Sapir Whorf

I have just been reading the excellent Idwal Fisher blog and his review / comment on the latest release from Hyster Tapes, the Uton / Grey Park split, I've had the cassette for a while and have been meaning to spill a few words on the tape, but time and tide etc. It is one of the finest releases this year. In the review / comment Idwal goes to mention the concept of "genre" called the "No Audience Underground", a group of folk who release tapes and CDr's in ultra limited format to a core audience of around a couple of dozen and that is the end of it .. the artists don't care that the work is only being heard by a minuscule audience and the minuscule audience consider themselves privileged to be hearing the sounds ... or something like that. The term "No Audience Underground" was coined by Rob Hayler of Fencing Flat Worm / Midwich fame. There's a video clip of Simon Reynolds (an author whose "Rip It Up" book was considered toilet paper here at Hartop Towers) on vimeo discussing the concept at a symposium in Tilburg. (The link can be found on the Idwal Fisher blog site).

So, these couple of releases came through from Striate Cortex the other day. Striate Cortex are a label based in Lincolnshire so when any of their releases make there way to me they go straight to the top of the pile! Biased? ... Oh yes. Striate Cortex packaging stands out - time and care coupled with ingenuity and craftsmanship. Two fingers up the anus for those folk who only download stuff onto their computers or iPods. Fuck them.! Striate Cortex releases are a pleasure and a treasure to own - we are not talking disposable pop here ...
Sapir Whorf is the solo project of James Moore from Black Mountain Transmitter. It is a beautiful name. "Phase 1 : Preliminary Investigations" is a twenty minute sketch book of selected speculative electronic elements originating from archival oxide media. Eight small vignettes of electronic sound. Old sequencers and synthesizers making the twenty minutes sound like an early Throbbing Gristle studio tape, or an early Broken Flag tape or something that came out on Deleted Records or Integrated Circuit thirty odd years ago. It's a fresh sound, but then the comparisons I have used are timeless. The sounds are on a 3"CDr and packaged with an eight page booklet and enveloped in thick black card. Sapir Whorf "Phase 1" is a classic piece of audio art - limited to 70 copies and available to the no audience underground through Striate Cortex at www.striatecortex.wordpress.com

I await Phase 2 ...

Pictures.
1: Sapir Whorf booklet cover.
2: Pages from the booklet.
3: Interior of envelope.
4: Disc and insert.

Astral Social Club #10

Just spent a pleasant while listening to the latest release from Astral Social Club, a split cassette with My Carapace Is Leaking....in the land of shit-names I am afraid that one is up there.
The cassette is project titled and released by Tor Press. The same label that released the rather excellent Plurals CD "Debasement" earlier in the year. It's twenty minutes a side and packaged in a cardboard box with a lino print by Tor Press manager and artist Jake Blanchard. It's a rather neat little package.
My Carapace Is Leaking own side A with the track "For My Poor, Sweet Poubelle (My Engine Is Doolally), a rough and ready twenty minute live recording featuring the sounds and textures of a five string bass guitar. It's a high-speed ride with a harsh drone thrown through various delay and echo boxes. A total wall of noise. My Carapace Is Leaking is the solo project of former A Band member and Neil Campbell collaborationist Joincey.
Side B is one long piece by Astral Social Club called "The Sun Is God". I have a feeling that this is a live track too, but Neil provides no information. The same speed is taken (up) here. Kaos pad madness, sample and glitch where sounds and tweebles weave in and out of sanity ~ this is no "Stig 'Fuckin Anderson" here but still well worth a play or two. I do whole-heartedly recommend experiencing  Astral Social Club live. This cassette is available direct from Tor Press and limited to only 100 copies...so hurry! Go to www.torpress.co.uk or try Astral Social Club for a copy at www.astralsocialclub.wordpress.com

Pictures.
1: My Carapace Is Leaking/Astral Social Club cassette.
2: Neil Campbell in action earlier this month at Cafe OTO, London.

Wilfred

As if we couldn't have guessed, eh?

MuhMur (SoundArt Broadcast 18/10/2012)

Last night saw the second "MuhMur" broadcast on SoundArt Radio. It was streamed live on the SoundArt website - www.soundartradio.org/uk and thanks to all who listened. Last night show was the first in a series of "Harbinger Sound Specials". Two hours of sound and music from UK's finest label, not too certain when the next special will be ... but it was fun! Next programme will be on November 1 at 21:00.

1: Family Battle Snake : "Utopian Mirror" (from the LP "Glass Face Island") 2010.
2: Contagious Orgasm : "Under The Wire Head" (from the LP "Impregnate Mannequin") 1997.
3: Ideas Beyond Filth : "Ka" (from the 12"EP "I.B.F.") 2008.
4: Raionbashi + Kutzkelina : "Aktion 091216" (from the LP of the same name) 2011.
5: Incapacitants : "Go!" (from the CD "Lon Guy") 2009.
6: Mo*Te : "Wet Room" (from the lathe cut 12" "Chlorodyne").
7: Storm Bugs : "Mesh Of Wire.
8: Storm Bugs : "Objective"
9: Storm Bugs : "Car Situations"
(All Storm Bugs tracks from the LP "A Safe Substitute") 2011.
10: Dieter Muh : "Bethlehem" (from the 4xC40 cassette compilation "Eight") 2007.
11: Ramleh : "Anything Is Mine" (from the 8xCD box set "Awake!") 2012.
12: Carlos Giffoni : "Resignation Letter" (from the 7" of the same name) 2008.
13: Pseudo Existors : "Pseudo Existence" (from the LP "Stamp Out Normality!") 2006.
14: The Ceramic Hobs : "Blackpool Transport"
15: The Ceramic Hobs : "Raven"
(All Ceramic Hobs tracks from the 7"EP "Shaolin Master") 2002.
16: Smell & Quim : "A Soldering Iron Down The Urethra" (from the 4xLP compilation "...And The Vultures Miss Nothing) 2005.
17: Cheapmachines : "Safeword" (from the split 7" with Family Battle Snake) 2008.   

Big thanks again to Dave Mutch the engineer who sailed the ship through the stormy parts by regaling me with stories of Alien Brains and old Throbbing Gristle gigs ... I have the radio programme on a memory stick and will endeavour to upload it on to Mixcloud very soon. (I shall leave a note under this paragraph when I have) ...

***** www.mixcloud.com/muhsteve/muhmur-18102012/ *****
For some reason, mixcloud will not let me upload as MuhMur so I have had to put this weeks show under my own name, for all the followers of MuhMur profile - please change to this new profile - ta! 

Pictures.
1: The New Studio.
2: Dave The Engineer.
3: I am (still) a DJ!

BBBlood #6

This is a strange collaboration. It reminds me of one of those old "pay to play" type of releases that were quite prominent in the mid 1990's. Deluxe packaging, good presentation but two artists that shouldn't really be sharing the same release. Full marks to the label So I Buried Records for putting out quality BBBlood material, but I do think they should have waited for The Baron to provide enough material for a full CD album instead of splitting his work with Umez. Just a thought ...
It has been interesting, exciting (even) listening to the developing sound of BBBlood over the past three years, from bedroom blitz noise to intelligently structured aural sculpture.
Back in 2010 I saw BBBlood live performance in London where Paul Watson (aka The Baron) manipulated the sound of bubble wrap with a host of contact microphones and a plethora of effect boxes - that construction is featured on the opening track "Breath In The Fumes" .. along with hailstones on glass, and tape manipulation, and all recorded whilst his partner shuffles around the kitchen making breakfast! Well, that is hat it sounds like to these ears. "Mouse Trap" is musique-concret. AMM, Mark Durgan, The New Blockaders, Anima .. if you like the noises those artists produce then you should be listening to BBBlood.

Umez bring us three differing numbers. Songs. "Z-Fighters" isn't too bad. Listenable with a kind of The Residents vibe. The next two tracks are instrumentals. "Airship" is a badly recorded piece with multi-layered guitars, it sounds like Umez are desperately trying to find a "hit", a tune for a car advert or something. About ten years ago Dieter Muh played Bardens Boudoir in Stoke Newington, we were sharing the bill with Hair Police - also on the bill were a London based band called Cutting With Pink Knives. They moaned and groaned that they were "bottom of the bill"...they roamed the venue telling each other and their girlfriends that they were bigger and better than Dieter Muh and they should be "on" after us and not before. Dave and I agreed and went on first. Needless to say Cutting With Pink Knives were fucking awful, all guitar postures and nodding the head to wave the foppish hairstyles. Whatever happened to Cutting With Pink Knives? Ex members could be in Umez ...
After about fifteen minutes of silence after the last Umez track has mercilessly finished a "bonus" track appears. It has BBBlood in the left channel and Umez in the right and is quite simply maddening.

The release has to be listened to for the BBBlood tracks alone (mastered by the master masterer Phil Julian by the way), as I mentioned the label should be putting out full length albums by each artist, not this little samplerette - two projects searching for completely different goals. Perhaps BBBlood will put the tracks on a forthcoming "greatest hits" CD ...

Stitt & The Panacea Society

Matters have gone all Stitt since meeting the great man a couple of weeks ago at Spacex in Exeter (See the John Court entry). Andre gave me a copy of his book "Substance", then after a chat with Steve Underwood (Harbinger Sound specialist and big Stitt nut) I discovered the book "Small Time Life", then his book documenting his 2006 tour of the United States of America with fellow artist Matt Cook as The Panacea Society and the CD album "We Don't Dig Doom". "Small Time Life", "Tour Blog" and the CD are all available at a very reasonable price through Amazon and the Andre Stitt website. www.andrestitt.com/  .

The book "Tour Blog" and CD are essential companions, both act as aids to each other as the recording of the album takes place during the 2006 tour. Rather like the Haters book "Drilling A Hole Through The Sky" (next book on my pile of reading matter - sorry Mark but Julian Cope's "Head On" is slowly slipping down the pile) I think the "Tour Blog" book and CD should be sold together, as a package ~ listen whilst you read .. or at least use as reference.
Anyway.
"No Sex, No Drugs, No Rock 'n' Roll. Just freak beat, psyche-garage, prog-techno and artiness ... Who do they think they are these performance artists who want to be the new Golden Gods of Art Rock? Find out as you join The Panacea Society on their 2006 North American tour".
That's the premise of the book.
"How many performance artists does it take to change a lightbulb"?
"I don't know, I left before the end".
"Tour Blog" begins in Cardiff on April 4th 2006 and ends in Cardiff on May 1st 2006 and in between is a rollercoaster ride through American Cities and towns, meetings with remarkable men, anecdotes and flashbacks from Andre Stitt's previous performances in America and a rolling commentary of what Andre eats. Some of his descriptions of his meals are mouth-watering ~ OK, sometimes Andre eats seafood, but his veggie diet is to be commended! And now I know where all the best vegetarian restaurants are in New York City ... if I ever get there....
I was completely unaware of Stitt's musical performances and history. I knew of the CD he released with Daniel Biry on ND Records (I've never heard it) and the track "Dogz In Heat" (Hey soldier - who's fuckin' your wife tonight?) he provided for the audio edition of ND Magazine "ND #7", but The Panacea Society and Stitt's 1970's punk band Ask Mother are new on me.
Throughout the 2006 tour Andre is meeting up with and staying with old friends, friends from the early 1980's when Andre was a performance artist and mail artist. He repeatedly apologises for his time back then when he was drinking and drugging and wearing the "asshole mask". It's written with feeling, honesty and warmth. That his friends have stuck by him, stuck with him, seen him through to the other side. Fersure. That is one thing with "Tour Blog"...it has to be read in a Belfast accent.
Andre and I share a mutual friend, that of Dan Plunkett, now owner of the record store "End Of An Ear" in Austin, Texas. It was Dan that turned me on to the work of Andre back in 1983/84. (With the help of Tim Bayes), so reading about Dan (the big old gay Texan) and the Panacea Society gig at his shop brought a smile to my face. 
During the tour Andre and Matt record the album "We Don't Dig Doom" at studios in San Antonio with Bob Catlin...the old Psychic TV bass player, and in Seattle. The book tells the story of the tracks, that's why I think the two make a great companion. The album is very much guitar lead psychedelic rock, there's a lot of "Nuggets" and/or "Pebbles" influence in there. Both Matt and Andre's musical taste are eclectic so the songs are not bound to a genre. Naturally (well, naturally for me) I am reminded of the Virgin Prunes .. it's the strong Oirish accent fersure .. even The Prunes after Gavin and Guggi left. There are hard electronic rhythms a la Portion Control on "Pimps & Holes" and the electronic sound of the reformed Throbbing Gristle floating all over the album. The Panacea Society do a version of "Discipline" in their live set. "International Teeth" has a motorik krautrock beat and vocals. "We Don't Dig Doom" is a great listen, a dance and sing-a-long driving in my car type of album. It is on Dog Fingers Records.

Browsing the Internet I looked up the origins of The Panacea Society and spent time reading a fascinating story of a cult / charity set up in Bedford (UK) in the last century....excellent stuff, I recommend a read. Also, The Panacea Society released a clear vinyl 10"EP for a performance in Bedford....if anyone has a spare, please get in touch.


Pictures.
1: "Tour Blog" book.
2: "We Don't Dig Doom" CD cover.
3: "We Don't Dig Doom" CD art.
4: Meeting of the Andre Stitt Appreciation Soc. Nottingham 1994.
    (L-R . Me, Tim Bayes, Dan Plunkett).
5: Andre in Nottingham 1998. 

Iron Fist Of The Sun

I have just struck a deal with Bristol based distribution outfit and label Peripheral Records to carry copies of the latest Dieter Muh LP - if you want a copy, please go to www.peripheralrecords.co.uk (Unless you are in mainland Europe or USA) - anyway, in return I find myself with a handful of releases by Peripheral Records.

For a while I have been reading about (and seeing the name) Iron Fist Of The Sun on various Forum Boards and in various "noise" based magazines. The name has put me off for a start, also some of the words that have been said in interviews and reviews suggest that Lee Howard (he who is Iron Fist Of The Sun) might shop at Trago Mills (as we say down here in the South West ... when I say "we" I mean "I"). But, all that on board I was keen to hear the sound of the Iron Fist Of The Sun.
I don't really understand the fixation with Princess Diana - again, brought up in interviews and such, but I don't really "get it". OK, in my day all Industrial/Power Electronic bands were obsessed with serial killers, sexual sociopaths, Nazi SS officers and Charles Manson, and that is now deemed passe - but Princess Di?
The cover of the "Embers" 7" is of Princess Diana. "Embers" has a keyboard that is reminisce of the opening to "Something Better Change" by The Stranglers, but slowed down. The rest is like a poor man's Con-Dom (as a lot of power electronics with shouty shouty lyrics is nowadays). The lyrics are indecipherable but I do like the Keyboard...eight notes...simple. The B-Side is called "Bedroom Is Human", an instrumental of bubbling synth and reverse pulse. I have an idea that a sinister aura or evil edge is being attempted but not quite achieved. There is not much new on this 7".

Digging further into the Peripheral Records release catalogue I have enjoyed my time with A Challenge Of Honour (kind of Swans type vocal with kettle drums and guitar) and Fear Konstruktor...and I have CD's by Staalkracht and the appallingly named Tenhornedbeast to pleasure me this evening. Soon to be released by Peripheral Records are albums by Altar Of Flies and Anemone Tube, so they are well worth getting in touch with / keeping an eye on.

Pictures.
1: "Embers" Cover.
2: Lee Howard. (Iron Fist Of The Sun). 

Unknown Pleasures : Inside Joy Division

After the films, the documentaries, the endless re-releases, the Internet forum boards and books, is there anything the world does not know about Joy Division? After reading Peter Hook's autobiographical tale of his time in Joy Division I would say ... probably not.
That is not to say it is a bad book, au contraire, it is a page turner and a fascinating story, and we now know that Peter likes a bit of a moan now and then. Joy Division (and before that Stiff Kittens & Warsaw) wanted to be part of the growing Manchester "punk" scene, spurred on by the Sex Pistols appearance at Manchester Lesser Free Trade Hall in 1976 and encouraged by Richard Boon and the Buzzcocks, both Bernard Sumner ("Barney") and Peter got hold of some guitars and formed a band. And like I said .. the rest is (well documented) history.
What we have written here is Peter's dissatisfaction with other members of the group...especially Barney..and his dislike of being treated as a second-class member because he was the one who drove the van (the shandyman) and had to pay for its' upkeep. I also learnt that Peter liked a "jape" or two - I hate that word "jape", it crops up a lot in this book. Pissing japes mainly, on other bands equipment, in glasses and on venue floors. Japery kings! They also liked "shagging". Joy Division were not high art intellectuals as perceived by others, they were lads in a rock band out to do drugs, drink booze and shag women. fair do's.

The book did make me wonder why Peter carried on being in Joy Division when he wasn't enjoying it, or speaking to the other members, and feeling like he was being used by management and other members and Factory Records. Why didn't he just leave and form another band. I know from when I've been in bands that when it stops being fun I leave or the one(s) that are being a pain are asked to politely "fuck off". But, for any lover of Joy Division, of punk, of post-punk or of rock autobiographies in general this book is essential.

I remember Joy Division well. I was not a "big fan" of their stuff but I had it all because I collected Factory Records. I also collected Fast Product too so had their tracks on "Earcom 2". Some of their songs were OK, but I preferred A Certain Ratio, Section 25 and The Durutti Column. I never went to see them live either. Passed on the chance of seeing them with Buzzcocks in Sheffield. My friend Mark Collins organised a mini bus but I couldn't be bothered. Didn't like Buzzcocks either, and perhaps Cyanide or Chelsea were on at Lincoln AJ's the same night ... who knows? I did venture to see New Order a few times between 1981-1984 - they always had superior supports; Section 25, Minny Pops, Crispy Ambulance etc.

Anyway. "Unknown Pleasures:Inside Joy Division" is a good book, a quick read that made me smile. There's a track by track synopsis for both their LP's and a timeline feature (important to all facebook users) so the reader knows what is happening all around whilst the story of Joy Division grows ...
The book cost me a tenner from Amazon. Recommended. 
      

Rumination

I have been listening to / playing a lot of  "noise" releases over the past seven days (great band). Some interesting stuff coming through the door at Hartop Towers. A package from the Lithuanian Terror label held an interesting Body Cargo / Pogrom CD and an interestingly sounding if not a tad formulaic tape by HNW master Knurl, but the couple of releases I managed to get hold of from Italian label Second Sleep are masterpieces. The Lettera 22 7"/Tape was mentioned earlier, now I am playing the release "Weight" by American based project Rumination. I like Rumination. I have the split cassette with Bestializer and like both sides of that release a lot.
"Weight" is a 7"/ C30 Tape packaged in a box with an insert. Four tracks - all titled "Weight". I played the 7" at 33rpm ... there's no-one telling me to do otherwise. Side A has a slowed heartbeat pounding through a mound of gristle and grind, side B has a more confusing sound with warm waves of distorted oscillation, a broken radio and scratched iron  / scraping metal.  
Side A of the cassette is presented in three sections. An interesting slice of experimental music - again, like the vinyl it is slow paced (which makes me think that 33rpm is the correct speed). At the start a heavy 2 note synth pattern is constant, then there's this sound - what is this sound? Could be broken de-tuned shortwave radio or contact mic's dropped in a jar of trapped bees - what is this sound? Whatever, it's a great sound. Second section is a loop of a revving motorcycle and treated voice. Very S.P.K. circa "Information Overload Unit", third part is chaos and sounding like a rework or remix of Side A of the vinyl with a pounding heartbeat and grinding metal / growling gristle. Fifteen minutes is just the correct length.
Now for the second side of the cassette I was expecting a noise attack. I put the tape in the machine and at this point my six year old son (Oscar) came into the room. He described the first ten minutes of this piece as "Star wars light sabres being tested by a babbling brook", and I couldn't disagree.The piece ends by morphing into the sound of wood straining and stretching. Taut sounds, pressure sounds, sounds of weight.
This idea of presenting / releasing an albums length of material in 7" vinyl and C30 cassette in a box with insert is excellent. Style and content - I am mightily impressed with Second Sleep Records. This release is limited to 100 copies and worth hunting down. I want to hear more Rumination, perhaps a split 12" with Knurl?

Pictures.
1: "Weight" Box Cover.
2: "Weight" Tape.
3: "Weight" Insert Art.
4: "Weight" Vinyl.

Extreme Rituals : A Schimpfluch Carnival

Sound and Music in partnership with Arnolfini, Tusk Music, Harbinger Sound and Second Layer Records presents...

EXTREME RITUALS: A SCHIMPFLUCH CARNIVAL




30 November - 2 December 2012
Arnolfini, Bristol

With the foundation of Schimpfluch in Zürich in 1987, Rudolf Eb.er created a platform for extreme and outsider artists and the generation of highly disturbing and irritating audio/visual works. Gradually expanding to the Schimpfluch-Gruppe art-collective, Eb.er and Joke Lanz have channelled grotesque humour into an ongoing series of confrontational radio broadcasts, physically demanding performances, ‘abreaction plays’ and ‘psycho-physical tests and trainings’.

Rejecting any given norm and genre, tearing down mental barriers, unlocking all gates to the nether regions of the human psyche, their celebrated work aims to unlock an awareness of existence and encourages the audience to get off the plane of miseducated adulthood.

This weekend festival acts as a long-overdue retrospective and a celebration of the now. Through an extensive programme that highlights the influence Schimpfluch has had since the late 80s, the audience will be treated to a selection of performances, sound-installations, films and photographs. Alongside core Schimpfluch acts such as Runzelstirn & Gurgelstøck, Sudden Infant, G*Park and Dave Phillips this carnival weekender features rare UK appearances by international guest artists such as GX Jupitter-Larsen, Phurpa and Vagina Dentata Organ.



Weekend Programme



Friday 30 November

11:30am - 5pm - panel discussions and talks, full programme to be announced in due time

7.30pm onwards, performances from:

Phurpa
Daniel Löwenbrück & Leif Elggren
The New Blockaders & GX Jupitter-Larsen
Dave Phillips
Bryan Lewis Saunders
Rudolf Eb.er & Junko Hiroshige (Hijokaidan)



Saturday 1 December

7.30pm onwards, performances by:

Trevor Wishart
Vicky Langan (Wölflinge)
Joachim Montessuis
Vagina Dentata Organ
Sudden Infant
Runzelstirn & Gurgelstøck



Sunday 2 December

2pm - 5pm, performances from:

GX Jupitter-Larsen, Rudolf Eb.er, Mike Dando, Joke Lanz
Micha Barthel
G*Park
Joke Lanz & Ute Waldhausen
Christian Weber
Dave Phillips (field recording set)
Alice Kemp
Rashad Becker



Throughout the weekend:

- Off stage performances by Alice Kemp & M. Vänçi Stirnemann

- vocal workshop led by Doreen Kutzke

- Rarely seen Schimpfluch films

- Schimpfluch photographic exhibition including work from Rudolf Eb.er and Joke Lanz

- Schimpfluch 'Psychic Rally' radiophonic sound installation

- Fully stocked Second Layer Records merch stall with many hard to find Schimpfluch and related releases

Tickets:
Festival Pass: £40
Day Tickets: £15

Tickets are available though the Arnolfini website here:-

http://www.arnolfini.org.uk/whatson/music/details/1425

Currently only Festival Passes are on sale, individual day tickets will be available very soon.

_________________

Excellent event, hope to see you there!

A Message From Dave Phillips

this writing is to inform you of bad experiences me and others had with samuel lequette/nuun records.


samuel released an album of mine ('suara alam indonesia') in february this year.

he talked about a release on CD. when i got the release it was on CDR.

he had promised me "50 to 100" artist copies. by august i had only received 15.


when i asked about this, he mostly didn't reply.

before the release, in the process of talking album details and putting together artwork, samuel would usually reply within a day or two.

since the release of the album, he hardly replied anymore and if he did it would be excuses, like "i will write properly soon" and "i will send you copies next week".
he more or less repeated saying that, from march until august.

i got upset. and fed up.

when i sent him an ultimatum, he chose not to respond to it.
i also sent him a note forbidding him any further sale/trade/distribution of this album and asked him to tell all his distributors to return their copies. furthermore i asked him to destroy all copies of this album.

he responded, after another couple of emails of mine later, with the usual: "i will write properly next week".

in august i wrote to some people i knew who also had to do with nuun records.

as it turned out, both aspec(t) and francisco lopez had similar experiences and were also waiting for promised copies of their respective albums.

jerome noetinger, of metamkine (main distributor of nuun records), responded and offered to take care of the whole mess.

he gave samuel an ultimatum until the end of august to send him album copies of the albums that samuel promised but never sent.

sometimes during september jerome was able to tell me that he got 23 copies of my album for me, but was still waiting for the rest, that were "waiting for sleeves".

plus, i heard that apparently a few customers who bought directly from samuel/nuun never received their CDs!

....

in the course of this, jerome concluded that he would cease work with samuel and nuun records.

so here's my warning and request to you: do not to deal with samuel lequette and nuun records in any way.

please pass help spread the word. to anyone who might be concerned or interested, distributors, record shops, mailorders or artists alike.

please help make sure that no one ever deals with this guy again, that no artist ever releases anything on his label/s again.


thanks & all the best
dp

--

Muhmur On The Airwaves #3

Due the Soundart Radio studios being relocated within the grounds of Dartington Hall there will be no Muhmur Radio Programme this coming Thursday - it was hoped that the new studio would be up and running by the 4th of October, but circumstances beyond anyones control have occurred. I shall keep all updated as to the date of the next broadcast, which will still be "The Harbinger Sound 2 Hour Special". Thanks to all who have tuned in in the past - the last show is still available to listen to at : www.mixcloud.com/Murmur/muhmur-20092012/