We are ending the year in the best possible way – by releasing an album by one of our favourite artists, and someone we’ve been trying to work with since he appeared on the Outer Church compilation over five years ago.
Drawing parallels between present day Britain and that of the turn of the 80s, Ekoplekz looks back to that era’s industrial and post-punk soundtrack for inspiration.
In a land increasingly brutalized by austerity and divided by nationalism, the tensions that informed some of the post-punk era’s most important works (Red Mecca, Unknown Pleasures, Metal Box) haunt this collection of bleak postcards from the present.
Recorded quickly on cassette tape recorders, combining live instrumentation (guitar, bass, keyboards) with programmed drum machine and sequencer, the album has a raw, spontaneous edge, drawing on elements of dub, funk and primitive electronics for musical direction.
The album is dedicated to the late Mark Fisher, who’s brilliantly insightful writing is sorely missed while trying to make sense of these insane times.
Influenced by everything from Khan Jamal to Egisto Macchi via Basic House and Konrad Kraft, Why So Mute, Fond Lover? builds new worlds of beats and rhythm, sound collage, ambience and noise using random borrowed equipment, broken gear and household appliances. The album was recorded in Mile End, London and Hamburg (with collaborator Ben Page of Rocketnumbernine and Elite Barbarian), and mastered by fellow Rothko member Mark Beazley. Continue reading →
‘The Blow’ project brings two artists together to formulate a collaborative release of their own making. Each artist has a side of audio to do whatever they want with. The two artists are encouraged to work together on the release, but the length and depth of this collaboration is completely up to them and agreed on a release-by-release basis – there are no set parameters, no fancy rules, no memorandum of understanding, no initiation ceremonies.
Thanks to everyone who has supported Sone Institute’s new album so far – here’s a taster of the coverage (and grab a copy here):
‘Accessible pop for those who don’t like pop music’ – Electronic Sound (issue out now)
‘The new work is brilliant, palpitating on snappy billiards and tinselled Chic shuffles’ – Freq
‘Whilst it may at times suggest a deliberately restless mind resisting a clearer focus, Where Moth And Rust Consume is an enticingly enigmatic entry-point into the world of Sone Institute.’ – Delusions of Adequacy
‘Where Moth And Rust Consume’ is unfolding very quickly as something of an ‘unsettling pop’ classic… It’s all a bit confusing, but that’s OK as I like it.’ – Norman Records
‘Sone Institute describes Where Moth and Rust Consume, his first new material in six years, as his ‘pop album’, but don’t expect to hear it on R1 any time soon, or ever. 6Music’s Gideon Coe has championed previous work, describing it as ‘delightfully strange,’ which seems a fair summation.’ – Aural Aggravation
‘this is likely one of those records that will break completely from static formats by bringing a curious surprise with each individual track… The work exudes the hypnotic feel one immerses themselves in when experiencing scientific exploration that expands awareness, or from observing one of those alien invasion cult flicks of the 50s.’ – Toneshift
BUY THE LIMITED EDITION LP HERE OR FROM ALL GOOD REAL AND DIGITAL STORES.
We are delighted to present the debut album by Psychological Strategy Board – the soundtrack to director Richard Kovitch’s film about the incredible, untold story of the British artist Penny Slinger and the traumatic events that led to the creation of her masterpiece, the 1977 photo-romance, ‘An Exorcism’.
“forcibly unsettling… disturbing… a lot like Throbbing Gristle reduced to little more than ground-up synths and ominous, snarling impulses” – Electronic Sound Magazine
“the uncanny is portrayed as dark wonder” – The Wire
“I love it, I think it’s a classic. And like reggae, there is a dubbed quality to the tapes that warrants repeated listening. I find the textures highly intriguing; how their shapes and contours are formed out of loquacious sound design that seems more by chance than design, but totally random (genius) and hence genuine. It’s like a collection of words that needs to be read as a whole to make sense of it, instead of skimming for specifics. This album comes very highly recommended!” – Fluid Radio
“As the synths bubble and burn, one thinks of synapses firing, of wild ideas created in a manic phase, of the frenzy to write them down. At first the tones are rounded like beeps. By the end they are fraying at the edges. Dark, measured breaths appear in the background: the monster is in control.” – A Closer Listen
“Dank rumblings and slow churns reminiscent of Throbbing Gristle nudge against hovering dissonance and creeping fear chords. Spurts of electronic dislocation bubble and fizz over thick ripples of amorphous, atonal synth sound, hissing static and whispering winds. Sonorous low-end notes resonate, hanging in the air before they slowly decay, submerged by tense undulations. The atmosphere is dark, ominous, unsettling, but not oppressive.” – Aural Aggravation
“Theirs is a crafted vibe that fuels plenty of further investigation into this artist’s work — the highest compliment that any soundtrack can pay to its subject matter” – Freq
Paul Snowdon (Time Attendant) and Maybury played, recorded and manipulated live performances (using synths, electronic boxes and laptop) to create unique, often unsettling soundscapes inspired by the work of Penny Slinger.
LESSONS is a new collection feat. 25 F&F artists to celebrate 10 years of the Front & Follow label and warm our cockles in these troubling times. Check out The Quietus for more info.
“if it had to be classified at all, [LESSONS] could be described as adventurous, rather than focussing on any specific genre. This has been the label’s great strength over the years: doing things that seem to make some kind of sense at the time and largely being proven right – or at the very least interesting – along the way.” – The Quietus