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Hello dears, hope dis finds you well 

Regular readers please forgive us twatting on about it yet again, but seeing as it's little more than a week away we HAVE to mention for the umpteenth time the LOW COMPANY XMAS PARTY, which takes place next Saturday 8th December at Bar A Bar - 10 minute trot from the shop - and runs from 10pm-6am. We're bringing in our own sound and guest DJs NKISI (NON Worldwide, Doomcore, UIQ, Arcola ++) and MARK (A Colourful Storm, Unterton) plus EXTENDED SHOPPE CREW (Kenny, Meg, Jim, Sanjay ++). Advance tickets are available online here, and also in person from the shop. We'll be having a wee pre-party at the shop - free entry, all welcome, BYO - from 6pm, with tunes from man next door Paco LA VIDA ES UN MUS. Gonna be a hoot...o come all ye faithful>>>>>

OK, this week's picks as follows. Quite heavy on archival business again this week, presumably because any current, career-minded label/artist - i.e. NOT KOMARE - is biding their time til January to peddle their wares now, cos let's face it, we're all running down the clock now - 2019 can't come soon enough eh (NEW YEAR NEW YOU). We'll be casting our eye back over THE YEAR THAT WAS soon enough, but right now we have to go and get this party together, plus the rest. See ya! 



ROUND BALE | CS | £9.99

Brittle, burbling, opaque minimal synth sufferahs from two moonlighting Mosquitoes, offering a more reduced, scum-electronic take on the fractious decentralised out-rock we know and love them for.

Far from throwing out the baby with the bongwater, this self-titled, six-track cassette offers a pretty thrilling x-ray/intensification of the Mozzies’ yellow-fever abstraction - easier to pin down, perhaps (think Storm Bugs, or TG, or the Mark Perry of Snappy Turns / Vibing Up The Senile Man / Detailed Twang - Snapping Up The Senile Twang???? ) but also more immediate, with its dread keyboard oscillations, muted machine-gun drums, and monotone, hold-onto-ID vocals that manage to sound sardonic and detached but at the same time pretty exposed and vulnerable - capturing that feeling when you're at a wedding and the pissed-up ex-boyfriend of the bride decides that HE would like to stand up and give a little speech thank you very much and the entire room holds its breath waiting for him to say something massively inappropriate or possibly try to self-harm on-stage and wondering whether to intervene but in the end he just politely wishes her and the groom well and staggers meekly back to his seat and the band start up with an awkward 'Sexy Thing'.

I’m not sure there’s anything released this year that will top Mosquitoes' instant-classic Drip Water Hollow Out Stone, but for pursuers of ULTIMATE ENTERTAINMENT this is your next best fix, and vigorously recommended by us. London's insect population continues to survive and thrive under the floorboards...cassette edition of 100 from Round Bale of Minnesota (!). 



Following on from those important and far-sighted revivals of Vox Populi’s Half Dead Ganja Music and Frank Dommert’s Kiefermusik, Spencer Clark turns his occasional arkival attentions to the cenobitic electronics and water-snake concrète of Hamburg artist Dörte Marth, aka MAAT, pulling from her two album releases of 1993, Sie and Konstruktionen, for the tracklist of The Next.

Painted from a glistening palette of electronic drums, cooing Eastern melodies and perverse classical motifs, MAAT’s work is somehow also brooding and oneiric and full of occult suggestion - and is perhaps most easily understood in the context of exploratory industrial music, especially its intersections with the post-classical avant-garde, idiosyncratic genre-movie soundtracks, and the then-emerging numb-wave of Isolationist/ambient techno. Clark invokes H.N.A.S.,  Limpe Fuchs, Anima… you could happily add to that list Phew, Rapoon and Black Light District, while there are passages of computer-controller string-judder and AI synth drift that anticipate, respectively Konrad Sprenger’s Stack Music and Autechre’s Amber, and Marth’s sparingly deployed vocals - eldritch and dramatic yet distant and detached and artfully off-key - invite the standard Christa Pfanger comparison.

In its more playful passages the music’s influence on Spencer Clark’s own recent work - Typhonian Highlife, Fourth World Magazine - is obvious. But whereas Clark’s work assumes, and relies upon, some understanding of his early 80s/late 90s VHS myth-kitty, MAAT seems to exist in its own hermetically sealed world, in thrall not to the lurid dreamworks and image-making of late capitalism but simply to Marth’s own curious and implacable id. Really been knocked for six by this record, it's properly out on its own. Forget everything you thought you knew! Edition of 280 and an essential purchase.


OLD ROPE / BLOODY FIST | 7" | £7.99

Thought we’d throw a spanner in the works of the glut of Oz wave pyjama gear with this pile-driving breakcore straight outta the Newcastle badlands. This Xylocaine 7” is the latest in the series reliving the unemployed, white middle-class boredom relief that became the Bloody Fist glory days on this fit-for-purpose 7” label, Old Rope, run by the big fist himself, Mark Newlands of Nasenbluten. Coming in welcome BF, ruffneck style, Aaron Lubinski (who also ran the excellent dEAdGirL label around the same time) yaks up three tracks of heavy, antisocial mid-90s beat science / aggro bush-doof like a squad of antipodean Geordies shoving DJ Sy down the stairs of a double-decker bus on it's way to Bangface, all boiled down into a frantic, but ultimately, BLOODY good fun, sampledelic sensory overload. All Oz grime donking aside, a refreshing lack of pretension catapults this record into this week's mailer as we race to the bottom of the 2018 EOY wastebin - it’s a nosebleed time machine and middle-finger counterpoint to the polished post-internet branding of everything - everything - today. 


Luminous, undersung LP from Pierre Bastien and Bernard Pruvost, billed by Souffle Continu - whose reissue lovingly replicates the original 1978 release on Jac Berrocal and Michel Potage’s d’Advantage label - as a kind of French riposte to Max Eastley and David Toop’s New And Rediscovered Musical Instruments, “combining research and tradition in a quest for a new imaginary folklore”. The name Nu Creative Methods - sounds like something off Warriors Dance!  - was a nod both to Don Cherry’s ‘Nu Creative Love’ and to Francis Ponge’s book My Creative Method, and its take on free jazz is playful, rangy and unusually lyrical, full of the kind of unusual timbres and powerful, provisional ambiences that only the cream of improvised music can generate…Highly recommended for fans of Fontaine/Areski, Art Ensemble of Chicago, Jacques Thollot’s Intra Music, Berrocal’s La Nuit Est Au Courant ++++


SONG CYCLE | LP | £16.99


Man, they don't make Ethnic Forgeries like they used to! Canadian fine artist Michael Snow is best known for his film work, but as a trained jazzer landing in 60s New York, he inevitably became embroiled in the city's mushrooming musical avant-garde, releasing an LP (Musics For Piano, Whistling, Microphone and Tape Recorder) on Philip Glass's Chatham Square label and generally becoming a bit of a downtown mover and shaker and (thoughtful) piss-taker. Some years later - 1987 to be precise - he came out with The Last LP, an album for Art Metropole purporting to be a documentary recording of the dying gasps of ethnic musical cultures from around the globe including Tibet, Syria, India, China, Brazil and Finland, with copious, insanely detailed supporting sleevenotes.

It was, however, a wind-up, an elaborate fiction - all the sounds you hear were the work of Snow himself. The eagle-eyed (or indeed anyone who bothers to read) will spot a number of clues - i.e. some good jokes - buried in those sleevenotes, while the eagle-eared (do eagles have good hearing? Do eagles have ears??? I truly know nothing of the world) might spot the Whitney Houston song embedded in 'So Napa (By What Signs Will I Come To Understand)'.

Positioned later as an "investigation into the effects (both negative and positive) of Western recording technology on the world's few remaining, at the time of recording, ancient pre-industrial cultures", The Last LP could legitimately be accused of cultural appropriation - I mean COURSE it could - but really it's a vicious parody of that very impulse...each track claims to be not just a recording of its subject, but the "last possible" recording (as when the intrepid “Michael Snow” wipes out an entire Lapland tribe by introducing them to the Hong Kong ‘flu.) Genius record, all told, and the perfect Xmas prezzie for that easily offended special someone in your life!




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