In a typically generous move Four Tet has released a stash of previously unheard tracks via twitter in celebration of reaching 100000 followers.

The inimitable producer has again proven himself to be one of the most prolific musicians around, dropping 13 cuts made between 1999 and 2012.

Highlight ‘I’m On Fire’ is built on a skittering garage break that evanesces leaving behind a lush dreamscape that belongs with the loved up gems on Pause and Rounds. If an artist can make music of this calibre and not release it I believe they have every right to claim to be combusting.

PD124 similarly builds from rumbles and thuds to a whirling harmony replete with all the Four Tet trimmings of wind chimes, jungle sounds, ambiguous animals and reversed samples.

Celeste Stretch sounds like it could be the sister to one of the epic endurance tests on Shaking the Habitual. Listening to it on repeat may cause hallucinations and/or alien abductions.

If you were in any doubt of Four Tet’s eclecticism his collaboration with off-the-wall genius David Wrench, whose Wikipedia page hails him as the man responsible for the first Welsh Language acid house record, should put you right. This sixteen minute odyssey may be worth completing. Sadly, the Charybdis swallowed me after four minutes.

Gravediggaz SID rmx 2000 is the most remarkable of the lot; a bizarre chiptune remix of Gravediggaz’s Nowhere to Run to, Nowhere to Hide. It’s not exactly a game-changing masterpiece but the fact of its existence makes you wonder what other fantastic curios are fizzing away in the deepest recesses of Four Tet’s harddrive.

Also released were The Atoms For Peace remix of Pyramid that has been
knocking around since May and the gorgeous Grimes remix he posted on Twitter at the other end of this year (and then told everyone not to call a remix).

All of this surprise goodness reinforces my belief that Four Tet is the nicest musician in town and that this social media thing really might be the future.

"When the going gets weird, the weird turn pro."

- Hunter S. Thompson, Fear and Loathing at the Super Bowl (1974)


Between gorging on bacon wrapped things and creamy alcohol over Christmas and starting a new mind dissolving 9 - 5 I haven’t had chance to write anything on here in a while. I started to feel guilty but never guilty enough to do anything about it. I knew it was going to take something extraordinary to motivate me to make a new post. 

Dauwd’s latest tune And is just that extraordinary thing. Almost everything I’ve heard from the man has been extraordinary and this new tune opens with a rising chirruping sound reminiscent of the natural atmospherics that were used to such astonishing effect on Acidreams and Ikopol. The Liverpool resident, however, has something much different in store for us.

At 30 seconds in the DJ unleashes a vigorous bass pushing the track closer towards full on techno than anything he has done previously. Despite this harder approach the flickering excitement of his earlier work translates strangely well into the more club focussed sound of And. 

This jittery energy is employed to full effect in the agonising build up to the drop that launches us into the final third of And, where Dauwd really finds his feet. The pace quickens and the swallowing bass emerges once again bringing with it a skittering hi hat and a welcome helping of deep house bounces. 

I feel like I write this all the time but the final section of Dauwd’s new tune really could go on forever as far as I’m concerned. Whilst it was Dauwd’s dreamier releases that turned me on to the DJ I believe this new sound could be where his future lies.

Nobody spoke. They stood frozen before this object that drew and yet repelled them; as if a uniform reptilian mass should suddenly uncoil before their eye and rear a dozen snaky heads. It was death’s absolute presence that confronted them.
‘It’s a drug,’ said Paul.
 - Jean Cocteau, Les Enfants Terribles (1929)


It was only a matter of time before I posted something about Lapalux here. As one of BRAINFEEDER’s many insanely talented experimental producers the Essex boy has been consistently blowing me away since I heard his take on AlunaGeorge’s You Know You Like It.

Whether it’s with his R ‘n’ B reworks such as this sublime take on Mario’s 2004 classic Let Me Love You or with his own work, Lapalux’s idiosyncratically fractured style puts him in a field of his own.

This latest tune has all the hallmarks of Lapalux’s work; the first minute or so is a reckless two-step affair that tantalisingly builds to the explosive crescendo. What follows sounds like the producer has shattered the original and thrown it in a blender with a sandbag of glitter and a handful of neon Tamagotchis

I’m not convinced that description paints a flattering portrait of the track but in many ways  Stupid, and much of Lapalux’s work, at least initially, isn’t pleasing to the ear. His myriad layers often clash and the skittish beat is frequently absorbed into the chaos forming a farrago of contrasting sounds. 

Conversely, however, this frenzied and disorientating style is the producer’s strength. After a few rotations sounds which at first seemed jarring coalesce and his work becomes not only coherent but startlingly intricate and precise.

A patient and discerning listener is rewarded each time one of Lapalux’s tunes get played as new strands reveal themselves and the many internal convolutions unravel themselves in the mind of those lucky enough to be clued up on Lapalux. 


The news that My Bloody Valentine will be touring next year (I’m using the word ‘news’ fairly loosely here) has prompted me to dig another record out of my dad’s extensive stash. 

When I told him that MBV were reforming he displayed cynicism above and beyond what I expected, not only claiming that it would undoubtedly be a failure but that he never really rated the band at all. I found this odd considering the vivid memory I have of him buying me the Loveless album for my birthday and then a few months later asking me where his album was.

Owing to the radioactive half life of cynicism across generations I’m less convinced of My Bloody Valentine’s imminent failure . Although I’ve seen enough has-beens clinging on to the rudder of the gravy train, The Pixies at V Festival and The Stone Roses at Heaton Park were two of my favourite gigs. They are a constant source of hope that some bands do deserve another moment in the sun.

Whether MBV are one such band is dubious. They were pivotal in the formation of Shoegaze and were pioneers of the pedal-heavy, feedback drenched sound. A sound which any dream pop/ noise rock/ atmospheric artist is indebted to. 

What sort of audience they would be playing to is the real issue surrounding their return, it’s very rare that I meet someone my age who has listened to the band. For those who liked them in their prime an evening of heavy feedback loops and grinding guitars may no longer be the best option for a night out. 

Regardless of the outcome of the band’s reunion their place in history has been secured, primarily by Loveless from which I Only Said is taken from. Their final album represents the full maturation of their inimitable technique and the realisation of their sonic vision. 

The chainsaw guitars of I Only Said are typical of the band’s no compromise approach to their sound. The conflicting strings cascade against each other burying the military drums in a torrent of sound that rushes from the speakers like the blood in The Shining. 

What always astounds me about MBV, and I Only Said in particular, is the beauty that is evoked from the unassuaged clash of completely discordant music. Furthermore the band are always able to weave vocals through the songs, which gives the music its organic power. On I Only Said the mystical vocals glide beneath the surface of the instruments, virtually melding with the guitar work and then breaking away to briefly crest above the waves.

After innumerable listens I still find something new of interest on the vast tapestry of sound that every song on Loveless creates. With a new album on the way before they begin their tour I am, at least at this point in time, cautiously excited for the return of My Bloody Valentine. 

The Knife are coming…

Music can be so meaningless.
We had to find lust.
We asked our friends and lovers to help us.


It is sometimes an appropriate response to reality to go insane.
Philip K. Dick, VALIS (1981)


I took piano lessons from the age of 8 to the age of 15 and I am supposed to be at a grade 6 level. If you sat me in front of a piano now, however, the best you could expect from me would be equatable to the sound of a sixth grader having his face smashed against the keys. 

It’s one of myriad wasted opportunities that I’ve learned to bury under the all too familiar assurance that ‘there’s plenty of time left’. Hearing something as beautiful and irresistible as More To Me, however, is a trigger for my deep seated trauma at the self inflicted loss of my piano skills.

Andrea first came to my attention about a month ago when I heard his remix of Justin Timberlake’s My Love. Unfortunately, this track was overshadowed by Bear//Face’s stunning take on the X-NSYNCer’s single. 

This latest offering from Andrea is a more organic affair than his previous work which, although certainly worth listening to, lacks the character and elegance of More To Me. 

The supremely appealing piano refrain merges effortlessly with the tentative vocals that unfold throughout the track. The atmospherics, which can so often stand out as unnecessary, sit comfortably underneath the effulgent combination of harmonious piano and comforting vocal susurrations to create a blissful slice of future electronic atmospheric whatever.

More To Me is available to download for free from Andrea’s Soundcloud here:


Yesterday I walked into that bar I work in, squeezing passed the monolithic christmas tree which blocks the door and navigating around the fake presents which are scattered all over the floor like glittery mines. 

It was then I noticed a strange noise emanating from the tin can speakers embedded in the roof. It was the dulcet tones of Alvin and his chipmunks enjoining us to come and dry hump Santa with them or some similar festive cartoon bollocks.

It was then I realised that every shift in work this month would be accompanied by an endless stream of intolerable Christmas bilge including Justin Beiber and Busta Rhymes’ heartwarming take on Drummer Boy and several Christmas classics perfectly executed by various cartoon animals with very similar brain grating voices.

In an effort to preserve some semblance of Christmas spirit over the next four weeks I have curated an antidotal playlist. Although the tracks may not be as dementedly cheerful as Vanessa Hudgens’ The Christmas Song or as bafflingly earnest as Cliff Richards’ Mistletoe and Wine it might just be better than a lump of coal or your weird uncle getting inappropriate at the dinner table. 

The Knife - Reindeer 

Sinisterly tinged xmas electro from the Swedish masters. 

Tom Waits - Christmas Card from a Hooker in Minneapolis

Booze soaked crooning from the one man you’d expect to write a Christmas song about a prostitute. 

Cocteau Twins - Winter Wonderland

Liz Fraser’s ethereal voice is completely perfect for this woozy cover.

Vince Guaraldi Trio - Christmas Time Is Here

I realise to Americans this is probably as schmaltzy as it gets for Christmas tunes but I only know this through The Royal Tenenbaums and it does manage to infiltrate my armoured heart with some Christmas cheer, like a Trojan horse full of Baileys. 

The Pogues and Kirsty MacColl - Fairytale of New York

This is always held up as the paragon of ‘alternative’ Christmas songs to the point where everyone plays it but the venom that seethes underneath the track ensures that it gets whipped out every Christmas day so me and my Gran can legitimately shout drunken obscenities at each other. 

Patti Smith - Gloria 

This doesn’t really have anything to do with the holiday season but dancing round my room screaming ‘JESUS DIED FOR SOMEBODY’S SINS, BUT NOT MINE’ on Christmas morning always gets me in festive spirit. 

Blink-182 - Happy Holidays, You Bastards

It’s Christmas Eve and I’ve only wrapped two fucking presents/ It’s Christmas Eve and I’ve only wrapped two fucking presents. 'nuff said. 

More good and that.

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