ROGUEtech

Blue Railroad Train

Blue Railroad Train (feat. Billy Strings)

Produced slowly and meticulously over the last 12
months, these seven tracks are the closet thing we've
had to a new album from Andy Stott since the release
of his debut full-length Merciless five years ago.
Taking influence from an array of seemingly incoherent
noises, from the indefinable and unforgettable mindtricks
of Arthur Russell to the slowhouse of Kassem
Mosse, from the alternate VHS realities of James
Ferraro and Jamal Moss to the Linn Drum classics of the
vintage Prince era - these seven tracks create their own
pace and agenda, largely shying away from the
dancefloor in favour of something more complex and
hard to define.
Following on from the tribal malfunctions of opening
intro Signature, New Ground heads into a chasm of
layered loops, creating a decimated and re-wired funk
template coloured in with frayed percussion and
dislodged vocal samples. North To South starts off from
similar ground but adds a shuffling vibe at a deceptively
intoxicated 110 bpm.
Intermittent is something altogether different, taking
perfectly formed Boogie templates and screwing with
them until nothing quite fits, brittle elements floating in
and out of time yet somehow keeping it together,
before Dark Details delivers the most dancefloor
compatible six minute stretch of the set, all clanging
stabs and dense percussion, somewhere between
Shackleton and Bam Bam.
Execution and Passed Me By end things off on a slowed
down tip, the former deploying an anaesthetised and
padded 4/4 template sunk deeper into the abyss by
deformed, time-stretched vocals, the latter ending off
proceedings with a more delicate palette, letting go of
all that pent-up emotion with nothing but that rumbling
low-end and some strings for company.

North To South

I would often wander into the forest after school. This wasn’t Sheffield, or Manchester, as much as I thought I
wanted it to be. Sometimes the mushrooms we picked would make me sick, which added a vital sense of
adventure to the days and weeks that could pass without much happening at all. Something to talk about, a
story we made together. It was a dead city. Not great, not terrible. Nothing to break an illusion. We had no
idea what we were doing, but a reality check was the last thing we were looking for.

Wasted from the youth centre, we would go and listen to people spin records at Skandal. The melodies in The
Cure songs lingered with me for days. I wanted to make my own music. I started to leave early and bang on
metal into a microphone. I saved up and bought a Casio FZ-1 sampler and drum machine. We poured ourselves
into bands. We would stay in and practice, programming MIDI on an Atari ST-1024. Nobody would hear this
music. My Korg MS-10 was stolen by an ex-band mate from our rehearsal basement. I would dive inside
myself, burrowing a tunnel to a new world. Configuring an inner system.

A fascination with Clock DVA became an obsession with techno. KLF. Future Sound of London. The
melancholy was still there, in traces, but it was moving somewhere, looking for company. Growing. Ecstatic.
Ecstasy! I left the basement to share this with others. I moved to the big city and the music got faster. My
process got faster. Collaborations. Plug-ins. That’ll do. Take it to the people! What used to be a personal
practice became a public practice. A call and response. A communal effort. Abstract numbers heard this
music. My technique sharpened. My studio served a function greater than my own; a system outside myself.

Then I found the DAT tapes, and the VHS footage. They had traveled with me. Far from a nostalgic exercise,
this was a reclamation of the original impulse. A reminder of the music I always wanted to make. Reorienting
myself with analog machines and obsolete formats, I stole hours to bring this work into the world. I hope that
it speaks to you...

Prequel Tapes is a work of deep synthesis. Teenage recordings orchestrated into densely layered tapestries; a
deeply emotional study on a life characterised by a shifting relationship to electronics. The pieces serve as a
chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club.

There is a temptation to draw comparisons to Mark Leckey’s excavation of UK rave culture, Lee Gamble’s junglist
memories or the hauntological approach of the Ghost Box label, however this is clearly a personal trajectory
aesthetically distant from an English past. Oscillating between utopian to claustrophobic, the evolving synth work,
deep techno atmospheres and traces of the clangorous energy of early European ambient and industrial tell a
distinctly German tale, forged between the forest and the autobahn. 		

Inner Systems

Dragon Keys

Stars and Satellites

Keys to Paradise

The Hidden Camera

Andy Stott, "New Ground"

From Billy Strings' self titled debut EP.

Black Mountain Rag

Love both tunes a lot,hope you all will love them together...as my mashup)

Klute,Cause 4 Concern vs. Dom&Roland - Coast 2 Coast Traffico (DmytRaw Dirty Mash Up)

Twiddle feat. Kitchen Dwellers Live at The Capitol Theater on 11/23/2018

Twiddle and Pigeons Playing Ping Pong perform at Red Rocks with Kitchen Dwellers on May 2, 2019.

TICKETS>>> bit.ly/PPPPRR2019

Twiddle 11/23/18

Mountain (Twiddle feat. Kitchen Dwellers 11-23-2018 Port Chester, NY)

Wildflowers

If Sorrows Swim

The Four

Leap Year

Shouted, Written Down & Quoted

Merely Avoiding

“There’s this great duality to our band,” reflects Greensky Bluegrass mandolinist, vocalist, and songwriter Paul Hoffman. “We’re existing in a few different places at once: we’re a bluegrass band and a rock band, we’re song-driven and interested in extended improvisation.”

“We play acoustic instruments,” adds dobro player Anders Beck, “but we put on a rock’n’roll show. We play in bigger clubs and theaters, there’s a killer light show, and we’re as loud as your favorite rock band. It’s not easy to make five acoustic instruments sound like this – it’s something we’ve spent years working on.”

From these seemingly irreconcilable elements, the five members of Greensky Bluegrass have forged a defiant, powerful sound that, while rooted in classic stringband Americana, extends outwards with a fearless, exploratory zeal. The tension and release between these components – tradition and innovation, prearranged songs and improvisation, acoustic tones and electric volume – is what makes them so thrillingly dynamic, in concert and on record. “In theory,” Hoffman explains, “greensky is the complete opposite of bluegrass. So, by definition, we are contrasting everything that isn’t bluegrass with everything that is.”

This group is designed to explore music and sound to inspire a visual perspective

Leap Year

Greensky Bluegrass

Related tracks