liist

chuck

The new album, out now on Second Language Music.  www.secondlanguagemusic.com

There's not just a brutalism about Cumbernauld, the Scottish "new town" in North Lanarkshire, developed ostensibly to catch the population overspill from neighbouring Glasgow in the 1950's but also a melancholy, almost tangible banalism.  According to brothers Phillip and Peter Walker, collectively operating under the moniker of P60, the lack of any discernible activity, cultural or otherwise, has resulted in a "blank society" which practically revels in its stagnance.  "If you Google images on Cumbernauld," says Phillip, you'll notice a distinct dearth of people in the photos.  Everyone just stays at home watching tv." But look very closely and you'll notice that something is happening behind the concrete and steel facade.  

 “We got into this by default," says Peter. “Our uncle Jim, died about 5 years ago and they found all these old synths and stuff in his attic which obviously, he’d never used. Some of them were wrapped up in bin liners and bits of carpet so the rain wouldn’t get at them.  Nobody wanted them so at first I thought let's just stick them on eBay or something."

Phillip, however, had other ideas. “I used to be in a band (the equally reclusive Glasgow post-punk outfit, Knives Replace Air) which was all guitars but I knew we could do something if we applied ourselves. It’s taken 2 years to actually start making tunes we’re happy with.  Before, it was just press a key, twist some knobs and see what comes out.  We’re still not exactly Depeche Mode.”
  
It’s this rudimental, even naïve approach to their somewhat rusty analogue palette that makes P60 stand out.  As Phil says, “Most people with a few synths and a drum-machine would go, ‘Let’s make dance music’ but between us, we literally have no interest in club culture.  We’re much more interested in the voice of the instruments." 

But why P60?  “Both our names start with P obviously but in one of the binbags with all these synths was a little black box held together with duct tape and someone’s Dymo’ed ‘P60’ on it.  There’s an input and an output and we’ve had it apart but we’ve still got no idea what it does!  It’s literally a little black box that does nothing.  It seemed very apt.  We aren't going to play live or have our photos taken.  We want to stay anonymous.  In the current celeb-obsessed climate, that's about as punk as I can imagine.”  

P60 'Models' comes in a semi-transparent glassine envelope with postcard, sanding disc, tachograph, hand-stamped litmus paper and electrical resistor.  Limited edition of 300 copies.  

This is SL031, the thirty-first release on Second Language.  For more info, contact : second-language@hotmail.com





P60 - Models

The new album, out now on Second Language Music.  www.secondlanguagemusic.com

There's not just a brutalism about Cumbernauld, the Scottish "new town" in North Lanarkshire, developed ostensibly to catch the population overspill from neighbouring Glasgow in the 1950's but also a melancholy, almost tangible banalism.  According to brothers Phillip and Peter Walker, collectively operating under the moniker of P60, the lack of any discernible activity, cultural or otherwise, has resulted in a "blank society" which practically revels in its stagnance.  "If you Google images on Cumbernauld," says Phillip, you'll notice a distinct dearth of people in the photos.  Everyone just stays at home watching tv." But look very closely and you'll notice that something is happening behind the concrete 
and steel facade.  
 “We got into this by default," says Peter. “Our uncle Jim, died about 5 years ago and they found all these old synths and stuff in his attic which obviously, he’d never used. Some of them were wrapped up in bin liners and bits of carpet so the rain wouldn’t get at them.  Nobody wanted them so at first I thought let's just stick them on eBay or something."
Phillip, however, had other ideas. “I used to be in a band (the equally reclusive Glasgow post-punk outfit, Knives Replace Air) which was all guitars but I knew we could do something if we applied ourselves. It’s taken 2 years to actually start making tunes we’re happy with.  Before, it was just press a key, twist some knobs and see what comes out.  We’re still not exactly Depeche Mode.”  
It’s this rudimental, even naïve approach to their somewhat rusty analogue palette that makes P60 stand out.  As Phil says, “Most people with a few synths and a drum-machine would go, ‘Let’s make dance music’ but between us, we literally have no interest in club culture.  We’re much more interested in the voice of the instruments." 
But why P60?  “Both our names start with P obviously but in one of the binbags with all these synths was a little black box held together with duct tape and someone’s Dymo’ed ‘P60’ on it.  There’s an input and an output and we’ve had it apart but we’ve still got no idea what it does!  It’s literally a little black box that does nothing.  It seemed very apt.  We aren't going to play live or have our photos taken.  We want to stay anonymous.  In the current celeb-obsessed climate, that's about as punk as I can imagine.”  

P60 'Models' comes in a semi-transparent glassine envelope with postcard, sanding disc, tachograph, hand-stamped litmus paper and electrical resistor.  Limited edition of 300 copies.  This is SL031.



Intervale

Deco Nude

Kronecker Product

From the album, 'Models,' out now on Second Language Music.  www.secondlanguagemusic.com

There's not just a brutalism about Cumbernauld, the Scottish "new town" in North Lanarkshire, developed ostensibly to catch the population overspill from neighbouring Glasgow in the 1950's but also a melancholy, almost tangible banalism.  According to brothers Phillip and Peter Walker, collectively operating under the moniker of P60, the lack of any discernible activity, cultural or otherwise, has resulted in a "blank society" which practically revels in its stagnance.  "If you Google images on Cumbernauld," says Phillip, you'll notice a distinct dearth of people in the photos.  Everyone just stays at home watching tv." But look very closely and you'll notice that something is happening behind the concrete 
and steel facade.  
 “We got into this by default," says Peter. “Our uncle Jim, died about 5 years ago and they found all these old synths and stuff in his attic which obviously, he’d never used. Some of them were wrapped up in bin liners and bits of carpet so the rain wouldn’t get at them.  Nobody wanted them so at first I thought let's just stick them on eBay or something."
Phillip, however, had other ideas. “I used to be in a band (the equally reclusive Glasgow post-punk outfit, Knives Replace Air) which was all guitars but I knew we could do something if we applied ourselves. It’s taken 2 years to actually start making tunes we’re happy with.  Before, it was just press a key, twist some knobs and see what comes out.  We’re still not exactly Depeche Mode.”  
It’s this rudimental, even naïve approach to their somewhat rusty analogue palette that makes P60 stand out.  As Phil says, “Most people with a few synths and a drum-machine would go, ‘Let’s make dance music’ but between us, we literally have no interest in club culture.  We’re much more interested in the voice of the instruments." 
But why P60?  “Both our names start with P obviously but in one of the binbags with all these synths was a little black box held together with duct tape and someone’s Dymo’ed ‘P60’ on it.  There’s an input and an output and we’ve had it apart but we’ve still got no idea what it does!  It’s literally a little black box that does nothing.  It seemed very apt.  We aren't going to play live or have our photos taken.  We want to stay anonymous.  In the current celeb-obsessed climate, that's about as punk as I can imagine.”  

P60 'Models' comes in a semi-transparent glassine envelope with postcard, sanding disc, tachograph, hand-stamped litmus paper and electrical resistor.  Limited edition of 300 copies.  This is SL031.



P60 - Broken And Unbroken

The Reception

Taken from the forthcoming Shine EP, out 18th September via Ultramajic.

Vinyl: https://clone.nl/item36764.html
Digital: http://btprt.dj/1KqmnSU

BANDCAMP

FEEL WHAT IT IS

Bandcamp: ochre.bandcamp.com/album/beyond-the-outer-loop
Spotify: open.spotify.com/album/6gOkTOsw1ax9UYZ5zVghOu
Apple: itunes.apple.com/us/album/id1203813166
http://ochremusic.com

Beyond the Outer Loop

Anaphora

Bandcamp

Here's a remix I made of BANK's latest single, 'Gemini Feed'. Love to BANKS for letting me put my touch on it <3

follow my spotify playlist "played by salute", updated every friday: spoti.fi/2ef3llk

twitter.com/saluteaut
facebook.com/saluteaut
instagram.com/saluteaut

BANKS - Gemini Feed (salute Remix)

from 'The Outpost' [CD|LP|DIGITAL]
Denovali Records · den273
available on all formats at [http://denovali.com/blueneck]

Hailing from North Somerset in the UK, Blueneck have been at forefront of the European underground music scene since forming in 2000. They’ve released five critically-acclaimed albums, toured extensively with acts like Cult of Luna and Mono and featured in series of high profile European festivals including a triumphant midnight set at Glastonbury 2014. The band have also soundtracked a number of independent films and had their work featured on NBC, HBO and SyFy channels.

Typically obsessive, fastidious and reclusive in their approach to recording (Blueneck’s last album, 2014’s epic KING NINE, was almost 4 years in the making) the band’s forthcoming long-player THE OUTPOST was written and recorded over an uncharacteristically short 18 months.

This shortened gestation period was not the only respect in which THE OUTPOST is markedly different to Blueneck’s previous recording experience and output (2006’s SCARS OF THE MIDWEST, 2009’s THE FALLEN HOST, 2011’s REPETITIONS, 2012’s vocal-free soundtrack album EPILOGUE, 2014’s KING NINE). Originally planned as a wholly separate touring electronica side-project for singer-songwriter Duncan Attwood and guitarist Rich Sadler, the duo began to find the prospect of deploying the full Blueneck sonic arsenal - along with the skills of long-term producer collaborator Matt Sampson and bass-player Ben Paget - all too irresistible. Once the decision had been made to fold the side-project back under the Blueneck banner, the fact that home recordings were already well-advanced made for a refreshingly fluid, fast (for Blueneck) and - dare we say - fun final 12 months of studio time.

The resulting LP retains the melodic songcraft of Blueneck’s best work, as well as Attwood’s inimitable seductive, haunting vocals. However THE OUTPOST eschews the southern-gothic sepia of KING NINE in exchange for a maxed-out colour contrast of electronic beats, vibrant vintage synths and guitars that are by turns ballsy, soaring and delicately intricate.

From the pulsing Archive-esque Prog whiplash of ‘From Beyond’ to the plaintive Sparklehorse meets Boards of Canada electro-pop of ‘Ghosts’ (Blueneck’s most accessible moment to date); and from the windswept Earth-esque Americana of ‘The White Ship’ to the Talk Talk covering John Carpenter expanse of ‘Hive’; Blueneck have created one of their most passionate, propulsive and progressive recordings to date.

As with KING NINE, Blueneck are employing the artistry of acclaimed artist and filmmaker Lasse Hoile (who previously worked with Anathema, Porcupine Tree and Opeth). Lasse’s album art - along with forthcoming music videos - feature a neon-tinted Lovecraftian 80’s menace in a small town American heartland, reminiscent of Netflix show ‘Stranger Things’, recent indie-horror movie ‘It Follows’ and John Carpenter’s Apocalypse Trilogy.

Praise for Blueneck:

“Stunning” – Rock Sound
“Fantastic… An intoxicating all-consuming experience” – Classic Rock: Prog
“Beautiful… Creepy” - Vice
“Melds heavy alt-rock with gentle Amnesiac-era Radiohead fragility in impressive style” – Metal Hammer
“One of England's best kept secrets” – The Digital Fix

The Outpost

Blueneck - Ghosts

Blueneck - The White Strip

Independent record label based in London.  2009 - present day.