Lawler’s bittersweet ‘titania’ finding itself marooned and ghosted upon solemn symphonic spectrals emitting love noted distress sirens from a long forgotten and lost satellite. I’m quite certain we’ve happened across oscillopeisia in previous despatches, I mean you don’t forget a name like that, ‘orbis 3’ very much tracks and charters a sound space once upon a time free-falled by the likes of Cheju and the Boltfish crew once upon a time in the not so long dim past. Darren J Horgan no doubt a keen admirer of both ‘blade runner’ and ‘the terminator’ soundtracks, manages to fuse both into a heady motorik dystopian future vision. https://www.mixcloud.com/DrExistenz/electronic-oddities-podcast-episode-13/

We meant to mention this a little while back when we had the pleasure of casting an ear over the latest Yellow6 salvo, this one being part of the recent summer selection from Silber records. A quite gorgeously mellowing thing, this is Treyverb who are currently to be found sporting an EP by the name ‘a year without words’ from which ‘Jesus Overdrive’ has been causing much adoring swooning around the gaff not least for the fact that it comes sighed in the kind of crystalline classicism that initially had us recalling a reflective Vini Reilly / Durutti Column yet which the further you dig, the seductive tender spray of the riffing sunburns hints of something steeled in the captivating poise you’d more likely encounter on a bruising beauty honed by the Church. Equally alluring is ‘twin velvet’ with its serenely seafaring palette navigating the kind of reclining drifting yearn whose lazy eyed lilt and appreciation of space, pause and poise delicately shimmers to reveal echoes of a contemplative Smiths in situ Marr.  https://silbermedia.bandcamp.com/album/a-year-without-words

La bel continue their finitely exquisite pedigree, or should that be knack, for turning in alluring adventures in sound, latest to their enviable roster Elya whose ‘glaciers’ has been released to coincide and indeed celebrate netlabel day. From it the quite seductive ‘Chinese calendar’ has been sent on ahead to arrest passing listeners, a murmuring ice sculptured pretty teased and tailored in mellowing glitch itched orbs all kissed in a chicly noir trimming that waltzes affectionately around a longing lunar lounge smokiness that hints of a demurring ISAN under the controlling interest of a Stereolab / Tortoise meeting of minds. https://soundcloud.com/labelnetlabel/elya-chinese-calendar-lbn035 

Talking of demurring, on the way out to 9 to 5 hell today, it was this little lovely that lifted our mood as we braced ourselves for rain and boredom, ordinarily not a massive fan of the cut, the original by Bill Withers I think did it for me being on constant rotation on tin pot local radio in the 80’s to the extent that I got the heebeegeebee’s just thinking about it. And so imagine our surprise when this little nugget breezed into ear space with not a hackle raised or a palpitating tremor in sight, a quite blissfully radiant cover by Imploded View of whom we know naff all about, still there’s enough feel good vibe going on here to percolate your surroundings in all manner of smiley swirls as it accentuates the funky quota a notch or three while spraying all in a lazy eyed chill toning seduction. https://soundcloud.com/imploded-view/lovely-day-bill-withers-cover

Forthcoming Fruits de Mer goodies looming on the not so far off horizon. To celebrate their late summer gathering in Cardigan in early August, the Fruits de Mer psychedelic circus lays anchor for three days of festivities for ‘the 14th dream of Dr Sardonicus’ festival. As ever the event will be marked by the usual giving of gifts and availability of super limited FdM pressings for the attending punters. Among the goodies for gratis a three disc gathering of sounds whose track list boasts the following…..


Aethereal – Walking Away 6.44

Fast Cars – Mindset 4:37

Stay – Last Time 4:49

Sons of MOD – Lovebyrds (A Ballad For Malachi) 4:43

The Luck Of Eden Hall – The Happiness Vending Machine 4:10

Vibravoid – Get Out Of Here 4:15

Mystic Brew – Yesterday’s Sky 4:26

Karovas Milkshake – Purple Sun Of Glastonbury 7:30

The Seventh Ring of Saturn – Burning A Hole 4:30

Topos Locos – Madelina Valentina 3:58

The Honey Pot – Butterfly Ride 3:40

Mark and the Clouds – Take My Sky 5:00

Permanent Clear Light – Iris Murray 5:50

The Telephones – Hummingbyrd live 6:23


Ax Genlich and Sunhair – Spaceship Memory 8:40

Inna Pivars & The Histriones – Erotic 1.50

Sendelica – Set The Controls for The Heart Of The Buddha live 6:54

Inna Pivars & The Histriones – Lyrical Theme 3.00

Cosmic Fields – Velvets and the Moon 7:30

Inna Pivars & The Histriones – Accident 0.50

Jay Tausig – Extensions Of Infinity 13:56

Inna Pivars & The Histriones – Night In Arles 1.26

Future Wizards 15:31

Inna Pivars & The Histriones – Finale/Two Labyrinths of the Two Tsars (Full Version) 2.37

Simfonica – Hekla 13.37


Rob Gould – The Shimmering Mountain 3.15

Ash Magna – Mandala 4.13

The Gold Needles Surfing the Night Wave – 2.19

Paisley Sky – Kosmic Kool 4:10

Casual Strangers – Holocene Dream 3.55

The Cats Never Sleep – Vishnou 1:46

Cold Bath – Dune 6:41

Colin Harper – Steven Kindler 2:37

Claudio Cataldi – Snails 2:35

It’s Frantic – Got 2 8:00

Suspirium – The Probabilities Of Balance 6.39

Julie’s Haircut – Gabbro (reprise) – 4.39

Black Tempest – Into Stillness 5:06

Consterdine – Hundertwasser Nebula – 4.43

Undone – Elastic Venus 5:17

David CW Briggs – Don’t Take My Mind Girl 3:39

Blue Giant Zeta Puppies – The Colossus 3.34 

And here’s a teaser taste of one of the many tracks up for grabs – is it just me or do the flotillas of driving psychedelic shimmered riffs on Fast Cars’ ‘mindset’ possess a delightfully passing nod to a ‘flowers’ era Will Bunnymen Sergeant, just me then, anyhow this honey is a bit of trip turning on slab of strange folk kaleidoscopia oozed in all manner of eastern accents and fringe parting mystics of the type that join the invisible dots that link the Honey Pot and Jefferson Airplane. 

As if that wasn’t enough head phonic groove to melt the mind, there is the addition of four strictly limited lathes up for grabs in varying sizes of 5, 7 and 8 inches – among the side sparing face off’s the Gold Needles sharing groove space with the Cats never sleep – we’ve featured the latter in passing previously, however the former a Willerby based power pop combo can be sampled via their Reverbnation space at  https://www.reverbnation.com/thegoldneedles – we strongly suggest you fall head long into the shyly retiring folds of ‘surfing the night wave’ which by our reckoning has something of a retiring Church sparring with the Clientele about its wares. Elsewhere Aethereal go head to head with the Sons of Mod with the formers cut ‘walking away’ being previewed here https://soundcloud.com/aethereal_band/walking-away – a bit of a lysergic dandy adorned in shades, floppy fringes and mind expanding powers phoning in, as were, lost happenings from a late 60’s call box. Lathe number three features Insektlife Cycle sharing the honours with Cold Bath whose ‘Dune’ found here https://soundcloud.com/cold-bath/dune-sae-version is a moment set aside reclining beneath a shade as the drifting flotillas of sky pattern forming siren shimmies chime their honey cut chorus lines occasioned momentarily by Mountain-esque fractures. Lathe 4 is a mystery disc details to be revealed at the festival event.

Many happy returns to Mr Wil Bolton who celebrated his birthday recently by cobbling out a three track set for the Audio Gourmet label. And while you might think that was a bit of a flippant introduction to ‘Lichen’ let’s be fair about this and arrange matters into some kind of perspective, for sound alchemist Bolton is without doubt a rare talent whose intuitive grasp and technique in the ambient, neo classicism and soundtrack mediums blends and bends sound beyond the normal boundaries to finitely hone upon mood, atmosphere and space to a most delicate and detailed effect. ‘parchment’ greets entry to ‘lichen’ and finds Bolton in safe familiar surroundings, utilising an expansive micro sound palette, this sepia shaded ghost light courts a lilting intimacy both beautifully bruised and mournfully momentary, a sonic firefly aglow in cascading ricochets of miniature euphoric eruptions whose briefly burnt bright courtship sweetly fades to a dim forlorn nothingness. Bliss.  https://audiogourmet.bandcamp.com/album/lichen

Back to Fruits de Mer, though only briefly, for those of you with keen eyed talents might well have noticed the appearance of an as yet, details bereft, ultra-limited – 100 copies to be precise – archive recording by Sendelica who incidentally have a limited repressing through sunhair of an album that appeared in blink and it was gone quantities of CD way back in 2011 on their own label no less entitled – what for it – deep pause for breath – ‘the pavilion of magic and the trials of the seven surviving elohim’. Available in all manner of colourful editions variously on wax, CD and digital all bolstered by a plethora of additional cuts that missed the first edition, from which we’ve opted to recommend the dreamy ‘Arizona Spree’ – the glockenspiel version of course, what else were you expecting, a mystical visitation both transfixing and mildly trippy that manages to fuse and colour the dots between a blissfully out of it Grails and a quite serenely mellowed Goblin albeit as were as though both had collaborated to work together on some lost and recently unearthed Krzysztof Komeda score. Need I say more.  https://sendelica.bandcamp.com/album/the-pavilion-of-magic-and-the-trials-of-the-seven-surviving-elohim

Wickedly wired and slickly schizoid, their press folk call it no wave, we prefer art pop. This is Evans the Death’s squirrelling paint bomb ‘suitcase Jimmy’, a crookedly kooky and erratic ear worm sore thumb cutting up a right fine old discordant and demented dance frenzied ju-ju that scowls and skewers to teeter dangerously on the verge of imploding chaos as though a furious sonic spin dryer flinging melee of Feelgood, James Chance led Contortions and Wizards of Twiddly types had been gathered into a bijou studio space and wired up to the national grid.

Bloody hell, is it just me or is there a threatening Killing Joke like psychosis oozing from the sonic skin of this locked down mutant grooving stare you down nugget. Okay it might fall short in the brutality stakes when compared to Coleman and Co, but the threat though intimated remains as clear and present as a choking vice like grip around your neck attempting to throttle the life from you. The flip side of a new False Heads platter through the 25 hour convenience store, this is ‘Slew’ – a no nonsense slab of tensely wired and unrelenting sinew straining claustrophobic groove that’s all at once drilled in a nagging edginess and scowling punk prowling goo that had us reaching for our Secret era Chron Gen stash.  https://soundcloud.com/falseheads/slew

Sadly I’ve no information on this one, it popped itself on the sound cloud player following the previously mentioned false heads cut and therein proceeded to work its way beneath our skin in a most affectionate way. Anyhow this is Little Chicken and a cut by the name ‘tear us apart again’ which I must admit had us all a smitten for the way it reminded us of the Hoverchairs out moonlighting with Another Sunny Day of Sarah records fame, Of course it’s the bitter sweet tug that does it, the New Order-esque dalliances into ‘technique’ territories, not to mention, most importantly for us, the homely and dare I say, redeeming spirit about its wares as it puts a sympathetic arm your wounded shoulder.  https://soundcloud.com/little-children/tear-us-apart-again

Look I promise hand on heart, no crossed fingers or any of that nonsense, that we will revisit this when time permits, possibly over the coming weekend, but this is the latest newly peeled product of Active Listener with sampler #42. As ever up to the impeccable high standard of sonic groovineess and weird ear wooziness that we’ve come to love and expect. Familiar names are all over this like a rash, among the 16 gathering turntable taste making in the shape of aural attractions from the likes of Gilligan smiles, the myrrors, the love explosion, Michael warren and grey malkin, junkboy et al……however, more from them at that promised near later date. For now, we eyed a new thing from the Tara Experiment, the creeping curio that is the aptly named ‘twilight’ emerges shadow formed from out of the mistily interweaving parallel time / dimension fractures upon which the Wizards Tell Lies frequent as a playground, a mesmeric mysterio tracing the footprints of Keith Seatman at play crafting sinister peek-a-boo lullabies for the sleepless spirit-walkers patrolling the spatial corridors between reality and dream. Fairly certain we haven’t had the pleasure of Drakkar Nowhere thus far, ‘higher now’ offers a quite sublime trip-a-delic collage indelibly rooted in the late 60’s all oozed in a succulently funky jazz lounge grooving that could easily be the work of a collective super group of compositional talent made up of Schifrin, Mancini and Budd out cooling the loved up hippy set of the day by cooking up a seductively tropicalic ‘Hair’-esque love in, especially of interest to those of you much admiring of the Superimposers I’d hasten to add.   http://theactivelistener.bandcamp.com/album/the-active-listener-sampler-42 

Many apologies to both Lake Ruth and the Great Pop Supplement, for the formers quite stunning debut full length ‘Actual Entity’ should have well featured long ago in these pages where it not for the fact that we momentarily lost the sound files down the laptops equivalent of the back of the sofa. Still, its arriving – promise. For now, a pretty thing you’ll find seductively staring from the grooves is ‘one night as I lay on my bed’. A traditional ‘night visiting’ ode sourced primarily from a version stumbled upon by the trio via Shirley Collins’ ‘Adieu to old England’ – an utterly enchanting floral posy sighed in a demurring mystic folk pageantry all eloquently and elegantly whispered in a willowy wonderment softly spoken in a desire laden and yearning spectral tongue whose wooing nocturnal enchantment echoes of the beguiled sensual beauty found drifting longingly amid Giovanni / Magnet’s ‘wicker man’ soundtrack.  https://soundcloud.com/lakeruth/one-night-as-i-lay-on-my-bed 

Fancy a spot of nifty surfer-rama-lama, quite frankly they don’t come tastier than Fascinations Grand Chorus’ ‘Growing ‘ – a bubble grooving babe pouting the kind of hip shimmying femme flavoured power pop pouts that dink, dart and dance their way between a strut hopping Shangri-La’s and a sun shine fried radiant Allo Darling  – in short irresistibly catchy cute. https://soundcloud.com/fascinations-grand-chorus/growing-1

Must admit that I didn’t see this coming, a new thing from Tau taken from their forthcoming Cardinal Fuzz full length ‘Tau, Tau, Tau’, ‘mo anam cara’ comes a drifting on a swarthy trade wind, a snake charming mantra spirited on an, as were, arid dry spectral vision, whispering spell charmed sweet seduction as it shimmers and shimmies hypnotically flavouring all it touches in auras procured from the secrets of the mystic East. https://soundcloud.com/tau-5/03-tau-mo-anam-cara-2

Now I really wish I could share this sound cloud link with you, if only to illustrate the peculiarly eccentric class of the North Sea Radio Orchestra. It’s been a while since they troubled these pages but hopefully a new album might be in the offing for household mark, for now though console thyself with the inquisitively creative ‘the British road’ which all things being well should arrive in download domain in the first stirrings of August time. As the press release so rightly points out – in the main distilling elements of Vaughan-Williams and Robert Wyatt, North Sea Radio Orchestra are an unusual amalgam of talent whose chamber compositions have inherited the key to a secret Britain courtesy of an investiture of sonic mosaics schooled in both orchestrated classicism and the ways of the Canterbury folk scene, their craft immeasurably beautiful and lulling, ‘the British Road’ incorporates psych folk idiosyncrasies to its charming palette as it chuffs and puffs steam engine styled through the picturesque rural highways of Britain’s backwaters flavoured with a sense of spring hued momentum unto which elements of Douglas Gamley, William D Drake, Oddfellows Casino and Seeland doff their collective caps as it tootles and chortles by.   

simple but effective, must admit we adore the way the spectral tonalities circle around you heightening the sense of disquiet likewise causing the hairs on the back of your neck to stand straight and tremble. this is Channel D who are about to drop a full length entitled ‘unravelling’ – strangely enough this particular track – incidentally titled ‘the other’ – doesn’t feature on it but is meant to serve as an interlude / a herald of things to come. if references are required try imagining Simple Kid’s ‘road’ having taken a wrong turn into nightmare land, a forest of fear where looming trees clear inviting pathways only to snarl and deform once you pass scarifying your journey in the twisted macabre of their eerie shadow plays, the sense of alone elevated by the creaks and shrieks of spectral forms momentarily peeking from the outer edge of your eye line – gathered together it makes for a haunting bad tripping darkly formed brooding and prowling psych pill whose sinister paranoiac palette drives despairingly into the invisible fractures existing between Edward Ka-Spel and Grails.

brewed in a heart-warming campfire vintage and spiced in a ridiculously infectious array of essences that find it lolloping lazy eyed as though its slinked its way off a fragile slab of 78rpm playing shellac, this is the acutely cute ‘heading south’ – a track ripped from a forthcoming long playing platter by gringo star entitled ‘the sides and in between’ out late August via Nevado Music.  a strangely alluring prairie folk blues rustic twinkled in sepia hazes of a simpler sound lost to yesterday, shyly cooing and wooing from a forgotten age all lifted and lilted in bracing euphoric breezes of harking homeward bound brass bandstand opines, believe you me once heard and the blighter will set up camp in your headspace crookedly tooting its curiously off centring effervescence.  https://soundcloud.com/nevado/gringo-star_heading-south

Indeed, their press folk were right when they mentioned that this ‘un was all at once ‘peaceful, hopeful and lonely’ because there is a touching forlorn melancholia eating throughout the entire 4.23 minutes of this slyly becoming gem from Atoms and Void. Of particular interest, reference wise, to those of you whose listening appreciation orbits around the likes of working for a nuclear free city, seeland, beatglider, dark captain light captain and of course Astronaut. There’s a disquieting stilled majesty about ‘lay down your weapons’ as it moves from light to shadow at the 2.16 point, it’s at this juncture where the sighing reflection that initial greets suddenly changes focus and assumes a more hold on here hymnal entreaty as the full picture is slowly revealed, resolving itself to a snapshot of life’s momentary fleeting passing and in a head bowed moment retreating back from the rushing and maddening crowd to quietly contemplate its place in the  grander scheme of things. 

yowzah….testy, feisty and frenetic, the sound of summer not so much radiating through your listening space but rather more careering through at pace with head butting abruptness, this folks be the new groove from Joanna Gruesome, a limited blue wax shot of ear shredding rock-a-hula entitled ‘pretty fucking sick of it all’ – a furiously 3.11 minute discordant pocket paint bomb that chugs, swerves and swoons amid a screech shriek soaring bubble grooving kaleidoscopic power pop purring whose prettified pop prowess is racked to maxima coming across like a tag team fist fight with the Rezillos and Lush on one side and the combative collective of Bis and Shrag on the other.

incoming and imminent through time released sound, a new collaborative set piecing together the combining talents of porya hitami and arovane, this is, we think, ‘kaziwa iaan’ – a beautifully poised ice sculptured sleepy head tenderly crafted in the dreamily dimpled spray of softly stretching and coming to chime twinkles, as were, on a defrost setting all teased and haloed in ethereal hushly bathed choral eclipses, in short a frost frail and sweetly alluring minimalist ghost light. https://soundcloud.com/time-released-sound/porya-hatami-arovanekaziwa-iaan

something we tripped across via a passing posting, information is a little scant alas, however we are assuming that this is heading out of Indonesia imprint Relamati in some ridiculously limited form, by to die this is ‘Awal’ in its early un-mastered guise. Described as drone jazz by the label, which all said they have a point given there’s plenty of drone and the audible smoulder of jazz underlays, however what they don’t tell you is that this oddly haunting nugget appears to have sneaked below the Beta Lactam Ring radar sounding as it does like some primordial spiritual sonically choreographed by Ariel Kalma unwittingly being visited upon by Soriah who is here found doing his best Australasian primitive spell chanting, very eerie. https://soundcloud.com/relamatirecords/to-die-awal-excerpt-unmastered

Much like North Sea Radio Orchestra, mentioned a little earlier, Littlebow craft a lushly toned in mood vintage whose creative nose navigates the furrows and hedge lines of forgotten English summers, a new album ‘three’ is about to break cover, due for a welcomed appearance on the rural colours imprint at the fall of August. it’s a dusty loft find of holiday polaroid snaps and old home movies shakily recorded for posterity on 8mm film reels. Amid this nostalgia yearn ‘some may transition’ has been brushed down and gently nudged out of the Littlebow secret symphonic tree house to adore passing ears of interest in its delightfully demurring reclines of reflective fondness, here through a bucolic bouquet of pastoral sprays and lazy eyed willowy wildwood wooziness is crafted an expressive idyll of oboe and flute florets, squirreling brass opines and harp haloes that celebrate an age of innocence flashed through a picture book collage of sand castles, sea sides, summer camps, sun frying tarmac roads, lidos, football card contained chewing gum all turned and trimmed with a graceful sighing nod to Vernon Elliott and Douglas Gamley albeit as though fondly cut loose as castaways on Pete Fowler’s Monsterism Island. expect lengthier mentions for the album soon…..

<p><a href=”https://vimeo.com/152655675″>Littlebow – Some May Transition</a> from <a href=”https://vimeo.com/thenewhoneyshade”>The New Honey Shade</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

there will be more Blue Tapes un-grooviness a little later, probably tomorrow truth be told, the delay being caused primarily by us tripping over this sore thumb. release number 20 in their already enviable forward reaching / thinking back catalogue, it took mere seconds for us to realise that the crookedly cauldron that was the sound of Quasiviri was our particular listening bag for aside the obvious nods to vintage prog the beard forming wig flipping ‘choro tempore’ is the kind of intricately wired and off kilter grooving that we’d readily expect to be heading out of Italy’s finest weird ear home – Boring Machines for amid the angular accents and the general mind dissolving cosmic happenings afoot here there are nodding debts to Magazine, This Heat, Quickspace and current sonic rapscallions Thumpermonkey filtering in and out of this, as were, lost 70’s overture as it dives headlong into the shadowy sonic core of a collective made up of Goblin, Hawkwind, Shawn Phillips and Mountain types.

you can expect much love for these little cuties over the course of the next few days now that one of the goody bags awaiting those attending the forthcoming Fruits de Mer ‘14th dream of Dr. Sardonicus’ festivities in a fortnight or so have landed safely at the Sunday Experience listening shed. A quick heads up then as to what to expect on the wig flipping freebie 3 CD compilation sets being made available for everyone – follow the links for contributing credits…..

ala to access this, you may well have to grab yourself a Spotify account, but one such subscriber has cobbled together a playlist featuring over 15 hours of continuous Peel sessions which feature a whole host of one-time essential night listening fayre. Some forgotten nuggets here including sessions by the Angelic Upstarts, the skids, killing joke, the Fuzztones and Nick Drake, not to mention excellent showings for Orchestral Manoeuvres in the Dark, Kevin Coyne, The Pop Group and Dead Meadow plus superior versions of ‘mile end’ by Pulp and a killer take of ‘train kept a rollin’ by Guana Batz, other picks – and there are many – ‘baby lemonade’ by Syd Barrett, ‘chance’ by the Teardrop Explodes, ‘pull the wires from the wall’ from the Delgadoes along with a much forgotten version of the DK’s ‘Californian Uber Alles’ and a truly amazing visit to Kat’s Karavan by Slapp Happy who go a lot like this……

and the links for the Spotify doo-dah can be found among this lot…    http://www.thevinylfactory.com/vinyl-factory-news/stream-15-hours-john-peel-sessions/

now any mention of Slapp Happy always has me immediately turning to Gorky’s Zygotic Mynci – please don’t ask me why, it’s just something that’s always managed to lodge firmly in my mind’s ear – perhaps it’s the eccentric off radar refusnik stand against their populist band wagon chasing peers of the day that struck a similar chord. Anyway fresh from releasing new Pulco groove, the Recordiau Prin imprint has just sneaked out a quite superb tribute to set entitled ‘iechyd da’ which – if we remember and more importantly find the time – we will be revisiting at a not to later date. for now though we’ve uprooted three delightful pickings from this quite substantial 32 track gathering, the first being a cover of ‘if fingers were xylophones’ by Stuart Kidd who pretty keep to the spirit of the original only accentuating the love note quotient and dinking matters in a joyful free spiritedness that swoons delicately to the summer flavoured appeal of an early 70’s era Beach Boys. ‘patio song’ has always occupied a fond corner in our heart, here re-trimmed by ‘Seazoo’ who seductively endow upon proceedings a gorgeously cute and cosy Seaside like lazy eyed wooziness that quite touching to say the least. last up for this particularly brief visit, mentioned earlier here’s Pulco doing a thoughtful and reflective take of ‘Queen of Georgia’ that’s cradled in a melancholic haloing pressed upon a softly trod regal gait. oh and in case further prods were needed – why would they – the blighter is available on free download. https://recordiauprin.bandcamp.com/album/iechyd-da-a-tribute-to-gorkys-zygotic-mynci

ever wondered what Mega Dodo main man John Blaney’s particular Saturday night listening poison contained, well wonder no more because taking time out cooking up grooves of delight – the latest being a rare Stanshall sortie masquerading as Big Grunt, a killer album by Octopus Syng and a forthcoming blink as it flies of the racks two track limited outing by the Luck of Eden Hall – he fires up the devil’s jukebox for a nifty 37 minute set of primordial blues. Among the select cuts here a scorching Wilko Johnson take on ‘the Whammy’ that sounds very early career Cave / Bad Seeds, elsewhere some choice cuts from Willie Dixon, Screaming Jay Hawkins, a little tail feather shakedown by the wigged out the Bees and mind altering Byrds-esque kaleidoscopic radiance courtesy of the Temples not to mention a truly smoking version of ‘California Dreaming’ by Bobby Womack which I’m fairly certain has remained till now well out of ear shot – by the way love the Peel-esque like intro and closing idents, on this occasion rather than ‘pickin the blues’ the honour is left to Bill Doggett’s ‘honky tonk’. https://www.mixcloud.com/johnblaney1/the-mega-dodo-radio-show/  

another of those ridiculously limited cassette releases I’m afraid, on this occasion just 100 copies. these are the latest sore thumbs on the block, no doubt soon to spike your stereophonic listening world – hailing from Washington DC, the Black Sparks’ sound has been likened to pissing in the same generic pool as fugazi and two inch astronaut, and while the searing sonics and face peeling agitant discordance of ‘rocketbird’ arguably finds them teetering a frenetic line that crowd surfs the hardcore end of punk with nods to minor threat and leatherface, we’d like to think that there is much post / math rock noodling about its wares to snag the ear of those much admiring of both the Gringo and Brew imprints. that said we suggest you check out at your earliest urgency the scalding ‘burn to earn’ – a ferocious 100mph full throttle call to arms that sounds as though its crashed its way out of the Dischord sound factory. https://tapemodulator.bandcamp.com/album/the-black-sparks 

imminent release happenings via the much admired Polytechnic Youth imprint, time for one of those blink and their gone commanding inflation busting returns on auction sites type releases. this ‘un being prepped in a 123 pressing, lathe cut of course that marks the return to turntable taste making by the mysterious FreqDesign. As is becoming something of a trademark standard with these things, we here are pretty damn fond of the flip side ‘Anguarian Humblingbird’ (fear not inquisitive folk we’ve saved you the bother of googling – no such thing – well at outside the creative alternative realities dreamed up by the freqdesign hive mind – and not alas a said potential future feature on tweet of the day no doubt in turn causing distress to both Messrs Attenbrough and Oddie into thinking it a feathered species they’d so far missed). As to the sounds within, a wonderfully playful palette that manages to super fuse together elements of La Dusseldorf and ‘computer world’ era Kraftwerk and then by way of a quick time trip back to New York c.82, solders in to the mainframe the then cool club scene vibe of Arthur Baker to craft out a binary blipping body pop purred in all manner of vintage kosmiche pastoral flotillas. mentions for the A side will be here in time for a last warning call as to its official release…..

currently wandering down the polytechnic youth production line and being dusted down for release just as soon as FreqDesign do their business, a new full length from Polypores should, all things going to plan, be with us at the start of August. ‘the fialka transmissions’ follows on the heels of the well-received listening center full length ‘aural assignments’ released earlier this year and should ensure the labels stock and repute rising considerably amid the minimalist / analogue / cold war electronics scene (a set from the much admired Faten Kanaan follows shortly after). Alas the links we’ve been sent appear to be a tad unwilling to play at present so while we go in search of pliers and various persuasive tools, here’s the quite slinky ‘handshake in the dark’ prized from the set to get you all somewhat sultry and seductive. in truth not what I was expecting, this lights lowered mood murmuring sophisticat sounds not unlike a hitherto undetected an alien peace mission headed lunar orbital emitting loved up vibes through means of hypnotic pulsars, certainly does it for us. https://soundcloud.com/polypores/handshake-in-the-dark

as long promised, over the course of the evening we will be dropping in the occasional mention for three lathe cuts currently being prepped for acquisition by those rushing first up to Fruits de Mer pop up stall at the forthcoming ‘14th dream of Dr Sardonicus’ festival……many thanks as ever to keith for hot footing over early call promos……

first up and available on the third day of the Festival – that’ll be the 7th August if I’ve got my dates right, a limited 50 only 5-inch lathe pairing together on opposite sides of the groove space – the Gold Needles and Swiss based collective the Cats Never Sleep. the offspring of Moloko+ by all accounts, who will – with quick reference to the labels forthcoming release schedule – be fondly paid tribute to by way of an ultra-limited lathe release shortly before the year end; the Gold Needles serve up ‘first sunrise’ a gorgeously reclining and lolloping moment in the sun tenderly courted in the affectionate lilt of cantering riff jigs embraced with a misty eyed moonshine grooving free spiriting the kind of wide open rustic airiness that hints of a kinship with Dan Haywood’s New Hawks. Over on the flip wait the cats never sleep serving up ‘vishnou’ – an immense though sadly, all to brief, galactic growler rampaging riff red through the kind of big beardy heads down boog-a-loo that had us here imagining 70’s overlords Mountain in a kind of ‘Space 1999’ styled TV action themed cosmic duel with those far out sci-fi twang dudes Man…or Astro Man. 

lathe number 2 in the 14th dream of Dr Sardonicus festival trio of limited lathes – we say three, but by all accounts there is a fourth due for announcement during the festivities – so far no amount of arm twisting is prising the details from Keith FdM alas. Anyhow lathe 2 is a double header pitching Philippines based collective the Insektlife Cycle on one side with Swiss combo Cold Bath occupying the flip. I’m guessing blessed with a title like ‘schizodelia’ that you might be getting a clue what the Insektlife Cycle sounds like without actually hearing it, these dudes craft a feel good radiant palette combined of elements of post / math rock interspersed and invested with subtle shoegaze shimmer tones who dreamily hazy riff needlework is touched with the adoring spirit of the Church albeit relocated or perhaps marooned on some idyllic sun spot located in the south seas cooking up sky signing slices of serene seduction. as to Cold Bath, briefly mention in despatches just a few days ago, ‘Dune’ is more of your high end ear candy chiming dream demurred post rock purring tuned to the kind of blissful sky siren haloing that once upon a time used to be the trademark tender touch of the much missed Workhouse. 

third and final shot of lathe cut psychedelic wig-flip- ness that’ll be greeting attendees of the forthcoming ‘14th dream of Dr Sardonicus’ festivities hosted by those FdM heads features a double heading late 60’s love in with Britain’s the Sons of Mod and America’s Aethereal sharing the credits and plaudits. ‘walking away’ is Aethereal’s side of the bargain, a gorgeously served flashing of feel good lysergic effervescence whose woozy hypnotic threading of trip wiring spirals and coolly flicked shade adorned strut smoulders might easily be the most happening thing we’ve had gracing our hi-fi-delic sound player this year since both the Cult of Free Love and telstar sound drone dropped their debuting platters and blew our minds. As to the Sons of the Mod, those thinking that ‘lovebyrds (a ballad for malachi)’ was therefore merely around just to fill the platter side, think again, for this gem is a sublimely smoked slice of willowy west coast loveliness trimmed in honeyed harmonies and the affectionate breezy bliss kiss of out of it riff dissipates which as the title might cutely hint sounds like a particular dreamy Buffalo Springfield super chilled and partially stoned on the sonic vibes of the Byrds.

not sure whether this is officially out, I swear I’ve seen a listing with some kind of limited release gubbins. anyhow these last weeks or three, our gaff has been tingling to the sound of Urusei Yatsura, brought on notably by the arrival of promo copies of a forthcoming BBC sessions set being put out by Rocket Girl entitled ‘you are my Urusei Yatsura’ which is set to land in September on neon pink wax. these rapscallions ran appreciably roughshod across an indie landscape blighted by the hysteria or should that be hysterics of the burdening and boring Brit pop tag and the constant weekly music press cries of ‘your new favourite band’ front covers like the kiss of death being hung around the necks of any guitar carrying quartet just happening to pass by. Urusei Yatsura were exceptions to the rule, straight out of the Thurston Moore school of fan first band second, they were loveably awkward suffered like most from spots, shyness and all the tribulations that modern day teen hood and life in general heavily weighs and yet were proud for it. yet it was the sound of Uresei Yatsura that forged their lasting repute – all at once angular, awkward, at times anti-pop, it was an amalgam of teen thrilled effervescence and the joy of the moment, little geeky love notes grooved in scuffed and skewed bubble pop blisters – ‘phasers on stun’ being a primarily example freefalling between the fracture lines separating Sonic Youth and the Lemonheads in comic book nerd love shock. And so here with a two track teaser that culls together two cuts from this hugely essential archive gathering placing the aforementioned ‘phasers on stun’ on opposites sides of the chart bothering ‘hello tiger’ itself circling with the acute razor like incision of an Ash / Bis / Pixies face off. 

oh my, now this is essential listening, in short a superb three track Syd Barrett reading titled ‘the other room’ brought forth by the inspired creative collective mind set of Michael Warren and Grey Malkin. A journey deep in to the darkest depths of the Syd psyche that opens séance like to a ghostly gothic re-telling of ‘Lucifer Sam’, the original fractured and gouged in tripping psychosis is now etched, haunted and led out from a far darker and more eerie place, its sparsely weaved serving crossing a supernatural reality divide oozed in the dark detail of Poe, Lovecraft and Wilde. teasingly brief, more apt to say a visitation shimmered in a deathly stillness, ‘Golden Hair’ emerges from out of the foggy twilight draped in an overhanging funereal folk spiritualism that sits perilously perched between the magical and the macabre. All said though nothing quite touches the insanely fracturing and fried hallucinogenic dreamland that is ‘jugband blues’ which is as close I’ve heard to others tapping into the spirit of Syd without actually being Syd – and yes that goes for Robyn Hitchcock, a twisted sonic playground wherein literally every psych device is shoehorned in from lullaby styled musical boxes, fairgrounds, carnivals, dissolving imagery and most of a huge heap of English eccentricity. quite a trip and free to download so, like, no excuses to partake.  https://michaelwarrengreymalkin.bandcamp.com/releases 

peeled from the Wedding Present’s forthcoming September set ‘going going…..’ this is the mournfully reflective ‘Sprague’ – one of four instrumental cuts that greet the opening phase of the forthcoming Scopitones release. it finds Gedge and Co momentarily paused from their usual full band sound and turned towards a more intimate focus that’s briefly shut out and isolated from the maddening voices of a busying world. the accompanying short film is part of collection of moments captured by photographer Jessica McMillan and serve as an underlying thread and creative work board for the album wherein a series of disconnected visuals take the lead for the music to follow and fit. Also featured here is a collage of the studio recording process for ‘Bear’.

not sure about you, but we’ve found ourselves tripping back through the years our eyes and headspace dissolving into vibrantly lysergic shadings of swirly spangles whilst watching Snub TV, the blame or should I say reason being new thing from Flyying Colours by the name ‘it’s tomorrow now’. this kaleidoscopic dream doped slice of vapour trailing shade adorned cool comes peeled from a forthcoming debut set due via Club AC30 entitled ‘mindfulness’ – in truth basically what happens when you take a huge portion of Ultra Vivid Scene and add in several parts early career Levitation, step back and watch them react.


musical interlude….part whatever it was last time plus one……found ourselves listening to a lot of Human League of late, this ‘un always striking a tone………from the masterclass that is ‘travelogue’……


much adored around these here parts, Dilly Dally celebrate the recent release of the debuting prickly pop platter ‘sore’ via partisan with the airing of a newly recorded BBC session for Huw Stephens. Alas no copies here – grrr, the Maida Vale take featuring three cuts from the album ‘desire’ being the undoubted jewel in the crown turning in like a simmering ‘Gigantic’ era Pixies with Kat Bjelland doing guest spots on the vocal duties. that said we’re a little overtly fond of the smoking cool detuned alt pop of ‘the touch’ coiled as it is in darkly weaved fuzzed up spaghetti twang shadow plays while last but no means least ‘next gold’ brings up the rear staring up from the kinds of despairing depths occasioned on the grooves of the Crimea’s pretty damn perfect set ‘the witching hour’ albeit as though rephrased by Carina Round.


As the country appears to be melting under a welcomed heatwave, frankly what you need on your listening desk is something humungous and hulking swooning in on swarthy snake charming trade winds. incoming on Crammed Discs, this is the sultry lock grooving sound of Acid Arab with ‘buzq blues’ ripped from a forthcoming set ‘musique de france’. These dudes have been flipping the wigs of the underground club land cognoscenti with their heady fusion of western electronics calibrated in eastern tongues by way of a smattering of several well received EP’s. A terraforming cocktail of house, acid, kosmiche and space disco, ‘buzq blues’ is a mesmeric dream machine radiating psychotropic mind mellowing pulsars whose cosmic head tripping coalescence snakes with the sultry seduction of a version of Air relocated to the Marrakech under the controlling influence of Battles.  https://soundcloud.com/crammed-discs/acid-arab-buzq-blues

be truthful, upon listening, or rather more encountering, this little nugget, what is it that your ears and headspace first focus on, perhaps the, to the front of the mix, tribal rhythms tapping out sun dried mantras, maybe the ghostly celestial siren calls woozily manifested by the seeming dance of angelic apparitions or maybe like me, it’s the pulsar like psychtropic hypno grooving buried deep at the back, a hallucinogenic or better still subliminal messaging puppet master as were working the front loading strings to create this, what is, mind mushrooming mosaic whose fulsome sonic palette expands at such a rate that the blighter threatens to push its way through your door to consume your neighbourhood surroundings. Anyhow its by Corum it’s called ‘Fugu poison lodge messengers (welcoming song)’ from a limited outing for moon glyph entitled ‘coastal vudutronic voyage’ – indeed I’m as puzzled as you.  https://soundcloud.com/moonglyph/corum-fugu-poison-lodge-messengers-welcoming-song 

while we busily rummage through emails, you might have to bear with us, this might be a while which while we are here we may as well throw in the obligatory heartfelt apology the way of Geist and the Sacred Ensemble whose message from a time when some of us where so much younger has managed to fall down the internet equivalent of the back of the sofa. Anyway they too have a strictly limited release out right now via Moon Glyph – a bit of a dandy from what I recall, which we will be back here with words about once we’ve nailed the blighter down. For now here they are recorded live on a recent appearance at the Kenton Club…….

‘ullo, what’s this then, I’m back in my ma’s house, foil wallpaper with swirly patterns and geometric shapes, the suns shining, it always did, my ears are hugging the red Phillips transistor radio, its 1972, there’s a familiar friend playing on the radio, its smokes casually to a glam twinkling. then the image fades, I’m back in the present, the songs the same, still a familiar friend, its Ian Hunter. ‘Dandy’ pulled from his forthcoming set ‘fingers crossed’ sounds as though its stepped straight out of ’72, a homage to the late Mr Bowie fashioned cleverly and, most importantly affectionately, something that gets under the very skin of the chameleonic one, all his foibles, quirks and mannerisms shoehorned into a sub 5 minute platform heeled, Freddy Buretti designer wearing Max Factor tearfully fond celebratory signature.

As promised earlier, back with those Polytechnic Youth folk, this being the lead side of a strictly limited – 123 copies to be precise – lathe 7 inch from FreqDesign which we believe, is right at this moment being intricately cut by hand by those nice people at 3.45rpm ready for delivery to the label in time for doors opening on orders tomorrow evening. ’in the lab’ is a lunar trip back to a silver age space pop time, an era draped in future looking dreams of wonder guided along by the dawn of the Apollo missions choreographed as were by sounds from the infancy of analogue electronics. like a solitary space station orbiting the galactic aeons, ‘in the lab’ opens to the softly delicate bathing of a radiant solar sun rise that imagines Dewey from ‘silent running’ alone tending to his Eden dome whilst in his down time tapping out wish you were here notes to a lost home amid a celestial waltzing tryst of ISAN and Magnetaphone types re-crafting a starry slo-mo rendition of ‘telstar’ for the ‘sailing by’ set. absolutely blissful.

literally fell over this yesterday evening, catching it a little too late in the day for a mention, it instead woozily weaved its strangely becoming softly stirred 60’s seasoned noir folk spell craft and with that guaranteeing a place in our affection. this is a new full length from Israel based Noa Babayof entitled ‘blue bound’ – mark my words this might just prove to be a surprise favourite of the year not least because the tender wide ranging spectrum of moods explored and visited upon is truly alluring, at times the bitter sweet neglect of loneliness is so naked and acute that you’d have to root out your well-worn cache of Nick Drake albums for anything approaching comparison, none more so is this as revealing than on ‘from a window to a wall’ where the souring beauty ghosts in on forlorn refection caressed in Autumnal hues. elsewhere the beguilement entrapped within the mysterio that is ‘bright lights’ seductively arcs to a Nico in full flight like framing whilst the wounded and bruised ‘false true lover’ sweetly sighs amid scratching shadowy playing spectral folk treatments that hint of the eerie magnetic haunt of Mazzy Star channelling Linda Perhacs. of course, those reading may think the set is something of a downcast affair, far from it, hidden beauties abound there’s the quick stepping 60’s Francophile pop breeziness of ‘in your own ttime’ to contend with which sweetly fuses the essences of Ana D with Ms Sadier to the backing of L’Augmentation – by our reckoning adorable and irresistibly beautiful, essential of course.  https://noababayof.bandcamp.com/album/blue-bound

pulled from their smoulder skinned psychedelic odyssey ‘golden omens’, this is the lushly toned milky mosaic that is ‘the creeps’ by the much adored Soft Hearted Scientists, a ghostly visitation eerily draped in Meek-esque murmurs all fractured in a vintage dream drifting spellcraft that imagines purveyor of the strange Paul Roland stirring up a woozy cauldron of crookedly eccentric magicalia drawn from the careful plucking of equal measures of the Freed Unit and the Dukes of Stratosphear

time I think for a little infectiously frisky sweet pop, this being from Pauline de Tarragon, here found hiding under her alter ego Pi Ja Ma with a cutie called ‘radio girl’ via bleepmachine. starts off kookily enough aping Hafdis Huld’s crookedly chirpy slice of effervescence ‘tomoko’ from a few years ago before adoring itself amid a radiantly affectionate colourful playroom piped in lost 60’s summer tangy shimmer pop stylings all becomingly bubble grooved and dressed in softly toned strut shimmies and head in the cloud dizzily drenched honeyed harmonies, now tell me, what is there not to love.


Do Daddy Tank do emails, if so I reckon they must have sneaked this one under the covers when we weren’t looking. Out this very moment this is the quite superb 6.9hz and a sampler selection from their ‘broken state’ set which furiously fuses drum n’ bass and break beat cut ups with strains of neo classical symphonics and ghost light electronics, the effect is quite fetching crafting what might best be described as sepia recollections in a futuristic age which border on moments of estranged chorals and monochrome abstract classicism being retuned in a post-apocalyptic wasteland, without doubt admirers of Louis and Bebe Baron not to mention Wendy Carlos, yet reared on an overtly obsessive Aphex Twin sonic diet and a curious appreciation for Bernard Herrmann albeit as re-focused through the lenses of Wagon Christ, 70 Gwen Party and John Carpenter.  https://soundcloud.com/daddy-tank-records/69-hz-the-broken-state-clip-track

next up, two quite excellent releases from the eilean recording house, first up ‘rvvr’ from Florian Von Ameln, the album excerpt herein revealing the kind of ear for intricate melodic detailing that brings swifts comparisons to both David A Jaycock and Wil Bolton. With an unnerving knack of applying a mood skin in constant flux, ‘rvver’ keeps throwing you off balance, always hopping on the back foot as though pulling you in to its dissolving dreamscape, for these sleepy headed charges come sculptured with a stilled elegance that veer from vintage slices of opining lunar carousels and fog bound twilight visitations to strangely alluring and hypnotic primitive folk lullabies not to mention fracturing sepia scorched slices of discordant distress calls and ghostly ethereal manifestations.  https://soundcloud.com/eilean_rec/florian-von-ameln-rvvr-album-preview

second up from Eilean, a rather special release from OjeRum entitled ‘vaev’ upon whose finite and fragile canvas a delicately dimpled and demurred tapestry is weaved whereupon the gathering of lulling pastorals, bowed arrangements and close contact ghost light ambient collages beautifully carve a fondly introspective photographic album of collected fading yesterdays, always touching sometimes tearful the feint detailing is exquisitely brought into sharpening focus by the sparse use of space, poise and timing leaving these minimalist sighs to wash forth over the would be listener with a sense of melancholic intimacy. https://soundcloud.com/eilean_rec/ojerum-vaev-album-preview  

cloaked in darkly lit shadow plays, this is the other side of that superb single set from SeaWitches, this being ‘skylight’. relocated amid a post punk Liverpool scene c.81, you can imagine this being tucked into a late rainy night Peel playlist back in the day, groomed atmospherically in chilled ghostly spectral grooves, it freefalls into the kind of terrains that once populated lost labels such as open eye, fetish and fresh to name but three, sound wise obscuring mutant funk undertones snake along an ever watchful anxiously and edgy paranoiac framing whose rooting family tree branches to reveal a shared ancestral line with both ex post facto and pink industry with a subtle side serving of Xmal Deutschland for good measure. .


not all together sure what’s afoot here, appears to us to be a kind of freebie singles club started somewhat mid-way through the year by the adult swim sound house, mind you the graphics are a little involved and might cause those among you preferring your sounds served up on a fuss-less platter a little grating, but the sounds are, I make no bones, faultless and well worth the patience. latest to the roster / catalogue something rather nifty and, dare I say, epic from Blanck Mass. ’07-05’ pilots directly into the core of Front 242 and finds the sound space radically renewed through a terraforming programme enacted by micro engineering Orbital nano-bots, the result a hugely psychotropic tweaked panoramic symphonic supernova that radiates and pulsates to an impacting and colossal space expandig club floor decimating wipe out.  http://www.adultswim.com/music/singles-2016/ 

same label, same singles club, edge a little back to release number eight and waiting in the shadows you’ll find Elysia Crampton with ’flora’s theme’, a futurist hybrid post-apocalyptic happening, as were, unto whose tapestry the subtle phrasing of Ryuichi Sakamoto serves sentry in the background over which a sinisterly fracturing sonic nightmare nothingness and eastern spell charms glare like a darkly crafted Cornelius with the assistance of Propaganda culturing foreboding empiric overtures welcoming the would be approach into the lair of Ming the Merciless.  http://www.adultswim.com/music/singles-2016/

back in the mists of time, such overriding concerns associated with nuclear fusion where greeted not so much in cautious negativity but in terms of dreams of its potential. Seen as a positive step for mankind as a whole and still in relative infancy its pluses and negatives hadn’t yet been assimilated, after all atomic science was at its dawn and to a world emerging from out of the gloom of war and the pursuant austerity. unlike most artists frequenting the realms of, I guess you’d collectively call, hauntology or more rightly cold war groove, there’s a tendency to look backwards with a degree of skewed nostalgia to an age – or at least a vague actuality of an age – symbolised by the threatening cloud of nuclear aggression, political intrigue, future gazing post-apocalyptic sci-fi and er…..pylons and with that the application of a musical craft dimpled in an eerie albeit wonky iciness. Not so with the Heartwood Institute, who after – what they call – a hiatus, 9 months mind, blimey they need to have a word with Radiohead about hiatus’ – return with ‘calder hall – atomic power station’ – a homage of sorts to Britain’s first commercial nuclear fusion generator. a misty eyed salute populated by a fond affection redolent of the time from an era where the old age passed into the future age and where for once mankind began to collectively dream of a new found growing hope in science as the next phase of his development. we’ve opted on this occasion for the parting shot ‘cooling towers’ – haloed in a sense of the stilled, the silent and the stately, these man made arteries, the lungs of the operation are gracefully remembered by a swirling nocturnal lullaby whose shimmering lunar pastorals twinkle with starry eyed seduction to a lilting carousel whose minimalist opines principally recall the analogue yearns of a youthful ISAN.  https://theheartwoodinstitute.bandcamp.com/album/calder-hall-atomic-power-station

those of you lucky enough to be attending the forthcoming Fruits de Mer festival soiree – ‘the 14th dream of Dr Sardonicus’ will each be rewarded with a bulging goodie bag of essential ear gear among which you’ll find three specially curated CD’s play listing pretty much everything sound wise that FdM stand for and delight in. over the coming days you can expect mentions for each of those CD’s along with commentaries on the goodie bag gathering. So without further ado, starting with CD1 – obviously – for a change – this is, I guess, what you’d call the psyched out one of the three, 14 specially selected head tripping cuties, with the exception – if I recall rightly – of three – Mystic Brew, Fast Cars and karovas milkshake – I could be wrong – the rest have all appeared in one form or another on past release happenings. the set opens to the bliss kissed lysergic burn of Aethereal’s ‘walking away’ which you might recall we mentioned in an earlier posting given it features on one of the four specially pressed lathe releases being made available at the event. we managed to shoehorn in a mention for the Fast Cars’ ‘mindset’ several dispatches ago, a bit of a dandy this one – all reverse loops with a irrefutable nod to Curved Air and Jefferson Airplane, in short a bit like imagining Crystal Jacqueline fronting up the much missed My Jealous God. frequent FdM flyers Stay slink their way in with the smoking cool ‘last time’ which in truth sounds like the luck of eden hall being taken by the hand through the more palatable kaleidoscopic moments of 90’s Brit pop in a Jesus Jones meets the mock turtles way. if memory serves me right, the Sons of Mod cut ‘lovebyrds’ is the alternating flip of that killer lathe cut that features the aforementioned Aethereal, and weren’t we just talking about the Luck of Eden Hall, well ripped from their current well received (too much grumbling we here are yet to see a copy) ‘the acceleration of time’ set this is ‘the happiness vending machine’ a straight on up power psych pop stomp fuzzily freebasing on Elephant 6 Collective whilst impishly nibbling away at the coda from Floyd’s ‘Lucifer Sam’. doyens of cool Vibravoid trip in with the f you ‘get out of here’ – having one of those moments myself strangely enough….all fizzing reverbs, hypno grooving psychedelics and shade adorned strut sneering – you know the deal – the dogs bollocks as they say in quaint tea rooms. next up Mystic Brew serve up some kaleidoscopic surferella in the shape of ‘yesterday’s sky’ which unless the ears do deceive sounds not unlike first generation Inspiral Carpets doing groovy things with Fuxa. those fancying their listening spaces daubed in all manner Eastern mystics as though applied by a killer cool Wall of Voodoo mighty do well to hook up to their flip wigging mushrooming mantra ‘purple sun of glastonbury’ while elsewhere the Seventh Ring of Saturn spin the darkly seductive ‘burning a hole’ – a zonked out stoned and skewed psych pop gem grooved to a mind arranging alchemy gathered from Wimple Winch essences. Adored around these here parts Topos Locos stump up their corking ‘Madelina Valentina’ originally released a few months back, a jet setting 50’s twang toned cosmopolitan femme fatale crafted out in the much missed spirit of b-movie sci-fi cadets Brand Violet. pulled from their recent ‘inside the wheel’ set, the Honey Pot delight and demur with the 60’s psych folk Moody Blues-ish ‘butterfly ride’ while fellow Mega Dodo label mates Mark and the Clouds opt for a spot of dreamy 70’s grooving via Dennis Wilson and Gene Clark for the radiant ‘take my sky’ and surely a new album from permanent clear light is long overdue, still the ghostly ‘iris murray’ hits the neglected spot, an eerie baroque pop chiller beguiled in a ghostly enchantment that sits somewhere between Paul Roland and Ooberman. which leaves the Telephones to see out matters in fine style with a smoking hot La’s-esque live take of ‘hummingbyrd’. nuff said.  

just what you need to ease you into your Sunday morning as the Archers omnibus sparks into life and we find ourselves with a one hour window between the political commentaries on Radio 4 and the BBC. Mind not altogether sure whether this is by Finglebone and that ‘confluence’ is the title of the set or whether that’s the name of the artist – still whatever the case from it be ‘riverside’. Anyhow we do love the expressive dream like airiness of it all, that sense of escape from the metropolitan to a more serene idyll where the woes and busyness of modern life are replaced by a delicately spun laze in the wide open, in the distance the alluring sense of nature’s touch is greeted by the sound of birdsong drifting in the breeze to compliment the hypnotic sway of the watery flowing, as to the sound of ‘riverside’ – delicately subdued, attuned to the wildwood pulse, a mellow mirage of finger plucked murmurs, unfussy, free from clutter all tenderly traced. any questions from the back? https://soundcloud.com/finglebone/confluence-riverside

blimey the blighter keeps turning up everywhere of late, I’m half expecting him to appear on the goggle box reading the weather, what’s that you’ve an album about the woes / joys and the unpredictability of the British weather. of course we jest, but it does seem to us that there’s been a restless air of late in the Darren Hayman camp, with singles and albums flying out with unchecked regularity, not that we here are complaining especially when they come woven in the kind of brittleness that graced his last outing for Static Caravan under the moniker the Hayman Kupa Band. This time however, charged or was that taunted, by the Static brethren, to do a ditty about his favourite ever train, in return the label having already revealed their hand with the promise of pressing up said offering onto an eye catching picture disc, Mr Hayman furiously shook his dusty hard drive to unearth an albums worth of train line love notes. not wanting to let such a gift horse staring opportunity go amiss, the label took said tapes and furiously worked on a specially crafted package that now finds the original picture disc promise bolstered by an additional CD featuring a further six locomotive lovelies. ‘trains’ reveals a Hayman secret passion, yet this isn’t merely a geeky train spotting affair offering tales of colour co-ordinating Kagool wearing hand holding shy hearts, rather more it’s a homage, a fond recollection of childhood memories of family summer holidays thought forgotten, a people watching parade (like Len and Kate on the monochrome filtered musical hall waltz of ‘buffet car song’) intrinsically linked to sleepy sidings, picturesque stations and the huff and puff of steam engines tooting joyfully along the rural green and brown arteries of these fair isles, a fascination subtly instilled into the English consciousness by the ‘coronation scot’ or films such as ‘the titfield thunderbolt’, ‘oh, Mr Porter’ and ‘the railway children’ to name just three, each harking back to a yearning for a time less rushed, more-quaint and indelibly more British. So here by the inscrutable pen and fond eye of Mr Hayman are eight such sorties, led from the fore by the delightfully chirpy adoration for ‘class 108 DMU’, a misty eyed love to the diesel classes of yesteryear beautifully crafted with the harmonic huffing and puffing hum of children giving it an adoring sense of movement while Hayman watches out through the window at his childhood self-reflected back. For the purists among you there’s even field recordings of this diesel dandy further along the listings on ‘sounds of the 108 dmu’. next up the bitter sweet ‘we find treasure’ in truth the most touching track here, an ode to neglected stations lost to progress and disuse, haunted by memories of an England locked in another age. the theme of forgotten lines continues on ‘la maison du garde’ recorded in 2010 at Wreckless Eric’s back garden, the tumbling rustics mournfully etching out tear stained ode to the overgrown linking line that connected Chalus to Oradour Sur Veyres. the sleepy headed and decidedly off centred and wonky ‘the backs of houses’ wraps up matters and brings the journey to a hissing halt and finds Hayman returning back to familiar hum drum jaunts wondering what became of his ‘almost girlfriend’. gem like. ‘trains’ will be rerady for boarding from the Static Caravan platform on 1st August 2016.           

day 2’s selection found tucked amid the grooves of your 14th dream of Dr Sardonicus compilation CD (day 3 comes later in the week) is your more post rock / prog populated affair, or for the so inclined among you, what we used to refer to certain review sections of ancients texts contained in Ptolemaic Terrascope as the bonged out section of the event. By and large, this volume finds its track list pretty much dominated by Inna Pivars and the Histriones and unsurprisingly sounding like a recently unearthed lost Floyd album – more about that in a moment. five featured visitations from Inna Pivars and the Histriones, all taken from an unpronounceable film soundtrack from 2014 and all cooled variously in vintage mood mosaics that range from the suave noir lounge of the Mancini like ‘lyrical theme’, the eerily hallucinogenic ‘accident’, the hazily trippy 60’s styled eastern spy noir ‘night in Arles’ to the snaking desert dry spiritual that be ‘finale / two labyrinths of the two czars’ the latter of which I must admit ought to appeal first port of call to those much admiring the missing in action of late Preterite. Ax Genlich and Sunhair open proceedings with the space stoner groover ‘spaceship memory’ which had I not known better might well have taken it for an alternate suite cut from the ‘wish you were here’ sessions, damn fine stuff that’s very out there and mellow, almost a slo-mo Sendelica oozed in mind expansive mushroom murmurs. Talking of Sendelica and er – Floyd – the woozy Welsh wizards drop a tab or three and get very far out and wiggy in a mammoth Ozric Tentacles mind morphing way with a seven-minute astral ride via ‘set the controls for the heart of the Buddha’, an absolute freak pill that finds them at the altar of the mighty and dare we say, oft overlooked, embryo albeit here having brought along for the ride their stash of brainticket groove. it goes without saying that Jay Tausig knows his way around the prog cosmos, the space freaky star child delivering the 14 minute colossus that is ‘extensions of infinity’ which aside being a mighty fried head trip guaranteeing the adoption of a beard by its close, is also tooled and trimmed in the kind of stoned out bliss cruised oblivion whose wigged out astral riffmanship turns minds to mush like no other. staying in the Floyd cosmos, Cosmic Fields’ ‘velvets and the moon’ from their self-titled le pop club released full length is an epic lunar overture piped in all manner of twang toned bliss kissed choral codas and late 60’s Elektra infused trippy kaleidoscopia which amid its 7 and a half minute visitation manages to shoehorn a terraforming sonic palette worthy of comparison with the mighty Grails. next up, previously unknown to us, from the future wizards and the zap archive whose name alone might give hint as to what lurks here, loosen headspaces with on this sub 16 minute work-out entitled ‘untitled’ appear to noodle about creating a mellowing little jazz kraut palette before without a by your leave abruptly pushing through the gears and going all interstellar in a heads down no nonsense cosmic boogie type way headlong into a galactic inferno chased at blurring speeds by all manner of space sirens to culture something that links the hands of mountain and hawkwind not to mention modern day scallywags Mugstar. riding us back to reality, Simfonica are tasked with bringing matters to a close with ‘hekla’ – the keen eyed among you might note that this track comes culled from a set so far unreleased entitled ‘song of the volcanoes’ which isn’t the point only the fact that it comes located from the home of Trevor Midgley / Beau, which begs the question, why hasn’t it been released because from what we hear, this cosmic cruiser cooled in minimalist pulsars ghosts between the finite divides that exist between post-apocalyptic drone (I’m thinking the Arell and cathedral transmission imprints principally) and hyperreal trance tones, the latter the type of which once upon a time ventured by Sonic Boom in his dream machine dinking EAR alter ego, whatever the case its effectively dispatched with an unnervingly simplistic detached mournful aura that’s certainly worthy of further investigation..     

beyond the peacefully tranquil beauty of this land’s hidden village idyll, across the lush green velvets flat lands, amid the chorus of birdsong and the reassuring peel of distant bells, dark forces plot and stare from dimensional fractures. Their origins some known, some deliberate, some simply unseen after effects and some unexplained, lurk and loom often in plain sight, sometimes invisible whether through careless familiarity or through secretive intent. A traipse through lost and overgrown woodland paths and seemingly picturesque postcard locales, along the way uprooting alternative histories that the sight-seeing brochures either choose to forget to tell you or have mysteriously been airbrushed from a collective memory, its where minds begin to muddy and the blur between reality, custom, myth and folklore interweaves. A secret land where Wyndham and Kneale write, dreams of tall buildings play and an English eccentric of brit horror folk and conspiracy theories are run riot by a Jon Pertwee era Dr Who. The A Year in the Country collective have pondered often at such strangeness, they’ve noticed the unsettled aura descending on these lands of green and have long puzzled upon the coincidences of such eerie occurrences and to this end have resolved to carry out a year-long audiological project with the aim of conducting a scientific survey to unearth these secret villages, happenings or incidences cloaked from the gaze of the casual visitor, yet rooted in village custom, mystery and folklore. ‘the quietened bunker’ follows the collectives ‘the quietened village’ report, where previously they concentrated their minds to researching lost villages consumed as were, by nature, on this occasion they explore abandoned installations buried deep below the serene pastoral landscapes, secret underground government settlements planned for cold war communities to exist should the threat of nuclear hostilities be a grim reality. These relics to a darker past remain, often intact, silently waiting occupation, a solemn spectre perhaps a portal, to an age grimly grinning in suspicion, mistrust and political chess playing. ‘the quietened bunker’ unearths these vacant corridors, its report phrased as a sound collage is stilled in a haunting vintage that blends analogue electronica and sonic manipulation with field recordings. Within this report you’ll find nine sonic studies presented in two attractive packaging variants – the limited ‘night’ and ‘dawn’ with each version containing all manner of inserts with the former housed in a presentation box replete with stickers, badges, a string bound booklet and more. If Jean Michel Jarre’s recent ‘exit’ single was a fusing of the technological age in both terms of game play and surveillance into a furious technoid chase, then Keith Seatman’s ‘lower level clock room’ reveals a mirror opposite that sonically draws matters back to their barest binary monochromatic, despite its sparseness the edginess is explicit, a Tron-toned future nightmare, at its heart the chill of the countdown wearily ebbs away amid a sense of controlled calm at a point where everything is far from it as the danger alert pulsars merrily chime towards a final end game. In sharpening contrast, Grey Frequency’s ghost light that is ‘drakelow tunnel’ comes gloomed in a morose majesty, a funereal drone epitaph haunted and harrowed in an eerily faded spectral detachment. Both measured and poised not to mention, elegant and elegiac, the touching murmur tones of the opined tear stained ‘the last man, plays the last piano’ by the filters gone is as the title probably gives ample hint – a bitter sweet light going out farewell salute crystal tipped in a sighing sepia lit aura trimmed in bruised neo classical orchestrations the likes of which draw immediate comparison to Antonymes. Thankfully panabrite lift the mood ever so slightly on ‘aggregates II’ for what is a deeply trance toned slice of sleepy headed binary glitch grooved lunar noodling much recalling the early minimalist murmurs of Maps and Diagrams albeit as though relocated to an equally youthful Melodic imprint forging cosmic love ins with a subdued Minotaur Shock. Much admired around these here parts, Polypores – who incidentally should be making a further appearance in these musings when we catch up with his imminent set for Polytechnic Youth – here serves up the rather stately ‘decommissioned’ – whose ominous marching precision aligned to the stilled cold shrill of a muted Soviet symphonia endow the proceedings with an end game futility the type of which calls to mind the sound backdrops to ‘the terminator’. Equally admired around here the Listening Center drape the audio space in the foreboding sound of ‘comms – seen through the grey’ – well we say foreboding yet once the trippy electronic fractures, which we must admit, have something of the Barrons’ Louis and Bebe about them fade, then something schooled in cool kosmiche swoons in to take its place that sumptuously plugs directly into the Zombi hive mind. Preferring a more abstract peppered in frequency modulations route, time attendant’s ‘crafty mechanics’ is your skulking mutant funk micro-chip chirping toaster and kettle teasing slab of binary boogie had your ears been accustomed the weird wires and diodes groove of EAR while unknown heretic whose previous outings have been associated with both the much missed owl service and the straw bear band, gets very dystopian in a mechanoid / cybernaut way with the deeply chilling doom drilled ‘crush depth’ whose seemingly brutal mantra is the sucking of both life and light until all that remains is a husk, that said certainly of interest for admirers of 70 Gwen Party et al. last but by no means least, united bible studies David Colohan wraps up matters for this particular strange occurrences report with ‘waiting for the blazing skies’ – a most alluring waltzing orbital sorrowfully sighing in the starry outlands mournfully transmitting crystalline cosmic distress calls from forgotten far off outposts to its long since fallen creator as it observes the heavenly nightlights dull, diminish and disappear.  http://ayearinthecountry.co.uk/

one of the CD’s you’ll find tucked inside the goodie bag that’ll be forced upon your palm just for having the good mind to turn up at the forthcoming Cardigan FdM shindig that is ‘the 14th dream of Dr Sardonicus’, is a four track head tripping magic carpet odyssey by Stephen Palmer – here found under his blue lily commission alter ego –  entitled ‘four journeys’. Call us slow to get on to this, it may well have taken a while for Palmer’s sonic cycle to rotate full circle and cross our path, I mean he’s only been kicking out releases as BLC for a decade or two now and what’s more you are all probably laid back chilled out tooting on rare chemicals extracts going ‘yea man, that Palmer cat – he’s so gone man, hell that was yesterday, where ya been all this time’. Still we are here now, and glad for it, for Blue Lily Commission is clearly the work of someone who while everyone else was tucking in on the latest bandwagon casualties of pop, scoured the radio waves tuning into the out there moments of ‘Out on Blue 6’ whilst expanding their head space with anything bearing the name Steve Hillage on its waxen hide. Principally drawing the sonic dots that invisibly connect, like secret ley lines, the ozric tentacles, the more wig flipped freak pop moments found lurking amid a heyday early 90’s Delirium back catalogue and say, the magic mushroom back catalogue not to mention pretty much all those hippy bonged albums you chose to ignore when leafing through the pages of your prized copy of Ptolemaic Terrascope, Palmer navigates the colourful corridors found lurking deep and distant in your inner mind dream space, ostensibly fusing progressive techniques with oodles of eastern mysticism, cosmic wooziness and head freaking hallucinogenia, he is all said a one man Embryo loving alchemist weaving expansive terraforming bliss kissed tapestries from olde forgotten ancient musical tongues and forging them anew. Best moment here by far ‘the trip’ –  one minute a spiritual jig, a sun loving homage, hypnotically grooved in snake charming mesmerics – the next tribal dances and woozy astral plane wanders a la Tangerine Dream and then off, up and gone sucked up in a surreal peace pipe shaped like a flying teapot. Far out.   https://bluelilycommission.bandcamp.com/    

you might remember in the not long dim dark past, us mentioning a CD sent ahead by those Fruits de Mer folk by a chap of the name Scott William Urquhart. A most alluring release that featured honed between the grooves, a musician schooled in the vintage ways of a certain John Fahey. Well he’s back again, this time a four track treat entitled ‘September’ which finds him hazily marooned in sun scorched prairie alcoves intricately finger threading a guitar playing artistry whose mellowing folk blues draws from a deep musical well whereupon swim the aforementioned Fahey and fallen masters of the blues art such as Blind Willie McTell and Fred McDowell, that same sunny southern drawl coming to free spirit on the deliciously airy ‘drumochter pass’ with its phrased curvatures delicately needling a lulling lazy eyed lilt to the listening proceedings. That said the bitter sweet minor inflections on opener ‘down with death’ have a solitary concentrate of Nick Drake about its detailing while long time admirers of David A Jaycock will do well to be blissfully swooned by the lights fading end of the day restfulness of the rustically rhymed ‘Wren’. All said, and don’t you find its always the case, it’s the parting shot ‘September Sky’ that tugged at our ear lobes, set upon magic and wonder it purrs to a mountain folk underpinning picturesque setting that views, in the company of a gathering crowd of nature woodland patrons, the last cheer of the summer sun before the arrival of autumn’s shadow. In short, bliss. The CD comes packed inside FdM goodie bags being given to all who venture the forthcoming ‘14th dream of dr sardonicus’ festivities.  

To sexy for ghost box, to oblique for weird and to melodic for radiophonic workshop. Tinkering for twenty years with such revered labels as Earworm, Enraptured, Great Pop Supplement and Deep Distance, there’s always been this feeling that head honcho Dom Martin has secretly been on a mission to oversee an imprint that could both embrace the elements of being considered not only an art form but also a way of life tapping into a certain mind set to provide a trusted brand. With each new passing label, these objectives have been achieved, yet what has, you suspect, always gnawed has been that final piece in the puzzle of incorporating his first loves – Kraftwerk and Tubeway Army – into the grand scheme of things and hitherto revisiting, reliving and ultimately establishing a brand uniquely grooved in the silver age of electronic sound. Founded in 2014, Polytechnic Youth is a curio of delights, a dusty sound lab of monochrome melodic relics crafted on wonky sounding analogue flea markets exhibits, a collective pantry housing lines upon lines of primitive sound blueprints that open portals to future generic mutations a la dance, techno, house et al by way of an adoption of all things cold war pop, death disco and minimalist electro. releases are often dropped into the ‘market’ on a face book word of mouth listing, most releases to date coming pressed up on ridiculously low numbered lathe cut editions that command inflation busting values on internet auction sites, it’s this select and small community of the faithful that the label has promised to cater for on a regular basis, in between that is, the occasional bulk pressing of albums which have often been known to number the heady 300 mark. ‘they make no see – forty fives on CD’ – is a joint venture with the emotional response label, the CD version being the American variant as opposed to its UK vinyl sibling ’45 on 33’, a kind of story so far compilation gathering 9 such long since out of print tracks from their small yet alarmingly essential back catalogue including the label’s curtain raising 20 copies only debut from Volume Groop – of which prized for posterity both sides feature here, both proving to be kosmiche raptures cooled and schooled in the Wendy Carlos /  Silver Apples / Louis and Bebe Barron sound lab of gloopy star lit lullabies – see ‘movement’ or better still the playfully bowed baubles and wonky tomorrow dreaming vintage of ‘stillness’ which if anything, ought to appeal to admirers of Raymond Scott. Also shoehorned into these essential grooves, the enviable roll call features a plethora of well-heeled lost relics from the labels distant past, that include a previously unreleased treat from Detox Twins along with two PY interludes that classically book mark the vinyl side starting excursions into a futuristic tomorrow viewed as were from a forgotten yesterday. It’s here that you’ll swoon to the uber cooled suave continental chic of Groupuscule’s much sought after platter – PY4 if you are taking notes – ‘imagine – c’est la guerre’ proving as ever to be an ear candy favourite arriving spared in Dadaist disco demurs the type of which imagine Agents Aren’t Aeroplanes being fronted by a certain Ms Sadier while flip side, the arresting ‘je suis marxiste’, is a lilting lunar lovely finding a mid-career and at the height of their collective powers Stereolab doing rather sultrily and fetching Barbarella mosaics. Somewhere else day dreamed in yearning orbital opines all fondly graced in sepia haloes of vintage seaside promenade organs, a kind of sand castle building FortDax on gaseous beach heads of Saturn are the Home Current with the bliss bowed balletic Balearic beauty ‘Wix’. Those fancying their chosen listening poison etched in the kind of minimalist romo grooving briefly prevalent in the mid 90’s might do well to wrap up for a chill pill chic dashing of Detox Twins whose decadent death disco grooving on ‘Einhorn Suicide’ has something of a classic era SPK about its wares while later along the schedule a specially incorporated unreleased cut entitled ‘paradox’ is, unless our ears truly have gone off on a wander, the sound of a John Foxx era Ultravox retuned in the image of Minty by Miss Kitten with oodles of DAF thrown in for good measure. Dwelled and drooled in dystopian aural texturing Xyzips craft the kind of minimalist eeriness more commonly associated with a youthful variant of truth about frank both no doubt familiarly attuned to the primitive technoid tuneage of an early career Cabaret Voltaire as ‘Cosey and Warm’ proves irrefutable evidence of. We must admit to having an adoring soft spot for Mass Defect whose sparsely calibrated lunar lullabies twinkle with a hope hued wonder of an age to come not to mention, as does ‘magnetic melodie’ testify to, a slight passing hint of awe for a ‘scene 30’ era Echoboy and space age super group ‘Fly’. Blank generation oblivion comes to pass on the shadow forming ‘Space Sorry’ by Middex amid whose bleakly trimmed dada circuitry, elements of Map 71 and Rooney exchange cooly cold love notes to the sound of the Normal with additional sonic choreography by Fad Gadget. Latest outing by the Polytech-ers is the superb second outing from Freqdesign – sadly by all accounts sold out on pre-orders alone – not to worry for here’s their first – ‘Rachel don’t dance’ – a hollowed proto house ghost light that imagines a lost and slightly bemused Laurie Anderson lost amid the forbidden zones of Tubeway Army’s ‘replicas’ dystopian future world. Class in short.

Back with the day 3 shenanigans contained therein on FdM’s specially curated third freebie for the forthcoming ‘the 14th dream of Dr Sardonicus’ festivities. This listening event gathers together 17 tracks from folk both familiar and not so familiar to the fruits de mer fraternity. Again another well-heeled rummage through pop’s progressive psych backwaters that opens to the panoramic beauty of the alluring majesty’ by Rob Gould (out of sight just at this moment I’m fairly certain there’s a CD by Mr Gould in the hulking goody bag of sonic gifts) that is the shimmering mountain’ which comes crystal tipped and caressed in all manner of bliss fused Floyd-ian cosmic pastorals. Next up, a spot of mind dissolving magic carpet flying bliss kissed mystically lazy eyed groove from Ash Magna with the delectably dream weaving ‘mandala’, a kind of meditative eastern tweaked mantra brought to bear by shimmering cascades of riff rolling cascades, quite serene stuff if you ask me. Think we may have mentioned this un in passing in a previous posting, not the cut gracing their specially cut festive lathe side with the cats never sleep, this instead being ‘surfing the night waves’ which by these well-worn ears has something of the Durutti Column about its wares albeit had Mr Reilly shimmied up to say the much missed beatglider and sennen for a spot of chill toned noodling. Those preferring their sounds lushly speckled in flute flottillas and the kind of head expanding Gong-ish tripadelics oft ventured by those happy hippies the Ozrics Tentacles might do well to seek out paisley skies damn dandy ‘kosmic kool’ while the aforementioned the Cats never sleep’s lathe side offering ‘vashnou’ gets a deserved ‘earing – still sounds to us like a hulking beard forming Mountain doing wigged out 70’s TV sci-fi soundscapes in the vague likeness of Space 1999.  Talking of lathe releases, cold bath’s forthcoming split with insektlife cycle entitled ‘dune’ should tug at the lobes of those much missing the mighty Workhouse, a wonderfully crafted slice of post rock classicism swallow diving into the majestic hazes of the Grails at their most mellowed and mercurial. Up next cosmic strangers stump up ‘holocene dream’ – an astral cruise controlled head tripper best experienced by the rolling up of a fat one in order to fully enhance a listening spectacle spirited away in out there Zerra 1 retooling the Enid mosaics. I’m probably wrong, but do I detect the wigged out wooziness of a youthful Bevis Frond flavouring the sound scapes of Market Square records resident Colin Harper’s rustic ‘Steven Kindler’. Oft much admired around these parts, a moment of tranquillity is deemed appropriate by Claudio Cataldi on the beautifully bracing sun teased finger plucked delicacy that is the entrancing ‘snails’ while the Owl Service with beats ‘got’ by Frantic trips a finite line that teeters to nods to Tunng on one side and Dark Captain Light Captain on t’other with a healthy side serving of working for a nuclear free city added to the proceedings for good measure. Much deserving of closer inspection by our reckoning are Suspirium whose ‘the probabilities of balance’ is a welcomed set sitting sore thumb – cosmic dub demurred in down tempo grooves under noir lighting which had recalling a subdued Mirror Mirror in cahoots with lounge purveyors Discordia. Regular visitors to these pages, though not as often as we’d prefer, Julie’s Haircut set their radars for the heavens with the twinkle toned motorik murmurrring ‘gabbro’ a pulsing pretty trimmed in starry swoons which for the second time tonight had us much in mind of cosmic super group Fly. Must admit that we here are more than a little taken with Black Tempest’s ‘into stillness’ – a fringe ruffling voyage into the depths of the inner mind for what is a blissfully kooky kosmiche kaleidoscopic dream drift, kind of Tangerine Dream after a session on what Gong smoke.  There’ll be more Consterdine shortly, in a day or three, that I can guarsantee for now though ‘hundertwasse nebula’ from the former Sendelica man is a beautifully lulling lunar carousel, a Meek murmured ‘telstar’ on failing emergency power resources tooting out to the voids lovelorn waltzing orbitals in homage to kraftwerk albeit recalibrated in the likeness of la dusseldorf. Undone with ‘elastic venus’ – my oh my, what can I say, one of those Bang Bang Machine moments I’m afraid, once heard always adored, no doubt fully paid up members of the My Bloody Valentine fan club and something that ought to appeal first and foremost to those among you still pining the much missed Insect Guide and the Clerks. Just gets better, now along comes David CW Briggs making a late bid for best moment of the set with ‘don’t take my mind girl’ – one I feel for those of you shsade adorning afficianados of Cheval Sombre. Last but not least, drawing close on this excellent three disc soiree Blue Giant Zeta Puppies step up to the plate with ‘the colossus’ – a howling slab of twang trimmed groove-a-rella tuned into b-movie space spaghetti western alien invading transmissions and spy noir 60’s shadow plays, does it for us.    

In case you missed, I know, i know, things do have a nasty habit of slipping below the radar here’s the Robert Wyatt sounding ‘the British Road’ which we mentioned a little while back somewhere here https://marklosingtoday.wordpress.com/2016/07/14/north-sea-radio-orchestra-2/ – an album by the name ‘dronne’ is heading its way into record world September time via household mark…..here’s a little video…..


Call it a little self-indulgent, but the day became buoyed by news that Chron Gen are to release a new album, their first since 1984’s ‘nowhere to run’  – set for release on westworld in September the album entitled ‘this is the age’ follows the bands recent well received shows. Anyhow while we go on the beg for preview copies and various sound cloudy things here’s a little ditty they did way back in the day – c.82 wasn’t it – called ‘outlaw’ from a one off Secret seven inch…..

Been a while since we had a chance to delve into the strange sound worlds that is the bedroom cassette masters. Now up to Volume 8, these imagined compilations come grooved by lost recordings cobbled together by potting shed dwelling future sound enthusiasts culturing icy minimalist primitive electronic tones the type of which you’ll find gracing the waxen lines of releases by the Weird and Polytechnic Youth imprint. To whet appetites, its creators have gathered together a sampler shoehorned in the sounds of yesterday crafted upon vintage synthesisers fired to life by an assortment of purists and flea market perusing boffins subscribing to home radio assembly magazines who watch TV through the valve crackling glow of a monochrome Betamax haze. Amid this 20 minute collage and beneath the shadow forming dystopian chill of the cold war mosaics and post punk wastelands, analogue electronics first dance steps are prized out for posterity along with the occasional demur of lunar carousels, industrial mutations, binary bops and the aloof pose of the new romantic cool.


just ahead of the re-release of 2012’s ‘the pavilion of magic and the trials of the seven surviving elohim’ and available on a highly wanted limited one sided wax pressing of just 107 copies, a remastered version of ’12 shades’ will be made available at the forthcoming Fruits de Mer ‘dr sardonicus’ festivities the weekend next. in addition to this, to mark the bands year long 10th anniversary celebrations they have repressed their debut album ‘entering the rainbow light’  amid whose grooves the aforementioned ’12 shades’ lurks. Originally released in 2007 it marked a fork in the road for the band proving to be a fractious time with band members leaving after disagreements over the albums production and direction – incidentally one of that number these days records as Consterdine who we briefly mentioned earlier and will feature again in a day or two courtesy of receipt of two albums of groove. Anyhow being the awkward souls we are, we could have been obvious and mentioned ’12 shades’, however i’m suspecting that you’re not expecting the obvious and have decided to plum instead for ‘dawn of the dub’ – a hulking dream drifting opiated overture very much voyaging into the bliss fused astral terrains previously piloted by the likes of the Ozrics, the magic mushroom band, system 7 and pretty much anything endorsed by a classic era wigged out Delirium brain food back catalogue and crafting out what is essentially a titanic tripping tapestry. https://sendelica.bandcamp.com/album/entering-the-rainbow-light    

those of you picking up a copy of the first ‘official’ print version of the excellent Electronic Sound magazine will find glued to the cover a CD worth of well-heeled cover versions including this ‘un. By I Speak Machine it’s a cover of the Foxx fronted Ultravox’s ‘my sex’ – a track which upon first hearing as a more youthful version than I am today, introduced us to the seedier shadow lined sounds of electronica. An iconic track which even to this day holds up some forty years after its initial appearance. Left in the more than capable hands of I speak machine, if anything the track assumes a darker and deviant edge that’s gouged in brutalist voyeurism reminiscent of a youthful Noblesse Oblige at play in a seedy fun room populated by Minty and throbbing gristle types and spied upon by Miss Kitten whilst simultaneously coiled around a tensely sadistic Jap horror mock up and bedded upon a minimalist noir tipped buzz sawing electro grind much reminiscent of Cobra Killer.

And here’s the original version of the starkly sparse and majestic ‘my sex’…

Across the BBC networks – BBC4 and Radio 3, the sonic art and melodic craft of David Bowie is celebrated by a prom evening at the Albert Hall in the company of a specially gathered group of talent headed up by artistic director Andre de Ridder and s t a r g a z e r. http://www.bbc.co.uk/programmes/b07lg66h

To get you in the mood, Paul Morley dropped by on Radio 3’s Late Junction crew bringing with him a specially curated mix tape featuring a smattering of Bowie signposts interspersed with spoken word interview clips, among the highlights a superbly deconstructed version of ‘life on mars’ by the Bad Plus and the oft overlooked ‘Baal’s Hymn’ from perhaps Bowie’s most telling and creatively awkward period 1979 -82. http://www.bbc.co.uk/programmes/p042s5pl

Are you sure we haven’t featured this previously, anyway if we have well here it is again – our excuse – well you can’t keep a neat tune down, alternatively if we haven’t then again here’s a neaty little ditty, especially if your listening preferences strangely stray to a curious adoration for 80’s styled game show / TV quiz themes that used to adore afternoon terrestrial schedules, often of the Channel 4 variety. Anyhow this is Kehrschleife and an affectionately stray from their ‘Kehrschleife Sieben’ set from earlier in the year entitled ‘der germushandler un der bauer’ – a sunny seaside special sandcastle building bopping kiss me quick hats wearing cyberbots parade playfully fried in a music hall promenade finish wonkily recorded to ferro tape and left out in the sun to warp. https://kehrschleife.bandcamp.com/track/der-germusehandler-und-der-bauer

Apologies in getting to this a little late, released to coincide with net label day, which we believe was the 14th July, this is the first of two Neurotic Wreck full lengths due to descend between now and the year’s end. The solo project of one, Dan Shea – he of the Bordellos and Vukovar7

the way is dissolves, dissipates and drifts in and out, gives you that heightened sense of dizziness much like that moment, whether through the deliberate design of intoxicants and drink or maybe by way of prescribed medication, where everything goes into slow motion. Well enough of that, this is slow dancing society and ‘the colour of despair’ from a forthcoming full length for hidden shoal entitled ‘the wagers of love and their songs from the witching hour’ – in short a sub six-minute exercise in crystalline seduction all mellowed and murmured in a demurring lights lowered chic whose softly peeled trance tipped lunar pulsars tranquily curve and caress to a panoramic airiness that had us much in mind of a certain Ry Cooder. https://soundcloud.com/hidden_shoal/slow-dancing-society-the-color-of-despair  

I’ll be honest in saying I haven’t the faintest idea where we picked this up from, agreeably rough as a bear’s arse and certainly adding a whole new meaning to lo-fi even by the low fidelity standards of the Mummies. That said amid the shambolic scratchiness of it all and the trebly hiss, there’s a pop soul burning at its core that had us much minded of the mighty Southall Riot and a beaten around the edges Guided by Voices doing try outs for Flying Saucer Attack, not even sure how you’d go about nailing a copy should you want one, I’m strongly recommending that you probably do, anyway its by the drenched lullabies and it goes by the name ‘dead love’ – take 2 I’m re-assuringly told.


Latest transmissions from both the you, the night and the music collective and the dreammachine academy goes all analogue electronica with a deliciously retro head phonic journey that takes you back for an hour long vintage trip to a pre computerised age living in the lengthening shadow of nuclear catastrophe yet dreamed in the dawn of space missions, star watching and the innocent hope in futures to come. First up the dream machine broadcast entitled ‘music for schools’ is a mellowing and demurring affair heavily populated in playful posies of starry serenades and orbital opines chirpily chimed from arcane crystal sets and flea market finds. These waltzing lullabies twinkle and toot all the time tuned to a yesterday sound, amid this vintage ghostly musical box of lost information film idents, Open University themes and loungey elevator kitsch futuristic salutes from Concretism, the overload, the very wonderful Plone, bibio and the Twelve hour foundation rub shoulders with the likes of Boards of Canada and the mournfully beautiful neo classiscism of Astral Sounds, between this and that there’s the metronomic industrial grind of Dabrye running in sharp contrast to the summer long caress of hong kong in the sixties who I must admit might well be the missing link joining Stereolab and the Left Banke while somewhere else ‘the changes suite’ by Radiophonic Workshop-er Paddy Kingsland does as it says on the tin lid splintering into a myriad of moods that at various turns fuse and dissolve to incorporate eastern dialects, transcendenral pastorals, regal triumphals and oriental motifs to such head turning effect whilst fellow room 101 occupant Delia Derbyshire briefly appears with the cutely kooky and gloopy glitch groovy ‘mattachin’. As to the you, the night and the music broadcast, #185 as it happens, so apologies on being absent thus far, that said a head melting everything of sonic relevance around and out now into a humungous hi fidelity spin dryer featuring some nifty brain frying psychedelic skronk from imps Anthroprophh entitled ‘farce without end’ which is guaranteed to have you in need of a new set of earlobes given that this cosmic skree sortie will burn the blighters straight from the head within the first minute of activity alone. Elsewhere the inclusion of several releases we’ve mentioned in recent missives – time attendant, penamint manse, polymer cities, a current lovely from the freqdesign, grey frequency, something from the quite essential freaks for food banks compilation and that rather excellent revisiting of ‘lucifer sam’ by Michael warren and grey malkin, along with tracks from a new folklore tapes 10 inch which we will be mentioning in greater detail at a later point, some funky kosmiche from Betrand Mathiesen and if your up for it, some weird ear funkiness from the – we suspect – not altogether with the plan – jumble hole clough whose bizarrely becoming ‘I reached into the chimney and pulled out a sewing machine’ is, unless our ears do deceive, something you’d imagine jona lewie and gary Wilson cobbling together under the watchful eye of quantum jump. Elsewhere strange occurances from the weird world of the heartwiood institute – look tell you what stop reading start listening…….


those among you keen on all things hauntologist, sound fractures from beyond and tape reel possessions might well have missed this…..very Kneale inspired……..


currently festooning the listening room in all manner of mind arranging kaleidoscopic swirls, this is the trip-a-delic happenings of the Cult of Free Love with ‘you are obsolete’ – a bliss kissed and gone peppering of motorik murmurs and dream machine mirages which had us much in mind of the Shamen albeit retuned by Sonic Boom – however repeat hearing visits reveal something of the Palace of Swords about its wares….. https://soundcloud.com/thecultoffreelove/you-are-obsolete

the Palace of Swords for the unitiated go a lot like this, available for a very limited time on a name your price deal, their debut full length ‘la belle eopoque 2010 – 2014’ gets a deserved airing. The album originally released as a 50 only cassette by reverb worship last year has since been sadly followed by a period of silence. From this dream dazed cosmic carousel we suggest you seek out the mesmeric pulsar that is ‘deer park’ for maximum head phonic hypnosis…


emerging through the hyperreal haze and just out on the polytechnic youth imprint in a 300 only splatter vinyl edition, the latest opus from polypores. ‘the fialka transmissions’finds the Polypores one extrapolating from an ever widening spectrum of sound to craft a palette heavily imbued in mood and texture, yet something that sonically reaches out into terrains both minimalistically familiar (the cold war paranoia of the sinister siren strobe lit ‘the room where the tests are carried out’) and style wise unfamiliar in so much as its fortified and found freewheeling in the sub strata sound cultures of late 90’s techno / dance / ambience nodding more occasionally to the likes of Orbital and Plaid albeit as though relocated in the vintage wilderness of landscapes populated by the a year in the country collective. The press release makes reference to scores for imagined sci-fi flicks daubed in Italo disco grooves whose motorik distancing hints of cinematic delights by John Carpenter, a point that can’t be ignored given that both ‘the cabal’ and opening salvo ‘ominous calm’ originate from a place lost to time and the prserve of the cult of the grain and hiss of VHS, the latter mentioned to that effect assuming the kind of cosmedilic curvatures one might expect to find adoring releases bearing Zombi plates. Somewhere else the seductive allure of ‘handshake in the dark’ comes adored in a softly basked low lit noir tipped symphonia purred to slick down tempo treads whilst the pulsing sine waves frequenting the sparsely toned symettery of ‘patrician’ are bolted upon a shadowlined wires and whirrs mindset one might find tracing the more isolationist facets of an Orbital / Biosphere back catalogue. Those with a thing for celestial oceanics might do well to view through protective lenses the briefly beautiful passing lullaby lilt that is ‘fialka’ while best thing here, though sadly all to brief, the parting ‘non person’ is a mysteriously melancholic slice of baroque kosmiche.

No reason really for including this other to say we had a bit of a thing for this in that golden year of 1984, this is Agents aren’t areoplanes ‘the upstroke’ their only release I think I’m right in saying, production duties by a pre Stock, Aitken and Waterman Waterman no less….play loud……..


More ear gear from 1984, this being Dormannu and the frankly killer ‘degenerate’……

We really must keep up with these things, the label that brought us in recent memory some excellent cover compilations paying homage to the house of love and the smiths, the blog that celebrates itself have sneaked below our radar similiarly gathered classics in awe of the Catherine Wheel and the Lilys since the last time we checked in on them and have now set their admiring gaze upon the Cure. A mammoth 32 track celebration, entitled ‘the cure in other voices’ there’s scarsely a duff track in sight, obviously my younger self scans the tracklisting for signs of ‘pornography’ – the album that defined and crystalised the sound of Smith and Co, yet its cheering to see the sphere of influence is heavily weighted in their earlier career material with the curious contrast that tracks such as ‘charlotte sometimes’ and ‘a strange day’ have a way of manifesting at the hands of others, the former here re-tuned by Walk onto Sun and applied with a darkening shadowy grain that’s gouged in a spaesely sown edginess that literally turns its original template on its head in a way that imagines the Danse Society being retooled by a particularly distant Ellery Bop. Compare this with the brooding mainframe of ‘a strange day’ here rephrased by Soviet X-Ray Record Club who manage to smooth and somewhat dilute it of its choking self alienation and relocate it to a shoegazey vapour trailing place whilst still retaining its oblique and stately prowess. Elsewhere Echodrone pretty much claim ‘all cats are grey’ their own, or at least a likeness distantly resembling a youthful Teardrop Explodes, which soon thaws, peels and blossoms into a most aadoring dream pop ghost light whilst eyed amid this enviable track listing are two versions of ‘lullaby’ the first of which by coloring electric like is teased in an ice sculptured chamber noir bewitchment you’d rightly imagine Fever Ray to apply while Lur Lur has a youthful Sugarcubes playfulness to its wares and into the bargain switches the light on to shoo out the paranoiac anxieties of the creepy nocturnal shadows that crawled over the original.  http://theblogthatcelebratesitself.bandcamp.com/album/va-the-cure-in-other-voices

Well if you must try attracting our attention, then introducing or more describing your release as ‘cannibal electronic ghost drone horror’ ought to do the trick and ensure it gets a celebratory witching hour listening, though now having emerged from out of the other side of Vluba’s three track offering ‘Altar’ by the skin of our teeth, I’m now beginning to wonder whether such a move was the wisest we’ve ever endeavoured. These ghoulish dudes hail from Argentina, whose under ground scenesters, whenever we’ve had the fortune to hear, do appear to have a thing for sounds dreaded in a despairing light sucking hue, this release all the more qualified in grimness as it comes endorced and released by those bad boys over at aesthetic records whose recent Hole House visitation still creeps the beejeezus out of us. ‘Altar’ is as it says on the tin a whole dark world  of the doomed and  despairing, both eerie and at times supernatural, it’s a light resisting graveyard of horrorphonic unworldliness emerging from a place located in the darkest shadows of the blue Sabbath black cheer psyche, both the elongated suites ‘the darkest of light’ parts 1 and 2 suffocating to relocate the listener in fog bound and withering wastelands where walk the forgotten, the chill and the disquiet is oppressing and something we suggest ought only to be visited upon, should indeed you dare or foolishly wish, during daytime hours, ‘part 2’ being the lesser gruesome of the pair yet still managing to unseetlingly sound like an eerie dream dazed slab of hypno trippiness finding the Radiophonic Workshop cobbling out frequency bending and dimension blurring stone tape experiments under the watchfully enquiring eye of Dr Quatermass. All said nothing quite prepares for ‘android qayinn’ which just lets say for arguments sake, imagine or recollect all the strangest moments from Beta Lactam Ring’s more out there back catalogue moments and increase their weirdness by say, a factor of 10, and frankly your still no nearer the detaching weirdness. https://aetheric-records.bandcamp.com/album/altar   

From the same folk who brought us ‘the quietened bunker’, whilst conducting surveys into strange occurences and producing audiological reports detailing findings, the a year in the country collective have been splitting their research time into attempting to identify a flash point in time as to where all these happenings converge. Initial findings appear to suggest 1973 being the culprit in question wherein divergences and breaks in the norm began to appear in all aspects of everyday life whether this be political, ecomonic, social or media, a point where the dreams of the previous decade imploded and their optimism nulled by a yearning for the old ways. ‘fractures’ is an audiological study of this period, like ‘the quitened bunker’ the release comes handsomely packaged in all manner of trinkets and inserts that include written accounts of observations recorded, in the meantime while we go hounding the label for downloads here’s a little something from the Listening Center to set the scene, entitled ‘triangular shift’ it comes trimmed in a vintage aura which aside much prevalent of the day ought to find keen interested ears among those who tune into the occasional transmissions of the ghost box endorced ‘belbury parish’ podcasts, a futuristic orbital that takes its core reference point, or so it would seem, from the paranormal time travelling sleuths ‘Sapphire and Steel’ – very ‘timeslip’ all said and done. https://ayearinthecountry.bandcamp.com/album/fractures-full-album-download

and before you all start accusing us of skimping on the reviews, we did in fact mention this a little while back. New from multi instrumentalist / multi dimensional astral cadet Jay Tausig, a head expanding two stepper entitled ‘reflections’ / ‘quiet splendour’ which as it happens should you venture to this weekends fruits de mer instigated mind altering happenings in Cardigan Bag, you’ll fdind stuffed in your freebie sonic doggy bag. As said mentioned previously here and certainly worth exploring / tracking down  https://marklosingtoday.wordpress.com/2016/05/07/jay-tausig-5/

a little worse for wear during the journey here, the case was almost in pieces, I bet it was those Royal Mail types playing football with the parcels again. Anyhow the grumbling done, here’s a strange one, which – and its not really for me to say as such, kind of fits in with the whole sonic universe as advanced by the fruits de mer fraternity. Now if there’s the familiar whiff of Hawkwind encroaching the magikal grooves of Space Ritual’s progtastic cosmic overture that is ‘Sonic Savages’ it might well be have something to do with the fact that these dudes are headed – or at least were headed up by a certain Nik Turner because as far as we can tell there’s scarcely been sight of any Space Ritual action for a fair few years with this particular initially heading out way back in the middle of the ‘noughties’. Occupying a strangely alluring cosmic progressive psych pitching – think Saturnian settlement tents populated by various Gong, Astralasia, Embryo and Ozrics dudes frequenting in the passing round of mystic peace pipes and you kind of get the idea, oh we might well add in Sendelica influences to the script, its all hallucinogenically trippy and far out, an astral voyage, if you must, to the very depths of the inner mind all tripwired in Zep-esque symphonics filtered through lushly arranged mythical and heraldric acid jazz panoramics.  

more moonbase reclining chill dipped lounge-tronic grooving this time from the Overload, a collaborative head to head between Midwich Youth Club man Allan Murphy and Pulseovers band mate Mat Handley for what is a self titled set, which if anything, by way of a starting point, might best easily described as droid dazed star serenades moulded in the image of Air yet rephrased in vintage binary computer code. Agreeably minimalist and retro though far removed from the usual grainy musical ghost box / hauntolgist / cold war tuneage that Mr Murphy is more accustomed to craft in his many guises, instead ‘the overload’ adopts elements of la dusseldorf (‘low flying aircraft’ being the case in point) as its primary template, yet that said those of you with a thing for such sounds might well be best digging out your prized copy of the Warm Digits debut for the sadly missing in action Distraction records a few years ago, for closer comparison. Comprised of ten futuristic salutes from yesteryear all cooly calibrated in shape cutting club floor moves, ‘the overload’ is oozed in demurring Dadaist disco dialects twinkle toned in lunar wisps and whirring wirey binary bops, amid the crystal tipped ISAN motifs, here you’ll find the down tempo ice sculptured night lounge noir of the seductively stirring ‘sandcastle lords’ – just between you and me sounding like a cosmic Balearic symphonia cooked up by an ultra chilled Add N to X – rubbing shoulders with the Fort Dax inspired 70’s TV themed lunar pastorals of the affectionately nostaligic ‘gated community’. Loosely entering the outer realms of muslim gauze, ‘vermillion sands’ with its pushing and pulsing locomotive beats does have the air of the yellow magic orchestra comadeering the orient express and relocating it through unseen hazy parallel portals linking it with suavee subtly to KLF’s ‘last train to transcentral’ while the purist kosmiche kookiness of ‘the subliminal man’ is ghosted in the kind of lounge noir flavouring of an imagined early 70’s gritty warts n’ all spy suspense TV show soundtrack arranged by a brief studio head to heading between Lalo Schifrin and Roy Budd. Somewhere else ‘fortieth floor’ is pure Italo disco while ‘structure on the hill’ finds itself emerging from starry eyed murmur tones to get all rather wiggy and decidedly hippy trippy by its close leaving ‘a new society’ to dim the lights on this quite alluring kitsch kosmiche collection in pure 80’s Carpenter Betamax grooviness. https://theoverload.bandcamp.com/releases

news reaching us that bonfire nights are finally set to release their long hinted and dare we say awaited debut full length in October, it be called ‘entopica phenomica’ – hopefully this time they’ll actually send a copy – anyway so far only the frankly awesome ‘ego death’ is streaming on the bandcamp preview page – a track which, as it happens, we mentioned once upon a time ago here https://marklosingtoday.wordpress.com/2014/11/21/bonfire-nights/ and here https://marklosingtoday.wordpress.com/2014/12/13/bonfire-nights-2/

‘the black sun’ is as apt a title as we’ve heard applied to a track in recent memory, pretty much symbolising, and dare we say, speaking volumes with reference to the insular and isolationist textures at play on the latest sound sculpture from the Tara Experiment. Fermented from, one would imagine, lost mount Vernon arts labs experiments, it’s title ‘radiophonic landscapes’ perhaps gives unininitiated visitors a hint as to what to expect, for these dark droning demurs are expressed in an outerworldly sound spectrum fostered in frequency manipulations, tonal calibrations and whirring waveforms the type of which characterised the alien sonic cultures crafted by the BBC’s most famous sound collective. Equally of interest to those admiring of Sonic Boom’s EAR forays, these finite chill toned carvings explore the micro sound stratas located on the very edge of electronica’s continusally expanding universe. Stilled in a seemingly eerie vacuum, these glassy orbs purr, pulse and prowl all the time connected to the omnipresent hum of a hive mind consciousness sucking through its dead air hiss passing sounds, signals and transmissions and synthesising them as their own – see ‘radiophonic deviations’.  http://thetaraexperiment.bandcamp.com/album/radiophonic-landscapes

The tara experiment also pop up on the latest skeddadled transmission from pull the plug via resonance FM, the last show for the season as it happens, the Tara ones stepping in with the oddly disorientating dream draped mysterio ‘twilight’ which I’m fairly certain we’ve mentioned in previous despatches and something which ought to find an appreciable ear for those desperately trying to imagine what a metting of Keith Seatman and Midwich Youth Club types would sound like had they the keys to an exiled on earth Pertwee era Tardis. The show comes bookended by a brace of psych soaked slabs the entrance being Will Z’s woozily shimmer toning kaleidoscopic gemstone that is ‘a new mirrored you’ while the Myrrors hazily glazed hypno groover ‘liberty is in the street’ takes you far out and gone. Bewtween both points a fair smattering of polytechnic youth related grooviness with righteous plays for the DAF meets SPK by way of Minty seduction that is Detox Twins’ ‘Einhorn Suicide’ and XYZips Cabaret Voltaire-ish ‘cosey and warm’ from the current ‘they make no say’ compilation while sister label Deep Distance plays host to the wonderful Listening Center’s Delia-phonic ‘focus movement’ while recent featurettes around here, the heartwood institute, do spooky funk like no one else on the bizarrely becoming Plaid-esque ‘diagrid’. https://www.mixcloud.com/Resonance/pull-the-plug-28th-july-2016/

Many thanks to esteemed producer of all things cool Fran Ashcroft who messaged us a week or so ago about a live recording of the Monos from way back in ’78 being released by Kool Kat Music which all things being well should be preppedfor review action sometime over the weekend. The Monos where one of those great lost bands featuring among their ranks a very youthful Mr Ashcroft, on the cusp of greatness following several well received singles the band imploded when the label pulled the plug on the release of their debut full length. For now though, here’s an oldie from 1979 by the name ‘UFO’ which reveals their unquestionable knack for the crafting of effervescent catchy powerpunk, something we suspect ripe for the turntables of those Ugly Things and Galactic Zoo Dossier heads among you given that this free falls into the kind of bright eyed teen dazed buzz pop slipstream that calls to mind, in no order of importance or influence, the Motors, nick lowe, wreckless eric, the only ones and of course, most audaciously, the Flamin Groovies.

Those wonderful sound libraries folk really must start cobbling up tracklistings for these nifty mix cloud soiress. Another two hour sonic sun lounger in the company of the guys responsible for releasing the Superimposers upon the world, a thing best served by lowering the lights down a touch, typically trimmed in lush symphonia, sunny sways and caressfully teased lazy eyed lounge grooves amid which here you’ll find tucked exclusive cuts from the Wonderful Sound new breed Angelina, Zooey and Luca Nieri though perhaps a clue as to where exactly they are might be handy in future transmissions. https://www.mixcloud.com/sohoradio/wonderfulsound-libraries-01082016/

For those Sendelica completists among you, here’s their stoned primordial psych jazz stew baking off shoot KES doing seriously whacked out things for the bonged out, a free forming trip pill as yet untitled from what we can gather, here captured live crafting snake winding mosaics from out of ancient sonic tongues and droning astral mantras that bear a head frazzling likeness to a seriously gone Acid Mothers in a head to head with primordial undermind – well I’m off for a lie down.


wigged out happenings from Rob Clarke and the Wooltones, ‘brown paper bag’ slinkily emerges from the colourfully coolest and hippest party basements of a swinging 60’s scene smoking and smouldering behind its shades, spreading its lazy eyed hipster now sound beat groove upon a drab monochrome outside, daubing it in subtle shadings of lysergically tailored garage pouts. Over to the flip the same cut gets a radical instrumental makeover, must admit we are beginning to dig these wig flipped rephrasings with the re-branded ‘brown paper bag a go go’ shuffling sassily into view like some in crowd hippy chick beatnik lounge dandy oozed in organs and harmonicas aplenty. https://robclarkeandthewooltones.bandcamp.com/album/brown-paper-bag-single  

those of you with memories that stretch slightly further back than an hour ago, like us, might well recall us briefly mentioning the timglaset fanzine, or rathermore a compilation set they’d made available with promises from head honcho Joakim Norling that the presses where about to slowly charge into states of full steam ahead with a new issue looming on the horizon. It seems such events have occurred with Mr Norling even finding time to chat to Kit Records even dropping off a decidedly tasty ear hugging mix tape featuring tracks, sounds and records that have been haunting and serenading the Timglaset office sound player these last few months. Sadly no tracklisting and with that a crushing inability to tell you exactly what we are listening, that said whatever it is it all sounds quite alluring freewheeling between elegantly traced sonic ice sculptures, nocturnal beats, bowed arrangements and neo classical bliss. http://kitrecords.com/timglaset-plus-maximal-vattring/


seventh instalment of the Orange Kyte’s year long a single a month soiree, this one finds them joined by Exploding Eyes’ Robbie Brady helping out of guitar and synth duties. As ever impeccably detailed in alluring sheens of soft psych pimples, ‘the lone rooster’ is a sunnily stoked softly smoking effervescent rush of laid back blissfulness swooned to an airy West Coast cool lazed in the subtle afterburn of the Byrds though that’ll be the Byrds relocated to a classic era Elephant 6 collective scene and found smoozing with the likes of the Apples in Stereo and the Minders.  

This, young listening folk, be the slightly skeddadled and skittish glitch blip bop of Moxus from a set entitled ‘mush space’ heading out of the Conditional imprint. A ridiculously limited affair, like 40 copies – cassettes no less – this being the obscurely named ‘SC_060718_172129’ whose reverberating rythms and minimalist chips and clicks ought we suspect to appeal in the first instance to long time admirers of Cornelius not to mention offering the kind of kooky subtronic trip hop beats and wonkily skewif funk struck muted grooving that used to occasion labels such as Tigerbeat6 and frank wobbly and sons. https://soundcloud.com/conditionalrecs/moxus-sc_060718_172129-con004

One-time member of Ashtar, Fula and the excellently named the Amazing Kamikaze Freak Show, to name just three, Rob Gould’s musical career spans some four decades with recent appearances variously covering Floyd, the Beatles and Mr Bowie ensuring his place in the Fruits de Mer extended family. Inside your Dr Sardonicus take home bag, in among the oodles of CD freebies, you’ll find tucked away ‘unearthly constructions’ – a specially collated four track ‘best of’ of sorts that finds Mr Gould revisiting and rephrasing a quartet of nuggets plucked from his considerable back catalogue anew. Non returning home shy of the 16-minute mark, this remarkable gathering of cinematics orchestrations is a journey into the sublime for here an amorphous galaxy of sound unfolds to which elements of ambience, progressive motifs, cosmic rock cultures, psychedelic trip-a-delics and classicist arrangements forge a far away dream draped symphonia turned in the moodist facets of the turbulent, the beautiful and the transcendental and whose depth of panoramic detailing and the close observance of the minutiae of structure, flow and effect is emboldened by the spirit of Tangerine Dream. None more so is the case than on the epic overture that is ‘the great wall rebuilt’, an updated retelling of a track found originally appearing on his 2005 opus ‘China’, daubed in cosmic raptures and ethereal wisps all heavily threaded in Floyd era ‘wish you were here’ overtones, this ghost like Eastern mantra undergoes what can only be best described as a rebirth as the delicately dimpled crystalline textures weave anew amid shimmer tones of bliss kissed celestial harmonics, it really is out there not to mention a humbling experience and something well worth taking the time to freefall into with wild careless abandon.   

Not like us I know, but we caught this on a passing listing from the Fuzz Club imprint, the email which at present we’ve annoying managed to lose amid the – at the last count – 95 open pages current vying for affection and currently lurking on the in house laptop toolbar. Anyway if I recall rightly, this honey appears on their recommended list, a new album from Sugar Candy Mountain who hail from somewhere in California who proudly boast a most attractively alluring set ominously called ‘666’. One we suspect for those of you admiring all things Lake Ruth, this darling popsicle comes dreamed in a yesteryear vintage that’s hotwired to lost summers with ‘who am I’ teasingly shimmer toned in a hazily glazed pout that demurs fondly to colour in the invisible dots separating the Shangri-La’s and the Manhatten Love Suicides while parting shot ‘summer of our discontent’ arrives cooled in a gorgeously lazy eyed tropicalia spray who teen troubled bubblegrooved hue opines and sighs to the bliss kissed haziness of Johnny Thunders and Patti Palladin’s ‘copy cats’ whilst all the time serenaded by seaside musical hall organs overssen by Joe Meek. https://sugarcandymountain.bandcamp.com/  

Tonights trip down memory lane, surely deserving of re-appraisal, impish art pop snesters the Flying Lizards and a track taken from their criminally underloved ‘fourth wall’ set from ’81 called ‘lovers and other strangers’ – these dudes were a revolving door of talent who were occasionally visited upon by Michael Nyman and Robert Fripp.


The purring pulsars, the slight of touch and the sparsely celestial curvatures adore this, a sneak peak tasting of C Duncan’s forthcoming October release ‘the midnight sun’, with an unworldly and ethereal ghosting. With the trusted trademarks still in play – the murmur toning choral caressing and that sense of hushed grandeur, ‘wanted to want it too’ comes graced in a spiritual stillness that softly smothers you in its protective yearn, all said a most beguiling study in poise, elegance and quiet majesty.


Todays fondly remembered head turner from yesteryear, Clock DVA’s ‘resistance’ from that goldeney year 1983…..

This honey has been burrowing deep weird little wormholes in our psyche since appearing earshot a day or two ago, anew thing from the Flying Ibex entitled ‘away from my mind’ comes warped and deliciously dinked in kaleidoscopically skewed carnival warbles that give this sun fried psych sweetie a kind of beach chilled off beat wonky grooving which had we not known better, might have had us imagining some get away from it all idyllic setting gathering together a select group of heads, among whose number you’d find Jacco Gardner, Ariel Pink and Panda Bear. https://soundcloud.com/bestlaidplansrecs/flyingibex-away-from-my-mind

Not quite sure whether or not to be beguiled or simply freaked out and very disturbed by it all, a very teasingly short excerpt from, we gather, a much bigger project to come, a kind of radiophonic play of sort centering around a radio ham enthusiast who one night picks up strange messages from beyond the veil from a girl trapped in an abandoned amusement park known as Akiha Den Den., whatever the case this ought to be high on the listening radar of all who into the fractured paths of Kneale, Saphire and Steel and of course, the BBC Radiophic Workshop. http://www.akihadenden.com/listen/

417 tracks, are they kidding, this may be requiring a few sick days being thrown in order to just scratch the surface, still we could do a track a day and we’’d still be mentioning it a year on from this coming Christmas by which time the blighters might well have pulled out another from the bag. This is the acclaimed ‘touched 3’ compilation which you’ve probably been unable to avoid, if that is you frequent the social networks and observe the admiring chatter being levied its way. A very worthwhile charitable cause, all profits going to the MacMillan Cancer research society. Within a mind blowing selection of dance / electronica talent contributing familiar / not so familiar and altered view points of grooves for your listening seduction, your starters for ten on this occasion being a cutie from the Assembled Minds whose ‘rave fyre’ is a celestial chill pill from a point located somewhere at the end of time just before the lights fade all deliciously gloopy and daubed in Balearic afterglows all sourced from a similar generic sonic DNA genepool that uses New Order’s ‘thieves like uis’ as a distant template only to have the KLF work their trip-a-delic dope dub demur to sophisticating effect.  Move along a little through the track listing and you’ll enter the sound worlds of Antonymes via ‘drawn away’ – a most unsettling moment of untold beauty flashed through with the heavenly hush of choral ghostings and framed in the genuflecting carress of trance toned murmurs which give the radiant effect of peacefully passing through the veil, quite majestic if you ask me. Now I’m sure tucked about our bulging inbox we’ve emails about banco de gaia happenings which so far we’ve not had a chance to check, but will, for now here’s ‘Apollon’ ripped from a recent Glastonbury appearance, a gorgeously woven chill tipped mosaic primed in a headturning brew of multi layeried motifs that incorporate a dream weaving palette of Astralasian accents, dub dialects and trance toning tropicalia.  https://touched.bandcamp.com/album/touched-3

Ah the much loved Bearsuit imprint, now I’m sure we’re a little light on a new Harold Nono set which right after this we will be asking politely for downloads, but for now chugging down the line at a fiercesome pace a split event between the Moth Poets – who I’m sure we’ve mentioned in previous footnotes – and Senji Niban for a forthcoming outing called ‘live at the river lounge’. Up to their impeccable standard in sharing with listening communities oddly mishappen oddities from the weird ear spectrum, the latters ‘klankpi’ is a deliriously skittish affair of frenetically quick tempoed Dadaist groove whose frantic vintage crookedness freewheels around the shadowy overgrown edges of the current hauntologist / cold war electronica scenes want for 70’s kitsch retro with its mutant art bop minimalist electro etchings sounding not unlike some sound lab experiment engaged upon by a studio tinkering of ideas between Thomas Dolby and the Tom Tom Club all mischieviously skewed into schizoid states by a sneakily impish Flying Lizards.  https://soundcloud.com/bearsuitrecords/klanpki-senji-niban  

Currently immersed in a copy of David Buckley’s excellently definintive Bowie book ‘strange fascination’ from a few years, this well thumbed tome rescued recently from the local thrift shop, much amused by Gus Dudgeon’s fond recollections of ‘please, mr gravedigger’ with mentions of gravel boxes, sneezes and library sound effects……

<p><a href=”https://vimeo.com/3223751″>David Bowie – Please, Mr. Gravedigger</a> from <a href=”https://vimeo.com/dansby”>Ben Dansby</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

I won’t deny the fact that you can literally feel the electronic pulses within your head retuning themselves to the magnetic waveforms emitting from this causing a kind of symbiotic reaction whereby your mind literally expands, fractures and melts amid warp driving blur as it charges into the sun. Anyway it be the new thing from Camera, out via Bureau B and ‘tjamahal’ taken from their recently released ‘phantom of liberty’ full length, a full on heads down no nonsense space rocking bad boy veering into black hole oblivion, one for the eat lights become lights cadets I suspect…..

Nearly missed this, advance warning coming via a tweet which we only hooked uopon by sheer accident. Anyhow this is Sexores who hail from Barcelona of whom whose ‘red rooms’ EP might well be vying as our favourite thing at this very moment currently to be found in planet pop, that is discounting a new thing from Daisy Victoria. Might be best described as damaged dream pop for these five bitter sweet nuggets ache and charm with the fleeting allure of the much missed Melys at their most vulnerable and whose likeness and mesmeric touch graces the delicately demurred ‘USSR girls’ to such effect that you’d swear it being a lost track previously unearthed and rephrased by a faithfully in awe Dubstar. As to ‘daywalkers’ the more-keener eared among you might well draw comparisons in term of its sighing stateliness, vapour trailing yearn and orbiting seduction to Ummagma which is just as well for Alex from the duo pops up applying vocal guest duties. All said, and pretty much to type with us these days, best moment of the set by a country mile or more is the parting ‘loner’, an instrumental no less, emerging from a fog bound cosmic haze issuing forth with fading hope, lovelorn distress calls to a silent and unresponsive outside world, heartbreaking. https://sexores.bandcamp.com/album/red-rooms

back with another track from that excellent ‘touched 3’ compilation, here’s Wil Bolton getting very Yellow6 meets the Flying Saucer Attack with ‘through – mountains’ – a sun blistered masterclass in skree scratched neo classicism, okay it’s a tad melancholic, distant and insular, its forlorn ghost like murmur hollowed and haloed in shimmering hazes that assume gravitas and definition as it passes into close and then its off and out of earshot solemnly navigating into the darkness, something I suspect admirers of a youthful Roy Montgomery might well do best to check out.  https://touched.bandcamp.com/track/through-mountains  

what’s becoming an occasional regular of late, another visit through the sound archives brings us to Laurie Spiegel’s ‘east river dawn’. Taken from her 1980 suite ‘the expanding universe’, this cosmic rapture comes dreamily dinked in warm wonder, an orbital overture vibrantly colourful and demurred and dimpled in the caressing trance toning of starrily waltzed euphoric kosmiche pulsars that congregate to form a celestial hymnal of sorts. Best moment comes at the 12.10 mark whereupon the jubilantly radiant shimmer of chiming cascades serve as alarm calls bringing you back to the hum drum of grim reality. Utterly mesmeric.

This ghostly vision you’ll find tucked on the end of SPC ECO’s forthcoming ‘Anomalies’ as a digital bonus track, which really does beg the question, if they can afford to have this languishing within the silent hiss of the albums end groove then what’s the rest album like. Built upon a hollowing sparse tapestry, ‘out of yourcontrol’ plays to all the trademark strengths of Berlin / Garcia, an ice sculptured beauty grooved and groomed in noir tipped nocturnal flickers all tenderly bathed in a snaking procession of amorphous arabesque mantras tenderly gathered in unison and whispering softly seductive siren sighs whilst possessed of the kind of aching vulnerability encountered in another time on Garbage’s ‘milk’. https://soundcloud.com/spc-eco/out-of-your-control

Hell’s teeth it’s all go in the Mega Dodo record factory of late, no sooner despatching the latest Octopus Syng long player upon a swooning and admiring populace, they’ve sneaked out a little slice of head turning grooviness from the luck of the eden hall as well as an archive, first time pressing no less, of Big Grunt’s one and only Peel session while coming down the line a planned book and CD from Brinsley Schwartz – more about that in a second. For now, head honcho rummages through his record collection to cobble together another mix cloud musical delight, this one leaning towards something of an easy listening tilt featuring a host of known and much loved souls among the roll call wreckless eric, 10cc, George Harrison and tiny tim all gather among this time travelling transistor tune maker with prized moments going to set opener Souther Culture on the Skids whose nifty twang-a-rella a go go is a wet dream for those dreamily imagining a head to head between shadowy men on a shadowy planet and the great dick dale. Those of you thinking ‘pheonix night’s smaltzy bingo hall bossanova of Jerry St Clair was pure comic invention might well want to check out ted chippington quite surreally kitchy ‘she loves you’ – am I right in saying I might have heard on the grapevine of new stuff to come via Iron Man records. https://www.mixcloud.com/johnblaney1/mega-dodos-fantastic-podcast-fit-the-third/

Anyhow we mentioned news of a Brinsley scwartz cd and book set arriving soon, October to be precise should see a tome about pub rock’s finest titled ‘happy doing what we’re doing’ hitting the book shelves, the book features a gathering of lost and forgotten interviews with the band and co-incides with the release on the newly set up mega dodo imprint Vogon of a CD entitled ‘live favourites’ which may well be the compact disc veersion of a vinyl set released last year in minimist numbers of a show recorded way back in ’74 in Cardiff.


here’s something rather intimate and dusted in a vintage classicism, forthcoming via the Cae Gwyn imprint where it’ll be made available as a free download, this is Pablo Vasquez –  duo Jolyon and Elron both hailing from New Zealand, who initially met in Brooklyn some years ago, bonding over a shared love and interest for the fading art of classical guitar playing.  After a few near misses, the duo met up again last year and over a fulfilling two-day recording session got to nail an albums worth of material live to tape from out of which ‘teasero’ has been sent ahead to serve as a herald. A delicate examination of an intricate artistry lost to the brashness of modern day ‘pop’ sounds, both bewitching and alluring through its lightly toned interplay, poise and measurement play out a delightful melodic chess game whose regal like gracefulness waltzes with a timeless air. 

Another mix tape I’m afraid this time from Mr Keith Seatman whose latest test transmission – archive reel #26 – had us almost searching high and low around the place thinking he’d been present rummaging through our record stash or had at the least the strange ability to call up our past in a kind of musical photograph album as were. In short, on a personal llevel, a bit like drowning in slow motion – with the event taking around 80 minutes – with your record memories floating by past you for here bookended by Syd Dale’s ‘marching there and back’ – old listreners may remember it better as the theme for TV’s ‘Screen Test’ and the discordant angularly irregular and unsettling descent in darkness that is Richard Dawson’s ‘the vile stuff’ – the full unedited version no less – cue Beefheart and Zappa  fans alert, a mixed up bag of sound alchemists who’ve at one point or another in our time here listening to tunes aplenty, have planted flags in our affection. Amid various calls for the Fall, la dusseldorf, syd barrett, Michael Nyman, orbital, visage, belbury poly, Edwin Astley and hare and the moon’s ghostly alliance with Alaska sit a handful of tracks that have so far escaped our ear gaze but surely deserve closer investigation not least oneohtrix point never’s revisting of ‘I only have eyes for you’ here taken to the level of consciousness and while favourite moments comes in the shape of ‘the window cleaner’ by purson  who we happened across somewhere here pop pickers https://marklosingtoday.wordpress.com/2016/06/08/purson/ and the Dandelion Set’s surreal ‘judy switched off the tv’ with Allan Moore – ahem – featured here https://marklosingtoday.wordpress.com/2016/04/03/the-dandelion-set-with-alan-moore/

One for the headphones I suspect, and another release unto which you can let go of the woes and strife of the modern day and lose yourself in a beautifully star lit kosmiche mirage. This is Null who hails from Loughton, another whom I deeply suspect finds himself filtered into that alternative time space signposted and sound-scaped by the Hauntologist brethren, again pressed up on limited edition cassette variants – 50 I believe – and well worth retuning your radars to especially if your listening bag happens to orbit along the ‘a year in the country’ spectrum of sound / texture and vintage.  ‘population : nil’ is a four part odyssey with which so far, for pre tease teaser purposes ,‘nix’ has been sent out ahead on a scouting mission – a gorgeously lilting 11 minute nebuliac light show trimmed and engaged in a deeply meditative cosmic symphomia demurred by waveforming pulsars and the softly serene spray of oceanic opines. For fans of la dusseldorf and the warm digits. http://harmonicunionmusic.bandcamp.com/album/population-nil

Must admit we are taken by the Oriental stillness of this, the softly unfurling classicist eloquence applying a serene chamber toned frost tipped aura as though the sounds are defrosting and delicately stretching to life, the balletic poise blossoming softly with all the hushed calm and reverence of a prayer garden. This is ‘dead neon’ the parting track from a forthcoming analogue suite entitled ‘photosynthesis’ by Dave Ball and Jon Savage for cold spring. Utilising moogs, prophets and all manner of old school analogue equipment, ‘photosythesis’ is an hour long soundscape split into eight miniature suites and casts a bittersweet sometimes beautiful sometimes destructive musical theme highlighting the constant pitch for survival by nature at the hands of mans brutal consumerist greed with ‘hypodemic’ as excerpted here solemnly bowing out to the droning dread of a post apocalyptic end game.  https://soundcloud.com/coldspring/sets/dave-ball-jon-savage-photosynthesis   

Etched and oozed in a decadent cool and boasting a sound that’s been fermenting in a primordial sludge within which mutant extracts of glam, creeping cold wave analogue electronica and post punk have mixed, fused and formed sub generic hybrids that have been finitely distilled and cultured to be daubed and diluted in swirly hazes of hallucinogenia, this be ‘sweet Saturn mine’ by the Moonlandingz, a once imaginary tour de force formed of Eccentronic Research Council and Fat White Family types who are shortly to be primed for re-entry back to reality and into your headspace by way of a short select visiting tour.

Many thanks to the Peripheral Minimal team of Bristol (whose frankly killer Doric release we mentioned a little while back) for getting in touch and sending over downloads for a further brace of outings currently to be found gracing their enviable roster. Now we’ll be featuring im namen des volkes later in the week, for now though our ears were a little pricked to the sounds emanating from a 300 only insert stuff 7 inch from Oppenheimer MkII –  a long term collaborative face off pairing the talents of one time Oppenheimer Analysis man Andy Oppenheimer and former Konstructivists-er Mahk Rumbae. An album and EP under their collective belts both sides of this limited 7 feature remodelled cuts from their debuting ‘the presence of the Abnormal’ full length from 2013 with ‘another nightmare’ assuming a head morphing psychotronic grind whose shadow lined mesmeric gouging burrows deep into the Front 242 hive consciousnessness as though piloted by the dark alter ego of a fracturing and psychosis fried Edward Ka-Spel. Over on the flip the brooding ice dripped isolationist chill of the edgily macabre ‘the presence of the abnormal’ lurks, not unlike something you’d expect to find emerging from the much missed of late Weird imprint where the sparsely toned cold war minimalism of the normal and fad gadget collide under the watchful glare of psych alchemist Paul Roland, all said something that ought to prick the ears of admirers of the polytechnic youth endorced Middex. https://peripheralminimal.bandcamp.com/album/another-nightmare

Ah the recent fruits de mer 14th dream goody bag, we didn’t quite get to mention all the freebie CD’s as hard as we tried, apologies to consterdine for missing the mentioning cut, fear not for mentions are being prepped for later in the week, likewise the NoMen whose ’20 golden greats’ has been hatching kaleidoscopic wormholes in our head space since arriving in the gaff, from that set by way of a teaser their weirdly woozy sonic interpretation of nick nicely’s ’49 cigars’ – in truth just has to be heard, essential trip out groove recorded a few years ago – earth year 2010 to be precise – best described as a dimensions warping psychedelic Floyd sonic spin dryer with added Barrett chemically cooked wigged out mind dyes.  

Picked up on one of our random forays into the social networkings postings that we occasionally embark on when the mood takes us, this is a new thing heading out of the fonomonik sound house by the seed coat, alas no information about them other than to say this goes by the name ‘are you dreaming alone’ – must admit we are taken by the way it softly smothers you in feel good ripples of effervescent euphoria, a kind of lysergic carousel snow storm all told, dreamily grooved in all manner of tripping organ swirls intent, one suspects, on daubing your listening space in a fond cocktail of radiant hazes of mind mushrooming mosaics and woozily way out lazy eyed lilts, in a word yumptious. . https://soundcloud.com/theseedcoat/are-you-dreaming-alone   

Not entirely sure how you’d go about nabbing one of these if you wanted one, but if the sounds within are anything to judge by, its gonna be well worth the effort, time and patience just trying.  These shoegazey dudes hail from Peru, their called Puna, had an album out a few years ago by the name ‘au dial’ and then just disappeared only to recently return to listening space with a new EP which may or may not be titled ‘adelanto’ from which ‘phuya’ has been sent ahead doing the scouting duties. A bit of a gem that’s off set by a ghostly dissipating aura into which woozy jazz visions smoke beneath whispering haloes of eerie ambient vapour trails (which by the close manifest into full on radiophonic / quatermass weirdness – not that we here are complaining), which I must admit had Dylan the house cat purring appreciably, the effect being to bathe the track in a trippy out of focus hue which all said ought to appeal to those out there in record listening world admiring of the weird ear groove put out by the wonderfully wayward Boring Machines imprint.

Okay this next one appears to be masked in mystery and clues that lead up cul de sacs and that’s even before you’vee gotten around to untangling the sounds themselves. With so many wrong turns and false paths being scattered around we were initially thinking that this had all the hallmarks of something crafted by the hand of those Villa9 studio dudes who of late aopear to have strangely retreated into hibernation following the release of the incredible self titled opus by the seventh cyrkle. However, a little rooting around reveals that this may in fact be the handicraft of Rachel and Chloe of Serpent Tooth here found donning various alter egos and musical disguises under the collective umbrella Whinny Moor creating fabled lost TV soundtracks from the 70’s by way of weird ear folk myticals sourced from a stash of recently unearthed cassettes all featuring recordings from a mysterious unknown girl, its all at times unsettling and eerie, droning recitals that hint of a kinship with Preterite, yet scratch away at these strange ghostings and supernatural soundtracks and your reward will be the appearance of shimmering ghostlights prettified in sparsely woven beautiful bows of twilight visitations. http://whinnymoor.bandcamp.com/album/a-whinny-moor-sampler

Long awaited and much anticipated, around here at least, debut full length looming large on a distant October horizon entitled ‘entopica phenomica’, Bonfire Nights begin their slow returning descent to adoring listening spaces with the uber cool ‘easy touch’ being jettisoned from the main event capsule and sent ahead on scouting duties via the holy beatnik imprint. Located on an axis that finds the Church at one end and working for a nuclear free city on t’other, this babe smokes with a cooled quiet grandeur that’s framed in a spectral seduction trimmed in starry pulsars all haloed in an alluring bliss kissed hush.  https://soundcloud.com/bonfire-nights/easy-touch

quite frankly ridiculously catchy, audaciously infectious and as cute as a shiny new button, essential ear candy thing from Brisbane based Sans Parents entitled ‘dead end’ is awash in a power pop flavouring that’s sprayed in the feel good radiance of west coast inclines all blessed with a decidedly effervescent melodic phrasing that deliciously freewheels to a pop vintage adored in 70’s threads, something we suspect that admirers of both Goodnight Lenin and the Panda Gang may well litter the aisles through swooning fits.  https://soundcloud.com/sans-parents/dead-end-1

often derided and on a personal level somewhat unloved around our gaff, Elvis’ 70’s recordings might well be due a serious re-appraisal with the appearance of a vault digging set just out entitled ‘Elvis – way down in the jungle room’, a collection that gathers together recordings made at the Presley home in 76 and 77 that features far superior and dare I say more relaxed, loose and vibed up versions of ‘Way Down – take 2’ and ‘for the heart – take 4’ – the videos below a teaser giving insight as to the legaend of the jungle room and the smoking take of the aforementioned ‘for the heart’….

Out in advance of a new album ‘clinging to a dream’ and a tour which will be taking in a prized spot at the Liverpool Psych fesrival in September, a new download only cut from psych electronic pioneers Silver Apples emerges. ‘edge of wonder’ initially mentioned here at  https://marklosingtoday.wordpress.com/2016/06/21/silver-apples-2/ found itself originally appearing, if I recall rightly, on a limited tour only single via the quiet of late Enraptured records. A most demurring dream dazed lullaby subtly hinted in a west coast piping all housed within an acutely affectionate and lilting orbital carousel whose floaty 60’s mosaics dive back to complete full circle the minimalist murmurs and woozily whirring sonic wonderland first encountered on their pioneering debut self titled Knapp set from ’68. https://soundcloud.com/user-965322741/01-the-edge-of-wonder-1/s-vepxd

look i know we’ve mentioned this previously, once or twice, but we do get concerned that some folk just don’t get the message. Arriving soon on limited slabs of neon pink wax via the ever cool Rocket Girl, an album chock full of rare BBC sessions from the adored Urusei Yatsura entitled ‘you are my urusei yatsura’ pays homage to these skewed and skewif Scottish Sonic Youth-ey types with the lovable sore thumb ‘phasers on stun’ being sent ahead to ruffle your fringes and give the now generation a lesson in the serving up of astutely acute abrasive candy pop, the finest two minutes of Scottish shimmying since some blighter hit upon the idea of giving the Kenny of Dalglish a ball.  https://soundcloud.com/rocketgirl/sets/phasers-on-stun-urusei-yatsura

new old thing from club groove maestros Kauf who’ve invited man power around to apply the remix top coat to a cut we fell wholly in love with when we mentioned it here a little while back. This is a new interpretation of ‘a ruin’ found here taken softly by the hand and led into more lights lowered sophisticat terrains unto which rubbed with a coolly hypno-grooving funk underpin this smoking love note coalesces radiantly amid the succulently amorphous tracing of cosmic vapour trails and down tempo demurs, only serving to affirm our suspicions that this was, in another parallel time zone, acutely cut and crafted by the crystalline ear for detail hand of a studio gathering of dark captain and light captain and seeland types. http://kauf.bandcamp.com/track/a-ruin-man-power-remix

on our wants list in a flash, long awaited vinyl re-issue of the ‘twin peaks’ soundtrack, never realised it had been out of print for the best part of quarter of a century, Angelo Badalamenti’s finest moment re-awakened for a generation unaware, all at once ghostly, atmospheric, mood twisting and above all quite unlike anything around at the time and still liable to pitch its unworldly aura upon modern day players, its perfectionist weighting of spectral love notes, ethereal noir jazziness and 50’s bubblegum ballads graced it with an out of focus, out of time and out of step beauty that was darkly dinked and shadowy whilst framed in a sometimes supernatural sepia bounding.  Out in September and pressed on coffee coloured wax, that’ll be ‘damn fine coffee’, all housed in a gatefold sleeve within a bespoke die cut jacket, Death Waltz will bring dragging this modern day bench mark setting slab of classicism out from the shadows. 

Up next an absolute stunning clash of sound cultures brought to life on wax by a collaborative label hand shake between Static Caravan and Dirter Promotions because as the press release notes, the album is so ‘full of protein’ it needed two label to dilute the chemical reaction within. ‘from dust we came…to dust we return’ is as bold as it is forward thinking, the back story to this project centres around legendary alto sax player Noah Howard who died in 2010, a much respected musician and a leading face in the fertile envelope pushing free jazz scene of the 60’s. Howard came from a sound school under the influential spell of Albert Ayler and John Coltrane, playing for a time with Sun Ra he achieved a critical high point with Arthur Doyle on ‘69’s ‘black ark’ full length. An admirer of his work, sound alchemist Justin Wiggan of Dream of Tall Buildings and latterly of Roadside Picnic fame made contact with Howard’s widow Lieve Fransen and discovered that Howard had left a library of home recordings in varying states of development and completion. With her permission he was able to take these recordings with a view of working them into something more tangible by way of a respect paying homage. Those familiar with Wiggan’s recent, and as yet, as far as we recall, series of deconstructions of famous albums – ‘hounds of love’ and ‘unknown pleasures’ readily spring to mind, might well begin to gather what follows next. Enlisting the assistance of Chris Mapp, detailed with applying bass foot holds in order for ensure matters were kept tight, Wiggan set about creating an intricate electronic landscape over which to lay Howard’s free spirited saxophone playing. The effect is quite startling, the recording set across two sides featuring two extended suites entitled ‘from dust’ / ‘to dust’, Wiggan’s manipulation of, not only his own sonic tinkering, but that of Howard’s solo sax playing, endows it with a curious flavouring that shifts from moments of frantic busyness to lulls of thoughtful melancholia. Takes a while to get going, the mood pensively setting the stage with Wiggan and Mapp crafting a kind of cosmic white light, and then that sax, lonely and melancholic takes centre stage, its like imagining the gritty street buzz of a rain draped metropolis as the day fades and the blanket of night descends, so much so is this the case that you can literally feel the day’s heat dissipating to be replaced by the sigh and yawn of the empty high streets and the prowling hiss of the city’s underground peeling away in to expectant activity from the entries shadows transforming the landscape into its evening dress. Amid the maddening activity, the sparse noir detailing brought into clear definition by Mapp’s scraping bass lines themselves crafting, an as were, heartbeat of the metropolis with Wiggan’s industrial clicks and monotonous clangs daubing all in a restless night time friction. The mood shifts a pace with Howard’s squireeling and squalling play, much like Ayler it has to be said, crafting a woozy and hazily skittish blues path that’s married to Wiggan’s syncopating ambient structures themselves aping the hustle and bustle of the underground. Side two is a lot less hectic and busy, if anything leaning towards trance toned climes, differing from side A in so much as Wiggan’s electronic scoring takes up the central root and allows Howard’s playing to drift in and out of consciousness carving an almost ethereal trip-a-delic dream like hue, much like, it has to be said, a ghostly visitation, whereas previously you felt Wiggan’s backdropping trickery tried to out guess the moods of the sax at this juncture he sets the pace with the textures assuming an almost spitual perhaps hymnal translucence. The deeper you fall and it soon becomes apparent that if anything, a more subdued effect is achieved, the atmospherics a lot denser in tonality and the vibes a lot more taught assuming a chamber quality unto to which is cast an oddly eerie sense of fracturing detachment to which admirers of a youthful Ariel Kalma may do well to heed and hear. All said a remarkable sonic realisation and worthy career post script to the enviable catalogue of a forward thinking talent.  

Eyed this on a rummage through the racks at Probe records this very morning. The original soundtrack for the cult 70’s TV series ‘Space 1999’. Scored by Barry Gray, ‘space 1999’ continued his long time association with the Anderson’s Gerry and Sylvia, gifted with a knack for setting the tempo to the pulse of the day’s fashion, his previous scoring for the adored ‘UFO’ series found him mixing up lounge funk, cosmic pastorals, souring strings and ambient mystrerios to great effect in turn hooking upon a hippy chic scene embued with a futuristic tang. For ‘Space 1999’ similar sonic tropes are deployed (‘dragon’s domain’ may well have easily been lifted from UFO lock, stock and barrel), irrefutably informed by the mysterious spectral tones of John Barry’s extended Bond symphonia and Bernard Herrmann dream like orchestrations filtering throughout Hitchcock’s cinematic masterworks – notably ‘Vertigo’ and ‘north by north west’ (see the trip-a-delic mosaic that is ‘collision’s course’ with its lightly toned string caresses and whisping dream collages). If I recall rightly, ‘Space 1999’ was to be ‘UFO 2’ – an issue with global syndication rights had dogged the original transmissions and marketing of ‘UFO’ to the extent that by the time territories beyond the british isles had warmed to its sci-fi cued quick tempo action / moralistic recipe, that the plug had already been pulled on further production. As legend would have it, the first series of ‘Space 1999’ accrued one of the most expensive outlays in ITC’s history, no expense was spared in giving this cult show a full on cinematic punch, Gray’s opening score concurs as much – big, bombastic and brash, an in your face up tempo driving action / adventure tour de force rooted over a tightly rolling funk grooving replete with tension tightening fanfares. As with ‘UFO’ the soundtrack is sumptuously serviced with an exotic feel  utilised through the use of a  seamless blend of electronics and big band orchestrations, amid this the trace toning lounge accents interweaved with spy noir motifs links sublimely to Gray’s earlier Anderson scores, most notably ‘Captain Scarlet’ by way of its tension tingling string corteges,the impacting symphonic punctuations and the familiar motifs that used to greet the appearance of the Mysterons. Add to that some kooky hippy chic twang-a-rama kitsch courtesy of the buzzsawing funk bitten ‘death’s other dominion’ and side 1 is done and dusted. Over on side 2 you get a neatly distilled and dare I say frisky reboot of the theme here in its ‘reprise’ variation while the ominously titled ‘black sun’ comes surprisingly cut in a radiantly airy and seductive foot bothering disco framing. Kind of essential don’t you agree.     

Widely recognised as the longest surviving Delia Derbyshire suite, ‘circle of light’ surprisingly gets its first airing on vinyl. First appearing as a musical backdrop to Pamela Bone’s short 32 minute colour film of the same name premiered in 1972, I say musical backdrop, a disservice in description for its something far more, an illustrative sensory immersion colouring in and bringing to life by way of encapsulating, or at least recapturing, the moods and moments of Bone’s photographic stills, it marked a collaborative study of sound sculpturing and sonic texturing between Derbyshire and (Elsa) Stansfield. Some forty years plus on since its conception, ‘circle of light’ still sounds outlandishly ahead of the curve and outer worldly, more focused than most of her work familiar to most in the public domain, rather than applying futuristic dream sequences or far out woozy mosaics that sound like they’ve arrived from a time yet to come, Derbyshire rathermore steps back to create an insular symphonic palette daubed and dinked in primitive tonalties that ultimately give it an earthy feel, the result is something beautifully eerie and etched out of time so much so that it cleverly manages to avoid sounding dated. Another thing of note is that its removed of Derbyshire’s tendency to throw in sonic curveballs, whether this be down to Stansfield’s involvement is anyone’s guess, but its safe to say a fair amount of quality control has been invested to hone and maximise the compositions effect. As said it’s a wonderful sonic study that finds Derbyshire and Stansfield utilising a wide spectrum of sonic techniques, awash with the trademark tape loops and manipulations, the dronal architecturing is complimented by the sparse application of found sounds and nature calls, the artistry brought to bear by the genteel interludes of swirling waveforms and wind effects endow it with a vibrancy and momentum. Amid this both create a living and breathing soundscape, a hermetically sealed greenhouse as were, whose musical craft has its finger primed firmly on the pulse of nature. For the pursis the electronic elements are subdued, seamlessly arcing and whirring in the background mirroring, mimicking and enhancing the fertile oasis of bird calls and animal chatter coursing throughout, fear not though for side 2 features a feast of electronic sequences that perhaps marks the only juncture at which the composers stray from the narrowing formula. ‘Circle of Light’ is available via the esteemed Trunk imprint and is, in a word – essential.

Initially recorded in the mid 90’s with the intention of a proposed release, William S. Burroughs was approached and asked to select various moments from his critically lauded and seminal work ‘naked lunch’ for a narration to be accompanied by a select gsathering of musicians. Cited as a critical turning point in American counter culture literature, ‘naked lunch’ is described by most as a ‘series of loosely connected vignettes’, dirty, sleazy and grimy ‘lunch’ is a fragmenting and oft dislocating descent in a junkie rabbit hole by Burroughs’ alter ego William Lee, sometimes surreal and often ugly, it lurches from fix to fix by way of a garbled grip on reality that blurs biographical accounts with distorting flights of imagination primarily centred around Burroughs’ use of the cut up prose, a difficult and uneasy read veering from the seedier aspects of life to political observations, conspiracy theories and bizarre medical experiments all loosely viewed through a literary prism that mocks / nods and twists to the detective novel culture. Parked on a shelf and gathering dust for 20 years King Khan with the assistance of the frowning clouds were brought in to add their touch of artistry resulting in the finished product ‘let me hang’. A collection of 13 short readings revisited, polished and served up on various states of bile / blood / semen coloured wax all housed in a gatefold sleeve, one we suspect ripe for the listening needs of those subscribing to the recent Buried Treasure release featuring the Dandelion Set with Alan Moore and those admiring of the Clawfist endorced Derek Raymond chamber narration of ‘I was dora suarez’ with Terry Edwards and James Johnston. ‘let me hang’ drags you into the freakish underbelly of societies hidden from view forgotten, following bad ol’ Bill a parade of creeps, sadists, torturers and deviants prowl, snarl and manace amid the shadowy back alleys and dereliction of an unseen heartland.  https://khannibalism.bandcamp.com/album/let-me-hang-you  

Many thanks to the guys over at cassette label Sonic Entrails for popping over in the post the imprints first two tapes releases. Foreboding and forbifdding stuff it be and something we mentioned a little while back here when we had cause to set our ear to one of its key note tracks ‘sin purifying fire’ by John 3:16. ‘Phonic Entrails’, the labels inaugural release, is a limited to 30 cassette release – ours in case you are taking notes is #15 – a hosts a gathering of underground talent – 12 all told – operating on the outer edges of the underground all it seems crafting bleak symphonies for a post apocalyptic fall. The collection opens ominously with DNP. I think its safe to say its been a while since we had the pleasure, or should that be displeasure, of having groove from DNP morbidly sucking to its dark lair where once there was light, a brooding encounter, ‘pigeon park’ glowers with calculated menace issuing forth pulse waves of dread born drone. Ushered forth from the same kind of post apocalyptic hinterland as once upon a time advanced the Revenant Sea, there’s an almost quietly radiant jubilance working through the head bowed melanchioly of the bogs of augiska’s ‘I rise in beltraine, turn to ash in samhain’ that hints of the soft turn beauty and hypnotic delicacy of a youthful Kranky records set. Those fancying, what in essence amounts to, an eleven-minute mind wiping event, may do well to be lulled by the skree controlled pulsar activity of Mutate’s flsatlining ‘plex’ once that is its set the navigation points of its sonic tractor beam towards your headspace before getting to work applying its trance toned EAR dreammachine. Adored around these parts ‘before and after’, the latest salvo from [owt kri], is a bitter sweet end game, the cosmic lights fading to darkness at the approaching euphoric burn of an advancing heavenly army of celestial chimes. Futile escapist front – I do love the name incidentally – serve up ‘decay2deth’ which in terms of title aptness perfectly conveys the fact that this is no easy walk in the park, again something you’d imagine cooked up by one-time Revenant Sea co-consoiator Roadside Picnic or at the very least falling out of the much missed Scotch tapes imprint a few years back. ‘splintered shards of memory’ by Soiled brings matters into lighter terrains and focus albeit loosely, all twinkling keys subdued and lost to a hazy fog, tis all tearfully aching stuff. From a personal point of listening view we must admit being a tad fond of peter heselton’s obliquely fracturing ‘I wash my hands in the blood of those angels’ not least because amid the doom church bells clangs there’s a frazzled atonal groove splintering within that had us much in mind of Bruce Russell. Admirers of all things Radiophonic Workshop weirdness might do well to savour the prowling eeriness of Sktech Event’s ‘skrech drone AAA’ though as a cautionary word of note may we suggest you do so from the safe comfort afforded from the back of a sofa with the lights on even though it may be daytime. As said previously, we mentioned John 3:16’s ‘sin purifying fire’ way back at https://marklosingtoday.wordpress.com/2016/06/15/john-316-9/ – a desert fired ghostly snake charming widescreen arabesque carved in the image of a youthful godspeed. Next up, something toned in a prenatural primitive tongue from tunnels of ah whose ‘john e smoke – phoenix and worm regenerated’ casts something of a post apocalyptic afterglow by way of a stilled symphonia comprised of shimmering drone ghost lights which neatly bleeds into phantom signals shadowy ‘aiwa ss’ and finds the head phonic terrain somewhat relocated to the outland corridors linking a host of 80’s filmic reference points most notably ‘the thing’, ‘blade runner’ and ‘the terminator’. Red clouds are left to bring matters to a close with the subterranic leviathan that is ‘empire collapse’ navigating its way through a sparsely set micro sound universe to bathe your listening space in a reverential aura much like a chill pill visitation summoned together from various the insect explosion and labradford types. https://sonicentrails.bandcamp.com/album/phonic-entrails

following the unearthing and the bringing out from the shadows and into the public consciousness of Delia Derbyshire’s collaborative dronal suite with Elsa Stansfield – ‘circle of light’, BBC Radiophonic Workshop’s first lady of forward thinking sound sculpturing Daphne Oram had her previously thought lost composition ‘still point’ receiving its long overdue posthumous premiere at the South Bank ealier this year in June. Crafted, composed and created for the BBC, it was by all accounts rejected purely for the fact it was to out there by the bosses at the BEEB. The 33-minute suite is thought to be the first compositional piece to utilise prepared recordings as an instrument in their own right by way of manipulating their output / sound in real time leading some scholars to believe that Oram’s techniques may well have predated such established pioneers in the early development of sound manipulation such as both Stockhausen and Schaeffer. Its performance, brought to life by musicians / composers James Bulley and Shiva Feshareki, was sourced from Oram’s own notations. You can hear the performance – 33.00 in to the accompanying mixcloud recording. Many thanks to Fact mag for the original article posting the news which you can find here  http://www.factmag.com/2016/07/13/daphne-oram-still-point-turntables-orchestra-performance/


Another mix cloud radio show type thing I’m afraid, this one an hour long journey into the experimental out there sonic jungles of the underground all lovingly cobbled together by the folk known as the Sentient returning after a break for their second series of sound explorations. The show opens to the throbbing cinematic sound of X-Ray whose ‘golden future’ is cut to a muscular grind that imagines Goblin in a studio work out with 70 Gwen Party with Orbital preciding over the decks wizardry. Next up the first of three select cuts from Bearsuit records enviable roster with Rhizottome’s quite beautifully pastoral lock grooved ‘synovie’ affectionately nodding in terms of playful sonic courtship to Nyman’s lushly crafted suite that backdropped Peter Greenaway’s ‘the draughtsman’s contract’. Staying with Bearsuit, prepped for a lengthier feature here shortly a track apiece from a forthcoming split set from moth poets and senji niban, the latter of whom whose track ‘klankpi’ featured here we mentioned a few days ago somewhere here https://marklosingtoday.wordpress.com/2016/08/06/senji-niban / while the former delight with the slow to unfurl and beautifully blossoming ‘dazzle ships’ is courted with a frosty kosmiche counternance that lilts and demurs as though carved from lunar ice by a cosmically inclined Plone and ISAN.. Swiftly moving along, two tracks off a set entitled ‘treasure pleasure’ from Australian multi instrumentalist Anna Morley in the shape of ‘mr fox’ and ‘from gangarin’s point of view’ – the former a wonderfully mooching and lolloping sun dazed lazy eyed groover, the latter a gorgeously mesmeric down tempo mysterio all cooled in vibraphone tones and slickly sheened in lunar lounge opals. Not quite sure what’s happening on Eoin Smith’s strangely distractive ‘plate clusters’ turntable manipulation we are led to believe, though one might imagine it to be the short soundtrack for a plasticine stop motion film created by Tony Hart of Vision On fame previewing the plights of some would be creation in a wardrobe moving dilemma. Kerchiefs at the ready for the bruisingly beautiful appearance of Lisa O’Neill’s aching folk hymnal ‘england has my man’ whose sorrowful touch even has the parting appearance of string accompaniement sighing in consoling sadness and then its off into the ethereal ghost like embrace of Corvus Mae’s ‘cause’ whose subdued and spectral twilight tones hint of the hushed majesty of the Smoke Faeries. Keeping up the ethereal quotient on its highest setting, sky high diamonds ‘helioglobe’ arrives angelically spirited in wonderfully primitive folk detailing that hints of a Preterite fashioned in the likeness of Dead Can Dance while Oijus’ with their choral caresses serve up a becalming and stirring monastic epic that’s flavoured in a regal end of day’s tension that should see it on the listening watch list of admirers of hare and the moon. That said we here do love the slow to burn softly unfurling euphoria of panama fleets ‘cloudburst’ as it delicately navigates a shoegazey post rock sonic trajectory much recalling of that of Sennen and working for a nuclear free city. demurred in oriental accents there’s a serenely lilting tone to ensemble et al’s bowed instrumentations on ‘where the past goes once you forget’ which once solidified and fortified by its fleshing out of percussion and guide line bass lines passes itself of as a nifty slice of Grails-esque groove whereas Dub AT’s ‘wonderland’ is a sumptuous slice of chill draped Balearic gracefall that leaves SaiRastaO’s ‘get low’ to shape shift its way to the shows close though not before applying a little playful melodic magic to your listening space with its murmur toned glitched trip hopula tropicalia mosaic affectionately fusing elements of Discordia and the Winston Giles Orchestra to its trippily tangy tapestry. https://www.mixcloud.com/raug/sentient-vol-2/

 Those of you fancying more from sentient will do well to hook up to an interview he did for primal music where aside talking about the show he gets to choose his five favourite releases from – er – last year. https://primalmusicblog.com/2015/12/03/top-5-releases-of-2015-tom-byrne-the-sentient/

High time we had a little noisey stuff, what better way to retune your earlobes and melt your headspaces’ innards than with a spot of gruelling skree scowled gouging, the Gerogerigegege awaken after a 15 year hibernation with a new limited cassette through irrational arts entitled ‘moenai hai’ – not quite the same noise core brutality we’ve come to love and adore from far east based labels such as Alchemy and 4-bit, but still soaked in enough squirrelling feedback as to have your sound system speakers smoking beneath the riff scorched activity as the molten doom twang blues grooving glowers, grimaces and grates with effect pedal pressing punishment, and just to rthink I never said shoegaze once. Bugger.


You can blame Alan Midwich Youth Club for bringing this back in the memory recall, well I’m fairly it was he who was responsible for posting a lost gem from XTC’s Andy Prtridge with a little gem by the name of ‘I sit in the snow’ whilst he was moonlighting as Mr Partridge around the time of recording ‘black sea’. All said for us it was a little oddity from the same album called ‘the day they pulled the north pole down’ that had long since laid its little earworm eggs in our consciousness, a curious slice of abstract pop that kookily blended toy melodica with elements of radiophonics, mutant Neu, kraut bop and dub into a strangely surreal playroom parade that fans of the much loved Bearsuit records might do well to check out.

Fast becoming one of our favoutite labels and that’s even before the blighters have actually released anything, Cumbria’s Optic Nerve recordings have released press gubbins on their forthcoming fourth outing. All things being well and following fast on the heels of lushly dressed re-issue packages by folk devils, jane and barton, medium medium and the tempest, the label get to work dusting down the much missed 14 iced bears’ self titled debut set bolstering the package to a double coloured wax disc set that tags on the bands first three EP’s and houses them in an eye catching gatefold sleeve. Blessed with a knack for crafting infectiously catchy sub three minute sorties, these Brighton based indie imps subtly flavoured their cooly riffed shade adorned prickly pop with irrefutable nods to the 60’s, ’14 iced bears’ provides a pertinent snap shot of the band in their first flushes of creativity and serves as a perfect partner for the Slumberland released compilation ‘in the beginning’ from 2001 – and while I guess you are all wanting to hear ‘baloon song’  we’ve instead opted for a personal fave ‘holland’ to whet, as they say, the appetite…….

My oh my, prime time head expanding groove that’s sure to get the favourable nod from the shade adorned psych cognoscenti and into the bargain up the ante several notches in terms of the laying down of the gauntlet at the feet of their peers. This is the collosal herald summoning the return to the fray of the Lucid Dream, a new album – their third – due for turntable turn on next month entitled ‘compulsion songs’ via holy you are recordings from which ‘I’m a star in my own right’ has been sent on ahead to swoon the masses and frazzle headspaces. In short a mammoth and majestic monolithic mantra acutely cut and woven into a full on 8-minute trip-a-delic tapestry sourced from dub dazed arabesque snake charms spirited away in a soft psych wooziness traced out of murmuring bliss kissed timeless tongues. ‘nuff said.

We will do our level best to get back to this in a fuller review later in the week, I know we say that all the time, perhaps the label can give us a shove, the memory cells just aren’t what they used to be and a memo board we bought for the kitchen with the aim of jotting to do lists is full of doodles we’ve done while listening to grooves in our down town. Anyway enough rambling, latest compilation gathering from a label who I’ll admit, are fast becoming a favourite around here, Brazil based the blog that celebrates itself still blissed out in the afterglow of their superb Cure homage now turn their gaze towards the Telescopes. ‘anticipating nowhere’ is a 17 track celebration of the pioneering dream / psych / noise collective, our gaze immediately being drawn to the appearance between the grooves of the Orange Kyte who turn in a killer rephrasing of ‘please tell mother’. Originally appearing on the Telescopes acclaimed creation records label debut, the Kyte ones give it a whole new trip-a-delic makeover, the brass accompaniement endowing the haloing swirls of star gazing 60’s shimmering arabesque kaleidoscopia a hazy sultriness. Pulled from the same album for closer inspection, bialogard completely dismantle and re-route ‘high on fire’ into a wondervully amorphous cosmic frost pulsar all twinkle toned in dream draped dimples of soft psych love notes transmitted, no doubt, from distant galactic outposts. Somewhere else Astral Life bravely step up to the plate to tangle with ‘perfect needle’ emerging from the fray none too worse for the experience and into the bargain cutting up a deliciously shimmer toning bliss bathed Velveteen take on the ‘Scopes nugget replete with shade adorning struts and a coolly dayglo grooving that’s guaranteed to arrive at your turntable with its own floppy fringe and Cuban heeled winkle pickers for it to stare at. http://theblogthatcelebratesitself.bandcamp.com/album/anticipating-nowhere-a-homage-to-the-telescopes  

Staying with the blog that celebrates itself, a release we somehow missed, no doubt having fallen down the back of the sonic sofa as it dizzied itself in swooning fits, a strangely short homage to the annoyingly cool Lilys, this one going by the title ‘colourful acts – in the presence of Lilys’. Pressed for time on this occasion we quickly rummaged through the tracklist – yep another release noted on the fabled to do list – and hooked up to Snowball II ‘s take on ‘black carpet magic’. Am I allowed to say it whoops the original, well it does if only for the fact that it smootthes the frying and fracturing edges of the Lilys mix and enhances and coalesces the expansive pulsar tones into something whose woozy cosmic jubilance emerges showered in the adoring sunburst of euphoric hymnal radiance.  http://theblogthatcelebratesitself.bandcamp.com/album/colorful-acts-in-the-presence-of-lilys

Ever more wayward with each passing release, the Bordellos have proven to be our turntables favourite sore thumbs by offending, puzzling and swooning all in equal measures whilst twisting and warping the definition of psych. Latest outing, erm – their finest and most coherent to date, finds them momentarily stepping out of their usual skittish skin with something of confessional liking of the music of ‘Gary Glitter’. Now the eagle eyed among you will no doubt recall that this track provoked something of a dilemmist quandary over at the Sunday experience record shed and occasional gardening maintenance hut when we mentioned it over at https://marklosingtoday.wordpress.com/2016/04/03/the-bordellos-20/ – subject matter aside, this stoner fuzz growler superbly apes a glam smeared ill psychosis whose detuned atonal riffs and macabrely chilled tinkling keys scratch away with a fracturing pop primitivism that skirts and stalks elements of Bowie’s ‘lodger’. ‘attack of the killer b-sides’ is, to put it brutal and bluntly, a prime slice of Smith-y – as in Mark E – cool – a Fall most of us had near forgotten that pays homage to the superior singles flip side all welded on to the head of the Pooh Sticks and reciting a ‘high fidelity’ list of class b-cuts that’s sure to start firy debates at record counters the length and width of the vinyl buying nation and no doubt fisticuffs aplenty – ours in your asking ‘butterfly collector’ by the Jam, best thing they ever did hands down so there. And then its back in familiarly terrains with what the Bordellos do best, grumpily taking pot shots amid a delightfully off centred skewed musical seesawing which ought to prick the ears of the Peel faithful – ah – the plight of the Thursday night rehearsals after a hard day’s day’s graft in the age old art for artistry sake against food on the table for starvations sake, but then didn’t both ‘revolver’ and ‘satisfaction’ escape such luxury due to earlier record success’, endless gigging and savvy record managers (I am of course appropriating the loosest definitiuon of savvy because i’ve just remembered Mr Epstein is in the room). EP closer – and all said perhaps the best cut here ‘disco pants’ is a strange thing indeed which had we not be paying attention to such things would have sworn some blighter had slipped over to the hi-fi and switched the sound files replacing said gem with some hitherto lost Clinic oddness.  https://thebordellos1.bandcamp.com/releases   

Elvis was an ever present in our gaff when we were kids, not in the flesh you understand, my mam might well have swooned herself to expiration had he been. Earliest memories are ‘rock n’ roll 2’ being played every Sunday lunch time while my mam waited for the Sunday roast to charcoal, I swear that record had been played so many times that it was thin to the point of being near transparent. The sleeve was dog earned, it had been loved and played to the point of near destruction from rickety dansettes (powder blue in colour) to an even ricketier (it was I’m sure) Bush music system whose turntable to stylus interplay was so fragile that the exhaling of breath often caused the stereo to jump in an indignant glare as though to say ‘have you quite finished’. As the years passed ‘the wonder of you’ and ‘burning love’ were replaced in the affections of my mam, Elvis’ earlier raw stuff was substituted for the more mature jumpsuit cabaret set list of the Vegas years and when he died, I suspect a little of her died with him, that connection to her youth gone forever, I swear if martians had landed and whisked away me and our kid at the time, she would never have noticed (or cared). A bleak outing in New Brighton followed the next day, it was miserable, me and our kid invisible as my mum punctuated the playing of Donna Summer on the jukebox with selections of Presley favourites from happier times, I almost hated ‘way down’ with a passion.  in no particular order of preference, relevance or favouritism – to mark the Memphis Flash’s anniversary – five moments of greatness……

RIP Elvis……..

Absolutely adore so no apologies for featuring it again except to say ‘mindfulness’ – the debuting full length from flyying colours is landing soon via Club AC30 – for all ordering info, video for current single – the Levitation meets Snub TV -esque ‘it’s tomorrow now’ trailer single plus a few quickly penned words of fondness go here http://clubac30.limitedrun.com/products/576035-flyying-colours-mindfullness and here https://marklosingtoday.wordpress.com/2016/07/18/flyying-colours-4/

I won’t deny that the lack of review activity this evening has been the fault, okay not quite the fault, if swooning to fainting at the news of new old Cardiacs related groove appearing at long last isn’t anything to judge or excuse ourselves by, but seriously we have been experiencing palpitations many. Why you may well cry, well draw up a little closer and I’ll tell you o’ inquisitive ones, for once upon a time there was the Cardiacs, a celebrated troop of musical imps blessed with such craft and artistry that they tired of pop’s restrictive forms and set about creating musical worlds of their own, sometimes they had names such as art pop and progressive pop and when the great musical presses ran out of names to liken those sounds, they simply called it the Cardiacs sound and everyone nodded sagely and went about their ways happy in the knowledge that this merry troop of pop pranksters would on occasion release a record that would make people go ‘wow’ and then wait a generation for others to catch up. However all was not quite well in perfect land, for some scratched heads and puzzled to make sense of these sounds, sometimes these people dared to like ‘other’ music and people would point at them and there would be incredulity and other long words. So the Cardiacs set about making other sounds which weren’t the Cardiacs sound, neither where they art pop or progressive pop. The musical presses sighed for they had ran out of words and genres to describe the new sounds that weren’t Cardiacs sound but was other music, so they gathered together in a tavern on the Ladbrooke Grove to meet, talk and sip Tizer and after much soul searching and head scratching decided this new sound would be called ‘otherly’. And so the Cardiacs now with a sound called ‘otherly’ set about recording an album for people who liked ‘other’ music. So that the fans of ‘other’ music would not get confused they called this band the Sea Nymphs and released an album called ‘the Sea Nymphs’ and everything in happy land was happy again. However rumours started to circulate that two albums had in fact been recorded and fearing that minds might be blown with such quick succession of ‘otherly’ music flooding the market, it was agreed to shelve the second album and pretend to forget about it. And people may well have forgotten about it where it not for a bearded chap with a penchant for miscuing records and playing platters at varying speeds, some correctly on occasion, invited the musical imps to perform in the hallowed halls of Maida Vale to record a session. His name was John Peel. And so the ‘otherly’ off shoot of the Cardiacs recorded a session and then just as before, everyone pretended to forget until……last year when leader of these musical imps, Tim Smith, suddenly remembered where he’d hidden the forgotten tapes and on a rare visit to the studio set about overseeing the completion of this ‘otherly’ opus. ‘on the dry land’ is completed and now readying itself for release this coming November where it’ll find a welcoming home on the Alphabet Business Concern imprint. All will be happy in happy land. Hoorah.

For those who forgot……here is the devastatingly beautiful ‘lily whites party’ from that celebrated John Peel session……a murmuring mosaic of nursery rhyme posies and the delicate shimmer toning of soft psyche – as close to a heavenly visitation as you can get without passing through the ethereal veil – utter bliss in a word and unreal with it.

Must admit we love the remoteness of this, the tranquil phrasing and the sense of a moment frozen, both haunting and beguiled, and then the drums roll in and all of a sudden like a magnet it pulls the straying motifs in to form and forge in honed definition and detail to create a wonderfully trance toned slice of weaving and mellowing fringe parting psychotropia which if anything ought to have the Bureau B enthusiasts in your life positively frothing at the mouth. Anyhow this is Marconi Union who we believe hail from Manchester and a track called ‘riser’ taken from a double disc set entitled ‘ghost stations’. https://marconiunion.bandcamp.com/track/riser

many years ago, there was a label based in France, in fact two now that irecall with more clarity, one by the name of Active Suspension, the other Autres Directions in Music, both highly influential sound houses supporting that nations underground electronic scene and both now – as far as we know – sadly defunct. I mention these two lost lights of forward thinking sound sculpturing simply because both where called to mind in an instant upon hearing Carre R’s ‘flammes jaunes’. Taken from a set entitled ‘les arbres’ this 22 minute sonic odyssey both possesses the ability to equal engage, haunt and instill a curiousity as to what the rest of Carre R’s vast back catalogue of material might sound like.  One, I suspect, for those among you well attuned and missing the regular radio broadcasts of ‘mixing it’ on BBC Radio 3 from several years ago, ‘les arbres’ defies easy categorization, described by its creator as radiophonique electroacoustics, Carre R crafts an intricate and busy palette of sound that shifts, ghosts and morphs anew with erratic ease embracing all manner of sonic wizardry and trickery to its bow by way of the use of rhythmic manipulations and the stretching of sound tones, what first appears like your usual bag of glitch gouged groove soon assumes something of a fertile headphonic oasis with sounds and sensations impacting from every direction, the result being a patiently weaved subterranic undergrowth where spectral electronics, bowed arrangements, frost tipped shimmer tones, white noise waywardness and fractuous noise implosions carve out a densely vibrant jungle / concrete collage that’s sure to appeal to the Auteche purists for one as well as drawing approving raised eyebrows from those admiring of Muslim Gauze, Roadside Picnic and a youthful Pimmon not to mention owing a degree of affection to experimental pioneers Louis and Bebe Baron. https://carre-r.bandcamp.com/album/les-arbres

bloody hell is it just me or is the tension oozing from the grooves of this bad boy literally suffocating to the point that you feel edging just a little too close may result in it reaching out to throttle you. This is the Dedwardians – who I’m certain we’ve mentioned previously – and their side of a dark pact forged with the Sly Persuaders for a forthcoming split ill pill from Roadkill records due to spread its infection next month. ‘kick me I’m down’ growls, snarls and sneers with a shadowy menace, emerging from the walls closing dead headed edginess, riffs lash out and claw the foolish passers by caught cold in its decadent glare, the sounds grounded in a trashy twang vibing prowl and pout nodding as were to a dark garage glam gouging that imagines an evil twin Black Halos organising n’er do well studio gatherings after dark with the Dead Boys and the John Spencer Blues Explosion. https://soundcloud.com/dedwardians/kick-me-im-down

goes without saying that any Beatles butchering is sure to get our immediate attention especially when it’s rendered detuned, some what dislocated and utterly goofy, so its with heartfelt thanks to Weaves for brokering a dare I say, adorably crooked and twisted recital of the floppy fringed fourseome’s ‘help’ and into the bargain removing all trace of its excitable tra la la perkiness and instead locking it up beneath the stairs to cower and tremble. Rapscallions that they are, there’s an impish dumbness waywardly working amid these wonky grooves as it drunkenly bashes, stumbles, lurches and scuffs desperately to its broken close, the skewing riffs clanging abjectly and morosely all slovenly groaning beneath the end of its tether vocals themselves caught between resignation and boredom. That said forget the initial shock of its bent out of shape irregularity and what soon emerges is a well worked, albeit skewed and off set nugget that perhaps brings into closer definition the feeling of being all out at sea, me personally I’m am frantically cobbling up a list of other potential covers for them to retune / detune if only to irk those with a sense of humour by pass.   https://soundcloud.com/weavesmusic/weaves-help-beatles-cover/  

hands up those of you who remember a rather nifty single from a few years back by a band by the name of Kaputt and a single called ‘dishes’ – still sends shivers down the spine each and everytime it manages to surface on the sound player. If that registers little effect or recall, then how about the Clerks or the band they morphed into – Maudite Dance. I’m testing your grey matter deliberately in so much as both ensembles – okay all three if you really want to be pedantic – were iinstantly brought to mind upon hearing the last outing from no one mind entitled ‘tiger’. Culled from an imminent self titled full length through third uncle, the album proves something of a cathartic vent for feelings of both betrayal and hurt following the acrimony and fall out from musical relationship splits. Wound tightly to a corkscrewing bass underepin and finitely cut to an edgy post punk gouging, ‘tiger’ glares, plots and watches with pathological patience – the tension is stricken and the result is stark, beneath it’s dark seduction a cool calculated and clinical obsessiveness prowls and purrs with lustful intent.  https://soundcloud.com/noonemind/tiger  

here’s something of a decidedly sore thumb, all at once crooked and off centre, there’s a thing of beauty stumbling wearily out of the wonky fog on Mauno’s ‘benny’ that hints of a collective mindset who’ve adoringly gathered to wile away lost nights pouring over a curious musical cocktail of Animal Collective, Tuung, Woods and goodnight lenin platters with one creative ear tuned to west coast afterglows and another of their number ostensibly lazy eyed and reclining to stoned out slacker musings. From out of this odd genre dividing arrangement ‘benny’ ambles with a lilting caress drawing to its smoking mercurial mosaic a wayward weave of hymnal campfire ghosts, soft psych wooziness, sultrily suntanned trippy overtures and just plain old drop dead ear candy loveliness. An album ‘rough master’ looms in the near distance via tin angel. https://soundcloud.com/tin-angel-records/benny   

as the press release rightly makes note, no album in the history of record making is liable to polarise opinion with such clear cut clarity as the Shaggs’ ‘philosophy of the world’ and that list does include artistic heavyweights from both Neil Young (‘trans’) and Lou Reed (‘metal machine music’). And while the latter mentioned two have since been re-evualted in a retrospective light, one seen as a godfather to industrial noise the other a futuristically laid back west coast kosmiche drive time smoker, the shaggs debut however still remains a curio. Famously hailed by Zappa at the time as being ‘better than the Beatles’ and later cited as one of his favourite albums of all time by Kurt Cobain, ‘philosophy of the world’ may well be the first instance of (twee) outsider pop, it certainly predates Daniel Johnston by a clear decade or so. the story involves three sisters – sometimes a fourth, a cat, a father driven by a prophetic palm reading, a stash of privately pressed albums mysteriously going missing and a legendary status secured not only for the fact that there are less than a 100 known copies of the original in circulation, but for the small detail that some seasonal music scholars in the past believed this to be the worst album ever made. Light in the Attic whose past endeavours saw Rodriguez brought into the wider consciousness with the release of his much sought after ‘cold fact’ debut, have now managed to acquire permissions to officially release the Shaggs debuting full length. Placed back in its late 60’s surroundings ‘philosophy of the world’ must have sounded odd and primitive in a musical age pushing on through sonic wizardry and yet its apt and in tune with the day’s hippy ideals, not withstanding its affectionate innocence and, shall we agree to say, amateurish artistic charm, there’s a cute dumbness attaching throughout as the ramshackle melodies shuffle, stumble and scratch their way to detune your listerning space that even viewed today seems oddly off centre, off road and delightfully out of step. no sitting on the fence mind d’ya hear.


Another well heeled release to add to your Broadcast-y sounding treasure troving record box of fine releases found escaping into the wiles of the underground this year (see Lake Ruth, sugar candy mountain, the galaxy electric and le super homard), this be pink flames who variously feature the history of apple pie and the horrors types doing dream tripped woozy things to a lost nugget from the Smiles entitled ‘I’m just a star on a democratic flag’ – a starry eyed shimmering orbital steeled in soft seduction all ghosted in psychotropic pulsars murmured in minimalist sweet forlorness bedded beguilingly on an out there spectral axis transmitting cosmic distress calls to an empty void. Adorable stuff. Out via raft / vinyl factory.


Soon to be heading out of the esteemed Polytechnic Youth sound house, this is being prepped as a flip side future happening. By the excellently named tomorrow syndicate this is ‘x is the unknown’ who, maybe its just me, remind a lot of an old combo from the earworm records days by the name of electric sound of joy, clipped to a hypnotic metronomic beat, this soft psyche smoker slinkily swerves, swirls and struts to a shade adorning shadow dance locked grooved in fizzing haloes of wig lifting hullucinogenia hazes and should all said catch the acute ear of those palace of swords admirers among you.

Another of those limited edition Cathedral Transmissions sorties that appear / disappear in the blink of an eye, this one – a double disc set featuring Jon Atwood / Yellow6 and David Newlyn. Now regular observers and visitors to these pages have no need of reminding that we here have a fondness for the sounds of Yellow6, considered around these here parts as one of the truly great exponents and craftsmen of atmospheric sound sculpturing. To be brief, the genesis of ‘burn again’ begins earlier in the year with the recording of ‘burn’, ever the perfectionist and feeling the the track did not quite encapsulate the sought after mood and effect Y6 was non to enamoured by the results and set revisiting the track as ‘burn again’. However, both purity ancd perfection are nagging mistresses and soon Y6 found himself recutting the same track utilising a host of differing guitars in an attempt to capture that errant mood and feel. Fearing sleepless nights as the obsessiveness ate away the resulting cues where sent to the Cathedral Transmissions dudes to pick over and choose, from those tapes the CT head honcho began a process of working these sonic still life portraits into an extended and fluid shape shifting collage. Typically restrained, Y6’s softly woven craft is cooled and expressed by the study of a melancholic micro analysed moment, a fleeting vision frozen, stretched and enhanced, beneath the somewhat remote pose a fading beauty opines caressfully spirited in ambient lilts, it really is quite majestic. For his part of the bargain, Mr Newlyn adores the mix with a beautifully bruised celestial toning that as were, colours the punctuating pauses on the original mixes, serving to soften and dull the sorrowed motifs and ghost it in a translucent radiance. https://cathedraltransmissions.bandcamp.com/        

Ripped from a forthcoming EP entitled ‘fight’ via the jansen plate produksion imprint, this is death by unga bunga with the EP’s leads out title track, three minutes of classically wired pub rocking power pop that does high fives and hand jives aplenty with a host of reference markers many from the Elephant 6 Collective and a fair few others cued from a stellar retro cast of Flamin Groovies, the Raspberries and Velvet Crush types, a golden age transistor teasing slab of strut cooled riff rumbling teen bubblegum groove, adorably infectious and as immediate as an airborne virus, nuff said. https://soundcloud.com/jansen-plateproduksjon/death-by-unga-bunga-fight-single    

Like Daphne Oram and Delia Derbyshire, Else Marie Pade remained until recent years largely unknown and more criminally, unacknowledged for her pioneering work in the advancement of electronic sound. Rumours abound that in recent years, and in her her late 80’s, she was actively planning new bird song compositions. Alas those recordings were never realised as Else Marie died earlier this year – a short obit from pitchfork can be accessed here  http://pitchfork.com/thepitch/1002-else-marie-pade-denmarks-grandmother-of-electronic-music-is-dead-at-91/

For an example as to how forward thinking and what an ahead of the curve sound visionary Else Marie Pade was, then I strongly urge you to fall beneath the spell of ‘faust’ an eerie and out-here suite composed way back in 1962 is, if anything, revealing of her interest in shimmertoning frequency bending timbes

Long time no hear, between you and me I’m suspecting we’ve been hotfooted off their mailing list, ah well. New thing from the folk over at little crackd rabbit records for this be a collaborative set that pairs the talents of Mark Harris and John 3:16 entitled ‘victory over the sun’ – the track on preview being ‘vortex’ finds itself sounding typically as though it be ripped from the very biblical scriptures found within the book of revelations. All at once panoramic, grand and majesterial, its impacted by a doomy countenance from which emerges this softly turning shimmer burn end game overture. Blooded by a twisted sense of serene finality and tension it imagines fallen empires collapsing beneath the haloing of fire scarred skies, from all compass points a mysterious calm descends as celestial spiritwalkers roam and wander the apocalyptic wastelands cleansing all touched by the fleeting ghosting of their visitation as they harvest the lost souls by way of their payment and prize. In our book – brutally beautiful. https://soundcloud.com/little-red-rabbit-records/mark-harris-john-316-vortex

Hell’s teeth this has been causing a bit of a commotion in the record playing gaff since arriving within earshot of the sound player. Debut happening from scouse cool dudes red rum club entitled ‘everybody’s friend’ comes howling down the track with a fair amount of anthemic gusto flanked by the radiant blister of brass fanfares coursing over an aural artillery of fist clenching sassy grooviness packed with an immediate senses jolting searing strut coiled soul vibe which to these ears cuts the kind of exquisite shapes as you’d imagine resulting from a gathering of first generation Inspiral Carpets types with a guest appearance by Wah man Pete Wylie. https://soundcloud.com/redrumclubuk/everybodys-friend

Those daring or in the fanciful mood for some ear retuning head frying groove need look no further than Controlled Bleeding. A leading light of harsh noise / brutal industrial electronics fraternity, these impish noise niks were / are the benchmark for all who follow to judge themselves by. News reaches us that the artoffact imprint are making head way in re-releasing some of those long out of print and dearly sought after releases from the mid 80’s with the seminal ‘knees and bones’ getting an expanded outing on vinyl. Originally released in ’85, ‘knees and bones’ was Controlled Bleedings debut wax release following several tape only releases, this set incorporates several bonus recordings firming up the release to a double disc happening of caustic rage that features all manner of extreme scalding feedback skrees not least to be found on the wonderfully cacophonous ear melting bedlam of ‘bones’ while, dare we say it, on ‘knees’ the brutality is somewhat ‘controlled’ by moments of schizoid disturbia, oodles of power drilling, angry shouting and quite frankly everything being thrown into the sonic cauldron including the kitchen sink, in fact strain the ears a tad through the speaker punishing sonic terrorism and you can hear them furious plumbing in the aforementioned kitchen sink though not before seemingly obliterating the previous one. Not, I would imagine, for the feint of heart. https://controlledbleeding.bandcamp.com/album/knees-bones

back in the day when we were all so much younger, some of us hairier, a fledging label took root initially dovetailing its elder sibling Bracken records. It was a quiet affair, there was promise of sounds hinted in krautrock, psychedelic and progressive phrasings, the latter being a genre that over the proceding years had come to be accepted albeit cautiously welcomed after years of exile by the music press fashionista, an acceptance one suspects begrudgeoned by a realisation that what emerged on their favourite sons (Radiohead) ‘hail to the thief’ full length was summed up by the careful albeit stark evaluation that if it sounded prog, looked prog and pretty much walked prog then the chances were, all things being accepted, that it was prog. Of course I’m being flippant here, there had been many crossovers alluding to progs heritage – both post rock and a lot of the trippy ambient / club sounds of the early 90’s clealy owed a debt. However, back to the script. Fruits de Mer seamlessly took over the harnesses from Bracken records, its first release was by a much adored New York based psyched out collective by the name of Schizo Fun Addict who themselves had pretty much taken up residence on the former labels enviable roster. Several years down the line and with a landmark 100th release looming large (Honey Pot’s ‘ascending scales’), fruits de mer have since established a reputation that’s second to none, compared to the classic labels of yore – vertigo, island and charisma, the label has built up a formidable back catalogue of vinyl releases. And perhaps this is the key to their success – that vinyl element and bloody mindedness to stay faithful to a medium that was still largely ignored in the early days of the label. Add to that, and much in tune with labels such as Static Caravan and Polytechnic Youth, its run by a record collecting fan, who by the very nature of being a fan knows exactly what another like minded fan wants / expects – therefore we’ve had limited editions, factory cock upping coloured vinyl variations, test pressings, flexi discs, cassettes – one version if I recall rightly even including a walkman, box sets, lathes, freebies for early bird orderers, a subscribers club, festivals and more. More than a label, a family. One of fruits de mer’s earliest supporters, the esteemed Record Collector, went as far as to press up a limited edition release as part of their record club, that gathered together several key note early outings from the label. The set entitled ‘plankton’ has long since been sought after not only because of its relative scarcity but also for the fact that it gives the opportunity to revisit those sold out releases (most of whom fetch upwards of £50 a shot these days) however, through careful negotiation the label has been given permission for a limited pressing of 300 CD’s to be made. A remastered 11 song strong rich picking through the first dozen or so singles including everything from the original wax pressing of ‘plankton’ even down the rogue Pretty Things live nugget that came pressed on the sets one-sided seven-inch bonus cut. This compilation comes housed in a gatefold digi sleeve replete with extensive liner notes penned by head honcho Keith and heads out with the acid psych swing of Schizo Fun Addict’s superb rendition of ‘theme one’ – originally penned by George Martin, for many years it was the fanfare marking the start of broadcasting for Radio 1 until later being hoodwinked by Van der Graaf Generator as their own, left in the hands of the Schizo trippers this overlooked classic assumes an acutely cooled groove that sits somewhere between the Walking Seeds ‘bad orb…’ and John Cameron’s macabre ‘psychomania’ theme. Next up, frequent FdM flyers and soft psych alchemists Stay get all chill tipped and woozy with the sitar laced mesmerina of Strawberry Alarm Clock’s ‘rainy day, mushroom pillow’ here oozed in all manner of head tripping 60’s lazy eyed bliss kissing Hammond hued hullucinogenia. Then it’s off into psychedelic oblivion courtesy of two happenings from Vibravoid, the first a neatly psychotropic take on Amon Duul II’s freaky ‘eye shaking king’ is given the trademark hairy beatnik treatment emerging out of the other side as though its fallen through a bad tripping Butthole Surfers wormhole, however its way they do to the Floyd’s ‘set the controls for the heart of the sun’ that might just lift the preverbial wigs clean off your third eye channelling headspace, so warped and out there we fear some space cadets may well never return to normality. Whatever haoppened to hausfrauen experiment is a question wwe’ve long pondered on many a sleepless night, for early in 2010 they dropped off a killer 4 track covers EP – notable for a killer version of the Silver Apples ‘oscillations’ – however it was their smoking and somewhat subtly sleazy and slinkily seductive starry eyed disco-fied take on Eno’s ‘baby’s on fire’ that had us all agog and swooning in the aisles – very Cobra Killer all said. Anyone will tell you that covering Nick Drake is a cautious thing given that in their original form they are as near to perfection as you could wish. ‘day is done’ is one such track from the toppermost essential part of the hallowed Drake canon here covered once upon a time with much aplomb by Mellow Candle-r Alison O’Donnell whose ghostly rustic and dream charming application drew to its formidable faint and fragile palette a supernatural kiss. In many respects it was Mark Fry’s remodelling of his own acid folk nugget ‘dreaming with Alice’ that marked the label out as being not only special, but a player quick to establish a unique niche in an over populated underground label market, perhaps into the bargain giving hint as to its direction, pull and visioning – this track being a cornerstone of the aforementioned acid folk scene and claearly a forefather and influence of the magical Nick Nicely. Those fancying enchantment unbounded may do well to fast track your way through the track listing to the adoring pastoral psych folk of Us and Them’s take on tudor lodge’s ‘home to stay’ while many – the types not quite in the know – may snigger at the thought of a Bee Gees cover – snobs that they are but let us put things into perspective here, prior to going disco the Gibbs were master alchemists of the song craft, their debut full length is certainly deserving of re-assessment which while you’re there you’d be doing yourself a favour tucking in everything up to ‘trafalgaer’ for an eye raising earful. Enough with the lecturing, step up to the plate the Sidewalk Society – taken from the labels first – game changing – full length ‘a phase we’re going through’ these dudes take up the Gibbs ‘red chair, fade away’ and endow it with fracture toning shimmers of freakbeat wooziness while from the same album an early visit from the Chemistry Set found them breathing new life into Del Shannon’s forgotten tear stained gem ‘silver birch’ leaving the pretty things to wrap up matters with much gusto with a ripping live take of the strut sassy rock-a-hula ‘midnight to six man’. Did I mention it was essential, what was that – I didn’t – well it’s essential.

For the forgotten back story of ‘theme one’ and various GM excerpts go here…..    http://dangerousminds.net/comments/theme_one_listen_to_george_martin  

Hallucinogenic head expander from Melbourne based trip-a-delicists postblue entitled ‘love to praise you’ is grooved in the kind of mushroom mosaics daubed in flowery lazy eyed motifs that once upon littered a pre Brit pop indie cooled landscape where swooned the likes of my jealous god and the clouds both chiming to a lost 60’s soft psych bliss out which while your there, you might well throw in Top as a comparative name drop. https://soundcloud.com/postbluemusic/love-to-praise-you

Picked this up via a passing posting by Bella Union man Simon Raymonde, this is Lowly who hail from Denmark with a track peeled for single happening by the name ‘deer eyes’ which by all accounts had the label head honcho literally gushing. Strangely enchanting, all murmuring spectral electronics arrested by skittering down tempo noir rhythms all sveltly coloured in nocturnal hues, really is quite alluring as it dips and demurs between twinkling ethereal ghostings and forlorn ice frosted soulfulness, utterly adorable and enough to have a grown man blubbing  https://soundcloud.com/bella-union/deer-eyes

Fell over this whilst taking a nose at the latest happenings currently afoot at lathe cutting central 3.45rpm, the latest line in damn fine sound coming courtesy of a super limited 8 inch shortly to arrive courtesy of Brighton based dreamers Prince Vaseline who’ve an album heading down the tracka by the name ‘on an island’ off which ‘leaves’ has had us hopelessly surrendering to its charms. More of that coolly caliberated shimmer stuff I’m afraid folks, a gorgeously radiant nugget swirled in swathing electronics and a hip shimmying strum strut which had us here imagining a slightly more overtly sunny sided Chills being remodelled by the Church. https://princevaseline.bandcamp.com/album/a-naturally-coloured-pleasure

Following several well heeled releases in recent weeks, Stolen Body continue their impeccable knack for unearthing the groovy (go!zilla), the critically cool (Os noctambulos) and now it seems, the strangely ethereal. Heading out shortly will be an album (‘moon egg’) on super limited coloured vinyl – a copy of which we want – by Yama Warashi from which is taken the mystrio that is ‘quagmire moon’ that’ll soon be descending upon planet pop as something of a herald. A most curiously kooky wig bag that snakes sumptuously through a sultrily arabesque dance routine trimmed in a funk struck jazz tweaked soft psych itchiness incorporating a woozy palette of earthbeat motifs and dinky oriental folk mosaics kinda wizards of twiddly doing a freaky Beefheart spellcrafts while on retreat in the far east. https://soundcloud.com/stolenbodyrecords/04-quagmire-moon/s-VALPG 

New album imminent through bad afro shortly entitled ‘freedom’, second single from it ‘21st century slave’ finds Baby Woodrose immersed in a creative purple patch and plagued by modern age concerns of mind control and the conditioning of society, a killer cut typically swirled in swooning psychedelicised mosaics that come turned on by the coalescing fusion of smoking struts and a hypno grooving sonically expansive snake wind whose vintage and craft hints ever so subtly of a meeting of Sabbathian and Hawkwind minds.

Frankly just what the good doctor ordered, really ought to be more Jay Tausig happenings afoot, here found collaborating with Cassidy Joy on a rather spiffing magik eye tweaking revamp of Steve Miller’s ‘wild mountain honey’ and in short on a mellowing magic carpet flying sabbatical to the west coast partaking of mushrooms and other forms of mind altering chemicals doing sitar stoked mind dissolves, getting high just listening to the blighter. https://soundcloud.com/jaytausig/wild-mountain-honey 

Came recommended by the dudes over at Mega Dodo, this honey is shortly to be found emerging out of the trouserphonic imprint – on orange vinyl to boot – this is Suzi Chunk with a double sided nugget ‘got up and gone’ / ‘find the morning’ – alas no full on sound links just yet but here with a video taken from the studio recording sessions, damn fine stuff with the latter cut draped in a gorgeously woven soft psych etching grooved in the seductive swing of a 60’s classicist shadowy soul noir sting. 

Time to ready yourselves for something truly seductive, this is from DRLNG – who’ve featured here on occasion many, many moons ago and who feature former members of the sadly missed plumerai. Awakening from hibernation this is the svelte ‘cobra’ – a nocturnal beauty trimmed in a spectral down tempo noir scratched enchantment all ghosted in siren-esque purrs whilst touched in an eerily dreamy palette whose ancestral echo smokes and snakes to a lineage drawn from Portishead, musetta’s ‘mice to meet you’ and the aloof’s ‘one night stand’.  https://drlngmusic.bandcamp.com/track/cobra

One to play at maximum volume so that you can soak up its molten magik. “Lucrezia” the third full length from Japanese sonic saboteurs Up-Tight is not for the feint hearted. A quick and dare we say blistering follow up to the bands recent “Five Psychedelic Pieces” album that found a worthy home on the hugely hip psyche imprint Static. Where that previous collection displayed a wilfully cleaner and westernised approach (just check out the P.I.L. like machinations of Long Goodbye) to rock per say that set the trio aside from their fellow countrymen (AMT, Ghost, GMFTPO et all) these five slabs of gruelling guitar hypnotics uncover the darker side of the ensembles personality to find them digging deep to drag the audience with them into the shadows of stoner psyche. The components of “FPP” are still intact except this time knocked up several notches in terms of intensity even the albums most touching cut, the harrowing Cool Eyes, belies an overpowering sense of heartbreaking desperation that seeps out of the speakers to wrap you making it all at once an uneasy and yet magnificent spectacle drowning in its own melancholia. Daydream believer (sadly not the destruction of the Monkees classic) draws an edgy monastic charm to itself to weave a hypnotic progressive rock mantras that have more in common with Levitation than say King Crimson. “Lucrezia” is toxic and fried, not so much difficult more brooding, admirably book-ended by perhaps the albums most volcanic moments the two-part Song for Lucrezia. The former a riotous concoction of ferociously locked down heavy bearing white noise stoner rock with Hendrix head trip mentality the latter, a brain bruising 22 minute epic that feasts on the kind of out there psychedelia and skin prickling tense denseness that even AMT would admire. Hi-Fi melting hysteria, a must.



Golden Disko Ship ‘bumblebee behind a tree’ EP

Golden Disko Ship is better known to kith and kin as Berlin based musician Theresa Stroetges who to date has firmly tucked beneath her waistband the ‘there’s a chaos’ EP (which we will do our level best to track down for future appraisal) and the forthcoming ‘lonesome cowboy / Christmas tree’. Utilising an array of instruments, found sounds and non melodic objects, Ms Stroetges crafts dinkily drawn sweetly sensitive shy eyed cascading collages of irresistibly beguiling strange pop, combining a disarming hybrid of lucid folk motifs bleached, torn and interspersed with ether emerging electronic transmissions and hiccupping time signatures that impart a feeling on more than one occasion of being afloat some chemically enhanced dream like boat trip – our reckoning is that if this had arrived adorned with the seal of approval of either Fat Cat or Static Caravan then there would be much head nodding glee in certain quarters of the press and media. In terms of reference points ‘bumblebee’ had me recalling very much Takako Minekawa’s excellent ‘fun 9’ set from 1999 while creaking eerily to resemble in terms of the dislocated textures – Serefina Steer’s recent debut ‘cheap demo bad science’. Coming housed in a beautifully looking hand crafted package – each of the six intricately layered and willowy cuts here appear to restlessly terra-form to evolve in real time almost giving the impression of works in progress, for the listener its like walking through a maze and finding the pathways and hedgerows dissolving haze like to re-appear re-aligned in differing formations. ‘you blurry dream’ opens the set to an array of deceptively lilting digital chatter before emerging from the haze into a twin tracked overlapping vocals and daintily drawn punctuated pastoral acoustic gem that’s as good as anything we’ve heard since Lucie Wren’s delectable ‘a wall, a hole, a daydream’ debut – did we mention it was unsettling enchanting and liberally threaded with delicate Neil Young like motifs (which strangely appear to be a re-occurring pre-occupation throughout). ‘I wanna keep this as something that I don’t understand’ along with the closing ‘wake / sleep’ perhaps provide the set with its finest moments. The former an ethereal nugget that ventures into realms of Syd Barrett-esque laziness, squealing and pining riffs fracture and tear through the lysergic haze into warping moments of serene head tripping bliss while the aforementioned ‘wake / sleep’ is a sumptuously flirty and flighty mallowy slice of delicious dipped crooked romance cultured with looping beats and nursery room twinkling which to these ears sounds like an orbiting cavalry of Clangers tripping to montages speckled with ‘Camberwick Green’ accents. Elsewhere there’s the gorgeously shanty like ‘insane adventure poem’ with its spring boarding clattering electronics that dissipate in time into a delicious side winding groove while the d_rradio like crunchy electro folk rustics present on (trying to decipher the writing here0 ’19th floor eshockes’ neatly exemplify Ms Stroetges attention to detail when trying to convey space / distance in terms of switching the vocals from the fore to the back. All in all a very beguiling release of disarming childlike naivety and considerable understated beauty. Single of the missive. http://www.myspace.com/goldendiskoship

– also check out her video collage at http://youtube.com/watch?v=84_4oXqfZW0

Mark Barton, Losing Today (UK)  WWW.LOSINGTODAY.COM

Golden Disko Ship – Bumblebee Behind A Tree EP


Review by MARK BARTON – Losing Today Magazine


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