This is wonderful. When's the next album?!

Stuff

The Mabuses attempt to conjure up the spirits of John Barry, Ennio Morricone, and Edgar Allan Poe combined. Chris and Lucien join in this lugubrious singalong orchestrally manoeuvred by none else than the great Lazlo Malinowski. 

" Who would've thought you next in line?
  Now you can lay down your burdens
  To you the world has been unkind..."

Down with the Guru

Down With The Guru

This is AMAZING. Carole King's demo for her song that became the greatest psychedelic song by the Monkees from their film "Head."

Monkees - Demos - Porpoise Song (Carole King's demo)

This intimate radio portrait, in his own words, traces Robert Wyatt's journey from the psychedelic excesses of Soft Machine (appearing both with Jimi Hendrix and at the BBC Proms), through the life-changing accident that has confined him to a wheelchair for almost forty years, to recent celebrated musical projects that are reaching new audiences. 

The Voices Of... Robert Wyatt

WIRE - released April 13th 2015

pre order album here - https://pinkflag.greedbag.com/buy/wire-10/

Wire

Joust & Jostle

Split Your Ends

Various - Circuit d'Actes (1) 12" (2010 - La Forme Lente - LFL3)

SOLD OUT (Download it here for free or support us by buying it on Bandcamp)

12" black vinyl 45 rpm

Cutting on lacquers masterdisc, pressing and mastering by Magnetic Mastering (limited to 500 copies) www.magnetic.fr

Screenprinted sleeve by Le Dernier Cri (Marseille - Fr) www.lederniercri.org

Sleeve Art by svet_9 florenttissier.wix.com/camera-obscura#!

Each copie contain an insert

With insert, inner black paper sleeve and outer transparent plastic sleeve

released 01 January 2010

-----

Frank (just Frank) - The Closet Song
Frank (just Frank) is Anthem + KD // Frank (just Frank) plays brutal wave

www.facebook.com/pages/Frank-just-Frank/24259610251

Rasée telle un mouton païen
Pour son amour envers un Germain
1946 amène les toisons d'or
Collaboration sur un autre front
Ces Bérets Noirs connaissent la punition
La honte, la mort
Et telles les cendres d'une cigarette entre les lèvres du jeune homme
Ce sont ses doux dorlots qui chutent à terre
Et c'est comme si toutes ses douleurs n'avaient jamais existé alors que jasent
Les rires des bergers
Trahie par la beauté du démon
Envahie par sa propre trahison
L'homme qui en '42 lui tenait la main
Serait-il capable de lui faire ce tort
Lui juste lui celui qu'elle voit encore
Rentrer à Berlin
Et telles les cendres d'une cigarette entre les lèvres du jeune homme
Ce sont ses doux dorlots qui chutent à terre
C'est comme si tout son bonheur n'avait jamais existé alors que jase
Le rire du berger.

B2 - Frank (just Frank) - The Closet Song

By the early nineties R.E.M. found themselves one of the biggest bands on the planet. What they had achieved was beyond their wildest dreams but it had taken them over a decade to get there. This RTÉ Radio One music documentary recorded in Athens, Georgia and North Carolina in the US by Ken Sweeney takes the listener on that journey with R.E.M. out of Athens (Georgia). Without slick videos for the new MTV, or support from mainstream radio, R.E.M. built their following playing an alternative circuit of
gigs across America as evangelists for this new music. R.E.M. blazed a trail for every independent band to follow from Nirvana to Pearl Jam.

R.E.M. | Out Of Athens

Frank (Just Frank) / Soviet Soviet 12'' EP Split (Rel. date Oct 2010)

−  Limited edition of 500 hand-numbered copies in glossy and silver paper, it includes 2 inserts.
−  Cover on hand-made serigraphy on hard carton closed with black sealing wax for the first 50 copies


Order your copy: orders@mannequinmailorder.com


Frank (Just Frank) - Valerie (full track)

Anders Trentemøller presents Dorit Chrysler and ‘Avalanche’, a haunting, evocative EP on his In My Room imprint! 

Dorit Chrysler, the celebrated composer, musician, and first lady of the theremin, delivers a stunning four-tracker of her rich, intricate and emotional music. The lead song ‘Avalanche’ combines a deep electronic pulse with Dorit’s signature smoky delivery, and her exceptional theremin flourishes – an immense slow motion explosion.

Trentemøller supplies the sublime production throughout the EP – providing the stand-out analog bass groove on ‘Forbidden Fruit’, which also showcases the immense vocal talents of collaborator Marie Fisker.

The next song is just as impressive –‘Winter Glow’ is perhaps the poppiest moment here, coupling a new-wave synth groove with a pretty, ethereal vocal hook and the ever-present, beautifully restrained theremin – the bizarre, enchanting electronic instrument Dorit has mastered.

Best known for her theremin style, composer/musician Dorit Chrysler also
has a prolific recording and performing career as a vocalist, guitarist, keyboardist, producer, and engineer. Making her professional vocal debut at Austria‘s Opera House Graz at the age of seven, Dorit went on to form her first rock band at thirteen and began working towards her Master‘s Degree in Music Science at eighteen.

Moving to New York, she was fronting a number of notable bands, including New York rock quartet Halcion. Dorit has shared live bills with acts as diverse as Alex Hacke, Amon Tobin, Dinosaur Jr., Blonde Redhead, Marilyn Manson, Mercury Rev, Oingo Boingo and Echo and the Bunnymen.

She has also collaborated and recorded with artists & producers such as Tocotronic, Elliott Sharp, Judah Bauer (Catpower) Matt Johnson (The Th-e),Cluster, Chicks on Speed, Electric Indigo, Neon Indian, Gordon Raphael(The Strokes), Jason Forrest, Oh Land, Foetus, Ultra Vivid Scene & Gibby- Haynes. As a regular at Joe McGinty‘s notorious Loser‘s Lounge review in New York, Dorit performed „Hey Cowboy“ for her idol, the song‘s composer Lee Hazelwood. This highpoint of Dorit‘s career was topped off by Hazelwood‘s compliment that she sang it „better than Nancy (Sinatra).“
Embarking upon a solo career in 2000, Dorit has since performed worldwide, ranging from notorious dives (CBGB) to concert halls (Disney Hall in LA, Lincoln Center NY, Vienna Konzerthaus), festivals (Roskilde Festival, Moog Fest, Coachella) and art events (Venice Biennale, Berlin Biennale, Art Basel, PS1,London Royal Art Academy, St. Petersburg Hermitage, Louisiana Museum).

Since 2005 she has toured the US, Japan, Australia, Canada, Brazil, & played Paris, London, Berlin, Belgrade, Stockholm, Helsinki, Mexico City, Reykjavic, Prague, Bukarest, Vienna, Switzerland, Italy, Spain, Portugal & New York. After an assortment of film & TV soundtracks, compilations, and singles, Dorit released her her first solo record featuring her theremin in 2004.

Produced, recorded, engineered, and performed by the artist herself, “Best of” sold out quickly. In 2005 „TinyThrills“ a special Collectors Edition featured a collaboration with Gordon Raphael (The Strokes).

In 2006, Dorit appeared with Electrc Indigo on the Chickson Speed „Girlmonster“ Comp, and on Monika Enterprise, “4WomanNoCry“. She produced a 10 pieceTheremin Orchestra Concert at the LA Disney Hall in 2008 and headlined “Art’s Birthday” at Moderne Museet Stockholm. She has written scores for Jesper Just’s films, to be seen in permanent collections at MOMA & the Guggenheim Museum. Dorit is an endorsed Moog Artist. In addition to her solo career, she has founded the New York Theremin Society.

‘Swamp Behind My House’ closes out the release, another deep and cinematic slice of electronic grace, which along with the rest of the EP, is sure to win over a new audience to Dorit’s immense charms.

Avalanche

Dorit Chrysler - Avalanche

Dorit Chrysler - Forbidden Fruit

Dorit Chrysler - Glass Eye

Dorit Chrysler - Winter Glow

Dorit Chrysler - Swamp Behind My House

WIRE – CHANGE BECOMES US – pinkflag (pf20)

“Well, it seemed like a good idea at the time…,” laughs Colin Newman when asked to explain Wire’s original motivation for Change Becomes Us. While that might sound like the kind of feeble excuse you’d offer in mitigation when a drunken escapade goes horribly wrong, not only was it a good idea, it actually turned into a superlative one. 

In spring 2012, Wire’s plan had been to convene at Rockfield Studios in Wales to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band was disintegrating. The aim wasn’t simply to resuscitate and record old songs – in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealised work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes, a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been or what it might have become if it had been pursued in 1980. 

“Love Bends” is a case in point. Its roots lie in “Piano Tuner” -- the raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden and preserved on Document and Eyewitness -- but it’s now morphed, improbably, into an irresistible, totally modern pop song. “It had to be turned into something else,” explains Lewis, “because it only really had one bit.” Just as improbably, the gently lilting “Re-invent Your Second Wheel” is tangentially connected to the notorious “Zegk Hoqp,” which was more of a one-time happening than a song at the Camden gig -- mostly shouting and banging, executed by a stage-full of Wire cronies in funny hats. “It was written for performance, around people with newspaper headdresses; not with music in mind,” Lewis emphasizes. Similarly transformed, “& Much Besides” is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in “Eastern Standard” --  a dreary, obtuse three-minute geography lesson delivered with former manager Mick Collins at the Electric Ballroom concert.

Newman’s writing and production reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces; and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, “Adore Your Island” veers between what Newman describes as “prog and unhinged punk rock,” never quite resolving itself; the drama of “Attractive Space” hinges on a progressive splitting of the song’s personality, between its calm expansive, anthemic orientation and an increasing sense of intensity and claustrophobia. 

Change Becomes Us encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic -- one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd. This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable, distinctive work -- from the epochal innovations of Chairs Missing and 154 to the electronic-pop deconstructions of A Bell Is A Cup to Send’s postmodern-punk expressionism and the widescreen lyricism of Red Barked Tree.

Change Becomes Us is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Wilson Neate


Down With The Guru

The Mabuses

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