Wednesday, May 30, 2007

Support the entertainment you love by purchasing a new, original edition

Aleksi Perälä - Lagrange Point

I bloody love Rephlex. In an age where most labels are obsessed with the digital download market, flashy websites that break your computer and using increasingly fancy packaging to attract buyers and maintain sales, Rephlex don’t appear to give a flying fuck about any of it.* Have you seen their website? It’s a thoroughly basic one-page effort, with a list of upcoming releases and details of their distributors and THAT’S IT!!?! One poxy page. As for packaging, well, I bought the new Aleksi Perälä CD the other week and it came in a bog standard jewel case with a single insert for the cover (not even a four-page booklet full of pointless photos) and artwork that an artistically talentless sod like myself could have knocked out on a compoota in about 11 seconds. You can’t even buy their releases as mp3’s on either - in fact, you can’t buy them from anywhere. Rephlex are still operating like it’s the early 1990s and the internet is some new-fangled contraption that won’t last five minutes, steadfastly refusing to change the way they run their operation.

You know what though? None of it matters one iota because they keep on banging out quality releases. They are a shining example to all other labels that it should be about content over style and not the other way around. It’s all about the music. It obviously helps that they have the IDM Lord Richard of Aphex as a figurehead to attract the best talent, a shrewd businessman with his hands on the reigns and an unrivalled ear in Grant Wilson-Claridge, and a back catalogue that rivals Warp’s in terms of representation of the electronic music canon, past and present. But Rephlex still know that you are only as good as your last release, and they are consistently brilliant.

I’m posting a track from the Aleksi Perälä album, ‘Project V’, to illustrate the point about the quality music Rephlex keep releasing. Despite not breaking any boundaries, this is a stunning album, and Aleksi’s first under his own name after several releases under the pseudonym’s Ovuca and Astrobotnia. It’s his first album for five years, but is more than worth the wait. On ‘Project V’, Aleksi seems to touch on all genres of electronic music, but the album never lacks focus, as it all comes together under the expert guidance of this gifted producer. Opening track ‘Rocking Chair’ is a reflective Four Tet-esque slice of electronic folk with a plucked guitar and twinkling melodies and ‘Spacetime’ samples the electro classic ‘Al Naafiysh (The Soul)’, with a solid break and lush, warm chords. The album is packed with corking tracks including the short but ever so sweet ‘Muska’ with a synth line like a mewing cat set over pitch perfect Detroit techno; the epic, atmospheric ‘Purple Rain’, which moves from skittering electronics to mournful ambience over the course of 9 minutes; the propulsive, bouncy-bassed ‘Autumn Morning’; the drum heavy, funky ‘Feast’; and the twisted, loopy acid techno of ‘Dark Energy’. Closing track ‘Sunbath’ even gives the overused Amen break another run out, with all manner of spooky noises and a wobbly bassline reminiscent of Squarepusher at his nuttiest.

If I was forced to choose just one song to represent the album, I would go for the widescreen sci-fi techno of ‘Lagrange Point’. I love the bit half way through where the bass distorts and slays the speakers, briefly taking the song into twisted machine funk territory, before it closes with an eerie, end of the world chord sequence - brilliant.

So, let’s give the last word to the label itself – “Rephlex is an independent record label, focusing on creatively inspired music rather than profit driven product. If you like the music, please help to continue the service provided by purchasing official releases.” Do as the man says – you won’t regret it.

*(with the obvious exception of the Analord binder)

Buy Aleksi Perälä 'Project V' from Norman Records
The bulk of the Rephlex catalogue is also available to purchase from the lovely people at Norman Records
Spend 3 seconds of your day visiting the Rephlex website
Full Rephlex discography
Aleksi Perälä My Space
Aleksi Perälä website


Monday, May 28, 2007

You Should Never Be Ashamed

ABBA - The Visitors

I’m properly hacked off with this whole ‘Guilty Pleasures’ thing. I’ve been stewing on it for a while now, and have finally come to the conclusion that it’s all rather patronising. It’s just a way for people who are completely affected by current trends and dictated to by London magazine editor’s perceptions of cool, to enjoy music that is perceived to be naff without fear of being sneered at by their peer group. OK, so it’s not really worth taking too seriously, and does seem to have morphed into an excuse for people to dress up and sing along to Toto songs, but I dislike the foundations on which it is built. You should never have to feel ashamed about the music you love. It all smacks a bit of snobbery. It’s only a guilty pleasure if you operate in circles where people will laugh at you if you confess a love of Dire Straits. Maybe it’s because I’m getting older, but I’m finding myself less and less bothered by what other people think about me and the things I’m into (yes, Dire Straits – but more on that another time). So, I want you all to know that I am posting this ABBA track without even the merest flicker of irony. I’m posting it because it is an absolutely incredible song and I love ABBA. I got into ABBA when I was a very small boy and my brother used to sing “Baggy Mango!” along to ‘Fernando’. There’s not a lot not to like about ABBA when you’re about 6 years old. Catchy sing-along pop songs aside, Benny looked a bit like my Dad. Plus, I think I also liked the fact that they were romantically paired off – it made them seem like my surrogate family. Finally, even aged 6, I had the hots for Agnetha.

‘The Visitors’ was the title track of their eighth and final studio album. The album was hammered by the critics at the time, but generally believed to be their finest by the majority of their hardcore fans. I don’t really know enough about ABBA’s album career to make a sound judgement (it was all about the soundtrack to ‘ABBA: The Movie’ for me), but I do know that me and my brother absolutely adored ‘The Visitors’, so much so that I can’t even recall any of the other songs on the album. ‘The Visitors’ is either about alien abduction or a descent into madness through schizophrenia or maybe both, but the official line is that it is a protest against the mistreatment of political dissidents in the Soviet Union. Ummm, OK then. The track itself opens with a psychedelic coda, with backward guitars, atmospheric chords, and a haunting vocal that raises the neck hairs. There’s also a sound a bit like a Game Boy being turned on and off. This intro always reminds me of the Beatles’ ‘Tomorrow Never Knows’ for some reason. From here, it busts out into a double tracked synth-heavy romp that sounds incredible when played insanely loud. If you aren’t triumphantly pumping your fists during this segment, it’s probably because you have no arms. There’s a parping medieval trumpet melody later on that sounds good enough to announce the arrival of the King of England at a huge banquet. It’s nearly 6 minutes long, but worth every single second, even if it did mark the demise of ABBA as a creative entity.

Buy the remastered edition of 'The Visitors' from Amazon
Official ABBA website
ABBA at Wikipedia
Massive on-line ABBA resource


Tuesday, May 22, 2007

Before We Shouted Lager

Underworld - Spikee
Underworld - Dogman Go Woof

After their phenomenal debut album 'Dubnobasswithmyheadman', and before they unwittingly gave lager louts everywhere a post-pub chant all of their own with the junkie anthem 'Born Slippy', Underworld squeezed out this fantastic double header to very little acclaim. It was 1993 to be precise, the week before Christmas, and I definitely think it's one worth revisiting. 'Spikee' and 'Dogman Go Woof' are both 12 minute epics of the progressive variety - that is prog as in overly long and rather self-indulgent, but I think they can be excused when it sounds this good. Released on 12" and CD by Junior Boy's Own, it was only made available for one week, and wasn't released anywhere outside of the UK. According to the entry at, 'Spikee' was described by the NME as like "driving at 60mph down winding country roads with your eyes closed, at night", which I'm pretty sure I must have done at some stage in my life, probably listening to 'Spikee' at the same time. 'Spikee' is a thumper, with Karl Hyde's vocals chopped up to render them even more incomprehensible than usual. Only his request to "Feel yourself" is crystal, though probably not a call for spontaneous group masturbation. This is classic Underworld; an epic percussive voyage with pummelling synth lines, produced for both mind and feet, and with a sublime final few minutes, when Hyde busts out his guitar and fires off a reverb drenched riff that will send your eyeballs rolling into the back of your head in rapturous celebration. 'Dogman Go Woof' is what is described in the trade as a 'chugger'. It's the sort of magnificent, drum-heavy trip you're so pleased to hear played at raves at about 4am when you're tired of the endless peaks and just want something solid to drop so you can dance like Paula Radcliffe running on the spot in slow-mo for half an hour or so. To ensure your mind continues to unravel, the boys kindly add a vast array of spangly noises and filtered effects into the mix. Bloody marvellous.

Buy Underworld from Townsend Records
Underworld website
Underworld discography
Underworld at My Space
Underworld forums
Search eBay for 'Spikee/Dogman Go Woof'


Wednesday, May 16, 2007

Filthy Trains and a Euphoric Belch

Penthouse - White Coal (The Lo Fi's Meet Penthouse At The Brain Farm)

A couple of remixes for you today - well, the Lo-Fidelity Allstars’ reinterpretation of Penthouse’s ‘White Coal’ is not so much a remix as a live jam between the two bands, or as the Lo-Fi’s lead singer Dave ‘The Wrekked Train’ Randall puts it – “The Lo-Fidelity Allstars soiling Penthouse… in a room full of gear…”. I’m not sure if by gear he means musical equipment or bags of brown powder, but either way, this track is dirtier than a couple of unwashed skag heads wrestling in a pit of human shit. Named after the upmarket porno mag, Penthouse were purveyors of sick subterranean blues, once described by Kerrang as, “…the sound of Elvis shitting out lumps of hot lava before dying.” The Lo-Fi’s were signed to Skint, and made a decent fist of reanimating the fetid corpse of Big Beat, with the surreal vocal talents of the Wrekked Train, and the superlative keyboard skills of The Many Tentacles. Yes, they all had stupid names too.

This demented meeting of minds from 1998 sees the Wrekked Train transform himself into a PCP-ed up Tasmanian Devil, barking out the words with increasing levels of incomprehensibility and madness. The disembodied moaning of Penthouse vocalist Charlie Finke is somewhere in the mix of cavernous drums, backwards guitars, sleazy brass and organs, urging a collaborative game of trains between two lovers, where “You can be the driverrrrr…”. It’s disturbing and filthy and very, very, very wrong. You should probably take a shower after you’ve listened to this.

The Sabres of Paradise - Smokebelch II (David Holmes Remix)

Twos up, we have a very different animal indeed - David Holmes’s fantastic reconstruction of the Sabres of Paradise’s timeless classic ‘Smokebelch II’. Over 14 minutes, Holmes transforms Weatherall and co’s magnificent techno opus into a euphoric ‘hands in the air’, end of the night MONSTER. It’s a proper musical journey of staggering proportions, and can cause anyone within earshot of its majestic, tumbling, melodic piano arpeggios to break down in tears and start hugging complete strangers. Winding acid lines and a frenetic conclusion consisting of live whistle posse mania and a full-on military snare rush, ensures this track keeps on delivering until the needle hits the final groove. It’s a blinding reminder of just how good acid house can be, and is still destroying dance floors to this very day. Sublime. And Col, if you’re reading – this one’s for you…

Buy the Penthouse remixes 12" from Norman Records
The Lo-Fidelity Allstars website
The Lo-Fidelity Allstars discography
The Lo-Fidelity Allstars at My Space
Penthouse obituary
Buy the David Holmes remix of 'Smokebelch II' from eBay
All things Andrew Weatherall at the Rotters Golf Club
The Sabres of Paradise discography
David Holmes at Wikipedia


Monday, May 14, 2007

Incorrect. Try again.

The Loungs - Clancy's Stomp

Here’s a terrific little song from a rather lovely album that Joe gave to me a while ago. ‘Clancy’s Stomp’ is the opening track to The Loungs debut album ‘We Are The Champ’ which is packed full of jaunty, all-the-fun-of-the-fair type songs. As soon as I hit the play button, I was instantly smiling. Yes, that noise, it’s a Speak & Spell. I had one of these little machines when I was a wee young boy, a time when spelling “answer” was a bit of a challenge and typing in “S-H-I-T” was much more fun. That computereized voice of the manic professor screeching the letters out of a bright orange plastic case. Hours of fun - and educational too! This was pioneering technology.

As a kid I just loved the noise a Speak & Spell made, and it has stuck with me over the years. It makes such a unique sound when you turn it on and turn it off. I had a dream of being a talented enough musician and sampling a Speak & Spell in a chart-topping anthem that would unite people who heard it all over the world. Sadly I proved as adept at music-making as I was at spelling when I was a five-year-old, and a bit of research tells me that The Loungs and I aren’t the first people to think of using the genius of the Speak & Spell in their music.

‘Clancy’s Stomp’ samples that uniquely demented Speak & Spell voice spelling out letters, until the infectious guitar clank takes over and it spirals into a summery daze of keyboards and noises. It is a nostalgic start to an album that constantly provokes memories from the past. ‘Through It All’ has me whirling around fields of corn that I lay in on a summer’s day with a girl whose name I can’t remember (and might not actually have happened). ‘Smile Reptile’ lulls me into thinking I’m on a long road trip in the back of my parents’ car, looking up at the electricity pylons and waving to lorry drivers.

Now, spell “Nostalgia”. Isn’t it great?

The Loungs' 'We Are The Champ' is released by Akoustik Anarky on Monday 21st May 2007. You can pre-order the album from Norman Records
The Loungs website
The Loungs at My Space
Akoustik Anarkhy website
Have a go on a Speak & Spell here


Thursday, May 10, 2007

And keep your feet off the upholstery Ronnie

Adam & the Ants - Cartrouble (Parts 1 & 2)
Adam & the Ants - Never Trust A Man (With Egg On His Face)

I first came across the world of music blogging via this post here from the brilliant Simon at Spoilt Victorian Child. It was one of those “YES!” moments, where you realise that there are other people out there who think like you, and share your love of music, and are able to articulate it in a way that makes you feel included. Having felt completely disillusioned with and detached from the ‘popular’ music press for a long time, in discovering Spoilt Victorian Child and, via the list of links on the website’s sidebar, hoards of other wonderful music blogs, I had finally found something I could relate to - genuine and enthusiastic writing about music that was often close to my heart. In this instance, Simon was raving about Adam and the Ants’ ‘Dirk Wears White Sox’ – one of my favourite albums of all time. It was an epochal moment, and a beautifully fated one for me, as I eventually became a contributor to Spoilt Victorian Child, and went on to start up The White Noise Revisited.

None of this would have happened if it hadn’t been for me feeling nostalgic (and bored) one afternoon at work, and googling Adam and the Ants - the first band I got into outside of my parent’s sphere of influence. Before Adam, it was all the Beatles, the Stones, the Kinks, Fairport Convention, Gallagher and Lyle, Decameron - all gems from my parents record collection, no question, but their choices, not mine. I was lucky that I had parents for whom music played a central role in their lives – be it cassettes in the car stereo on long journeys, or albums playing on the state-of-the-art Bang & Olufsen (their one real luxury) record deck on a Sunday afternoon. But then, round my best friend Ross’s house, after mucking about with his brand new remote-control robot, we went into his older brother’s room and he played me ‘Dirk Wears White Sox’ and that was it really - from innocence and robots to the pervy world of Adam Ant, via the drop of a needle onto a piece of vinyl.

People tend to overlook ‘Dirk Wears White Sox’ in the context of Adam Ant’s career as it was before the years of success, and the chart-topping collaborations with Marco Pirroni that turned him into a proper star. It was before the teenage girls (and boys) were squealing and wetting their knickers over the dandy highwayman; before the make-up stripes and the Red Indian obsession; before the military jackets and the shoelace skull giveaways with Look-In; before Diana Dors, sow-on patches and appearances on Swap Shop. That’s what most people think of when they think of Adam Ant or maybe even ‘Save the Gorilla’ and his subsequent struggles with mental illness. It used to massively piss me and my brother off that during the height of Britpop, when Damon Albarn was asked about his influences he’d reel off the cool ones – XTC, Wire etc – but never ever give Adam Ant any credit. If you listen to ‘Dirk Wears White Sox’ (especially ‘Never Trust a Man (With Egg on His Face)’, with it’s oh so English lyrical references like the suit “bought from Marks”, and twirly riffing), you’ll be left in no doubt that Damon (and Graham) had definitely been listening too. So why would he not give him any kudos? Well, he was perceived as being rather naff by then. Ironic really, when you consider how similar Damon was to Adam in his desperation to become a bonafide POP star. They both succeeded, but it would have been nice for Damon to acknowledge his debt to Adam, from the stage school elements of his live persona to the faux-cockernee singing style. Elastica covered ‘Cleopatra’ on a giveaway flexi in 1995, so at least there was someone in the Albarn household saluting Adam’s genius. More recently, Bloc Party were decent enough to nod in Adam’s direction when they first burst onto the scene.

‘Dirk Wears White Sox’ is an incredible album. I now own three copies of it – two on vinyl (my original copy which crackles like a bowl of Rice Krispies I’ve played it so much, and a replacement copy I bought from eBay), and I recently purchased the remastered CD. The sonic improvement is so stunning that it sounds like a brand new album. In fact, I can’t believe how current it sounds. And as Simon at SVC said in his original post, this was without a doubt the best line-up of the Ants, before Malcolm McLaren nicked them all to form the backbone of Bow Wow Wow. It’s all genius, but ‘Cartrouble Parts 1 & 2’ is my favourite. It’s a song split into two or two songs in one - ‘Part 1’ is jerky, twitchy Talking Headsy new wave punk funk with David Barbe’s ratatat military drumming, angular riffing and Adam's yelping vocal, before it seamlessly morphs into ‘Part 2’; a melodic slice of raw punk pop.

Lyrically, ‘Dirk Wears White Sox’ went right over my seven-year-old head, with its references to fetishism, religion, S&M, Hitler and JFK. I still have no idea what ‘Cartrouble’ is all about. ‘Part 2’ seems the more straightforward – probably about car worshippers who spend their weekends, “licking and polishing the beep beeps into shape”, but who the fuck is Ronnie? And what’s all this business about ice creams? ‘Part 1’ is even more obscure, with the fantastic opening couplet, “I’ve got a Pizzaland complexion, Bright green sox” and the immortal line, "I dreamt I was a spastic but my boots were clean”. At the time I thought ‘Cleopatra’ was just an innocent song about the Egyptian queen (we were doing a project about Egyptian history at school around that time, so it seemed quite apt!), but a grown-up ear tells me it’s about her orally pleasuring thousands of Roman Centurions, turning her into a “wide-mouthed girl.” But as a kid I was most impressed with the irreverence of ‘Day I Met God’, in which Adam reveals the most striking thing about our supposed creator was the “size of his knob” and the “streaks in his hair”. Cue plenty of Rik from the Young Ones-style fnarring at the back of Mrs Boyd’s classroom.

The remastered version is a must-buy. It is exquisitely packaged in a deluxe digipack with a 12-page booklet, and as I’ve stated before, it sounds absolutely fan-fucking-tastic. As well as the original 1979 Do-It Records album release, the CD features the singles 'Zerox'/'Whip in My Valise' and the remixed 'Cartrouble'/'Kick', alongside the exploitative 'Antmusic EP' of 1982, featuring remixed tracks from the same era, released by Do It to cash in on Adam's success.

Buy the remastered 'Dirk Wears White Sox' from Amazon
The official Adam Ant website
Adam and the Ants at Wikipedia
A great Adam and the Ants fansite
Search eBay for 'Dirk Wears White Sox' vinyl

I found loads of amazing Adam and the Ants stuff on You Tube, including this exclusive 1979 video for 'Cartrouble (Part 2)' by Stephanie Gluck -

And this later concert performance of 'Cartrouble' with the new Ants, when he's in full Kings of the Wild Frontier garb, looking cool as fuck -

And don't forget to visit Spoilt Victorian Child - without them, you wouldn't be reading this.


Friday, May 04, 2007

RDJ: Laughing All The Way To The Bank?

Animation © Fred McGriff

The Tuss - Alspacka

Is it? Isn’t it? The debate rages as to whether or not The Tuss is the work of Richard D. James. OK, so it’s not exactly raging, but the Aphex publicity machine must be rubbing its metallic tentacles with glee at the amount of internet column inches given over to the discussion. The Aphex myth grows and he might not even have had to get his knobs dirty. Other rumours credited the release to two French producers, or somebody called Gary, who was apparently on the verge of signing to XL or Ninja Tune before Rephlex stepped in. Sounds like a proper shaggy dog story. The actual music is credited to Brian Tregaskin. Who? The first clue that this might be Richard lies in the name, as Tuss in Cornish dialect literally means erection, and we all know that RDJ is Cornish and likes the odd knob gag. Another clue is that one of the tracks featured on his DJ set from the Snowbombing Festival of last year, the first time the music had been heard - a Rephlex exclusive for the label’s joint owner, or a track fresh from the man’s own hard drive?

The real clue though lies in the music of the ‘Confederation Trough EP’, which was released by Rephlex this Monday. The tracks featured across the two formats (12” and CD both share two tracks, and have one exclusive each) sound like the natural progression from his last recorded output, the Analord series, which came out back in 2005. It’s a selection of analogue acid techno, which follows a more intricate and abstract path this time around. There’s a dark, warped synth melody halfway through ‘Alspacka’ that sounds exactly like something from Polygon Window. The track itself has a Detroity vibe, and also bears a passing resemblance to the emotive and playful sounds of early Black Dog Productions. At the start of ‘GX1 Solo’ (the CD bonus track), someone says something (sounds like “Prick!”), and it reminded me of the shouty voice at the start of ‘Cow Cud Is a Twin’ from the ‘I Care Because You Do’ album. If you listen hard enough, it’s easy enough to find similarities to back up the suspicions that RDJ is The Tuss, but if it isn’t him, it’s somebody doing a damn good impression. Though it really shouldn’t matter if it’s RDJ or not, it’s a quality release regardless and one of the best I’ve heard all year.

Buy the ‘Confederation Trough EP’ from Norman Records
The debate continues at message boards on Aphex fansites WATMM and Xltronic

While I’m on the subject, I’ve been planning a post on the Analord series for a while. There was so much hype surrounding the series at the time, it was hard to evaluate the music, but with a bit of distance from the initial discussions, I am coming to the conclusion that it is some of the best material RDJ has produced by a country mile. I strongly believe that if he had released it as a quadruple CD on Warp or Rephlex, the fans and critics would be hailing it as his masterwork. Instead, the alienating nature of the initial limited edition faux-leather binder (which meant only 800 people could actually own the first 12”, and had to shell out a pretty price for the privilege!), lead to there being an overriding feeling that the fans were being ripped off, or even worse, excluded from owning their favourite artist’s work. This meant that many opted out of buying the sequence of EP’s that followed (11 in total, featuring nearly 3 and a half hours of quality analogue acid and techno) as they didn’t own the binder and therefore didn’t feel included.

I also believe that another factor is that the hardcore IDM fans like to get their hands on this sort of music early, and by early I mean leaked on Soulseek way in advance of the official release date. This gives them ample opportunity to discuss, dissect and make their opinions felt on message boards way before the music legally hits the streets. Without a CD release, there could be no leak, and unless they bought the 12’s, they actually had to wait for each release to come out, be ripped to mp3 and then grabbed via Soulseek, before they could formulate their opinions. I could be wrong, but I think this was a deciding factor in many just dismissing the music outright, as their usual methods of acquisition and assimilation weren’t open to them. Some didn’t even own a record deck, so had to wait for the ‘Chosen Lords’ CD release, which contained 10 tracks, and came out a few months after the final 12” dropped. It was a good album, but when you consider there were over 40 tracks in total (not all good it must be said), this compilation was only ever going to scratch the surface, and was a subjective selection, missing off many outstanding tracks from the series.

The thing that bugged me the most, was that many were of the opinion that the Analord series wasn’t a ‘proper’ Aphex release; it was just a series of archive tracks that he decided to chuck out to make a bit of money, and the standard wasn’t as high as his previous output. I think this is way off the mark. If there is one thing RDJ is hugely passionate about it is analogue equipment. He has an unrivalled collection of synths, polysynths and drum machines, and throughout his career had stated his intention to make an album using solely this gear. So to claim he wasn’t passionate about the Analord music is bullshit. If anything, it represented a real labour of love for him, as evidenced by the lengthy discussions he embarked on over the internet on the subject of analogue equipment. As there were no interviews conducted at the time and no promotion whatsoever, I guess the online debate about the validity of the series worked in his favour regardless. Once again, the master of misinformation and mischief had managed to get everybody talking about him. Oscar Wilde would be proud.

AFX - VBS.Redlof.B

I’m posting ‘VBS.Redlof.B’ from Analord 11, the final 12” of the series. I can’t stop listening to it at the moment; it is stupidly addictive and right up there with his best work. It’s probably the first time since his early releases for Rabbit City and R&S that he has written something so pure and techno, and demonstrates that he hasn’t lost the knack of making tunes that explode on the dancefloor. Maybe it’s this that the purists object to - this isn’t really progressive, but rather a nod back to the music that inspired him at the beginning. Named after a computer virus, ‘VBS.Redlof.B’ works off a wobbly acid bassline and kicking danceable beats. Lovely washes of melody permeate throughout and he mangles it all up in the middle in true Aphex style, before returning to the slick acid grooves. It’s a stunning track and proves that this music came from straight from his warped heart.

Buy the Analord 12's from Norman Records - – if you want somewhere to start, I’d suggest Analord’s # 2, 10 and 11, though they’re all wicked!
Alternatively, buy the 'Chosen Lords' CD from Norman Records
Search eBay for the binder - it sometimes comes up, but isn’t cheap!
Analord at Wikipedia