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Upon returning back to homeground after midnight on a Saturday night/Sunday morning and after exiting the airport having partaken of the Easyjet drinks trolley and having been through baggage handling and passport control and feeling tired and worse for wear beyond belief, I looked through the large window into a now largely empty airport check in area and saw this poor family and simply had to take out the smartphone to get a picture.

We’ve all had a great time and we’ll all be home soon.

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Johnny Osbourne – Give A Little Love

 

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London Grammar – Hey Now (Bonobo Remix)

 

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This probably needs no further introduction or commentary, suffice to say that  it remains an amazing and timeless record.  There’s surprisingly little about this and the whole “Duck Rock” album online apart from a fairly cursory Wikipedia overview page.

I also had the following audio overview by excellent UK music journalist Alexis Petridis which is taken from the now sadly defunct Guardian Music Podcast.   The Guardian Music website remains one of the best places online for nerds and hipsters alike, however.

Alexis Petrids – Duck Rock

 

Otherwise, here’s the UK 12″ of Buffalo Gals featuring the “Stereo Scratch Mix” on the A side and the “Trad Square” on the flip along with the single mix proper.

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Experimental Audio Research was formed in 1990 by Sonic Boom (Pete Kember) as a solo and collaborative ensemble in order to pursue the more experimental work he had contributed to Spacemen 3 since the 1980s.

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Circuit bending involves taking cheaply available electronic soundmaking toys (in this case mostly Texas Instruments’ “Speak & Spell” human voice synthesizing toys from the late ’70’s, but also applicable to all sorts of keyboards, effects boxes and samplers) and adding extra wires, knobs and switches to make new connections between parts of the internal circuitry and chips. This sends data and electronic signals to previously unrelated circuit board points – inducing through a strange sort of “Data Rape”- astounding new sounds, chance evolving compositions and textures, phoneme freezing and looping, random glottal pulse and phoneme generation, complex lattice filtering and unique pitch shifting techniques.

Earworm – There will be more coming up from much loved, sadly missed and highly collectible record label, Earworm on Clandestine Listening Apparatus over the coming weeks.

Download 7″ vinyl rips with full artwork.

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*This post will be live for 1 week only.

 

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The Hidden Cameras are Joel Gibb’s indie pop band, formed in Toronto in 2001.

“Learning The Lie” is a hand numbered, double 7 inch vinyl set packaged in a gatefold sleeve and containing a lyrics poster.  I got two posters with my copy. This record is probably unrepresentative of what they do best, but I love it’s bonkers sense of melody and spontaneity.

Check the videos below for a couple of track from the latest Album, “Age” released at the start of the year.  It’s a great record full of drama and great tunes.

Vinyl rip at 320 with full artwork.

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Get it.

Hidden Cameras

Two smeary left field pop records whose interrupted transmissions I have been receiving in the secret bunker of late.

The first is “Yearling” by Orcas.

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For their 2nd collaborative release, Orcas members Benoît Pioulard & Rafael Anton Irisarri Teamed up with Martyn Heyne (of Efterklang) on guitar & piano, and Michael Lerner (Telekinesis) on drums. Together they build upon the subdued ambience of their self-titled debut, adding a huge dose of analogue warmth to their hazy pop leanings. Most of ‘yearling’ was constructed from short pieces Pioulard wrote & developed. Whether it’s the soaring guitars of “Infinite Stillness”, the Lynchian otherworldliness of “Filament”, the echoes of “Spirit Of Eden” era Talk Talk on “Capillaries” or the slow-building tape loops of “Tell”, ‘Yearling’ subsists on variation while holding a lyrical centre.

It’s perfect for late night, contemplative listening and after a couple of spins, the melodic wonder of the smeared, watercolour songcraft seeps through into your consciousness.  A beautiful heavy pressing on white vinyl with awesome artwork puts the tin hat on it.  Highly recommended.

Orcas – Half Light.

 

Hear Morr.

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The second record in this post-Winter celebration of the Autumnal is “The Green EP” from Warp veteran, Bibio. He’s been producing intelligent, individual records for a while now and for my money, continues to get better and better. The Green EP was released at the start of the year as an addendum to last year’s “Silver Wilkinson” album.

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The Green E.P. is centered around “Dye the Water Green”, which was first featured in Bibio’s excellent 2013 album Silver Wilkinson. “I wanted to do a follow up EP with ‘Dye the Water Green’ as it is my favourite track off Silver Wilkinson and I also have a lot of music in my archives that would complement the track well,” said Bibio.

He’s pulled together a lovely, heartwarming set of lo-fi, pastoral folk pop songs as heard through a veil of half-sleep while the music drifts in from the next room.  Yet again, the spectre of old Talk Talk records and in particular the Mark Hollis solo record is never that far away.  My favourite track on the album is the deeply romantic “Down To The Sound” which has a simple but incredibly moving lyric about lying in bed with someone you love in your own little world as an end of Summer storm comes in.  Just incredibly beautiful stuff.  His playing and singing is always great but his voice and phrasing on this track is something else.  It took me a while to pick out the second line of the song, so in case you’re wondering, I reckon it’s “Too hot for covers or windows to be closed”.  Melodically breathtaking and super atmospheric.  By the time the storm breaks and we hear the “sunshine being taken taken by a downpour”, I’m pretty much lost in it.

Bibio – Down To The Sound.

 

Another wonderful pressing from Warp with quality art thematically linked to the “Silver Wilkinson” sleeve and the greenest vinyl ever pressed seals the deal.  One to treasure.

Get it.

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I still listen to a lot of old house and breakbeat tunes from across the years. It fascinates me that there is still a huge seam of this stuff to mine and uncover. And it’s all available so inexpensively now. A quick trawl through Discogs tells us that there are many, many great records available for peanuts. And seemingly absolutely no link between price and value. Lucky us, although this one will currently set you back at least a fiver.

I remember I bought this little gem upon it’s release in 1997, but I can’t for the life of me remember where from. Somewhere in London. It’s a tight little one-sider pressed up on 10 inches of plasticky gold vinyl.  The flipside has a groove pressed into the vinyl, but it’s silent.  I wonder why?  You get the requisite breakbeats, guitar and vocal samples and a few new nice breakdowns. It never ceases to amaze me how these basic building blocks of dynamic electronic music can be rearranged in seemingly infinite combinations to make “dance” music. The magic comes, of course, in applying that human element in the utilisation of the standard tools. Taking and arranging the building blocks to make a something wonderful. The appliance of love and science to turn those elements into a huge fucking arms-in-the-air banger.  This is one of those.

Vinyl rip at 320 with full artwork.

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