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 →
We are thrilled to announce that Lutine will be releasing their debut album on Front & Follow this year. Hailing from Brighton, the duo have made waves in a short space of time with a handful of incredible live shows.
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…
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).
“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.
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)
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…
(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.
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.