White socks and sliders

 

 

Greetings, and welcome to the most rushed LC newsletter since records began (saying something). Sanjay, Carla and me are all away busking/basking in the sun (for what it’s worth) meaning Kenny is holding the fort, with a little help from Estelle and new recruits / extended family Jim and Meg. Given he’s pretty much nailed to the shop floor every day for the next couple of weeks, and also basically doesn’t know how to work a computer, I figured it would be excessively cruel to make him put together the mail-out too, and so here I am, on me hols, in a coffee shop surrounded by dozens of other keyboard-punching flat-white-twats just like me, attempting to summarise a week that I haven’t actually lived through. Oh well. 

First up In Sync…2018 re-press of Delsin’s ’14 12” of ‘Storm’/‘Subway Route’. Lee Purkiss’s early work is really beyond compare, so PHYSICAL (dance music!) but so weird and inward-looking at the same time, and managing to convey - to my mind better than any techno before or since - both the giddy upside and the yawning voidal downside of dance/drug/drum-induced ego-annihilation. Says Kenny: “Transportive UK techno of the highest order. Focusing entirely on ‘Storm’, which was originally released on the mighty Irdial Discs in 1992 and although it requires a certain patience for it to have the full effect (again, rendering sound clips fucking pointless), I don't think I've heard more tales of dance-floor elation about any other techno record. Be it a Glaswegian basement club in the mid-90s or Panorama Bar last bloody weekend, this one is here to stay!” Yeah that’s about right. Understandably, this 12” pairs ‘Storm’ with Purkiss’s other most unabashedly ‘floor-friendly outing, the tracky, tranced-out ’Subway Route’, a minor masterpiece in its own right, although I can’t help but pine for the original B-side, the truly sublime and incomparable ‘Warm’. We'd urge anyone who isn’t familiar with these two totally foundational mind-bombs - pressed louder and truer than ever before - to cop a load. 

Three of British Murder Boys’ peerlessly bleak and baleful 12”s for Counterbalance are back in print for the first time ages. And thank god or whichever deity endorses music as dissolute as this: because although canonical to some, BMB 1.0 just isn't listened to or admired enough by the rest. So: rub your eyes and re-focus. This stuff is just beyond. With the benefit of hindsight, 'Learn Your Lesson’ (2003, fuck!) is now very obviously what happens when Whitehouse meets with Basic Channel (a mad union to imagine in 2003, never mind execute). Regis’s malevolent babble might fall far short of Uncle William in full flight, but its combination with babylon-Berlin chord flutter and geysers of corrosive noise, was, and remains, inspired. ‘Rule By Law’ has aged even better, and - though it took a while for the rabble to catch up - its deadly swung rhythmic blueprint quietly revitalised 2000s techno from the margins, make no mistake.Don’t Give Way To Fear (also 2003) is just as crucial, Part 1 offering perhaps the most vital iteration of the iron-first BMB breakbeat on record - and the closest that (ahem) INTELLIGENT techno has ever come to genuine rip-out-the-seats delirium/ultraviolence. By the time of All The Saints Have Been Hung (2005) all that wheeling aggression has been condensed and compressed into purest (anti-)funk - see especially the dropforge rollage of the title track and the blistering ‘Anti Inferno’. Listening back to all this stuff, I'm freshly struck by its subtlety, both in terms of texture and architecture: though the core of the project is belligerence and route-one BOSH (and truth be told first time around that’s all I cared about), there are just as many passages of strung-out, droning, minimal, dub-damaged introspection - and it's these more understated/subliminal bad vibrations that leave the stronger impression now. Behind the street-fighting, bad-booze-and-speed bluster, a revolution in sound design: whichever way you look at it, this is a body of work that updated, redefined, and exploded the parameters of both industrial AND techno musics…no mean feat, bub! Visionary, ahead of its time, and, let’s not understate it, GENIUS. The wider world wasn’t ready then, and I’m not sure it is now. But YOU are. Get in!

Lastly from our Ken: shop favourite Mark returns stronger than ever after disposing of the bodies of some corporate weasel fuck-boys, thoroughly baw-twanged by his previous EPs for A Colourful Storm. At pointsThe Least Likely Event Will Occur In The Long Run (a title that sounds like my mother trying to lend some advice when she has had a few vodkas) feels every bit as much like a commission for some contemporary dance piece (or something like that) as it does a STORMING mutation of darkside DnB. Both lead tracks dense, industrial tones gain momentum slowly, reminding us of mid-80s Bruce Gilbert and developing into precisely programmed, yet totally frenzied, dance-floor assaults. The clips don't quite do it justice, but whatever - KILLER 12”…

In addition to the above, a timely revival of D.I.E. (Detroit In Effect)’s classic The Men You’ll Never See on Clone, the final re-stocks of two of our albums of the year, XVARR’s divine Beyond Illuminism and (due next week) Deadline Paranoia’s 1/3, plus last remaining copies of the much-feted Upsammy ‘Another Place’ 12”, a top-notch Buttechno on Zodiac, ++++

Oh and I imagine like everyone we’re going to have send out a message asking you to re-subscribe to the mailing list if you want to keep receiving our missives. How tedious. Anyway, if you want to, please do. 

Until the next time (if there is a next time) …

love,
LC

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