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)


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… 


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.
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.
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 (
EP and cover artwork by Paul Loudon (

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…

(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

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

The Doomed Bird of Providence – Collision/Detection v7

The 7th EP in the Collection/Detection series comes from The Doomed Bird of Providence, released on 28th Jan 2013 (download from all the usual places).

 With The Doomed Bird of Providence’s EP the process of making the songs required a fairly radical adjustment of the supplied sounds provided for the project. The main intention was to supply a range of songs to accompany short visual pieces. For this reason the band’s foray into LDWR had a twofold intention; the band were creating short soundtracks as well as incorporating and manipulating the bank of LDWR sounds across the four songs.

The four songs soundtrack four films (either short films or excerpts)…

1. In the Terror of the Moment 

This piece was written to accompany the climatic scene towards the end of the 1927 film adaption of Marcus Clarke’s ‘For the Term of His Natural Life’. It involves a ship sinking on stormy seas and the two main characters anticipating watery graves.

2. Safety at Sea

Written for part of a 20 minute ‘safety at sea’ documentary involved lightships, lighthouses and model boats often replacing real ones for the more dramatic scenes. It is possibly the most jolly piece of music ever released by the band.

3. Seabound

Written to accompany Donna Kendrigan’s 1997 animation ‘Seabound’. The animation involves is a sort of high seas Brothers Quay incorporating a drunken seaman, prosthetic limbs and a captured mermaid.

4. The Wounded Platelayer

A piece to accompany part of what is left of Australia’s first ever feature ‘The Story of the Kelly Gang’ (1906). Most of this film has been destroyed, the rest suffering nitrate damage which has left only distorted fragments of the Kelly Gang’s capture.

The Doomed Bird of Providence’s debut album, Will Ever Pray, was released in 2011 to critical acclaim, followed by the single The Bell of the Jardines. 2013 will see their follow up to Will Ever Pray and a new live set up on tour across the UK.

Find out more at

Sone Institute remixes – FREE DOWNLOAD

Front & Follow presents a series of interpretations of Sone Institute’s album A Model Life, featuring remixes from Dollboy, Kemper Norton, The Doomed Bird of Providence and Nick Rundall. A Model Life brings Roman Bezdyk’s unique and ambitious style out to play again with the follow-up to 2010’s Curious Memories.

Do also check out the ‘FREE‘ page for more free remixes, bonus tracks and mixes.

And we have a new mix up, collecting our releases in 2012 – listen over at mixcloud.

And as a special festive bonus, you can now get 30% off everything in the F&F shop by entering the discount code FFXMAS.

New Collision/Detection EP from Kemper Norton

Our Collision/Detection series continues with v6 by Kemper Norton, available to download now from all the usual places.

Hear the track ‘Him’ below:

And this is what Joe Stannard (The Outer Church/Mojo/Wire/NME) has to say about it:

“When it comes to Brighton’s Kemper Norton… where to start? Having followed his progress through a series of remarkable releases and live shows, I can state with confidence that there are few artists whose appreciation of the British folk tradition is so keenly matched by their faith in its ability to evolve. With each release, each live performance, Kemper has demonstrated increased confidence and adventurousness. His contribution to Front & Follow’s consistently impressive Collision/Detection series represents yet another advance, aided in no small part by the introduction of his own vocals into the mix alongside electronics and live instrumentation. Close-miked and intimate, Kemper’s tones serve to amplify the already pervasive uncanny qualities of the music. Some may detect the influence of Coil, Fovea Hex, even Autechre – the fact of the matter is that Kemper’s music is utterly unique. If that sounds fanciful in an age when some would have us believe the well has run dry… just listen. And believe.” – Joe Stannard (The Outer Church, The Wire, Mojo, NME)

About Collision/Detection v6 AKA ‘Rough Music’:
A large part of this EP is formed from the community tradition of “Rough Music”, where a village, town or district would attempt to drive away a known cheating merchant or violent husband through a barrage of singing and use of found instruments, but the final words go to his female partner.
‘Him’ (trk 1) is an unattributed lyric from a piece of ‘rough music’ from England in the nineteenth century. It features the use of the instruments of hell as an aid to community vengeance. It is uncertain how vigilant, effective and morally consistent such actions were. ‘Her’ (trk 4) is an adapted version of the traditional folk ballad ‘Go from my window’. The repeated instructions to the unwanted lover indicate his persistence….The Devil’s in the man. A spectral presence in the performing and recording of this project, and all our other work, was Dorcus. The vengeful spirit of this abandoned Cornish woman is said to haunt the mines of St Agnes where she committed suicide, and this EP is dedicated to her.
About Kemper Norton
Rising from the moribund Cornish slurtronic folk scene, Kemper Norton began life through a campaign to redefine South West Water as a range of personal and psychogeographical experiences , rather than a corporate financial brand name. The legendary Radio 3 show Mixing It gave it some valuable airplay and publicity by playing early track “Average domestic usage” but ultimately the campaign failed.
Previous work has been based around themes such as the mythopoetic men’s movement, the A23 and library closures,  as well as an ongoing series of free releases named Unrequited, which gives a loving home to songs and tracks that just don’t fit in. His forthcoming album, ‘Carn’, explores two specific locations in Cornwall and Sussex with deep personal and folkloric significance and further explores ideas of community and the uncanny. Kemper Norton is a regular performer and collaborator of The Outer Church: Brighton’s foremost audiovisual celebration on the uncanny, including alongside Pye Corner Audio, Old Apparatus and Bass Clef.

Collision/Detection v5 by BLK TAG

The latest EP in the Collision/Detection series is out now, to download from all the usual places (including Boomkat, Amazon, iTunes etc). Some very kind words from Sounds XP and samples below…

“Abandon hope listeners, for this CD drags your ears off to the deepest, darkest parts of the woods and commits unspeakable acts upon them … Possibly the best in the Collision/Detection experiment so far, this fifth entry is a hauntingly sick EP, perfect listening for the inevitable encroaching darkness of autumn.”

Sounds XP

A Model Life OUT NOW

Sone Institute’s A Model Life is now out on CD – pick up from all good record shops, online and our own F&F shop – and to download from all online digital stores including Boomkat, iTunes and Amazon

Its been played on 6 Music by Lauren Laverne, Gideon Coe, Tom Ravenscroft and Don Letts, and featured in The Wire.  A few choice words below:

“Easily one of the best albums of the year” – Pontone
At its sweetest, it retains an intangible strangeness; at its most disorientating, it’s still effortlessly beautiful.” – The Underground of Happiness
disruption, disorientation and a sense of mischief are always waiting in the next bar” – The Wire
More at the release page.