Memoirs of Hadrian (Arthur Baker’s Extended Edit)

Featuring : Youndewan

Youandewan’s exceptional There is No Right Time is another of those albums that passed us by when it came out last year.  No matter. You already know that time and space dissolve in 20JFG, removing the noise of the now and clearing our vision, allowing us to see eternal, beautiful patterns that recur over the ages and their artefacts.

In Youndewan’s enlightened, pluralistic house, we detect subtle hints of Gatto Fritto’s exquisite psyche-balearica, blasts of Jan Hammer primary chroma projected over the stark walls of a dead-tech condo, Isolée’s formal perfection doing naughty bumps in the periphery of a Costa del Sol chiringuito.

It induces in us these and many other Clarendon-filtered flashbacks of a hedonistic Med-tour of duty we were  too geeky to join, but with subtle shifts in the emotional gradient. The base animalism at the heart of such capers is replaced with the purity of an epic, philosophical quest for self-knowledge and illumination that can be found in the dance of light, colours, smells and feelings of dawn at a secret hellenic beach, last July or a July two millennia ago.

Some scenes never change and this is one, Youndewan’s classicist bangers live inside it.

Youndewan – Be Good To Me Poly

Get Youndewan’s There Is No Right Time from his bandcamp.

4AM Internal

Featuring : Songs for Gods

Today we bring you excellent dance music from (relatively) new label Potions Music NYC.  They’ve put out a split featuring previous 20JFG postees Chandeliers and the subject of today’s post, Songs for Gods.

Boss has that synth + mournful vocal + techy funk thing that Jessy Lanza absolutely fucking nailed on last year’s Oh No.  Which is, of course, a great thing.  Although here we’re more ghettotech than Shangaan.

This is empty streets in light industrial quarters at 4am dance music (probably our favourite kind).  Super minimal production with occasional stratospheric midnight-synth washes.  Not to mention Emma Yohanan’s lightly reverb’d internal rebuke to an unheard lover.

Songs for Gods – BOSS

You can get a digital copy from Bandcamp right here.  It was also released on 7″ but that’s getting the inflationary Discogs pricing treatment right now.

Dance Before the Fire and Fury

Featuring : Assell

As the world tries to reboot the show Nuclear Armageddon (which we hoped had been put on hiatus in the early 90s) we can’t help but search out some sort of anaesthetising soundtrack. Yet where once we found glorious escape in the brutal — a voyeur to imaginary catastrophe — now it feels like prepping.

The DIY dance music we’ve posted over the years has always had an uncanny quality. As if the hedonism is half remembered. The drums feel generations old and there’s scant attention paid to the more commercial and functional elements that help reinforce the genre’s endless categorisation. This, so often, feels like music from the rubble, music for survivors.

So our approach Assell’s new record on Where To Now? is markedly different to our days of only imagining the end of the world. Which is perhaps unfair and yet, music has a way of picking up on the future. Not with tangible predictions (we’ll leave that to Sci-fi and, ok, Neil Young) but with feeling. Whether it knows it or not Assell’s, brutal, Barbecue Stains is being released into this dark timeline we’re living. I think it knows.

Beginning with a scraped hissing sample and drums like distant flak cannons is a strong start. And that unnerving combo is quickly joined by drums and drums and drums. Drums from Techno, drums from 2-Step, drums crashing into each other. Unstable, like two rooms from two clubs being layered on top of each other. Forced to merge, fused into a new shape. The tortured vocal sample, completely unintelligible, only adds to the feeling that we’ve slipped into a world at a right angle to this one and can’t come back.

Assell – Barbecue Stains

Barbecue Stains is taken from the album This Will Not Stand, which is out today on Where To Now?. You can get it right here.

Face Riders in the Sky

Featuring : 2nd Sun

This week, we infiltrated the cybernetic vault where Blue Tapes hoard their musical secrets. So delighted were we by the richness of wares on display – abstract mementoes from a dislocated tradition, hits from our tribal future fresh off the time travel machine, tender fillets sliced off the cortex of the collective brain – that we were almost caught by the Black ICE guarding the place.

We scurried off through a stochastic network of nodes in TOR’s onion router losing everyone in our tail, we think, to bring you two tunes which, together, fit perfectly with the vibes of our current read, Walter Jon Williams’ 1986 Cyberpunk classic Hardwired.

Hardwired is set in a future where aloof corporations dominate Earth from their orbital dwellings. They monopolise Earth markets with their zero-G fabbed produce, while those stuck down the gravity-well fight for the scraps. Only a handful of hovercraft-riding smugglers keep the spirit of freedom alive, but for how long?

It is trashy but not as much as that summary made it sound. The setpieces are awesome and the imaginery is banging: Streetfighting dirtgirls with cybernetic snakes coiled in their throats, waiting to strike; chrome-eyed panzerboys with a steel guitar vibrating in their spines; the ghost of a stockbroker who went too far with his implants scattered across the ‘net, hacking the multidimensional crystalline architectures of pharma corporations.

Banging, right?

2ndSun’s techno-music things capture the frantic mood as the novel’s protagonists, Cowboy and Sarah, traverse the robotically harvested fields of an imploding America, neon vectors pumped on stimulants and interface addiction, that data high when you jack in and your eyes become infrared sensors, kerosene pumps through your veins, fingers flicking radar-homing missiles like they were pebbles.  

All these things and many more we feel in the melange of electro, techno and juke, Drexciyan paranoia and crackling noises of 2ndSun’s outbursts. There is no monolithic sense of progression here, only the hypnotic convolutions with which the system devours itself, just to keep going.

2ndSun – Totem Spire

If one half of Hardwired is technoid fetishism and rampant gun-porn, the other is folk American individualism, as Cowboy and Sarah chase their freedom from the Orbitals. Logistically this is impossible. The countries of Earth already tried, and were brought to heel by an asteroid bombardment that killed millions. Brave pilots flew into the sky in their deltas to fight a battle they had already lost, only to tumble back down burning like roman candles.

Our protagonists know this fact in their bones but occasionally manage to suppress it, creating spaces of agency free from the imperative to survive if only for a moment, spaces where they can remove their armour and drink, love and sing. We imagine that a simmering, incessantly soaring guitar like Brian John McBrearty’s creates the protective force-field in the perimeter of these brief zones of defiance.

Brian John McBrearty – Let the Wind Guide You

Get Blue twenty-three here.

Kara Lisa Overdrive

Featuring : Kara-lis Coverdale

Kara Lis Coverdale is playing in London this coming Wednesday, at Cafe OTO. Several 20JFG will be there, and so should you. KLC will be celebrating the recent launch of Grafts, a 22 minutes piece which could well be the impossible beautiful McGuffin for a William Gibson noir. She is also responsible for one of our favourite albums in the last couple of years, 2015’s majestic Aftertouches.

We love Aftertouches very much, but then we just told you that. Its full stack of electronica, minimal composition and machine balladry conveys a possible future where humanity adapts to the info-tech-rich environment which is so messing with its collective mind right now.

In this scenario, the ability to parse and appreciate the beauty of complexity currently found in a small number of academic departments and big science projects becomes pervasive, and Aftertuches mops the floors of the pop charts with Bruno Mars and his ilk without feeling the slightly sense of satisfaction about its victory, since it has transcended the primal inclination to compete and defeat an adversary. At the system level, there are no adversaries, only nodes in a network distributing packets of  information and resources that come together in beautiful iridescent patterns, just like this the cybernetic Popol Vuhl chant at the apex of X 4EWI.

Kara Lis Coverdale – X 4EWI

Get tickets here.

Image from O’Reilly.

Guest mixtape: Multiple Man

Featuring : Multiple Man + Podcast

We’re honoured today to host a guest mix from the pummelling, Brisbane-based EBM machine Multiple Man!

Multiple Man is indeed multiple men – though two crafted from the same basic DNA – brothers Sean and Chris Campion.

Their New Metal LP has been a big favourite of ours this year, and this fantastic mix for 20JFG really allows us a peak under the bonnet at their cornerstone influences.

Multiple Man – 20JFG mix

Buy New Metal from DKA Records

Art is from Experiments in Motion Graphics (1968) by John Whitney Snr.

The Island that Doesn’t Exist

Featuring : Mark Barrott

There are few musicians that we cover on this blog more adept at creating a sense of place than Mark Barrott.  Ever since he moved to Ibiza, the records he’s put out feel like portals.  Although most interestingly, not portals to an Ibiza that can be located, prosaically, among the Balearic Isles.  But rather a possible Ibiza, a place perhaps imagined but never really there.

His island is a place where bodies and feelings and sounds and ideas drift in along the wind.  Snatches of other, more distant places, caught whole but caught oh so briefly.


Mark Barrott – Music for Santoor, Bansuri, Tanpura y Sarodto 

Music for Santoor, Nansuri, Tanpura y Sarod is a beautiful piece of Indian music from the Spanish island.  A prolonged drone piece, improvised over two hours and edited down to six minutes, as if in an attempt to dislocate both time and space.  Or perhaps to open up portals within the portal, collapsing segments of the world into each other.

Throughout you can hear, albeit distantly, the sound of the native birds.

This is the B-side to Mark Barrott’s sumptuous new 12″, The Pathways of our Lives.  It’s out on his label, International Feel and you can get it right here (and at other good record shops that didn’t have their pre-order page up yet).