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Carla Dal Forno

Top Of The Pops

    Pearl blue cassette comes wrapped in colour printed J-cards and with colour sticker inlays. Artwork designed by Carla dal Forno. Photo taken in Yorkshire Grove, Hackney. “Everything begins and ends at exactly the right time and place, look...” Carla dal Forno presents ‘Top Of The Pops,’ a self-released cassette disclosing six songs of sultry pop devotion. This late-Spring cassette of cover songs gets the wider autumnal release it deserves, showcasing the full range of dal Forno’s virtuous taste, style and production in her distinct post-punk, pop (but) minimalist sensibility. Not without cheek, the wink-and-a-nod blue film bawdiness of ‘Lay Me Down’ (Renee) and ‘Give Me Back My Man’ (B52s) are complemented by the earnest ballads of ‘A Silver Key Can Open A Lock Somewhere’ (Liliput) and The Fates’ ‘No Romance.’ Kiwi Animal’s ‘Blue Morning,’ which over the last year has grown with every live performance, finally gets a recorded release. This cosmic inner dialogue of love lost is matched only by the penultimate track, ‘Summertime Sadness’ which is the best example of how devastatingly personal a pop song truly can be. It’s all emphasised by dal Forno’s sparse production which, as with each of these six songs, brings her au fait vocal interpretations to the fore. 

    "The Smoke" is Lolina's third solo album, following "Live in Paris" (2016) and "Because I'm Worth It" (as Inga Copeland, 2014).

    As you'd expect from this modern, artistic pioneer; you're kept on your toes from start to finish as she delivers thought-provoking lyrical content over at once comical, advanced, paranoid and electronic soundscapes. The child-like vocal delivery is cloaked in a dark subjectivity and content, whilst the sonic nods to UK bass culture hint at a producer with a knowing love for grime and all its mutant genres. Although stylistically miles apart from this sound, what it misses in identity it makes up for in sentiment, with Lolita telling you just how it is in her world, uncensored and pure and with a challenging but provoking sonic aesthetic holding it together. A brilliantly realized piece from this alluring upfront artist.

    Black Meteoric Star

    No More White Presidents - Original Soundtrack

      This is the soundtrack to the film "No More White Presidents"
      “Black Meteoric Star - No More White Presidents” is a multi layered abstract film that I, a White, recently out Trans-Woman completed in January of 2017. For the film I developed what I am calling the “flash film” technique. Initially it was a structural device similar to the chance operations used by composers such as John Cage to get out of the practice of creating “slick” edits or “moves” predetermined by overarching institutionalized aesthetic norms. However, as I worked with it I began to discover that the technique, although certainly “experimental”, has more kinship with craft techniques I have practiced such as beading, knitting, weaving and braiding. Although on the surface it could simply be a long form music video for my Black Meteoric Star project it is in fact a complex of evocative and energetic themes gathered around the necessity for abolition and reparations.

      The themes that are “braided” or “beaded” together include a repetitive meditation on death, an assessment of global capitalism as so overburdened by the karma of the triple legacies of slavery, land theft/genocide and imperialism that it can no longer function, an invocation of several of the Orishas prominent in the Regla Lukumi tradition and an exploration of my emerging Trans-Feminine identity. The intention of the film is to open up a territory for exploration and interpretation around our current predicament, allowing the viewer to come to their own conclusions about the specific details and possible solutions, both individually and through discussions with others.


      Cassette Info: Hand numbered limited cassettes in printed cardboard slipcase.

      Black Meteoric Star (Gavin Rayna Russom)

      3 Love Songs

      A very exciting release, and one not often seen on these shores (unfortunately) comes from LCD's synth-master and all-round legend, Gavin Rayna Russom under the name 'Black Meteoric Star'. '3 Love Songs' is a trio of hardware jams, brimming with analogue grit and shadowy, post-apocalyptic drive. First off, we get the appropriate echoed warning to 'Take Cover' before the snappy envelope and manipulated filters of 'Love Song #1' really take hold. Underpinned by an insistent woody kick and a shuffled hats, the throbbing saw wave near-octave (such is the wonder of modular synths, being innately fiddly to tune, some of the less experienced manipulators among us might stumble upon this microtonal anomaly, whereas in experienced hands such as these, it is obviously intentional and perfectly measured) pulls the piece along with a dystopian momentum, brimming with feeling but saturated and distorted to give the impression of a cast of characters collaboratively playing the leading role through co-operation and cohabitation.

      We get a gradual build-up of pressure, through the introduction of space-echoed vocal snippets endlessly looping and slowly degrading, with pinpointed percussive grooves and perfectly manipulated filters. At no point during it's almost 8-minute length does it feel laboured or over-familiar, retaining enough melodic intrigue and stylistic variance to keep the hypnotic drive afloat.

      'Love Song #2' retains the same sense of pace and sonic qualities as its predecessor, building on the steady pulses and tentative sonic exploration, but with a more syncopated percussive undertone, alternating between the sonic domination of the weighty LPF sweeps on the primary saw-wave and the lengthy decay on the open hi-hat, creating a sort of call and response duality. The machinated pitch variances led by an offset-controlled quantiser help to break out of the robotic drive by adding a sense of randomisation, and work away from the industrious guidelines of the previous piece, opening up into the majestic closer and groove-led throb of 'Love Song #3'

      By far the most humanised piece on the whole collection, but introduced at just the right time, the third piece kicks things off with heavily shuffled hats and resonant oscillator taking the lead role, joined by vocal shards pushed through reams of tape, and brought to the front of the sonic workspace. Once again, there are echoes of the previous pieces on here but unhampered by recidivism, it's a progressive and developmental suite of pieces, designed to be heard together and all the better for the thread of continuity running through the collection. 3 Love Songs is brimming with analogue grit, but at the same time feels almost organic, blooming into a dark but emotive suite of throbbing pulses and hypnotic bunker jams. Stunning stuff. 


      Ltd 12" Info: Marbled pink vinyl.

      Bill Withers

      Who Is He (Henrik Schwarz Remix)

      Back in 2012 when I met the love of my life, I was playing records upstairs at Oddbar. As I spun this seminal, micro-house mix up of Bill Withers' sad and sexy tale of jealousy, I saw a beautiful barmaid strolling through the wreckage of a boozy NQ weekend, collecting glasses and singing along. Laded with irresistible hooks, a propulsive groove and percussive power, not to mention an overload of soul, Henrik's version is the definitive dance floor mix of this classic, better even than Creative Source's psychedelic funk odyssey. Six years later and we're still all over this bomb, and as happy as the day we met.


      Patrick says: Out of press for years, Henrik Schwarz storming micro house mix of this Bill Withers classic is probably the highlight of his career. If you don't own it, you need it, coz it will tear any dance floor a new one...



        Anyone left with a gaping hole in their heart since "For Emma..." by Bon Iver (or Elliot Smith for that matter...) needs to pay attention now! Recorded at Greenmount Studio's in Wakefield, this debut album from Tercelvoice is a beautifully sparse indie-folk record. The wholesome and thought provoking lyrical style, coupled with the simple acoustic guitar work evokes memories of open roads, log cabin nights and fire-side conversation. From the haunting ending of "Shattered Friends" to the simplicity and brutal vulnerability of "Bad To The Bone", this album was made the old way, stripped down to the bare emotion of music.

        Behind Tercelvoice is singer / songwriter Andy Squires. On the album he plays acoustic and electric guitar, drums, bass, Rhodes, Hammond, and all vocals. Considering the overdubbed process it has a natural ebb and flow which could easily pass off as a full live band recording. His vocal style is unique and beguiling, a fragile falsetto laden with heavy emotion.

        The album was recorded to tape and mastered by Adam Gonsalves at Telegraph Mastering, Portland, USA.

        BBC Introducing has aired 5 tracks from the album, and has booked Tercelvoice for a session in February while he (they?) play The Islington in London on the 20th of January. 

        Inga Copeland adopts her Inga Copeland alias for another wicked not-on-label release, this time pressed hard onto a limited 10". The titular "Lolita" opens the EP with grime-style percussion, bleeping beats and disrupted bars, sounding like a futuristic mash up of DJ Hype and MIA. Next up, "Keep It Movin'" twists clanging electronics and cheap synth riffs into a completely nutso fusion of baroque pop, eerie indie and Whitey style shuffle. Last but not least the abstract "Plot Twist" whirrs and swirls through fucked up beeps and batshit bleeps, rounding off another uncompromising outing from this sonic outlier.

        Kim Deal

        Biker Gone / Beautiful Moon

          In her own words: "I recorded the guitars and the bass guitar on the choruses. Kelley played the verse bass guitar. Britt Walford (Slint) played the drums. We all went to Albini's and Steve recorded us at his studio, Electrical Audio, in Chicago.
          Ryan Smith at Sterling Sound in NYC mastered this DMM" I recorded this at my house in Ohio on my Tascam 16 track (1/2"). I got a CD mix of it and Ryan made a 1/2" from it and mastered it DMM.
          Chris Bigg did the artwork. He used to work at 4AD with Vaughan Oliver.

          Kim Deal

          The Root / Range On Castle

          "The Root"
          This song was written by me and a woman named Morgan Nagler. Her band, Whispertown 2000, opened for the Breeders. I am singing this and playing all the instruments. Morgan is singing harmony. We recorded this in LA in different places and I took it to Electrical Audio in Chicago and Greg Norman mixed it down. This song was recorded and mixed analog and mastered DMM.

          "Range On Castle"
          This song is also written by me and Morgan. Morgan takes the lead and sings this one. I sing the harmony. I play all the instruments except the drums. Lindsey Glover played the drums on this one. We recorded it in LA.
          Now we mixed this one to a CD and used the CD to make a 1/2" tape. Then we gave the 1/2" to Ryan at Sterling and he mastered DMM. Vaughan Oliver/v23 designed this cover.

          Kim Deal

          Are You Mine? / Wish I Was

            "Are You Mine?"
            I sang and play guitar. Lindsay Glover played drums and Armando Lopez is on Bass. We recorded this onto a Tascam 388. It's a 1/4" 8 track machine. What a bitch. It was always breaking down. We had to get Billy Zoom from the rock band, X, to fix the machine. We had like 4 of these 388 machines around the house. They sound great but they are "consumer grade" man. But I digress. I ended up transferring it to 2". Then I added a harmony vocal with Steve at Electrical and he mixed it down.

            "Wish I Was"
            I recorded everything on this one in a studio in LA. Kelley played one of the keyboards. Matt Ward (do you know who he is?) played the guitar that appears on the right side of the speakers and the solo in the pretty solo in the middle. I had some nice words but Kelley HATED my melody so I just put it out as an instrumental. Mixed by Albini at Electrical.

            All recorded analog and mastered DMM at Sterling by Ryan.
            This artwork was done by Vaughan Oliver/v23
            There is also an insert image glossy sheet that have the credits on it.

            Kim Deal

            Hot Shot / Likkle More

              Hot Shot:
              "I played electric guitars, bass guitar and vocals. Jose Medeles (a previous Breeders drummer) played drums. This was recorded at Type Foundry and with Steve at Electrical. And Greg Norman mixed it at Electrical, in Chicago.

              All recorded in the analog domain. All mastered by Ryan Smith at Sterling Sound in NYC using Direct Metal Mastering.
              I played the guitars and vocals and Steve Kille (Dead Meadow) recorded it for me in the cellar of the house I was renting out in Los Angeles. It was recorded on my Tascam 1/2" - 16 track machine. Likkle More is "see you later" in patois, btw. Likkle More:

              This was mixed by Greg Norman at Electrical in Chicago. All analog, all mastered DMM.

              Artwork by Chris Bigg using photograph by Ed Deal, 1958, of Fred Deal (Kim's other grandaddy), Chief Deputy of Wyoming County, West Virginia Sheriff's Office.

              The 7" package has an insert. It's a glossy print card that has a picture of my crazy face. It looks like a Polaroid. Because it was a Polaroid of me. And we made copies of the Polaroid and we stick them into each record. And I sign some of them"...

              Kim Deal

              Walking With A Killer / Dirty Hessians

              "Walking With A Killer"
              Recorded with Lindsay Glover on drums, Jeff Cairns on the creepy moaning guitar panned left, Dan Elkan on the lead guitar panned right. I played the other stuff…bass guitar, rhythm guitar, crazy lead section. Carrie Bradley who played on Pod and Last Splash is playing violin. We recorded this in Los Angeles at 5 Star Studio with Bryce Gonzales. Then I took the 2" tape to Steve Albini and he mixed it for me at his place in Chicago at Electrical Audio. I went up to Sterling Sound in NYC and mastered it with Ryan Smith. The lacquer was cut using analog playback to vinyl master. So this track stayed in the dimension of time, baby. And that's why I put that little guitar thing-y with the words Recorded All Wave. I am a geek.

              "Dirty Hessians"
              I recorded everything on this at Type Foundry in Portland. Recorded in the analogue domain. This was also mixed by Steve in Chicago with me and then mastered from analog tape using Direct Metal Mastering. The artwork was done by Chris Biggs and features a photograph of Kim's grandaddy on a mantrip working a mine near Bluefield, West, by God, Virginia, 1945.

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