The Hidden Library

A reader request today from someone called Boshed who found my Hidden Library post from 2012 and asked if the songs could be re- uploaded. First some background. Back in the early 21st century Andrew Weatherall had a short run of limited 7″ single releases under the name Hidden Library. At the time there was a Rotters Golf Club website with a virtual club house you could explore and poke around in using your mouse and dial up internet connection. In the library there was a secret door which took you through to the hidden library from where a pair of singles could be ordered, limited to 500 copies. They were among the first things I ever bought off the internet and my ineptitude meant that I bought two copies of one of them and couldn’t work out how to change my order. This was in the days when Weatherall and Keith Tenniswood were deep underground, making seriously purist electronic music. Breakbeats via turntables and laptops, abstract electro with a heavy whiff of skunk in the air.

The first single, Hidden Library 001, doesn’t exist. Apparently it was mispressed and binned. Weatherall has said on the radio that he has a couple of OK copies that he’ll sell on the internet when times are hard. The first release was Hidden Library 002. Both sides of the single are untitled but written and produced by Weatherall and Tenniswood.

Hidden Library 002 A

Hidden Library 002 B

Hidden Library 003 was a cover of Hawkwind man Robert Calvert’s 1985 song Lord Of The Hornets. Both sides of the single are credited to Jnr. Poon. Eventually it came to light that Jnr. Poon, who made only these two songs, was Duncan Gray and Jim Wren. Duncan Gray has recently been releasing a slew of excellent, long chuggy monsters, some of which have been posted here and here.

Lord Of The Hornets is a buzzing, wired, electronic killer of a track, worth the price of admission alone.

Lord Of the Hornets

The B- side is scratchy and dusty with a stark drumbeat, sounds a bit like it was recorded in an underpass beneath a dual carriageway at night, and has Weatherall on distorted spoken word vocals. Unfortunately the use of the word ‘retard’ really hasn’t aged well.

My Backward Cousin Mark

 

Lewi’s Dub

Duncan Gray, as blogged about here in August, has been drip feeding long chuggy ALFOS dancers through the Bandcamp page of the tici taci record label. This one is a lost track, recorded in 2014, played by Weatherall and Johnston at their A Love From Outer Space nights and then sitting gathering dust on a hard drive. For the princely sum of £1 you get six and a half minutes of slow motion, electronic dub disco, all drums, weird noises and lovely bass.

Much Much Worse Where Clock Goes

This pair of chuggy, leftfield dancefloor monsters could have been posted on any given Monday in the Long Song slot, both being towards the ten minute mark. Both are from Duncan Gray with some sonic tweaking from Rich Lane in the mastering process. Both are getting frequent plays round here.

Much Much Worse is a stomper with  a massive hoover bass sound, a little clipped and funky guitar part and a flipped out synth topline that dances about all over the place, growing increasingly intense.

Where Clock Goes (long version) is a slow burning, dark disco number with wobbly bass, tsk tsk tsk hi-hats, and synth riffs that builds more and more and more, the whole thing then shifting several times during it’s nine minutes thirty seconds running time. This could be twice as long and it wouldn’t get boring.

A pound each at Bandcamp.

Monday’s Long Song

I followed a link to this over the weekend and am glad I did, eight sun dappled and blissed out minutes of glorious sound from Albania. Pines In The Sun are from Tirana, Zig Zag Sea is their debut release and it has been remixed by Duncan Gray who keeps it hazy and dubby and slightly psychey but also snaps it into focus with the guitar solo at about four minutes. That big bubbly keyboard bass riff is wonderful too. Is Adriatic Balearica a thing? It is now.

Erotica Nervosa

This came out in September and was widely missed and it’s a shame because it is an excellent piece of disco-tinged house. Duncan Gray provides the music, the clipped riff and the beats, the whooshing noises and the grimey bassline. Sarah Rebecca provides the vocals, about drive and ambition and sexual obsession, ending up chanting ‘I will be reborn in the fire’ over a dirty, descending guitar part.
It’s a Monday at the end of November. Christmas is too far away to look like any fun. Black Friday is a dispiriting now annual occurrence. We all could all do with some uplifitng, slinky, funky dance music in our lives couldn’t we?

Lychee

Ooooh there’s a lovely sequencer line on this nine minute chugger from Duncan Gray. Hits the spot and no mistake. If you like that kind of thing.