Underground artist (buried alive) for The Screaming Mime Theater.

https://www.youtube.com/user/ScreamingMimeTheater

Forthcoming Album on Shelflife Records Features Terry Bickers on Guitar Produced by Ian Catt (St Etienne/Field Mice etc)...The Proctors were formed by Gavin Priest in 1993 following the demise of The Cudgels in which Gavin had been lead guitarist. The Proctors also feature ex-Cudgels Adrian 'Josef' Jones and Stephen Davies on drums and bass guitar respectively. The Line-up was completed by Gavin's sister Christina who shared vocal duties with Gavin. The group recorded a well received demo tape which led to Albert of Sunday Records (USA) offering to release a 7" single by the band. 'The Baby Blue EP' was released in 1993. The single sold well and impressed by Gavin's songwriting skills, Albert asked The Proctors to commence work on an album. Around this time Stephen took some time out, and the band settled down as a three piece. In 1994 the Moon Song 7" was released and various appearances were made on Sunday Records compilations over the next three years until in 1996 the album 'Pinstripes and Englishmen' was released. Again the record sold well and the band had begun to attract a small but loyal following, even though they have never played a live show. In 1997, Gavin's involvement with other musical projects left little time to concentrate on The Proctors and the group decided to take a break. Following the release on Cloudberry Records in 2009 of an EP of unreleased songs, The Proctors started work on some new recordings. The new songs will be posted once they are ready. The original line-up of Gavin, Adrian and Stephen are working on the new material, but unfortunately due to now living in Scotland, Christina is unable to join them. 

Sunny Summer Day are indiepop band from Bandung,Indonesia.
The members of this band include:
- Dicki Hermansah (Voice / Guitar)
- Arief Norman (guitar)
- Vicky Stefanus (bass)
- Teguh Indra Putra (Drums)
Dicki Hermansah also has written the lyrics, arranged the instruments and recorded all of the materials in Sunny Summer Day.
Their first EP was released in August 2007 joined with Cloudberry Record from Miami USA, in 2008 
their released their second EP “Me, Myself and The Empty Soul” joined with Letterbox Records from London UK, besides they also join with some records label for some compilation.

Slumberland began operations in 1989, inspired by such musical happenings as C-86, early Creation, Sarah, Postcard, and the UK post-punk indie label scene. Since then we've covered a lot of territory, from punk to lofi noise to shoegaze and of course pop, releasing records from bands like The Aislers Set, Boyracer, Stereolab, Rocketship, Lorelei, The Ropers, The Saturday People and Black Tambourine.

Our current roster includes The Lodger, Sarandon, Crystal Stilts, The Pains of Being Pure At Heart, Phil Wilson, Sexy Kids, Pants Yell!, Brilliant Colors, Liechtenstein, Summer Cats, Brown Recluse, and Cause Co-Motion!

https://www.facebook.com/majorleaguesmusic


Big library of diverse music, perfect for enhancing any video project. With its wide range of genres and styles, it seamlessly adapts to various moods and themes, providing an ideal auditory backdrop for creators looking to elevate their visual storytelling with rich and harmonious sounds.

Welcome to the supermodernity of Post-Neo-Close Lobsters. This site is an avenue for the uncontainable desire to create new sounds, new sounds built on 'ancient' foundations and set free old sounds built on new precepts. The music here is cumulative and quite useless, the target is beautiful and splendid output. The title Post-Neo-Close Lobsters is inclusive of the term kunstwerk and is an amalgamation partly in honour of German techno minimalism which reawakened the soul, and partly simply a means for the expression of artwork. It is music conceptualised, organised and produced for the fuck of it. That is, it is necessary in every way imaginable. Music as the melody of life. Kunstwerk as life time lines. The CLS is as in CLOSE LOBSTERS, the KUNSTWERK is as in 'Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit'; 'the work of art in the age of technological reproduction'.   CLOSE LOBSTERS KUNSTWERK is effectively, if only really very much partially, Post-Neo-CLOSE LOBSTERS.  POST-NEO-CLOSE LOBSTERS.  The 'legendary' CLOSE LOBSTERS are the font and well from which this movement springs and moves. CLOSE LOBSTERS are an independent pop punk rock group who made little ripples in the pool of sound towards the middle-to-end of the 1980s and into the 1990s. CLOSE LOBSTERS KUNSTWERK is the extension of the CLOSE LOBSTERS into the 21st century and an appropriate vehicle for various types of rythmic mumbo-jumbo. It is a reawakening of the desire and need to create. After high and low plains drifting in the wilderness for stretched time, the right time is nigh and it is mere spooky coincidence that the current economic shakedown has rendered world markets precariously on the very edge of the precipice - just as they were left back in the 90s, and as they are generally prone. As ever, au naturelle, naturlich. Up Up Up, Down Down Down as the song 'Head Above Water' is wont to tell. The 90s were supposed to make the 60s look like the 50s but didn't. Its all the same in the underground. We look into the abyss and allegedly this is where we find our character, and then when we do we are haunted by the past. It has been said that the traditions of the dead generations weigh like a nightmare upon the living. It has been said. In this sense, CLOSE LOBSTERS are past, present and future tense.  A new spectre is haunting Europe. Of late there has been a simultaneous coalescence of events which suggest/trigger something about moments and decades in time. Chains of flashing images. Time is not linear but cyclical and terribly terribly strange. It is an expression of our collective imagination. In this vein, we give vent to the accelerating juggernaut of CLOSE LOBSTERS KUNSTWERK, attempting to capture, if only for a fleeting moment, the spirit of a world turned on its head....the Re-MYSTIFICATION of the very nature of things, a world where the great many are condemned to live-in-quiet-desperation and the rest get twitchy and repetitive and loose. CLOSE LOBSTERS is an endeavour to reflect the revolutionary potential of the underground house music insurrection as it intersects with the spirit of punk rock - as an anti-hierarchical pro-autonomy kill-your-idols type social musical movement. Underground not mainstream - not superstar in the formal sense of this mainstream but in the Warhol manner. Upstream and downstream. Not literally but artistically.  Anti Disco Mafia as they might say in Eivissa and Anti-sterile POP as we have always said. CLOSE LOBSTERS KUNSTWERK is a work-in-progress. Whatever progress might be. Everything here is. The tracks/mixes above appear in latest but never final form. They are restless - given to anxiety. Twitchy. All works and all theorizing are partial. A tune is COSMIC WAR.  It is more than a mere sabre-rattle.  It is the site of the existential struggle. It attempts to soundtrack the struggle within each human heart between the angels of darkness and the demons of light and vice-versa. It is MELANCHOLY SOUL. The POP REBETALISM Mix is a hallelujah-ode to the modern artistic freaks of Athens Greece who have revitalised Rebetika in modern form. Rebetalism as magic realism. There are silent Hellenic voices in there. The original version, the DEEP HOUSE Mix is a live studio recording from the depths and midsts of time, June 1991. It stands here as the original Deep House Mix. The SUPERMODERNITY mix was frankensteined in February 2009. It is way too long. There once was a track called 'Ripples in a Pool' but it aged before our very eyes and the sword of damocles fell squarely on its head. Its days were numbered in any case. It was built in late 2008 and shuddered to collapse in July 2009. The monuments of this modernity are crumbling before they are even completely built. Such is the fevered reality of the 21st century. These are all tracks developed by CLOSE LOBSTERS KUNSTWERK.  For your delectation, the mixes are offered in (some kind of) polychronic order. A few Close Lobsters tracks are also made available here. Steel Love awaits forlornly its 2009 makeover and sits in the corner sulking. In the context of the song, the vocals are now very moving. Tragically so. The sword of Damocles permanently hangs over the song - forever. RIP. Some say the COSMIC FIVE mumbo jumbo mix is the nearest yet. To what is not clear. It was shaped and let loose in March 2009. As indicated, some of the new experimental mixes are saved/taken/rescued from the smouldering embers of the original track Deep House version. The 'Deep House' in the title was a play on living in the depths/basement of a house during the house music explosion of the late 1980s and early 1990s. One night we went to a desert storm and never returned home sweet home so to speak. Shock and Awe before shock and awe in fact. These mixes are prominences on the surface of the sun - solar prominences even, manifestations of supermodernity. Certainly a new movement. Each epoch dreams the one to follow and in a similar vein the dreams of the new mixes were contained in the original. Phantasmagoria abounds! The 'lyric poem' of 'NANANA Deep House' goes something like this: 'My favourite ever stupid phrase is 'things will never be the same' its my favourite stupid phrase la na na na na na na na na na na na na Wrote in a rush from this day on, the spectre haunting Europe will be gone  - lived in deep house in those days  - saving up for some better days - history is about to be changed  - lived in deep house in those days. My favourite ever favourite phrase is 'things will never be the same' la na na na na na na na na na na na...' the chorus, if chorus is what it is, is on the prowl, seeking answers to the incessant movement of things where life never really happens but is gone - Abracadabra! We are living between what has been, what could be, and what should be. CLS KUNSTWERK should be and are remastered in the age of technological reproduction. Welcome to the supermodernity of all things CLS KUNSTWERK - Close Lobsters Kunstwerk. The 'legendary' CLOSE LOBSTERS are the font and well from which this movement springs. CLOSE LOBSTERS are a independent rock group who made little ripples in the pool of sound towards the middle-to-end of the 1980s and into the 1990s. Typically miscast and misunderstood, the majority of impressions of the group were very much wide of the mark. Some people are just plain lazy mentally. The fundamental attribution error. However, this is fine.  Contrary to popular representations they created a dust-up live. They toured relentlessly across the UK, Europe Central and the Mid-to-North-East North American continent releasing three albums and five singles (or something like that). Evading capture and categorisation are the hallmarks of the living. Keep on keepin on as the song goes. All manner of Close Lobsters materials remain available from the usual outlets, that sorta thing, y'know these sorta places - iTunes, Amazon, the WWW. Be picky! This site aims to provide the channel for the resurrection and re-enchantment of the spirit of CLOSE LOBSTERS in supermodern form; as an entity that lives and breathes and stretches and groans and haunts. As it was and is now intended to be.  For those interested in what was, a new singles collection of CLOSE LOBSTERS works was released by Fire Records of London on 05.10.09. It is entitled 'FOREVER, UNTIL VICTORY!' in honour of the songs and the group and of the late Ernesto 'Che' Guevara.  The story of the group is thus: There was once a storm of stones and sticks and half bricks and this barrage was to become a lodestar. The very perfect nature of things. If eternity is indeed the sea mingled with the sun as a young French poet once intimated then unrelenting group disorder defines the everyday and mundane in chains of flashing images. The singles collection was marshalled and brought together, collected if you will, and these disparate souls called songs then began to spontaneously form a chronological narrative/orderly queue. The cover design (see below) is exemplary and features Rebetalism as Salvador Dali. It is a visual representation of Rebetika in modern form. Rewinding to the present, a lot more things and stuff are planned for this new movement, including the unearthing, the cannabalizing, and the technologizing of fragments of old and dusty unreleased Close Lobsters materials so that these embers ignite IN movement and as CLOSE LOBSTERS Kunstwerk Marcavo Music Recordings 2009-2011-2015...and on and on and so on...


Cate Le Bon is an artist hailing from Carmarthenshire, rural West Wales. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day and the Mercury Award nominated Reward, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on the recent John Grant album, Boy From Michigan, or  Deerhunter's Why Hasn’t Everything Already Disappeared?  (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

New album Pompeii bears a storied title summoning apocalypse, but the metaphor eclipses any “dissection of immediacy,” says Le Bon. Sonically minimal in parts, its lyrics jog between self-reflection and direct address. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales.

The songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world / Too beautiful to hold), escapism lives as a foil to the outside world. Pompeii’s audacious tribute to memory, compassion, and mortal salience is here to stay.

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