Ein Mysterium Unter Der Woche

Who is whø? And who is Paula?

Until a few minutes before writing this post, I didn't know the answer to either of these questions. 

Now, after 'extensive research', I can tell you this:

1) whø? is a German underground electronic music producer and DJ, based in Berlin.

2) whø?'s first name is Marcel.

3) whø? looks (and DJs) like this.

4) whø? is also the founder of the label Who is Paula.

5) Who Is Paula's first release was in 2020, the eleventh (and where I came in) is the Riding The Bassline EP, out on 19th June.

6) Aside from whø?, label mates include Acidulant, CH415, Cignol, Featherstone, not even noticed, Vertical67 and Zobol.

7) If you like acid, IDM and electro music, you will be a very happy bunny.

8) Who is Paula? She is "a fictional, thematic concept representing the acid and electronic sound of the label, and the recurring protagonist across each of the label's releases.

9) This is the story so far:

WIP001

Paula left crossing each river twice, knowing there would be nothing to come back to and on the way each of her steps continuously sonicated and extruded to finally collapse into the emptiness she once came from.

WIP002

Paula proceeded to question each dot down that wave and each answer led her back cross the river, up the ruler which measured her life.

WIP003

Paula took a trip. And as she was walking on clouds, beautiful clouds, hovering through kaleidoscopic forests and gliding through multicoloured reefs, she couldn’t help but cry.

In glee, in absolute enchantment. And when she had to leave, all that was left were Shades of Acid. And dry tears, tears of joy.

WIP004

Paula said: there are words they tried to print, there are thoughts they tried to speak, there are pictures you cannot show, photos you cannot snap and lyrics that you cannot sing. Think as I think, she said, see as I see, I kiss your thoughts, I kiss your dreams, I leave my steps upon your reality.

WIP005

Paula heads outside in the dark. Touch and release, fingers probe searching for the unknown and return to the glove, still there for me and you. It's ours to preserve!

WIP006

Paula looked into the mirror, when logic and proportion have fallen apart, white fog lifting and falling, glimpsed thru mullioned glass, crawling around her face like a thousand micrograms of bleeps, far above the moon. Is it real or an illusion?

WIP007

Paula counted down as time cracked open. Thoughts bled colours. Reality flickered, then vanished.

WIP008

Paula looked at her arms to see skin start to shimmer, limbs stretching, shapes shifting as the weight of her old self passed like a wave. She soared through the open window, metamorphed, shapeless, but a sonic whole.

WIP009

Paula revels in the ocean of space. Each star a story, each galaxy a poem, Paula's spirit danced among them, forever changed by the celestial ballet. Her soul feels at home among the constellations.

WIP010

Paula lay down, listened to her veins, felt her heart pumping. And as electrons rushed through her arteries, it suddenly dawned on her: It doesn’t need royal blood to be a queen. Just acid.

WIP011

Electron waves rise high. Paula's eyes half open, heart pounding, as she seeks the line, carving through the curving crown. And as the sine collapses she exits as one.

10) I'm sold on this mystery!

(With apologies to Walter at A Few Good Times In My Life for the post title's possibly ropey translation)

Which Way Did You Come In?

More Songs About The Sun by Pye Corner Audio is out in a few short weeks and The Breath Of Now has been offered up as the second single/trailer for the album.

The Breath Of Now features author Ian Rankin on spoken word vocals, over a lush,  cinematic soundtrack, rumbling bass, rolling chords, synth strings all combining to create a compelling five minutes.

I ordered More Songs About The Sun on the strength of lead Cycle featuring Andy Bell and, based on these two songs alone, it's shaping up to be one of the albums of the year.

Broken lives, empty streets

The dust of ages, the breath of now

Low rise, high rent

Blood sucked from every stone 

A villain’s stealth and silence

No heroes come out at night

No heroes come here at night

Stealing your way through the empty streets

Echoes of footsteps, and misspent hours

The creep, creep, creep of shadow filled shoes

No one is near

No one can hear,

The creep and the breathing

The breathing that creeps

No heroes come out at night

No heroes come here at night

Everywhere looks like a tunnel

The dark won’t take your hand and lead you home

So you drive,

And you drive

And you drive

And everything looks like a tunnel

Your life, your kids, your job, your friends

A tunnel 

Which way did you come in?

No lights, no signal, no exit, no turns

The dark won’t lead you home

No lights, no signal, no exit, no turns

The dark won’t lead you home

No heroes come here at night

No heroes come here at night

You Got Your Good Thing And I've Got Mine

I have half a dozen songs by Xiu Xiu aka Jamie Stewart, none more recent than 2012 and half of them covers of Björk, Nick Cave & The Bad Seeds and Tracy Chapman.

Xiu Xiu is back on my radar with another cover version, posted last week, of In Heaven aka Lady In The Radiator Song from David Lynch's astonishing debut Eraserhead.

Like the film, the song requires several listens before it begins to really work; clearly, I've found Jamie's vocal and musical stylings an acquired taste. However, stick with it and the reward will come.

If you enjoy this, or Xiu Xiu in general, you'll be pleased to know that there is a live concert, Eraserhead Xiu Xiu, with accompanying album and film (on VHS!) which you can order now.

In Heaven is a popular song for 'alternative' and/or 'indie' artists to cover, as these three examples by Win, Zola Jesus and Pixies amply demonstrate.

 

 

And here's the original by David Lynch and Alan R Splet, featuring Peter Ivers on vocals and actor Jack Nance looking disturbed, something he honed to perfection over the years.

Belonging Yet Longing

On this day in 2021, I posted excitedly about Dot Allison's return with Long Exposure, the lead single from Heart-Shaped Scars, her first album in 12 years.

In October 2022, I created and posted a Dot Allison selection and wondered why it had taken me so long to get around to it, given how much I love her music.

Five years on from that initial post, three years and seven months on from that Dubhed selection, and I've only just got around to creating a companion selection. Yet, it all feels like it was only yesterday, 

Ironically, I haven't included any songs from Heart-Shaped Scars per se. Instead, there's a remix of Cue The Tears by Anton Newcombe, and the original demo of The Haunted, featuring Amy Bowman. Amy also provides backing vocals to the opening song, Milk And Honey, from 2023's Consciousology. Both albums are furnished with lush string arrangements by Hannah Peel.

One Dove inevitably appear, Sirens taken from Morning Dove White, produced by The Sabres Of Paradise aka Andrew Weatherall, Jagz Kooner and Gary Burns. Fallen is an absolute classic, this version taken from the original promo white label 12" by "Dove".

Most recently, Dot has collaborated with both Mark Peters and Andy Bell, the former transformed into an ambient excursion by Richard Norris, the latter a cover of The Passions featuring Michael Rother.

Further Dot duets include Jude Rawlins, Christian Henson and Slam, 2007 track We Medicate transporting on a satisfying Bauhaus vibe. 

Dot has always travelled comfortably in the worlds of electronic and alternative music, between the dancefloor and the folk club, from glow stick to torch song.

Although the music here spans over three decades and each of Dot's albums and collaborations have their own distinct identity, I'm amazed at how well the selected songs sit together. 

As a companion piece to my previous selection, Everywhere Yet Nowhere, I also think it works really well. Completely accidental, but both come in at 61 minutes, just five seconds separating the two. And as Everywhere Yet Nowhere begins with Dot and Christian Henson, so Belonging Yet Longing ends with the same pairing. 

I'm not in the least objective about this because I'm such a fan of Dot's music, but these are two of my favourites of the many hundreds of mixtapes I've created in the past forty years.

1) Milk And Honey: Dot Allison ft. Amy Bowman (2023)

2) Sirens: One Dove (1993)

3) Wistful Summer: Dot Allison ft. Jude Rawlins (2012)

4) I Wanna Feel The Chill: Dot Allison (1999)

5) Sundowning (Richard Norris Ambient Remix): Mark Peters ft. Dot Allison (2022)

6) Fallen (Dawn): One Dove (1991)

7) Cue The Tears (Anton Newcombe Remix): Dot Allison (2022)

8) Lo-Fi Love Song: Dot Allison (2000)

9) You Dropped Your Soul: Dot Allison (2007)

10) I'm In Love... (Album Version) (Cover of 'I'm In Love With A German Film Star' by The Passions): Andy Bell ft. Dot Allison & Michael Rother (2025)

11) We Medicate (Album Version): Slam ft. Dot Allison (2007)

12) The Haunted (Demo): Dot Allison ft. Amy Bowman (2023)

13) When Love Comes Alive: Dot Allison ft. Christian Henson (2012)

1991: Fallen EP: 6

1993: Morning Dove White: 2

1999: Afterglow: 4

2000: Substance EP: 8

2007: Exaltation Of Larks: 9

2007: Human Response: 11

2012: Pioneers 01: 3, 13

2022: The Entangled Remix EP: 7

2022: Sundowning EP: 5

2023: Consciousology: 1

2024: Demo-itis: 12

2025: Pinball Wanderer: 10

Belonging Yet Longing (1:01:21) (GD) (M)

You can find Everywhere Yet Nowhere here

Nothing To Lose

McAlmont & Butler at the Anson Rooms, Bristol University, on Thursday 10th October 2002 remains the greatest gig that Mrs. K and I have experienced together.

Second album Bring It Back was our album, we loved it and we played it to death, so the opportunity to see David and Bernard perform on stage was too good to pass up.

I checked out Setlist to see what they played that evening, only to find that the Bristol date hasn't even been added! So, today's selection is a composite of gigs that McAlmont & Butler played in 2002.

I've taken a couple of liberties: it appears that Bring It Back was played in its entirety, with one exception, Make It Right. Even more bizarrely, there's no record that McAlmont & Butler have ever performed Make It Right live. So, I've included it anyway, in a place in the setlist that I think makes sense.

The hits are all present and correct: Bring It Back, Falling, You Do and, to bring things to a satisfying conclusion, Yes.

There are also a couple of cover versions. The Vegas-era Elvis classic Burning Love was played live, but only exists online as a VHS rip from a TV performance, introduced by Dermot O'Leary. The pair also have a stab at Back For Good by Take That, recorded for a NME/War Child album. Both were transmitted/released the week following the Bristol gig.

I was lucky enough to see David McAlmont and Bernard Butler perform live again last year, albeit in different cities on different nights. David was with HiFi Sean, opening for Erasure's Andy Bell in Bath; Bernard was playing with James Grant and Norman Blake in Bristol, about three quarters of a mile down the road from where Mrs. K and I saw him in 2002. Both were on spectacular form.

Wishful thinking possibly, but I hope Mrs. K and I will have another chance to see McAlmont & Butler in concert. If not, memories of that wonderful Thursday night in 2002 will be more than enough.

1) The Theme From 'McAlmont & Butler' (2002)

2) Can We Make It? (2002)

3) Where R U Now? (2002)

4) Different Strokes (2002)

5) Sunny Boy (2002)

6) Although (1995)

7) What's The Excuse This Time? (Album Version) (1995)

8) Bring It Back (Extended) (2002)

9) Burning Love (Live @ Re:Covered: Elvis Presley Special, BBC Choice TV) (Cover of Elvis Presley) (2002)

10) You Do (Full Length) (1995)

11) Make It Right (2002)

12) Falling (Album Version) (2002)

13) Blue (2002)

14) If You Want (2002)

15) Don't Call It Soul (Single Version) (1995)

16) Beat (2002)

17) Back For Good (Cover of Take That) (2002)

18) Yes (Full Version) (1995)

1995: The Sound Of... McAlmont & Butler: 6, 7, 10, 18

1995: Yes EP: 15

2002: Bring It Back: 1, 2, 3, 4, 5, 11, 12, 13, 16

2002: Bring It Back EP: 8

2002: Falling EP: 14

2002: NME In Association With War Child Presents 1 Love: 17

2002: Re:Covered Series 1 (BBC TV): 9

Nothing To Lose (1:21:24) (GD) (M)

Gentleman Rudeboy

In October 2024, I wrote about Ashley Beedle's incredible challenges: stage 4 prostate cancer, a brain bleed and seizure, followed by a massive stroke, that also robbed him of speech.

The physical and mental toll is in parallel with the financial cost: we are so fortunate to have the NHS, but that's frequently only part of the story, for example full-time, ongoing care, physio treatment, adaptations, the list goes on.

And that's without considering the drop in gig bookings and work - and income - in the last few years, as Ashley met one challenge after another. 

A GoFundMe page was set up, smashed it's initial targets of £50,000 then £160,000 and is currently approaching it's present goal of £175,000. You can donate here.

Last week, the PRS Members' Fund posted a short video featuring Ashley and his wife Jo. It's incredible to see not only how far Ashley has come in his recovery - the voice, the smile, the humour - but Jo as an example of the difference that a loved one - a spouse, a partner, a friend - can make. 

This always comes at great personal cost, and it's what you do when you love someone, but it also gives hope, in the face of the craziness around us, that human beings are capable of immense strength, determination, selflessness and love.

It's also a reminder, at a time that music is increasingly seen as without monetary value, and those that make it should be honoured that people are even listening to/streaming their music, and that this should be given for free.

The PRS Members’ Fund was formed in 1934, to support songwriters and composers during the Great Depression. Nearly 100 years later, as Ashley and Jo's story proves, it's needed as much as ever.

All love and power to you, Ashley and Jo.

Back in 2024, I posted a fantastic 2-hour set that Ashley created for BBC Radio 1's Essential Mix in 1997, which you can find here. 

I signed off with the promise of "a (relatively shorter) Dubhed selection of Ashley Beedle's remixes and collaborations which will hopefully see light before the end of the year..." 

[embarrassed cough] Er, nineteen months later, I've created a 64-minute selection of Beedle bangers, starting with a remix of Manic Street Preachers (sacrilege in 1993) and Lazy, his global smash hit with X-Press 2 and David Byrne. The rest spans Femi Kuti, The Fall, David Holmes/Unloved and D:Ream, so you are in for a real treat.

And. after you've finished dancing, why not donate?

1) Roses In The Hospital (51 Funk Salute Mix By Ashley Beedle): Manic Street Preachers (1993)

2) Lazy (Freeform Reform Vocal) (Remix By Freeform Five): X-Press 2 ft. David Byrne (2002)

3) Jonny Lipshake (The 360° Drunken Master Soundboy Special) (Remix By Ashley Beedle): Baby Fox (1996)

4) Brother Sun ft. Kimbra (Rodi Kirk & Aron Ottignon Version) (Ashley Beedle's North Street Dub): Electric Wire Hustle (2016)

5) Beng Beng Beng (Ashley Beedle's Afrikans On Marz): Femi Kuti (1999)

6) Same (Ashley Beedle's Afroart Vocal Mix): Smith & Mighty ft. Tammy Payne (2000)

7) Touch Sensitive (Ashley Beedle Re-Edit): The Fall (2014)

8) Witchi Tai To (Album Version) (Cover of 'Everything Is Everything' by Jim Pepper): X-Press 2 ft. Tim De Laughter (2006)

9) Number In My Phone (Black Science Orchestra Remix By Ashley Beedle): Unloved (2022)

10) I Used To Believe In Love (Ashley Beedle's NSW Love & Joy Dub Mix): D:Ream (2021)

1993: Roses In The Hospital EP: 1

1996: Jonny Lipshake EP: 3

1999: Shoki Remixed: 5

2000: Same EP: 6

2002: Lazy EP: 2

2006: Makeshift Feelgood: 8

2014: Message In The Music: The Ashley Beedle Re-Edits (2x CD + DVD): 7

2016: Brother Sun EP: 4

2021: I Used To Believe In Love EP: 10

2022: Number In My Phone EP: 9

Gentleman Rudeboy (1:03:48) (GD) (M)

Give 'Em Enough doPE

"You’ve got the beats, I’ve got the rhymes, let’s make doPE." 

A short email from 2014, a long time to come to fruition, but John Densmore (The Doors) and Chuck D (Public Enemy) finally released an album, no country for old men, in time for Record Store Day 2026.

I have little interest in RSD but on the strength of doPE's lead single every tick tick tick, I'm intrigued! 

Unfortunately, with scalpers already flogging copies on eBay between £50 and £100+ quid, you'll have to count me out...

I'm obliged to say that other dope is available.

 

When Hypocrisy Reigns And Nothing Is True

Arab Strap are back! Back!! BACK!!! with You You You.

Aidan Moffat and Malcolm Middleton continue to make genuinely thrilling and engaging music. Aidan's words in particular capture the moment - particularly if you're a man on the other side of 50 whose feelings range from numbness to bewilderment at the state of the world - with the merest glimmer of hope in that "I've got you, you, you."

Whether that's a loved one, friends or the community occupying a little corner of the blogosphere, and I can relate to all three, when the writing is this good, how can anything I write about the song feel anything more than gilding the lily?

At the time of posting, it looks like You You You is available for streaming but not (yet) purchase or download. Rest assured, as soon as it's available to buy, I'm buying it!

I’ve got a hole in my shoe that lets in rain,

and another new lump in another vein;

I’ve got pills for breakfast every day,

to keep my pains and fears at bay.

I’ve got a portly paunch I just can’t shift;

I feel undesired, dismissed, adrift.

My get-up-and-go is long gone,

and the days keep dragging on.

But I’ve got you, you, you, you;

I’ve got you, you, you, you;

I’ve got you, you, you, you;

I’ve got you, you, you.

I’ve got a hole in my head that can’t be filled;

time is never spent, it’s only killed.

I’m always bored, it seems nothing excites me –

my own limbic system fights me!

I’ve got watchlists I’ll never watch,

and pruritus scroti in my crotch;

I’ve got a seething sadness in my soul,

that might just swallow me whole.

But I’ve got you, you, you, you;

I’ve got you, you, you, you;

I’ve got you, you, you, you;

I’ve got you, you, you.

I’ve got tears in my eyes again tonight,

as the tyrannised unite and fight;

there’s a fiery frog in my throat now,

from all that singing: Bella ciao!

I’ve got my day in court that can’t be missed,

‘cause the government claims I’m a terrorist;

I fear for my son, I fear for my daughter,

but in this world of slaughter

I’ve got you, you, you, you;

I’ve got you, you, you, you;

I’ve got you, you, you, you;

I’ve got you, you, you.

(Yes I do)

And if you’re streaming this song on Spotify,

then we both fund weapons-grade AI.

But if it wasn’t here, then how would you hear it?

We’re over a barrel, but we don’t have to cheer it.

I DON’T KNOW WHAT THE FUCK TO DO

when hypocrisy reigns and nothing is true,

and nobody pays for abhorrent behaviour –

FUCK THESE DEMAGOGUES COSPLAYING SAVIOURS

With a rose in my fist,

and a song in my lungs,

I reach for a hand,

and I’ve got you, you, you, you;

I’ve got you, you, you, you;

I’ve got you, you, you, you;

I’ve got you, you, you.

The First And Latest Chapters Of The Book Of Love

I think that I first heard Book Of Love in 2006 when they featured on Future Retro, a remix compilation of 80s artists. After that, they seemed to be ubiquitous on US-only compilations and music blogs with a leaning towards that era.

It's no surprise that that name didn't register to begin with: although Book Of Love's first two singles and debut album were released in the UK in 1985-86, they failed to make any impression on the respective charts. 

What was a surprise was that Book Of Love similarly lacked any mainstream chart success in their home country. In fact, only single #5, Pretty Boys And Pretty Girls, cracked the Top 100 (peaking at #90) in 1988.

The 2006 remix was of Book Of Love's debut single, Boy. Although inferred rather than explicit, writer and co-founder Ted Ottoviano revealed that the song "describes the frustrations of a woman with feelings for a gay man", later adding that Boy was “written about Boy Bar, which was a very exclusive gay club in the East Village.”

Book Of Love's sole US hit, Pretty Boys And Pretty Girls, addresses (again, somewhat obliquely) fears about the AIDS epidemic, 

(When I'm without)

Pretty boys

(I dream about)

Pretty girls

Strangers in the night

Exchanging glances

But sex is dangerous

I don't take my chances

Aside from the 2006 'rockstar' rework by DJ Irene, Boy has been given the remix treatment numeroous times since it's original release in 1985, including Peter Rauhofer in 2000 and, in April 2026, Dave Audé. You can find them here and here.

Boy (Uh-huh), boy (Uh-huh) x6

I want to be where the boys are

But I'm not allowed

I wait outside of the boy's bar

I wait for them to all come out

I'm not a boy

I'm not a boy

It's not my fault that I'm not a boy

It's not my fault I don't have those toys

I'm not a boy

I'm not a boy

Boy (Uh-huh), boy (Uh-huh) x4

But now it's alright (But now it's alright)

Without those boys (Without those boys)

I stay at home at night (I stay at home at night)

And I play with my toys (And I play with my toys)

Boy

I'm not a boy

Boy

I'm not a boy

Boy

I'm not a boy

Boy

I'm not a, not a, not a boy

Boy (Uh-huh), boy (Uh-huh) x4

Still Can't Stop To Mess Around

Following on from Sunday;s post, Side 2 of a punk and post-punk period piece, cramming eleven songs into twenty nine and a half minutes.

Another mix of the obvious and the obscure (at least in the UK), from X-Ray Spex (England) and The Boomtown Rats (Eire) to The Kids (Belgium) and Ebba Grön (Sweden).

I must have heard Sonic Reducer dozens of times before I was aware of or heard the original version by The Dead Boys as it was go-to crowd pleaser for any band with a bit of attitude on the Bristol live circuit in the last 1980s.

999 are the only representatives from Urgh! A Music War, whilst The Adverts have managed to to slip a song in on both sides, Gary Gilmore's Eyes yesterday and One Chord Wonders today. To be honest, it was supposed to be either/or but I couldn't choose and there was room for both.

And the collection closes with a classic that's less punk and more pop, but just had to be included. I can't name another song by Plastic Bertrand, but when the one song is this joyous, who cares?

Next Monday is a bank holiday. Today isn't, so I grit my teeth, gird my loins and prepare to enter the fray. See you on the other side!

1) Sonic Reducer: The Dead Boys (1977)

2) Fascist Cops: The Kids (1978)

3) Oh Bondage Up Yours!: X-Ray Spex (1977)

4) Wild Youth (Single Version): Generation X (1977)

5) Lookin' After No. 1: The Boomtown Rats (1977)

6) Emergency (Album Version): 999 (1978)

7) This Perfect Day (Album Version): The Saints (1977)

8) One Chord Wonders (Album Version): The Adverts (1977)

9) Mona Tumbas Slim Club: Ebba Grön (1979)

10) Lexicon Devil (Single Version): The Germs (1978)

11) Ça Plane Pour Moi: Plastic Bertrand (1977)

1977: An 1: 11

1977: Oh Bondage Up Yours! EP: 3

1977: The Boomtown Rats: 5

1977: Wild Youth EP: 4

1977: Young Loud And Snotty: 1

1978: Crossing The Red Sea With The Adverts: 8

1978: Eternally Yours: 7

1978: Lexicon Devil EP: 10

1978: 999: 6

1978: The Kids: 2

1979: Prorock EP: 9

Side Two (29:24) (GD) (M)