FACT Magazine Motions previews Body High debut with woozy ‘All Gone’ @ Musique Non Stop

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1. Motions previews Body High debut with woozy ‘All Gone’
2. Evian Christ confirms work on new Kanye West album, shares remix of Young Thug’s ‘Stoner’
3. Field Day after party announced with Âme, Jackmaster and more
4. Brainfeeder’s TEEBS set to play London’s Birthdays with Paul White
5. FACT returns to East Village Radio this Friday with special guest Dre Skull
6. “A timeless representation of swag”: see the connections between hip-hop and ancient art
7. Hear Visionist’s ghostly remix of Glasser’s ‘Shape’
8. Nightmares On Wax to release career retrospective on Warp, N.O.W Is The Time
9. WIFE unveils debut album What’s Between for Tri Angle
10. We went in search of the internet’s most depressing fan forums… and found hope
11. Chicago rapper and Chief Keef affiliate Blood Money shot dead, according to reports
12. Mogwai reveal further details of deluxe Come On Die Young box set
13. Public Information to release another excellent collection of British library music, Happy Machine
14. Watch Madlib make a beat from scratch
15. Watch the full-length version of UK garage documentary Brandy & Coke
16. Beneath and Ghost-212 contribute to Livity Sound remix series
17. Petition launched to reintroduce Technics turntables
18. Nonesuch to release cast recording of David Byrne and Fatboy Slim’s Here Lies Love musical
19. Jamie xx recruits a squad of deaf dancers in new ‘Sleep Sound’ video
20. Talking Heads: Damon Albarn says new Gorillaz album will “almost definitely happen”
21. Numero Group highlight Capsoul and Way Out Records on latest Eccentric Soul compilations
22. Forgotten Classics: Chungking’s The Hungry Years

Motions previews Body High debut with woozy ‘All Gone’ Posted: 10 Apr 2014 12:25 PM PDT The ex-Grown Folker goes on a house journey. Brendan Neal is finally to reveal his post-Grown Folk project Motions in earnest. The four-track All Gone EP is due out on April 29 on digital and vinyl via LA’s Body High, and after previewing the EP’s tracks in his latest mix, he has shared the title track in full. It’s eight-minutes of woozy house fare that is ready for a warehouse party near you. Listen to ‘All Gone’ below. Previously, Motions remixed Samo Sound Boy’s ‘Open’. All Gone EP: 01. All Gone 02. Never Seen 03. Orion 04. Again Lost Soon Found

Evian Christ confirms work on new Kanye West album, shares remix of Young Thug’s ‘Stoner’ Posted: 10 Apr 2014 11:44 AM PDT Confirming rumors, the Tri Angle / G.O.O.D. producer says he’s working on Kanye’s new album. In an interview with Self-Titled, Evian Christ teased the next project he’s working on: the follow-up to Kanye West’s Yeezus. "I've got to get home and write an Otis Redding–style beat for him," he says. "He e-mailed last night. He wants something that sounds a bit like Otis Redding, a bit like Mobb Deep." Does that foreshadow Kanye’s new direction? The producer writes on Twitter not to “read too much into” the interview: “ye knows what next record is gonna sound like. i dunno. i just send beats.” Echoing what he told FACT’s John Calvert, the producer says Kanye is the only rapper he’s worked with who wants to make things weirder. "Kanye is the one dude who's like, 'This is not experimental enough. This is too poppy. Make something else.' The other guys are like, 'We don't get it,’” he explains. “Kanye is a dream to work with. No one else gives you that level of creative freedom. When he wants you to work to a blueprint, the blueprint is: 'Don't make a rap beat. Anything but a rap beat.'” Speaking of a rapper unafraid of getting weird, Evian Christ has shared a metallic remix of Young Thug’s breakthrough single ‘Stoner’. Download it via Mediafire. This posting includes an audio/video/photo media file: Download Now

Field Day after party announced with Âme, Jackmaster and more Posted: 10 Apr 2014 10:18 AM PDT London two-dayer Field Day is an essential summer weekend for any self-respecting local music fan. They’ve already got a cracking event planned, with appearances confirmed from Oneohtrix Point Never, Thurston Moore, Future Islands, Danny Brown, Metronomy and more. On top of this though there’s an after party planned at the Oval Space, and the Field Day team have made sure the line-up is looking just as essential. German duo Âme are headlining, and will be joined by Numbers boss Jackmaster, Daniel Avery, Gerd Janson and Moxie, who’re set to keep the party fizzing until a heroic 6am. To make sure you have tickets, you’ll want to head over to the Oval Space website.

Brainfeeder’s TEEBS set to play London’s Birthdays with Paul White Posted: 10 Apr 2014 09:56 AM PDT Mtendere Mandowa (aka TEEBS) is dropping down on Dalston’s Birthdays, and is geared up to bring a slice of the LA beat scene to our green and pleasant land. Mandowa’s crucial productions have catapulted him to the top of the beat scene’s pile, and his brand-spanking-new E S T A R A is yet another example of why he shouldn’t be slept on. In fact, his friend and label boss Flying Lotus commented, "Teebs' music sounds like an island vacation. The way Avatar looks." He’ll no doubt bring this expertise to his live performance, and will be accompanied by British beatsmith Paul White, who notably produced around half of Danny Brown’s acclaimed Old full-length. For more information and tickets head over to the Soundcrash site.

FACT returns to East Village Radio this Friday with special guest Dre Skull Posted: 10 Apr 2014 09:22 AM PDT FACT hits the East Village with the Mixpak boss. FACT’s US team will return to East Village Radio on Friday, April 11 from 6-8pm ET for their second weekly radio show. This week’s guest is Dre Skull, a Brooklyn-based DJ/producer that has helped forge a US-Jamaican dance music connection since launching the Mixpak label in 2009. Mixpak has released music by Vybz Kartel, Melé, Dubbel Dutch, Jubilee, and more, and will drop Popcaan’s debut album this summer. Listen live at EVR or via one of their mobile apps.

“A timeless representation of swag”: see the connections between hip-hop and ancient art Posted: 10 Apr 2014 09:07 AM PDT A Tumblr of rappers and their pre-16th century analogues. In Tumblr’s brief-but-vibrant history of visual mash-ups, we don’t think we’ve seen something this interesting: New York-based art director Cecilia Azcarate recently launched B4XVI, which highlights “an invisible conversation between hip hop and art before the 16th century.” “I got interested in the iconography of power,” Azcarate tells Dazed. After seeing the furs, chains and gold depicted in Italian and Flemish paintings at the Metropolitan Museum of Art, she wondered, “Is there a timeless representation of swag?” The project has since expanded to include pre-Columbian art, as suggested by film director Ferdinando Verderi. “People represented in these paintings and sculptures were not there by chance,” she says. “They were people of power, being it religious of political, or economical. Intellectuals, gods, saints, and people whose fame survived their lives. Today we call them celebrities.” “Hip–hop is not afraid of showing pride for its own power, and to translate that into an aesthetic of regality which is beautiful and timeless. You won’t find this in rockstar nor in politicians,” she maintains. Need further proof? Head to B4XVI or check out some of our favorites here.

Hear Visionist’s ghostly remix of Glasser’s ‘Shape’ Posted: 10 Apr 2014 08:10 AM PDT Shadowy minimalism from the grime-indebted producer. After returning last year with her second LP, the architecture-inspired Interiors, big-lunged electronic eccentric Glasser has just released an EP of remixes. Taking their tools to album opener ‘Shape’ on the four-track EP are Swiss techno producer Deetron, Bristol young’uns Hyetal and Kowton and one of our favourite producers of recent months, the grime-influenced UK producer Visionist. Stripping out the original bass and drums, Louis Carnell leaves his ghostly fingerprints all over Cameron Mesirow’s polished electro-pop, anchoring her sliced vocals with a brooding, slithery bassline down below. Hear it above. Glasser returns to Europe this summer, for headline shows in London, Dublin, Antwerp, Amsterdam and Hamburg plus performances at Primavera Sound in Barcelona and Porto. See below for the full list of dates. Visionist’s new EP I'm Fine II is due in April on Lit City Trax – check out the skeletal R&B influence on lead track ‘More Pain’. Tour dates: Tue May 27 – Dublin, IE @ Button Factory Thu May 29 – Barcelona, SP @ Primavera Sound Festival Sat May 31 – Antwerp, Belgium @ Piaf Sun Jun 01 – Hamburg, GE. @ Uebel & Gefahrlich Wed Jun 04 – London, UK Field Day Pre-Party @ Shacklewell Arms Fri Jun 06 – Amsterdam, NL @Bitterzoet/Paradiso Sat Jun 07 – Porto, PT @ Optimus Primavera Sound Fri Jun 20 – Toronto, CA @ NXNE Festival

Nightmares On Wax to release career retrospective on Warp, N.O.W Is The Time Posted: 10 Apr 2014 08:07 AM PDT After a quarter of a century at the label, Nightmares On Wax - aka George Evelyn -  is Warp’s de facto Father Of The House. The Leeds producer, now based out of Ibiza, has been releasing records on Warp since 1989. In that time, Nightmares On Wax has variously functioned as a band and a solo venture, and gradually evolved from a soul-inflected techno unit (see 1991′s A Word Of Science) to a vehicle for skunk-sozzled beat music (Carboot Soul) and summery Gilles Peterson-friendly fodder. His last LP was 2013′s Feelin’ Good, which served as the jump-off point for a nostalgia-heavy FACT interview. In June, Warp will commemorate Evelyn’s 25 years in the tooth with a new compilation. N.O.W Is The Time promises a “special selection of N.O.W highlights,” and will arrive as a 2xLP set. The record’s tracklisting has yet to be revealed, but we’re anticipating material ranging from vintage Smokers Delight material through to more contemporary tidbits. A special ‘Deep Down’ edition will also be available, featuring two exclusive vinyl LPs of rarities, remixes and fresh reinterpretations. Contributors to those bonus discs include Optimo, Morgan Geist, Special Request and Loco Dice. The ‘Deep Down’ edition will also include a bespoke book of interviews and ephemera. N.O.W Is The Time will touch down on June 16. In honour of the anniversary, Evelyn is about to trot off on a lengthy live tour, backed by a full band; dates are below. Dates: MAY 2nd – The Night Kitchen, Sheffield, UK (DJ) 8-10th – XJazz Festival Berlin, Germany 11th – Amante Beach club opening, Ibiza (DJ) 16th – Salerno, Italy (DJ) 23-25th – Baltic Soul Weekender, Germany (DJ) 31st – UNARTE, Bucharest, Romania (DJ) JUNE 7th – Plisskens Festival, Greece 18th – Neumos, Seattle, WA 20th – What The Festival?, Dufur, OR 21st – Regency, San Francisco, CA 22nd – Fonda Theatre, Los Angeles, CA 23rd – House Of Blues, San Diego, CA 24th – Crescent Ballroom, Phoenix, AZ 26th – Belly Up, Aspen, CO 27th – Fox, Boulder, CO 28th – Gothic, Denver, CO JULY 1st – Majestic, Madison, WI 3rd – Concorde Music Hall, Chicago, IL 4th – The Parish, Austin, TX 5th – Magic Stick, Detroit, MI 6th – Grog Shop, Clevelend, OH 10th – Paradise, Boston, MA 9th – Irving Plaza, New York, NY 11th – Hudson Project, Saugerties, NY 12th – Union Transfer, Philadelphia, PA 16th – Asheville Music Hall, Asheville, NC 18th – Forecastle Festival, Louisville, KY 19th – Georgia Theatre, Athens, GA 20th – Terminal West, Atlanta, GA 21st – Grand Central, Miami, FL 26th – Voix Du Gaou Festival, France (DJ) 27th – Think! Festival, Germany (DJ) 31st – Wax Da Jam Party, Ibiza AUGUST 7th – Wax Da Jam Party, Ibiza 9th – Beacons Festival, UK 14th – Wax Da Jam Party, Ibiza 21st – Wax Da Jam Party, Ibiza 28th – Wax Da Jam Party, Ibiza 29th – Fabric, London, UK SEPTEMBER 4th – Wax Da Jam Party, Ibiza 5th – Club 134, Dusseldorf, Germany (DJ) 6th – Arm aber OK, Kassel, Germany (DJ) 11th – Wax Da Jam Party, Ibiza 18th – Wax Da Jam Party, Ibiza 19th – Cumberlandsche Galerie, Hannover, Germany (DJ) 20th – Reworks Festival, Thessaloniki, Greece (DJ) 27th – Double Denim Disco, Rolling Stock, London (DJ)

WIFE unveils debut album What’s Between for Tri Angle Posted: 10 Apr 2014 07:18 AM PDT You’re my WIFE now. Irish singer James Kelly is still probably best known for his work at the helm of black metal darlings Altar of Plagues, but beneath the veneer of corpsepaint and hoarse cackling, there’s a sensitive soul trapped inside, dying to get out. What’s Between is Kelly’s debut solo album, and builds on the intriguing Burial-influenced 2012 EP Stoic. Those expecting rattling chains and blast beats might be in for a shock – although Kelly has enlisted noted purveyors of modern darkness The Haxan Cloak and Roly Porter to assist with the production, it’s a surprisingly light-hearted affair, anchored to Kelly’s haunting vocals. Check out ‘Heart Is A Far Light’ below and you’ll begin to understand – it’s brittle, heartfelt electronic pop more akin to How To Dress Well then Burzum, and should give a big hint at what we can expect from the full-length. What’s Between will be released on June 9 via Tri Angle. Tracklist: 01 Like Chrome 02 Tongue 03 Heart Is A Far Light 04 Salvage 05 Dans Ce 06 A Nature (Shards) 07 Living Joy 08 Fruit Tree 09 Further Not Better

We went in search of the internet’s most depressing fan forums… and found hope Posted: 10 Apr 2014 07:03 AM PDT Terrifying B*witched fan art Short attention spans, trolling without consequence, not being able to sell a fucking record anymore – there are many reasons why we can, and do, bemoan the age of the internet. Surely, however, the scariest aspect of living in today's times is the footprint we leave. Say something stupid at school? Fudge a potential fingering opportunity at a house party? Maybe you took a whack or a joke in the playground as a result, but beyond the fading memories of your own Year 10 Muntzes and Millhouses, there were no real consequences to your early teen actions. Fuck up online however? That shit's there forever, cached and ready to kick your ass when you least expect. There are no better examples of this than fan forums. Remember the internet before Twitter or Facebook? The BD (Before DatPiff) days where downloading a Green Lantern mixtape involved staring into the cyber-Ceefax hell of mIRC chatrooms for hours on end, trying to navigate not-so-deep web's own Event Horizon for the sake of a fucking Lox freestyle? Remember when fan forums were, er, a thing? In many ways, fan forums are dying out in parallel with the vinyl industry. Sure, you'll always have your hardcore supporters – for L.I.E.S. devotes shelling out import prices for barely-mastered 909 jams in Kristina Records, see the dedicated worker bees on We Are The Music Makers; for the 200 people on earth still buying dubstep records, see the last dingleberries clutching to Dissensus – but for the most part, the world has moved on. And nowhere is that more apparent than in the sinful beauty of the music internet's abandoned fan forums. They're The Land That Time Forgot. Music's very own Blobbylands left to rot; artefacts of more innocent times buried deeper and deeper in the overgrowth as we reduce our online presence to 140-character bursts of emojis. And they're beautiful. Catch the N.A.S.T.Y. Crew fan forum, before it was finally shut this year? To the stone-hearted, sure, it was merely a poor man's RWD Forum, but to the right kind of music historian it was a goldmine – a crucial document of a time when animated flames on your group's logo seemed like the height of flossing; a time before anybody had heard of the word 'kerning', and before Clipart and Comic Sans seemed like adolescent nightmares. The Space Jam site may live forever, but more and more of these musical documents will die out this year, going the way of Uptown Records’ forum or even – hear me out here – the abandoned Lostprophets website, which has already been devoured, ruthlessly, by a wild pack of gambling adverts. So while they still exist, I went in search of the most tragic abandoned fan forums on the internet. Little did I know, I’d find hope. The Adam Rickett web ring If proof were ever needed that past garage beats future garage, then their respective forums are judge, jury and executioner. Tragically, most of garage and grime’s once-thriving forums – RWD forum, the Roll Deep forum, Uptown Records’ forum, Onthedecks et al – have been euthanised, but in their pomp they were sheer chaos – lawless one-horse towns of shitty mp3s, vicious rumours about Logan Sama, and Wiley getting banned. Sure, you still have Grimeforum and VIP2, with their ludicrous tales of black magic in McDonalds and constant debates over who truly is the shittest MC in the game, but if it doesn’t involve Nasty Jack white-knighting himself on fake accounts and Wiley telling 14 year olds that their nan’s shit, then that’s not me. Pop forums, by contrast, haven’t been culled quite so efficiently. Whether that’s due to lack of organisation or acts clinging to past glories, I’m not sure, but the B*witched forum and the Adam Rickett web ring remain alive in body only; lost ghost ships with alternative CD single covers and Windows wallpapers lining their purgatorial corridors. Technically, the B*witched fan forum is an Edele and Keavy Lynch forum – they're the B*witched sisters, in case you didn't know – but it has all the hallmarks of a classic abandoned forum: nearly all the posts are by Hayley and Admin, a Norton / Durden duo desperately trying to strike up debates about karma, shooting down spammers and reprimanding a user called Tracey, and it's divided into an astonishing 25 sub-forums. Let that sink in for a minute: 25 sub-forums on a board about the sisters from B*witched, and two of them are fan-art based. None of them have seen a post since 2013. More terrifying B*witched fan art Still, at least the B*witched forum, with Animal’s fan art and emanuela’s stories never told, is more sweet than scary. The Tina Cousins message board, on the other hand, is more Silence of the Lambs than Smash Hits. Spare a thought for user Unknown, who was so upset by Cousins’ early-naughts healths scare that he was driven to post this in 2012: I am sad that she is sick. If I could hold her and keep her safe from all harm I would. You are loved forever Tina I never want to be seen as being creepy, since I do not think that I am.  …Would you mind me saying I would like to bite her on her ass because it is juicy and nice?:) I think that you would. Still I am just filled with passion for her, that is why things like that are said. She is desirable. Think that’s weird? Check out Unknown’s self-inflicted feedback loop of a Tina tribute topic, where he mumbles equal parts beating hearts and throbbing veins into the void: Speaking playfully…. I love you. I love you. I love you. Did I mention that "I love you."?!  I want to brand your bottom with love, suck on it all over and make it all red. Oh my, you have a beautiful ass Tina(….and everything else). You would get so much love from me. Endless amount of love would flow from me all over you, in your direction, if you were my girlfriend. Sure, it’s filth, but it’s prim, selfless filth – a bottled James Joyce sex letter lost in a sea of PornHub comments. They don’t make ‘em like Unknown anymore, and maybe that’s not for the best. Unknown’s sincerity would fit in like a dream on this David Sneddon fan site – a one-person tribute to a former Fame Academy winner who hasn’t released a song since 2007. ”I can't pretend I ever hear from David!”, reveals its eternally jilted author, in an entry posted a mere six weeks back. “In many ways I've no idea why I am still here following his career?!” A linked Snedden fan site, seemingly by the same author, leads with the heading “David Photos and Bio since 2003…..always inpried by you. You seem a bright elusive flame.” You hope these people at least have some kind of support group accessible – a place where Sneddon’s unwanted autobiographer can cry on the shoulder of carol, the restless administrator of this unofficial Gareth Gates board, or the user who logged into this Jordan Knight forum last Christmas to ask “Where is everybody? This place is dessert it.” But you suspect that theirs is a lonely pursuit, a solo quest to keep their clumsily cultivated corner of Web 1.0 alive, as it lurches and gurgles, like the decrepit granddad in Texas Chainsaw Massacre, towards the inevitable. Incu-pets In the age of the internet individual, a generation of 140-character narcissists for whom engagement is as dead a scene as Kerrang! goths and Kappa trendies, isn’t there something uniquely admirable about the people keeping these forgotten outposts alive? In the same way that past generations were made aware of discipline and devotion from the church whether they grew up religious or not, shouldn’t we be making our emoji youth aware of the Dru Hill monestary to show them that yes, some people still engage beyond a Soundcloud play? Some still do commit to fandom beyond an iTunes purchase? It’s easy to laugh at Incu-pets, a place for, you guessed it, Incubus fans to show off their pets, but I’d take them over a fucking selfie any day. It’s becoming more and more common for Clapham mums and ex-pat dads to send their iPhone children abroad to show them that not everybody in the world’s a spoilt Western shithead – and sure, that’s sort of noble. But if charity begins at home, then why not sit them down with the untainted devotion of the still-thriving (sort of) Old Skool Hip-Hop board, a forum that looks like a NES option menu and where discussion of music made beyond 1986 is strictly banned. Sure, these people may be stuck in the past, and you’d probably rather join the army than share a pint with them, but we could learn more from them than we think. As the lonely host of the David Sneddon fan site puts it, when reflecting on over half a decade spent blogging about a silent artist, “I believe music is about the joy you might give to others, as with all the arts.” So let’s hear it for the committed fan forum moderators, keeping their Verdana ships afloat as the entire world tries to sink them. Even if nobody’s listening, the world needs them more than ever. And in the words of Sneddon himself, ”don’t ask why. I don’t think it even matters.” Thanks to Joseph Morpurgo and Chal Ravens for their help sourcing some of these.

Chicago rapper and Chief Keef affiliate Blood Money shot dead, according to reports Posted: 10 Apr 2014 07:02 AM PDT News is coming in that Chicago MC and Chief Keef collaborator Blood Money has been murdered. Blood Money – also known as Big Glo – will be a name familiar to Chief Keef-watchers: the rapper features on Keef’s ‘Fuck Rehab’ single, and his Gangland mixtape arrived under the auspices of Keef’s Glory Boyz Entertainment imprint. It’s also being reported in numerous publications that the pair were cousins. The news has arrived from local paper The Chicago-Sun Times, which claims that the 30-year-old rapper – real name Mario Hess – was shot dead on Wednesday evening in the West Englewood area. According to the paper, authorities have confirmed that the rapper was shot at approximately 9.30pm, and died around an hour later at Stroger Hospital. A 33-year old man was also seriously wounded in the attack. The report features quotes from the rapper’s manager and cousin, Renaldo Reuben Hess, who claims that Blood Money had signed to Interscope last month. According to Renaldo Hess: “This was his dream and he finally got his foot in the door. But that's how it goes in Chicago. He really wanted to get off the streets." (Hess, incidentally also manages Chief Keef). Keef has been posting pictures of Blood Money to his Instagram. ‘Fuck Rehab’ is below. [via Complex]

Mogwai reveal further details of deluxe Come On Die Young box set Posted: 10 Apr 2014 06:38 AM PDT Post-rock survivors Mogwai might be having their best year to date. Their recent album Rave Tapes managed to finally nudge them into the UK top 10, so it feels as if a bit of a victory lap is justified. In celebration of their 1999 album Come On Die Young (affectionally known by fans as CODY), the band have rustled together a pretty deluxe reissue, bundling together a mammoth 17 additional tracks (providing you shell out for the 4LP version). Most excitingly the band have rediscovered two unreleased cuts – 'Satchel Panzer' and 'Spoon Test' – but there’s plenty more on top of those. The awesome (and rare as hen’s teeth) Travels in Constants EP is featured in full, alongside live snippets, rarities 'Nick Drake', 'Hugh Dallas', the original version of ‘Helps Both Ways’ (which included a later-nixed sample of American football commentator John Madden) and previously unreleased demo material. Also, there are seven remixed and remastered tracks from the original CODY sessions, material recorded long before the band settled on the final album. You can hear a CAVA version of ‘Ex-Cowboy’ below, and it’s surprisingly different and certainly worth hearing for dedicated Mogwai fans desperate to hear more material from the era. Here at FACT we did a bit of our own digging and rustled up a selection of Mogwai’s very best deep cuts – some of which have ended up on the box set. Come On Die Young will be released on double CD and 4 LP box set on June 16, via Chemikal Underground. Tracklist (double CD): CD1: 01 Punk Rock: 02 Cody 03 Helps Both Ways 04 Year 2000 Non-Compliant Cardia 05 Kappa 06 Waltz For Aidan 07 May Nothing But Happiness Come 08 Through Your Door 09 Oh! How The Dogs Stack Up 10 Ex Cowboy 11 Chocky 12 Christmas Steps 13 Punk Rock/Puff Daddy/Antichrist CD2: 01 Nick Drake 02 Waltz For Aidan (Chem19 Demo) 03 Rollerball (Chem19 Demo) 04 Cody (Cava Sessions) 05 Ex Cowboy (Cava Sessions) 06 Spoon Test (Cava Sessions) 07 Punk Rock: (Cava Sessions) 08 Helicon 2 (Cava Church Live) 09 Satchel Panzer (Cava Sessions) 10 Kappa (Cava Church Live) 11 Untitled (Travels In Constants EP) 12 Quiet Stereo Dee (Travels In Constants EP) 13 Arundel (Travels In Constants EP) 14 Helps Both Ways (Original Version) 15 Hugh Dallas

Public Information to release another excellent collection of British library music, Happy Machine Posted: 10 Apr 2014 05:47 AM PDT Another helping of top-notch library goodness from Public Information? If it’s going! Back in 2012, Public Information delighted and enchanted with their Tomorrow’s Achievements compilation, collecting a stash of late 1970s/early 1980s library music from the Parry Music Library. Unlike some library music retrospectives, which seem content to pootle along on kitsch and throwback charm alone, Tomorrow’s Achievements was commendably diverse and, often, musically arresting. Public Information have just announced a second foray into library music, Standard Music Library 1970-2010. Billed as an “unofficial sequel” to the Parry collection, this new 31-track collection compiles electronics-heavy work from the Standard Music Library archives. Active since 1968, Standard Music Library began life as a joint venture of London Weekend Television Theems and publisher David Platz. Its roster of contributors includes Brian Eno, Delia Derbyshire and George Martin, and familiar themes from its archives include Upstairs, Downstairs and On The Buses. Public Information’s compilation promises a broad overview of the label’s output over the course of three decades, ranging from “desolate Radiophonic ambient to cute bleep-idents to stark contemporary drone to jagged electronic scorch.” A short sampler is below, which ticks off at least a couple of those boxes. Featured artists include Brian Hodgson, Richard Thair, John Keating, Mike Vickers, and plenty more. Standard Music Library 1970-2010 will be made available as a 2xLP – albeit in a limited run of 500 – and a digital edition will also be available. Head here to preorder the record.

Watch Madlib make a beat from scratch Posted: 10 Apr 2014 04:41 AM PDT Madlib produces a beat from scratch in this brief video, which we’re told was shot with 10 Sony Music Video Recorders running simultaneously – hence the train track looping round our lonely star. Recorded in Daitabashi, Japan, the clip features samples from Paul Ngozi and The Ngozi Family. Part two of the video is coming soon, says Noisey. Bit of a shame it’s been chopped and edited so much – we’d have enjoyed a full-length, blow-by-blow beatmaking session from the Konducta. For more of that sort of the thing, check out FACT TV’s arsenal of Against The Clock videos. Madlib’s latest genius dispatch came in the shape of an album collaboration with Freddie Gibbs, as introduced to FACT by the thug rapper himself last month.

Watch the full-length version of UK garage documentary Brandy & Coke Posted: 10 Apr 2014 04:23 AM PDT Dig out your Gucci loafers. If you missed last week’s Channel 4 premiere of Ewen Spencer’s UK garage documentary, Brandy & Coke, do not fear – it’s online now in all its full-length glory. The doc stars key UKG figures MC Creed and Mike 'Ruff Cut' Lloyd, Twice As Nice boss Steve Gordon and a few of the Moschino-mad clubbers who gave the scene its distinct look. Watch Brandy & Coke over at Dazed. The feature is an expanded version of a mini-documentary that appeared back in January, and is the first of a five-part series exploring the most vital underground scenes from Britain's recent musical history. Music Nation continued this week with Berkshire Goes Balearic and will take in Bristol bass, hardcore punk and jungle in the coming weeks.

Beneath and Ghost-212 contribute to Livity Sound remix series Posted: 10 Apr 2014 04:07 AM PDT Livity Sound – the highly-regarded triumvirate of Peverelist, Kowton and Asusu – continue their ongoing remix series. Since February, the trio have been quietly putting out remix 12″s, featuring reinterpretations of Livity Sound material from the likes of MMM & Pangaea and A Made Up Sound. The latest instalment in the series, Juno Plus report, will see Beneath file a new Kowton remix. The producer – whose forthcoming EP for PAN is still yet to materialise – gives  ’Jam01′ his typical scattergun-percussion-plus-morbid-atmospherics treatment on the flip. The A-side, meanwhile, features a rework of Pev’s ‘Livity’ from Ghost-202, better known as Ron Morelli and his L.I.E.S charge Svengalisghost. Theirs is the gruffer, mooder cut of the two; click below to stream clips of both tracks. The 12″ is due on April 28. In the meantime, we’re currently giving away a glut of Livity Sound prizes in honour of the group’s forthcoming secretsundaze appearance.

Petition launched to reintroduce Technics turntables Posted: 10 Apr 2014 03:34 AM PDT Originally posted on The Vinyl Factory. Thousands demand the return of Panasonic's legendary Technics SL-1200′s. A petition has been launched online to reintroduce the Technics SL-1200 turntable, which has been out of circulation since 2010. Manufacturer Panasonic retired the iconic model after almost forty years as the world's DJ turntable of choice. Launched in January of this year through online petition platform Change.org, the campaign has picked up pace after a slow start, gathering over 5,000 signatures in the last five days, and currently stands at close to 7,000 overall. Tabled by one Moni Daniel, the campaign states: For turntable-fanatics we've seen technology advance expeditiously and that's not to say there are no benefits to the digitalisation of music… However we feel that there's a place for vinyl and the traditional DJ'ing and turntablism is too – and this is where we feel the Technics SL 1200s are vital. More in hope perhaps than expectation, the petition will be presented to Panasonic Company and its parent company Matsushita Corporate, and simply demands the "re-introduction of legendary Technics Turntables". Of course, there's also a Facebook group doing the rounds which has also drummed up over 6,000 likes. You can sign the petition here. That said, with 3.5 million thought to have been sold in the last 35 years, you might be better off nabbing yourself one on the saturated second hand market. In related news, Pioneer recently unveiled a new turntable heavily influenced by the Technics model, which you can see here. You should also check our list of the 8 best budget turntables for home listening, for more alternatives. This is also not the first time disgruntled record collectors have mobilized via social media. Last month close to 30,000 people joined a group to save IKEA's 12″-friendly storage shelf, the Expedit, which has now been pulled from circulation. Although the writing was already on the wall for Expedit, the outcry did draw an official response from IKEA.

Nonesuch to release cast recording of David Byrne and Fatboy Slim’s Here Lies Love musical Posted: 10 Apr 2014 03:14 AM PDT Talking Heads frontman unveils stage version of his Imelda Marcos concept album. The songs of David Byrne and Fatboy Slim’s disco musical Here Lies Love are to be released again, this time recorded by the cast of the New York stage adaptation. Originally released in 2010 as an album featuring the voices of Santigold, Sia, St Vincent and more, Here Lies Love charts the rise and fall of Imelda Marcos, the shoe-hoarding, disco-loving First Lady of the Philippines who was disgraced during the country’s People Power Revolution. Here Lies Love premiered at New York's Public Theater last year and will return for a new season beginning on April 14. To coincide with that, an album of music performed by the original 2013 Public Theater cast, starring Ruthie Ann Miles and Jose Llana as Imelda and Ferdinand Marcos, will be released digitally and as a 2xCD set on April 22 (and internationally on May 12). The CD includes a 52-page colour book with lyrics, credits, an introduction by Public Theater director Oskar Eustis and two essays by Byrne. Pre-orders in the Nonesuch Store and on iTunes will come with with an instant download of the track ‘Child of the Philippines’, which you can hear below. [via Clash]

Jamie xx recruits a squad of deaf dancers in new ‘Sleep Sound’ video Posted: 10 Apr 2014 02:46 AM PDT Jamie xx goes dancing with the deaf.  In a couple of weeks, Jamie xx releases a new 12″ single, Girl / Sleep Sound, and the flip now has an accompanying video, directed by Sofia Mattioli. The clip features Mattioli dancing to the track with regulars at the Manchester Deaf Centre, with the deaf dancers following her movements and responding to the track’s vibrations. Mattioli’s rationale behind the concept is below, and makes for interesting reading: I was on a train listening to music, getting deep into it, and this girl started staring at me. After a while I took my headphones off and she came up to me, started signing and then wrote me a note to say that she was deaf but could almost feel the music by my movement. The relationship between silence and music is a big part of what I am trying to express with my work. The first kid in the video, Archie, was bliss—all of them were amazing. I hope this is a project I can develop further. Girl / Sleep Sound drops on May 5; both tracks are available to stream in full. ’Sleep Sound’ was recently thrown to the baying critics in FACT Singles Club, where responses ranged from merry (“a big snuggly duvet of a track”) to sniffy (“even the chopped vocals sound bored”).

Talking Heads: Damon Albarn says new Gorillaz album will “almost definitely happen” Posted: 10 Apr 2014 02:28 AM PDT “I can definitely see another Gorillaz-esque record at some point, yeah.” “That will almost definitely happen. I could put a Gorillaz record out next week; I’ve got enough stuff I haven’t finished.” - Damon Albarn instigates that hoary old semantic conundrum: what is the distinction between a “Gorillaz album” and a “Gorillaz-esque album”? Turning his gaze to Blur, the singer also confirmed that he’s “sure we’ll play again at some point..it’d be mad to go the rest of our life and never play any of those songs again. [via NME] Last week, we hosted an exclusive FACT mix from Albarn, featuring the likes of Erykah Badu, Matias Aguayo, Henry Mancini, and a sprinkling of unreleased Albarn material.

Numero Group highlight Capsoul and Way Out Records on latest Eccentric Soul compilations Posted: 10 Apr 2014 02:25 AM PDT Chicago-based reissue champions browse Ohio’s soul history. Numero Group have announced two new additions to their line of Eccentric Soul compilations, which began a full decade ago with the label’s very first release. The first of the pair is Eccentric Soul: Capitol City Soul, which is billed as an expansion of 2004′s Eccentric Soul: The Capsoul Label, featuring more rarities from the Columbus, Ohio label operated by Bill Moss. The 20-strong tracklist includes several tracks by soul groups the Four Mints and the Kool Blues, plus the Chandlers, Dean Francis & the Soul Rockers and more. Sample the tracks of the 2xLP set on Numero Group’s release page. The second of the compilations is a 2xCD, 3xLP set exploring the catalogue of Cleveland, Ohio’s Way Out Records – an “asylum for a rising crop of rogue soul men, rust-belt vocal ensembles, and trial-by-fire producers”, as the label explains. The quirky operation reached its peak in the late ’60s with acts like the Sensations, Volcanic Eruption and the Exceptional Three, who were said to have recorded in view of a wall-mounted shotgun. Find out more about the 40-track collection on the release page. Both records are due on June 24 with the usual selection of photos and generous liner notes. Numero Group have already spoiled us this year with a compilation of ’70s “wizard rock” and an accompanying fantasy board game, plus a huge retrospective box set for ’90s Olympia band Unwound. Last year’s highlights included another edition of the Eccentric Soul series, this time focusing on the little-known Kansas City label Forte. [via Exclaim]

Forgotten Classics: Chungking’s The Hungry Years Posted: 10 Apr 2014 02:02 AM PDT Forgotten Classics is a new weekly feature where we ask FACT contributors and noted diggers from across the spectrum to pick an obscure gem that they think has been unfairly brushed under the carpet and explain why it's worthy of re-appraisal. This week: Chungking The Hungry Years (Gut, 2004) Picked by: FACT writer Joe Muggs. This is a tricky pick, as there’s a whole lot of partiality involved: the members of Chungking are my friends. They weren’t so much, though, when this album was made, as I’d been in the band, and fallen out with them in quite messy circumstances. All through the formation of the band, my exit, the making of this record and on, I experienced a lot of the very best and worst things about music making, and witnessed music industry dicking about that could make Franz Kafka wince. But even at the trickiest times in my relationship with them, I knew they were onto something very special, and this album was the best document of what they could achieve. These songs are monumental. This is a band outside of their time, who, despite being of the rave generation and electronically astute in their production, were channelling The Carpenters, Parliament, The Isley Brothers, John Martyn, The Bee Gees and Donna Summer – not in a record-collector-rock, knowing-nods sort of way either, but in a we-want-to-make-records-this-good way. Very long story very short: in Brighton in the late ’90s, I joined a load of moody boys with beards who had a rock band, had bought an Akai S2000 sampler, and wanted someone who could edit breakbeats. We spent a lot of time stoned in a cellar doing things that sounded like boys stoned in a cellar, then it became apparent that Sean from the band’s girlfriend Jessie was at least as good a songwriter as anyone and (to say the very least) a much better singer, so she joined. Reference points changed instantly from UNKLE to Deee-Lite and Blondie, and everything looked great, so we promptly spent the next three years having the life sucked out of us in development hell with various major labels. By 2002, when Chungking found a more natural home on Tummy Touch and put out the first single – and only released tune I ever had any hand in – things weren’t great any more. What had started as a seven-piece band was already down to four, as the atmosphere of claustrophobia and psychological fraying picked us off one by one, and Sean and Jessie were breaking up as a couple, and I was starting to feel like a spare leg in the whole band process. Through all this bullshit, Sean, Jessie and James the bass player (my then-flatmate, who also played with Cristian Vogel and Jamie Lidell in Super_Collider) were properly finding themselves as songwriters and producers, replacing kooky pop with gigantic ballads; meanwhile all I could really do still was edit breakbeats. Brighton being – for all its manifold pleasures – a gossipy, incestuous, inward-looking place to boot, the whole situation was not pleasant and after rather too much denial, I finally accepted the inevitable and left the three of them to it. They made a very good album for Tummy Touch, We Travel Fast, which had some nice reviews, but then came the weird bit. They signed to a label then best known for Tom Jones and The Crazy Frog, which was happy to fling money at bigger studios and deluxe vinyl – and put out a slightly different version of that Tummy Touch album, heavily remixed with a couple of tracks different and a new title. Of course the media and public were massively confused by this quixotic move, and the album was basically ignored. This was understandable, but criminal. In their new versions, the songs sound like a million dollars: insanely lavish, the productions matching the ambitions of the songwriting and Jessie’s vocal harmonies, their strangeness yet also their absolute sincerity allowed to shine out. Every song is a stand-out, every one is unique – from the demented ‘Voodoo’ with its bass like Bernie Worrell having an emotional breakdown and Jessie channelling ‘I Feel Love’, through the progpocalypse of ‘World of a Thousand Suns’, through the string crescendo on the heartbreakingly slow breakup ballad ‘Following’, to the open-hearted optimism of ‘Making Music’ and ‘Come With Me’ (the latter featuring the most blatant prelapsarian yearning in pop music, like, ever). Even Jessie digitally pitch-shifted into a freakazoid mutant Teddy Prendergrass on the lusciously sleazy ‘Full On’ ("you can stay here but it will be full on") and ‘Let the Love In’ (in which she duets with her own, normal, voice) fits in perfectly and doesn’t dent the classicism of the sound in the slightest. I was furiously jealous of their achievement, but I couldn’t deny it – because it can’t be denied. That’s not me overcompensating, either: I’ve played these tracks out as a DJ in a lot of different circumstances from fusty pub to 4am sweatpit and almost without fail someone will demand to know what they are. It’s music that people get instantly, if they hear it. The album might have disappeared practically without trace but they didn’t do too badly: tracks appeared on all kinds of "box-set dramas" – including ‘Following’ in its entirety soundtracking the climax to the final season of Nip/Tuck – and, despite more years of label wrangling, Chungking, reduced finally to a duo of Sean and Jessie, got a Richard X co-production on their next album, an invitation to submit tracks for Kylie, and the general respect of all who heard them. The industry bollocks did eventually get too much for them and they haven’t released anything in seven years, but incredibly they’re still functioning as humans and musicians and sitting on a crate full of amazing songs. I hope more people hear those, and I really hope more people hear the all too aptly titled The Hungry Years.