“In scientific terms, pattern perception refers to the cognitive process of identifying patterns, even when none exist. This can lead to the perception of connections or relationships that are not actually present.”

A music fan from an early age, Dave Patterns only started to produce music himself during the Covid lockdowns. “I found it a healthy escape from the situation we were going through, and also realised what a huge new creative outlet I had found,” he says. “I was addicted straight away.”

Initially, Dave tried to make music to fit the sound of established record labels, but realised that the effort was stifling him. He threw the rulebook out, and started making music that was simply an amalgamation of all the different styles that he liked. Tempos and genres didn’t matter any more - as long as the mood he was in at the time was reflected, it was all good. 

Calling himself Pattern Perception, after a while this boy from the Black Country in the Midlands started uploading his tracks to the BBC Introducing uploader, and garnering plays from assorted regional DJs like Theo Johnstone, Amber D and Dean Jackson. He was discovered by Jack Said What via one of Grahame Farmer’s Data Transmission demo feedback sessions. Recognising kindred spirits, he quickly became one of the firm.

The album moves through emotive dubstep (’Too Little Too Late’, ‘By My Side’) and dreamy breakbeat (‘Forget Me Not’, ‘Roses’) before it gets to ‘One More Hit’, the first single from the album. Its faraway melancholic piano intro is soon added to by a sultry male vocal before it builds into a groundswell of rising-tide emotion. This lovelorn paean is one of the standout tracks from ’Spectrum Disorder’.

Throughout its ten tracks, deep basslines burrow into your soul, while piano keys tweak your synapses. ‘Lost In The Crowd’ is artcore jungle, while ‘This Is What I Am’ is more of a grime cut that includes the immortal line “Get bus back” that’s become something of a Jack Said What catchphrase! ‘Say A Prayer For Myself’ starts with another gorgeous piano intro which unfolds into a breakbeat workout before the album’s token cover version eases in. Only a brave person would attempt a reworking of Bronski Beat’s incredible ’Smalltown Boy’, but by flipping the script — bringing in singer Starling and rewording as ’Smalltown Girl’ — the gay anthem takes on a whole new meaning. This is another of the album’s singles that will come with a gaggle of remixes by Zed Bias and others.

Finally, a tech-housey ‘The One’ — one of the first Patterns tracks to see the light of day — rounds off an immersive, psychelectronic, fractal-fabulous album that’s going to remembered and played for a very long time. 

Psychedelic adventurer Dave freely admits that it was more by luck than anything that his tunes turned out with a haunted otherworldliness. He uses a lot of minor chords, as these resonate with him the most, and his use of strings and pianos — sometimes with a slightly submerged feel — mark him out. He considers that it’s his lack of technique that gives him his signature sound.

Pattern Perception - Spectrum Disorder

‘One More Hit’ is the first single from Pattern Perception’s forthcoming album, ’Spectrum Disorder’. The album is being released on Jack Said What sister label, Out Yer Box, this summer. 

On ‘One More Hit’, some melancholic chords are soon joined by a sultry, aching male vocal. “Day turned into night and the moon was rising,” it begins. As the keys become more pronounced, soaring strings and taut drums join the fray in a groundswell of rising-tide emotion, the vocal a heartfelt love paean that tears the listener to shreds. 

“‘One More Hit’ was written when I was high listening to Leftfield, and visualising the music in ultra-HD fractal geometry,” PP explains. “Beautiful stuff, I heard some piano playing in the background and I was like, ‘This is the best thing I've ever heard’, so had to find out what the track was. It turns out that it was the one I had written a few weeks back! It was the first and only time I’ve ever been able to listen to some music I’ve made completely objectively.”

Pattern Perception was discovered by Jack Said What’s Rob Miller on one of Grahame Farmer’s Data Transmission demo feedback sessions. It was the playing of ‘One More Hit’ on the site that pricked up Rob’s ears, so it seems suitable that — after some in-house artist development — it makes up the first single from the forthcoming album. 

A music fan from an early age, incredibly Pattern Perception only started to produce music himself during the Covid lockdown. “I found it a healthy escape from the situation we were going through, and also realised what a huge new creative outlet I had found,” he says. “I was addicted straight away.”

This psychedelic adventurer’s music-making process is now very organic, channeling all manner of sounds and samples and arpeggiated patterns. “I listen back sometimes and have no idea how I made some of the melodies that I have,” PP admits. “I feel they are out of my control and have been magically pulled from the ether or something.”

“Since meeting the Jack Said What gang I’ve developed a great relationship with them all, and would call them friends now,” Pattern Perception adds. With ‘One More Hit’, he’s now fully on the firm.

Pattern Perception - One More Hit

“I saw the best minds of my generation destroyed by madness; starving, hysterical, naked, dragging themselves through the streets at dawn looking for an angry fix...”

Notorious beat poet Allen Ginsberg wrote and first performed his epic poem Howl 70 years ago. Its debut performance, at the Six Gallery in San Francisco in 1955, is said to have heralded the birth of the Beat Generation, the literary subculture that also included cult writers Jack Kerouac and William Burroughs. Kerouac wrote that the event was “the night of the birth of the San Francisco Poetry Renaissance”, and Ginsberg was immediately asked to publish Howl by City Lights Books. 

Howl — whose title was given to Ginsberg by Kerouac — was reportedly written after a terrifying peyote vision, and discussed the exploits of a colourful cast of outcasts, explicitly talking openly about drug use and homosexuality in parts. It’s been written that Howl was Ginsberg coming to terms with his own sexuality, and also his mother’s schizophrenia. 

After publication, copies of Howl & Other Poems were seized by customs officials, claiming that the parts of Howl relating to homosexuality were obscene, and the City Lights bookstore manager and book publisher were arrested. At the subsequent obscenity trail, literary experts testified to Howl’s artistic merit and the judge ultimately ruled that Howl was of “redeeming social importance”, and threw the case out. Along with the obscenity trial that William Burroughs’s Naked Lunch also overcame the following year, the publication of Howl helped redefine the constitutional test for determining what constitutes obscene material unprotected by the First Amendment, and ultimately helped liberalise publishing in the United States as a whole.  

Renude19 initially turned Howl into an electronic album using Ginsberg’s original voice, before re-recording all the words with Ashley Slater of Freak Power fame. The lolloping, rich textured rhymes lend themselves well to electro riddims, the evocative prose sitting on top of the interwoven music with stark relevance. The album project has received the stamp of approval from the Allen Ginsberg Project, the foundation that oversees the poet’s legacy.

Album opener ‘Waking Nightmares’ takes in Howl’s first stanzas, beginning with the infamous quote above before 80s-sounding future-retro synths turn it into an electropop paean. ‘Visionary Angels’ moves through vivid stream-of-consciousness descriptions of Americana ephemera and alternative geography to a disco beat.

The third track ‘Muzik’ is a slice of building electronica that name checks Neal Cassady, the inspiration for the character Dean Moriarty in Jack Kerouac’s famous beat novel ‘On The Road’. The pianorchestra of ‘Denver in Vain’ takes the album into jazzier territory, reflecting the dominant musical style of the beat movement in the 1950’s with Howl Part 1 finishing up on the 5th track ‘Ah Carl’, an old school house groover that sets of tone for the rest of the album’s dance music direction.

‘Moloch Moloch’ is Howl Part two, an acid track that does not spare the 303s, while the more banging seventh track ‘Rockland’ name-checks Carl Solomon, who the epic Howl poem was written for, and is called after the psychiatric hospital where Ginsberg met Solomon. In track 8, ‘Epilogue – Holy’, “The ecstasy is holy,” Ginsberg exclaims, perhaps predicting the drug that would fuel the acid house revolution three decades later. (It was Ginsberg who actually coined the term ‘flower power’ in the late 1960s.)

After his notoriety spread after the Howl obscenity trial, Ginsberg appeared on stage with a number of musicians including Bob Dylan, The Clash and Patti Smith, and recorded with Paul McCartney and Philip Glass. 

This timely Howl update by Renude19 recontextualises the seminal Beat Generation poem for a modern audience, amplifying the raw emotional power of his words and introducing him to a whole new generation.

Reimagining Allen Ginsberg's Howl

Corserine, the evocative electronic music project helmed by Caro Tyle, is set to transport listeners to a utopian future with the release of a compelling double single, "I Know You Want Me Baby" and "My Love Temptation". This release serves as the first taste of a full-length Corserine album slated for arrival later this summer.

Originally formed by a group of childhood friends from central Scotland and California, Corserine is now the singular vision of Tyle. His unique sonic tapestry is woven from a rich background: growing up in Scotland in the 1980s, surrounded by a vibrant blend of musical genres and pop culture. While his mother and sister were classically trained pianists, Caro first honed his skills as a guitarist in various rock and punk bands, before expanding his musical arsenal to include an encyclopaedic knowledge of rare groove and Japanese city pop, all of which inform Corserine's distinctive sound. 

These two tracks, "I Know You Want Me Baby" and "My Love Temptation," promise to be a perfect entry point into Corserine's world. Tyle cites 1980s science fiction films as a core thematic and sonic inspiration. "In those films, there’s always a nightclub scene set in the not-too-distant futuristic dystopia," he explains. "I'm basically making the music playing in those scenes."

Listeners can expect Corserine’s signature blend of dreamy pop textures, gritty electro, and muscular rhythms – a sound that will undoubtedly please fans of artists like Tycho, Com Truise, and Neon Indian. 

"I Know You Want Me Baby" and "My Love Temptation" are available on all platforms and offer a tantalising glimpse into the atmospheric and immersive experience of the forthcoming album.

I Know You Want Me Baby

Following on from the success of debut single ‘One More Hit’, Pattern Perception comes with this juicy double-header. All three tracks are in advance of PP’s forthcoming album ‘Spectrum Disorder’, coming out on 4th July. Out Yer Box has unearthed a seriously important new leftfield talent here.

Pattern Perception’s last single ‘One More Hit’ became a viral meme on TikTok, and also led to Chris Hawkins on BBC Radio 6Music naming it his Track Of Dawn one morning. Chris introduced PP as being “also known as Dave from Birmingham”, but at this point we’d like to correct the record — Dave Patterns is actually from Tipton, which is at least nine miles from Birmingham. Sorry about that, Dave. This has created some local controversy in the Midlands, but at troubling times like these the last thing we need is easily avoidable Black Country discord. 

The Tipton Titan starts ‘Forget Me Not’ with shuffly breaks and a deep Reese bassline, a sultry female vox offsetting the cinematic, atmospheric breakbeat panorama. The track increases in intensity as it progresses, a perfect radio record that is sure to be picked up by some of the more discerning radio jocks out there. 

‘By My Side’ is more deep and rolling, pivoting around a burrowing b-line and crisp beats. The vocals again counterpoint the instrumentation perfectly, illuminating a widescreen vision that could be straight out of recent TV series Top Boy or This City Is Ours — except that they weren’t set in Tipton. Or Birmingham, for that matter. But that doesn’t matter, you get the idea. Leftfield cityscapes to transport you to another dimension.

Forget Me Not / By My Side

A pioneer of UK breakbeat culture, having cut his teeth as half of Evil Nine, EVL Tom brings a myriad of influences to bear on his debut album, ‘Absolute Melt’. It’s an opus where Moodymann-esque Detroit soul flavours meet the psychedelic rave stylings of early Future Sound Of London, the raw but incessantly funky loops of hip-hop producers Madlib and the RZA rub up against the bass aesthetic of early ‘90s jungle/drum & bass. 
 
“Absolute Melt’ was me endeavouring to make a truly autobiographical record that represents my diverse tastes and experiences but bringing them together to form a cohesive whole. It’s a hybrid opus, the fulfilment of a life-long ambition to make an album solely by myself — to resoundly kick back against the Imposter Syndrome on my shoulder whispering that it couldn’t be done.” - EVL Tom
 
The thunder of rainstorms and other organic tones abound in the album opener ‘Trees’, a track drenched in bass with a Vangelis-esque horn melody riding it. Then it’s into ‘A Prayer’ with its mantra on peace and love, Tom’s stab at pushing out some positive feelings into the world, sonically harking back to early DJ Shadow and those seminal Mo’Wax joints. Two breakbeat cuts follow; ‘Incendies’ is a low-slung, smoked out roller with hints of Burial and ‘90s jungle (albeit at a fraction of the tempo), and ‘Eternal Lids’ is a track crafted to evoke late-night drives around cityscapes aglow with orange light and neon.  Taking a breath in the middle of the album we have the beat-less ‘Norman’, which is melancholically melodic like a sci-fi movie scene-setter, which then moves into ‘Rebels Of The Neon God’ where we’re taking it back to the club. The title references a Taiwanese cult film favourite of Tom’s and also serves as a tribute to Taiwan, a place dear to Tom after numerous visits over the years. An electro / hardcore hybrid, ‘Rebels…’ buzzes with an undercurrent of pure rave euphoria. 

Next up is the first single off the album, ‘The Heathers’, a dream-like, psychedelic epic with a dark second half that’s a counterpoint to the more wistful beginning of the tune. This is closely followed up by second single ‘Give Up (Don’t)’, something that Ron Hardy would maybe play at Muzic Box in Chicago, a tough disco banger pinned with an organic break that oozes raw funk. It’s a heads-down belter where the mood is positive and euphoric. Album closer ‘Love In Fire & Blood’ is the embodiment of a meme where a dude drinks a big bottle of cranberry juice whilst skateboarding to Fleetwood Mac — musically dense, and with the album’s signature blending of organic and electronic flavours. This delicate balance was achieved in the collaborative mixdown of the album by Tom and top bro Alexander James Fox, who brought his talent and knowledge to the table to craft it into the deeply woven epic you have before you.
 
“The title ‘Absolute Melt’ started as an in-joke, just a dope phrase that made me and my crew crease up, but then as I started to think on it, many levels were revealed to me. There’s ‘melting’ everywhere, with its climate change connotations; the psychedelic slant; and also perhaps a self-deprecating angle where maybe I’m the absolute melt… or you are, ha ha!” - EVL Tom
 
The artist also records as one half of Evil Nine with Pat Pardy, originally signed to Adam Freeland’s label Marine Parade. Their award-winning ‘You Can Be Special Too’ and ‘They Live!’ albums received widespread acclaim and in the process they collaborated with such luminaries as El-P from Run The Jewels, Danny Brown, Aesop Rock and Emily Breeze. They were residents at Fabric London, did a Radio One Essential Mix and toured the world several times performing at Fuji Rock Festival, Space in Miami, Twilo in NYC, Coachella and Arcadia at Glastonbury.

Absolute Melt

Rebels Of The Neon God

6 Evl Tom - Rebels Of The Neon God

Trees

1 Evl Tom - Trees

Spectrum Disorder

Forget Me Not

Pattern Perception - Forget Me Not

Lost In The Crowd

Pattern Perception - Lost In The Crowd

One More Hit

Smalltown Girl (feat. Starling)

Pattern Perception - Smalltown Girl (feat. Starling)

Roses

Pattern Perception - Roses

This Is What I Am

Pattern Perception - This Is What I Am

By My Side

Pattern Perception - By My Side

Too Little Too Late

Pattern Perception - Too Little Too Late

Say A Prayer For Myself (feat. Janel Antoneshia)

Pattern Perception - Say A Prayer For Myself (feat. Janel Antoneshia)

The One (feat. NIICX)

Pattern Perception - The One (feat. NIICX)

“I saw the best minds of my generation destroyed by madness; starving, hysterical, naked, dragging themselves through the streets at dawn looking for an angry fix...”

Notorious beat poet Allen Ginsberg wrote and first performed his epic poem Howl 70 years ago. Its debut performance, at the Six Gallery in San Francisco in 1955, is said to have heralded the birth of the Beat Generation, the literary subculture that also included cult writers Jack Kerouac and William Burroughs. Kerouac wrote that the event was “the night of the birth of the San Francisco Poetry Renaissance”, and Ginsberg was immediately asked to publish Howl by City Lights Books. 

Howl — whose title was given to Ginsberg by Kerouac — was reportedly written after a terrifying peyote vision, and discussed the exploits of a colourful cast of outcasts, explicitly talking openly about drug use and homosexuality in parts. It’s been written that Howl was Ginsberg coming to terms with his own sexuality, and also his mother’s schizophrenia. 

After publication, copies of Howl & Other Poems were seized by customs officials, claiming that the parts of Howl relating to homosexuality were obscene, and the City Lights bookstore manager and book publisher were arrested. At the subsequent obscenity trail, literary experts testified to Howl’s artistic merit and the judge ultimately ruled that Howl was of “redeeming social importance”, and threw the case out. Along with the obscenity trial that William Burroughs’s Naked Lunch also overcame the following year, the publication of Howl helped redefine the constitutional test for determining what constitutes obscene material unprotected by the First Amendment, and ultimately helped liberalise publishing in the United States as a whole.  

Renude19 initially turned Howl into an electronic album using Ginsberg’s original voice, before re-recording all the words with Ashley Slater of Freak Power fame. The lolloping, rich textured rhymes lend themselves well to electro riddims, the evocative prose sitting on top of the interwoven music with stark relevance. The album project has received the stamp of approval from the Allen Ginsberg Project, the foundation that oversees the poet’s legacy, and this first ‘Waking Nightmares’ EP serves as an album teaser.

EP opener ‘Waking Nightmares’ takes in Howl’s first stanzas, beginning with the infamous quote above before 80s-sounding future-retro synths turn it into an electropop paean. ‘Visionary Angels’ moves through vivid stream-of-consciousness descriptions of Americana ephemera and alternative geography to a disco beat, while the more banging third track ‘Rockland’ name-checks Carl Solomon, who the epic Howl poem was written for, and is called after the psychiatric hospital where Ginsberg met Solomon. “The ecstasy is holy,” Ginsberg exclaims, perhaps predicting the drug that would fuel the acid house revolution three decades later. (It was Ginsberg who actually coined the term ‘flower power’ in the late 1960s.)

After his notoriety spread after the Howl obscenity trial, Ginsberg appeared on stage with a number of musicians including Bob Dylan, The Clash and Patti Smith, and recorded with Paul McCartney and Philip Glass. Ginsberg passed away from liver cancer in 1997, but his legacy lives on. 

Howl, then, is an important historical classic with considerable artistic merit. Indeed, at a time when librarians in the US and UK are being pressurised by evangelicals to take LGBTQ+ titles off shelves, it feels more relevant than ever. This timely Howl update by Renude19 recontextualises the seminal Beat Generation poem for a modern audience, amplifying the raw emotional power of his words and introducing him to a whole new generation. 

The ‘Waking Nightmares’ EP (from Reimagining Allen Ginsberg's Howl) is out via Irvine Welsh’s Out Yer Box Records.



Visionary Angels

Renude19 - Visionary Angels

I’m With You in Rockland

Renude19 - I’m With You in Rockland

Waking Nightmare

Renude19 - Waking Nightmare

One More Hit (Radio Edit)

Pattern Perception - One More Hit (Radio Edit)

I'm With You in Rockland

Renude19 - I'm With You in Rockland

Ah Carl

Renude19 - Ah Carl

Denver in Vain

Renude19 - Denver in Vain

Muzik

Renude19 - Muzik

Epilogue - Holy

Renude19 - Epilogue - Holy

Moloch Moloch

Renude19 - Moloch Moloch

My Love Temptation

Corserine - My Love Temptation

Corserine - I Know You Want Me Baby

Forget Me Not (Radio Edit)

Pattern Perception - Forget Me Not (Radio Edit)

Out Yer Box is the sister label to Jack Said What, launched to cater for non-4/4 material, whether it be ambient, trip-hop, breakbeat, guitar-driven, dubstep or whatever.
Out Yer Box tracks may not be in your rekordbox to play on the nightclub dancefloor, but the music is still high quality in its varying shades and hues.

Out Yer Box

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