On 26th September 2016 Song, by Toad Records will release the debut EP by Edinburgh artist and songwriter Faith Eliott on cassette and download.

The majority of the songs on this release were written over the course of three months, whilst Faith was living in rural Nebraska. Much of the dense and often-surreal lyrical content reflects this landscape, which is pancake-flat and dotted with collapsing barns, rotting farm machinery and teeming with insects. 

The EP consists of a diverse set of songs. The opening track ‘Pyrite Ammonite’ is poppy and dynamic, whilst the closer, ’Possum’, is a five minute spoken word track, awash with drones and the sound of screeching cicadas. The baritone guitars, mellotrons and vocal harmonies hint at something grandiose, but the songs retain a lo-fi quality. 

At its most raw, the EP includes the song ‘So Do I’, which was recorded in a barn in Nebraska using a dictaphone, with howling wind audible in the background. The remaining tracks were recorded by Alan McCormack (of Now Wakes the Sea), who also plays on the record, and whose experimental approach to recording and composition brings unexpected layers and textures to Faith’s acoustic/folk sensibilities. 

Faith grew up in Minnesota and moved to Edinburgh just over 10 years ago. Though they (Faith prefers gender-neutral pronouns) have taken part in numerous creative collaborations over the years (The Sea Is Salt, Withered Hand, Supermoon, etc.), this is the first time they have put together a release exclusively of their own songs. This has in part been down to the process of exploring outwards from visual art and poetry before fixating on songwriting three or four years ago. 

These days, Faith continues to make visual art and exhibits regularly around the city. They are also part of Edinburgh’s Far Yella Collective, a loosely collaborative collection of visual artists, musicians and writers

Faith will be playing a launch night in September in the Happiness Hotel, our new warehouse recording space down in Leith, as well as at our annual label Christmas party on the 2nd December.

Insects

Buy on cassette

Faith Eliott - Pyrite Ammonite

Mash 2014

Dreams Of H0metown Gl0ry (Fleetw00d Adêlê Mac Remix)

MiH bash out a dark menacing dance floor filler cover of Martha and The Vandellas killer classic 'Nowhere to run to', and it's a FREE download!

Nowhere to run to

For The Modern Institute’s self-titled first vinyl document, the practices of audio technicians Richard McMaster, Laurie Pitt and James Stephen Wright are brought into sharp focus, the initial analyses of a project which examines the rituals of performance, the signifiers of bourgeois culture and the absurdities inherent in the middle class art gaze.  While undoubtedly disturbing in execution, it’s a succinct reminder of the tension between lazy, electronic music tropes and the essential, quizzical attitude frequently lacking in the technoid culture, yet abundant in Glasgow’s agent provocateurs.
Seen through the frame of primary music generators McMaster and Pitt’s previous music projects – Golden Teacher, General Ludd – The Modern Institute’s recorded output is an oblique, strategic examination of rhythm and the spaces between. 

Rhythm is often re-defined and re-formed through out The Modern Institute, with the easy 4/4, communally cohesive beats of the Teacher and the Ludd some way off. Opener Black Blood is a case in point, with a elusive pattern providing a warped, skeletal framework for Wright to smother. The atmosphere is austere, aggressive, clinical as a gallery wall after the exhibition has failed. The yawning, sub-bass of False Beards and Diamond Hooves hacks at the exhibition floor opening up punishingly alien chasms. The narrator’s deadpan poesy, battling against the brutalist backdrop, reminds the listener of early industrial pioneers Cabaret Voltaire, not least in the unmistakably northern accent. Side A closes out on the first attempt by The Modern Institute to break into a recognizable pattern, though rendered on Destroy Logic as a dry destruction of a Bashment rhythm. Arabic Eight is nightmarish, a Normal deconstruction of art music. A nonsensical, Dadaist mutation of electronic dance music, Intelligent Dance Music with no intelligence, dance or Music. Wright intones “when I was younger you used to say you weren’t in it for the money,” taking down conceptions of artistic integrity, inspiration and muse. On Springloaded, we’re still deep in an alien lifeform’s insides, viewing the tropes the art industry uses to sell itself, splashes of digital distortion and burps crossfiring across the stereo field. Shiver And Quiver ends The Modern Institute, sounding like all the cities’ alarms simultaneously set off to the beat of the LPs only 4/4 beat, here juddering and unnaturally fast. Ask questions, just don’t ask for answers.

THE MODERN INSTITUTE: Destroy Logic (from S/T LSSN049)

Taken From the album Highland Mob 
Buy Direct here: https://procfiskal.bandcamp.com/

Itunes/ Googleplay here: http://hyperurl.co/TheHighlandMob

The Highland Mob

Proc Fiskal - Milk and Biscuits ft Polonis

I Fell In Love With A Call Girl

A home for SiX DwArF's riot of mash up music.
It is  devoted exclusively to our full  freaky fusion mixes, They are just a small selection of blends that I hope will blow your cell matter. The idea is to collide sounds across genres to f.. with brains. It's tunes with a twist. These fusions are unions from heaven or hell that would never develop in real life - but yet here they are.  Laugh, freak and enjoy..  Nothing's sacred. be.http://www.last.fm/music/Sex+Dwarf  https://hearthis.at/sixdwarf/

Dreams Of H0metown Gl0ry (Fleetw00d Adêlê Mac Remix)

̶̶S̶̶iX ̅̅D̅̅wAr̲̲F̲̲

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