Charlotte de Witte’s unrelenting single ‘No Division’ featuring XSALT drops digitally on May 29th while she plays six NYC shows in four days (vinyl on 6th June) – with different DJ sets across venues from small and intimate to big and uncompromising. The vinyl version (including the Original Mix and Instrumental Mix as a B-side) gets an early release and will be on sale at the shows.
Why the NYC connection? Says de Witte: ‘Launching this single while I’m in New York feels symbolic. There’s something about the city, its chaos, its diversity, its constant movement, that perfectly mirrors the spirit of ‘No Division’. It’s a place where differences collide and coexist.’
‘No Division’ is the second single from Charlotte’s eponymous long-awaited debut album (out November 7th). ‘This track is another chapter of my upcoming album, and like the others, it reflects a part of who I am. ‘No Division’ is both a call and a celebration. It’s a reminder of what’s possible when we lose ourselves in the music and come together on the same frequency. It reminds us that we are one.’
‘No Division’: Brimming with an overwhelming, penetrating techno power, this track demands our full attention, with spacey hoover sounds, piercingly hooky main theme, a classic organ sound and hissy robotic spoken vocal lyrics like ‘…cut the wire/break the system/fight the fire/no division…’ It’s a manifesto you can dance to. Charlotte de Witte has an agenda as well as making a killer track; ‘‘No Division’ comes from a place of unity and the understanding that when we come together through music, the barriers between us start to dissolve. It’s about erasing the invisible lines that separate us, whether cultural, emotional, or personal.’
XSALT was previously sampled by de Witte on her tracks ‘Overdrive’, ‘High Street’, ‘Roar’ and ‘How You Move’. Here he provides exclusive vocals for her for the first time.
Buscar:overdrive division
- 1
"Tools of Oppression / Rule by Deception" is the new full length album by The Hope Conspiracy. The album was engineered by Kurt Ballou and Zach Weeks at God City Studios. Artwork for the release was created by acclaimed artist Alexander Heir (Death/Traitors). This is true sonic violence aimed at political division, economic manipulation, war profiteering, media propaganda and other vile forms of global oppression. Air raid sirens wail as the foreboding "Those Who Gave Us Yesterday" and "The Prophets and Doom" explode forth like burning shrapnel. The hell ride continues with "A Struggle For Power" and "Live In Fear", two vicious blasts supercharged with malice and contempt. "Shock By Shock" and "Of A Dying Nation" introduce doom and gloom heaviness, grinding down the tempo to a mid-paced barrage. "Confusion/Chaos/Misery" picks up the pace, going scorched-earth policy on the sociopolitical nightmares that ensnare us all while "Broken Vessels" plows into overdrive about the opioid crisis and addiction as a whole. This leads to "The West Is Dead" a dystopian hook laden hardcore anthem, and epic closer "The Specter Looms"; An ominous soundtrack to the steady decline of our modern age. There is no question, The Hope Conspiracy is back to make a cold hard statement about existence in the end times.
- One I
- Or Are You Just A Technician Ii
- Chant Iii
- Quatro Two Iv
- Requiem V/Stuki Vi
- Along Came Poppy Three Vii
- Brother Viii/Duet With Piano Ix
- Darkness Here Four X
- Catos Revisited Xi
- The Truth Xii
- How Unbelievable Five Xiii
- Bruce Xiv/Keir Xv
- Neil Six Xvi
- Mike Xvii
- Alan Xviii
- Anthony
A Paean to Wilson is still arguably Vini Reilly and the Durutti Column's most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990's. On this release we have the ‘F4 Heaven Sent’ tracks released on vinyl for the first time. They first appeared in 2005 via Wilson's project F4, as being the fourth version of Factory Records. Originally it was download-only release, Heaven Sent (It Was Called Digital, It Was Heaven Sent). A six track CD of personal dedications by Vini ironically the last piece is titled Anthony. Originally this was commissioned for the MIF (Manchester International Festival) where it was premiered in July 2009. Vin had already composed pieces for Tony to listen to whilst he was ill in hospital and it was from here that the project developed. This release belatedly coincides with the new Paul Morley Biography ‘Manchester with Love: The Life and Opinions of Tony ...’Ever critical of Vini's voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this instrumental tribute by The Durutti Column. ‘Near the beginning of the final night of the Durutti Column's 70-minute international festival tribute to Tony Wilson, A Paean to Wilson, guitarist Vini Reilly announced that he wouldn't be singing: "So you won't have to put up with my awful voice and schoolboy lyrics." If Wilson was with us, he would have chuckled. The Granada presenter-turned-Factory Records boss spent years urging his first signing to stop singing, and concentrate on the virtuosity that led Red Hot Chili Pepper John Frusciante to call Reilly "the greatest guitarist in the world". Two years after his death, Wilson got his way, one of many lovely touches in a very personal, emotional and often warmly funny musical tribute. Wilson signed Joy Division and Happy Mondays, yet never gave up on this cult band he adored, working with them even after his legendary label went bankrupt. A complex man, Wilson was an academic thinker who revelled in Steve Coogan's affectionate, Alan Partridge-style send-up of him. And this tribute was no different. At one point, Reilly known for melancholy launched into something resembling an Irish jig. "Tony loved to laugh," he explained. "He loved absurdities." After the humour came exquisitely mournful music. With Reilly and drummer Bruce Mitchell augmented by bass, keyboard, violin, electric piano, drum machine and trumpet, the band's beautiful pieces reflected Wilson's love of rock and classical. Reilly's plangent guitar work showed grief's emotional spectrum, from sadness to overdriven anger. As in life, Wilson had the last word, his recorded voice expounding thoughts on socialism with an eerie echo. Silence followed as Manchester pondered the loss of one of its truly larger-than-life characters. Then everybody cheered.' Dave Simpson The Guardian 20/7/09
- 1



