Welcome to 2014

Happy New Year!

A huge thank you to everyone who supported us over the last year, including everyone who played, reviewed and of course bought our releases.

An especially big thank you to The Doomed Bird of Providence, and all the artists who contributed to our Collision/Detection series and The Outer Church compilation.

It was a fun year, hopefully we can do it all again in 2014 (more news very soon).

Best wishes,
Justin & Helen x

The Outer Church OUT NOW

The Outer Church Compilation is out now.  We’ve sold out directly from F&F HQ, but you can pick up a copy from all good record shops and online, including:

More info on the release HERE
And check out the coverage its been getting, including:
Mojo (latest issue)

NEWS: ANNOUNCING THE OUTER CHURCH

Front and Follow are proud (no, utterly ecstatic) to announce a collaboration with The Outer Church aka Joseph Stannard, bringing you a 28 track double album of new and exclusive material from an incredible collection of artists.

You can now PRE-ORDER THE LIMITED FIRST EDITION (OF 300)in a letter press card sleeve package.  They won’t hang around, so get in quick… 

GO TO OUR F&F SHOP OR BANDCAMP.

Its hard to know where to start with this one…

The Church’s Chief Programmer Joseph Stannard has compiled a stunning 28-track double album of all-new previously unreleased material from a host of incredible conspirators.

The artist list in full:
Embla Quickbeam / Grumbling Fur / Some Truths / Kemper Norton / Pye Corner Audio / Black Mountain Transmitter / Angkorwat / Position Normal / Ekoplekz / BrokenThree / Anna Meredith / Hong Kong In The 60s / Baron Mordant & Mr Maxted / Graham Reznick / Old Apparatus / VHS Head / The Wyrding Module / Silver Pyre / These Feathers Have Plumes / Hacker Farm / Robin The Fog / Vindicatrix / Wrong Signals / Sone Institute / Tidal / Paper Dollhouse / Time Attendant / IX Tab
This exclusive collection comes in a deluxe double CD package, with a limited first edition of 300 in letterpressed sleeve by Red Plate Press (Manchester).
Joseph writes:
“Wind the tape all the way back to Brighton in 2009. The uncanny influence seeping into contemporary music from ‘elsewhere’ had become impossible to ignore. Magazine pieces I had written in my capacity as a music critic were revealed to contain subliminal memos for my own attention. Unusually vivid dreams and unsettling anonymous telephone calls imparted curious instructions. I was to establish a space in which various forms of unheimlich audio would converge with moving images of a similarly anomalous nature. Equipped only with a well-thumbed copy of The Beginner’s Guide To Psychic Architecture, I resolved to build a Church.
“This compilation presents a selection of the artists who have performed at The Outer Church, with the exception of illustrious filmmaker and composer Graham Reznick, who lives in faraway Brooklyn and kindly permitted us to screen his tremendous psychedelic campfire tale, I Can See You, in Brighton and Dublin. All of the recordings here are previously unreleased. Together they advance the argument that something weird is stirring in modern music which resists categorisation, manifesting itself in unsettling cadences and temporal distortions across a wide variety of occult strategies.”
The Outer Church was established in 2009 by music writer Joseph Stannard (The Wire, Mojo, The Quietus). Since then it has brought the finest in uncanny film and music to Brighton, including live sets from Demdike Stare, Raime, Pye Corner Audio, Old Apparatus, Moon Wiring Club and The Haxan Cloak plus screenings of new independent films such as I Can See You, Die Farbe and Overhill.
(1ST EDITION LIMITED TO 300).
And stay tuned for more clips, videos and some very special live shows…
The Outer Church Live
To mark the album release The Outer Church and Front & Follow are planning a series of very special live events involving selected contributors:
25.07.13 Brighton: The Green Door Store
with Howlround / Hong Kong In The 60s / Cherry / Death And Vanilla
Get tickets HERE
01.08.13 London: The Waiting Room
with Vindicatrix / Some Truth / These Feathers Have Plumes / Kemper Norton / Harem (Old Apparatus)
Get tickets HERE
02.08.13 Brighton: The Hope
with Pye Corner Audio / Kemper Norton / Embla Quickbeam / Wrong Signals
Get tickets HERE
03.08.13 Manchester: Kraak
with VHS Head / Harem (Old Apparatus) / Kemper Norton / The Wyrding Module
Get tickets HERE

Collision/Detection Box Set – OUT NOW



The Collision/Detection box set is out now – collecting together 9 EPs from a whole host of incredible artists, created exclusively for the Collision/Detection project. 
The limited first edition of 200 comes in a letter pressed package, with a bonus download album of exclusive additional tracks, and the original sound clips used to create each EP.
                    
EPs come from Psychological Strategy Board (Jonny Mugwump and Time Attendant), West Norwood Cassette Library, The Lord, Hong Kong in the 60s, BLK TAG, Kemper Norton, The Doomed Bird of Providence, Isnaj Dui and Sone Institute.
PRE-ORDER THE BOX SET NOW 
– ONLY 200 AVAILABLE OF THE FIRST EDITION
IN ALL GOOD RECORDS SHOPS & DIGITAL STORES (DISTRIBUTED BY CARGO & STATE51)
Collision/Detection is the second experimental audio project from Long Division with Remainders (LDWR) which sees invited artists submit audio clips into a central pot, which is then distributed around the group for them to do with as they see fit, resulting in a series of digital EPs released across 2012 and 2013.
Letter press package by Red Plate Press (redplatepress.tumblr.com)
EP and cover artwork by Paul Loudon (www.pauloudon.com)

Collision/Detection v9 by Sone Institute

Released: 14.04.13

The wondrous sonic experimentalist that is Sone Institute presents Collision/Detection v9 aka DeathBeat.

Sone Institute is the home of Roman Bezdyk, mercurial curator of two out there albums, Curious Memories(2010) and A Model Life (2012), and a collaboration with Dollboy, The Sum and The Difference. His Collision/Detection EP is the soundtrack to 1983 horror classic DeathBeat.  Hell has a new beat. It is called death…



DeathBeat
(1983) Film Synopsis.
Where Sex, horror and vinyl collide on turntables of blood and bodily fluids.
“You know you are dying for it… and you will baby”
“I call her Sister Sledge, Sister Sledge hammer” as the cold
steel pulverized her wretched smiling, sluttish face.
“…Blood spewed from the soft opening like milk from a mesmerized baby’s mouth.”
Hell has a new beat. It is called death…
The year is 1983 and DeathBeat, New York’s finest nightclub is celebrating its 1st birthday.
What could go wrong?
Housed in the beautiful Gothic Smoking Dog building.  Once home to the experimental asylum for sexually deranged and monstrously violent patients way back in 1953.
Today also happens to be the 30th anniversary of the 78 patient’s horrific termination by its very own deranged medical director – mercilessly hacked to pieces one by one while under the influence of the drug Kajja. The dead souls of the patients now pray in their fear sodden death chambers never to be woken to the rotten earthly pleasure that brought them here in the first place. Or, to the sick flesh pursuits of their hell flamed desires.
Kajja’s main side effect is to induce a relentless throbbing pulse wave of 69 beats per minute (bpm) in patient’s / users skulls, due to a psychic irregularity and sonic displacement of 69 bpm. Induced by DJ Beak’s double groove sensual pleasure DJ set, tonight hell will manifest itself in DeathBeat Discothèque.
They have returned for one final dance.
Why and how they have returned, earth dare not comprehend.
For what?
The revellers can only scream inside their putrid, vile brains and beg for their pointless, Godless lives to be extinguished.
1. DeathBeat 1 (Main title sequence)
Hope and affluence reign in the club of distinction. Money, sex and power are the new Gods. Man is his own master- the supreme being of all. DJ Beak reigns untouched with his blend of double groove frottage scratch technique.
2. Unguarded Circle of Flesh (Decapitated head sequence)
The first set of heads and mutilated genitals are discovered rotating at 45 rpm on the gold plated Technics 1210’s, but the beat goes on…
3. Flesh Dance (In a state of perpetual arousal)
Chased by institutionalized reincarnations of lascivious inpatients, they attempt to fornicate with the big hair styled and shoulder-padded patrons of the club. Unfortunately their idea of climax always ends in death…
4. DeathBeat 2 (Film end title sequence)
The Club lights continue to flash. A muffled beat relentlessly throbs. A lone female’s voice sobs. Trembling like a demented gerbil in the corner of the dance floor. The camera pans across the dance floor which drips in blood, seminal fluids, tears, half eaten brains and fear induced piss.
The revolution will be digitalized.
Let the process begin!
The End.

Isnaj Dui – Collision/Detection v8


*OUT NOW
Standing somewhere between neo-impressionism and electronica, Isnaj Dui (real name Katie English) conveys a minimal yet capturing sound using electronically manipulated flutes and homemade instruments. She writes of the Collision/Detection EP:
When trying to find a starting point for the EP I found that some of the given samples fitted into quite definite blocks – gloomy, glitchy, plastic, tonal etc. I initially tried dividing them up, envisaging four tracks based on the general feel of the samples used.
Then my computer broke. So I started again.
Having divided the samples up once again, albeit slightly differently, I assembled a rough base for each of the tracks, adding flute, bass flute, dulcimer and electronics to echo or contrast the samples.  Some lent themselves easily to the addition of melodic motifs, others were more based on the layering of sounds or rhythms.  Many of the samples have been left relatively untouched, save some cutting and splicing.
Cited as a distinct voice, taking the flute away from its pastoral image whilst maintaining its unique mellow sound, English has released several critically acclaimed albums including 2010’s Protective Displacement (Rural Colours) and Unstable Equilibrium (Home Normal, 2009). She has appeared at venues such as the National Portrait Gallery and Union Chapel in London and has received extensive play on Radio 3’s Late Junction and BBC 6 Music.
As a classically trained flautist, English has also studied electroacoustic music, alternative tunings and Balinese gamelan. Working without laptop processing, English uses the pure tones of concert and bass flutes alongside homemade dulcimers and electronics to create immersive yet restrained textures that weave in and out of each other.
As well as her solo work, Katie plays in littlebow, The Doomed Bird of Providence and has collaborated live and on record with Orla Wren, Hybernation and The Owl Service amongst others.
‘Absolutely gorgeous music and a big recommendation for followers of [Home Normal] and good music everywhere.’ – Boomkat
‘…an oft-beautiful exercise in sensuous tone-painting that, in seemingly effortless manner, not only distinguishes itself from the competition but establishes Isnaj Dui as a distinctive artistic voice.’ – Textura
‘Deeply inspiring music from a very, very special place’ – Nils Frahm