Starred - part 11

After two successful albums Brother Dege (AKA Dege Legg) is one of the best kept secrets in Louisiana; a musician, writer, and heir to a long line of eccentric characters born and raised in the Deep South. Hailing from the Cajun swamplands and raging like the mad lovechild of Son House and Faulkner, Legg has burned a crooked trail to the Promised Land. Avoiding traditional career paths, he’s spent decades exploring the backwoods weirdness of the southern U.S, working odd jobs and forging his own brand of southern/psyouthern music. Since the mid 90s, Dege has pushed slide guitar, resonators, and roots music, kicking and screaming into the 21st century, recording self-released albums in trailer parks, sheds, and other low rent environments that meld trance-folk, Delta blues, punk, rock, metal, hippie ragas, and avant-outlaw country into one blasted whole. 

In 2010, Brother Dege reinvented the Delta blues for future generations on "Folk Songs of the American Longhair" (2010) with 10 blazing tracks that howled like the field recordings of Alan Lomax and tunneled into the ancient mysteries of pre-war blues. In 2012, Quentin Tarantino tapped Brother Dege’s “Too Old to Die Young” for the movie & soundtrack to Django Unchained, stating that every track on American Longhair could’ve been in the movie...”it’s like a greatest hits album.” 

With his latest album, Brother Dege returns to “reinvent the steel” with the slide-Dobro riff-o-rama of How to Kill a Horse. Recorded at night in an empty warehouse (while Legg worked at a men’s homeless shelter during the day), the album is a tour de force artwork that ranges from barn burners to ancient Delta meditations to Babylonian junkyard jams that explore the dark underbelly of what it is to be a man in the modern world. 

Influences include: Ernest Hemingway, Joseph Conrad, Ry Cooder, Norman Mailer, Henry Miller, Sonic Youth, Black Sabbath, Blind Willie Johnson, Einstürzende Neubauten, Jackson Pollock and Don Quixote. Like Hemingway at his finest, How to Kill a Horse goes deep into the prison rodeo of man’s heart, confronting the darker, flawed side of the self while going full-aggro in the existential blast furnace of the modern world, wrestling with men's roles as providers, protectors, partners, lovers, warriors, peacekeepers, whatever.
Full of cinematic slabs of biblical noir, dusty heat, haunted redemption, and bell towers of emotion, Brother Dege's How to Kill a Horse is a massive shot across the bow to riff heads, songwriters, and Americana enthusiasts around the world. Anyone expecting an album of retro-roots singer/songwriter schmaltz has got another thing coming. Horse is a game changer that launches the whole mess of roots music out of the vinyl dustbins and into the 21st century. Recorded with cheap Dobros, junked acoustic guitars, and ragged percussion instruments on a zero dollar budget, the album teems with world-class songwriting, Ouija board melodies, double helix slides, swampland soliloquies, Hendrix-like reverse resonators, and a gang of twang - all howling into the colossal echo chamber of the reality.


Brother Dege - "The Black Sea"

Skyscrapers

Malcolm Middleton - Solemn Thirsty

Carl has been writing and recording music since 1986 but his first real record involvement was co writing and producing Moments of Inertia by Circle City on Warp in 1993. After a year or so working with Leeds indie band The Bridewells and culminating in an album with them recorded in Roxy Music's studio, he settled down into writing and producing dance music. In 1994 he and DJ Ralph Lawson set up 2020 Vision Records, producing deep house flavours of their own as Wolf and Flow and under his own solo guise of Random Factor, remixing artists from around the globe including Blaze, Josh Wink, Superman Lovers and Fatboy Slim. His solo work is heavily electro tinted, reflective of the Kraftwerk era but owing as much to the likes of Drexciya, Prince, Depeche Mode and Yello. During the mid 90s he teamed up with SCSI founder Daz Quayle and wrote under the name Scarletron and also as Black Labs with two releases on Thomas Heckmann's Trope Recordings around 1995. Working under the names of Random Factor (2020 Vision) Voice Stealer (Subvert) and more recently Silicon Scally (SCSI, Satamile) he has released music on labels including Warp, Fuel, Playhouse, Paper, Trope, Sony, Klang, Arista, Soma, Pagan and Minifunk. He is also a keen remixer in his own right, having reworked tracks by 2 Lone Swordsman, Luke Slater, Swayzak, Dave Tipper and Alexi Delano. 2002 saw the release of the critically acclaimed Mr. Machine album on SCSI recordings. In 2003 the combined EP's on Device Entertainment Recordings were released as the album Electrilogy+ under his real name, Carl A Finlow. Shortly after this release, he moved to Paris.

Buy on Bandcamp

"Pace" by Silicon Scally

"Clone Alone" by Silicon Scally

Thousand Eyes

Revolutionary Woman (Of The Windmill) (La Bandora Del Molino)

Revolutionary Woman of The Windmill (Parte Segunda)

Where Did The Night Fall

The Runaway

Jenks

The Ride

Did a remix for a Carl Finlow MIDI ARCHEOLOGY remix contest thingy over at Fundamental Records, the remix did not win but here it is anyway. I really enjoy his music, so it was nice to have a little go on a track. :) More infos about the project here: https://www.fundamental-records.com/carl-finlow

Silicon Scally - Dark Matter (Vertical67 Remix)

Taken from 'Fools - Fools' Harp Vol. 1' (MFM047)
Buy Vinyl: www.musicfrommemory.com
Buy Digital: https://music-from-memory.bandcamp.com/
© 2020 Music From Memory

Fools' Harp Vol. 1

A4. Fools - Deefyfe (4:23)

Big Black Delta is out NOW - georiot.co/9Pu

Buy the album on limited edition vinyl from the BBD store here - bit.ly/14GqWJZ

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Love You This Summer

DBFC is not a band, its a club
DBFC has no strategy
DBFC is not interested in any political lies or promises
DBFC is inspired by the spontaneous combustion of the sixties and the endless possibilities of dance music
DBFC is not afraid to be accused of being schizophrenic nor longing to be praised for its diversity
DBFC refuses to choose between making dance records or rock records
DBFC is Dombrance, David Shaw, Antoine Reininger and Guillaume Rossel

The Ride

DBFC

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