look what we sneaked online while you were sleeping….part 3..

Look what we sneaked online while you were sleeping……..part 3…

more of everything you probably missed, added typos and bad phrasings……… 

Briefly gave this a heads up on our cassette store day soiree (somewhere earlier), this is ‘the long Halloween mixtape’ put out by Third Kind records, a limited c105 cassette pressing featuring a whole gathering of artists we’ve not thus far heard of but assembled here partaking in strangely eerie sonic séances with the Halloween III soundtrack or so it seems judging by the brief ear tugging that the opening two cuts offered by way of their weirdly woozy out there greeting calls. Very much a choice of listening weapon for those who love their sounds sculptured in deep dark drone and something which ought to bend, fry and allure those among you well versed in the more minimalist and abstract grooves emanating from the Trensmat imprint. Of course I jest a little but its true to say that from we’ve heard there’s clear evidence at hand that these folk have passed through the mind frying experience that is Loop and the Telescopes at one time or another. Concept Devices open the tapes account with ‘Skip Rat’ – a hulking psychtronic drone monolith prowling the twilight voids, a glowering titan shimmered in eerie orbs hovering with disquieting intent. Slightly more playful likewise traced in stilled detachment, Wrong Signals’ ‘battle fields’ offers something of a melancholic mechanoid mosaic, an  as were  frantic final transmission by way of a binary distress call sign tapped out furiously before the oncoming onset of oblivion at the approach of the deathly advance of a sun frying storm.  Also better mention Fisty Kendall who incidentally has a cassette out at the same time called ‘mind control’ – which by the way we’ve also sent begging letters out for, all said for now ‘I feeding you’ featured here is adored in an ice crystal majesty, a down tempo symphony trimmed in opining siren-esque yearns ushered through the ethereal haze. And while we are guess then I guess it won’t harm us to mention Erm and Charlotte’s quite bizarrely beautiful ‘they came from the sky’ – a most unsettling sound spectacle that creaks uneasily over a sepia set threadbare strum upon which Charlotte coos dreamily over Erm’s despondent and resigned morbid story board which by the way  sounds suspiciously like that Staples bloke from Tindersticks.  https://thirdkindrecords.bandcamp.com/album/the-long-halloween-mixtape

This being the season of haunting, we thought we’d exhume from the vault and dust down this little nugget, transmitted originally last year, this Melmoth macabre features a guest narration from Hypnobob’s Jim Moon, a chilling telling of ‘Varney the Vampire’ – a Penny Dreadful published around 1850 and written by James Malcolm Rymer, it was considered to be the definitive tome about the Vampire legend and a key influence on Stoker’s ‘Dracula’ – at its core the protagonist’s struggle of hating and loathing his curse and yet being a slave to its feeding – this lasybird story tape version comes adorned by an eerie sonic spell craft weaved by the Melmoth magician to include within its tapestry ghostly visitations by rowan amber mill, plinth, oxford ambient collective and more besides……https://www.mixcloud.com/Melmoth_The_Wanderer/varney-the-vampire/

Another short podcast type thing – this being the 250th edition of Resonance FM’s ‘pull the plug’ show which ambles along quite sweetly featuring treats aplenty from midwich youth club and the cush, both of whom we’ve featured fondly in recent times with the formers ‘let’s go home’ delightfully dinked in the kind of mid 70’s wonky fantasia that suggests cheesecloth ought to be your main chosen apparel while sitting watching the gogglebox for Saturday seaside special re-runs while your hipster dad plays wax things by the kraftwerk on that there record playing device. The cush’s ‘distant light’ as said caught our ear a little while back – sadly despite requests we never did get review downloads – still this is irresistible, an ethereal Neil Young spiritual all spectral reverbs, achingly gorgeous. Next up the first of two ghost box visitations, pye audio corner’s ‘deep end’ comes touched with a tear stained classicist majesty that’s all at once genteel, tender and fraily vulnerable. We must admit to being adoring of Belbury Poly’s quirky noodles, 70’s styled children’s TV fantasia’s that beam chirpiness and kookiness in equal measure with ‘farmer’s angle’ seemingly refusing to buck the trend in sounding like a hulking lunar seaside promenade orbiting some distant sun star. Those among you fancying your listening space swooned in the forlorn glide of sliding riffs and exotic allures might do well to tag onto drug cabin quite deceptively chilled and cosy toed ‘space program’ while group a’s ’initiation’ arrives steeled in a superbly crafted early 80’s cold wave minimalism that had us here imagining some secret thought lost studio face off happened upon by a gathering of Grace Jones, SPK and Native Hipster types.  https://www.mixcloud.com/Resonance/pull-the-plug-8th-october-2015/

Cassette Store Day looms large. It’s a remarkable feat for a medium which was all but consigned to history with the onset of the download and the various technological advances introducing platforms making ripping and the transfer of sound files easier. The fondness for the ailing cassette hasn’t gone unnoticed, the biggest seller at this year’s Record Store Day wasn’t as you’d rightly expect a wax platter, but a trusty old tape release put out by Metallica. Yet the success of ‘no life till leather’ should have proven no surprise to the indie kids, whether a curious fad for vintage or a fashion statement, the last few years have seen the rise of cassette only labels, admittedly prevalent in the experimental / drone / noise spectrums of the music scene, recent years have seen a growing number of fledging bedroom labels adopting them as their chosen weapon of issue. In some respects there’s a cosiness and a sense of coolness attaching to the cassette that far out strips the relative sound merits of vinyl, I mean how many of us of a certain age have sat up at night compiling cassette track lists for loved ones and friends or sat there illegally taping copies of albums lent from mates, pilfered from siblings or bought from shops (with a view to taking them back next day). Or maybe there’s a griping fondness for hours spent with pencil in hand trying with difficulty to repair tapes chewed by players (I won’t even mention the joys of cutting and splicing the blighters) or weeping when you’ve found that your tape heads have decided to slip with the result that they’ve recorded your Peel show or Top 40 countdown either too slow or too fast. In a digital age where everything is designed for ease of use and speed, the trusted tape was perhaps the most un-user friendly resource ever. Even transferring them digitally is a painstaking process requiring real time processing and an equal amount of time cleaning and enhancing their sound.

To give you an idea as to how popular cassettes were at one time is to consider this small but relevant fact – the cassette was the most popular medium for pre recorded music in the 80’s outstripping vinyl sales to such extent that by 1988 – their peak year – over 73 million were produced. That said I must admit to having a lasting love for them, I miss my Silver radio cassette and my Hitachi 3D boombox, they both went to the sound system scrap yard in the sky many years ago. But the cassettes, they still thankfully remain – over 3000 of the blighters, I’ve even got the first blank cassette I ever owned, a realistic c-60 from Tandy – remember them, then there’s the TDK – the iconic AD90  later to be superseded by the SA model, then there was the Sony tapes in green and purple while who could forget those Pete Murphy adverts for Maxell – a popularist choice for many in varieties of red and gold – we quite liked the XLII brand. Yet all said I was always a tad fond of the That’s brand – the quality, the sound, the look and of course the durability made them top of my shopping lists in the early 90’s – a fact made ever more better and lighter on the pocket that Richer Sounds sold them at extremely competitive prices – how could we resist.- with the TX and MH versions being our chosen weapon of recording.   

One of the rarest cassettes ever to go to auction is a demo tape by Radiohead, thought to be the only copy in existence, the cassette dated back to the mid 80’s when the band still traded under the name On a Friday – after a frenzied bidding war the cassette finally sold and realised some $2,000 for its seller. Elsewhere early cassette issues such as Muse’s ‘Newton Abbot’ demo, Nine Inch Nails’ ‘pretty hate machine’ and those early self released outings from Porcupine Tree are still to this day high hitters on the auction sites.

Like vinyl, the cassette has in recent years, slowly returned to the fray, still largely the domain of the true DIY bedroom label, there’s been a slow surge in labels releasing limited cassette variants to attract record collectors and completists alike, where once vinyl editions were the carrot on the stick to bring in early sales, there’s been in recent years a reliance on the tape medium. As to why is anyone’s guess, though the limited outlet for vinyl pressing may point one way, some have suggested the intimacy afforded by the cassette in so much as to their personal nature, their relative ease of use and convenience, that sense of being closer to the band and more so, closer to the recording. Personal in terms of bands hand producing them, including art work, inserts, the whole marketing mechanism of selling them at gigs affords the consumer something that the other mediums really can’t compete with.

Another area where tapes out trump other mediums is to do with their legacy, I mean tape culture, perhaps only file sharing comes close, it’s to do with that whole tape sharing / swapping ideology, trading, bootlegging and bastardising recordings through cut ups, splicing and many other wonderfully inventive methods – I swear I have a killer 20 minute plus home-made version of Smiths’ ‘this charming man’ lurking in one of the many boxes in our gaff not to mention a truly spaced out  self made edit of Agents Aren’t Aeroplanes’ ‘the upstroke’. And of course lest we forget NME’s legendary C-81 and C-86 freebies, in the blink of an eye or nearly an hour and a half the one time bible of the musical masses inadvertently coined a genre of their own  that enabled lazy journos of a certain ilk to tar and feather bands beneath ill fitting flags – personally we loved the freebie  cassettes put out by the short lived magazine the underground but what do we know.

And so to the third Cassette Store Day soiree, started by accident, an idea born out the gathering of some folk from the kissability, suplex, trangressive and sexbeat tribes, that the first occurred  just as the forgotten cassette was celebrating its 50th anniversary was another happy coincidence. An international event now, not quite up there with its vinyl sibling but generating enough clout to have a fair few big players sporting their wares tomorrow – notably the Kaiser Chiefs and the Maccabees – alas not our personal cup of tea for we’ll be searching high and low for a limited outing of ‘Shogun Assassin’ through light in the attic as well as a handful of burger records must have’s and a few well heeled releases on the third kind imprint including a Halloween mix tape. And talking of Halloween…..for another time then.

Details of all releases / participating stores and one eye watering gubbins go to –




 Think these press people know us better than ourselves, I mean describing said record as ‘gloomy 80’s synth pop’ was always going to guarantee it getting prime attention on the turntable. 80’s sounding it certainly is, gloomy not so sure, atmospheric and brooding a given. This is a forthcoming platter from Copenhagen trio Lust for Youth  entitled ‘better looking brother’ – which I must admit talking title wise has never been an issue for us has it r’kid? Anyhow this one is emerging soon on the curiously poppy sounding of late Sacred Bones imprint, 7 minutes of world’s trouble shouldering seriously looking long overcoat wearing shadow drizzled majesty back dropped by fire scorched thunder storms which I’ll admit had us back footing a tad on several occasions not least because it shifts from Passage style bleakness through the kind of pop presets that touch base with the Church and the kind of stuff that Situation 2 oft troubled the top table of the indie charts in the mid 80’s before coalescing as though the work of a supergroup forged from the apocalyptic ashes of a ‘brotherhood’ era New Order and the Mission.  https://soundcloud.com/sacredbones/lust-for-youth-better-looking-brother/

Frankly if there’s ever the occasion that puzzled looks or words of disagreement are hitherto witnessed or heard when Jane Weaver holds court upon our turntable, they are usually met with the disapproving stare. Ask the junior set for they will tell you that no raised voices are heard – it’s the stare. Intense, deep set and locked, without the need for words it translates as a red flag, a no go zone, a  warning sign that you’ve encroached upon a place no doubt mistakenly and that the best course of action is to stop, be silent, turn around and return back to where you were. Don’t know why I’m telling you this, it’s not as though I’m getting paid by the words and to be honest has this little trinket of knowledge enriched your lives. I fear not. But in our humbled opinion Jane Weaver can do no wrong, a bit like Natasha Khan come to think of it – she appears soon by the way. Pulled from her acclaimed ‘the silver globe’ set this is ‘I need a connection’ – four minutes of demurring dream drift perfection, a lunar love note orbiting in the starry heavens transmitting siren-esque distress calls across the solar voids all tenderly trimmed and powered by Moroder pulsars.  is this the one sided 12 inch platter we’ve read about somewhere or are we confusing ourselves with something else –  answers please finders keepers dudes.

As previously advertised Natasha Khans’ latest listening groove is a collaboration with various Toy dudes and producer Dan Carey, they’re called Sexwitch and they have a limited self titled full length through echo just out which features, we believe, a handful of covers of obscure late 60’s / 70’s psych weirdness, it’s kind of freaky, heavy and can be found pissing in the pool of blue cheer albeit as though re-imagined as wasted voodoo children, we here are quite taken by ‘helelyos’ – a bad assed slab of acid wired snake charming freakbeat gouged in a deliriously mesmeric lock grooved mantra woozed in mind expansive Tibetan charms which to these ears sound  like out there stoned sonics. There will be further visitations as soon as we lay our feverish hands upon a copy…….


Incoming from Steso something quite attractively tranquil in the shape of ‘Mjorkabarn’. You might recall us falling head over heels for this lots ‘Kav’ at the close of last year sometime, I’m not rightly sure whether we ever got copies of their ‘proper fucked’ full length. Anyhow if memory serves right this is more of your sumptuous Scandinavian purred pop which as you all should know by now has long been a region with an exquisite reputation for turning out some of the finest and most entrancing sound sorties in record world and this ‘un is no exception. Possessed of that same glacial elegance that courted the ethereal groove lines of Sigur Ros’ debuting platter albeit here as though dreamily teased by the mellowing flotillas oozing through Manual’s lost in the moment ‘Azure Vista’, Steso apply the sensual and seductive presets to disarming detail and  set sail seafaring for lushly smouldered horizons draped in lazy eyed mosaics all trimmed in an exotic subtly oriental casing, adorable in a word. https://soundcloud.com/stesofo/mjorkabarn

with the anniversary of Mr Peel’s untimely passing approaching, we’d like to think he’d be quite smitten of this delightful sortie by Irene and the Disappointments, not least because aside the fact that ‘Hugs’ comes pre-swooned with a vocal unlike anything we’ve had the pleasure of hearing since Harriet Wheeler’s fragile tonalities demurred the late night radio rooms ambience  whilst fronting the Sundays, but more importantly where you to scratch a little deeper at the tracks feel good surface sweetness you’ll hear the audible echo of the kind of riffing shimmers that occasioned the grooves of platters with Roy Orbison’s name stamped proudly upon their hide which unless I’m very much mistaken appear somewhere around the 1.10 mark, now that is as far as I’m concerned – class.

Long time visitors to these pages will be all too aware of our undying affection for Gerry Anderson’s live action late 60’s / early 70’s TV show ‘UFO’ – Barry Gray’s uber funky wiggy and jiggy lounge lilted soundtrack was adorned by an ultra limited outing many years ago by the esteemed Trunk imprint as well as an even rare 40th anniversary collection put out by the Fanderson organisation. So imagine our – somewhat – mixed feelings of delight and jaw dropped shock in turning up this little nugget by the Preservation Society. Released on limited issue sometime last year on Austrian imprint Record Shack this is a Hammond drenched reinterpretation of the show’s title theme by the Preservation Society, a freak-o-ramic slab of funked out 60’s shimmer toning all woozily fried as a full on sassy and sexy shakedown with some subtle Batman interweaves – frankly I’ve gotta get myself one of these babies. Oh and as an added bonus there’s a totally wigged out version of ‘space 1999’ on the flip. https://soundcloud.com/j-rg-recordshack/rs45-007a-tps-the-preservation-society-ufo

news of more cutting room cuties from those lathe loving dudes over at 3.45rpm, this ‘un from Osmiroid  is a real head burner, a one sided 12 inch lathe replete with all manner of insert gubbins limited to just 17 and featuring one 16 minute slab of doom draped disquiet entitled ‘KOG (Apostille’s Bloody Moon mix)’.be fair warned this is not your happy clappy pop tat, cloaked in grim portent there’s a simmering menace attaching to these grooves, insectoid chatter spliced with deathly pulsars give a dread feeling of remoteness and detachment, the landscape threadbare and threatened with ghostly echoes bleakly pulsates with droning claustrophobia like some light consuming black hole, much reminiscent as it happens of the kind of minimalist weird ear gear that used to arrive with grateful frequency once upon a time from Scotch Tapes and Frequent Sea records.  http://starsdotsandthenewjunk.bandcamp.com/album/kog-apostilles-bloody-moon-mix 

staying loosely with 3.45rpm a little while longer, here’s a little something exquisite and elegant from Dan Parkinson entitled ‘and from the deepest valley, I soar’ – an improvised piano piece marked out by its craft, expressiveness and sheer balance of beauty through its shadings of dark and light tonalities which amid its finitely turned 9 and a half minute visitation manages to encroach and instil a mood fleeting imagery twisted and teetering in suspense, drama, foreboding noir  and sheer beautified eloquence. Available in a limited pressing of 15 all on 10 inches of lathe cut vinyl. https://danparkinson.bandcamp.com/track/and-from-the-deepest-valley-i-soar

returning to Jean Michel Jarre ahead of the release of his collaborative collection ‘electronica’ – herewith sound snippets and commentary from both the man himself and John Carpenter on their set defining face off ‘a question of blood’ – brooding, enigmatic and from somewhere else.


Incoming soon on transgressive, this is Stargaze’s debut for the imprint ‘data’ taken from a 19 minute suite entitled ‘deerhoof chamber variations’ – a dreamy sound collage featuring an interpretation based on a Greg Saunier (who as it happens features here in collaborative mode) penned track ‘9 ½ songs’. A defence breeching sweetie purred in hushed harmonic haloes sparingly trimmed in Autumnal brass parps, though sparsely fragile, the effect is entrancing and beguiling much like a forgotten ghostly flutterby embarked upon by a playfully minded Mary Hansen and Laetitia Sadier found sneaking into the studios for a pre-recording ‘Cobra and Phases’ session. Adorable.


Had I not seen the accompanying video to Grimm Grimm’s ‘tell the truth’ I’d have probably noted in said review of its lazy eyed almost slo-mo seduction a la Cheval Sombre had he been signed to rocket girl. But since when have you known us to shy away from something offered and obvious as this moving picture montage so ably gives away. A gorgeous slice of lightly sprayed dream pop, the delicately languid strum shimmers ripple and drift hazily, momentarily abandoned of their fixings arrested and adored to be marooned in a sweet moment frozen and time locked not to say twinkled in a seafaring sereneness. Captivating in short and much reminiscent or should I say minded as though a secret studio summit featuring a gathering of Butterflies of Love, the Doleful Lions and Clientele types. Incidentally available from ATP recordings and pulled from a set called ‘hazy eyes maybe’.


I must apologise to all concerned but we’ve somewhat missed a trick in not thus far mentioning the Kodiak Deathbeds self titled debut platter, it has been a recurring sweetie on our sound player since arriving in our gaff and judging on plays alone might well end up figuring fondly in our end of year polls, should we that is, deem to stoop so low as to actually cobble one together. But that, as they say, is another story for another day. More pressing matters – a new Kodiak Deathbeds single through affairs of the heart with pairs together a brace of cuts from that aforementioned debuting long player. ‘against the wind’ – admittedly has had our immediate attention each time its veered into earshot, hazel’d in Spring pastels dimpled in lightly tumbling cascades there’s a warming countrified lilt surrendering amid these grooves that teasingly sits on a porch yard fence somewhere between the Haight  Ashbury and a far away lost in the moment Laura Cantrell with the Smoke Fairies watching on fondly from a distance. That said it’s the flip track ‘wild hearts’ that edges matters in the affection stakes, richly possessed of a lineage that echoes back to Patsy Cline, this lovelorn siren coos with a honey toned mellowness all cradled and caressed with the watchful craft of John Fahey ghosting upon its shoulder.

I’d like to think I’m among friends. And like friends we can talk frankly. I say this because Hurricane #1 kinda fell short of our radar during their blaze of glory in the 90’s, not a case of not liking them more so listening to other stuff, if I rightly recall they were more your Mark Goodier / Jo Wiley style play listing as opposed to Peel and Radcliffe, I won’t even dare mention the Mixing It schedules. Armed with that knowledge, or lack of it as the case might rightly be, we were a tad curious in receiving a copy of their forthcoming download only single – ‘think of the sunshine’. Prized from an incoming set ‘find what you love and let it kill you’ – their first in 16 years, it comes as a celebratory fanfare following lead singer Alex Lowe’s lengthy battle against cancer. Gathering together the band with a promise that they’ll be sounding bigger and better than ever with tour schedules currently marking out 2016’s calendar these chaps don’t kid do they. ‘think of the sunshine’ might seem like a strange choice for a single with a November release date but given the arrival – albeit three months late – of our own Summer presently and the confused nature of our weather systems of late, it just might prove weirdly apt. no pushing envelopes here, Lowe and Co draw and consolidate from past glories, not quite hurricane #1  by numbers but kissed and strolled with enough ear candy familiarity to draw the passing crowds whilst daubed in a sweetly fried vintage that oozes of a mellowing lazy eyed power pop purred artistry that crackles and fizzes with a love noted effervescence not to mention courting within its grooves a Cockney Rebel meets the Faces swagger. Out via tapete in case you’re taking notes, and you should be.    

A much welcome return to these pages of Paperface, a most precocious talent who has previous peppered these missives and had us all a swoon on his occasional visits. A debut full length ‘out of time’ is currently doing the rounds somewhere and will in due course be put up on the inspection blocks once that is, we manage to lay our hands on a copy. ‘out of time’ is as apt a title as we’ve heard in recent times for paperface’s hand craft is teased and trimmed in a richly alluring artistry that sits far away from the usual pop pap. Sensitive, thoughtful, intricate and disarmingly expressive ‘Alison’ aches with quietly forlorn majesty, autumnal symphonics press upon it a crushed melancholic pastoral vintage unlike anything you’ll hear outside a platter inscribed with the names Robert Wyatt or Oddfellows Casino. A little less stressful on the emotions is the flip cut ‘other people’s lives’ a voyeuristic yarn sumptuously kissed as a ghostly conceived slice of atmos-noir spirited upon a teetering tapestry that balances itself somewhere between Lupen Crook and Jarvis Cocker albeit as though accompanied by the velvet toned mercurial melodic mysterios of John Barry. Out shortly via daydream records.

One of the depressing aspects of doing these musings is that every so often you stumble across something that you fear will sneak out into record world and quickly disappear without being given a chance, a listen or be marvelled at in a way it so richly deserves. Enter then Retoryka whose four track set ‘super maudlin’ EP has I don’t mind admitting, been making frequent trips back and forth to take up residency on our hi-fidelity player since arriving in our gaff. Described in passing by its author as ‘uneasy listening’ – an unfair summoning up that might well deter the inquisitive passing traffic and in truth couldn’t be further from the truth if it moved its postcode to the back of beyond. Chock full of sly nuggets the EP opens with ‘the pictures’ – a hulking gruff slice of wiring and fracturing mountain blues which on any given day could be viewed as some cleverly convened studio summit meeting playing host to a Bevis Frond face-off with Robyn Hitchcock. The sets sore thumb and hitherto poppiest moment comes courtesy of the bubble grooved ‘the great beauty’ – a cut armed and possessed with something of the coolly caressed swagger and swoon of Marc Bolan found here trimmed in all manner of 50’s teen traced glam grooved motifs. And then hidden and buried deep amid the grooves sits ‘super maudlin’ – comes on you like a rash building evermore wave after wave steadily building in urgency, tension and definition to sweep you along in its strangely ascending bitter sweet euphoria leaving the curtain closing ‘dark entertainment’ to exact and weave its darkly manifesting final bow in a most unravelling and sour tipped tear stained manner its shadowy withdrawal cued upon a fracturing psychosis that’s somewhat cued from the dark depths of Bowie’s Berlin days. Ultra limited physical copies – 50 only – ahead of its digital release available from everyday life recordings –  http://everydayliferecordings.bigcartel.com/product/retoryka-super-maudlin-ep

I’m thinking located somewhere on a sonic fault line poised at a distant outpost where the psychotropic rings of kraftwerk’s ‘trans Europe express’, KLF ‘s ‘last train to transcentral’ – the early pure trance variant – and the cosmic wiggery of Tangerine Dream converge. Appearing soon as a limited 500 only mail order one sided 12 inch white label, this is Blanck Mass’ ‘no lite’ sent into the heart of the micro cosmic substrata of ambi-trance with PTV3’s Genesis Breyer P-Orridge at the  flight controls for his deeply immersive and trip-a-delic head expanding ‘dream machine mix’. Automat groovers will swoon. https://soundcloud.com/platform/blanck-mass-no-lite-genesis

You’ve got to hand it to Static Caravan records, approaching their landmark 300th outing, their recent release roster has found them hitting something of a purple patch in recent months with platters by the Earlies, mto and art of the memory palace not to mention incoming lovelies from victories at sea and David O’Dowda all setting our pulses a racing. That said, sexiest thing in record world right now might well be a limited 100 only lathe twinset from TVAM that pairs together ‘porsche majeure’ and ‘we like fires’. What we can say, just the danders and frankly a task in itself just trying to decide on our favourite side, a bit like naming your favourite child – it just can’t be done. Of course ‘porsche majeure’ will get the instant love and attention, sexy seductive and streamlined to a slinky purring perfection. Somewhere out there in the cosmic wilderness opining love notes emit shimmer toning ripple effects amid the stilled celestial voids. In the distance the cosmic black nothingness is peppered by the intermittent call sign of arcing searchlights. For a fleeting moment out of the haze of sunspot showers a vision of beauty is upon us, a silvery orb, design lines by Pininfarina, jet-streams across the heavenly divides piloted by the, as were, off spring of Air and 70’s electronic pop purists Space with Zombi as his / her guiding hand, dream draping your dansette in a euphoric crush spliced, or so it would seem, from dystopian Tubeway Army future visions and the clinical porcelain airbrush of ‘the pleasure principle’. However, pistol to head we’re inclining towards ‘we like fires’ in the affection stakes for there’s an old school sparsely chiselled cold electroid chic showering from its core, slo-mo acid fried android kosmiche pop trimmed in pulsar flickers rippled in snaking psychotropic ear candy that had us here imagining a Tron world transistorised mach man assembled from various Fuxa, Dépêche Mode and Cheval Sombre parts.

 I’m thinking located somewhere on a sonic fault line poised at a distant outpost where the psychotropic rings of kraftwerk’s ‘trans Europe express’, KLF ‘s ‘last train to transcentral’ – the early pure trance variant – and the cosmic wiggery of Tangerine Dream converge. Appearing soon as a limited 500 only mail order one sided 12 inch white label, this is Blanck Mass’ ‘no lite’ sent into the heart of the micro cosmic substrata of ambi-trance with PTV3’s Genesis Breyer P-Orridge at the  flight controls for his deeply immersive and trip-a-delic head expanding ‘dream machine mix’. Automat groovers will swoon. https://soundcloud.com/platform/blanck-mass-no-lite-genesis

You’ve got to hand it to Static Caravan records, approaching their landmark 300th outing, their recent release roster has found them hitting something of a purple patch in recent months with platters by the Earlies, mto and art of the memory palace not to mention incoming lovelies from victories at sea and David O’Dowda all setting our pulses a racing. That said, sexiest thing in record world right now might well be a limited 100 only lathe twinset from TVAM that pairs together ‘porsche majeure’ and ‘we like fires’. What we can say, just the danders and frankly a task in itself just trying to decide on our favourite side, a bit like naming your favourite child – it just can’t be done. Of course ‘porsche majeure’ will get the instant love and attention, sexy seductive and streamlined to a slinky purring perfection. Somewhere out there in the cosmic wilderness opining love notes emit shimmer toning ripple effects amid the stilled celestial voids. In the distance the cosmic black nothingness is peppered by the intermittent call sign of arcing searchlights. For a fleeting moment out of the haze of sunspot showers a vision of beauty is upon us, a silvery orb, design lines by Pininfarina, jet-streams across the heavenly divides piloted by the, as were, off spring of Air and 70’s electronic pop purists Space with Zombi as his / her guiding hand, dream draping your dansette in a euphoric crush spliced, or so it would seem, from dystopian Tubeway Army future visions and the clinical porcelain airbrush of ‘the pleasure principle’. However, pistol to head we’re inclining towards ‘we like fires’ in the affection stakes for there’s an old school sparsely chiselled cold electroid chic showering from its core, slo-mo acid fried android kosmiche pop trimmed in pulsar flickers rippled in snaking psychotropic ear candy that had us here imagining a Tron world transistorised mach man assembled from various Fuxa, Dépêche Mode and Cheval Sombre parts.

Incoming shortly, eagerly awaited collaborative material from one of the most forward thinking pioneers of electronic. Jean Michel Jarre is one of few artists who’ve stayed the pace throughout my listening life, as a youngster hearing ‘Oxygene’ for the first time was to an impressionable self the sound of the future, the past and somewhere else colliding all at once, a journey more so a story without words both fluent and fluid in imagery, symphonia and grace and above all now. Schooled in the ways of musique concrete with Schaeffer and Stockhausen providing an early tutorial influence, Jarre’s melodic construction, astuteness and symphonic awareness drew lineage to Debussy, even today the extended suite on ’magnetic fields’ still exacts that self same total immersion wow vibe first heard some four decades ago. ‘electronica volume 1’  finds Jarre reaching out across the generations to explore and document the many multi generic facets that make up the terraforming nature of electronic music whether that be pure pop, ambience, industrial, kosmiche et al, several years in the planning, Jarre approached artists from various disciplines with a view to collaborating. Volume 1 features an eclectic array of talent from opposing ends of the sonic spectrum to include moby, little boots, m83, air, massive attack and more, for me personally it’s the face off’s with laurie Anderson, john carpenter and tangerine dream that offer the keynote must hear portions of the tracklist with the latter mentioned rumoured to be the last recordings made by Edgar Froese before  his passing  earlier this year.

More returning heroes, or as the case is here, heroines. Siouxsie breaks cover from herself imposed exile with something of noir crushed mysterio. Perfect for those who’ve fallen previously  under the spell of such disarming seduction as was found rooted deep in the grooves of such cuts as ‘melt’, ‘last beat of my heart’ and (ahem) ‘interlude’ (her collaboration with Morrissey), ‘love crime’ finds her paired up with Brian Reitzell for a cut to be featured on the current season of ‘Hannibal’ which I believe is some kind of popular TV show which I’ll openly admit now we wouldn’t know if it came up and slapped us silly across the head. Anyhow pop’s ice queen applies her craft with much aplomb, oozed in dark desire and bedded upon a fracturing noir landscape that nods ever so subtly to portishead, amid the cavernous shadow lined cinematic contours, Siouxsie peers prowls and  purrs with a enigmatic grace stirred in supernatural seduction and just to prove we can be topical and current, by our reckoning trashes the life out of the current Bond by numbers dullard.


As promised a little earlier, dome of doom records have just made public a newly peeled mix tape –their third I believe – featuring a whole hour’s worth of lights lowered head tripping nocturnal groove which as mentioned in previous dispatches ought to prick and purr the ear of those tuned into the slo-mo seductive sound worlds of Frank and Wobbly Sons, LOAF and Tummy Touch. If your listening loves centre around the tuning and dropping out and in of realities or the graceful turn of Musetta-esque murmur toned mosaics – possibly eraserfase or linfornia – and the sleek and slick dream drift of demurring ice sculptured chill pop then frankly you’ll feel as though you’ve gone to lunar pop heaven. Gathering a plethora of beneath the radar talent, the set opens to the bleakly reflective and smoked rain stained street savvy cooled down trip hopula of Dream Panther before fusing sumptuously into a brace of lounge lilts from current turntable heartthrobs the Space Gang here serviced by a momentary visitation of the seductive seafarer that is ‘long dreamer’ before going all jazz trimmed and ultra woozy 70’s exotica of the Wylie Cable retooling of ‘jugg’n’. Admirers of the much missed Emperor Penguin will do well to check in on Eraserfase whose twinset ‘Sapphire’ and ‘money’ shimmer fondly in the retro electro funk of the Chicago based duos landmark ‘mysterious pony’ set. From therein things get a little confusingly jiggy with the absence of time cues making it just a tad tasking telling who’s from who, in which case it might well be linfornia who drop some delightfully dreamy celestial harp flotillas on the far out ghostly love note ‘mafmaticbapp’. And is it lost midas – here aided by Taylor O’Donnell – who are responsible for the head turning dream pop that is ‘love undone’ – this honey steeled in all manner of surreally ghosted gothique operatics. While if we’ve got our timings right, Steve Schmidt is another artist we feel compelled to keep a future ear out on ‘Idontcaryanymore’ sounding to these lugs not unlike a youthfully glacial FortDax 


Sold to us by way of a description that promised something approaching a studio summit meeting gathering together Nick Cave, Magnetic Fields and Johnny Cash, indeed a good call I’m sure you’ll agree, but in truth I think they’ve missed a trick. Arriving soon via the proper octopus imprint, this is the debuting cut from A S Fanning entitled ‘carmelita’, a broken and damaged dark beauty speared upon a desert dust ravaged landscape, cursed and bedevilled by the ghostly echoes of Lee Hazlewood whilst graced with a hope diminishing 60’s etched quiet grandeur that subtly nods to Orbison and Shannon all the time cloaked and smoked in the kind of brooding bewitchment that adored the grooves of the Devastations lost classic ‘leone’.  https://soundcloud.com/asfanning/carmelita-2

Expect a multitude of Mega Dodo releases to pepper these pages in the coming days. For though feast your ears upon this little spot of woozy Autumnal afterglow. Alas we’ve no direct links for this one just yet, It’s from Crystal Jacqueline, taken from her recent acclaimed set ‘raindrops’ – this is the rather fetching and dare we say enchanting ‘Winter Deep’ which is soon to be heading up a very special 100 only CD release backed by a cover of Mike Heron’s ‘feast of Stephen’ and two live cuts pulled from her well received Half Moon appearance earlier this year. A seasonal sortie then, the spectral ‘winter deep’ dreamily sits in the same tuneful twilight as that which plays home to the Smoke Fairies and an imagined shadowy siren-esque Wendy and Bonnie, to the frost tipped cortege of hushed chorals, alluring atmospherics and the honey toning pastoral spell craft of the ‘wicker man’ soundtrack, a ghostly beauty gracefully flickers and flutters through this psych folk mirage like some beckoning love noted apparition.  https://megadodo.bandcamp.com/album/rainflower

Not alas a cover of the crowd pleasing ‘homegrown’ curtain call from Dodgy, which for those not quite up to speed in such matters is called ‘grassman’, this instead is by \Jody Seabody and the Whirls through Artificial Head records from an album entitled ‘holographic slammer’ – a wig flipping fried slice of frazzled freakbeat which to these ears sounds as though it’s been wrestled from the late 60’s choked amid some beatnik haze perilously enacting a sonic balancing act that joyfully teeters amid an electrifying face off of garage fuzz grooviness, classic 70’s Americana, tripping psychotropic hallucinogenia and out there progian mind wiping bliss outs which should you need reference markers might be best described as a stoned out studio square up between Mountain and Lynyrd Skynyrd.  https://soundcloud.com/sheltered-life-pr/jody-seabody-the-whirls-grassman-artificial-head-records

kozmik artifactz – leading purveyors of heavy psych blues stoner rock – screams the attached press release – hell they don’t  kid you do they, this is the labels latest offering from Memphis based trio the Heavy Eyes. This slab of grizzled boogie comes prized from their forthcoming ‘he dreams of lions’ full length, entitled ‘Z –Bo’ this swamp dragged monolith doesn’t so much saunter or swagger but more so curdles and oozes into your listening space belching to a seriously bad assed beard forming primitive locked groove smokes with a down n’ dirty Sabbathian decadence.  https://soundcloud.com/sheltered-life-pr/the-heavy-eyes-z-bo-kozmik-artifactz  

Don’t mind admitting that this one caught us slightly on the hop when it first appeared in our in box sometime yesterday, after which time it has seen fit to hug our turntable whilst in receipt of a mutual showering of affection judging by the stray glances made in its direction by our stereo. This is Holy Esque who hail from Glasgow and number 4, who collectively have cobbled out a debut long player ‘at hope’s ravine’ due through beyond the frequency sometime February which if trailer cut ‘Hexx’ is anything to judge by, ought to be high on the wants list of those among you adoring of the Chameleons and Skywave and all points between. A glorious euphoria swooning slice of soaring dream draped panoramic majesty that to these ears at least, sounds like a classic ‘Witching Hour’ era Crimea in full furious tear stained flight arcing and shimmering to a vapour trailing cortege of spiralling sky shredding stratospherics. https://soundcloud.com/holyesque/hexx/s-gA29H

Just in the milde of downloading what is hopefully the forthcoming long player platter from Die Nerven, which to save you the trouble of sloping off for a spot of google translating, is German for ‘the Nerves’. According to the press release this Esslingen based trio have what’s been ominously described as a ‘penchant for gloom and nihilism’, something of which we’ve ran a little low on in these pages. The album is entitled ‘out’ and looming large on the glitterhouse label and something which I must admit has somewhat caught our lobes, not least opening salvo, the  volcanic ‘die unschuld in person’ which hooks you in with a post rocking math-ian rumble  not unlike San Lorenzo all said before proceeding to knock you into next week with the kind of grizzled and gouged groove, the kind of which admirers of the Brew and gringo imprint will be all too aware of. Pushing hard in the affection stakes ‘iphone’ veers ever so close into the darkly brooding chill toned atmospherics as were once found hidden on the flips of youthful Bauhaus platters of yesteryear though not before dragging you there kicking and screaming to a furiously skewiff and angularly frazzled trepanning that recalls pretty much anything you care to mention heading out of the foolproof project label these days. All said for us, on initial listens at least, the parting ‘hast du wast gesagt’ has been furiously ticking all the boxes and a pricking our lobes not least because it glowers in the twisted and macabre gloom garrotted landscapes of the Birthday Party’s ‘junkyard’. Alas no links just yet, we will, rest assured, be making enquiries.     

Annoyingly we blinked and in that brief moment all physical copies of this scattered off the racks in nanoseconds. Handsomely packaged 50 only set from the handstitched imprint, this being ‘a long range forecast’ by Leigh Toro. A twenty two minute composition that the label promises will ‘take us on a thaumaturgical hike into the worlds of stargazing and musical mind exploration’ – a description which we wholeheartedly think apt given this daydreaming suite sweetly shimmers and murmurs in a most affectionate and beguilingly sleepy headed way all cosy toed beneath frost white skies, special care and particular attention for the last seven minutes where incidentally matters softly detour  into an cutely demurred locked groovy like kozmik wooziness.   http://handstitched.bandcamp.com/album/a-long-range-forecast

What with mentioning Volcano the Bear earlier, we had an itching inkling to have a nose at what Beta Lactam Ring records have been up to of late. Well it’s been a while and we do worry about these things when various folk go off radar or kick us off their mailing list as I’m suspect the Lactam dudes have. A quick roving eye over their web page reveals a hive of activity of late not least a frankly must have 100 only cassette from Un Festin Sagital entitled ‘kosmosdynamos’ – a split release no less the distribution credits being shared with UFS in house imprint templo sagital. Teaser track ‘el baile mortal de la tierra inclemente – tape mix’ might not be as disturbing or indeed as disquieting as previous UFS releases, yet still retains that edginess and sense of somewhere you’d rather not be, a chiller of sorts ripe for the season, what first emerges briefly as a dreamy mosaic trimmed in genteel whispers is soon visited upon by a momentary solar burst that has the effect of knocking the would be lulling tonalities off their radar and repositioning them in a gloomed fracturing uneasiness of shadowy noir classicist nightmarish tripping proportions which by our reckoning if you can avoid the constant unerring desire to peak over your shoulder might be best served listening to in broad daylight.  http://www.blrrecords.com/samples/01_part_i_el_baile_mortal_de_la_tierra_inclemente_tape_mix-55f89edb024c8.mp3

Time for a bit of heart skipping upon eyeing the latest batch of Constellation Tatsu releases dropping by into our in box. The Fall selection comprises of three limited cassette releases with Majeure heading up the charge with ‘Union of Worlds’. Majeure ought to be in no need of introduction, a solar flight piloted by one A E Paterra – better known for being one half of Zombi with Steve Moore occupying the other flight seat. Zombi of course have recently made earth contact following a period off radar, a new full length ‘shapes shift’ through relapse is currently vying for attention on the turntable. As to ‘Union of the Worlds’ – a six track release  that ought to prove of particular interest to those among you who are adoring of your electronica delicately draped in all manner of 70’s vintage. Trimmed in kosmiche pastorals and swathes of vapour trails, opening salvo ‘overmind’ serves as a genteel greeting card as it sedately pirouettes amid the starry night heavens at half speed cruise control to slowly engage your and adjust your headspace for the adventure ahead for ‘physis’ soon ratchets up the adrenalin factor. Very much shrouded and studded upon an 80’s sci-fi landscape, the pacier the panoramic ‘physis’ is grooved in a dystopian future wave gouging that sits somewhere between ‘blade runner’ and ‘the terminator’. Much like some spectral sonic spectre employed in 50’s sci-fi to accompany the entrance to the screen of alien intelligence ‘Appalachian Winter Blues’  whispers into view like some ghostly apparition adorned in a beguiling glazing of choral opines that at various points instil a sense of the ethereal, the eerie and the enchanting. Somewhere else the dark star pulsar that is arcing and shimmer toning ‘unimara’ prowls the oceanic corridors of space much like an at rest Tangerine Dream whilst ‘posthuman’ somewhat breaks the mould ushering in an almost earthbound rhythmic palette to its melodic matrix by way of utilising vague Australasian DNA strains which all said nod to Qluster and the more envelope pushing releases heading out of the bureau b stable. The sets centrepiece in our humbled opinion is the parting title track, a crystalline cosmic carousel of ice sculptured elegance adored in glacial orbs and lunar opines all sumptuously surrendered in the kind of exquisite porcelain melodic detailing that hints of the seductive handiwork of a youthful Jean Michel Jarre in so much as its divinely dreamy lilt comes kissed in a tear stained bitter sweet melancholia. http://www.ctatsu.com/portfolio/union-of-worlds

And back with Volcano the Bear, just briefly mind, following on from the spraying of bunting that did greet the appearance of ‘commencing’ on our sound player, those of you keen to hear what chief weird ear Volcano-er Aaron Moore listens to in his down time might be interested to know that he’s cobbled together a pod casting mix tape for the Attic – an hour long soiree into obscure Italian prog, Dadaist strangeness, kooky psych and looned out tropicalia….. http://the-attic.net/audio/1471/the-attic-podcast:-15.-aaron-moore-_-volcano-the-bear.html

Apt for the time of year and prompted by the release of the Vin Diesel headed ‘the last witch hunter’ to the silver screen, Matthew Sweet’s latest edition of his excellent ‘Sound of Cinema’ broadcast over on BBC Radio 3 has witchcraft as its central theme, an hour’s worth of magicalia, mysterios and mesmeric mosaics to spook and serenade your listening space in equal measure. Amid the week’s listing Krzysztof Komeda’s enchanting lullaby theme from ‘Rosemary’s Baby’ perhaps one of the finest suites to ever grace a soundtrack. Somewhere else Brit folk cult classics ‘witchfinder general’ and ‘blood on Satan’s claw’ as scored by Paul Ferris and Marc Wilkinson respectively. Pretty floral florets colourfully tease the delicate Joe Hisaishi’s score for ‘kiki’s delivery service’ while there’s an almost Ozric-ian vibe to Graeme Revell’s mind expansive and trip-a-delic astral grooved scoring of ‘the Craft’. This editions classic score honour goes to Roy Webb’s richly vibrant sound-scapes adoring ‘the cat people’ while propping up the end credits the ‘back to the future’ suite not so much anything to do with witching but simply included to celebrate the films 30th anniversary marked of course on 21st October by a one off BTTF all day screening at cinemas – 2015 of course being the futuristic year in the film – flying cars indeed, trains on time and reliable broadband would be a start…..ho hum….. http://www.bbc.co.uk/programmes/b06k8x4l

We wager that were you to crank this up to maxima then portholes might appear sucking in all surrounding light. A truly mammoth trip into the unseen unknown, this is the latest mind fracturing trip from Armchair Migraine Journey, a collective of freak fried mutant beatniks headed up by AMJ who up to 2010 flew solo before assigning Ty Hodson to a full time duty roster on this occasion aided and abetted variously by Orbit Service and Earthmonkey personnel. On limited issue ‘blood coupling magnet’ these space cadets are found plummeting the outer frontiers of the cosmos for what is a sub 19 minute head caning sonic odyssey wig flipped by a hulking aural infantry of realities warping atmospherics and primitive stoned out dronal grooves which shift from moments of tranquil dream draped serenity to speaker trashing slabs of furiously fired doom drilled out there ravaged kraut blues gouged pyrotechnics. File under bliss kissed brain fry.  http://armchairmigrainejourney.bandcamp.com/album/blood-coupling-magnet

Essential ear gear I suspect, for those of you whose listening days are frequented by the visitation upon your turntable of the kind of analogue hypno groove strangeness once upon a time happened upon by those Radiophonic Workshop boffins. The Tara Experiment are indeed no strangers to these pages having featured many moons ago, since them they’ve secretly released a plethora of outings all of which we are embarrassed to say have somewhat sneaked below our ever watchful radar. Latest communication comes in the sinister shape of ‘Noises’ – a six track mind wiping exercise in locked grooved motorik murmurs and dream machine like mesmeria with both ‘the numbers stations pt 1’ (and ‘pt 2’) opening the account sounding as though they’ve passed through a Sonic Boom (in his EAR guise) mind scanning cloud emerging out of the other side feeling none the worse for the experience. The aptly titled ‘the girl who swallowed sunshine’ sounds like it promises on the tin, a glowering dark star transmitting pulsar waves and  shimmer toning rays into cosmic voids, classic era senses immersing kraut kosmiche playing out dystopian future echoes. And while both ‘the sky people’ and ‘the omega factor’ come shrouded in similar trance toned vibing, the former a more finitely stilled and tear stained ghost light of post apocalyptic introspection, the latter a lilting slice of modular future wave, it’s the parting ‘ringstone round’ that provides the keynote centre piece here and to that effect adores matters with a bewitching sonic spell craft deliciously gloomed in ghostly apertures, glacial shadows and soft psych murmurs. https://thetaraexperiment.bandcamp.com/album/noise


Eyed this on our customary Sunday teatime stroll through cyberspace, a rather demurring and dandy Halloween mix tape crafted by the Gorilla Vs. Bear crew, not quite your hiding in the shadows trying to avoid the slash attack but something peppered in sounds that loom off radar and lurk in the twilight. A 50 minute visitation gracing your listening space in all manner of ethereal and eerie sonic out there magicalia whereupon the heavenly chorals of Arca  sit seductively aside the Xx whose ‘blue red moon’ sounds like a distant lost relative to the much Quickspace’s ‘they shoot horses don’t they’. A place where those admiring of sepia sunbursts as found on Helen’s ‘felt this way’ delicately dream daze to the surrendering bliss pop of the simply divine mirroring whose ‘fell sound’ arrives – or so it would seem – suspended in the ether orbiting inside its own hermetically sealed bubble. The glacially crystalline beauty of disasterspeace occasions the soiree whilst the frankly ahead of the curve burial slope in with two bursts of elegiac elegance. That said we here are more than a  little fond of the gloom grooved shadowy down n’ out crookedness of Cindy Lee’s ‘holding the devil’s hand’ which had us loosely minded of lost  souls the Orson Family along with the  quite untouchable Grimes whose vapour trailed eleectro mysterio ‘weregild’ has something of the weird imprint about its wares, that said you could always swoon to the Knife’s immaculately wonky hymnal ‘still light’ or Acronym’s ‘humid zone’ whose bowed rhythmic wooziness casts a curious strange sense of disorientation to your listening normality. https://www.mixcloud.com/gorillavsbear/gorilla-vs-bear-2015-halloween-mix/

About to break cover shortly everybody’s favourite twang-a-delic mysterios – (except you just don’t know it yet) Topos Locos will be occupying one side of a groove sharing black and red splatter wax 7 inch double b side feature with the equally zonked out the Blue Giant Zeta Puppies. ‘Madelina Valentina’ is your Tarentinoid Lynchian Hitchcock-ed n’er do well whodunnit all graced in the kind of strut shimmied grooverella that hints at a dastardly studio gathering engaged upon by various shadowy dudes from the TV Personalities, the Phantom Chords and Brand Violet here all assembled to swoon your sound system in a vintage 60’s adoring shoe shuffling hip wiggling spy schooled riff rippled rapture amid which appears momentarily a soft psych interlude that slyly casts shimmer toned shadows for your adoring affection. Any questions?


Alas I’m embarrassed to admit that I can’t recall how exactly or from whereupon we stumbled this quite demurring darling, worse  still is the fact that the information on the band is scant, that said safe to say we believe they are a trio from Japan who in recent times have been sneaking out releases on the spring imprint and no not the Spring label from Spain who we’ve come to love and admire but rather more a home grown outlet. Anyhow this is Spool with ‘sink you’ – a most adoring pristine slice of lilting dream pop longingly arrested in the vapour spray of statuesque Cocteau-ian opines all kissed to the angelic arc of bliss kissed spiralling shoe gazey shimmers atop of which lost in the moment amid the radiant euphoric blossoms the sound of a surrendering siren sighs to send forth beguiled love notes into the heavenly ether.  https://soundcloud.com/spool-4/sink-you

Don’t know exactly where this release fits in the greater scheme of things, but following on from the previous adoration afforded to Spool here’s their track ‘Sea Bed’ recalibrated by the noise niking community by way of a three way split release issued by Indonesian label Gerpfast Kolektif an imprint you’ll be hearing more of in the coming weeks if that is we can persuade the blighters to send over sound files. Anyway as advertised this particular gathers together three caustic re-fries from the nations more impishly minded sound experimentalists. Togawa and Fukomoto open proceedings staying pretty faithful to the dream pop edict only burying Spool’s celestial chorals beneath a blizzard of white noise haze which if I didn’t know any better nods ever so subtly to a youthful Flying Saucer Attack. Bergegas Mati on the other hand though similarly minded opt for eradicating all evidence that the Spool track existed as a template in the first place instead preferring to subject the listener to a full throttle no mercy shown harsh noise head caning which unless my ears do deceive very much chimes to the kind of ear melting sonic terrorism that Tayside Mental Health once upon a time enacted upon our turntable. Last but by no means least Yuuko Haii bring up the rear and perhaps into the bargain serve up the eeriest and most far out re-drill of the three, certainly not for the faint of heart for this appears to emanate from a very dark place somewhere beyond the veil, quite disturbing if you ask me.  https://gerpfastkolektif.bandcamp.com/album/sesak-3-way-split  

Is this just the most gorgeous thing orbiting sound world right this moment – well we’d like to think so. In truth I can’t recall whether or not we mentioned this earlier, I’m of the thinking this flip cut wasn’t on our ‘love calling’ promo but whether we did or not or whether it was or wasn’t is of no consequence because it’s still a dandy and deserving of some listening love especially given the bands new full length ‘dancing on the dark’ is shortly to emerge on the ever adored static caravan imprint. Anyhow they be Free School, this be ‘don’t make your life so hard’ as recalibrated by Sam Redmore, that simply translates as the most bliss kissed euphoric 6 minutes you’ll hear in a fair while, a Balearic lunar odyssey dimpled in the soft yearning crush of cooling kosmiche all teasingly turned in a sultry trance-toned stadium glow that manages to simultaneously touch base with KLF, EMF and the Flaming Lips with a flag waving parade leading Go Team at the fore.



Again, seriously just don’t ask how we come to stumble upon this little gem, most people go on the internet booking holidays, bidding on auction sites or else doing the weekly shop, we on the other appear to gathering all manner of sonic waifs and strays – which I’ll add very quickly – we aren’t the least grumbling about. However I must admit to have a more than a mild fondness for this cutie. At present the subject of a kick starter campaign trying to stump up enough spondoolies to see the release of a 4 track white vinyl outing by Black Tape for a Blue Girl. ‘bike shop / absolute zero’ features Soul Whirling Somewhere’s Michael Plaster on guest vocals, a beautified rustic lovely softly soured in a reflective bitter sweet glow that’s all at once wistful and willowy not to mention achingly framed by the emotional riptide of sea breezy opines.  



Sometimes skewed, occasionally kooky, always ahead of the curve and never dull or passé, the Leaf label mark the year’s 20th Anniversary celebrations with a superb box set that features an array of albums long out of print by artists that have headed the creative charge and by whose championing of has simultaneously cemented the imprints enviable repute. Leaf 20 is limited to just 300 copies – estimated shipping first week in December – the deluxe box housing 14 slabs of white wax – 10 albums in total plus their CD equivalents along with art print, liner notes by Rob Young and a fold out catalogue poster – of particular interest the re-issue of the recently departed Susumu Yokota’s ‘sakura’ set and the full expanded to triple vinyl appearance of Murcof’s ‘murtes’ along with ‘utopia’ – all the albums comes dressed in specially designed hand printed paper sleeves. In addition to all the celebrations the label will be taking to the road for selected parties – dates as follows –

 Sun Nov 15 – Polar Bear + James Holden – Brixton Electric, London

Wed Nov 25 – The Comet Is Coming – Shacklewell Arms, London

Thu Nov 26 – Melt Yourself Down – Bussey Building, Peckham, London

Fri Nov 27 – Melt Yourself Down – Headrow House, Leeds

Wed Dec 2 – Polar Bear – Headrow House, Leeds

Thu Dec 3 – Matthew Bourne + Tom Rogerson – Headrow House, Leeds

For pictures of this prized must have release go to – http://www.theleaflabel.com/en/index.php

for information on the pledge music campaign with a chance to hear a 10 track selection from the box set – go here – http://www.pledgemusic.com/projects/leaf20

Another stray cut we lumbered across on our travels, this is- I believe – a rough cut demo of something forthcoming from Deadcuts who this All Hallows eve will be playing at the elctrowerkz in Islington. ‘Craving’ is a clock hands rewinding back to the early 80’s slab of cold wave angular post punk’d Batcave uber groove, all wiring skeletal riffola and shade adorned deathly chilled shadow plays – (we blame the Cure you know) – that to these ears sounds like some revivalist séance embarked upon by a witching hour studio soiree of UK Decay, Alien Sex Fiend and March Violets types and damn fine with it in case you hadn’t already gathered.  https://soundcloud.com/mk47/deadcuts-craving-demo 

Been most taken with the Fiction Aisle’s full length ‘heart map rubric’ since it appeared on our radar late last night that at one stage we were absent minded of our need for sleep in order for us get by the depressing slog of 9 to 5 boredom of paid work . being impish souls that we were we parked our earlobes upon the parting ‘soon enough the morning comes’ and soon found ourselves smitten by the winter glow of a svelte 60’s symphonic softness we’d really heard executed better outside of a platter bearing the name Ooberman upon its hide. To the feint daubing of dissolving psych pastorals this ghostly dream coat temptingly weaves woozily amid a sonic back lot peppered by forgotten echoes of oddfellows casino, mirror mirror, Ashley parks and van dyke parks and just when you think you have the measure of its deceptive delicacy in come the brass inclines to have your heart at near stopping in swoon filled delight. The Fiction Aisle, in case you are unaware, is the handiwork of one time Electric Soft Parade and Brakes man Thomas White who with ‘heart map rubric’ has captured a moment of alluring English lysergia wrapped in poetic beauty that flirts and flickers to a mellowing introspection not least as evidence on the sepia stoked drifting elegance of ‘fears’ as it dizzily smokes with an almost lights lowered the crowd gone jazz cool. Somewhere else ‘magic seventh’ has had us similarly in a tail spin radiantly riding a vintage sound wave that had us here imagining a made in heaven three way gathering between Stereolab, Free Design and Le Mans headed up by Bacharach and David. Alas no sound clips just yet but rest assured we are working on their press folk.   

Much adored around these here parts, recent visitations to these pages courtesy of some well heeled outings via the eclectic hidden shoal imprint have found releases bearing the name Kramies endowing our listening space with a rarefied exquisite glow that quite frankly has had us steeling ourselves hard to hold back to trickle of bitter sweet tears. Amid the intimate setting afforded by the Grand Theatre in Angers, France earlier this year and in front of an appreciating 700 strong audience, Kramies took to the stage guided by a solitary amber light to surrender and seduce them in equal measure. ‘forets antiques’ is a five track document of that performance, quiet,  tender and humble, gorgeously wistful and drifting, often touching always reflective not to mention spectral and haunting. For your listening pleasure ‘the fate that never favoured us’ in this intimate shelling is found removed of its fragile cosmic framing and hushed and sighed crushingly to accentuate its graceful hymnal lilt whilst ‘wooden heart’ is reborn anew and ghosted upon an mellowing air that suggests its author is keenly attuned to the work of June Panic. And while new cut ‘’Ireland’ is longingly traced with a hollowed and reflective tear stained beauty its ‘sea otter cottage’ that had us somewhat cowed and stopped  dead in our tracks by the rushing howl of our emotional defences as they creaked and cracked to the hurtful siege at play. https://kramies.bandcamp.com/album/for-ts-antiques

Here be witching. Lilting lullaby magicalia, macabre mosaics peaking from each corner, sinister souls lurking in the shadow fall and ghostly conversations effected from beyond the veil, what can it all mean weary tune traveller. Why it be a supernatural summit meeting of n’er do well folk by the name the Seventh Cyrkle, a secretive ages olde  occultist collective arisen for the eve of All Hallow’s, practitioners of the macabre weaving sonic spell crafts to trick and terrorise your comfortable corner with their latest hocus pocus handiwork – ‘the Seventh Cyrkle’. Based on a mythical televisual feast from an alternative 70’s no doubt lost in the foggy twilight zone, ‘the seventh cyrkle’ is a prime example of something so painfully lost in these days of slash gore violence. that being the age old art of the telling of a simple gothic ghost story. Perched between woozy dream states and depressing realism, this 23 track soundtrack leads you eerily down crooked paths to places that are peppered in enchantment yet on close inspection are twisted in macabre deceits, the sounds and atmospheres are shrouded in the familiar and yet not so familiar, visitations such as the ornate ghostly merry go round that is ‘laterna magica’ is pure Ron Grainer whilst the pastoral posy that is the title track ‘the cyrkle song’ and ‘the  witch of torryburn’ are both rooted with an ancestral calling that blurs the lines between fiction, folk lore and fact, something rooted deep in our DNA chiming to a pedigree pure and rich in Brit folk classicism that all at once rings to the beguiled pageantry of ‘the wicker man’, ‘children of the stones’, ‘blood on Satan’s paw’. Amid a forbidden corner plot down lost woodland trails church bells and watchful Crows coo and chime out at the final stop before madness and from therein cold detachment reigns. For here you’ll encounter the pure psychological isolation of ‘the doll house’ along the way leading to perhaps the soundtracks centrepiece, ‘blood moon eclipse’ – a beautified fantasia of Komeda like craft and ghosted by hushed apparitions that sit wearily precariously perched between in the realms of the spirit world. And while there’s a distinctly unsettling English glooming to the proceeding, most of the sonic name dropping you’ll find here is softly sourced from an array of Italo Giallo scores from a classic early 70’s era – more Bruno Nicolai than Goblin with a more than unhealthy side serving obsession with Morricone’s score for ‘a lizard in a woman’s skin’ score not least as best exemplified by the likes of ‘malevolence’ with its reverse loops and Ouija supernatural disquiet and ‘the terror in your eyes’ which asides anything nods sagely to fellow sonic surrealist Hermione Harvestman. Talking of moments of disquiet, the bowed carousels of ‘my little mannikin’ symbolises perfectly the minds decent into fracturing oblivion while lurking somewhere else and shaped in a likeness of ghost box ever present pye audio corner ‘the God of the place between’ is pure ceremonial dark deeds at play. Careful how you go now.


on the to do list this weekend sometimes, key must have releases from the Great pop supplement, deep distance and polytechnic youth family – to get you prepared here’s a few polytechnic youth sorties in moving picture form…..

<p><a href=”https://vimeo.com/129319332″>PRISM ON Flicker Flicker Pow!</a> from <a href=”https://vimeo.com/user24992389″>Polytechnic Youth</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

<p><a href=”https://vimeo.com/129262857″>Mass Defect Magnetic Melodie</a> from <a href=”https://vimeo.com/user24992389″>Polytechnic Youth</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

<p><a href=”https://vimeo.com/128198339″>XYZips. Satanic Estate</a> from <a href=”https://vimeo.com/user24992389″>Polytechnic Youth</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

<p><a href=”https://vimeo.com/127869006″>XYZips. Cosey Warm</a> from <a href=”https://vimeo.com/user24992389″>Polytechnic Youth</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

<p><a href=”https://vimeo.com/123029001″>Je Suis Marxiste by Groupuscule</a> from <a href=”https://vimeo.com/user24992389″>Polytechnic Youth</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

Dark lords of the dansette and purveyors of the strange and kooky, that’ll be Messrs Shiptton, Votel and Mitchell take time out from rooting through forgotten record vaults to don fright wigs and get all stereophonically spooky in an extended Finders Keepers radio show podcast, even midway through managing to upset the supernatural community and ending up getting themselves turned into knee high versions of themselves. Among the tomb tapping chillers airing here a little Ennio, a smidgeon of ‘psychomania’, the essences of dismal land – who I must admit do a neat line in Victoriana freak circus wonkiness. Elsewhere there’s a sprig of Spectre, a sprinkling of Vampires of Darmoor, some witchy stuff, Bruno Nicolai, some devilish vampiro disco kitsch courtesy of Andy Forray’s ‘Drac’s back’ and a very rare showing of Eric Feremans’ whose ‘Antwerp Killer’ soundtrack is about to – we believe – emerge on vinyl very shortly on FK soon……


those fancying more pre teaser listening tastings of that aforementioned Eric Fereman set ‘Antwerp killer’ replete with the whole back story as to its coming to being – for an admirers of Goblin, Vangelis and Fred Myrow and Malcolm Seagrave’s legendary ‘phantasm’ soundtrack…..


musical interlude – horrorphonic weird ear….

Harking back to the previous posting, we did eye this two part horror soundtrack selection as cobbled together by Finder Keeper and among other things all round vinyl hunter Andy Votel looming in the cyberspace shadows……a fairly comprehensive and broad spectrum of styles and sounds that have graced the horror phonic silver screen these last few decades, bonus marks for the inclusion of ‘psychomania’ – perhaps one of the most underrated sets of the genre and certainly worthy of one of those revisiits by say Fruits de Mer while I’m embarrassed that until now I was carefree and unaware of the existence of Acanthus’ fairly immense and tripped out score for ‘le frisson des vampires’ – something I suspect ripe for the psych heads among you. Over on the second helping of selections ‘phantasm’ has to be the prime contender in terms of personal favourites followed very closely by Korzynski’s quite oddly angular and fragmented chamber kraut growl on ‘the devil’. However interested parties might do well to hook up to John Baker’s tension fracturing mosaic for the gruesome Aussie shocker ‘night of fear’. while Kobayashi and Yoshini’s frankly off the wall and off its face skedaddled free form hippy chic ju-ju kookiness that is the backdrop to ‘77’s ‘Hausa’ certainly deserves an ear especially if you fancy your sounds somewhat mutantly grooved in the kind of kraut jazz once adoring turntables from the brain imprint.. Pierre Raph on the other applies some svelte elegance on his demurred mysterio ‘rose de fear’ . 



Look I do realise that many of you think we rail against pop’s protected species (hello Morrissey, hello the Beatles) just for fun, but we don’t, honest. That said given we’ve upset pretty much most of the pop loving community with our objections to some of their heroes (hello Morrissey, hello the Beatles) we thought we’d start up a whole new online bun fight because frankly it’s been a while since we enthused in a spot of debating here. And so with that, we’d like to introduce you to the Lemmchen Elementary School who residing in Maine, a place somewhere near Hamburg, have cobbled up a rather inspired class gathering version of Kraftwerk’s ‘Die Roboter’ and then to top it all off have thrown in a neat little routine all decked in cardboard robotic outfits. Is there anything not to love and anything these lil’ dudes can’t do – I suggest they start immediately on a new Kraftwerk album. Onward brave hearts and let the great debate commence  


having a little rummage around the face book continent, as you do, and found this delightful soul alerting our inner weird ear, the initial moments sounding not unlike the broadcasts emitted by those dusty spinning rings in the original ‘time machine’ film here ushering a chilling feeling of a society befallen by some cataclysmic apocalyptic event, its scratchy disorientating wooziness putting us in mind of Stylus before unfurling sweetly into a wispy slice of tear trickled hymnal reflection traced in a dub doped  cosmic dream drift – quite fetching all said, all of which incidentally, before I forget, is called ‘the whatever pass’  by losscom via the mutehead collective.  https://soundcloud.com/muteheadcollective/losscom-the-whatever-pass  

Are my ears deceiving or do I hear a ‘the box’ era Orbital channelling their inner Carpenter / Vangelis / Goblin whilst impishly procuring to the mix the kind of svelte detailing and ear hooking melodic progressions that stray to the recognisable chiming echo of John Barry found feasting on a celluloid cornucopia of sci-fi-tronic horror grooves from the golden age of VHS all translating as something that long time admirers of Zombi will find most turntable-y inviting, all this available courtesy of a new thing from Meteor entitled ‘the harvest’.  https://soundcloud.com/whoismeteor/the-harvest?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook


this one’s two years old, the new spooky selection quickly follows, that said  the freshly squeezed dudes are a little more flirty and playful with their selections, among this wealth of forgotten grooves from the vaults there’s a neat bit of Frank courtesy of ‘witchcraft’, some deliciously kooky accordion oozed Victoriana disco from the real Tuesday weld of whom I’m ashamed to admit it’s been a while since we heard from. The tiger lilies are no slouches either with the groaning blurry eyed bar room prairie prowling ‘living hell’ creaking eerily as though someone had dreamed up a trick or treating turnout with Lydia Lunch fronting a very youthful Black Heart Procession. I’m suspecting the excellently named the voodoo trombone quartet’s ‘voodoo juju’ might be growing into something of an obsession with our turntable. Throw in the obligatory ‘sympathy for the devil’ which strangely enough never seems to appear on these mix tapes, add in a killer Scatman Crother take on ‘ghost riders’, some Neville Brothers, I Monster and a few Kid Kasino treats – one of which whose ‘I want to be evil’ is so damn sexy that our stereo gets all turntable tied each and every time it pouts and winks at it.  


the latest freshly squeezed selection is pretty much the same as above with the track listing jigged around with the addition of some tasty treats from Billie Holiday – ‘that ole devil called love’, Donovan’s ‘season of the witch’ and the frankly superb ‘hell’s bells’ from the clearly fully paid up Beefheart-ian Hayseed Dixie doing hillbilly hi-jinks on the AC/DC classic from yore.


another cut that’s been pricking our inner weird ear, alas we’ve no idea from whereupon we stumbled across this or indeed whether it’s actually out and if so where you can get it from. Safe to say one thing we are sure of is that this should be high of the listening pleasures of those among you fully versed in all things Trunk, Finders Keepers and Buried Treasure not to mention fancying something dreamlike and disorientating that appears to shift from Radiophonic terrains stopping by at the kind of minimalist electronica much adored and emanating from the bureau b stable not to mention opting for a little detouring into Tubby Hayes territories whilst lavished in hypno-grooving afrobeat progressions all framed in the lush floral sonic fauna of Embryo. It’s by – we think – Pilooski – it’s called ‘completely sun’ and features a guest vocal by Jarvis Cocker doing a reading from Carl Gustav Jung – really is disturbingly superb much like something from the outer realms of Chris Morris’ blue jam workouts. https://soundcloud.com/rbstudiospar/01-pilooski-completely-sun

You might recall us mentioning the mutehead collective when we stumbled upon that frankly superb losscom cut, well it seems the label has gathered their favourite sons for a three set Hallo-phonic marathon that finds Perch, Sirch. and the aforementioned losscom locked in a turn table face off. First up to the plate, Perch cobbles up a futuro technoid set amid the spinning platters select choice cuts a brace of killer cuts from Fabio Frizzi, some Tangerine Dream, Eno, Brad Fiedel and the frankly perfect Burial muddy this astral mind morphing cosmidelica listening spree,  the highlight of the set being ‘valley’ pulled from the ‘phenomena’ soundtrack by Bill Wyman and Terry Taylor.

Sirch. on the other hand appears to have something of a playful nature, a full on audio b-movie fright fest of witching hour weirdness with some progian horror opera from the Alan Parsons Project and plenty of killer kitsch and rock a hula monster mash up’s such as the twang-a-rella ‘clap trap’ from the Vampires, some neat hip wiggling groove from the likes of the Frantics, the Searchers, Link Wray and head hepcat Gene Vincent as well as three servings of the dude of the dark dance himself Screaming Lord  Sutch. Lest we omit to mention the Ramrods blistering take on ‘ghost riders’ while the honour of best moment gets equally split between Screaming jay Hawkins immortal ‘I put a spell on you’ and Kip Tyler’s oozing cool ‘she’s my witch’ while special mention ought to be made of the scuffed up dragster gouged the Upholsterers whose ‘I ain’t superstitious’ sounds like a distant blood relative to Ronnie Dawson’s ‘action packed’.

 Not to be outdone losscom pulls out the eeriest of the three sets here, an immersive slow descent into mind altering detachment, isolation and paranoia, pure chill groove that’s perhaps only missing a spot of Biosphere to round off the sinisterly toned edginess. That said Plaid and Boards of Canada harvest a neat line in dream drifting wooziness while we’ve yet to encounter Clerk on our travels but should the dark monolithic ambient shimmer tones emitting from the glacial ‘fossil paste’ prove to be something of a trademark handiwork then we  feel comfortable in the knowledge we won’t be disappointed by their visitation. Elsewhere Radiohead, Mum and Circuit Jerk all weave in and out of free flowing hive consciousness though it’s Cujo’s smoking noir traced Mancini meets Budd-esque ‘the method’ that shines brightest here.




Musical Interlude – symphonic bond….

Coinciding with the screen release of the latest Bond feature ‘Spectre’, Matthew Sweet continues his excellent ‘sounds of cinema’ broadcast in the company of composer Neil Brand to discuss and investigate the lasting appeal of the 007 sound. From Monty Norman’s re-tweaked classic Bond motif to Thomas Newman’s bombastic scores for ‘Skyfall’ and ‘Spectre’, Sweet and Brand delve deep into the symphonic legacy of licence to kill, a sound defined by the legendary scores composed by John Barry as crystallised and brought to fruition on ‘Goldfinger’ from therein setting into motion a dancing blueprint that purred suave and sex in equal chic measure. On a personal level, these ears have always been more than fond of the Lionel Bart assisted ‘007’ motif running through ‘from Russia with love’, it’s that constant impatient push for space from each of the brass sections in so much as down sweeping sighs as one replaces the other with the synchronisation exquisitely choreographed so as to cast an urgently edgy tingle to proceedings. Here the development of identifying character signatures for each of the actors tasked to don the holster and trademark Walther PPK are explored, the lightness almost humorous quirkiness of Moore to the brooding shadowiness of Craig.


We here are still in a somewhat state of shock and a tad upset at missing out on the limited vinyl outing of Concretism’s ‘town planning’ set. Currently medicated we are still suffering evenings of fitful sleeping occasioned by bouts of night terrors. Still, our grief and somewhat melancholic moods were lightened with the appearance on our player of not one, but two appearances of previously unheard Concretism compositions that included this gem. ‘beneath the city streets’ comes applied with the now trademark cold war retro-futurism grooving that nods ever so subtly in the direction of Add N to X’s dark side albeit in some face off with the sadly oft overlooked and under-appreciated 70 Gwen Party with its industrial pulsars on full impact caught in the tail glide of a mid career fortdax.


However we suggest you scuttle along to your heart’s content and dig out an imagined time capsule containing lost recordings from the 70’s entitled ‘lost transmissions : broadcasts that could have been….’. a glimpse into the past via a nine track collection of vintage mosaics crafted in the likeness of old science school TV transmissions from the early 70’s and 80’s. harks back to a time when thoughts of your world ending didn’t rest on the fact that you hadn’t tweeted for 15 minutes or that you’d left the house without your mobile charger, we had far worse things to concern our lives like nylon, cheesecloth, tank tops and budgie jackets, do I watch magpie or blue peter, tiswas or multi coloured swap shop, sweets that made your mouth glow, questionable footwear, strangers and public information films that would literally scare the bejeezus out of you. And so it was with much amusement that we dived headlong into ‘Fog’. An unnervingly authentic time slip to the past to a time where it appeared that the Government actually cared about it’s citizens, indeed yes fog – the misty stuff, pea soup-ers back in the day the type where you couldn’t see your hand in front of your face, an event often replicated up and down the country in secret pantries in office buildings in the 90’s – except then they were called smoking rooms – this particular PIF arriving replete with blood chilling screams so best warned to knock the volume down a tad to avoid visits from the local constabulary. We here are quite found of the ‘a tour of the factory’ mainly for the fact it sounds like an unloved and forgotten tape left out in the sun for too long resulting in it suffering warping effects. ‘the switch’ evens comes greeted by the pips and emerges glowered in the kind of terror tension that used to adorn ‘armchair thriller’ while ‘the star children’ is pure late 70’s ‘Quatermass’. For us though best moment of the set is ‘conquistadors’ – a beguiled beauty of hypno drifting trance toning.  https://soundcloud.com/concretism/sets/lost-transmissions

Is it just me or does this caress and coo to orbit around a subtle motif loosely hooked up to ‘ringstone round’ – just me then. Another track we stumbled over on a brief ramble through cyberspace, this is Rammsier who describe themselves as symphonic dark wavers, this be a demo version of ‘blackflowers’ – a most enchanting and ethereal beauty that finds them occupying some secret dark folk twilight space located between the ceremonial bewitching of Hare and the Moon and the soft psych shimmering of  the Palace of Swords who incidentally did collectively converge not so long ago on a psychotropic carousel version of the ‘ringstone round’. Anyhow this shadowy slice of seduction comes daubed in gothic ringlets and the deep mysterious allure of frosted pastoral posies whose sparsely chiming reverie had us loosely minded of a spirit world Ex Post Facto visitation haunting Blood and Roses.  https://soundcloud.com/rammsier/blackflowers?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook



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