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AUTOMATIC

R.E.M.

Automatic For The People - National Album Day 2023 Edition

    Released in 1992, Automatic For the People is the eighth studio album from R.E.M. The reflective album, featuring the singles ‘Drive’, ‘Everybody Hurts’ and ’Man On The Moon’, reflects a soothing melancholy through the acoustic arrangement. Selling over 18 million copies worldwide, this release comes as a limited edition 140-gram Solid Yellow vinyl.

    TRACK LISTING

    Side A
    Drive
    Try Not To Breathe
    The Sidewinder Sleeps Tonite
    Everybody Hurts
    New Orleans Instrumental No. 1
    Sweetness Follows
    Side B
    Monty Got A Raw Deal
    Ignoreland
    Star Me Kitten
    Man On The Moon
    Nightswimming
    Find The River

    New Fast Automatic Daffodils

    Kitchen Demos

      Formed in 1988 by Dolan Hewison (Guitar), Justin Crawford (Bass) Peter Saunders (Drums) Andy Spearpoint (Vocals), and Icarus Wilson-Wright Percussion, the New Fads have a legendary live reputation touring heavily in the UK, Europe, and the US as well as releasing three critically acclaimed albums. Back now with unreleased Demos and Live material in 2023 showing their timeless originality and energy.

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      Cassette tape recreation of the original New Fast Automatic (New Fads) demos recorded in two sessions at The Kitchen in Hulme, Manchester in 1988. Features the original demos of their first three singles "Lions", "Music is Shit (Pt1&2)" & "Big". Features the original artwork and iconic woodcut image by Joe McCullough and five previously unreleased tracks. Engineered by Danny Evans who went on to be the band's long-time collaborator and engineer, it captures the first ebullient chapter of the band's pre-record deal straight from their beginnings in the squats of the Hulme Crescents.

      TRACK LISTING

      1. Wake Up Man 02:21
      2. Music Is Shit 05:44
      3. Lifetime In The Sun 04:33
      4. Kev & Gaz 02:09
      5. Lions 03:01
      6. Small Mercies 03:35
      7. Wake Up & Make Love Before Half-Past Eight In The Morning 01:13
      8. Big 08:06 

      Automatic

      Excess

        Excess is Automatic’s second album following their 2019 debut Signal. Excess distils themes of 70s and 80s corporate excess, dystopian sci-fi and climate change into 10 new songs. 

        The motorik and icy atmospheres of Automatic’s debut Signal remain, but Excess sees the band widening their scope, folding catchy pop hooks into their sound.  The band has toured nationally and internationally playing headline shows and sharing the stage with Bauhaus, Viagra Boys and Osees.

        TRACK LISTING

        1. New Beginning
        2. On The Edge
        3. Skyscraper
        4. Realms
        5. Venus Hour
        6. Automaton
        7. Teen Beat
        8. NRG
        9. Lucy
        10. Turn Away

        When Mildlife’s debut album, Phase, was released in 2018 it didn’t so much explode on to the scene as ooze. Their mellifluous mix of jazz, krautrock and, perhaps more pertinently, demon grooves, was the word of mouth sensation of that year among open-minded DJs and diggers searching for the perfect beat.

        Their emergence was backed up by European tours that demonstrated a riotously loose-limbed ap-proach to performance that was every bit as thrilling as Phase’s tantalising promise. What was more impressive was how lightly they wore influences that took in Can, Patrick Adams and Jan Hammer Group, while primarily sounding precisely like Mildlife.

        By the end of 2018 they’d been nominees for Best Album at the Worldwide FM Awards (World-wide’s Gilles Peterson was a notable champion) and won Best Electronic Act at The Age Music Victoria Awards back home in Melbourne. Their progress post-Phase was cemented with a UK deal with Jeff Barrett’s Heavenly, who released How Long Does It Take? replete with Cosmic doyen Baldelli and Dionigi remixes, while last year they were officially anointed by DJ Harvey when he included The Magnificent Moon on his Pikes compilation Mercury Rising Vol II.

        With Automatic, the band have made a step-change from their debut. It’s more disciplined, direc-tional and arguably more danceable. As on Phase, they are unafraid to let a track luxuriate in length without ever succumbing to self-indulgence. The arrangements, tightly structured thanks to Tom Shanahan (bass) and Jim Rindfleish’s fatback drumming, permit space for the others to add spice to the stew, topped off with Kevin McDowell’s ethereal vocals as Mildlife effortlessly glide between live performance and studio songwriting. “The recorded songs kind of become the new reference point for playing the songs live,’ says Kevin. “They both have different outcomes and we make our decisions for each based on that, but they’re symbiotic and they both influence each other. It’s usually a fairly natural flow from live to recorded back to live.”

        With the current climate as it is, opportunities to take this album out into the live arena where the band truly come alive, might well be scant, but they are working on ways around this. “We were hoping to visit new places with this album but that’s required a bit of rethink. We have a lot more videos planned for this year and we’ll be doing shows in Australia when things re-open but it’s still all just wait and see for now.” One thing’s for sure, post-lockdown will be one hell of a party.

        The centrepiece of Automatic is the title track where the band sound like Kraftwerk and Herbie Hancock on quarantined lockdown in Bob Moog’s Trumansburg workshop. It’s both a departure and quintessentially Mildlife. This is music you can dance to rather than ‘dance music’ and it’s all the better for it.

        - Bill Brewster

        STAFF COMMENTS

        Patrick says: Mildlife's first LP 'Phase' wowed us all at Picc HQ and their subsequent live shows sent all and sundry into utter rapture. Their second LP takes a little side step away from the more cosmic moments of their debut, leaning into a more sleek and streamlined discoid style which could elicit a wiggle from even the most ardent wallflower.

        TRACK LISTING

        1 Rare Air
        2 Vapour
        3 Downstream
        4 Citations
        5 Memory Palace
        6 Automatic

        Hot Snakes

        Automatic Midnight

          Automatic Midnight, Hot Snakes’ first studio album, originally came out in 2000. Both the band and the album began as a side project for John Reis in June 1999, during time off from his main band Rocket From the Crypt. Reis wrote and recorded a batch of songs in San Diego with Delta 72 drummer Jason Kourkounis. To provide vocals for the tracks Reis called in Rick Froberg, whom he had played with in Pitchfork and Drive Like Jehu from 1986 to 1995. Most of the material from these sessions was used to create Automatic Midnight, which became the first release for Reis' newly formed Swami Records label. The band’s sound represented a return to the unrealized past of its members: direct, undraped and rock ‘n’ roll while still maintaining the dense and turbulent character of the members’ previous work. In April or May of 2000, Hot Snakes added bassist Gar Wood, found their live sound and established themselves as primo, down-stroke warlords. 




          Automatic City

          Bongoes & Tremoloes

            After their first raw blues album One Batch of Blues, Automatic City are making a bold step towards some bongo percussion, voodoo & caribbean rhythms, space echoed jumpin' blues, tremolo and slide guitar vibrations, while still keeping the sound rough and gritty. That is one of their trademarks, as is the use of instruments not unusually found in the blues genre - sanza, miscellaneous percussions, and some primitive electronic instruments like stylophone, theremin or the rhythm ace drum machine. 

            The Turbo ACs

            Automatic

              Take punk rock by its energetic roots, put it together with an intense surf-guitar twang, add honest lyrics and you begin to describe the turbo-sound! You can hear nods to the Misfits in their contagious singalong choruses, along with inspired music that has been best described as a cross between Dick Dale and Motorhead.


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