Sprechen Presents…

On Saturday night gig goers in Manchester had multiple options. The new Co- Op Arena in east Manchester hosted Liam Gallagher who was playing Definitely Maybe in full and then whatever else it is Liam plays after he’s done all the good songs. Old Trafford cricket ground had Foo Fighters. Manchester city centre on Saturday afternoon was packed with people coming and going, Liam and Foo fans, hen parties and earlier on glammed up Taylor Swift fans heading for trains to Liverpool. The other option was a walk up Cheetham Hill Road to The Yard and a Sprechen Records Presents night with live performances by Chris Massey’s The Thief Of Time and Psychederek. I took the non- Liam, no- Foo option and headed to The Yard. 

The Thief Of Time’s debut album Where Do I Belong? came out towards the end of last year and became one of my favourite albums of 2023 very quickly. Chris Massey usually makes dance music and ultimately that has one aim- to make people dance. The Thief Of Time is song based and more autobiographical, Chris bringing together a lifetime spent soaking up pop culture- music, films, comics, songs, bands, clubs- and forming into one seven song record. There are nods of the head to 80s pop, to mid- 80s New Order, electronic music and guitars. A Certain Ratio helped out as did Psychederek, Bay Bryan and Alison Rae who all provided vocals. At 9.45 pm on Saturday night Chris stepped on stage at The Yard for the debut live appearance as The Thief of Time, switching between guitar, synth drums, keys/ synths and vocals with a guitarist to his left. The songs definitely work live, pulsing and building, electronic pop with psychedelic and lots of film references. The projections behind added a visual dimension, sci fi loops, Manchester tower blocks, the footbridge over the M60 at Stretford and pulsating computer animations. Many of the songs have snatches of dialogue sampled and Chris had synced up the vocals samples to the moments of the films he’s took them from, the actors from various black and white films appearing on the screen as their voices came through the PA. It was hugely impressive and hopeful the first of many future performances. Towards the finale, with twin guitars chiming away, as the motorik/ cosmische rhythms thumped on and the synths soaring, the effect was magical and hypnotic. This one, Rendezvous On A Lost World, the ghostly refrain sung Psychederek, ‘You’re not alone’, echoed through the Victorian school building, sounded especially good.

The Thief Of Time were followed by Psychederek. His single Test Card Girl was one of my favourite releases of 2023 and his recent EP Alt! is already shaping up to be one of my favourites of ’24. Behind a bank of synths, drum machines and a laptop, a microphone and a guitar, Psychederek began with the dreamy, phased, blissed out synth chords of Test Card Girl, stretching the sounds and filtering them before the drum beat kicked in…

From there he went from one song straight into the next, a blend of gig and DJ set, the songs joined seemlessly. Hapi from Alt! had his singing, his voice floating from the PA, followed by the crunching cosmische rhythms and Neu! guitar/ synthlines of Nowhere To Nowhere. I had to leave before the end of Psychederek’s set but what I caught was superb and I’ll be back for more next time he plays. 

Psychederek’s Alt! is available at Sprechen, four songs for summer ’24 including his sun baked cover of 808 State’s Pacific. Digital and vinyl here. 

The Thief Of Time’s Where Do I Belong? is here, digital, CD and vinyl options plus posters and tote bags. 

Monday’s Long Song

In 1993 David Sylvian and Robert Fripp released a single- Jean The Birdman- across two CDs with different B-sides on the pair. CD Two came with Endgame, a beautiful, understated acoustic song, and the ten minute and fourteen second wonder that is Earthbound/ Starblind. Effectively, it’s two songs stuck together. The first half is David singing over acoustic guitar, close and melodic with lyrics about magic and nature and a woman who is ‘giving me questions and quizzical looks/ She tears up my papers and burns all my books’, someone who has ‘been through this world before’. At four minutes seventeen seconds the second half starts, six minutes of Frippertronics, the conjuring of ambient guitar soundscapes. The first half is earthbound I guess and the second half is starblind. 

Earthbound/ Starblind

Forty Minutes Of Pop Will Eat Itself

This goose lives at Portland basin in Ashton- under-  Lyne, East Manchester. When we were there a couple of weeks ago they warned us that the geese were nesting and could be aggressive if disturbed. They didn’t mention this one though, who has necked two cans of Stella and now wants a fight. 

Pop Will Eat Itself are touring this autumn. I’m quite tempted. Back in autumn 1988 I saw them at Liverpool University. In my head they were one of the first gigs I attended in Liverpool, close to the start of the academic year, maybe just after Fresher’s Week- but false memory syndrome has had me here because according to PWEI’s own On Patrol gig history at their website they didn’t play the Mountford Hall until 2nd December 1988. There is a live recording of the gig on Mixcloud, probably one I bought at some point on cassette from the bootleg tape sellers in the student’s union. 

The gig was great, PWEI hitting the stage and giving us an hour of their mash up of rock, rap, dance music and samples. The room was a real gathering of the late 80s tribes, grebos, indie kids, and goths all standing around waiting. I was wearing Levi’s, Converse, a black t- shirt and dark green waistcoat (with Watchmen smiley face badge) combo with, for some reason, a bandanna tied round my head. This sticks in the memory for reasons I cannot fully ascertain- as does my conversation with Tracey, a hippy girl who was on my course. We had a chat, all going well, but at some point I referred to Poppie Clint as Clive and Tracey was withering in her look and response. ‘Clint, Adam, he’s called Clint’. They came on stage to rescue me from my embarrassment (Tracey later came with us to see The House Of Love in Widnes though that could have been because Al had a car). 

Stourbridge’s finest were huge fun, a riot of sounds, samples, buzzsaw guitars and shouting. B.A.D. may have got their before them but they were fairly ground-breaking in their approach and records. The mix below reflects that I hope, forty minutes of late 80s and early 90s collisions of styles, pop culture references all over the place, focussing mainly on singles and finishing with a song released for Italia 90, an unlikely music- football- politics crossover.

Forty Minutes Of Pop Will Eat Itself

• The Incredible PWEI v Dirty Harry
• Can U Dig It (7″ Mix)
• Dance Of The Mad
• Eat Me, Drink Me, Love Me, Kill Me
• Karmadrome
• Wise Up Sucker
• Def. Con. One.
• Orgone Accumulator
• Inject Me
• Touched By The Hand Of Cicciolina

The Incredible PWEI v Dirty Harry is from the 92 Degrees single from 1991, a superb acid house/ film sample fest. 

Can U Dig It was a single in 1989, from their second album, This Is The Day.. This Is The Hour… This Is This!, a list of influences and references from TV, film, comics, records and that sounds like what life felt like in 87/ 88 from The Twilight Zone to Alan Moore (knows the score), V For Vendetta and Into The Groovy, Run DMC and Renegade Soundwave, Marvel and DC. Wise Up Sucker is from the same album, a single too as is Def. Con. One., the lead single from 1988’s This Is This!, the archetypal grebo rock song, a collision of punk, hip hop, rock, indie and samples. Inject Me was on the album too. 

Dance Of The Mad is from 1990, a single that lost the word Bastards from the end of the title to make it more acceptable for TV and radio play. Produced by Flood and taken from the third PWEI album, Cure For Sanity, and recorded at Paul Weller’s Black Barn studio in Surrey. It’s Weller’s studio now, I’m not sure if he owned it then. I can’t imagine much common ground in 1990 between Weller and the Poppies but who knows.

Eat, Me, Drink Me, Love Me, Kill Me and Karmadrome are from 1992, a double A- side single. You need both sides. 

Orgone Accumulator is a cover of the Hawkwind song from a 1987 covers EP along with Sigue Sigue Sputnik’s Love Missile F1- 11.

Touched by The Hand Of Cicciolina is from Cure For Sanity and a summer 1990 single, one of the songs of the summer (a summer that wasn’t short of memorable songs). It features/ pays tribute to Hungarian- Italian porn star Ilona Staller who was elected into the Italian parliament in 1987. A couple of years later she offered to have sex with Saddam Hussein in exchange for peace. The piano riff, Gary Linekar sample and chant of ‘Cicicolina/ Ciciolina/ This time for I- tal- ya’, are all PWEI gold. 

V.A. Saturday

Back in 2013 Astro Lab Recordings released a double CD compilation called Treasure Hunting. At the time the whole A Love From Outer Space/ chuggy cosmic disco/ Golden Lion/ Scandi- Italo house thing was quite underground and some distance from the bright lights. The Golden Lion didn’t even exist in its current form. I was just typing away at this blog in isolation, chasing Andrew Weatherall remixes and music by related artists, and I wasn’t really plugged into at all apart from vicariously via the internet, and hadn’t made any of the connections and friendships that I have now. Our kids were both young and weekend nights spent dancing until ungodly hours weren’t really possible. Treasure Hunting was one of the ways that connected me to that sound, an eighteen track compilation that pulled me in because of the Andrew Weatherall remix of Timothy J. Fairplay’s Blizzard/ Snowride. Other names on the CD were by artists I already had music by- Deadstock 33s (Justin Robertson), Daniel Avery (whose debut album Drone Logic came out that year and reconnected me with techno sounds), and some Weatherall associated names from the Scrutton Street axis- Scott Fraser and Hardway Bros- plus the odd name I recognised from mixes Andrew had done for various websites and clubs- Mugwump for instance.

Treasure Hunting is a superb set of tracks, all connected by the chuggy/ sci fi/ cosmic disco sound but many sounding pretty individual too. Across the rest of the CD there are first rate tracks by Marc Pinol, Toby Tobias, Ana Helder, DJ Kaos, Cage and Aviary and several more. There isn’t a weak track on it and you can pick it up cheaply second hand. It’s probably not a particularly sought after various artists compilation, I doubt it will be seen as a classic in years to come, but it’s one that drew me into a sub- world I was looking in at, part of what I was hearing at a distance in 2013, the year coincidentally that Martin and myself started The Flightpath Estate. These three give an idea of the treasure contained within, starting with the 80s synths, bleeps and robotic voices of Marc Pinol’s Monotony In Germany, then Mugwump’s slower, spacious Belgian grooves on God Is Gracious and finishing with Hardway Bros and an exercise in sci fi, booty shaking hypnosis. More cowbell please. 

Monotony In Germany

God Is Gracious

The Prince In Outer Space

Sean Johnston/ Hardway Bros continues in rude health, DJing, remixing and making his own music. Shortly he will release an EP on Rekids, an EP called Murky, with vocals from Beth Cassidy and a Beyond The Wizard’s Sleeve remix. To celebrate this Sean has done a ninety minute mix for House Of Rekids, a deep dive into thumpy, dark electronic music- don’t let the slow start get you thinking this is a chilled out mix, it goes in deep quite quickly. Superb stuff from Sean, as ever. Listen to it at Soundcloud. 

Tracklist

• Luminodisco – Jazzclub 
• Rees – Früg (Edit) 
• A.B.Habibi  – Mother Africa 
• Innuendo – Kreaturen Der Nacht 
• Len – Steal My Sunshine (Version Idjut) 
• Roland Leesker -Let It All Go (feat. Dan Diamond) 
• Romare -Wolf’s Teeth 
• Shakespeares Sister – Black Sky – Apiento Edit (Unreleased) 
• Toby Tobias – Get Wit Me 
• Jezebell – Weekend Machines 
• Phil Kieran – All Gonna Hurt (Unreleased) 
• Rafiki – Lofi Dreams 
• Crooked Man – YowYow 
• Session Victim – Screen Off /w Ras Stimulant 
• Timo_Maas & Marc Werner – Barca Boys 
• Burglar Tom – Lonesome Tonight

And if you want more David Holmes returned to NTS this week for another two hour session with his long running God’s Waiting Room series. The latest edition opens with the sublime sounds of Marvin Gaye and then goes full on into spiritual jazz, psychedelic soul and freaked out folk. Listen here.  

Twenty One

Eliza, our daughter, is twenty one today. We had the party last weekend at a venue in Altrincham because today she is at the Gottwood festival in Anglesey. Coincidentally Sean Johnston is playing Gottwood, doing A Love From Outer Space, the travelling cosmic disco he and Andrew Weatherall started in 2010. I’ve told Eliza she must attend ALFOS as part of her birthday celebrations, a cross generational handing on of the torch or something. A couple of her friends asked what ALFOS is. ‘110 BPM chuggy cosmic disco’, I told them, which they seemed to find quite amusing in a ‘what’s the old man on about?’ kind of way. 

A few weeks ago Eliza told me I had to do a speech at her twenty first. I gave it some thought and then, capitalising on her love of Mancunian poetry I decided to do it based on Mike Garry’s St Anthony: An Ode To Anthony H. Wilson. Eliza loves Mancunian poetry, Mike Garry’s poem and also Tony Walsh’s This Is The Place. Despite Eliza’s concerns that my poem would be ‘cringe’ I wrote and read it out anyway, an A- to Z of Eliza set to Mike Garry’s structure, cadence and style. Apologies to Mike.

It finished, as Mike’s does, with ‘Talk to me of all these things and there’s one thing that’s for certain/ That I’ll see the face and I’ll hear the voice of Eliza Ramona Turner’. Not a dry eye in the house. Including mine. 

St. Anthony: An Ode To Tony Wilson (Andrew Weatherall Remix)

When she was born a nurse looked at her in her cot as travelled in a lift up to the next floor in Wythenshawe hospital. Eliza was wide awake and looking round. The nurse said to us, ‘that is the most alert baby I have ever seen’. And that’s kind of how she’s been ever since. 

Happy birthday Eliza. You’ve been through more than any twenty one should have to in recent years and have come through it with your love of life intact. Enjoy Gottwood, enjoy ALFOS. Sean, if she turns up wrecked and harangues you endlessly, please accept my apologies. I don’t know where she gets it from. 

Forgiveness Is Yours

Fat White Family released a new album in April, Forgiveness Is Yours and inch by inch it’s been creeping into my consciousness, an album I keep coming back to. Like any Fat White Family album there are moments where they cross the line- crossing the line is very much par for the course- but this album has songs to spare, a dynamic and vital sound. They parted company with guitarist Saul Adamczewski during the making of it (not for the first time) and maybe this has given them a focus, a line to pursue. Singer and frontman Lias Saoudi has trodden the path of excess in the past and has since lockdown moved into writing. Several spoken word pieces appear on Forgiveness Is Yours, a harbinger maybe of what could come next. With the guitarist gone the band have stretched into synths and orchestration, funk and disco. Opening song is none minute and a half long, starts with the blast of a ship’s funnel and then out of tune horns and woodwind as Lias reads… something. From there the throb of sci fi synths wobble in  and the song John Lennon wanders into earshot, pastoral psychedelia and Lias muttering, gradually becoming clearer and more upfront. Bullet Of Dignity (remixed brilliantly by Beyond The Wizard’s Sleeve) is slinky, sinuous funk, and Lias’ still striking first line, ‘you say you’re just thirty one/ what’s that in cannibal years?’. The bass sax blows and the distorted funk bubbles away and a refrain from Middle Eastern horns picks up.

Bullet Of Dignity

The album continues onwards, earworms and discordance in equal measure, drum machines and horns, synths and disco bass and Lias always saying or singing something interesting. something that makes you go, ‘what did he just say?’. The song titles Polygamy Is Only For The Chief and Visions Of Pain give you some idea of where things are heading although Today You Become A Man is a surprise and maybe something you won’t listen to that often- weird funk, Miles Davis horns and Lias offering a spoken word explanation of his brother’s circumcision (performed without anaesthetic) in Algeria in the 80s. 

Once Today You Become A Man is over there’s a slight breather in the slowed down lounge music/ cabaret vibes of Religion For One. Nothing stays still for very long and the record then hurtles into the home straight, with the hectic groove and whispered vox of Feed The Horse, the noisy pop of What’s That Say, Work’s 80s synth throb, as if they’ve suddenly decided to play a stadium- a small stadium but a stadium nonetheless. After all that Forgiveness Is Yours finishes with a torch song, You Can’t Force It. A burst of noise followed by piano and the distinct whiff of Weimar. Lias croons like a jazz club singer and then a choir of backing singers join him, all in unison singing, ‘you can’t force it/ no matter what they say’. Crescendo and final piano plunk. Over. Goodnight. 

It’s a remarkable album I think, the work of a band who have pushed at the limits. At their Bandcamp page where you can listen to the entire album, the artist bio merely says ‘It’s all about the struggle’. If they had a struggle making the album it was worth the effort. 

A few days ago they appeared live on French TV, a show called ARTE Concert at Ground Control in Paris, playing surrounded by a crowd on four sides. Lias is in a body stocking. The synth/ sax player is in a beret, crop to, knickers combo. The three guitarists/ bassists look like the thirty somethings from the cafe/ bar down the road. Fat White Family often approach performing as an opportunity to provoke and to push the audience out of their comfort zone. Lias is off the stage and in crowd before the intro to the first song has been dispatched and finishes the song on the floor. From there it’s thirty minutes of intense, disco/ funk/ rock ‘n’ roll magic. 

Back In The Water Again

Today I offer you three new songs from artists who all found fame/ infamy in the 80s and have kept ploughing their particular own furrows ever since- The The, Pet Shop Boys and Nick Cave. All three have devoted fanbases, all three are artists who have something to say, and all three are associated with a distinct sound and style. The need to keep writing and recording seems to be as strong as ever with them all and the idea propagated by Pete Townshend in The Who about dying before he gets old is long gone. In the 1980s there was a certain amount of derision for The Rolling Stones et al still playing rock ‘n’ roll in their forties. There is nothing ridiculous about this anymore- artists keep going and we are still interested in their music. None of the three here today are solely nostalgia acts either u their old songs will often get the biggest cheers when played live but the new songs are all trying to get something across- about themselves, about aging, about life and death and the state of the world. 

First is Matt Johnson, back as The The, with a single called Cognitive Dissident and a video by Tim Pope. The song has a gnarly blues guitar riff from Little Barrie’s Barry Cadogan, plenty of atmosphere and Matt’s low register voice, the song swelling with backing vocals into the chorus, ‘left is right/ black is white/ Inside out/ Hope is doubt’. Matt has always written the state of the world and the lyrics on Cognitive Dissident circle around our post truth world, emotion and democracy, alienation and AI. The song is the first from an upcoming album Ensoulment (the first for twenty five years) and some gigs. Cognitive Dissident sounds like The The- no surprise there maybe- but the 90s, Dusk era incarnation with Johnny Marr on board rather than the 80s one of Infected and Soul Mining. Matt says the album is hopeful, even though this single is laced with fear, gloom and bad things.

Pet Shop Boys have a new album, Nonetheless, and a single, A new bohemia, and a video starring Neil and Chris, Russell Tovey and Tracey Emin. The Pet Shop Boys are a long way from their Imperial Period of the late 80s to mid 90s, are currently playing an arena tour of greatest hits and on A new bohemia are in reflective, melancholic mood, men in the 60s looking back to their youths and noticing that the passing of time has seen them moved aside by the new generation. ‘Like silent movie stars in 60s Hollywood/ No one knows who you are in a hipster neighbourhood’, Neil sings noting the invisibility that comes with being old. Later on, as the strings swirl, he confronts mortality and death, ‘Every day is a warning evening might forget/ Then the following morning has the sweet smell of regret’. If Matt Johnson has found something to be hopeful about, Neil Tennant does too by the end of the song. ‘Where are they now? Where have they gone? Who dances now to their song?’, he sings, surrounded in the video by young revellers, Neil and Chris static on the dancefloor. And there is regret too, ‘I wish I lived my life free and easier’, he says before concluding, ‘I’m on my way to a new bohemia’. I don’t know if Neil and Chris are raging at the dying of the light, as Dylan Thomas had it, but they’re going with disco strings, a day at the beach and acceptance of the turning of the wheel, the struggle of the past forty years replaced by something else- contentment maybe, peace of mind. It’s moving stuff. 

Nick Cave and The Bad Seeds are back too with a second single from their upcoming album Wild Gods and an arena tour in the autumn. The online fanbase seem a bit split about the new songs- they’re also split about Nick’s music pre- and post the death of Arthur Cave in 2015. Some want Nick to return to the hammering, chaotic Old Testament and murder ballads songs of yore. There’s a feeling that Warren Ellis and the move to a synth dominated sound over the last decade is weaker in comparison to the bone crunching sound of the Bad Seeds of the 90s. Maybe what the long standing fans are really missing is their own youth, their own past in the 90s where a certain amount of chaos and noise was part of life and they were young enough to deal with it. I get why some of the albums Nick’s written since the death of Arthur can be uncomfortable to listen to, difficult to find a way into- I’ve written before about how much I personally get out of Skeleton Tree, Ghosteen and Carnage. Wild Gods so far feels like the first album where the songs aren’t directly about grief and loss (although that will all be in there somewhere I expect), but this one is feeling like Nick’s found a way to get in touch with something else. The song Wild Gods was sung from the point of view of a carouser now living in a retirement home- Nick and Neil Tennant at similar stages in life. The new single Frogs rolls in on rippling piano, cymbals and strings and a fantastic bassline, references Cain and Abel early on, and keeps coming back to walking in the Sunday rain, frogs jumping in gutters, the song building and building, endlessly rising towards something that is ever just out of reach. A choir of backing vocals appear, ahh ahhing away, and Nick sings of being ‘back in the water again’. Kris Kristofferson walks past kicking a can. It’s epic, emotive and uplifting and feels like Nick is choosing life and hope and joy. 

There’s A Sound Of Distant Living

A couple of weeks ago JC/ The Vinyl Villain updated his run through 1979- a year he’s saying may be music’s best ever year- and one of the songs he posted was Japan’s Life In Tokyo. I’ve become mildly obsessed with it ever since, playing it repeatedly. 

Life In Tokyo

Recorded with Giorgio Moroder, who co- wrote it with David Sylvian, it builds on Moroder’s supercharged late 70s disco records with Donna Summer but with some very overt Roxy Music influences in there too. One of those records that bears repeat plays, keeps on giving, keeps rewarding in different ways- the synths, the bass, the lyrics, the production, the vocal. It’s a superb slice of 1979 art- pop. 

Life In Tokyo (Long Version)

It was re- released several times, the record company looking for a hit and as each Japan album after 1979 came out, so did Life In Tokyo. In 1981, hot on the heels of Gentlemen Take Polaroids, Hansa released it on 12″ with a seven minute extended remix and then again in 1982 after Tin Drum and two hit singles (Ghosts and Cantonese Boy) it was remixed and re- released for a third time. 

David Sylvian’s lyrics are suitably impressionistic, with plenty of late 70s apathy- ‘it seems so sentimental/ why should I care’- coupled with Ballardian existentialism- ‘somewhere there’s the sound of distant living/ locked up in high society/ it seems so artificial/ why should I care’- and then the chorus, ‘oh oh oh life can be cruel/ life in Tokyo’.

In 2019 Sean Johnston wanted a version to play at ALFOS, a turbo charged edit with Japan, Moroder and Roxy Music crossed with a cosmic, sci fi Latin disco feel that goes on and on for nine minutes. So he made one.

Life In Tokyo (Hardway Bros Re- edit)

Monday’s Long Song

The latest release on Paisley Dark, Leeds based home of electronic psychedelia, is a five track EP by Ian Vale. It opens with Many Times, six minutes and twenty five seconds of dark acid house, four- four drums, a bouncing bassline and shimmering arpeggios- dark dub disco action.

It’s followed by an Al Mckenzie remix, ten minutes of wobbly, slowly building electronic music, a twisting and turning, rising and falling remix that keeps on giving- it really is where the action is. Get both and three other tracks- a Ben Hunt remix of Many Times, another Ian Vale track  Oh Malone and a Julius remix of that- at Bandcamp. 

Al Mckenzie is one half of D:Ream whose 1993 hit single Things Can Only Get Better has recently made the headlines again, pumped out of a speaker at the public end of Downing Street when Rishi Sunak stood in the pouring rain and tried to make it sound like calling a general election was a good idea for the Tory Party. From there, it climbed the charts again and Al and Peter ended up having to make a statement saying to Labour, ‘please don’t use this song’. They haven’t got over it being used by New Labour in 1997- the decision by Tony Blair to invade Iraq alongside the USA did for the relationship between D:Ream and the Labour government (as it did for any people). Singer Peter Cunnah described the song as ‘a very odd piece of gravity that you just can’t escape’. Al added, ‘There’s no way- our song and politics, never again’. I understand that decision but in a way it’s also a shame- the sight of Sunak, unable to even find an umbrella never mind run an election campaign, piss wet through as the song drowned him out was priceless. Given what Sunak’s done since however, it looks like one of the slicker parts of his election campaign. 

An Hour Of Hardway Meets Monkton Uptown And Downtown

Hardway Bros (Sean Johnston) and Monkton (Duncan Gray) DJ and remix together. In both cases there’s something about the partnership that pushes both to do something that’s different from what each does on their own. Their remixes as Hardway Bros Meets Monkton reference the seminal Augustus Pablo album King Tubby Meets Rockers Uptown and as a result you’d be right to expect lots of dub percolating through the sounds cooked up in the remix studio. Dub, bass, echo, melodica- all are present. So is plenty of glorious chug and the wide spaces of cosmic disco. Cosmic, psychedelic, dub disco. The remixes also tend to be long, usually going up towards ten minutes, so this mix was always going to be a long one. 

An Hour of Hardway Meets Monkton Uptown And Downtown

• Jack Butters: Shake It Off (Hardway Meets Monkton Uptown Version)
• Electric Blue Vision: Other Skies (Hardway Meets Monkton Uptown Version)
• Perry Granville: Sailing Ships (Hardway Meets Monkton Uptown Version)
• Fjordfunk: It’s All Black (Hardway Meets Monkton Uptown)
• GLOK: That Time Of Night (Hardway Meets Monkton Uptown Dub)
• Psychederek: Screamadereka (Hardway Meets Monkton Uptown Downtown Remix)
• Phil Kieran and Green Velvet: Enjoy The Day (Hardway Meets Monkton Downtown Remix)

Jack Butters is from Stoke- on- Trent, a city fmaous for consisting of five towns, its historic past as the centre of pottery and ceramics, and for it’s football team Stoke City (the old ground, the Victoria Ground, was a fairly fearsome awayday in the past). What Stoke should be famous for now is Jack’s music, not least this dubbed out Hardway and Monkton remix. I heard this played by Sean at ALFOS at The Golden Lion last summer and it sounded immense.

Electric Blue Vision is Jesse Fahnestock of 10:40 and Jezebell with singer Emilia Harmony. Other Skies came out last November, a 2023 highlight with three great remixes- this one plus remixes by Tambores En Benirras and Balearic Ultras. Sean and Duncan’s remix is more majestic melodica led dub, a complete reconstruction of Jesse and Emilia’s song.

Perry Granville’s Sailing Ships becomes a metallic- dub- by- way- of- post punk- and- acid house trip in the Hardway Bros and Monkton hands, noises rattling round and ricocheting as the bass pushes on and thunder rumbles. There are stuttering vocal sample and pulverising synths, drop outs and re- entries and always underpinning everything, huge, live sounding bass. 

Fjordfunk released It’s All Back in 2020 on the Tici Taci label, an eleven minute cosmic disco tune remixed into an eleven minute cosmische dub disco tune by Hardway and Monkton with a squealing guitar line dropping in and out and an ultra- distorted voice saying things that are impossible to make out. 

GLOK is Ride’s Andy Bell. Since 2019 Andy’s released several albums and singles as GLOK, experimental cosmische/ synth songs and tracks. That Time Of Night was on 2021’s Pattern Recognition and features the voice of Shiarra Bell, Andy’s wife, talking about the pleasures of being lost on a dancefloor, ‘just one person, one part of the whole mass of people.. the heat and the light and the flashing…’. Hardway and Monkton take the track and turn it into a sleek, propulsive, krauty trip, a keening guitar line running through it with a booming, metronomic kick drum.

Psychederek is from Stretford, just up the road from me, and has recently released one of this year’s best EPs, Alt!. In August 2021 he released the Space Arcade 12″ on Chris Massey’s Sprechen label, with the very ace Screamadereka coming in double Hardway Monkton remix form- the Downtown remix and Disco Dub version. The Downtown Remix is a glorious sunlit thing in two halves, the first half dubby psyche and the second a chuggy, pacier, cosmische glide. 

Phil Kieran and Green Velvet’s Enjoy The Day came out in late 2022. Phil is a Belfast based DJ and producer. Green Velvet is from Chicago. Enjoy The Day is full on, four four drums and techno bass, chopped up and FXed vocals, ‘you got it’, and a piano line that is the definition of happy/ sad.