"To make an end is to make a beginning."

Hope whoever listen enjoys.

2023 - 03 - 30 19h48m20

The next in our interview series with artist Simon Crab. The founding member of the Industrial, Post-rock, neo-no- wave, electro-acoustic, gabber-techno, dub-ethno-jazz-funk band—Bourbonese Qualk.

Interview & edit by Mike BC

Tracks
00m.34s - Autopsia – Relax [excerpt] – from Notre Dame compilation (EE Tapes, 1987)
00m.57s - Simon Crab – Invisible Cities [excerpt] from Invisible Cities LP (Space Ritual, 2022)
02m.01s - Bourbonese Qualk – Lies – *from Preparing for Power LP (Recloose Organisation, 1986, also reissued by Mannequin Records, 2022) 
06m.23s - Bourbonese Qualk – Backlash *
9m.51s - Bourbonese Qualk – Confrontation *
15m.50s - Muslimgauze – Soviet Occupied Territories – from Buddhist on Fire LP (Recloose Organisation, 1984, also reissued by Vinyl-On-Demand, 2016)
23m.58s - Bourbonese Qualk – Under The City – from The Elephant Table compilation (X Tract, 1983)
30m.39s - Bourbonese Qualk – Under The Influence – from the Unpop LP (Total, 1991)
34m.53s - Simon Crab – Kondokushi – 10” single for Notte Brigante (2020)
39m.08s - Simon Crab – Headless Day – **from Invisible Cities LP (Space Ritual, 2022)
44m.02s - Simon Crab – Stack Interchange **
54m.1s - Big Daddy – Warlords – from Bomb Culture LP (Offen Music, 2023)

Narratives 002 Simon Crab

Previously unreleased track recorded in the BYO1 era.
Out 23rd June as part of a digital 4-track EP ---> https://bunker-3.bandcamp.com/album/ep1

Eba "Elephungk (Music Version)"

"I approached and signed all of the first Warp acts." The Sheffield record producer and label cofounder discusses starting the UK label and the early days of bleep techno.

Before Warp became the landmark label it is today, it was a Sheffield record store. Robert Gordon was an employee there in the early '80s, working alongside colleagues Steve Beckett and Rob Mitchell, with whom he'd start the label in 1989. Listeners familiar with the contemporary UK techno landscape may associate Warp with luminaries like Aphex Twin and other names associated with IDM and bleep techno. It also released a lot of artists who were recording in a Sheffield studio called FON, which is where Robert Gordon found his footing even before starting Warp.

In this Exchange—conducted by DJ, producer, CDR founder and Resident Advisor board member Tony Nwachukwu—Gordon talks about FON and laying the groundwork for the Sheffield scene. In 1985, he recalls, it was the first local commercial 24-track studio and attracted luminaries like David Bowie, Yazz and groups tied to post-punk band Cabaret Voltaire. More recently, it's produced work by 808 State, Nightmares On Wax and Sweet Exorcist.

Gordon also reflects on FON's early days. It was foundational to the sound of the '00s and formed a tight-knit community around itself that eventually became intrinsic to a bigger musical movement. Although Gordon left Warp in 1991, his A&Ring for the label—along with his own productions and engineering assistance—defined its sound. Listen to their conversation in full.

EX.670 CDR with Rob Gordon

World Treasures Music - 21.07.23

Vintage industrial, EBM sludge, new-wave krautrock, armchair techno, weird breaks. Damaged Goods are not as banging as may be conveyed, Featuring Sheffield's Bunker 3, Detroit's Code Industry, German art installations, acid and more.

Damaged Goods w/ Mike BC 26/08/23

Mike BC taking you on a percussive, dubbed-out, krautrock journey with spoken word interludes from the depths of his record collection.

MIKE BC CLUB COSMOS 01-10-23

Mike BC @ Club Cosmos, Leeds (01/10/23)

DownInTheDeep 0151

Beach

@kamekameha

A note from the artist:
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This is Treezy B's African Art of Acid (Triple A baybee) Mixx, an homage to the art form that is known as acid house. As we all know House was birthed from Chicago, coming from the same gestation of 80s post disco black music that gave us Techno & Hip Hop. This period of musical innovation, propelled primarily by black youth, was yet another part in the long history of African-Americans dictating popular culture. Acid house was another rhythmic mistake, like the original blue note; an innovative use of technology beyond it's original intent by putting sum stank on it. 

It was black people who used a discarded bass machine to produce futuristic & psychedelic sounds that would influence the world yet again. Yet acid house, like most forms of popular music, did not do for the black community what it's done for others. Acid muzik has been lazily copied and mass produced, with little of the soul intact. There was no Second Summer of Love in Amerikkka, no Ibiza for Negroes to spend their holiday, no beginnings of a multi-million dollar industry that could change the lives of Lady Liberty's bastard children. The Summer of 1988 for those of African blood was another year of ravaging due to Reaganomics, Thatcherism, crack cocaine, gang violence, and institutional racism on a global scale.

Still melanin keeps on providing because funk is it's own reward. And if it ain't funky then what the funk are you doin?

All songs are acid music produced by people of African Diasporac descent. All vinyl records on 1 Technics SL-1200M3D, 1 Technics SL-1200MK5 & an Ecler NUO 2.0 mixer.
Overdubs of black people ripped from youtube and mixed on Ableton Live 10 Suite Free 30 day trial. 
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Honey Soundsystem Potcast

HNYPOT 330: Turtle Bugg's African Art of Acid (Triple A Baybee) Mixx

Alternative black music.
Established in Manchester 1993. 
Resurrected post-hiatus 2017.
byodashjo@gmail.com

Eba "Elephungk (Music Version)"

Byo-Jo Recordings

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