Fabulous Yields – Unveiling Delaware, Dronica… And ‘Dead Yet’

Hello You. Very proud to be making a contribution to the latest charity compilation by the ever superb Front And Follow label, the third volume in an ongoing series where all profits are going directly to help those in need around the Manchester area. This latest edition joins its two predecessors in boasting a massive line-up featuring the pick of the UK experimental scene, all experimenting with a rather novel new approach where each artist is encouraged to steal from another! Trust me, it all makes perfect sense…

Front & Follow and Gated Canal Community present VOLUME THREE of RENTAL YIELDS – a multi-release collaboration project raising money to tackle homelessness in Manchester. Inspired (if that’s the right word – perhaps ‘motivated’…) by our current housing system, the project encourages artists to steal (or borrow, nicely) from another artist to create their own new track – in the process producing HIGH RENTAL YIELDS. Over 100 artists are now involved (the spreadsheet is fun), each one tasked with creating a new track from the sounds created by someone else – we are then collating the tracks and releasing them over the course of the next year.

This is VOLUME THREE, featuring 25 new tracks and 50 artists. All money raised will go to SPIN (Supporting People in Need), whose purpose is to feed, shelter, clothe and generally support the homeless and people in need of Greater Manchester.

Elsewhere, those of you whose appetite is not sated by a weekly dose of Resonance FM’s Fog Cast might be interested in a guest mix I put together for Dronica on sister channel Resonance Extra a couple of weeks back. Featuring some of my favourite music from the past year or so, including a few selections I consider a bit ‘too hot’ for my usual weekly outlet, listen out for The Utopia Strong, Svitlana Nianio & Oleksandr Yurchenko, Hainbach & My Panda Shall Fly, Nad Spiro, SkyH1 – and that’s just the first 15 minutes! The full two hour mix is now available to stream in full from the Resonance Extra Mixcloud page and it’s a pretty fantastic voyage, though I say so myself!

And finally, after years of rumour, suspicion and intrigue, I’m absolutely delighted to see that the anthology omnibus edition of The Delaware Road is now available to pre-order from Buried Treasure.

Over three years after the last ‘gathering of the tribe’ at a top secret military training facility in the heart of Salisbury Plain (not to mention five years since the tribe gathered for an evening inside an equally top secret Nuclear Bunker in Essex), the screenplay that has to date inspired a series of zines, a compilation album, three substantial festivals and a huge amount of renewed interest in Radiophonics, black propaganda, esoteric traditions and Wyrd British folklore is now available as a lavishly packaged anthology edition with postcards, fliers, a pack of ‘DELATABS’ and the usual beautiful artwork by Nick Taylor.

A limited number even feature this delightfully cute 4″ ‘Transcription Disc’ produced by Delaware Road lynchpin Alan Gubby and featuring Howlround tape noise, words by Dolly Dolly and some secret, forbidden recordings from who knows where or when, quite frankly.

When I say ‘cute’, I am of course talking in terms of size only, the actual recorded contents sound positively demonic! This is officially the second smallest recording format of my career, but as no copies survive of the actual smallest (a deeply ridiculous and impractical object), you’ll just have to take my word for it. Anyway, pre-order your copy here while stocks last.


A Word In Your Jelly Ear – Mushrooms, Ectoplasm And Gothic Grandeur

Hello you. I’m delighted to announce that the MSCTY project celebrating the Fantastic Funghi Festival at the National Trust’s Emmett’s Garden near Sevenoaks in Kent is now live. Seven brand new compositions created by Nick Luscombe and myself from the sounds of the gardens, put together with a little help from participants to our field recording workshop held at the garden a couple of weeks ago.

These compositions are now discoverable by visitors to Emmett’s via a series of QR-codes located at various positions around the gardens, but those of you situated further from Sevenoaks than the proverbial stone’s throw can also listen via the MSCTY.SPACE website. Although I’d still highly recommend listening on site if you get the opportunity, it’s a lovely place for a day out and looking particularly beautiful at the moment in resplendent autumnal hues.

The mushrooms are worth the trip alone and with such lurid colouring on display it’s no wonder some of our compositions ended up sounding a bit psychedelic. You can also hear extracts from the workshop, unreleased bonus tracks and additional field recordings by catching up on last week’s edition of Resonance FM’s FogCast, which also includes cuts from recent album The Countless Stones from workshop participant Emile of the mighty Plant 43. Rather a fine episode, though I say so myself:

The workshop also happened to feature what may be the single shortest tapeloop of my career, created on a wooden bench in the South Garden, avoiding the wind. Even I was amazed that it worked!

Anyway, thanks to Viktoria and all the staff for having us and being very accommodating – and for not complaining even once about all the people wandering around wearing headphones and making strange noises. Hopefully they’ll have us back next time. Very nice cream teas if you’re passing…

Secondly, thank you so much to London Month Of The Dead, the staff of Brompton Cemetery and a huge crowd of lovely, enthusiastic attendees for making Saturday’s candlelit concert in the chapel such a thoroughly ‘ectoplasmic’ experience! A hugely memorable occasion in an incredible venue with a four-second reverberation time and just the right atmosphere of crepuscular Gothic grandeur in which to put on a Howlround show. Indeed, the third and final piece of the evening was created live on the spot with just massed voices, a tape loop and some feedback, yet it grew so intense that at one point I thought we were about to open some kind of sonic wormhole!

I’ve had a brief listen to the recording which is much more distorted and evil-sounding than you might expect, hopefully it will surface somewhere in the not-too-distant future once I’ve knocked off the smooth edges. In the meantime, I wonder if any other cemeteries might be up for some kind of tape machine roadshow? I mean since the National Trust are now clearly on board with the Howlround sound?! Alternately perhaps someone has a funeral they’d like me to soundtrack? Always open to interesting offers…

On a similar note, Eighth Tower Records has just released a fantastic new compilation of original music inspired by Bram Stoker’s Dracula (the original novel) that features a brand new and exclusive Howlround track entitled ‘For Those Who Sleep Unwisely’. It has been described by a trusted advisor as sounding like ‘Low-Res Philip Glass’, which I’m not sure is entirely accurate, but hell, I’ll take it:

The Digipack CD with the usual beautiful artwork we’ve come to expect from Eighth Tower can be purchased here and also features Grey Frequency, Rapoon and plenty more besides, each track inspired by a different chapter or scene in the novel. Can guess which part my contribution was inspired by?!

Finally, and on a subdued note, news reaches me that Iklectik and their Old Paradise Yard home may very soon be under threat from developers, alongside all of the other artists and small businesses that share this beautiful green enclave in a hidden corner of London’s Southbank. Apparently the plan would be to flatten the area (including Iklectik’s historic old schoolhouse, the oldest building of its kind in Lambeth) and construct yet more gleaming office blocks and luxury apartments. If this does come to pass we’ll lose a hugely valuable cultural hub, art space, testing ground for radical new ideas and performances, meeting place and warm welcome for alternative music and arts communities in London and beyond… It just doesn’t bear thinking about.

Photo by Beth Arzy

To me Iklectik is one of the few remaining beacons in a city that claims to pride itself on its cultural attractions while doing its utmost to eviscerate any spaces where grassroots movements can evolve. I’ve met some of my greatest friends here, witnessed some of the most inspiring performances of the last few years and even spent whole weekends just listening, watching, talking and laughing, always in good company and with great music. It’s a truly terrible thought that one of the finest and friendliest venues in London could soon be flattened to make way for yet more silent, empty artless turbocapitalism.

A petition against this greedy land-grab has now been launched do please consider signing it.

Emmetts And Ectoplasm – From The Gardens To The Graves

Hello You. Been a lean few weeks on this pages while I’ve been ensconced in the studio working on lots of random projects, some of which I’m hoping will surface at some point in the not-too-distant future. One of them has involved a lot of head-scratching trying to create the sound of a prehistoric object ‘whistling through the air’ and slamming into a ‘prehistoric warthog’, another has been trying to create a sense of vague creeping terror while my flatmate breaks in a new pair of boots. Eventually all of these things will hopefully make sense. Anyway, Very excited to briefly invite you to a couple of events I’m taking part in over the coming weekends, starting with a field recording and soundscape composition workshop taking place on Saturday 15th October at Emmett’s Garden near Sevenoaks at the behest of The National Trust. And because I’m dashing out the door to make final preparations, I’m just going to unapologetically quote the press release verbatim, like a lazy and hasty fellow:

Join field recordists / sound artists Nick Luscombe and Robin The Fog for this field recording workshop and be part of a new and unique soundscape project at Emmetts Garden. Explore the sounds of Emmetts Garden with a listening and recording/playback workshop. During the workshop Nick and Robin will detail their work and experience as sound recordists, and explain how to create soundscapes inspired by places. We will then record at various locations throughout the garden and then listen back to the recordings together.

Nick and Robin will then edit and mix the recordings and create seven unique soundscapes telling the sound story of each location. The soundscapes will then be available to listen to via http://www.mscty.space and via QR codes across the garden. If possible please bring your smartphone, if you have one, to record sounds with the group. No previous knowledge of recording required… just an interest in listening to the natural environment! Book your place here.

The following Saturday I’m absolutely delighted to announce that I’ll be returning to Brompton Cemetery Chapel for an evening of Audio Ectoplasm at the behest of my dear friends at London Month Of The Dead.

Here’s that lazy, hasty press release lift once again: Robin the Fog creates musique concréte compositions and performances purely by manipulating natural acoustic sounds on a quartet of vintage reel-to-reel tape recorders, with all additional electronic effects or artificial reverb strictly forbidden – a process that has seen their work compared to William Basinski, Philip Jeck, Morton Feldman and even the sculptures of Rachel Whiteread.

Now Robin is very proud to bring one of his spectacular live performances to London Month of the Dead, in which the secret sounds of Brompton chapel will be dubbed onto loops of tape and stretched precariously around the venue – creating an experience that is part sonic séance, part chaotic performance art.

It promises to be another remarkable evening of spooky candlelit splendour in one of the most magnificently ornate ‘Gardens of Sleep’ you’re ever likely to come across. Allow me to To whet your appetite further with this video of Howlround’s original appearance from 2016, shot by the venerable and redoubtable Victoria Hastings – who, if memory serves, was mostly just there for the free gin cocktail!

…Just kidding Victoria, you know I hold your film-making skills in high regard! More of this and lots more soon, but here’s a quick blast of something currently in the pipeline: A new work in progress which began late one evening on a night bus, heading home from a rehearsal of a forthcoming work by The Howling with Ken Hollings and Beth Arzy. A key issue that evening had been the question of how we could mimic the sounds of chirping insects and croaking frogs to create a convincingly spooky swamp atmosphere. Suddenly fate dropped a fellow passenger right into my lap (not literally, that would have been most improper) in possession of the most remarkable case of hiccups and the rest is history. Or rather will become history shortly, all being well. Bravo, Pippa English – and thank you for being a good sport!

Speaking of Beth Arzy, check out her photos of the Howlround set from the Touch 40 party at Cafe Oto a couple of weeks back. Aren’t they wonderful?! Although I do worry I look a bit threatening…

Touch. 40 At Cafe Oto 01/10/22

To survive for 40 years as an independent music project is the ability to bear witness to the massive changes in cultural production – and to hold a candle for artistic freedom and sonic invention. We invite you to these celebrations of past, present and future. As everything gets more atomised in terms of inner and outer worlds, we intend this as a beacon of our collective commitment to joy, pleasure, life, the challenge of being human in these uncertain times.

Last Of The Summer Fog – Or What I Did While Not On Holiday…

Hello You. Time for another very hasty and massively overdue update from Fog Towers. It’s been a busy summer juggling various projects, new releases, plus a handful of performances, a spooky tower, some trashy cinema and preparing for a massive studio move too. Certainly not much time for a holiday!

FogCast of course has been on holiday throughout August as Resonance FM takes its yearly summer sabbatical, but will return to the airwaves in September. In the meantime, why not take a moment to listen once again to the series’ landmark 100th episode, in which all the previous 99 episodes were blasted out simultaneously in almighty cacophonic roar?! It is almost certainly THE MOST SOUND you will hear all week. Aren’t we lucky to have a station like Resonance that will not only tolerate, but actively encourage such shenanigans?

There’s a brand new digital release this month from PAWSER, my droney/theremin/tapeloopnoise trio with Sam ‘Sinister Masterplan’ Enthoven and Andy ‘raxil4’ Page. Recorded during a SKRONK all-dayer in the midst of a heatwave a few weeks back, 13​/​08​/​22: New River Studios marks what I’m pretty sure is our first ever performance as an actual trio in front of a crowd – though we’ve also been rehearsing in St. Mary’s Church Tower, hoping the crepuscular gothic surroundings filters into the sound by osmosis. Much more of this kind of thing coming soon, hopefully…

Physical copies of Howlround’s eighth official album Trespass And Welfare ended up selling out way before it even got released, but there is still plenty of digital goodness to be found over at Buried Treasure’s bandcamp page. In the meantime huge thanks to both Electronic Sound and The Wire magazines for such glowing reviews in their latest issues – and there’s a lovely video review from Was Ist Das too. Absolutely delighted that a record some reviewers apparently branded ‘too nasty’ is resonating with so many people. And buzzing and throbbing. Not to mention Howling!

Speaking of Howling (another of my fabulously tenuous links), I’ll be DJing at the official opening of the Iklectik Sound & Bookshop on Wednesday September 7th, along with a reading from Ken Hollings, my partner in the UK’s premier text, tape and trash duo. Incidentally, following our triumphant set supporting Ray Dennis Steckler at the BFI Southbank last month (triumphant = nothing fell off or exploded), we’re now in the early stages of a follow up to our debut album All Hail Mega Force, which is sounding most intriguing – and predictably trashy.

Then I’ll be returning to Iklectik on Sunday 11th for a very special event celebrating the life and work of Ian Rawes, founder of the London Sound Survey, and the launch of his posthumous album From Dusk Till Dawn on the ever-reliable Persistence Of Sound label.

The evening comprises performances inspired by Ian and his legacy – Elaine Mitchener and Steve Beresford present a set inspired by the forgotten sound-words in Ian’s 2016 book, Honk, Conk & Squacket, Kayo Chingonyi and PoS label head Iain Chambers will respond to the recordings Ian made across East Anglia in 2021; while Postcards From The Volcano (Helen Frosi & Stephan Barrett) will perform a work inspired by a field recording trip made with Ian in West London. As for me, I’ll be presenting a new Howlround work based on some of my own favourite recordings from the London Sound Survey archive – all of which can still be found online, as well as carefully documented at London Metropolitan Archives. A very special evening is in the offing – plus all proceeds will be donated to the Brain Tumor Charity, so it’s for a great cause too. See you there?

And finally on the subject of Iklectik, I know it was a month ago and I really should have got my act together before now, but good grief what an incredible evening FOGFEST was! Thank you so much to everyone who came down and sold the place out (TWICE!) and to Sculpture, Steve Davis, DJ Food and Franziska Lantz for absolutely smashing it! It was such an amazing evening that I barely had time to take a single photo – so do feel free to share any you might have taken if you were there. Honestly one of the greatest nights I’ve had in a very long time – and the best birthday EVER! Plans are already afoot for a sequel – but I’m not sure if I can wait until next year…

The Fuzz And Filth FOGFEST – Incredibly Strange New Album Plus Zombies Meet The Ghosts Uptown?!

Hello you. It’s been a busy old week here at Fog Towers, with plenty of excitement and intrigue to report, starting off with the grand unveiling of Howlround’s incendiary new album Trespass And Welfare!

…[A] full blown sonic assault […] Recorded entirely using closed-input feedback – two tape machines, a UHER6000 and a Revox B77, simultaneously recording a mixture of themselves and each other – no samples, no synths, no pedals + once you know that, listening is properly mind-blowing. Neil Mason, Moonbuilding

Containing ’12 semi-controlled bursts of hypnotic tape mulch, molten techno loops & asynchronous machine noise’, Howlround’s eighth studio album is now available to pre-order from Buried Treasure Records, ahead of its release on July 29th. Strictly limited edition CD with beautiful artwork in a cardboard slipcase complete with 20 page booklet of artwork and even a coaster, so you don’t spill your tea when the opening track blasts out of your speakers. The whole package is even more beautiful than I dared hope – and that includes the decidedly gnarly contents of the disc! There are only 100 copies in existence and sales have proved pretty brisk already, three weeks ahead of the release date, so it’s advisable not to sleep on this one. Click here to order your copy. Then while you’re waiting read this review from the lovely people at Freq which captures the essence and the spirit of the album so perfectly that you might not actually need to listen to it at all!

An elasticated whir-secting jive full of wording impressions, aural Rorschach blots that with every listen mysteriously reconfigure. Michael Rodham-Heaps, Freq

Elsewhere I’m very excited to announce that The Howling, my duo with Ken Hollings will be performing at London’s BFI Southbank on Wednesday 20th July as part of their regular Experimedia slot. We’re playing as a double bill with the premier screening of a brand new 4K restoration print of Ray Dennis Steckler’s 1964 trash classic ‘The Incredibly Strange Creatures Who Stopped Living And Became Mixed Up Zombies?!’ Having only ever had access to the film through gooey 10th-generation VHS copies, I’m very excited to finally be able to witness the insanity of this freakshow classic in all its glory, and the restored clips I’ve seen so far look incredible. Tickets for the event are available here and the hilarious gruesome seedy fun starts at 18:15. Don’t miss out!

NB This is obviously NOT the trailer for the restored print!

Unfortunately for annoying reasons beyond my control I’ve had to postpone my performance at Saturday’s Ealing Extranormal for a future date, but Howlround will still be returning to Iklectik on July 22nd as part of the latest event from my old friends Club Integral, alongside Nad Spiro, Robert Storey and Maya Yianni. Then the machines and I will return once more a fortnight later on August 5th, where I’m very excited to announce that for the first time in a very long time I shall be putting on an event of my own! FOGFEST! And just LOOK at this lineup I’ve managed to assemble! All of my first choices said yes!

It feels entirely right and proper to announce all this exciting activity during the landmark week that Howlround celebrates its tenth anniversary. For exactly one decade has elapsed since the project officially came to life on July 12th 2012 with the launch of debut album The Ghosts Of Bush, released to mark the day the BBC World Service finally left its home at Bush House in Aldwych.

To celebrate this anniversary I’ve commissioned Lucy Morrow better known as Captured by the Fuzz to recreate the project logo in her own inimitable style. And hasn’t she done a wonderful job of it?

Original cover photo by Lisa Hack

Recorded in a series of overnight sessions in a long-abandoned basement studio and created entirely by processing the sounds of the building through a pair of ailing reel to reel tape machines, The Ghosts Of Bush marked the end of an era for the corporation, but the beginning of another, smaller, weirder, noisier one for me! That day began with the album featured on the Today Programme and finished with Gideon Coe ending his 6Music show – and the evening’s broadcasting – by playing a sizeable chunk of the first side. Then somehow it just kept going from there: a **** review in Record Collector, Simon Reynolds calling it ‘The ultimate Hauntological artefact’, comparisons to Aphex Twin and Burial, having to rush a second green pressing then a third white pressing due to unprecedented demand. Happy and unprecedented days indeed.

Photo by Hannah Brown

Thanks once again to Lucy for providing me with this fuzzy felt classic (find much more like it by perusing her Etsy and Instagram pages) and to Lisa Hack and Hannah Brown for providing the original photography all those years ago (check out Hannah’s current printworks by visiting kvist.co.uk). My gratitude also goes out, somewhat belatedly, to Gideon Coe, Stuart Maconie, Simon Reynolds and all the many, many people who supported the record and showed such enthusiasm in those early days. I have never ceased to be awed and humbled by the love so many people have for this album.

Photo by Hannah Brown

Ten years and ten official releases (eight studio albums and two split albums with Time Attendant and Marta De Pascalis respectively), plus innumerable compilation appearances, live shows at Coventry Cathedral, touring with William Basinski, playing a cavern beneath the streets of Copenhagen, a slightly weird venue in Portland with a huge pentagram on the ceiling… the project has come a long way. It’s also got quite a bit louder, weirder and darker in the intervening decade, but the essential philosophy remains the same: music created by manipulating acoustic sounds on magnetic tape, with all additional plugins, effects and artificial reverb strictly forbidden. My hope now is that people will take Trespass And Welfare to their hearts and ears in much the same way as they did The Ghosts Of Bush. After all, the basic premise is still the same… just that little bit more filthy!

Photo by Hannah Brown

PS Just to clarify the ‘****’ alluded to in Record Collector magazine was ‘a four star review’, not some kind of expletive outburst…

Photo by Hannah Brown

Underneath The Arches – MSCTY School Of Sound Art Heads Indoors

Hello You. It’s time for episode three of my new School Of Sound Art series produced in association with Nick Luscombe’s long-running MSCTY project and aimed at those just discovering the wonderful wonky world of noisemaking for the first time (and a kind of refresher for anyone else who might be interested). In keeping with the series’ ongoing themes of exotic and glamorous locations, today we’re moving on from a Hackney Artspace and a partially restored Georgian ruin to something a little closer to home – my own rather dark and cramped studio, nestled up an alley and inside a railway arch in deepest Loughborough Junction. And no, I’m afraid I can’t explain what these balloons are for:

I’m joined in this episode by musician and sound artist Robbie Judkins, better known as Left Hand Cuts Off The Right for an investigation into the thrilling and sonorous world of feedback. Together we’re going to create a new work generated entirely from the two most basic elements of the form – the joining together in unholy matrimony of a microphone and a loudspeaker:

We also take a very brief look into ‘the history of Howlround’ (the audio phenomenon, that is) as it has been shaped in the hands of a number of sound artists and musicians over the last few decades; plus video and multimedia artist James Alec Hardy pops up along the way to provide us with some visual feedback of his own. If you’d like to try some of these experiments for yourself all you’ll need is a microphone, a loudspeaker, something to plug them both into and a VERY careful grip on the volume control – this is one experiment that can get out of control very quickly!

Thanks as ever to Nick for agreeing to host my faltering and unpredictable noisemaking experiments and to Robbie and James for jumping in and being excellent and inspiring company as always. Left Hand Cuts Off The Right’s impressive discography can be explored on his bandcamp page, including his latest album Borrowed Time, made in collaboration with the equally awesome Tasos Stamou. James’ own extensive career has at various points included sound and music, video, multimedia art, sculpture and painting. Frankly the breakneck pace of his creativity can be quite hard to keep track of, but his website and Instagram page are both good places to start. So much talent in one cramped archway!

In other news, I’m playing at Holkus Folkus at Stoke Newington Old Church this weekend (Saturday 25th June) as part of a killer all day line-up. Further information and tickets are available here. Howlround are on early at 1pm and it’s a delight to be returning to such a lovely venue as part of such a fantastic roster of artists. Headliners are old friends The Band of Holy Joy and The Seer, so come early and make sure you stick around!

Hackoustic At Great Exhibition Road Festival

Explore the world of instrument building, acoustic hacking and sound art in this exhibition at the Royal College of Music. Meet artists and makers, discover new inventions and hear exciting demonstrations and performances. Hosted in partnership with the Royal College of Music Museum.

This Sunday Howlround will be conducting a tape loop workshop alongside numerous other makers of far-out sound as part of Hackoustic at the Great Exhibition Road Festival, which runs across multiple spaces and venues in the ‘Museums District’ of South Kensington. Come and find us from 12pm – 3.30pm at Amaryllis Fleming Concert HallThe Royal College Of MusicPrince Consort Road, SW7 2BS. It’s part of a fantastic programme of events, for which tickets are free and available here.

In other news, thanks to everyone who took part in my tape loop workshop as part of the state51 Factory Summer Party last Saturday – and especially to Taile Eigeland for taking these amazing photos! A whole afternoon and evening of far out sounds! Who could ask for more? More of the same coming up at Hackoustic this weekend – see you there?

State Boundary Camp – Here Come The Spools Of Summer

Hello You. Howlround are kicking off a busy month and what’s shaping up to be a busy summer this weekend at not one but two mini-festivals at either end of London. Starting off on Saturday I’m returning to state 51 in Shoreditch after a gap of what feels like an eternity since playing there with Steve Beresford (and the tapes of Basil Kirchin) for The Trunk Records and Ghost Box Midsummer Night’s Happening back in 2019. For their 2022 Summer Party, I’ll be running a tape loop creation workshop and hopefully a performance too – provided I get enough volunteers to help me put the set together, as I’ll be working purely with whatever we can put together on the day!

Save the date! After a two year hiatus The state51 Factory’s summer party returns, bringing you phenomenal tunes and immersive experiences. We’ll have debut performances from two artists / collectives putting out incredible records with us over the next two months. Better CornersValentina Magaletti (Vanishing Twin, Tomaga, Nicholas Jaar), Matt Simms (Wire, It Hugs Back) and Sarah Register (War Bubble, Kim Gordon), will play tracks from ‘Modern Dance Gold: Vol. 1’ for the first time ever together – having recorded remotely – and Brood X Cycles Nik Colk Void (Factory Floor) and Alexander Tucker (MICROCORPS, Grumbling Fur) will bring their modular drone improvisations to grace your ears. We’ll also have a sneak live preview of new material from the inimitable AGAAMA as she moves from the expansive jazz of her debut to new electronic, industrial inspired follow up ‘Wandering Worlds Vol: 1’ as well as a first UK performance from Georgian electronic artist Anushka Chkheidze who’ll be bringing an hour of live electronics, moving through her eclectic output from chillers to bangers and back again. Also throughout the day we’ll host tape workshops from Robin the Fog, craft workshops from the state51 atelier, food from the state51 kitchen, records in our pop-up shop GREED and late night DJs including but not limited to Joe Goddard‘. Tickets starting at £5 available here.

Then on Sunday, I’m absolutely delighted to be returning to Iklectik as part of the all-day killer line up at the latest Boundary Connection event. Apparently Howlround are playing two sets, so that should keep me out of trouble. Might even make a few new loops there too if there’s time.

Boundary Condition engulfs the collective mass longing for a past that never was, through studies in its sonic materialization stretching across the hyper-romantic limbo of post-Lynchian Darkjazz, the flickering scenarios and found sounds of Musique Concrète, and inert cyclicality of hauntological loops, projecting the residue of all that which could have been, as prosthetic sentiments. Via post instrument instrumentals, permutated compositions, site responsivity, missing fundamentals, severe interdependence, and retrograding structures. In a hybrid of duo live-sets, TV installations, and immersive projections, this episode includes CV-controlled turntables, generative & interdependent performance, text-sound, percussive electronics, vocal compositions, augmented acoustics and mud-drenched drone, set up in a candlelit, projection-heavy sleeping seating within the AMOENUS 17-speakers quadrophonic sound system’. Tickets available here.

In other brief news, I was recently very proud to be the featured guests in two episodes of music and oral history extravaganza The Polyhymnal on Camp Radio (which broadcasts both ‘direct from our revolutionary arts facility high in the French Pyrenees’ and also on Mixcloud as well, for those of us situated further afield), reminiscing about my early encounters with sound and music, happy days on Resonance FM making feedback from a phone booth, working with tape, The New Obsolescents and the enduring impact of hearing ‘Out Of Space’ by The Prodigy for the first time. All of this is accompanied by the music of Whatever The Weather, Kaitlyn Aurelia Smith and Emile Mosseri, Camp of Wolves and my old mucker Grey Frequency. Part 2 above was broadcast a couple of weeks ago and you can still find part 1 here. Listen to them in whichever order you prefer, my stories tend to be pretty jumbled anyway!

And finally, one of the most exciting developments of recent weeks has been my getting to grips with recorded cylinders at the British Library Sound Archive for the first time in my career. The image below was my second and is supposedly a completely unique and original item dating from around 1898 (as opposed to the mass-produced pre-WW1 Music Hall recording of a couple of weeks previously). What that basically means is that the voice you hear buried beneath a hubbub of hiss and crackle was standing pretty much as far away from the cylinder as you are when playing back. No electricity, no amplification, just a voice vibrating a membrane and being inscribed onto the cylinder – then played back a hundred and twenty four years later. Such a literal link to the past, I still haven’t stopped being amazed by it yet. Even if the cylinder is ‘fake’ as expert opinion seems to suggest, the fact remains you’re hearing a voice from the 19th Century. If I was Danny Dyer I’d be tempted to comment that it ‘freaks my nut’.

Fortunately I am not Danny Dyer. There can only ever be one…