There Are Sensations That Just Aren't True And There's A Feeling That I Get When I'm With You

Twenty six and a half minutes of highlights from Robert Forster's show at the Metro Social in Sydney on Saturday 23rd November 2024.

Robert's second night in Sydney and his sixth and final show of his 40 Songs Over 2 Nights tour, having previously played in Brisbane and Melbourne.

Mostly Robert solo on acoustic guitar, with Adele Pickvance, member of the final iteration of The Go-Betweens, occasionally taking to the stage to provide bass and backing vocals.

I can only imagine how wonderful the full set - and 40 songs over 2 nights - must have been.

00:00  Was There Anything I Could Do? (16 Lovers Lane, 1988)

03:00  Part Company (Spring Hill Fair, 1984)

07:40   I'll Jump (Warm Nights, 1996)

10:39    I’ve Been Looking For Somebody (Danger In The Past, 1990)

15:16     Dive for Your Memory (16 Lovers Lane, 1988)

19:04    One Bird in the Sky (Inferno, 2019)

22:04    Draining the Pool for You (Spring Hill Fair, 1984)

Robert's also been a real creative streak of late, with 9th solo album Strawberries arriving in May, a mere two years after his previous offering. You can find Robert's five most recent albums on Bandcamp.

Strawberries is a joy, a brisk, exuberant album that is unmistakably Robert but also a chance to try on some new clothes and liking how they fit (if that isn't mangling the musical metaphor too much).

I was so inspired by the release of the title track in February that I wrote an entire post about strawberry themed songs.

To coincide with the album launch in May, Robert issued a second single from Strawberries, the driving, full-band explosion that is All Of The Time. Designed for the road, windows wound down, singing along at the top of your voice. 

If you've been startled by such an experience this summer, passing you in somewhere in Gloucestershire, it was probably me.

Today's post is dedicated to Stuart, with heartfelt thanks for a lifetime of friendship.

52 days to go.

Out On The Periphery, Nobody Can Hear You Bleep

Keeping up with Andrew Weatherall's prodigious output in the 1990s was no easy task, given that releases were frequently low-key, one-offs or under a dizzying number of aliases. 

No Discogs, no Flightpath Estate, no widely available internet even, to assist the erstwhile fan in their (largely unsuccessful) attempts to get a handle on it. 

And by the time you might see a mention in Jockey Slut or Mixmag, these frequently small run vinyl releases were already as rare as hen's teeth.

Lords Of Afford existed in 1994, a partnership between Andrew Weatherall and David Hedger, with a handful of releases in that year alone, limited to compilations and remixes for other artists.

Not enough for a Dubhed selection, but I've tracked down most of them on YT to share with you.

The only omission that I'm aware of is the Out There: A Thread Through Time compilation, which featured two tracks, Circular Sore and Circular Soar.

My introduction to Lords Of Afford came via a remix for the Repetitive Beats EP by one-off 'supergroup' Retribution. Contrary to the above, I managed to pick this one up on CD single on release at my local Virgin Megastore, on the shelf with the regular new singles that week.

Next up for me, although chronologically speaking this may have been their final Lords Of Afford outing, was a one-off track, Do Laugh (Whitey Part 4) on the brilliantly titled 1995 compilation, 101 + 303 + 808 = Now Form A Band.

A more recent acquisition, relatively speaking, was the Lords Of Afford remix of Flame In Darkness by Steve Bicknell, thanks to the accessibility of DIY vinyl rips on t'internet. 

A chance secondhand purchase in the late 1990s - and today's final selection - was The Recycled EP by The Moody Boys. And I've arguably saved the best to last, with an epic 10-minute 'Electric Forest Version' of Destination Africa.

I've no idea why the Weatherall/Hedger partnership didn't go beyond these few pieces of music but, sonically speaking, they are Weatherall's natural stepping stone from The Sabres Of Paradise to Two Lone Swordsmen, mining the minimalist seam to great effect.

At The Tiny Desk, Beth Knows Best, Better Than All The Rest

Beth Gibbons and full band performing a Tiny Desk Concert in May. I've been playing this again and again since, and keep finding new things to experience. 

"Beth Gibbons' voice can cleave your heart in half and heal it back together," writes Lars Gotrich in the introduction. "Gibbons' frail, yet resilient timbre acts as reassurance that our aching world is worth loving and fighting for. To experience that voice is humbling; up close, it's breathtaking."

If I were one of the band, I think I would struggle to play because my spine was tingling so much.

Four sublime, superb performances that may bring a tear to your eye.

And stay right to the end, when Beth responds to the outpouring of love from the enraptured audience. 

Magical.

0:12 Tell Me Who You Are Today 4:22 Floating On A Moment 9:57 Lost Changes 15:47 Mysteries

What I Wanted More Than Anything Was A Long Career

Celebrating Terence Stamp, 22nd July 1938 to 17th August 2025.

Today's post title is one of many quotes from the great actor and in this at least, his wish was granted. 

Terence made his debut as the title character in Peter Ustinov's 1962 adaptation of Herman Melville's novel Billy Budd but for my generation, it was his star turn as General Zod in Superman (1978) and, more prominently, Superman II (1980) that had the first and lasting impact.

My appetite for film and cinema became voracious in my teens and twenties, and perhaps inevitably, my interest in Terence's films pre- and post-Superman was strong.

The Collector (1965), Far From The Madding Crowd (1967), The Hit (1984), Wall Street (1987), Young Guns (1988) and an unforgettable appearance in The Adventures Of Priscilla, Queen Of The Desert (1994).

Terence lived with Michael Caine in London in the 1960s, had relationships with Julie Christie and Jean Shrimpton, and was much photographed during this period. With those piercing blue eyes and chiselled features, Terence was a striking presence throughout his life.

Yet, it was very nearly over before it had truly begun. Terenec was later reflected,

"When the 1960s ended, I just ended with it. 

I remember my agent telling me: 'They are all looking for a young Terence Stamp.' 

And I thought: 'I am young.' 

I was 31, 32. I couldn't believe it.

It was tough to wake up in the morning, and the phone not ringing. 

I thought: this can't be happening now, it's only just started. 

The day-to-day thing was awful, and I couldn't live with it. 

So I bought a round-the-world ticket and left."

The role of General Zod in Superman therefore proved to be a comeback, in more ways than one. Never an Oscar winner, perhaps, but a film with Terence Stamp in it was lifted by his presence. 

Steven Soderbergh clearly thought so when he cast Terence in the lead for The Limey. Released in 1999, it was a critical rather than commercial success but, like so many other films, it's hard to imagine another actor inhabiting the role.

I've followed Terence's career less - and I guess seen proportionately fewer films - in the 21st century, but it remained a thrill to see him appear on screen in Miss Peregrine's Home For Peculiar Children (2016) and the lavish TV adaptation of His Dark Materials (2020). 

Unlike Ray Brooks, whose passing I wrote about last Monday, Terence did not feel the urge to write and release an album at any point (at least, as far as I know). However, Terence did record a version of the Donovan song Colours, which was used in the 1967 film Poor Cow (and appeared again thirty-odd years later in The Limey).

 

Apart from a limited foray into singing, the golden thread linking Ray and Terence is director Ken Loach.

Poor Cow was Ken's first full length feature film, and I remember the thrill of finding a cut-price VHS release in WH Smith in the 1990s. The year before, Loach directed the groundbreaking BBC play Cathy Come Home. Both starred Carol White as the lead character, with Ray and Terence playing flawed partners (to put it mildly).

Terence was passionate about his craft, regardless of whether others recognised the nuance in his performances. Terence once reflected that

"A lot of newspapers say, 

Terence Stamp is playing himself 

and we're as bored as he is."

Not me. Never me.

Rest easy, Terence.

I'm Going To Prove The Impossible Really Exists

Today's post title is a line from Björk's 1995 song, Cover Me. 

Björk shared that,

"When me and Nellee decided 

to work together again on Post, I wrote this to him. 

I guess I was trying to make fun of myself, 

how dangerous I manage sometimes to make album making. 

And trying to lure him into it. 

But it is also a admiration thing from me to him. 

I wouldn’t have trusted anyone else."

The song's second verse goes like this

This is really dangerous

Cover me

But worth all the effort

Cover me

Which could be interpreted a caution - and invitation - to the daunting prospect of covering a Björk song. 

Not for the faint hearted, most artists wouldn't even attempt it, and you've got to have some nerve to follow through with it. Many have tried, many have failed. 

And whilst I don't think any version can even hope to better the original, what they all helpfully demonstrate is that, despite a reputation for esoteric music with mind-bogglingly complex vocal and musical arrangements, at the heart of it all, Björk writes deceptively simple, brilliant pop songs.

Hyperballad seems to be the discerning musician's Everest, and I've included four brave ascents here.

Robyn is herself a superlative songwriter and performer, but surely even she must have felt a teensy bit nervous performing the song with the Icelandic Symphony Orchestra to a live audience that included Björk herself a few rows from the front. No wonder Robyn keeps her eyes closed for most of the performance!

The other three versions of Hyperballad are all by artists that are new to me.

Jacob Collier's wardrobe choices may bemuse, but his piano playing doesn't. His version of Hyperballad, just vocal and piano, with even flourishes of the latter to showcase but not show off.

Chris Thile and Aoife O'Donovan are both known for work with Nickel Creek and Crooked Still respectively, bands I've heard of but know next to nothing about. This version of Hyperballad comes from Chris; Live From Here touring show, with strong vocals from Aoife and effecting mandolin playing from Chris. 

Last but not least, a nine-minute live version by Tom Barton, built up entirely from his own vocal loops and beatboxing. It's an engrossing listen.

I had to include the Murmuration Choir version of All Is Full Of Love because it was performed in my birthplace Bristol, though as you will see, the audience were all lying down for this one, as it also doubled as a sound bath experience.

The only version that was familiar to me coming into this post (pun intended) was El Guincho's singular take on Cover Me, which inspired not only the headline/title, but also the main image.

The image by musician and photographer Scott Hansen, adorns the cover of Enjoyed, a remake of Björk's second album Post issued as a free download by Stereogum in 2008. El Guincho aka Pablo Díaz-Reixa is among other hand-picked artists such as Liars, Xiu Xiu and Dirty Projectors, all offering up their own tribute. The latter's contribution even led to a collaborative EP with Björk.

You may like some of these, you may hate them, but any lead you to either more of the artist's own music, or listening to Björk again today, then that's good enough for me.

1) Hyperballad (Live @ Polar Music Prize): Robyn (2010)

2) Venus As A Boy (Like A Version, Triple JJJ, Australia): Kali Uchis (2019)

3) Come To Me (Live @ The Line of Best Fit, End Of The Road Festival): Moses Sumney (2017)

4) Undo: Jaden Raso (2021)

5) Hyperballad (LIve @ Mahogany Session, Heritage & Arts Centre, London): Jacob Collier (2023)

6) All is Full of Love (Live @ Steiner Academy, St. Matthias, Bristol): Murmuration Choir (2019)

7) Cocoon: Heidrik (2013)

8) Jóga: Georgi Kay (2018)

9) Hyperballad (Live @ Live from Here): Chris Thile ft. Aoife O'Donovan (2019)

10) Hunter (Live @ Liepajas Pludmale, Latvia): Sus Dungo (2012)

11) Army Of Me (Lockdown Version): Dead Christine (2020)

12) Cover Me: El Guincho (2008)

13) Hyperballad (Live): Tom Barton (2011)

Bjangin' Bjeats

It's been a long time - too long - since Björk featured here, let alone with a Dubhed selection.

I've stuck with remixes, spanning the first rush of albums from Debut (1993) to Medúlla (2004). Rather than my 'go to' picks by Andrew Weatherall/Sabres Of Paradise, Fluke, Justin Robertson, Howie B. and Underworld/Darren Emerson, I've gone for some deeper cuts, tucked oway on 12" B-sides, CD singles, promos and a stray bootleg.

Whether uptempo or esoteric, what they all have in common is Björk's incredible voice and infectious drive to push the boundaries of what popular music should sound like.

If my ICT wasn't so laggy today, I'd probably have a lot more to say on the subject, but instead I'll let the next three quarters of an hour's music tell you the story.

1) All Is Full Of Love (Plaid Mix By Andy Turner & Ed Handley) (1999)

2) Big Time Sensualty (Big Time Club Mix By Dom T. & Marius De Vries) (1993)

3) Human Behaviour (Deep Behaviour) (Remix By Dimitri From Paris) (1994)

4) All Neon Like (MaDSoul Remix) (2007)

5) Hunter (Skothùs Mix By Alfred More & Biggi Veira) (1998)

6) Who Is It (Vitalic Mix By Pascal Arbez-Nicolas) (2005)

7) Isobel (Siggtriplet Blunt Mix By Siggi Baldursson & Die Warzau) (1995)

8) Mouth's Cradle (Cortejo Affro Ilé Aiyé Mix) (2004)

Bjangin' Bjeats (45:27) (GD) (M)

Critical Maas

An hour of Timo Maas' turn of the century remixes to get your pulse racing.

When I think of dance music in the early 2000s, Timo Maas was everywhere, but seemed to be particularly appealing to guitar noiseniks looking to get a piece of club action. Case in point: Muse, Placebo and Garbage. 

Timo also gave the magic touch to electronic music stalwarts Depeche Mode, Moby, and Rick Simmons and Steve Jones, recording here as Lustral but also known for their releases as The Space Brothers and Chakra.

Topping and tailing the selection from the poppier end of the spectrum, Jamiroquai and Kelis, both songs that were okay(ish) in their original form, but really come alive when put through the Maas mixer.

And I couldn't resist including this photo, taken in Gloucester covered market last month and possibly the saddest looking use of a vacant stall that I've seen. A critical mess, if you will.

1) Feels Just Like It Should (Timo Maas Mix): Jamiroquai (2005)

2) Enjoy The Silence (Timo Maas Extended Remix): Depeche Mode (2004)

3) Sunburn (Timo Maas' Sunstroke Remix): Muse (2000)

4) Special K (Timo Maas Remix): Placebo (2001)

5) We Are All Made Of Stars (Timo Maas Dub Mix): Moby (2002)

6) Everytime (Timo Maas Vocal Mix): Lustral ft. Tracy Ackerman (1999)

7) Breaking Up The Girl (Timo Maas Remix): Garbage (2002)

8) Young, Fresh & New (Timo Maas Remix) (Full Vocal): Kelis (2001)

Critical Maas (1:03:28) (GD) (M)

Before You Abuse, Criticise And Accuse

Walk A Mile In My Shoes by Coldcut featuring Robert Owens popped up on my music shuffle and it was a blast to hear it again.

Back in my former blogging life, I wrote about the single on it's release in 2006.

Single number four from Coldcut’s Sound Mirrors albums sees the duo team up with Robert Owens to rework a classic 1970s number by Joe South. The album version and radio edit included here call to mind the string laden sounds of Massive Attack, the Now Voyager remix of You Got The Love by The Source featuring Candi Staton and, closer to home, their early 1990s cover of Yves Montand’s / Nat King Cole’s Autumn Leaves. 

Typically, there’s a diverse selection of mixes available on the CD. Tiga’s mix recalls his darker dancehall moments, with an urgent yet simultaneously unsettling beat. Tom Belton tries for a more uptempo, hands in the air feel (or, more specifically, Tom Middleton’s Cosmos sound), but doesn’t quite pull it off. Timo Garcia + the Cheshire Catz keep up the bpms, though retain the melancholy of Robert Owen’s outstanding vocals. 

However, only Henrik Schwarz really manages to enhance the Coldcut original, creating a sweeping epic that just builds and builds. The edit featured here serves as a teaser for the majesty of the full, nine minute version included on the 12” single, so maybe you need to buy or download that too. 

Four singles in, and there’s no sign that Coldcut are milking it.

I guess Ninja Tune agreed with my thoughts on the standout remixes, as both Tiga's and Henrik Schwarz's versions were included on the Sound Mirrors Remixes compilation, issued later that year. 

Both the remix companion and the original version of Sound Mirrors are available digitally via Bandcamp for less than a fiver, and highly recommended.

 

 

Working Men's Holiday

Summer Song by Sydney Minsky Sargeant was released on Monday and feels even more apt, given that the UK soared into the 30s on Tuesday. 

It was a few degrees higher than that the external high in the small bos room office with poor ventilation that I spent several hours in, going from one Teams meeting to another. 

Most of us switched cameras off halfway through, partly due to crappy audio and lag, though I was somewhat relieved not to be distracted by the sight of my own physical deterioration as the intense heat increased.

Thankfully, Sydney has chosen not to write a song extolling the virtues of good hydration and keeping cool, and instead delivers an effortlessly cool, trippy pop song with spiralling acoustics and a vocal delivery so relaxed that it could almost be horizontal.

Nagging familiar, yet absolutely in the now, this one's a keeper. 

Summer Song is the only preview that I've heard so far from Sydney's upcoming solo album Lunga (available on double vinyl, CD and digital, kids), but I'm a fan of Working Men's Club and a fan of Summer Song, so I will be checking it out.

More Busman's Holiday than Working Men's Holiday? Perhaps, but I'm not complaining!

Ron Number

A very happy birthday to Ron Mael, born 12th August 1945 and 80 today.

Ron's generally the words and music guy, Sparks sibling Russell Mael predominantly handling lead vocal duties.

However, occasionally Ron will step up to the mike and it's always a treat.

 

 

It's something of an understatement to say that Ron's also co-written some mind-bogglingly brilliant pop songs for more than half a century and shows no sign of slowing down.

As a birthday bonus, a couple of Dubhed selections from the archives featuring the Mael brothers, dusted off for your listening pleasure.

A Shower Of Sparks (12th September 2021)

Can't You See The Existential Threat Is On It's Way? (15th November 2022)

Hope you've at least taken the day off today, Ron, have fun!

It's A Shame About Ray

Celebrating Ray Brooks, 20th April 1939 to 9th August 2025.

I was sad to read at the weekend of Ray's passing.

For my generation, Ray is embedded in the best of my childhood memories as the narrator of Mr. Benn. However, this was one credit (albeit in retrospect a huge one) in a long and illustrious career as an actor. 

The other iconic role for me, and again one that has been cemented by countless repeats on TV, is that of David in 1966's second big screen outing for Doctor Who, Daleks' Invasion Earth 2150 A.D. 

We've another quarter of a century to find out if that particular prophecy is coming true, but Ray's star turn as the super cool resistance leader gave me greater than Bernard Cribbins' bumbling bobby Tom.

But hang on a mo, isn't this supposed to be a music blog? Yes, well... what seems to have been left out of the obituaries that I've read so far is that Ray also wrote, recorded and released a 12-track album in 1971 called Lend Me Some Of Your Time.

The title song was released as a single.

Both album and single seem to have made no impression on the UK charts, as did 1972's follow-up standalone single, Pictures.

I hadn't heard either of them before writing this post, but I enjoyed both songs. 

There are couple of lovely blog posts dating from 2013 and 2014, although sadly Ray's official website is long gone, as therefore are copies of the album on CD for sale at a bargain £3.75.

Bite It Deep: Forgotten Pop Gems From The 60s & 70s

The Downstairs Lounge: Chewy Vinyl Nuggets Of The Very Choicest British Comedy Records

Sadly, my quest to find the album's closing song, Guttersnipe, was unsuccessful...

Farewell, Ray, and thanks for bringing such joy to so many.

And, as you've waited so patiently, as if by magic...

25 For 25, Part Two

Following up from last week's first half, today's 13-song selection rounds out the 25 For 25 highlights of the year so far. 

 

I've been fortunate enough to see two of these artists live on stage in the last couple of months, and with any luck by the time year end comes around, I'll have seen another two, also for the very first time.

 

I had an opportunity to see another this summer, with tickets for a "secret", "intimate" 5k capacity gig in Bristol, which I thought Lady K might be interested in going to. When I broached the subject, she gave me a withering look and said that they were "stuck in the 2010s".

 

I don't know what made me feel older: Lady K's reference to the 2010s - which I consider to be yesterday - as ancient history, or Mrs. K suggestion that a middle-aged man going on his own to a show with potentially a predominantly teen audience might draw attention for all the wrong reasons. I didn't go.

 

I leave you to hazard a guess at the opportunity that I passed up. 

 

Speaking of older, I've previously seen three other of today's featured artists, all who crashed into the public consciousness in the 1980s and/or 1990s. and have released great new music in the past 12 months.

 

Things change over time and my enthusiasm for certain things in my youth may have waned somewhat in passing decades, but my passion for music remains undimmed. 

1) Waiting: Yvonne Lyon & Boo Hewerdine (Things Found In Books)

2) Slow Emotion Replayed: The The (Slow Emotion Replayed EP)

3) Monday Murder: YUNGBLUD (Idols)

4) Rubber Inner Tube: Mark Rae ft. Heidi Haswell (New Town Ghosts)

5) Space Station Mantra: Andy Bell (Pinball Wanderer)

6) Metrosexual Man: Davey Woodward (Mumbo In The Jumbo)

7) Kicking Up Dust: F.O. Machete (Mother Of A Thousand)

8) On The Missing: Later Youth ft. Lissie (Living History)

9) Being Baptised (Piano Version): Manic Street Preachers (Critical Thinking (Deluxe Edition))

10) Portland Town: Heavenly (Portland Town EP)

11) pond song: Wet Leg (moisturizer)

12) Fuckboy: Billy Nomates (Mary And The Hyenas OST)

13) Moonlight Hotel: Charlie Noordewier (Moonlight Hotel EP)

Side Two (45:21) (GD) (M)

Is It Obvious? Or Is It Delirium?

Last Sunday's post summed up some of the great music in 2025 so far and tomorrow will complete the 25 For 25 set.

That selection has focused on what I would loosely describe as 'alternative' music, whereas I have featured several selections this year that are more electronic / beats based.

And there's so much of it, I can't keep up, to be honest. Exhibit A: another 90-minute, 15 song pick that refuses to be pigeonholed.

There is something of a nostalgic feel to this one. The All Seeing I have released an expanded version on their 1999 album Pickled Eggs And Sherbert, including 4 reworkings by founder member Richard Barratt aka Crooked Man, which you can also buy as a standalone EP. Of course I had to pick 1st Man In Space featuring living legend Phil Oakey.

Phil's in good company. The following song La Musica was originally released in 2014 by Munk and re-released this year as a collaboration with Kapote...although they are one and the same person, Mathias Modica. The version here features George Kranz, heavily incorporating his 1983 song Din Daa Daa.

Oh, and Yoko Ono pops up in the next song by the brilliant Jezebell,  Dub Narcotic Sound System's 1994 single Fuck Shit Up gets a makeover by hi-falutin' Hifi Sean and you'll hear a familiar snippet of Peter Fonda amongst the guess-the-sample offering by Follytechnic Music Library aka Paul Southgate. Paul's seemingly unstoppable output of edits and mash-ups deserves a post of its own. I must get to it.

It's not all reflective, though. If you've been following this blog all year, you will have twigged that I like Airsine's Like Fire EP. I mean, a lot. Three of the four versions have now appeared on 2025 round-up selections, so I guess I'd better save the remaining one for the 'best of the year' round up.

senses appear for the second time in a week with the same song. The original 'indie' version has a charm all of its own, but there was no way I was leaving out Andy Bell's GLOK remix. 

Likewise, Let Yourself Go by Una Camille & Dr. No (well, Richard Norris in disguise actually) popped up previously with one of his own remixes, but I had to make room here for the super Acid Mix by Leo Zero. 

Leo's been pretty busy himself this year, as I found to my (literal) cost last Bandcamp Friday, so there will be more from him here soon. 

Other gifts that keep giving since their release are albums by Hifi Sean and David McAlmont and 100 Poems aka Mike Wilson. Hugo Nicholson is in a real purple patch at the moment, Pete Bones too, here with a remix of Nick Hook for a charity fundraiser EP.

Relatively recent discoveries are Greendoxyn (here with Lyubava), via the ever reliable NEIN Records label,  and London duo Mermaid Chunky, who I found via their collaboration with Orbury Common in 2022.

Rounding things out is sLEdger, who got my attention with an excellent remix of Fluke in 2024, and have kept it with some top notch and brilliantly titled releases. Trippy Ass God Funk indeed.

Please come back on Sunday for more 2025 highlights.

1) 1st Crooked Man In Space (Remix By Richard Barratt): The All Seeing I ft. Phil Oakey (Return Of The Crooked Cat EP)

2) La Musica (Din Daa Daa Version): Munk & Kapote ft. George Kranz (La Musica EP)

3) Turn It Yes: Jezebell (Jezebellearic Beats Volume 2)

4) Like Fire (Single Version): Airsine (Like Fire EP)

5) Spanner: Hugo Nicolson (Black Stick EP)

6) have you ever had a broken heart? (Andy Bell/GLOK Remix): senses (have you ever had a broken heart? EP)

7) Sleeping Pill (Album Version): Hifi Sean & David McAlmont (Twilight)

8) Waiting For An Angel: Greendoxyn & Lyubava (Waiting For An Angel EP)

9) Viva Palestina (Pete Bones Remix): Nick Hook (Viva Palestina (Dance For Peace Remixes) EP)

10) chaperone (Peach's 2Good 2Be Remix): Mermaid Chunky (chaperone EP)

11) Fuck Shit Up (Hifi Sean Mix): Dub Narcotic Sound System (Fuck Shit Up EP)

12) Let The Horse Run Free: 100 Poems (Let The Horse Run Free)

13) Surfer Man Got Loaded: Follytechnic Music Library (FML25 Baggy Ravers 3)

14) Let Yourself Go (Leo Zero Acid Mix): Una Camille & Dr No (Let Yourself Go EP)

15) Trippy Ass God Funk: sLEdger (Funk From The Portal EP)

Is It Obvious? Or Is It Delirium? (1:30:45) (GD) (M)

And if you missed the previous 2025 So Far selections...

28th March: It's A Glamorous World 

11th May: Doused In Dopamine

4th July: Staring Into Air

How Can You Hate The 808?!

'Cause I certainly don't.

Happy #808 Day!

1) Spastik (12" Version By Richie Hawtin): Plastikman (1993)

2) Xtal (Album Version): Aphex Twin (1992)

3) Voodoo Ray (Original Mix): A Guy Called Gerald ft. Nicola Collier (1988)

4) (You Are My) All And All (Take Twelve) (Remix By Kurtis Mantronik): Joyce Sims (1986)

5) The Way You Move (Club Mix By Carlton Mahone, Jr.): Outkast ft. Sleepy Brown (2003)

6) It's Tricky (Album Version By Rick Rubin & Russell Simmons): Run-D.M.C. (1986)

7) Musique Non Stop (Album Version): Kraftwerk (1986)

8) French Kiss (The Songbird Sings Long Vocal Mix): Lil' Louis ft. Karlana Johnson & Shawn Christopher (1989)

1986: All And All EP: 4

1986: Electric Cafe: 7

1986: Raising Hell: 6

1988: Voodoo Ray EP: 3

1989: French Kiss EP: 8

1992: Selected Ambient Works 85-92: 2

1993: Spastik EP: 1

2003: Speakerboxxx / The Love Below: 5

How Can You Hate The 808?! (47:02) (GD) (M)

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Or, AFX with a video for Korg Funk5, directed by Nadia Lee Cohen.

As you might expect from Aphex Twin aka Richard D. James, aurally it's a bonkers track, coming in under four minutes and delivering the title's promise of Korg and funk.

Nadia creates an equally bonkers visual narrative involving a dancer (Nadia herself) repeatedly dying and replicating, travelling from a dance studio into the streets and navigating an array of colourful characters along the way.

Korg Funk5 is an old track, first emerging on the 14-track digital-only release Korg Trax+Tunings For Falling Asleep in 2017.

Korg Funk5 more recently popped up in December last year, simultaneously on the 5-track 12" & digital EP London 19.08.2023, and Music From The Merch Desk (2016 - 2023), a whopping 38-track collection for a mere 20 notes. 

Another Reason Why Now

The reality that Saint Etienne's upcoming 13th studio album, International, will also be their last is starting to sink in. 

I love the music that Sarah, Bob and Pete have created over the past three decades and it's sad that we are mere weeks away from a point when they deliver their last collection of new material.

At the same time, how often do we get to see beloved artists bring things to a close in a manner of their own choosing? No acrimonious split, bitter recriminations or artists flogging a dead horse and regurgitating and recycling ideas that seemed tired and worn out the second or third last time they did it.

If the second single, Take Me To The Pilot, and preceding lead single Glad are any indication, then International is Saint Etienne at their best, instantly recognisable as them, but pushing the concept of the band and their sound into new shapes.

A co-write with Paul Hartnoll of Orbital (why hasn't that happened before?), Take Me To The Pilot is it's own field, but feels complementary to a couple of previous singles: Heart Failed (In The Back Of A Taxi) (and especially the Two Lone Swordsmen remix by Andrew Weatherall and Keith Tenniswood) from 2000, and Who Do You Think You Are, specifically the 'Quex-rd' remix by Aphex Twin aka Richard D. James from 1993.

 

Glad is very much in the template of Saint Etienne's pop hits, though also very much in the 'now' of 2025. As ever, the videos for both are mesmerising, enhancing not distracting from the listening experience.

International is available for pre-order now, with a full release on 5th September and I may just have something in my eye on that day...