Music has the right to broadcast: Boards of Canada cuts loose on Paris radio

Boards of Canaduh
Thirty years on from the emergence of Chicago house and Detroit techno, electronic dance music has been pretty well integrated into the mainstream entertainment industry. Now we don’t just have superstar types like Skrillex and Steve Aoki, but also a whole tier of underground stars DJing and playing live regularly to massive club and festival crowds. For many who’ve been involved in aspects of the genre for a while, both the star system and the lack of innovation in the consumed canon can get a bit distressing. 

Thankfully, some EDM artists have managed to scrupulously avoid the limelight—eschewing most live opportunities and even interviews—and let their music speak for themselves. Along with Burial, Warp label duo Boards of Canada—comprising Edinburgh musicians and siblings Michael Sandison and Marcus Eoin—has worked almost facelessly in a scene filled with fame-hungry clowns. BoC’s blend of substantive synth sounds, emotive ambience, and electro- and hip-hop-referencing beats has enchanted a fan-base that’s only grown since they released their debut EP Twoism in 1995.

Now their new album Tomorrow’s Harvest—their fourth studio set and first release in eight years—has become one of the more anticipated album releases of the year. So it’s as good a time as any to note the recent posting on Mixcloud of this 2002 mix that BoC did for the Helter Skelter radio show on Paris-based community station Aligre FM. Broadcast just as the band released their claustrophobic second album Geogaddi, the mix features lots of rare bits from their early-‘90s era, along with remixes of electronica peers like Meat Beat Manifesto, and R&B stalwarts Colonel Abrams and Midnight Star. Although it’s been dispersed via MP3 amongst BoC fanatics, it’s good to see this excellent broadcast finally on stream.

Here’s the tracklist:

01:20 - 05:30 - “1969” (Geogaddi)
05:30 - 09:30 - “Chinook” [Extended] (Aquarius) [WITH CHAT]
09:30 - 13:11 - “M9” (Boc Maxima)
13:11 - 18:45 - “Korona” (Mask100)
18:53 - 21:55 - “Smokes Quantity” (Twoism / MHTRTC)
21:55 - 24:59 - “Soylent Night” [Hell Interface] (Whine & Missingtoe)
24:45 - 29:28 - Colonel Abrams “Trapped” [Hell Interface Remix] (Mask200)
29:25 - 32:50 - “Music Is Math” (Geogaddi) [WITH CHAT]

32:46 - 37:52 - “Turquoise Hexagon Sun” (Hi Scores / MHTRTC)
37:52 - 44:28 - “Chinook” [Extended] (Aquarius)
44:28 - 49:45 - “Sixtyten” (MHTRTC)
49:45 - 54:22 - “Orange Romeda” (WAP100 - We Are Reasonable People)
54:22 - 58:00 - “Music Is Math” (Geogaddi) [WITH CHAT]

57:58 - 65:00 - “XYZ” (Peel Session - not on CD)
64:42 - 69:18 - Midnight Star “Midas Touch” [Hell Interface Remix] (Mask500)
69:18 - 70:22 - “A is to B as B is to C” (Geogaddi)
70:22 - 74:20 - Bubbah’s Tum “Dirty Great Mable” [BOC MIX] (Dirty Great Mable) [WITH CHAT]
74:20 - 76:13 - “Music Is Math” (Geogaddi) [WITH CHAT]
76:36 - 82:25 - Michael Fakesch “Surfaise” (Trade Winds Mix by BOC) [PLAYED TOO SLOWLY]
82:15 - 85:43 - Meat Beat Manifesto “Prime Audio Soup” [Vegetarian Soup by BOC] (Prime Audio Soup) [PLAYED TOO SLOWLY]
85:13 - 86:41 - “From One Source All Things Depend” (Geogaddi - Japanese Bonus Track)
86:40 - END - “Poppy Seed” [BOC Remix] (Slag Boom Van Loon - So Soon) [WITH CHAT]

Boards of Canada the legendary Helter Skelter Radio Show 2002 by Abstractmovies on Mixcloud


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Download the new album by Detroit techno legend Moodymann for free

In the worlds of deep house and techno, artists don’t come more revered than Detroit’s Kenny Dixon Jr, aka Moodymann. Releasing records for almost two decades now, his music has attracted a devoted, almost cult-like fan base.

This is due largely to his unique sound, a blend of minimalist Detroit soul with spaced out disco, jazz and abstract electronics, not to mention the lashings of found sound, disembodied voices and crowd noise he weaves in and out of his hypnotic and, yes, moody tracks.

But it also has a lot to do with Moodymann the character. Staying true to his Detroit techno roots, Dixon tends to shy away from the press and the music industry at large, and on the rare occasions he does make a pronouncement, his Afro-centric and iconoclastic views can draw criticism. His releases follow the same ideological path, with regular 12"s and albums coming out independently through his umbrella organisation Mahogani Music. Often the only marking to distinguish these releases from an anonymous white label is the recognisable afro-and-shades Moodymann logo.

So it’s a surprise to see him releasing a new 8 track album digitally and for free through the website Scion A/V. Not that these guys don’t know their shit, with past free releases from the likes of Dam Funk, Skream & Benga and The Melvins, but more that Dixon has decided to persue this avenue of free digital releasing at all. Well, the times they are a’changin’. 

If you are new to Moodymann and his work, this might not be the best place to start (I would recommend starting by checking out the sinlge “Joy Pt II” and the album A Silent Introduction) but at the very least this release gives you a taste of his work, and you can always ask for your money back. For the Moodymann fan who has not yet downloaded Picture This, well, what are you waiting for? The download widget for the free release is below, and here is the video for the album’s opening track:

Moodymann “9 Nites 2 Nowhere”




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‘My Love Grows In The Dark:’ SSION’s springtime pop perfection
08:05 am


pop music

Another act who featured on My Awesome Best of 2011 Mixtape and who deserve special mention for the little beauty: ‘My Love Grows In The Dark’ is the new video by SSION (aka Cody Critchloe) and it is simply gorgeous.

SSION’s excellent 2011 long player Bent was my second favourite album of last year, only being pipped at the post for the title “best of” by John Maus’ extraordinary We Must Become The Pitiless Censors of Ourselves. Bent was released as a free download for just one month, but if you didn’t get it (and why not?! I told you so!) fear not, it will be getting a physical re-release soon on Dovecote Records with an accompanying tour.

As well as performing, writing and recording as the floating collective SSION since the late 90s, Cody Critcheloe is a video director who has recently helmed clips for both Santigold and Peaches. It shows: he is an artist with real vision, talent and skill and I’m glad to report I will be posting an interview with Cody in the very near future.

Musically “My Love…” is classy, catchy and excellently produced dance-pop (it’s how I always really wanted the Scissor Sisters to sound, no mean feat that) and in the ace video he rocks a look that’s a bizarre hybrid of Boy George, Andrew WK and Snoop Dogg. Spring is in the air, so let some aural sunshine in:

SSION “My Love Grows In The Dark”

SSION (the band) will be performing live in New York tonight at the Highline Ballroom. More details for this (highly recommended) gig here.

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Enter the ‘Pleasure Palaces’ with Errors

Here’s a little something by Glasgow purveyors of rocktronica Errors, in the run up to the January 30 release of their new album Have Some Faith In Magic on Rock Action Records. Taking as much influence from modern and classic electro as they do from shoegaze and kosmiche, Errors genuinely bring something fresh to the table, and have been steadily building up momentum over the last five years. From the Rokbun website:

A group who emerged at the tale end of a period when anything purely-instrumental and guitar- based became lazily tagged “post-rock,” Errors have now distanced themselves from that loose genre so much that any fleeting comparison to it is now completely redundant.

Have Some Faith In Magic is an LP of sprawling pop, with delicious hooks applied liberally across post-electro scatterings; a complete turn away from previously lauded albums It’s Not Something But It Is Like Whatever, and last year’s Come Down With Me - not least with vocals now being included prominently for the first time.

“It was just something that naturally happened,” comments the group’s Steev Livingstone, “we had the idea to put vocals in the music a while ago but we always intended that they should be treated as another instrument.

“We’ve used them in a way that sits really naturally so the music and the vocals don’t feel like separate entities.”

Judging by the simultaneously wistful-yet-pumping sounds of “Pleasure Palaces,” the new album could be very special indeed. As for the video… well, I don’t really understand it, but I do like it. A lot. Directed by Rachel Maclean, and coming across like New Order by way of Tim & Eric, there is a whole host of strange and humorous imagery to digest here:

Errors “Pleasure Palaces”

You can pre-order Have Some Faith In Magic from iTunes or physically from the Errors webiste, and for more info visit

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Niallist meets Age Of Consent (Uptown 83 Style)

More synth-doom goodness. Age Of Consent are one half of the now defunct Glasgow-based dance-punk party starters Shitdisco. Ex-members Joe Reeves and Darren Cullen have thankfully put away the glowsticks have turned their hands to making electronic pop influenced by The Knife, Yeasayer, Japan and as the name would suggest, New Order.

“The Beach” is the band’s debut single, and is self-released on 7 inch on September 5th. You can pre-order the vinyl at their bandcamp site, or if you prefer you can buy the tracks digitally. And what would you know - on the digital release someone called The Niallist has turned in a remix that takes the English fops out on the dancefloor of an imaginary 1983 New York and spanks their asses ‘til the break of dawn:

  AGE OF CONSENT The Beach (Niallist BakerMixx) by theniallist 


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Techno don Legowelt releases new album for free

Fans of electronica might recognise the name Legowelt. Danny Wolfers has been releasing quality analog techno and electro since 1996 on respected labels like Ghostly International and Clone. His sound is heavily influenced by Detroit techno and Chicago house, as well as early 80s Italo disco and 70s electronic horror soundtracks, and his studio set-up puts live sequencing and classic synths above digital trickery. On the Legowelt Wikipedia page, he describes his sound as “a hybrid form of slam jack combined with deep Chicago house, romantic ghetto technofunk and EuroHorror Soundtrack.”

Now Wolfers has just released his new album, The Teac Life, for free through his own website. He has this to say about it, and the state of modern techno - it’s definitely Not Safe For Work:

Ok people here it is the new Legowelt album which is free to download for u all.
Its got a hella lot [of] deep tape saturated forest-techno tracks on it and when I say Techno i don’t mean that boooooooooooring contemporary shit they call techno nowadays with overrated talentless pretentious douchebag cunt DJs playing a few half-assed dumb mongo beats and being all arty fartsy about it.

F*ck that, I am talking about: Raw as fuck autistic Star Trek 1987 - Misty Forests- X-FILES - DETROIT unicorn futurism made on cheap-ass digital & analog crap synthesizers recorded in a ragtag bedroom studio on a TEAC VHX cassettedeck in DOLBY C with an unintelligible yet soulfull vivacity.

Electronic music fans and analog synth freaks, this is a must. Wolfers is the real deal. If you’re a fan of John Carpenter soundtracks and the pre-pop Human League, the early output of labels like Warp and Rephlex, or even just strange homemade lo-fi music, there is much to enjoy here. You can listen to The Teac Life exclusively on the Legowelt website, or you can download the album from this link. In the meantime, here’s a great fan video of Legowelt’s “Into The Storm” (not on the album) featuring footage from 1967 Soviet horror flick Viy:

Legowelt - “Into The Storm”

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Guest Editorial: Enter The Witch House

Bram E. Gieben (aka Texture) is the editor of the Edinburgh-based fiction/non-fiction website Weaponizer, and also co-founder of the net label Black Lantern Music. I asked him to write DM a primer on the genre “witch house”:

The Niallist (aka Niall O’Conghaile) asked me to write something about witch house, summing it up, providing a genre overview, and talking about some of the artists I’ve discovered over the last year or so. The problem is witch house is nothing like a traditional genre. It is not defined by a tempo, a style of production, a specific group of artists, a region or country or city, or any of the things one could use to pigeonhole, say, shoegaze, dubstep or hip-hop. Even the pool of influences from which it draws are so diverse as to stagger the mind of even the most ardent avant garde completist: witch house can (and does) sound like everything from experimental noise and drone to EBM and darkwave and aggrotech, from hip-hop to punk rock and black metal, often all at the same time.

Witch house is perhaps the first anti-genre, in that it has always actively resisted not just definition, but also detection. Much mockery has been made of artists spelling their band names with strange typographic symbols, but in the early days of witch house this had a specific intent: namely to create a ‘lexical darknet’ (to quote Warren Ellis, the comics writer and novelist whose blog posts led me to my first discoveries in the field), whereby fans had to use the specific symbols in the band names to locate their music online.

Witch house has incubated and mutated on free music sharing platforms such as Soundcloud and Bandcamp, and survives and breeds on private forums like, and on invite-only Facebook groups like Witchbook and Dior Nights, which use Facebook to run miniature secret societies and covens. These technologies (or services, however you want to define them) are core to the distribution of the music, but equally important have been the Tumblr and Vimeo platforms. The cut-and-paste ethos behind many witch house projects extends to their visuals, and the gifs, music videos and photo collages that populate artists’ feeds and channels are as much a part of the aesthetic of witch house as the music is.

The equal importance of visual and audio material helps us get closer to a definition of witch house: it is a mood or a feeling, the kind of atmosphere generated by the seminal Goblin’s soundtrack for ‘Suspiria,’ the creeping, schizophrenic suspense of the Laura Palmer mystery, or the Red Room at the heart of Twin Peaks, the final twenty minutes of The Wicker Man, or a basement rave in the house at the end of The Blair Witch Project. In repose, it generates an aura of ritual, darkness and suspense. In motion, it combines the glamour of fetish clubs and serial murder and hard drugs into an amoral dystopia of sound and vision.

Excited yet? You should be. Witch house is almost completely free from the constraints of mainstream hype - aside perhaps from the majestic witch pop of S4LEM, the mysterious feedback glyphs of WU LYF, and the luxurious electronic experimentation of Balam Acab, the three artists closest to crossing over into mainstream consciousness.

After the jump, the bands including Gummy Bear, Ritualz, Skeleton Kids, Fostercare, Gvcci Hvcci, Mater Suspiria Vision, oOoOO and many, many more.

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Yacht: From Utopia to Dystopia via ‘Shangri-La’
08:15 am



Fans of forward thinking pop music and alternative/electonica, here’s something that’s definitely worth checking out - it’s the new video (and album Shangri-La) from DFA’s Yacht.

A little bit arty, a little bit metrosexual, Yacht have been round in some form or other for nearly a decade, so while their aesthetic might seem achingly hip and oh-so-now, it helps to remember that they’ve been doing it longer than most. Centred around the core duo of Jona Bechtolot and Claire Evans (Evans joining Brechtolot in what was previously a solo act in 2008), their live show expands the ranks to become a fuller five piece band.

Although having released albums on smaller independent labels in the past, Yacht are now part of the DFA stable, and fit very neatly into that label’s bracket of electronic rock, wearing those particular disco-meets-punk and electronica influences on their sleeve. Their recent live shows have seen them cover both the B-52’s “Mesopotamia” and Judas Priest’s “Breaking The Law” both of which make sense for different reasons. I gotta admit that I was not much of a fan of Yacht in the past, but this new album has taken me by surprise. It’s pretty damn good, and contains a few really cracking tunes, such as “Love In The Dark”, “Beam Me Up” and “Tripped And Fell In Love”. 

Worthy of particular mention though are the album’s two opening tracks, “Utopia” and “Dystopia (The Earth Is On Fire)”, which lay out Shangri-La‘s themes of dualism from the get go. Although they are two separate tracks, they have been both comped into one video, which is quite the novel idea and makes me wonder if it has been done before? Either way the video is great and definitely worth a watch - it may be cheap but it is very well done. However, if you are not a fan of triangles, you might want to look away…

Yacht - “Utopia” / “Dystopia (The Earth Is On Fire)”

Yacht - “Love In The Dark”

Yacht - “Tripped And Fell in Love”

Shangri-La is available to buy here.

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Get Ssion’s new album ‘Bent’ free for a month

Meet Ssion, the gender bending electro-punk dance band from Kansas City, led by front person Cody Critcheloe. Is Cody a man or a woman? I’m not completely sure, but it’s not important - s/he can be whatever you want hir to be. And as with other current queer artists like JD Samson, Cody likes to play with people’s traditional perceptions of style and beauty - witness the trademark combo monobrow and mustache, a pretty risqué fashion move in these anti-hair-biased times

Ssion (pronounced “shun”) are a full on audio/visual/performance-troupe well known for their live shows and support slots for the likes of Gossip and Yeah Yeah Yeahs, and Critcheloe has been making a respectable career as a video director on the side, working with Peaches, Liars and Scream Club. Ssion formed in Kansas in 1996 and released their first material in 2003. The band released their last album Fools Gold in 2007 and with it the full length feature film Boy which compiled all their music videos and has been described as a “gay, punk rock equivalent of Forest Gump.” Ssion have taken the step of releasing their new album Bent as a free download for a limited time, and it’s definitely worth downloading. As with Tyler the Creator’s first album Bastard, it’s surprising to hear music released for free that is of this high quality.

Make no mistake though - Bent is pop music. It’s party music, it’s designed for dancing - for those moments at a friend’s house when the sun is coming up, you’ve had a ball, but you’ve got that melancholic feeling that to quit now as it’s can’t get any better. There are shades of very early Madonna here, coupled with the classic mid-80s synth driven sound of the Pet Shop Boys and Eurodisco, all refracted through early 90s NY dance pop like Deee-Lite. Bent is basically the album the Scissor Sisters should have made by now, classy dance music stripped of the chintz (and Elton bloody John references) and honed to a sharp electro-pop point. It’s pretty damn good. So my advice to you dear readers is to let a little bit of Ssion into your life - get Bent.

Ssion - “Clown”

Ssion - “Psy-Chic”

Ssion - “Luvvbazaar”

Ssion - “Credit In The Straight World” Excellent cover of


Young Marble Giants.

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Destroyer ‘Kaputt’: The Sound of the Summer

Destroyer is a Canadian band, but it’s also principally the work of singer/songrwiter Dan Bejar. Earlier this year Destroyer released their 11th album, called Kaputt, to a mixed reception. I kind of get why - this is an album that smells of sun tan lotion, so a mid-January release date seems a bit odd.

Ok, first off I have to admit that I am new to this band. This is worth mentioning at the start because Destroyer have been around for over a decade, have released ten albums already, and Bejar has worked with the acts Swan Lake and New Pronographers. The response to this album from the Destroyer fanbase has been mixed, as it is quite a departure from their better known sound. Some have been turned clean off it by the musical reference points (Avalon-era Roxy Music, Don Henley, Prefab Sprout, mainstream 80s soft rock, I even detect a smidgen of Enya in there). But this hasn’t put me off at all - not just because I admit to having a soft spot for that kind of thing, but because Bejar infuses the album with such a strong personality and sense of musicality that he makes it work, especially over the two final tracks that combined last more than half an hour.

If there was one word I would use to describe this record, it’s “Balearic”. The longest-running myth about the British dance scene is that in 1987 a group of DJs went on holiday to Ibiza, discovered ecstasy, and returned to London to start the acid house revolution. The problem with that is that the renowned DJs in Ibiza at the time were not really playing acid house - they played a mixture of different genres that all tended to fall under the British umbrella term “Balearic” (after the group of islands of which Ibiza is a part). In essence “Balearic” was anything that sounded good on a beach, and in practise this could include some music that dance snobs and music purists would find reprehensible (Chris Rea, The Blow Monkeys, etc).

To me Kaputt captures the essence of those musics perfectly. It’s music for lazing around on sunny summer holidays, for playing on the drive to the beach, or after the barbecue. It’s a perfect post-club record too, as the tracks blend seamlessly into one another bringing to mind a more 80s sounding Air, all held together by Bejar’s unique songwriting and delivery. If there is any justice, this will get picked up by dance fans as their new classic comedown soundtrack.

Destroyer - “Kaputt”

Destroyer - “Song For America”

Destroyer - “Savage Night At The Opera”

Destroyer - “Suicide Demo For Kara Walker”

You can get Kaputt (on double vinyl) here.

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Black Devil Disco Club returns with Nancy Sinatra, Afrika Bambaataa, Jon Spencer & more

Seminal electronic disco pioneer Bernard Fevre, aka Black Devil Disco Club, has returned with an album of all new material featuring a stellar cast list of guest vocalists. Lending their dulcet pipes to the spectral four-four funk are Nancy Sinatra, Afrika Bambaataa, Jon Spencer, The Horrors’ Faris Badwan, YACHT, Cocknbullkid and more.

Black Devil Disco Club was one of the first European acts to record disco using mainly synthesisers in the late 70s, finding a unique sound that was both darker and druggier than the popular electronic symphonies of Giorgio Moroder. Though never finding a great amount of success or acknowledgement at the time, the act has had a major revival over the last few years due to their influence on the techno, nu-disco and Italo scenes. The original 1978 Disco Club LP release was re-issued in 2004 by Rephlex, and Fevre has returned to recording new music for the electronic label Lo Recordings.

The new album Circus maintains the core insistent dancefloor groove married to a spine-tingling creepiness that made the act stand out. The sound has not progressed very much but really doesn’t need to - it was singular at the time and remains that way to this day. And rather than being the usual roster of big names with little to offer, the guest vocalists are well chosen and work within the context. Worth special mention are the contributions of with the rock singers Jon Spencer and Faris Badwan of the Horrors and Cat’s Eyes, who lend the music a gothic timbre, while Afrika Bambaataa forgoes the rapping to deliver a menacing cackle worthy of an urban witch doctor. Nobody else does Black Forest disco quite as good as this. The first single from the album is the track “To Ardent” which features the legendary Nancy Sinatra, which may seem like an odd choice on paper but works beautifully:

Black Devil Disco Club ft Nancy Sinatra - “To Ardent”

Black Devil Disco Club ft Faris Badwan - “Distrust”

Black Devil Disco Club ft Jon Spencer - “Fuzzy Dream”

You can hear (and buy) Black Devil Disco Club’s Circus album in full on the Lo Recordings website, while over at Menergy we are giving away a download of the Grosvenor remix of “To Ardent”.

Previously on DM:
Black Devil: Pioneering electronica from the 1970s

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Formed For Fantasy: Ben Butler & The Niallist’s ‘Infinite Capacity (For Love)’ free download

I have written about Ben Butler and his magical Mouse Pad on DM before, calling Joe Howe (who is in effect Ben Butler) the “Herbie Hancock of the Scott Pilgrim generation” and “Bernie Worrell jamming a Gameboy”. I stand by that because Joe is a brilliant producer. His lo-fi synthtastic noodlefunk is not to everyone’s liking, but if you dug some of the skwee sounds I posted a wee while back, if you like some 80s MOR pop but think it’s just too slick, or even if you just have a general interest in leftfield electronica, then BB&MP are worth checking out.

Having released their debut album Formed For Fantasy earlier this year, BB&MP’s record label LOAF are now giving away as a free download the first single, “Infinite Capacity (For Love)”, which features The Niallist on lead vocals. Who is that I hear you ask? Yes, it is me, and I know that makes me open to accusations of nepotism, but I would post about BB&MP even if I didn’t know Joe. There’s a reason I worked with him and that is because he is really good, and I am very happy with our collaboration. But you can judge for yourself - to have “Infinite Capacity (For Love)” sent to your inbox, enter your email address into this widget:


Other guest vocalists on the album include San Francisco’s Vice Cooler (aka Hawnay Troof), LA’s Bobby Birdman and the brilliant Scottish oddbod Momus. Formed For Fantasy is being streamed in full on the LOAF Records website. For more info (and free tracks) check out the Ben Butler & Mouse Pad Bandcamp site, and for general shits and giggles they also have a Tumblr. LOAF have also just released a new video for the track “Design” featuring Bobby Birdman. It’s the wigged out animated tale of a psychedelic Jesus-meets-Vishnu character:

Previously on Dangerous Minds:
Supermotion: The sound of Ben Butler & Mouse Pad


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A trip through vintage New York seediness with In Flagranti

In Flagranti are a dance production duo consisting of Alex Gloor and Sasha Crnobrnja. who have been releasing records on labels like RVNG and Gomma for the best part of a decade. Their use of naggingly familiar disco samples combined with some old school analog electro synths has brought them a very loyal following all over the world, and seen them gain support from disparate scenes such as disco, Cosmic and electro-house.

But it’s not just about the music with these guys - Alex Gloor is also a very talented visual artist, and In Flagranti are as well known for their sleeves and videos as they are for their sounds. Making heavy use of vintage soft core porn imagery, the band have made accompanying videos for many of their tracks, and their upcoming album Worse For Wear (Codek Records) is no different. For these new tunes Gloor has hit a rich stream of found footage documenting the seedier side of New York in the late Seventies and early Eighties, featuring a lot of street kids, porno shop fronts and pissed off looking taxi drivers. Also featured in various videos are the Jonestown massacre, the infamous Ugly George cable TV show, and security footage of a bank robbery.

While definitely coming from the “club” side of visual montage, this isn’t full of annoying strobe editing and cheap computer graphics. Editing is in fact kept to a minimum and the visuals (in tandem with the music) are allowed to do all the talking themselves. My favorite clip is the appropriately titled “On The Fringe”, which features some battered and bruised looking street kids. I wonder where they are now? 

“On The Fringe” and the rest of the album are all after the jump, but in the meantime to whet your appetite here’s “Latter Day Methods” (ft Ugly George) and the Worse For Wear album promo clip. You can buy Worse For Wear here (so far it’s only available in the States on import) and there is more info on In Flagranti here.

In Flagranti - Worse For Wear album teaser 3

In Flagranti - “Latter-Day Methods”


After the jump the complete Worse For Wear videos.

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Seb Thompson is Publicist: A one-man disco express
07:33 am


Trans Am
Weird War

Fans of modern indie rock might recognise the name Seb Thompson. Apart from being an incredible drummer and a production powerhouse, he is a founder member of Trans Am and also drums for Ian Svenonious’ excellent Weird War. He now has a new solo project called Publicist that does away with rock stylings and goes straight for the disco jugular.

Publicist is essentially a one man band, that features electronics programmed by Thompson, vocodered vocals, and live drumming. Though still a pretty new concern with only a couple of singles under the belt (including “Momma” featuring vocals from Svenonious, and last year’s Keep It Off The Record 12”) even at this early stage it looks and sounds great. This shouldn’t be a surprise to Trans Am or Weird War fans, as it’s obvious from those groups how talented Thompson is. For me it’s great to see him directly expressing the electronic dance elements audible in Trans Am.

There’s not much info floating about on Publicist so far, but you can see and hear more at his MySpace (*spit*). Publicist is making a live appearance tonight at Brooklyn’s Zebulon, and for an idea of how fun that will be watch this live clip: 
Publicist - “Make It Right” (live)

Publicist - “Hand To Mouth”

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Little seen OMD on early 80s Top Of The Pops
07:14 pm


Top Of The Pops

I just thought I’d put up a few under-viewed clips of Orchestral Manoeuvres in the Dark performing on Top Of The Pops in the early 80s—why the hell not? I know we have a few fans lurking out there amongst the readers (and writers) and these could do with a few more views. I have a confession to make though—OMD pretty much passed me by until very recently. I dunno why that is to be honest. Maybe it’s the glut of other early synth bands from the same period whose back catalogs I was more urgent to check out. Maybe it’s my vague hazy childhood memories of the band being that they were not particularly cool. Maybe it’s the connections I can see now between OMD and the haunted Ariel Pink/John Maus sound casting the band in a new light. Whatever. I don’t wanna question it too much. I just wanna enjoy:
OMD - “Souvenir” (live on TOTP)

OMD - “Messages” (live on TOTP)

After the jump “Genetic Engineering”, “Joan Of Arc” and “Maid Of Orleans”

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