Chemical Brother’s new ‘Further’ album on its way, track listings announced

Posted: April 8th, 2010 | Author: | Filed under: Uncategorized | No Comments »

Set for a June 2010 release. Press release blurb:

“It starts with what sounds like an alien morse code transmission; Earth bound signals bouncing off the side of orbiting space debris. Snatches of voices found out in the ether cut through the machine fog, drifting across burbling analogue equipment lovingly kept working long after supposed sell-by date. By the time the click and thump of snare and bass drum arrive, the sounds are all-encompassing, swirling around you with dizzying, disorientating effect. Noises come untethered by constraints of volume, seemingly leaping from the speakers with a life of their own. For a band used to dealing in psychedelics, this time round The Chemical Brothers have really pushed the proverbial envelope.”

1. snow
2. escape velocity
3. another world
4. dissolve
5. horse power
6. swoon
7. k+d+b
8. wonders of the deep

Digging Groove Armada’s latest with my lady…

Posted: April 4th, 2010 | Author: | Filed under: Uncategorized | No Comments »

Leftfield tour dates grow…still UK only

Posted: April 3rd, 2010 | Author: | Filed under: Uncategorized | No Comments »

62. 4Hero – ‘Two Pages’

Posted: March 16th, 2010 | Author: | Filed under: Album Review, Ambient Techno, Drum 'n' Bass, Uncategorized | Tags: | No Comments »

4Hero - 'Two Pages'

4Hero * Two Pages * 1998 * Reinforced / Mercury

1. Loveless
2. Golden Age of Life
3. Planetaria (A Theme from a Dream)
4. Third Stream
5. Wormholes
6. Escape That
7. Mother Solar (part one)
8. Spirits In Transit
9. Greys
10. The Action
11. Star Chasers
12. Wishful Thinking
13. Normal Changing World
14. Universal Reprise
15. We Who Are Not Others
16. Humans
17. Pegasus 51
18. (alien symbols)
19. De-Sci-Fer

The Bionaut – ‘Lush Life Electronica’

Posted: March 11th, 2010 | Author: | Filed under: Uncategorized | No Comments »

Bionaut - 'Lush Life Electronica'

The Bionaut * Lush Life Electronica * 1995 * Harvest / EMI Electrola

1. 4 Letter Words in Mixed Company
2. Lubricate Your Living Room
3. Lush Life Electronica
4. Ingenieur Mars
5. Second Hand Furniture
6. The Receipe
7. Vitagraph
8. I Sing the Body Electric
9. Student Bashing at the Seaside
10. The Juicy Reminder
11. Naomi H. et Le Monde Irreel
12. Memphis Scifi
13. Electric Campfire [in a Neo-Ackermann style]

Top Albums of the 2000s

Posted: March 11th, 2010 | Author: | Filed under: Uncategorized | No Comments »

In no particular order:

1. Daft Punk - Discovery
2. Plaid - Trainer
3. Aphelion - Zugzwang
4. Underworld - Oblivion with Bells
5. Hidden Agenda - Whatever Happened to…
6. Sensorama - Welcome Insel
7. Monolake - Gravity
8. LTJ Bukem - Journey Inwards
9. The Chemical Brothers - Push the Button
10. Amorphous Androgynous - The Isness
11. Kraftwerk - Tour de France Soundtracks
12. Radiohead - In Rainbows
13. Ratatat - Classic
14. LCD Soundsystem - Sound of Silver
15. Plump DJs - A Plump Night Out
16. Stanton Warriors - Stanton Sessions
17. Polar - Still Moving
18. Groove Armada - Vertigo
19. Stacey Pullen - The Tomorrow That Was Promised Yesterday
20. Sasha Airdrawndagger
21. Mr Scruff - Keep It Solid Steel
22. Pig & Dan - Imagine
23. More Rockers - Select Cuts from More Rockers
24. The Chemical Brothers - Come With Us
25. The Chemical Brothers - We Are The Night
26. Benga - Diary of an Afro-Warrior
27. The Black Dog - Radio Scarecrow

Top 50 Compositions of the ’90s

Posted: March 11th, 2010 | Author: | Filed under: Uncategorized | No Comments »

In no particular order…

1. Water from a Vine Leaf (Spooky’s Xylem Flow Mix) – William Orbit

2. Rainforest – Russ Gabriel

3. Be-Dup – Pure Science

4. Not Forgotten (original mix) – Leftfield

5. Energy Flash – Joey Beltram

6. Clang – Propellerheads

7. Ni Ten Ichi Ryu – Photek

8. Thing in a Book – Underworld

9. Cherry Pie – Underworld

10. Halcyon + on + on – Orbital

11. Bulb – Ismistik

12. Horsepower – Ravesignal (CJ Bolland)

13. Jupiter Jazz – Underground Resistance

14. Somewhere Around Now – Jeff Mills

15. Amazing Discoveries – Move D

16. The Deep – Global Communication

17. Papua New Guinea – Future Sound of London

18. Life on Planet Earth – Children of the Bong

19. Belfast – Orbital

20. Clipper – Autechre

21. Among Myselves – Future Sound of London

22. Abla Eedio – Plaid

23. Tranquillizer – Biosphere

24. Aqualung – Spooky

25. Program Da Futur – The Advent

26. Sinclair – D’Arcangelo

27. Indurain – Coco Steel & Lovebomb

28. Heat Death of the Universe – Fila Brazillia

29. Phat Planet – Leftfield

28. Original Jam – Leftfield

29. Rez/Cowgirl – Underworld

30. Sueno Plutino – Pluto

31. Midwest – Spring Heel Jack

32. Absorber – Jedi Knights and Bomb the Bass

33. Circles – Adam F

34. Hector’s House – Mu-Ziq

35. Next Heap With – Aphex Twin

36. Zyllyakrvm – La Synthesis

37. Obselon Minos – Global Communication

38. Angry Dolphin – Plaid

39. Plastique – Plastikman

40. Polymovie – Gus Gus

41. Passion – Gat Decor

42. Tarenah – Psychedelic Research Lab

43. Born Slippy – Underworld

44. Small World – Smith & Mighty

45. Swords – Leftfield

46. Accepting Trankuility – The Milky Bar Kid

47. Angel (Dreamworld Mix) – Gavin Friday

48. Strange Air – Woob

49. Black Hole in the Sun – Nu-Era

50. G Spot – Speedy J

Reclaiming the Meaning of Psychedelia and the Child State

Posted: March 11th, 2010 | Author: | Filed under: Uncategorized | No Comments »

“Maybe using the word ‘psychedelia’ is wrong because like anything it has a history and people don’t like it when something’s already got associations. We tend to call it ‘cosmic space music,’ or ‘progtronica,’ we tried to invent loads of side-tools for it. For me maybe psychedelia is a word that is very much alive but maybe not in its old form.”

“From our perspective, ‘psychedelia’ is very much an energy that has flowed maybe from around ’67 through to the modern day. It’s kind of changed form. For example, if I put a Barbara Streisand record through a reverb, and have birds tweeting on the other deck, that for me is a modern psychedelic record, because, played in the right environment, played in the right situation, that is a psychedelic moment.”

“Because a psychedelic moment for me is something that jolts you out of your safe haven of what you think your reality is. It also has this other meaning for me, it’s the world that a child sees. The world that a child sees is undeniably psychedelic. You put a child in a room and everything is colorful, everything is wonderful, everything has an infinite possibility.”

“They’ll play with a lead pencil as if it’s a gun, as if it’s a whip. You can have these incredible scenarios with a child. I love spending time with children, because they haven’t rationally closed down the experience of being a series dead-end, dull chores and avenues, and intellectualisms. And it’s only us with our day-to-day existence that we gradually end up cataloging through the mind, through the rationale, we end up closing up the psychedelia of life. I think anyone who tries to get in touch, I think the child has become a huge issue again. I was reading that there’s a huge explosion of adults starting to get childish again, getting into teddy bears.”

The Joy of Rediscovering Cultural Treasures by Second-Hand

“That aspect will never die really. We also got really confused. Here were we live, out around Old Street, there’s been a huge explosion of second-hand markets. So Brian and I have been being records at these stores. I always end up buying records that don’t really age, whether they’re electronic or whether they’re bands or whatever. I never buy fashion music. I buy music that has a soul. I don’t really get seduced too much by really clever trickery.”

“If there is trickery in the soul trickery sense then I might be interested. So most of the records in my record collection have always withstood the pressures of time. But nonetheless, we were very much getting into of the idea that a lot of modern music is quite expensive and with the whole explosion of second-hand chic.”

“I was suddenly buying lampshades that were like 20 pounds that were so beautifully made that no designer would make stuff like that at the moment, and if they did, it wouldn’t be as well made, and it wouldn’t be as colorful. I was buying ‘70s lamps, and I kind of was getting into the whole deco thing five years ago as well. So I was decking my house out and I had got into people like Vernor Pampton, and designers like that. And suddenly three years ago he became really famous again. He was famous in the ‘70s, he made these incredible kind of Barbarella-Space Odyssey material design things. They were made just so beautifully.”

The Colorful, Freeform Inspiration of the ’60s and ’70s

“For me my whole sense of color, my senses were exploding. As I was healing I just kind of got into celebrating my senses, and color, and texture, and sound and taste. Which is why this album as well, we wanted, if you speak of what happened in 1970, or 1967, in a way I do think it was a parallel time, because there was this restrictive force that was imposing restrictions on what the pop single should be, what the three minute song should be.”

“All of these musicians came along, and said, ‘Well actually, I’m reading the Maharishi and I’ve been over to India and I think you can incorporate different subject matter into pop songs. And actually, I refuse to be limited by what the industry is trying to tell me. So I’m going to extend it into ten minutes.’ That’s how prog rock erupted, prog rock erupted because some musicians thankfully refused to accept the limitations of what a song should be.”

“At the moment in this country because of the way the corporate nature has happened, the three-minute song has become everything. ‘You want to write a song where someone can hang their hat on the clothes rack immediately, where’s the catchiness?’ I kind of was getting into all of this music that for me had incredible emotional impact. Radio wouldn’t touch it! They would never play it, it was too long, too esoteric, it was using sitars, it had backward sound effects, but funny enough, ‘Hole In My Shoe’ by Traffic was a huge hit in 1967.”

“Brian and I were listening to that record, and we’re buying it, picking it up for 50 pence at the local market, and we’re picking it up because it was much weirder than all this programmed electronica that claimed that it was going to free us, but ended up being formulaic. It ended up celebrating the miserable, ended up celebrating technology, at the death of the spirit, the death of the soul. And for me the spirit has become the thing that we need to celebrate now. And it needs to be celebrated along with technology.”

Technology, Soul, Marketing Hounds and Cynical Politics

“Nobody’s denying technology. I still don’t have the balance right. I think in my new work now, even beyond what you’re righting about there, I am finally being able to get what for me is even more of a balance. Because whatever you do brings you to a new state of awareness. And that’s where it’s at really.”

“But certainly in the ‘70s, whatever the drugs Hendrix was taking, I mean I’m seeing an advert, there’s been five adverts in the last year that have completely freaked me out. They show to me that what I found in my life is already being understood by marketing men. Because marketing men unfortunately are a lot more cynical and a lot more in touch, probably even more than you as a journalist.”

“If you look at what happened to Haagen-Daaz, they decided that sex was no longer the way to sell ice cream. And they did a major demographic awareness study, to find out what was, and they decided ‘alternative philosophies of life’ was the new market demographic. So they spent hundreds of thousands of pounds trying to sell their ice cream on the back of yoga positions. And they had all these Web sites celebrating different yoga positions by which to eat ice cream. They had this commune advert where everyone was finding the joy to life, and they’re all chanting to finding the key to joyful living, and they were celebrating eating and celebrating life.”

“At the moment there’s an Audi ad which it’s catchphrase is ‘Designed under the influence of Jimi Hendrix.’ And all of these people make no bones about it, they’ve realized that there was a demographic now. In the ‘70s it was called the Baby-Boomers, and all the politicians were trying to appeal to this demographic because they were trying to appeal to this huge spiritual revolution of the individual, where people realized that only by finding your own individuality could you help society again.”

“And all the politicians like Margaret Thatcher and Reagan bastardized that whole thing cause there was the huge spiritual movement towards the individual, a celebration of the individual. And it’s kind of happening again now really, all these advertising people are realizing that the individual, the individual exploration of psychedelia–because psychedelia for me is the celebration of the individual’s uniqueness, a celebration of the color and the beauty of life as an individual, which brings you in touch with the mass consciousness.”

1. The Long Genesis of the The Isness and the Dead Cities crisis
2. A Journey Into Healing and Out of Dead Cities
3. Doubts Along the Free Road, Resolve and Hitting the Wave
4. A Creative Rebirth Between Gaz and Yage
5. Reclaiming the Meaning of Psychedelia and the Child State
6. Searching for Freedom from the Prison of Modern Life
7. A Big Giant Cosmic Ostentatious Contradiction
7. Inspiration, the Future of FSOL and the Sound of Amorphous Androgynous
8. Radiohead, Chips and Organic Carrot Juice

Interview with Future Sound of London, 2002

Posted: March 11th, 2010 | Author: | Filed under: Interviews / Features, Uncategorized | No Comments »


Garry Cobain in field

The speaking half of the English electronic duo discusses his spiritual and artistic rebirth and the creative philosophy behind Amorphous Androgynous’ neo-psychedelic rock album, The Isness. Interview conducted via telephone in Spring 2002.

The Long Genesis of the The Isness and the Dead Cities crisis

“My perspective is if I first and foremost think about myself, what I want, then that’s also good for the universe. I guess I’m not separate from the universe that spawned this record. I partake of culture, I go out there and I eat, and I drink and I talk, and I have friends and I play and I listen to music and I buy music. I interact. It’s almost like I’m a servant of the universe.”

“So I made this album because I think the universe needs it. And I made this album because for me living in society for the last five years it has elements I think that works immediately and is spontaneously good. Obviously the clearest message is always the best. There is nothing wrong with being very coherent and cogent.”

“Before there was a real optimism about technology. About it kind of unlocking, it being this means of unlocking certain communications. I used to view it as a microscope through which to view and experiment with the self and I threw myself into that. But I think over the last five years I’ve seen a different issue arising.”

Dealing with Health and Sickness

“I’ve seen my central issue has become about getting back in touch with the intuition. Maybe getting back in touch with what I call the female energy, the intuitive energy. It’s not necessarily something that is just in females, but is in the female side of males. I think the male energy through which the world has begun to operate is very ‘rationale,’ very ‘scientific.’ It’s very much from the head.”

“I think around Dead Cities I became slightly ill and I became quite obsessed with the possibilities of technology. And I guess at that time I began to strip away my layers, because when you become ill you do have to start stripping away the way you’re living to try and work out what is making you ill. And when you start doing that you start realizing that the things you are stripping away, the things you thought of as yourself, aren’t really you.”

Future Sound of London technology

“So that took me on a real course. That took me into Ayurvedic healing, took me into fasting and meditation, and took me around India for months on end. And I gradually unearthed a different being. And I think on a larger scale if I look at the world and I draw a parallel between my course and the way I think the world is going, I think the world became obsessed with the possibilities of what science could offer, and I think we are now having to realign the science and what that has currently done for us with our own personal growth and our own personal happiness. And I think we’re beginning to realize that intuition.”

“We need to really claw back that ability to live in a really simple way and to use the benefits of science, but not to live through this scientific rationale. I’ve had to for the last five years because I’ve had to cure what I wanted to cure, and I took the responsibility for curing. I didn’t really hand that over to anybody else.”

Celebrating the Miserable and the Beautiful

“So in that process I realized it’s quite easy to celebrate the miserable. I think in the West we do tend to celebrate the miserable, and I think we do that in loads of ways. And I think the celebration of technology, by putting technology to the fore rather than human beings and the human spirit, that’s another way of celebrating the miserable. We celebrate cities, we celebrate what’s bad, we celebrate depression.”

“I think in this process of healing I began to realize that I wanted to celebrate the possibilities, and the lightness, and I wanted to celebrate the spirit and I wanted to celebrate health, not illness. And I wanted to celebrate beauty. And I wanted to make an optimistic record because I do think there’s a contradiction, where there’s dark there’s light.”

Visitors Raising Questions of Darkness

“People always came into our studio during Dead Cities and say, ‘This is an incredibly dark album.’ And at the end of it I was sort of left with my head in my hands saying, ‘Dead Cities is such a beautiful album for me.’ For me, Dead Cities was about going into the dark to find the light. In a way, we did something that was, at the end of the day when, that sort of found its place in musical history. We looked back on it, and went, ‘How interesting that we enclosed that album within a fairly dark outer periphery, almost like the chocolate layer wasn’t so chocolate, it was more like strictnine.’ It had an old woman’s face, it was called ‘Dead Cities.’”

“In a way I love that about FSOL, we always bring these different elements. The cover and the concept of what goes behind an album is all kind of disharmonious and hopefully harmonious elements that come together to either form something that works or something that doesn’t at points. Down to every track and every element they work to differing degrees.”

“Lifeforms had a beautiful cover and a great name and seemed to just click with the music, and a glorious fluke of circumstances. I love that. And Dead Citiesseemed to be a lot darker. But if you listen to that album, there are really a lot of beautiful moments on there. In a way, you and me as listeners are being lead into thinking it’s a lot darker than it is by maybe some of the final touches we had given that album.”

Q&A with Future Sound of London:
1. The Long Genesis of the The Isness and the Dead Cities crisis
2. A Journey Into Healing and Out of Dead Cities
3. Doubts Along the Free Road, Resolve and Hitting the Wave
4. A Creative Rebirth Between Gaz and Yage
5. Reclaiming the Meaning of Psychedelia and the Child State
6. Searching for Freedom from the Prison of Modern Life
7. A Big Giant Cosmic Ostentatious Contradiction
7. Inspiration, the Future of FSOL and the Sound of Amorphous Androgynous
8. Radiohead, Chips and Organic Carrot Juice

Hello world!

Posted: March 7th, 2010 | Author: | Filed under: Uncategorized | 1 Comment »

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