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Despite current circumstances, Speedy have had a busy year. The London-based label run by producer Dan Carey alongside Alexis Smith and Pierre Hall were recently coveted with the Best Small Label Award by AIM after being nominated for the second year in a row. Carey also picked up UK Producer Of The Year earlier in the year at the prestigious Music Producer Guild Awards. He also produced the critically acclaimed sophomore album ‘A Hero’s Death’ by Fontaines D.C. which landed a welldocumented No. 2 position in the official album charts.
Speedy Wunderground released their fastest ever selling 7” - The Lounge Society’s timely tour de force ‘Generation Game’, the second band to be signed to the label for a forthcoming EP release following Squid’s ‘Town Centre’ EP in 2019. They also announced the label’s first ever full album release - Tiña’s ‘Positive Mental Health Music’, with recent single ‘Golden Rope’ having just come off the A-list at 6 Music.
Bringing bands into the studio wasn’t an option so the label started an ongoing project called ‘The Quarantine Series’ in which Carey under his Savage Gary techno/electronic alter ego collaborated with artists and friends, old and new over the internet and then uploaded them to the label’s Soundcloud/socials with little or no fanfare - no PR-ing or radio pluggers, just let the bands do their own thing, organically.
The common thread throughout all is Carey, whether it be in his regular name or his Savage Gary guise. However, collaborators in the series so far have included a wide range of people: Kae Tempest, PVA, Willy Mason, Heartworms, Warmduscher, Charlotte Spiral, Boxed In, Stephen Fretwell, Goat Girl and more.
“We chose two tracks/artists that I think we really wanted to shed some more light on” says label co-runner Pierre Hall. “Two that we really didn’t want to go under the radar - and in our opinion reflect this parallel strand of the label that’s forming - with new artists we’re really excited about - and that will hopefully draw people in to explore the series as a whole.”
First on the release is ‘Wait & See’ from rising Bajan artist RoRo. A hypnotic masterful flow which meanders seamlessly around Carey’s pulsating electronics. It’s bursting with attitude and originality. “I saw Dan Carey play with Kate Tempest on one of my first few times ever being out in London” she says, “it was such an amazing show. I was extremely excited to then get the chance to work with him. I’d been trying to do so while in London, but it didn't quite work out that way. We did manage to make it happen remotely whilst I was back in Barbados though, and we knocked it out!”
Second is ‘Cigarettes Pt. 2’ from the enigmatic Londoner youngblackmale AKA Rutare Savage: “It’s a poem, transformed into a song by the ever amazing Dan Carey. It touches (lightly) upon the topics of fear of the police, drug and alcohol abuse, family, and pulling oneself out of a nihilistic worldview driven by a newfound lust for life. This is me trying to reason with the void.”

(Record Store Day 2020)

Mannequin Records is proud to celebrate 40th years of Nocturnal Emissions with more reissues setup for 2020.

"Tissue of Lies" is the Nocturnal Emissions first album, released on the band's own Sterile Records label as EMISS001 in 1980. "Tissue Of Lies"
shows you Nocturnal Emissions Industrial roots, from noisy collages to classic power noise, reminding the early Throbbing Gristle and Cabaret Voltaire, Faust ('Tapes' period) or Conrad Schitzler's 'Schwarz'.

The Nocturnal Emissions project, masterminded by Nigel Ayers, has been on the cutting edge of new music since the 1970s. Nigel Ayers has been described as a Guerrilla Sign Ontologist, cutting-up and pasting the contents of the human psyche. With a background in avant-garde art, his work has grown from audio visual installations through underground video works which changed the shape of British television.

In the early eighties Nocturnal Emissions hit London with a barrage of seminal funk; pioneering the use of sound samplers, multi-cultural
collage and electronic noise. They became a shape shifting chameleon lightening the darkness of post-industrial music, combining extremist performance art and video displays with apocalyptic beat music. Nocturnal Emissions have since been credited as a catalyst for a
generation or two of sound workers.

However, at the height of their success, the Emissions decided to shun the crass commercialism that had developed around them, and to develop their work as a secret alchemy. Nigel Ayers has continued to work with a strong underground of cult support, avoiding music industry fashions, and following his own creative path he concentrated on creating a strong sense of a wilderness identity through sound.

Limited edition of 600 copies, on solid white vinyl.

Seeing himself as a social commentator, Coops continuously draws inspiration from everything around him and is feeling more inspired than ever. Having signed to the label in 2018 he has already released 2 poignant albums and continues to create at rapid speed.

The 8-track project - which was made in just 4 studio sessions - is unlike Coops’ usual 14+ track albums both he and his fans have become used to. Coops turned the album around in record time to ensure his music was released during this unparalleled time in history. The homegrown beats come from his close friend and long term collaborator Talos who has produced almost all his beats to date.

In the opening track, ‘ Boom Biddy Bye’ Coops doesn’t waste a second in putting his fellow rappers through their paces. A block rapper with no one to please but himself, Coops professes that he barely listens to what other rappers release to ensure they don’t infiltrate and influence his own music. Highly appropriate for these times, title track ‘ Crimes Against Creation ’ is the stand out voice of this generation and his message to the world. ‘W arped perception, thwart connections, they force perfection, then claim the antidotes an injection...’ plays out and we begin to appreciate how the current situation is playing heavily on his mind. As the album progresses we get to see all sides of Coops’ personality with ‘Piss Poor’ reminding us of the raw gritty London lifestyle from which he has risen from, whilst ‘Profile’ demonstrates his softer more promiscuous side as well as touching on themes of fatherhood and online relationships.
Coops’ musical entry point begun by making music with his friends, but it wasn’t until he really looked at himself and the world around him when he decided he needed to go it alone, opening his mind and his solo stream of creativity which hasn’t stopped since. A self-proclaimed hermit he embodies the essence of a true artist and only finds comfort in doing what he loves, not what he is told.

The Advent (Cisco Ferreira) delivers his first full-length Electro album in 17 years. Released this May on Sync 24's burgeoning Cultivated Electronics label, 'Life Cycles' finds the past meeting the future. Because, to get a truer feel for this new long-player, we should head back even further to a 1995 classic - The Advent's debut album, 'Elements Of Life'. In fact, fans will recognise a nod to the original artwork of that seminal release, as 'Life Cycles' takes us full circle, containing unreleased Electro gems from the '90s, available for the first time.

"I have been making electro music for nearly 3 decades now and excited to see that it is in demand with this new wave of talented producers out there. 'Life Cycles' is an album where I explore my older past and connect with the future, 2020 and this new electro generation," says Cisco. Ever since Cisco Ferreira discovered Acid House in the London clubs he frequented, his journey has been about making his mark on the electronic music scene.

Fresh from college he landed a job as assistant sound-engineer in several recording studios where he learned the art of translating feelings to frequencies, recording high profile artists from the world of Rock, Pop, Dance and Reggae. When acid label, Jack Trax moved in next-door, Cisco started recording for the likes of Adonis, Fingers Inc, Marshall Jefferson and Derrick May.

These rendezvous sparked the inspiration for his first EPs on R&S and Fragile. By 1994 Ferreira had signed a record deal for 12 EPs and 3 albums together with Colin McBean. This was the beginning of an era during which the duo set a worldwide standard for high quality underground Electro and Techno.

They hit the world with a refreshing sound, both as The Advent, and G Flame (Cisco) and Mr G (the alias Colin still uses today). Nowadays The Advent is a solo project for Cisco as he bombards crowds around the world with his trademark raw, energetic sound.

As much as The Advent is known for uncompromising Techno, so his Electro has been a huge influence for a lot of young Electro artists today (including his own son and sometime Electro collaborator, Zein) and when you listen to 'Life Cycles' you'll understand why. From the moment the beats kick in on track 1, 'Music Is Life' we're met with full on Advent power. The album explores classic old-school Electro vibes from the tough machine funk of tracks like 'This Is Not' and 'Vast' to the acid excursions on 'Panda', via some the ghetto boogie of 'L.U.' or 'Stasis V2'. And lest we forget what an amazing live performer The Advent is, there's even the deeply hypnotic 'Live@Motor 1998'.

We love pop music. You’ve probably noticed. Witness our vinyl love-ins with Kylie, Róisín and Cassie if this has somehow passed you by. So when Lou Hayter (London-based musician, style-DJ to the stars, one of our besties) asked us to put her sumptuous funk-lite hit “Cherry On Top” on vinyl it felt like a neat fit. But this isn’t just any old Be With record. We decided such a monumental track would make the perfect inaugural release on Be Pop, our new, most likely sporadically active, side-label.

For those not paying attention in 2005, Lou Hayter was the keyboardist in Mercury nominated electro-pop outfit New Young Pony Club (who were a really good band, beyond the hype, and arguably a little ahead of their time) and she is currently one half of electronic duo Tomorrow’s World, a project with Air’s Jean-Benoît Dunckel. Her comeback single “Cherry On Top” originally appeared in late October 2018, but as a digital only concern. Unsurprisingly it caused a blog stir (Gorilla vs Bear correctly gushed) and what seemed like 6 Music’s entire roster of DJs had it on repeat.

But it’s not a proper single unless you can buy it in a record shop. So accordingly we’ve issued it as a full picture sleeve 12", pressed on white vinyl. And just to make certain, the instrumental and a cappella are on the flip. This is our homage to the classic dance/pop 12" singles of the late 80s and early 90s.

Riding an infectious sample of Marc Jordan’s yacht-rock classic “Generalities”, it’s a glistening, sun-soaked daydreamy jam, perfect for convertibles, pool parties, and roller-discos. It’s quite delicious. Whilst it’s pop without question, it wouldn’t be a Lou Hayter track without ice-cool nods to other magical genres; with Italo flecks and dream-pop vocals, this is cherry coloured funk indeed.

“Cherry On Top” screams “Mighty Summer Pop Radio Anthem”. We might have just missed the end of Summer 2019, but this 12" comes out just in time for every summer from now until the end of time.

2x12" Repress


January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project and Susanne Kuhnke completed the Line-Up.

Malaria! started touring intensively soon after the release of their 12”, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einstuerzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.

While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7”, Weisses Wasser 12”, New York Passage 12”, Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session.

Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12”. Elation was followed by Cheerio, Album, which again was recorded in Berlin.

Chicks on Speed did their own version of Malaria’s song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10.

Malaria has been an instrumental part of Berlin Music History, as recently presented at the „Zurück zum Beton“ at Düsseldorf’s Kunstakademie, Kunsthalle Wien „Punk!“, „Geniale Dilletanten“ Goethe Institut, and in B-Movie.

BIBA KOPF 2019
The theme song for that great German road movie yet to be made, Malaria!’s 1981 single “How Do You Like My New Dog?” etched the E into the motion music of their soon-come debut album Emotion with its trail-out line “Immer vorwärts, nie zurück...”. Always forward, never back: from West Berlin to London, Paris, New York and Tokyo... from here, there and everywhere to eternity, the Autobahn goes on forever, with Malaria! at the wheel, spinning new moves from timelines crossed in records and songs right on the money evoking Zarah Leander, fighting the power, staring down Death, and a whole lot more. In all, one merry hell of a ride, and on the evidence of Compiled 2.0, it’s not over yet.

MARK REEDER 2019
"Even today, their originality in everything from sound to style, has proven just how relevant Malaria! are. In my opinion, their music has stood the test of time. To me, Emotion sounds as good today as it did when it was first released and it was a pleasure to revisit it. They might not have had any zillion selling albums, and their image might have been copied, while their sound could never be. They remain exclusively unique and their influence and legacy will reach far into the future. This band is both an inspiration and a statement and they prove what five very creative girls can achieve, if given the right support to allow them to evolve, and it is exactly that, which has made Malaria! Germany’s most successful and renowned, all-girl band...“

DIEDRICH DIEDERICHSEN 1991
"...Malaria! put across so many clear, manifest, attractive, certain, muscular, and harsh symbols, just as they refused - defying the customs intrinsic to these symbols and the worlds in which they circulate - to weave all these things into a readable, reproducible and manageable, generic text..."

The 2 songs are remixed by south London-based artist Klein (Hyperdub), and Tokyo-based
experimental hiphop musician Killer Bong (Black Smoker Records)
Mastered by Bunsho Nishikawa, who is known for his works with goat and Tenniscoats,
among others.

The ominous clockwork nursery song “Kazega Fuitara Sayonara” (Goodbye When The
Wind Blows) was originally written by Koichi Yamanoha and released under the name of
Grimm Grimm via Kevin Shields (My Bloody Valentine) and Charlotte Marionneau (Le
Volume Courbe)’s Pickpocket Records / Honest Jons in 2014.
London-based Tokyo-born singer-songwriter experimentalist Koichi Yamanoha has been
operating under the guise of Grimm Grimm since 2013. The project is an outlet for his
fragile, haunted, otherworldly forays into baroque folk, futurist lyricism and electroacoustic
oddities. His debut album, “Hazy Eyes Maybe”, was released by ATP Recordings in 2015. A
track “Last Word Is Mine” from the album was used over the end credits for the Aaron
Brookner / Jim Jarmusch directed documentary film “Uncle Howard” (2016), featuring
William Burroughs. His sophomore album, “Cliffhanger” was released in June 2018.
And currently the 3rd album has been mixed and co-produced by Marta Salogni.

The virtual 3D music video for Klein remix has been directed and edited by London based
film maker Kenichi Iwasa. He filmed the footage in Tottenham using Super 8, 3rd
generation iPhone and 4K Camera, and created the zero zone virtual world with glitchy SFX
work by William Cunningham. Iwasa is also known for his legendary Krautrock Karaoke
night as well as being a sought after collaborator throughout Europe.

In a landscape increasingly dominated by surface-level sonics and a lack of true organic – man-made-machine-driven - sound, the newly found and London-based Gaia Tones project rises with an unforgiving grasp over the science of improvisation and mystery. Like a gust of wind from Mother Nature herself, the duo comprised of John Swing and David Soleil-Mon breathe a new, highly perceptible form of life into the UK’s long ‘dub and ‘bass’ dynasty.

Contrary to the consumer plastics found across much of the ‘digital’ musical spectrum, the two artists impose their own vision and aesthetic to a framework of sound that has somehow always existed but never fully explored before. Heady, stoned-out and surely emanating from physical matter, their two debut tracks are set to redefine the standards going into the next decade.

The A-side “Lychees”, stutters its own brand of dread paranoia over a sea of complex, morphing percussion that together create a whole new palette of exploratory sound, loosely tied up into a hazy, nomadic groove. On the flip, “Wonkadonk” feels like its natural extension, evolving that familiarly off-kilter assembly of drums to work around a devotedly dystopian swell of bass that pushes further and further out into the ether.

In the end, the universe tends to unfold as it should.

Label artwork by Egidio Sterpa

A cryptical presence hiding behind many different aliases spread across a range of underground labels: co-owner of LiveJam Records alongside EMG, John Swing begins producing with a live and spontaneous approach that pushes the boundaries and general conceptions of club music while digging deeper into the techniques of the past.

The production process through ananlog equipment that John Swing so strongly supports with an uncompromising attitude is the key to his underground success and esteem.
With a back catalogue of over seventy releases including collaborations with established artists such as Mr. G and Ben Sims, the London based talent has been receiving recognition by established artists including Floating Points, Gerd Janson, Levon Vincent, Theo Parrish and many others.

Inspired by London's Plastic People and it's bonding vibes, through a well refined spectrum of musical knowledge John Swing engages with the dance floor in a physical yet emotional way: the strength and power of pure house is blended with black soul music in a constant crossover between underground aesthetics and cherry-picked funk and disco. His subtle understanding of the dance floor guarantees a deep-rooted experience for the mind, body and soul.

* Five years have passed since the first release of Nowadays Records.Launched with Fakear's signature (seen on Ninja Tune), the label founded by oOgo and Chomsky from La Fine Equipe has seen the growth of many projects such as Clément Bazin, Everydayz, Phazz (who produced for Travis Porter, did remixes for Soulection, Interscope and Mad Decent), Leska, Jumo and many others, all of them carried by the irreplaceable quartet of La Fine Equipe.

Five years during which Nowadays Records released 75 EPs and LPs, toured in and outside of France, and generated several hundred millions stream plays.With its heart in the right place, its eyes on the emerging scene and its ears open on the world, Nowadays built itself a singular and racy identity through the time. Fed by inspirations like Stone Throw, Ninja Tune or Warp, the label places itself as an ambassador of a fast growing scene, defending it through its shows, releases, and events like the two Boiler Room shows in Paris and London.Without sticking itself to a musical gender, Nowadays keeps on widening its horizons by working with foreign artists and mixing the inspirations through its releases, driven by its sound and visual trademarks and aesthetics.

In order to celebrate those five years spent defending as many projects as musical crushes they had, and to thank its community made of more than 150 000 followers around the world, Nowadays unveils the 'Nowadays V', double album with a digital and physical release on November 30th.Through this compilation, Nowadays gathers on one side the tracks that marked its history and, on the other side, unreleased tracks that sometimes lead to collaborations such as the one between Clément Bazin and Leska, or the one between Fakear and La Fine Equipe.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

Bluestaeb's Evolution From A Beatmaker To A Producer Is His Sophmore Album everything Is Always A Process'.

He Is One Of The Key Figures Of A New Generation Of Up And Coming Hiphop Beatmakers, Who Have Emancipated From Genre Thinking And Instead Merge Old School Aesthetics With A New School Attitude And Organic Instrumentation.

Everything Is Always A Process Re-iterates Bluestaeb's Overall Approach To Life (and Thinking), But Also Has Direct Reference To The Making Of The Album Itself, Which Began With Moving From Berlin To Paris In 2015 In The Search Of New Influences And A New Creative Environment.
Created Between 2015 And Early 2018, Eiaap Embodies The Process Of This Transition - As Well As Collaboration With Instrumentalists And Vocalists From All Over The World And Recording In Different Studios In Paris, London & Berlin.

"meeting All Those Musicians And Trying Out New Ways Of Producing By Using Real Analogue Synths, Rhodes, Drums And Percussion Etc. Made It Possible To Overcome The Creative Boundaries Of A Home Studio With Just A Midi Keyboard" / Bluestaeb

Influenced By Madlib's "shades Of Blue" And Trained In African Drum Techniques Such As Djembé And Daruka, Bluestaeb Had Been Crafting His Own Beats Since His Teenage Years And Gradually Found His Sound Identity Through Experimenting With Hiphop And Jazz - First To Be Heard By A Broader Music Community In 2013, When He Released His Debut Album "1991 Extraterrestrial" (radio Juicy). Since Then The Prolific Young Artist Has Released Numerous Solo And Collaboration Projects ("b.l.u.e. Friday" In 2015 And - sidekicks With S. Fidelity In 2016). In 2016, He Produced Collaborative Album "lit - Lost In Translation With Rapper Juju Rogers, A Keen Manifesto Against Racism, Xenophobia And The Rise Of Anti-heroes Such As Donald Trump.
Today, Bluestaeb Lives And Works In Paris And Berlin And Is Set To
Release His Third Solo Album everything Is Always A Process', A
Smooth Neo Soul-induced Epic Featuring Artists Such As Noah Slee, Harleighblu And Melodiesinfonie, Via Jakarta Records In 2018.

Musique par Andrew Chalk & Timo van Luijk

avec:

Tom James Scott - piano

Jean-Noël Rebilly - clarinette

Daniel Morris - guitare pedal steel

Mastered & cut by Rashad Becker at Dubplates & Mastering, Berlin 0417.

Having been entranced by both Andrew Chalk's work with MIRROR (and back to his solo works as FERIAL CONFINE, plus multiple collaborations with David Jackman, The New Blockaders, Daisuke Suzuki, etc ) and Timo van Luijk (as Af Ursin, In Camera, La Poupée Vivante, and collaborations with Kris Vanderstraeten and others) for many years, I was naturally intrigued to hear about and hear their duo project ELODIE. The project formed in 2010, and has spanned eleven beautiful albums already, to date.

"Vieux Silence" for Ideologic Organ is their first release presented outside of their own record publishing nook, Faraway Press & La Scie Dorée. However this is not the first encounter between Ideologic Organ & ELODIE, they performed at a night in London I curated in February 2012, alongside Jessika Kenney & Eyvind Kang. Elodie's performance was among the most delicately engaging and savant I have witnessed... so very quiet, with snow falling in London outside Cafe Oto's windows, the audience palpably entered a high intensity listening focus. The impression of this vivid memory is striking, considering how spare each of the individual elements present that night were.

"Vieux Silence", and ELODIE in general provoke a visual imagination in an instant, perhaps filtered through aged watercolour, tape grain, antique lenses, forgotten levels of listening and observational patience. On this gorgeous album Chalk & van Luijk also collaborate with piano, pedal steel and clarinet (played by , Tom James Scott, Daniel Morris and Jean-Noel Rebilly, respectively).

Each detail carefully considered and colouring step by step, like an impressionist watercolour.

- Stephen O'Malley, Les Lilas 2017

Drew McDowall's back story reads like a primer of psychedelic fiction woven into statements of the unbelievable, superhuman and outright insane. Somewhere in the chaotic madness, comes an artist such as McDowall with total control and absolute calm within his songs and artistic method.

Growing up in the gangs of 1970's Scotland, Drew McDowall started to shy away from the daily violence once punk took hold of the counterculture youth. Drew McDowall quickly scrambled to form his own punk band in 1978 with his then wife, Rose McDowall, called The Poems. Shortly lived, the Poems released a single and various tracks but more importantly, the band allowed McDowall to network with other local musicians in Glasgow, such as Orange Juice, and allowed him to travel down to London thus forming friendships with Genesis P-Orridge, David Tibet and countless others, bringing Drew into the fold of the experimental revolution happening in the UK brought upon by Throbbing Gristle and executed by bands such as Psychic TV and Current 93.

During the 1980's, McDowall found himself in the ranks of P-Orridge's Psychic TV and collaborating with the mysterious duo comprised of former Throbbing Gristle creator Peter 'Sleazy' Christopherson and the enigmatic John Balance who had been creating esoteric and progressive electronic music under the title of Coil. It was during his formative collaborations with Coil that McDowall saw himself shift from occasional contributor to austere full-time member of the arcane outfit. McDowall's impact on the band's sound was apparent as the releases transformed from their previous avant pop signature to a more complex and methodic electronic imprint accompanied by even more abstruse subject matter than previous years. McDowall would continue honing his compositional skills with Coil until the release of the band's two most broad-minded albums, Astral Disaster and Musick to Play in the Dark.

The past decade, Drew McDowall found himself living in New York City and re-appropriating himself within the local music scenes he found himself contributing to. In 2011, alongside his friend and collaborator, Tres Warren (Psychic Ills), McDowall found himself exploring his passion of meditative drone and abstract sound patterns in their project Compound Eye. In recent times, McDowall's production work has provided the music world with some of the most outstanding remixes for bands such as Nine Inch Nails, Azar Swan and Long Distance Poison as well as his well-received scores he composed alongside artist Tamaryn for the works of Bret Easton Ellis. Outside of his collaborative duties, McDowall formed an audience as a solo artist, playing countless performances and showcases around New York's electronic music haunts.

Dais Records approached Drew to solidify his standing as a leading electronic musician with the recording of new material neatly wrapped up in his debut album entitled 'Collapse'. Recorded in 2015 in Brooklyn, NY, McDowall's synonymous modular synthesizer compositions are augmented by obtuse sampling cut-ups and contributions from Nicky Mao (Hiro Kone / Effi Briest) rounding out the lumbering sequential knot work that has become synonymous with McDowall and craft.