south coast lines by Noteherder & McCloud will be available as a very limited 3″ CD and download. May 5th. Pre-order here.

Patrick Troughton era Tardiscore. Emissions for the codeine addled Time Lord who has had enough of saving the world and has decided to strategically stop off at every single one of the universes most ruffneck taverns, spewed out by the doors of his own semi-conscious policebox on a nightly basis to find his pants and boke his innards out. Traipsing the highway of some godawful sub-Gibson cyberplop industrial conurbation, annoying Big Issue sellers and demanding work from a succession of increasingly burly and unhinged labourers. No, you haven’t seen his face before. Sirens in the distance, like the Nihlist Spasm Band if they’d got sucked into the walls during the filming of The Stone Tape. Pushy palm-readers and redundant snake charmers yacking crumpled up meth teeth. Bug eyed street corner evangelists badgering the meek and the vulnerable for cold hard cash. What a shithole.
Daniel Baker (Ship Canal)

Noteherder is Chris Parfitt who plays Soprano Sax and shouts. He is also part of improvising trio 4thirtythree also playing flute, keyboards and electronics and is a long time back office organiser and performer with Brighton’s Safehouse experimental music collective. Geoff Reader is McCloud. He shouts and plays synthesisers, field recordings and cheap effects units. Before that he used to run Beast Baseball Records, and is now mostly to be found introducing acts at The Spirit of Gravity night in Brighton wearing an ill-fitting Ginger wig. Bartosz Dylewski is a visual artist who sometimes works with Noteherder & McCloud using his custom written _minimalVector software system and his own photographs. His voice can be heard on some of the tapes they use live.

Noteherder & McCloud only play live, so all recordings are edited from live performance with some post production. The field recordings used in South Coast Lines were recorded on Train journeys between gigs in Brighton and London Bridge. The EP was edited and sequenced by jonny mugwump and mastered by Brian Pyle.

The Exotic Pylon live freakshow returns in a new venue (Catch in Shoreditch) and with a new audiovisual ethos based primarily around artists recording for or associated with the kaleidoscopic independent label.

No. 1: Wednesday April 17th 2013. Advance Tickets £4 / Door £5

Frisk Frugt
Buy the album here.
Frisk Frugt – Danish for “fresh fruit” – is the work of Anders Lauge Meldgaard, a native of Aalborg, DK, currently dwelling in Berlin. A multi-instrumentalist who loads up his optimist’s dinghy full of saxophones, self-made mechanical instruments and other inspired sound gadgets, Frisk Frugt sets sail on music’s diverse waves of opportunity. His imagination is boundless and his music follows … live, whether it’s skeletal folk with toy parrots, minimalist church organ recitals, free jazz firestorms or ensemble shows alive with percussive possibilities, he stretches and tweaks his open source music into thrilling new shapes, always with a sense of wonder and spontaneous relish His album Dansktoppen møder Burkina Faso i det himmelblå rum hvor solen bor, suite, released in late 2012 by UK label Exotic Pylon, was heavily informed by a long musical journey of discovery around the great West African countries of Mali and Burkina Faso, armed with a taperecorder and a workbook. African melody, rhythms and ritual dance meld into pop chaos and elegiac homespun folksong and poetry.

“A rare beast … sunkissed tropical jazz pop, the musical equivalent of running along a beach wearing a grin and a garland of big flowers” – The Wire

Noteherder & McCloud
Pre-order the forthcoming Mini CD single here:

Noteherder is Chris Parfitt who plays Soprano Sax and shouts. He is also part of improvising trio 4thirtythree also playing flute, keyboards and electronics and is a long time back office organiser and performer with Brighton’s Safehouse experimental music collective. Geoff Reader is McCloud. He shouts and plays synthesisers, field recordings and cheap effects units. Before that he used to run Beast Baseball Records, and is now mostly to be found introducing acts at The Spirit of Gravity night in Brighton wearing an ill-fitting Ginger wig. Bartosz Dylewski is a visual artist who sometimes works with Noteherder & McCloud using his custom written _minimalVector software system and his own photographs. His voice can be heard on some of the tapes they use live.

Shape Worship (DJ)
Grab the 12″ here.
Ed Gillet takes broken 2-step beats and early 90’s techno (think of those early Black Dog Production 12’s) Shape Worship exists in a richly expansive dreamscape – warmly haunting and strangely benign. This is a gently maximalist universe where machine rhythms mix with organic texture (glazed bells, strange strings, crackling sticks), hall-of-mirrors vocals and wide-eyed synth melodies.

Seriously, this is just an absolutely astonishing review over at our very good friends Penny Black Music.

“‘City of Tales Vol. 1 and 2’ is challenging and confrontational, but, like David Bowie with his equally abstract, demanding ‘1: Outside’ and the work of Pere Ubu, it is never unlistenable and always under-scored with a hard core of melody. Johny Brown’s lyrics are off-kilter and scratchy in the first volume, and enflamed with a Technicolor lushness in the second. His and the Band of the Holy Joy’s vision of London is unorthodox as it is unique, and as a result, while never easy listening, completely enthralling.”

“There’s meaning here, and it’s incredibly rewarding even if you have to listen a few times to properly find it.”

Brilliant review of The Long Rain at Le Son de Grisli.

LUDICROUSLY great and spot-on review of City of Tales at Test Pressing.

“Broken Carnie. Crippled music box ballerinas, Punch & Judy shows, Wicker Men, and Salvation Army recitals. Spy themes and dark cobbled streets slick with rain and piss and blood and fat gobs of spunk. House music as somewhere to hide awhile, and weep. Escape. Half-overheard conversations. East End beatific. Rubber Miro meets The Rachels. Drunken sailors, Lo-Fi electronic sea shanties and confessionals in the cheap and brutal Dickensian shadows of the lonely city. No Quarter. Dirty. Beautiful.

Anybody into the Flaming Tunes LP re-issued last year on Blackest Ever Black, or anticipating the release of Weatherall & Fairplay`s Asphodells project should try to give this a listen.”

WHAT can we say other than we bloody love Norman Records.

Here they have this to say about our Ed and Observances…

“psychotropic blissed out electronica masterfully mixed with a little post-dubstep wub’n’wibble on the sub bass, chopped up vocal samples and some tasteful glitchy stumble to the beats.”

Well said!