London based artist Cam Deas presents a revelatory new stage in his practice. Following in the footsteps of the likes of David Tudor's Rainforest works, Cam studies in the liminal space between the natural world & synthesis, conjuring deep, meditative and beguiling sound worlds. Some of his most singular and focussed work to date, following on from a series of impressive releases on Death of Rave and Alter.   "I wanted to make something which reflected a scene of nature, outside of the city, somewhere which has become more and more attractive to be over the last few months... So I made these synthesised percussion sounds to be almost real and wooden, which are weaving in and out across different tempos, playing patterns that are somewhat regular, but always changing slightly. This is meant to be analogous with the dawn chorus, or any scene of nature where lots of different small events are happening, layered, at once... But I only had the dawn chorus, so I recorded that at 4am on Monday morning. These individual bird songs weaving in and out, repeating, different birds joining and leaving throughout. So it's meant to be 3 different sound environments, or imaginary frames of an environment at 3 different moments." - Cam Deas

"Recorded over three separate afternoons.  Paper is a latest piece in my series for “prepared” violin. This one uses paper weaved across the strings, the resulting sound is that of a woodwind instrument (I hope). It is then improvised. Orlando GibbonsFantasia IV- I first played these Fantasias in 2011 for F-IRE Klang Codex concert series run by Lucy Railton and Fred Thomas. Around the same time I began performing at Oto in Lucy’s Kammer Klang and in some way I will always associate the Gibbons Fantasias for Treble Viols with Lucy and the early days at Cafe Oto.  Slow Changeis a process piece, a journey of the bow going across the string from the bridge to the end of the fingerboard, the sound is slowly changing, other strings get involved as the bow gets higher on the fingerboard. " - Aisha Orazbayeva -- Aisha Orazbayeva - violin, preparations, recording, mixing -- Artwork design by Oliver Barrett

Zongamin takes a snapshot of lock-down, like a faded picture of a day at the fun-fair, scrunched-up and torn-up at the edges. Exotica, disco, dub and kosmiche stylings are doused in bleach and tumble in a bath of mud and frothing sea water. Tape loops circle around, conjuring dusty clouds and moments for reflection on times passed. Like the work of General Strike and Hype Williams, Zongamin molds his explorations in multi-genre goo, but bypasses obvious pastiche, instead unearthing a form of latent, submerged funk. Download includes original artwork by Susumu Mukai   -- All tracks by Susumu Mukai (Zongamin) -- Recorded on 4,5,6 June 2020.Mixed and mastered by Susumu Mukai and Drew Brown. Artwork by Susumu Mukai / layout by Oliver Barrett

水が枯れない地。肥えた土が地。 条件はそれだけ。 日本を襲った震災。そのあと、私は「住む場所」を探していた。 ある田舎の町の不動産屋に行ったとき、話しているうちに 主人から古い地図を渡される。「わしも行ったことないんだが お前さん見ておいで」　 それらしき場所に着いたがあたりはジャングルで入る隙間もない。 持っていた鉈で枝打ちしながら少しずつ、光の入らない森へ入っていった。 どこからどこまでかもわからない、インフラもない。 条件を満たしているかもわからないジャングルを見て、なんの未来を 想像したのだろうか。 ここを住まいにしようと決めたのだった。 月日が流れ、9年目。少しは人間らしい生活をしている。 月に基本料金込みの1000円ほどの電気をつかう。 虫が寄らない程度のペンダントライトと音楽を作るためのスタジオの機械、 森の中にいてもみんなとの距離を保てるwifiの電源。そんなところだ。     最初は「自然との共存」に懸命だった。 木をなるべく切らないように家の中に木を入れ込んだり、肉料理をやめたり。 だけど、8年経つと嫌でも気付くことがある。 　自然の条理にどうしてもそぐ得ない、存在することで生態系を変えてしまっていることも 知ってしまう。人間は唯一の不調和動物なのだ、と。　悲しくて泣いてしまう。 だけど、だから人間は揺れるのだ、と。心が揺れながら調和しようとするのか。 そう思ったら泣いても、次の日も生きれた。     音楽には全て　食べ物や味の名前をつけることにしている。 作っている全てが自然からの恵みだということを知るために。     ：楽曲の中の言葉は　「運命共同体語」と名付けている。 色々な国の言葉を一度全てカタカナに置き換えている。 あとは言霊と語感を辿るだけ。   OLAibi All new work from OLAibi, a Japanese percussion-based experimental music project by AI from Osaka, an ex-member of OOIOO who regularly works with Takagi Masakatsu. In her music, OLAibi incorporates ancient Okinawan influences and melds electronics, steel drums, pianica, exotic percussion instruments and her voice into dizzying technicolor dream states. Since her childhood, AI was deeply inspired and mesmerized by Africa, and discovering Western African drums in later years mainly triggered her further musical activities. Using her manifold cross-cultural influences, she's created this deeply personal work, excavating her current feelings and sharing them with the outside world. -- Land where the water never dries up. Land where the soil is fertile. These were the only conditions for me. The earthquake. That attacked Japan. I was looking for a place to dwell. One day I stumbled upon an old estate agent man who gave me an old map. “I’ve never been there but you go and have a look.” I went there following the map, I got there but it didn’t seem right. It was a jungle. No space to enter. I entered into the dark woods clipping the branches in front of me one by one with a nata sword which I had with me. I had no idea where the borders were. It didn’t seem like there was no infrastructure. I had no idea this jungle even would fulfil my conditions. What sort of future had I imagined, I decided to live here to make this place my home. It's my 9th year since I have lived here. I can say that I live like a human. I spend about £7 a month on electricity. It’s for some pendant lights to avoid insects and musical machines to work. And wifi to connect to the outside world. At first I tried so hard to live harmoniously with nature. I tried not to chop down trees and stopped cooking meat dishes. After 8 years you finally realise that you change the organic system inevitably by simply just existing. Only humans cannot fit in this world. And I cry from the sadness and helplessness. We sway. We are creatures that sway. We try to adjust to fit in this world finding the harmonious point swaying. That made me feel less tearful and got up to live for the next day. I name all my music of food or flavour. Not to forget that everything I make is given from nature. The languages I chose in my music I call them -Fate community language. I mix up and use the phonetic of all the different foreign languages, And all I have to do is to follow the word souls and my instinct. - OLAibi -- OLAibi - all music & recording Written & recorded in spring 2020 -- Artwork design by Oliver Barrett

「Small Stone」  "In Japan during the Covid-19 lock down we saw a movement. It was created from a woman who raised her voice to say NO via SNS to one of the controversial bills, a revision of the public prosecutor's office law* that was about to go through the Lower House without a fair public hearing. This tiny voice of hers went viral and formed an online demonstration to protect our democracy. It is very rare in Japan for the public to be actively involved in any policies. Alas the bill was temporarily suspended because many finally stood up. When we threw lots of small stones, the mountain got moved a little. However we shouldn’t celebrate yet. We need to be calm and grounded and observe what the government will do.” says Kyoko Koizumi, an actress and a producer whom I respect dearly. Her phrases sums up things that do not change so easily.  *A proposed legal revision that would raise the retirement age for prosecutors became the centre of controversy this week when it was taken up by the Lower House. Unlike officials in other administrative organizations, prosecutors have wide powers to investigate, arrest and indict anyone, even prime ministers and other high officials. They must remain highly neutral and independent from other authorities and political powers. Since the proposed revision could allow the Cabinet to intervene in the personnel affairs of prosecutors’ offices, many experts fear it could jeopardize the independence of prosecutors and the separation of powers.   「Serene」 The music of Eric Dolphy lives with Breathing. We never forget the day May 25th 2020 for the world we can freely breath in and out.  「Two Blue Kites」 June 4th 1989 , it is a very memorable day for me.  31 years ago I took part in a demonstration for the first time ever in my life. It was a small resistance held in Tokyo. I was with the Chinese people raising my voice out loud in the crowd. I couldn’t do anything but I felt that I had to do something.  In the beginning of the 90s I was going back and forth between Tokyo and Hong Kong making music. I was offered to make music for a film portrait the night before the Chinese Cultural Revolution called “ The Blue Kite”. The producer of this film invited me to make the music for the film. The film director was banned from making this film in mainland China and he escaped to Japan via Hong Kong. The film was finally completed in Japan. Hong Kong was still in British colony then. This film made my film music career begin.  June 4th 2020 The Hong Kong government banned the public to organise and attend the candlelight rallies to mark the Tiananmen Square massacre. Despite the harsh policing and the Covid-19 regulation many people (still) defied the ban and tried to attend the commemoration. I was thinking of many of my friends there at the moment.   I wonder how this little country, Hong Kong, that “brought me up” and “ shaped me who I am today” will be from now. My heart is full of concern for its future. The film The Blue Kite is still banned in China to this date." - Otomo Yoshihide In Japanese / 日本語訳 「Small Stone」 日本では、ステイホームの期間中の5月8日、一人の女性の発言をきっかけに、現政権がやろうとしていた三権分立をゆるがすようなひどい法案(検察庁法改正案)に対し多くの人々がSNSを使って異を唱え、それがデモのような効果をもたらし、5月18日国会での法案決議を阻止するに至った。 「小さな石をたくさん投げたら山が少し動いた。が、浮き足立ってはいけない。冷静に誰が何を言い、どんな行動を取るのか見守りたい。」 敬愛する女優でありプロデューサーの小泉今日子が5月19日にSNSで呟いたこの発言は、そのうねりのことと同時に、しかしそう簡単に現状は変わらないことも表している。 「Serene」 エリック・ドルフィーが作る曲は呼吸とともにある。2020年5月25日は忘れてはならない日だ。 みなが伸び伸びと息ができる世界のために。 「Two Blue Kites」   6月4日は個人的にも忘れられない日だ。31年前のこの日、わたしは初めてデモに参加した。東京でおこなわれた小さなデモだった。東京に住む中国人たちと一緒にわたしも声をあげていた。いてもたってもいられなかったのだ。 90年代初頭、わたしは香港と東京を行き来して音楽をつくっていた。そんな中1993年、文化大革命前夜の北京を描いた「The Blue Kite」という中国映画の音楽を作ることになったのが、わたしが映画の世界に入る切っ掛けだった。中国で作ることを禁じられ、香港経由でフィルムを持って日本に脱出した監督が東京で完成させた映画で、香港のプロデューサーがわたしを誘ってくれたのだ。当時香港はまだイギリス領だった。 2020年6月4日、香港では天安門事件31周年の集会が新型コロナを理由に禁止されていたにも関わらず、多くの人たちが集まり追悼集会が開かれていた。きっと多くの友人もそこにいるのだろう。わたしを育ててくれた香港はどうなっていくのだろうか。 「The Blue Kite」は今でも中国での上映が禁止されている。

Stockholm-based, Seoul-native Lisa Ullen presents 'Gold', a home-recording, scribed on June 1st 2020 in her living room on a prepared piano with ZOOM H4. Using a selection of clustered chords, fragmented notes and buzzing timbral preparations, Lisa crashes waves sounds against a dam, letting the pressure of sound build vertically into a thick mass. Half way through the recording, when the dam appears to start leaking, the notes and chord arrangements swim in different directions. Allowing a frame for each to slowly develop and emerge, Lisa brings each tiny aural gesture into being. "My intentions of the shape of the music is slow, oscillations without any intentional drama or directions, just me going through some chord changes and listening for glimmerings within each chord. Its layers at different speed..." - Lisa Ullen   --   Lisa Ullen / piano, recording & mixing   --   Mixing assistance courtesy of Mats Äleklint. Artwork design by Oliver Barrett.

What else could Han do during the time of corona - not being permitted to perform with the ICP orchestra (or with anyone else) for a live audience. He's always playing and studying for himself, but that’s just not enough. So he made a recording with the help of Mara's pianola (situated in the lovely Frisian village of Oldeberkoop), some local songbirds, the dogs Hansje and Lou, and Han's favorite technician Marc Schots. Han used "Tiger Rag" on the pianola, it being the first record his father gave him. This is the result: a Musical Collage for Mara. -- Han Bennink - Snare, cymbals, cajon, horseshoe, some other kinds of percussion instruments, voice  -- Pianola – Marc Schots Jeux de Boule Balls – Han Bennink & Annemiek Ebbink Barking – Hansje & Lou Recording – Marc Schots Mix & Editing – Han Bennink & Marc Schots Cover Photo – Annemiek Ebbink Cover design - Oliver Barrett   Recorded May 2020

Ecka Mordecai is a relatively new figure in the London experimental music scene. After a nomadic creative life in the North of England, forming relationships with the likes of Andrew Chalk, Tom Scott, Holly Jarvis and Kate Armitage, 'Critique & Prosper' is her first solo album and presents the most recent development of her solo practice. Melodic mantras, wandering improvised passages and refracted blues vocalisations find each other in her domestic world, revealing glimmers of sensual songcraft that opens outward. Critique + Prosper was developed and compiled within a collaborative project facilitated by artist-curator Katherine Ka Yi Liu and with artist Clarinda Tse. The text is a listening-response to the album as written by Clarinda Tse.  "Compass needle frantically spins near irregular electric fields of ghosts, and phones too. Receiving metallic frequencies of interconnected ghosts, stroked by scratchy fingers 1. astroturf melts into tufty faux fur. Strands of memory vibrate towards an open wound, lightly tapping on the soft box that withholds 2. mouth-a-boundary, finding space across fibres of a dried throat. The closure of lips contains a transcending hum, sealed an inhale but released an exhale into sweaty sticky-crisp air. Rubbery skins rub against each other in attempt to open 3. hot tarmax. We have to acknowledge skin as our biggest organ, shields against the losing of the individual, forming pockets of space in arrangement of skipping stones stirred into a dark glistening puddle. Before we notice, we are thrown off gravity and stuck onto some unknown surface, breathing with inflamed lungs. Outer fear unleash the voice of 4. critique + prosper to disjoin the cells of inner comfort. With wind brushing our eyes, we found a few hairs on the largest grassy rug, traces of inhabitation or passing. Consistency of domination. Air that passes through our head phones and ears, 5. did begun we hear or listen. Transmitting signals to the cell tower - Unarmed! Dismantle! 6. Show up or shut up in our library. Clashes of volatile shells, nails, the undead in the transparent vessel of bodily fluids." - Clarinda Tse https://clarindatse.com/http://www.katherinekayiliu.com/   --   Written, performed, recorded and produced by Ecka Mordecai   --     Mastered by Miles Whittaker   Artwork design by Olver Barrett   --   Track 4 (Critique + Propser) recorded by Guillaume Dujat'

Japanese electronic artist Foodman locks his fingers to his sampler for 7 jams recorded in real time - jump on and ride the rainbow! Often described as a footwork and juke artist, Foodman is clearly on his own tip, spinning out punctuated, splattering rhythms like a juiced up fruit machine playing out. Synthetic pan pipes, squirts of bass and sherbet tinged melodies dance around like a master gamer effortlessly slaying an end boss. Foodman describes the music on 'Skikaku' as inspired by the shape of a square, but to suggest that this could lead to any 4/4, dry or dogmatic electronic music is disengenious. Foodman attunes his rhythms to the body and to dancefloors, making music that dances with multiple limbs and in multiple colours. Recommended equally to fans of Just Dance, Skittles and Ripatti.

Anything to do with crisps (especially Tyrells) gets our resounding support here at OTO. Two of the most mischievious experimentalists in our community - Louie Rice & Luciano Maggiore - share with us an extended piece cyborg text piece that acts as an instructory rhythmic prompt to munch on the salty snack. Florian Hecker has experimented with similar computer voicings before, but there's not quite anything comparable to this gloriously dry, candid and obscene opus. Concrete poetry for the flaccid digital age (and for fans of crisps). "58 minutes of music assembled using recordings of an online digital voice synthesiser reciting an exhaustive list of permutations of the words NO PA PA ON. Pauses in speech are punctuated with a bass tone and could act as a prompt to eat a crisp." --- Recorded by Luciano Maggiore & Louie Rice in Norwich and edited in London, 2020 --- Text generated usinghttps://textmechanic.com/text-tools/combination-permutation-tools/combination-generator Synthesised voices generated usinghttp://onlinetonegenerator.com/voice-generator.html Additional audio material generated usinghttp://onlinetonegenerator.com/frequency-sweep-generator.html NO PA / PA ON is a performance series that started in Cafe OTOs project space and is often mispronounced.

Multi-instrumentalist, composer and improviser Yoni Silver lifts the roof off his garden shed and lets light and the outside world pour into his intimate rituals. With delicate hands moving between the objects around him, he scratches metal on metal, rubs circles of tonal washes on dishes and bows the strings of violins. Fragments of both melodic and atonal guitar notes appear in gentle waves of disquiet, punctuating the atmosphere alongside the comforting warble of garden birds. Whistling wind instrument notes rest and lean upon the pottery of percussion that dances around the swirl of sound, while guttural moans push from the depths of his stomach and out into the outside world. With an approach similar to Teijo Ito’s work in Maya Deren’s films, Yoni is able to conjure ethereal and beguiling material, but that of which is rooted in the nuts and bolts of the physical world.

London-based Aircode (Julia Svensson) weaves radical autonomist Marxist feminist ideology with her stripped back avant-electronics. Elapsed bass notes rumble over a dank tunnel exterior, as if the last remaining memories of a night at the club. Discordant jazz piano notes appear like little matches being lit in a thick fog of darkness, while dubbed percussion and electronic counterpoints are phased in a series of dulled hues. The singular narrative of exploration in opaque space is sustained throughout, and is brought to an end by Julia - manipulating her voice through a series of mutated fx - reading an extended passage by Silvia Federici: “With the demise of the subsistence economy that had prevailed in pre-capitalist Europe, the unity of production and reproduction which has been typical of all societies based production-for-use came to an end, as these activities became the carriers of different social relations and were sexually differentiated. In the new monetary regime, only production-for-market was defined as a value-creating activity, whereas the reproduction of the worker began to be considered as valueless from an economic viewpoint and even ceased to be considered as work. Reproductive work continued to be paid - though at the lowest rates when performed for the master class or outside the home. But the economic function in the accumulation of capital became invisible, being mystified as a natural vocation and labelled “women’s labor.” […]Most importantly, the separation of production from reproduction created a class of proletarian women who were as dispossessed as men but, unlike their relatives, in a society that was becoming increasingly monetarized, had almost no access to wages, thus being forced into a condition of chronic poverty, economic dependence, and invisibility as workers. As we will see, the devaluation and feminisation of reproductive labor was a disaster also for male workers, for the devaluation of reproductive labor inevitably devalued its product: labor-power. But there is no doubt that in the “transition from feudalism to capitalism” women suffered a unique process of social degradation that was fundamental to the accumulation of capital and has remained so ever since.Also in view of these developments, we cannot say, then, that the separation of the worker from the land and the advent of a money-economy realised the struggle which the medieval serfs had fought to free themselves from bondage. It was not the workers - male or female - who were liberated by land privatization. What was “liberated” was capital, as the land was now “free” to function as a means of accumulation and exploitation, rather than as a means of substance. Liberated were the landlords, who now could unload onto the workers most of the cost of their reproduction, giving them access to some means of subsistence only when directly employed.”- Silvia Federici, 2004: 74-75. Caliban and The Witch   --   Julia Svensson (aircode) - all music & recording   --   Text: Silvia Federici - Caliban and The Witch, available to purchase here   Artwork design by Oliver Barrett

Naima Karlsson treats us to deep searching improvised recordings on 70s organ and vector synth. Originally recorded in Jan 2020 for an installation by Gery Georgieva at Cubitt Artists in London, Naima later reworked the piece, transmuting the material into '[Vital organs] I. Heart Protector. In it, slow winding motifs and melodic washes find their feet in a melancholic dirge. Lines of sound open up and unfurl, revealing over time a fragile inner structure. Like the work of her grandparents, Naima's music is rooted in the soil of the earth but gradually lifts itself skywards, finding solace in both the physical and digital world. The track is accompanied by a video collage by Naima: "The video is a collage of still and moving found images that journey through the organ track on an internal and universal scale. Taking influence from the title, protection and the body are prominent themes. The images search for fluid interconnections between micro and macro bodies in the physical, digital and astral realms such as far-off stars, cell phone devices, Dogon astronomy drawings, bodies of water and our central heart space." - Naima Karlsson -- Naima Karlsson - All instrumentation & video collage -- Naima will be donating 50% of her profits from this release to the Movement for Black Lives. Recorded by Maxwell Sterling2020

"out of the vast void, immerging resonances receding again" - Johnny Chang A new piece by the Viola Torros, the ongoing research project by composer-performers Catherine Lamb and Johnny Chang, which seeks to realise and arrange the compositions of a pre-medieval composer, Viola Torros. A real pleasure to release this work following their stunning double CD on Another Timbre in late 2018.Viola T. was an anonymous composer who worked outside of the religious and academic establishments of her time. In her own practice, she documented her works in a minimally effective way, just enough to communicate with her fellow collaborators but barely enough to preserve a legacy for later generations of enthusiasts of her music.The concept of ‘research’ referred to by the Viola Torros Project involves studies of various relevant musical styles of the pre-medieval period (arabic, byzantine and indian modes), and investigating possible evolution of melodic and harmonic developments as V. T. might have discovered. Choosing one aspect of such a musical style to focus upon, details are discovered and presented in an arrangement for two violas, often with additional augmentations.     --   Johnny Chang & Catherine Lamb - violas & arrangement   -- Originally recorded by Bryan Eubanks, Düsseldorf 2017 Edited in 2020 by Johnny Chang Artwork design by Oliver Barrett

If the "WTF' & 'OMG' superlatives were created for anything, it would surely be to fill the tiny liminal gap that Goodiepal's wildly experimental practice exists in. Beyond any pre-conceived expectations of what lock-down music or art could mean, here he has treated us to this. Jump into the speedrun...

Tracklisting: 1. Of Nostalgia [05:37] 2. Duetto [03:07] 3. The Future [05:00] 4. Quartetto [01:31] 5. Musiques de Chambre [02:49] 6. Het Varken [04:35]   Deluxe version of the album now available to pre-order including bonus tracks and remixes from:  https://pomeraniansnout.bandcamp.com  “Nostalgia (from nostos – return home, and algia – longing) is a longing for a home that no longer exists or has never existed. Nostalgia is a sentiment of loss and displacement, but it is also a romance with one’s own fantasy. Nostalgic love can only survive in a long-distance relationship. A cinematic image of nostalgia is a double exposure, or a superimposition of two images – of home and abroad, past and present, dream and everyday life. The moment we try to force it into a single image, it breaks the frame or burns the surface.” - Svetlana Boym, “The Future of Nostalgia” “I’m not deliberately out to antagonise an audience or spite them or anything like that, but if they adopt the attitude of ‘This isn’t what we expected’, then yippee, I’m gonna wallow in that, because you shouldn’t sit back and expect anything at all.” - John Lydon, “Anger is an Energy” Spring time. Three period instruments from the turn of the century: Yamaha CS1X, Korg MonoSynth 2000, MicroKorg Synth Vocoder. Fingers fumble, sounds happen - obnoxious, unapologetic, fragile like a wobbly cassette that you’ve listened to a million times on the Walkman you dropped before you could afford a Discman. I’m not playing the instruments, they are playing themselves, they are playing me and there is no forcing or fighting them. Faded-photograph sunshine sounds of ’90s electronica, caramelised sweetened condensed milk, the beach, rage, DIY chamber music for cats. Then, it stops: the end of nostalgia and the end of the world as you know it. We are getting old and the sounds have lost their innocence. Thank you to Ed (Teddy) Bennett, Michael Keeney and Hannah Peel for the synth love.  -- Xenia Pestova Bennett - composition / performance / recording / mixing -- Ed Bennett, production / creative & artistic concept Antony Ryan (RedRedPaw), mastering Oliver Barrett, cover design from a photo by Xenia Pestova Bennett

Rie Nakajima has been a key figure in our OTO community for over a decade now, treating us to countless solo sets and collaborative work in O Yama O, with David Toop, and many more. Rie's practice is situated here in her abode in London, where she whips the objects around her off the ground and sends them spiralling into the magic realm. Using kinetic machines, she taps, rattles and scrapes rhythms, melodies and phrases. What sounds like a china dish is lifted into the air on a little propeller. Gentle ascending melodies emerge from tickling small bits of metal onto glass. As the piece develops, Rie transfers her dancing brainwaves into the physical world, bringing to life a small legion of kinetic drummers in a tribal cacophony. Her work here - like Bachelard or Proust - attributes an acute sense of awareness to the beauty and possibility of what is around us in our homes. "I really try to look for something between what I’ve known and what I don't know. I wanted to have some order, some sense of constant movement but don’t want to be given any pressure from them. The structure should be kept open, but how? The only way to get closer there is to start, get involved, and finish." - Rie Nakajima --   Rie Nakajima / objects & motors   --  Recorded in May 2020. Artwork design by Oliver Barrett

Neil Campbell - one of the key figures in British experimental and underground music culture over the last 3 decades - treats us to a new set of acid-inflected jams; both a rarity under his 'Astral Social Club' alias and an aural harbinger for the future of the project. Made by throwing live electronic jams against a wall, seeing what sticks and sculpting from there in, Neil loses none of the turbulent energy at the heart of what he does. Like a machine malfunctioning at malignant speed, he re-ordains the language of acid house to his punk, noise and 60s pop upbringing in Corby (Northamptonshire), kicking out the jams with break-neck tempo. Towards the end of proceedings we hear sounds recorded in an abandoned warehouse within walking distance of his house (pictured on the album cover). The haunting of past raves, the rebellious graffiti on the walls and the possibility of mischievous exploration therein is lifted from the rubble and pierced into the present. -- Astral Social Club (Neil Campbell) - electronics, mixing & mastering --Artwork design by Oliver Barrett.