Suche:the mice

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group's own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris_an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a "microscopic examination of leisure activities, this time centered around a nightclub," a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record's backbone, weaving in and out of sync with Harris's free-form percussion and the pair's sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo's musical hobby-horses work themselves in: the influence of Mark E. Smith's breathless deadpan, the headless outer-edges of ESP-Disk's back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring's artless temerity. "I've got to see and taste those city lights," intones Lambkin on the album's title track_indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what's to come. For Fans of The Fall, Royal Trux, The Dead C, Shirley Collins, '70s British progressive rock, Dean Blunt.

Sly & The Family Stone’s Anthology is an essential collection for any fan of funk, soul, or R&B music. The 1981 compilation album features the band’s greatest hits, including US Billboard chart-topping “Family Affair”, “Everyday People” & “Thank You (Falettinme Be Mice Elf Agin)”.



The music of Sly & The Family Stone has influenced countless artists over the years and this anthology is a testament to their enduring legacy. A compilation album full of infectious grooves, catchy hooks and powerful messages of unity and positivity.



Anthology spans the band’s career, from their early recordings in the mid-1960s to their later hits in the 1970s. This 2LP is available as a limited edition of 3000 individually numbered copies on pink coloured vinyl, housed in a gatefold sleeve

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘¼ Samba’, was included on J Jazz vol. 3. Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘¼ Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release. On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid-1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971.

Repress!

Le Très Jazz Club keeps on exploring Japanese jazz and Three Blind Mice catalog with the reissue of this amazing 1976 record by drummer George Otsuka. This LP is reissued for the first time since 1976. Reissued for the first time outside of Japan, “Physical Structure” by Japanese drummer George Otsuka is an amazing jazz-fusion album, featuring Fumio Karashima on the piano and Fender Rhodes and Shozo Sasaki on tenor sax. Check the surprising and sublime cover of “Naima” which alone justifies to get this record! With : George Ostuka (drums), Shozo Sasaki (tenor & soprano sax), Fumio Karashima (piano, electric piano, synthesizer), Mitsuako Furuno (bass), Norio Ohno (percussion). Recorded on February 11, 1976

ENG 'Behavioural Sink Delirium' is the new studio album from MADMADMAD. Powered by their wild live parties and rooted in the sounds of mutant disco, post-punk and experimental electronics, the London-based trio's third LP is due out July 21 via Bad Vibrations. Arriving following 2019's 'Proper Music' and 2020's 'More More More', 'Behavioural Sink Delirium' was recorded and produced by Eddie Stevens (Zero7, Moloko, Róisín Murphy) in his Fulham studio. "We locked ourselves away for ten days and recorded 30 hours of music, all played live in one room, and only edited to create arrangements", MADMADMAD recall. The result of those sessions is nine unhinged techno-dystopian freak-outs that mark the trio out as a truly singular group. 'Behavioural Sink Delirium' takes its name and inspiration from the 1968-70 'Universe 25' experiment by American ethologist John B. Calhoun, looking at the behavioural effects of population growth in a 'rodent utopia'. During the studies, a perfect space was built for a colony of 3,000 mice to thrive in, with constant food and water supplies, cosy apartments and no outside threats or predators. Starting with 4 females and 4 males, the population grew rapidly before capping at a number of 2,200. At this point, a living nightmare ensued, filled with antisocial and violent mice as the utopic conditions began to collapse. The mice formed violent cliques and social hierarchies, cannibalism started becoming common practice and the population started plummeting to eventual extinction. Calhoun coined this tipping-point the "behavioural sink" effect, and it's this state of societal breakdown that the trio tap into on the record. "You can easily see the link with our species in terms of overpopulation, but also with the Internet medium or 'metaverse' and its overproduction of data, causing tremendous societal, mental and environmental shifts. What was supposed to cater for most of our needs has also turned on us. Delirium kinda states the air of it all, and the folly of the music." Pressing Info: 180g red vinyl, standard sleeve, printed inner-sleeve, download card included!

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Midnight Sugar is one of the most sough-after titles from the acclaimed Three Blind Mice catalogue.

On “Midnight Sugar” the Tsuyoshi Yamamoto Trio plays two of Tsuyoshi’s own blues improvisations followed by jazz ballads that became standards for the Trio. The combination of these titles is nothing but exceptional.

The Yamamoto Trio’s Midnight Sugar was recorded March 1, 1974 at Aoi Studio, Tokyo. It earned the Best Engineering Award and Jazz Disc Award of Swing Journal in 1974. It is Yamamoto’s unmistakable skill and his jazz feeling which adds that certain touch of liveliness and spontaneity and makes Midnight Sugar a unique experience. This Piano Trio will mesmerize you with this great collection of standards, superb musicianship and awesome sonics. You are sure to listen to this one over and over.

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Misty is one of the most sought-after titles from the acclaimed Three Blind Mice catalog.

Touring with the Micky Curtis Band, Tsuyoshi Yamamoto had the chance to explore several international experiences that he would later use on his 1974 album, Misty, as he worked with this band in France, England, and Switzerland.

The Yamamoto Trio’s Misty is a Stoned Cold Killer! A1 Reference Material!!! Misty earned both the “Best Engineering” Award and Jazz Disc Award of Swing Journal in 1974. Recorded at Aoi Studio, Tokyo, on August 7, 1974. Tsuyoshi Yamamoto is highly musical and his expressions natural, neither overly technical nor serious, his performance is relaxed and melodious.

Mastered by Kevin Gray and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Blow Up is one of the most sough-after titles from the acclaimed Three Blind Mice catalogue.

Isao Suzuki’s Blow-Up is virtuosity and class all rolled up into one. A great combination of upbeat blues and mellow grooves! The album was awarded “Jazz of Japan” Award and the Jazz Disc Award of “Swing Journal” in 1973.

Deluxe Edition

We’re proud to present an extravagant 51st anniversary edition of Wigwam’s game-changing prog rock classic Fairyport. What began as a projected 50th anniversary release turned into a 51st due to the current manufacturing queues for vinyl. To create the anniversary package we teamed up with Jukka Gustavson and went through a plethora of material. Gustavson hand-picked the best possible bonus materials. The legendary jam Rave-up For The Roadies, featuring Jukka Tolonen, was located in its original 36 minute form. The truncated 17-minute version is the closing number of Fairyport, but here the full version received an entire LP. Most original reels to Fairyport are lost, but we salvaged a few demo session tapes plus some eight track reels of the album’s work-in-progress stage. Four tracks were chosen by Gustavson to be added here. It should be noted that the two album session tracks feature the original violin parts, which were left off the final product. All material was mixed from the original reels by Risto Hemmi at Finnvox. The box set also features a live LP. For this Gustavson picked material from a show the band played in Stockholm while working on the album’s demo sessions. There’s an earliest existing version of Losing Hold plus a 15-minute medley of several tracks. Also included is a 20-minute live set from the first ever Ruisrock in 1970, a couple of months before the band entered the studio. Here Wigwam perform three classics by The Band. The vinyl box set is limited to 1000 copies. All material has been remastered at Finnvox by Pauli Saastamoinen in 2022.

The Crystal Furs are a queer indie pop/rock band from Portland, OR. They write melodic, textured songs about anxiety, architecture, lesbians, and queer feels - loud music for quiet hearts. In Coastal Light is the band’s fifth album, following on from 2020 LP Beautiful and True, and hears them honing their blend of grungey riffs and 60s-girl-group vocals. As featured on: KEXP, WFMU, BBC Radio, Freeform Portland, KBOO Portland, Portland Radio Project, Chasing Infinity on WRUW, Get In Her Ears, Grrls Like Us “Had Portland’s (via Forth Worth) The Crystal Furs been around in the late 80s – early 90s there is a possibility they would have been signed to Sarah Records, home of OG jangle pop bands like The Field Mice and The Sea Urchins. Then again with their sunny, bright melodies, they might have found themselves riding the charts alongside The Bangles.” 50Thirdand3rd “It’s something of a well-worn expression, that adult life is about ‘finding oneself’, but it certainly seems for the Buchanans, and their band, that all of the changes in their life have enabled them to do just that. And what they’ve found are winning alt. indie-pop purveyors in the mould of Helen Love. Beautiful And True is an album whose title could not be clearer: it is what it says it is.” Get In Her Ears “Think of those jangly C86 tunes mixing genteel harmonies, spiraling keyboards, melodic guitar/ bass sounds and wistful vocals and you begin to get the drift here.” Into Creative “From the opening tones of the Farfisa organ on ‘Comeback Girls’ the lo-fi indie pop shines through, with jangly guitars, unassuming instrumental breaks and a naturalistic production that puts the Furs right there in the room with you.” Cambridge Music Review“Retro without being jaded, cute without being cliched what The Crystal Furs do so well – and demonstrate deeply on both tracks in this release – is as we’ve said pair light, sparkling and downright danceable melodies with dark-hearted lyrics emerging from shadowy inner worlds and harder lived experiences.” Popoptica 1. Winter Stars 2. Charlatan 3. Miss Hughes 4. California Misses You 5. Stay With Me 6. Mr Moses 7. Rose-Colored Glasses 8. We Never Sang 9. Please Fade Away10. Girl in the Background

Da die Geschichtsschreibung von Punk eine überwiegend männliche ist, war eine "Rache der She-Punks" längst überfällig. Verfasst wurde diese feministische Abrechnung von keiner geringeren als der Post-Punk-Pionierin Vivien Goldman, die aufgrund ihrer Arbeit als Musikerin und Musikjournalistin eine Insider-Perspektive besitzt. Entlang vier Themenfeldern - Identität, Geld, Liebe und Protest - begibt sich die "Punk-Professorin" auf die Suche nach empowernden Momenten, die Punk speziell für Frauen birgt. Inspiriert vom Buch (die deutsche Übersetzung erschien 2021 im Ventil Verlag) hat Vivien Goldman die vorliegende Compilation neu zusammengestellt und mit Liner Notes versehen.

Mice Parade returns from a decade of silence to release lapapọ, an album that spans the many styles of their storied career,and features guest singer appearances by Angel Deradoorian (Dirty Projectors) and Arone Dyer (Buke & Gase). The rock is louder; the West-African-inspired highlife breaks are chubbier; the dueling drumkits are more complex, the instrumental passages more serene. What started as a home recording project in the late 90s soon morphed into a formidable and completely unique live band of incredible musicians from around the globe, all live-mixed and effected by legendary UK engineer Brandon Knights (aka Dub Warrior), the longtime sound engineer for Lee Scratch Perry, Soul II Soul, Gladiators and others. After 9 albums and nearly 15 years years of worldwide touring, including festivals across the UK, Iceland, mainland Europe, Turkey and Japan, and supporting Stereolab across the US, Mice Parade fans can finally hear some new music, and the live band hopes to safely reunite later this year. Throughout it all, Adam has mostly recorded with same ethos: allowing only one take for each track, forcing him to either leave in mistakes or address them with mutes or distractions, and embracing the Bob Ross concept of 'happy accidents.' This was a strict rule for the first several albums, and while he eventually became less strict about it, it's still a goal that is achieved more often than not. Perfection is not the goal - indeed, there should be no such thing in music. Most songs are not even written before pressing the record button, but instead are built piece by piece in improvised fashion. lapapọ is a Yoruba word meaning something akin to "totally" or "altogether."

New version on Solar Orange Vinyl. RIYL: Slowdive, DIIV, Electric Youth, The Cure, My Bloody Valentine. Solo project of Los Angeles based Matthew Doty (ex-Saxon Shore). For Matthew Doty, Deserta has always been about exploring a sonic universe that allows him to express a kaleidoscope of emotions, without having to say much at all. Through a patchwork of reverb-tinged textures – drone guitars, lingering synths and driving percussion – the Los Angeles-based singer/songwriter and multi-instrumentalist weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album Every Moment, Everything You Need, Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It’s an essential reminder that we have the power to shape the stories we tell. The pandemic meant that Doty had to give up his studio and downsize a lot of his gear and instead, carve out a space in his two-bedroom apartment to craft the next chapter of Deserta. Sharing the space with his wife and son, Doty and his partner are also essential healthcare workers, which meant the couple would often have to tag-team childcare, along with 13-hour shifts in PPE and people constantly calling with questions about the ever changing guidelines and protocols. Once the blueprint for Every Moment, Everything You Need was set, Doty reached out to a number of collaborators to stitch together his vision for the sonic landscape. James McAlister (Sufjan Stevens, The National, Taylor Swift) came onboard to perform and record drums, while Caroline Lufkin (Mice Parade) wrote and performed vocals on the ethereal “Where Did You Go.” Elsewhere, the LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing, making this the first time Fridmann and Coady had worked together on a project. While the vocals are more prominent than Deserta’s previous albums, it’s their amalgamation with the instrumental aspects that secures Every Moment, Everything You Need as Deserta’s most confident and assured release to date. An affecting emotional candor teamed with persistent riffs and tenacious rhythms sees Doty unafraid to dive deeper; an unrestrained approach that ushers in a lustrous purging of agitation and anxiety. Showcasing those dark, exhaustive thoughts through crucial swells and looped, electronic soundscapes, it’s an LP that’s infinitely layered, with something new to discover with each and every enchanting listen.

14 track vinyl version of the 2012 CD compilation. Pressed on pale blue vinyl, with printed lyric inner sleeve. First time on vinyl. Includes poster and postcard.
A swish compilation LP featuring fourteen of the most memorable songs in the career of the top notch indie band THE HIT PARADE.
Entitled ‘PICK OF THE POPS (VOL1)’ the LP collects together the most poignant moments in the career of THE HIT PARADE, and includes their thoughtful recording for Sarah Records “In Gunnersbury Park”, their tubthumping single for Minty Fresh USA “Hitomi” as well as other cuts, both cheerful and desolate in style, that feature CATH CARROLL (Factory Records), AMELIA FLETCHER (Heavenly and Talulah Gosh) and HARVEY WILLIAMS (Another Sunny Day and The Field Mice).
THE HIT PARADE was formed by JULIAN HENRY with his school friends MATT MOFFATT and RAYMOND WATTS in 1984 when they released their first single ‘Forever’ on JSH RECORDS. Since then they’ve clung to the sensibilities of pure pop and have become a curiosity item with their retro attitudes and songs about dead writers, disused swimming pools and failed love affairs.
Their early vinyl singles were lauded by John Peel, the NME and Melody Maker, the now defunct weekly paper that published JULIAN HENRY’S writing. In the 1990s the band toured alongside Edwyn Collins, The Milkshakes and Sarah Records notables, and signed to Japanese and US labels, releasing a sequence of albums that have since become collectible.

Available on Double Vinyl LP, rammed with super funk smashers from the Queens of Funk

Vinyl now gone back to June. RIYL: Slowdive, DIIV, Electric Youth, The Cure, My Bloody Valentine. Solo project of Los Angeles based Matthew Doty (ex-Saxon Shore). For Matthew Doty, Deserta has always been about exploring a sonic universe that allows him to express a kaleidoscope of emotions, without having to say much at all. Through a patchwork of reverb-tinged textures – drone guitars, lingering synths and driving percussion – the Los Angeles-based singer/songwriter and multi-instrumentalist weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album Every Moment, Everything You Need, Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It’s an essential reminder that we have the power to shape the stories we tell. The pandemic meant that Doty had to give up his studio and downsize a lot of his gear and instead, carve out a space in his two-bedroom apartment to craft the next chapter of Deserta. Sharing the space with his wife and son, Doty and his partner are also essential healthcare workers, which meant the couple would often have to tag-team childcare, along with 13-hour shifts in PPE and people constantly calling with questions about the ever changing guidelines and protocols. Once the blueprint for Every Moment, Everything You Need was set, Doty reached out to a number of collaborators to stitch together his vision for the sonic landscape. James McAlister (Sufjan Stevens, The National, Taylor Swift) came onboard to perform and record drums, while Caroline Lufkin (Mice Parade) wrote and performed vocals on the ethereal “Where Did You Go.” Elsewhere, the LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing, making this the first time Fridmann and Coady had worked together on a project. While the vocals are more prominent than Deserta’s previous albums, it’s their amalgamation with the instrumental aspects that secures Every Moment, Everything You Need as Deserta’s most confident and assured release to date. An affecting emotional candor teamed with persistent riffs and tenacious rhythms sees Doty unafraid to dive deeper; an unrestrained approach that ushers in a lustrous purging of agitation and anxiety. Showcasing those dark, exhaustive thoughts through crucial swells and looped, electronic soundscapes, it’s an LP that’s infinitely layered, with something new to discover with each and every enchanting listen.

"Robot Hive/Exodus" is the second of initially four albums reimagined and individually curated by a band member, in this case Dan Maines, and reissued as part of the Clutch Collector's Series. The first album in this new series was Blast Tyrant, curated by Jean-Paul Gaster. TheRH/E artwork is in the vein of the original "Blast Tyrant" yet strikingly different. The vinyl release is remastered and manufactured on 180-gram colored vinyl which in turn is stored in extra heavy sleeves. The gatefold jacket is printed on metalized polyester paper, and each album includes a numbered insert autographed by the band. As an extra special element this 2xLP includes a 7" with two tracks: "What Would a Wookie Do?" and "Bottoms Up, Socrates". These two songs were originally among the 16 songs written and recorded for Robot Hive/Exodus back in 2005 but were left off the final album for time purposes. We are glad to have these recordings return home as part of the RH/E Collector’s Series limited to 7,500 units worldwide.

Robot Hive/Exodus (Ltd. Collector's Series/2LP+7"):
- The 12" colors are "Metallic Silver" with "Metallic Gold"
- Bonus 7" with two additional tracks
- Remastered Audio
- Limited Edition
- 2xLP 180g Colored Vinyl
- Artist Autographed Numbered Insert

Here is a quote from Dan, who quarterbacked this project re the two tracks on the 7" (the 7" is black vinyl in its own sleeve):

"What Would a Wookie Do?", and "Bottoms Up, Socrates" were among the 16 songs written and recorded for Robot Hive/Exodus back in 2005. For time purposes these two were left off the final album. We are glad to have these recordings return home as part of the Robot Hive/Exodus Collector’s Series.

Durch eine unerschütterliche Hingabe an die Progression schärfen Wage War mit jeder weiteren Entwicklung ihre patentierte Mischung aus schwerer, technischer Technik und hypnotischen Melodien, die man mitsummen muss. Das Debüt der Gruppe aus dem Jahr 2015, ”Blueprints”, brachte mehrere Fan-Lieblinge hervor: ”Alive” knackte die Marke von 12 Millionen Spotify-Streams und ”The River” überschritt bis heute 8 Millionen. In der Zwischenzeit etablierte das 2017er Album ”Deadweight” die Jungs als aufstrebende Kraft.

Mit insgesamt fast 50 Millionen Streams in zwei Jahren erreichte die Single ”Stitch” 14 Millionen Streams auf Spotify, während ”Deadweight” von Metal Injection, New Noise, Metal Hammer und Rock Sound gelobt wurde, die das Album als ”ein unerbittliches, das Genre veränderndes Vergnügen” bezeichneten. In der Zwischenzeit tourten sie mit Bands wie I Prevail, Of Mice & Men, Parkway Drive und A Day To Remember und legten unzählige Kilometer auf der Straße zurück.

Jetzt sind Wage War mit ihrem neusten Longplayer ”Manic” zurück und begeistern erneut Fans und Kritiker
zugleich.

The new album from Cambridge's pop-surrealist Pete Um, a world unto
himself, but also a standard-bearer for the kind of heroic DIY
befuddlement and unfinching self-analysis that Deep Freeze Mice, Mick
Hobbs, Robert Storey and the Homosexuals minted
Pete Um is a lyrical troubadour and lo-f electronic maverick. Um has supported
Thom Yorke, received critical acclaim from The Wire and released more music
than most artists have written.Um's sprawling catalogue is a beast that can't be
tamed or reasoned with, but it's endlessly rewarding: time and time again he nails
that going-mad-in-the-potting-shed-ness that is the historic, and perhaps eternal,
English condition. Even at its most demented and disorderly your man sounds
like he's wrenching everything he possibly can out of his primitive keyboard-andmic set-up.
While the infuence of 80s UK squat-whimsy looms large, we're reminded too of
the synth-fuelled early-noughts of the The Soft Pink Truth and Safety Scissors,
and, more than anything or one, R. Stevie Moore – unexpectedly powerful and
unforgettable songs emerging unexpectedly out of awkward, enervating loops
and the more obviously pranky vignettes.
"It takes a while to enter Pete Um's world: his songs are brief, dense and
ramshackle; he revels in a reviewer's dismissal of his live act as "grindingly
awkward shithop", and wears his self-doubt on his sleeve - Can't Get Started is an
ironic title, for Um is prolifc across videos, blogs and music. A Remarkable,
coherent document, an excellent introduction to Um's misft creativity." The Wire

After more than a year of strengthening our bodies through workout, our poetic endeavors via the discovery of our inner worlds, and also the life of plants and mushrooms, insects, arachnids, birds and wild mammals, after a year and a half that saw us in lockdown, shattered around the planet, after one a and a half year in which we deepened our production skills and also the meaningfulness of our work, Cómeme returns to a new planet with new music.

The beginning is this unique collaboration between Medellín based musician and DJ Julianna, and Matias Aguayo aka “The Don” himself.

In this deep therapeutical exploration of rhythm and sound, these artists established a magical dialogue on distance, leading up to this EP called “Que si el mundo”, roughly translated: “What if the world”.

Between soulful industrial expressions, emotional breakdowns but also discoveries free of any grids and algorithms, Julianna and Aguayo have created a beautiful piece of work, intense as the movements that we had to experience mentally and economically. “Que si el mundo” is state of the art electronic music of today, a work that is both introspective but also extremely open to the outside world and the universe. Compositions reminiscent of Coil, Angelo Badalamenti, Closer Musik, Steve Pointdexter or Mark Broom, shaped this EP that can be considered a short album in its conceptual layout and narrative. Let’s dive into it...

A1. Hiedra
One of the more danceable tunes, ideal for both a sensual warmup or the very late night to the rising sun sensitivity, is polyrhythmical melancholy and hypnotic inevitability, slow dance, deep trance.

A2. Primer Paso
A fat, slick and modern synth sequence, accompanied by heavy drumming and celestial drops that seem to fall onto the body of the listener or dancer, this post EBM stomper is a manifestation of elegant minimalism and reason. As if Liaisons Dangereuses reincarnated in a cloudy forest, to then pause towards the end of the track, with sentimental and gloomy synth chords that open the view towards the horizon.

B1. Que Si El Mundo
The title track keeps up the more melodic approach - somewhere between ambient, avant- garde and late night jazz. Morphing melodies that are both disturbing and soothing at a time encounter smooth free jazz drumming with drums that seem to have travelled from the sixties to today’s world.

B2. Bajo Tierra
This track continues the deep drumming experience that this record means, between laid back rides and intense taikoesque drumming. Distorted dark pads and subterranean choirs build up to a heavy sadness and intensity. Again, a therapeutical track to send those demons fly.

B3. Micelio
A more hopeful conclusion of the EP is “Micelio”. Open chords, soothing and melancholic, spread over profound drum grooves of champed and house. Nothing seems as it was before. A new life has begun.