GOING 120 ON THE 5 FREEWAY AT 3 IN THE MORNING LETS GOOOO!!!!

2019 Playback

Vinyl available on Magic Feet from 2/6/14

http://www.juno.co.uk/products/rich-lane-peza-flesh/529294-01/

____________________________________________

Written by Ch. Chayell, M. Ickx

Performed and produced by Rich Lane

______________________________________________________________

In the UK Midlands of late 1988, shortly after the second Summer of Love, a 15 year old schoolboy, already immersed in Acid House and Detroit Techno, reads in one of the pretentious London-centric mags he devours each month about a new sound which could be the next big genre.  It's called New Beat, and it comes, of all places, from Belgium. This makes him pay attention -  he spent every summer holiday of his youth in one of the country's resorts, and had vague memories of stark, pounding electronic music emanating from club doorways late at night.

He makes a trip from his suburban home into the city centre determined to find some examples of this new music. After a lot of searching he comes up trumps: a compilation album called 'New Beat - Take 1'. He buys it on the spot and takes it home to listen to. As with most albums he's ever bought, he feels slightly cheated, after a couple of good tracks there's a fair bit of filler, and certainly no overriding 'sound' other than a somewhat slow and Euro Pop centric approach to House. Nothing like the aural fingerprint of Acid or Techno. But...

Some of the tracks pique his interest. They have a dark, early 80s synth heavy sound which reminds him of both the Synth Pop of his youth, and the mysterious music filtering out of those Belgian clubs as a child...

He has to wait till the very end of the album for the best of these - a track called 'Flesh' by A Split Second. The fascinating sleeve notes of the L.P. tell the story of how an already banging tune in the established Belgian style of 'Electronic Body Music' was played at the wrong speed (33 1/3 and +8 on the Technics deck) by an Antwerp DJ called Fat Ronny. The club went wild, and a new genre was born - Belgian producers trying to replicate the slower groove and dark timbres of this fateful bit of serendipity. The UK schoolboy gets more than a little obsessed by the tune...

The lad in question went on to form a career in dance music production, and after 25 years has decided to revisit this important and very personal piece of nostalgia, fashioning a complete, respectful and sample free rework of the track based on it's 'go slow' speed. 

This one is for the music mad schoolkid in all of us...

R.L.

Rich Lane - Flesh (Dub)

I'M STILL NOT SORRY 

7" inch available at:

https://centrovisione.bandcamp.com

CV03, 2022 ©

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2 0 0 7 s a f e t y c o r e

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KEROZN - Al - Jazm B’il Măarouf Monkoer

thejourneytokillthesleepdemons/pt i

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thejourneytokillthesleepdemon/pt i

Transit EP

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Dispose

ENCHAÎNÉ

Produced and Mastered by Street Fever

2017

ENCHAÎNÉ

F A I L U R E

muse shop

Art As Catharsis is proud to announce the release of Uboa’s The Sky May Be – an overpowering record that slips between dreamy ambience and nightmarish caverns of harsh noise.

https://uboa.bandcamp.com/album/the-sky-may-be-2

Drawing elements from the trans-driven noise scene, Xandra Metcalfe’s work as Uboa condenses a wider range of influences into a frightening soundscape of its own. Fans of Purgist, Facialmess, Endon, Locrian, Nurse With Wound, along with artists on the No Rent and Triangle Records labels will find themselves right at home with this recording.

“I only take inspiration from things that immediately affect me,” says Metcalfe. “Various trans issues that do not get airtime in music in particular - trans subcultures, transmisogyny/transphobia, medication, passing, sterilisation, suicide and depression, isolation. A lot of the stuff about mental illness - depression, psychosis, anxiety etc. - comes directly from my experience as being trans in a cisnormative society.”

As the first single off The Sky May Be, Thigh High Cat Tights represents Metcalfe’s most terrifying work on the album. Driven by white noise, distortion and glitched shrieks, the song rampages beyond the realms of tangible before tunnelling into a monotone plateau of drone. Thigh High Cat Tights is the audio equivalent of a hellscape for androids – all the while serving as ambassador for the digital savagery and abrasiveness Uboa is capable of.

“Uboa was originally just for doom, noisy stuff that I did on a whim,” says Metcalfe. “Afterwards I used its anonymity to spread rumours I was a woman well before I was out, which was funny. It became a little vessel for me to escape myself at the time. I guess it helps me be myself? Sounds corny but true. That being said, nowadays I just use it to scare people, which is always fun.”

The Sky May Be offers a teetering balance between simmering moods and terrifying electronics. The record rattles with a sense of instability from start to finish – song structures are freeform and unbound by chorus or verse, harsh elements attack at random yet land perfectly, and it’s rare that any single track can be summed up as solely ambient or noise. The sum of the music is a feeling that pushes sound and mind to its limits, reaping new forms of terror and weakness as the seconds pass by. 

This unbridled creativity is in a class of its own, unshackled by the boundaries of genre or traditional construction – it’s within this freedom that The Sky May Be sets itself as one of this year’s most important releases in Australian harsh noise.

HATEBLADE [HYPERACTIVE WORKOUTS EP]

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