Nancy Elizabeth

The wonderful Nancy Elizabeth played in London yesterday at The Borderline. It was the third time I've seen her perform live this year, and each occasion has been brilliant.

The previous two performances had focused on her newer material, released at the end of September on the album "Wrought Iron". On this latest occasion she played a mixed set of songs from both this and her first album "Battle And Victory". Happily she also had her harp with her. At previous gigs she'd used just acoustic guitar and piano, mentioning having fallen out of love with the harp which featured heavily on her first album, so it was good to see she's got the bug back. I welled right up when she first used it last night to play "I'm Like The Paper".

I can't recall ever hearing a singer whose live performances are so perfect. Her voice never wavers. She's also without doubt the most endearing performer I've ever witnessed. She always talks to the audience between each song and is delightfully funny and charming. Odd then that on this occasion quite a few people who had presumably paid to get in thought it somehow appropriate to talk through the performance.

The final song of the main section of her set was "The Remote Past", and she invited the audience to participate by humming a part along with her. It took a few attempts for people to get properly into it, but in the end it worked very well, pulling the audience right in and creating a very sweet atmosphere that definitely increased everyone's pleasure levels. That's the first time I've seen her getting the audience properly involved in the music itself, rather than through the spoken interaction she encourages between songs.

Here's a video made for one of the tracks on her new album. I recommend watching it full screen:

Johnny Mad Dog

Last night I went to a local cinema to watch a film called Johnny Mad Dog. It's an extremely harrowing depiction of civil war in an unspecified African country (although I believe it was filmed in Liberia where such horrors have taken place, and which still happen every day in the Democratic Republic of the Congo) and focuses on the role of child soldiers used by both government and rebel forces.

The film is in a local dialect of the official Liberian language of English but which few in the UK could ever understand without subtitles.

The opening scene portrays the horrific abduction ritual which is often described in the media, whereby a village is raided, and children are forced to kill their own parents before being dragged away to be drugged and brainwashed into taking up arms in a war they can't hope to understand and will probably not survive.

Johnny Mad Dog is the name of one of the characters who appears throughout the film, a late teen who has been fighting for as long as he can remember. Although I would hesitate to call him the protagonist, he does appear to be the individual whose thoughts we get closest to. But he is just one of many boys forced into a situation where they know nothing but war, they kill and rape without hesitation, and they no longer remember their own names or where they came from.

From beginning to end, this film is nothing but brutal. There are no tender moments, and as far as I could detect, no moral messages. Just "this is it. death, craziness and mayhem without respite". Aside from a young girl's attempts to save her father, the closest we get to seeing a display of affection would be more accurately described as rape, albeit that the young victim is already so traumatised as to be unable to fully understand what's happening to her. No resistance is offered, and in fact it seems almost to be welcome, but I wondered if the fact that this scene took place on a beach with both parties covered in sand was suggesting a painful undertone for all involved.

It ends ambiguously, with the war supposedly over but little having changed except the uniforms of those doing the brutalising. Perhaps that's the message.

Letters of note

The Letters Of Note blog is well worth subscribing to. It's still a young project, and I can't remember how I first came across it. The variety of correspondence in terms of content, the backgrounds of the authors and the dates of the letters makes it a constantly interesting and often inspiring read.

Favourites so far include Richard Adams declaring that he hates "Bright Eyes" by Art Garfunkel and Ludwig Van Beethoven's emotional letter to his brothers.

Chris Watson & Simon Fisher Turner at The National Gallery

There was lots of great music to be heard last weekend. Thankfully, although the three very different shows I attended were announced between ten months and three weeks ahead of time, there were no clashes or overlaps and there was time to rest and digest between each.

The first event of the weekend took place in the unlikely location of the National Gallery in central London. This had popped up in the recommendations makes based on my music listening history. In this case it was due to the fact that I’ve been listening to Simon Fisher Turner’s excellent soundtrack to the Derek Jarman film “The Last Of England” (I haven’t yet seen the film) which also contains music by the wonderful and rather frightening Diamanda Galás, and also to Chris Watson’s amazing and evocative field recordings on “Outside The Circle Of Fire”. This free event comprised of two separate performances in different parts of the gallery, offering each artist the opportunity to showcase a commissioned composition inspired by a specific painting of their choice.

Simon Fisher Turner was up first, and I arrived just in time to catch the start, in a room which was already fairly busy. As a result, I was unable to get a good view of the artwork which is the source of inspiration for the music, two 15th century panels from a triptych by Hans Memling…specifically the reverse panel showing nine cranes, not visible in that link. James Heard of the National Gallery’s Education team spoke at length about the painting, offering some excellent historical context regarding the spheres of influence in Italian (or what would later become Italian) society at the time the painting was made, the way in which it was commissioned and executed, and the significance it had for its owner as well as the art world at the time. Some time into the talk the first distant tones of SFT’s music could be heard. The talk continued with the music in the background, James Heard dramatically pausing for a minute every so often to allow the atmospherics to fill the room, and eventually ending the talk and leaving SFT to take over for a few minutes.

I can’t say I was overwhelmed by the music. It was a very airy ambient type piece, which was entirely fitting for the occasion. Nothing ornate or in-your-face, just a light synth pad changing tone now and then. I think that having been standing up in that busy room for 40+ minutes I was becoming a bit uncomfortable, which may have affected how receptive I was. The music played would certainly be an appreciated accompaniment to a wander around the gallery.

Next up was Chris Watson in a much larger hall elsewhere in the gallery. Watson’s choice of inspiration was John Constable’s “The Cornfield”, a painting I had been looking at in the same building a few months ago, which led me to notice that it had been moved to a different position in the meantime.

Watson was briefly introduced by a lady whose name I’ve forgotten but who I believe held overall responsibility for the project we were now witnessing the results of. He then took over and introduced himself and his work as one of the world’s foremost field/sound recordists (that description is mine, not his! I suspect he’s far too modest to describe himself as such).

What followed was an enthralling and fascinating breakdown of how Watson sees and hears the world and attempts to condense it into his recordings for others to hear. Referring to the Constable painting, he described how visual perspective has an audio equivalent, and played us different recordings of sounds spread across varying distances, including insects across a wide space in the Mojave desert, and a huge thunderclap that had many of the audience, me included, jumping in fright.

Perspective in space was then followed by “perspective” in time. Watson explained the challenges of, for example, producing a soundtrack for a 90 second segment of film which focuses on a dawn chorus, the sounds of which change drastically over a 2-3 hour period, while still providing a realistic representation of the whole. He does this by segueing small sections of a long recording together. After the dawn chorus example he played us one of the strangest sounds I’ve ever heard, as he demonstrated the same technique with recordings made over 4 months (!!!!) of the sea ice slowly forming in an Icelandic bay. Incredibly creepy and magical, and not at all like one’s normal idea of sounds of the sea. I wonder if that recording is available on any of his releases, I’d love to hear it again.

After explaining these concepts to us and playing examples to illustrate them, Watson proceeded to give a scientific breakdown of the composition he had made for “The Cornfield”. He made numerous observations, of the colour of the leaves of a particular tree and the human activity in the field which appears in the middle distance, and from this he determined the time of year. Using knowledge of wildlife in the area the painting depicted, he determined which birds might be in the scene at that moment, and used appropriate recordings of those birds. Flowing water accompanied the stream, and Watson even interpreted the distracted look of the sheepdog to suggest an unseen woodpecker. The wind in the trees and the corn, and the pealing bells of the distant church were all added, and we heard each individual element in isolation along with the explanation for its presence. Finally, once every aspect had been detailed, we heard the completed composition.

It was good, I really enjoyed it, but I have to say that the highlight of the experience was hearing Chris Watson describe with such enthusiasm and knowledge the process by which the final result was achieved. It provided an amazing understanding of how much research, study and work goes into what he does. It’s a lot more than just standing somewhere with a microphone. A wonderful experience, I’m very glad I attended this event. Well done to all concerned.

blog stuff

The two or three people who subscribe to this blog may have noticed that very little ever happens here. I'm going to try to change that. New posts will still appear randomly, and may be unrelated to either photography or music, the two main themes to date. The purpose is simply to collect bits of stuff that I write in various discussions, and that others have encouraged me to keep a record of.

These might be about anything from food to politics as well as covering the same subjects that have previously appeared intermittently. They may or may not be of interest to those who've read the blog so far.

Godflesh Peel session

I found this on YouTube yesterday and thought I'd post it here. It's the Peel session recording of the track "Pulp" by Godflesh. I quite vividly remember switching on the John Peel show one evening in 1989 or so and hearing him introduce this track. It was the first time I'd heard them, and I still listen to them regularly now, as well as many other projects related to Justin Broadrick (e.g. Techno Animal, Jesu, Greymachine, Final, Head Of David - he's been a busy guy). This version also apparently includes Kevin Martin on saxophone. Martin at the time was in a band called God, who were also brilliant. He may be better known these days as The Bug, under which name he's produced some amazing aggressive dancehall material in the past years.

This particular recording of this particular track is in my opinion the best thing they ever did, and possibly the best track anyone has ever done. Brutal:

my Plex set

I've uploaded what I think is a fairly accurate representation of my set at Plex on Friday. It's missing all the skips and jumps that happened every time someone put their feet on the steps by the side of the booth, and is probably mixed better. Not sure if it's 100% accurate in terms of sequencing but I think it has all the same tracks and is definitely pretty close. It was a great night and I really enjoyed playing despite the minor technical difficulties.

Here's the tracklist:

Techno Animal - 'Bio-Morphium' (Force Inc. Music Works)
The Omni Incentive - 'The Omni Incentive - B3' (Crème Organization)
Mantra - 'The Second Age - A2' (Bunker)
The Sun God - 'Above The Clouds' (Klang Elektronik)
The Chicago Shags - 'Poke Inferno' (Bunker)
The Sun God - 'Return 2 Saturn' (Klang Elektronik)
Lloyd Owes Me A Packet - 'Keep It Up' (Jelly Jam)
Newworldaquarium - 'The Games That We Play' (New Religion)
Pamétex - 'Bunker 3024 - A' (Bunker)
DJ ESP - 'Acid Juice' (Generator)
S-Max - 'Mental Purity Equals Love' (Telegraph)
The Chicago Shags - 'Streetgang' (Bunker)
Mantra - 'The Second Age - B1' (Bunker)
Frequency - 'We're Rolling This Way' (Lower East Side)
ESP - 'Idiom' (Synewave)
Jack Master - 'Bang The Box' (Jack)
Fym - 'Grace (Full Parrot Stylee)' (Boogizm)
Tobias Schmidt - 'Drugly Drunk' (Uglyfunk)
DJ Power Out - 'Hangover' (Geometric)
Schizophrenia - 'My Splendid Idea (With Rude Yoghurt Flange)' (Mighty Force)
Like A Tim - 'Troost - A2' (Like)
Lloyd Owes Me A Packet - 'The Pounder' (Jelly Jam)
Mark Broom - 'Pyrion' (Pure Plastic)
Legowelt - 'Slowjam Deeptechno' (Crème Organization)
Gizz T.V. - 'Shakar - A1' (Temple Records N.Y.C.)
Like A Tim - 'O.K' (Djax-Up-Beats)
Fumiya Tanaka - 'Drive # 6 (Edit 2)' (Tresor)
Black Widow - 'The Stalk' (Death)
Cosmic Journey Project - 'OK' (no label)
Kre - 'Friends - B1' (Numb)
Nukubus - 'Who Made You' (Bunker)
Nimoy - 'Smoking' (Bunker)
Naughty & Tolis - 'Lost Point' (Ferox)
RAC - 'Hub' (Warp)
Alden Tyrell - 'Obsession (More Obsession remix)' (Clone)

Grab the set via the downloads page on the ARCart site.

Plex line up and schedule

Here is the full line up for Friday's Plex party with set times:


10:00 - 11:00 Strepsil
11:00 - 01:00 Max Duley
01:00 - 02:00 Matt Chester (Live)
02:00 - 04:00 DJ Rephlex Records
04:00 - 06:00 Rob Hall


10:00 - 11:00 James Tec

11:00 - 00:00 Unity Gain Temple
00:00 - 01:00 Datashat
01:00 - 02:00 Luke Handsfree
02:00 - 03:00 Posthuman (Live)
03:00 - 04:00 C. Mantle
04:00 - 06:00 Dexorcist

See you there.

Reaction sheets

A recent conversation prompted me to put some old ARCart reaction sheets online.

These were included with records I gifted to DJs and the like, prior to the records being released.

As is hopefully obvious, they were meant to be taken as a joke. It was standard procedure for labels and agencies to include reaction sheets with vinyl promos, with mundane market research type questions on them. Maybe it still is, I have no idea how these things work any more...and maybe there was a good reason for asking the exact same questions about every record they sent out, as if it might somehow have improved the quality of the music the artist or label put out next time (haha!).

Personally I've always hated the language of promotion, advertising etc. and hated it even more when used to sell the sort of music I was into, which I perhaps mistakenly believed ought to be transmitted with humility and without hyperbole. I always preferred not to see the info sheets that Prime Distribution put out with the pre-sale copies of ARCart releases they'd send out to shops and international distributors. The records I sent out myself included nothing more than these reaction sheets and another sheet with the tracklist and some artwork.

Believe it or not, although I never expected it, I did actually get a few faxed back...mostly completed in the spirit in which they were intended, although in one particular case the threat in the opening paragraph seemed to have been taken seriously, and the sender requested that they continue to receive future releases!

Unfortunately I don't have copies of all of them. I can't even remember what some of the others are like. If anyone out there reads this and happens to have a copy of any of the missing examples, please scan them and send them to me!

Plex, 4th September 2009

I'm taking the unusual step of remembering to post about a gig before it happens.

On Friday 4th September I'll be guesting at Plex at their usual location, Corsica Studios in Elephant & Castle, south London. I'm looking forward to it, not least because it's a rare chance to hear Grant Wilson Claridge aka DJ Rephlex Records play a set....he's brilliant.

Here are the published details:

DJ Rephlex Records [Rephlex]
Rob Hall [Skam]
Dexorcist [Control Tower]
Max Duley [ARCart]
Matt Chester [11th Hour] - FULL HARDWARE LIVE SET!

Handsette Recordings showcase featuring:

Posthuman LIVE
Datashat LIVE
C. Mantle
Unity Gain Temple LIVE
Luke Handsfree [Plex, Handsette, Brackout]
James Tec [Plex, BLOC, Brackout]
Strepsil [Plex]

10pm - 6am Corsica Studios
Units 4/5 Elephant Road SE17 1LB

£8 advance tickets available from
£10 on the door

Bleep43, June 2009 - photos

Last Friday Bleep43 hosted their latest party at Corsica Studios in Elephant & Castle, London. As happened at the past couple of their parties, which I always attend anyway, I was there taking photographs.

Alongside the excellent Bleep43 artists, headlining guests were Donato Dozzy, an Italian techno producer and DJ who has worked with Mike Parker, and the legendary Detroit house/techno producer and DJ Omar-S of FXHE Records. The main room at Corsica was given over to them completely, with Donato performing a superb 4 hour set that built up from ambient drones and washes to a hypnotic minimal techno selection that had the crowd totally locked in. Omar-S then took over and played for the latter 4 hours of the party, playing several of his rough and ready FXHE releases as well as a varied selection of crazy house and techno of all breeds and ages.

On this occasion, Bleep made the venue very dark with plenty of smoke machine action. This wasn't so great for photography, although it's my preferred atmosphere for the techno clubbing experience. Nevertheless, aside from the DJ shots - which are kind of similar to all the others I've taken there because they are always restricted to the same point of view and not very photographer-friendly lighting - I'm really pleased with the results. Many of the final images are extremely abstract, with indistinct glimpses of human features, confusing trailing images etc. These (in my opinion) give a fairly representative view of the deep and dark end of the techno clubbing experience:

This shot is my favourite of the bunch. I really don't know what is going on here, but it reminds me of some kind of David Lynch inspired nightmare:

the ARCart logo

A comment was posted on the ARCart label art gallery which I posted about a few days ago:
I've wondered where the label logo comes from and what it actually depicts.
It's over ten years since I created the logo, so I hope that any explanations I give are historically accurate and are not obscured by a somewhat foggy memory.

The logo is a silhouette of a man in a stretching position, which I crudely produced from a source image using a photocopier and possibly some software manipulation:

I wanted to use an image that conveyed something about humanity and its endeavours in a simple way. By that I mean that I didn't want any sort of clichéd techno related symbology; no robots, no computers, no future XY-408 bla bla bla. While I have nothing against all that stuff, and although the music necessarily involved the use of machines, to me what we were doing was inherently human and I wanted to reflect that somehow.

It's not massively different to the original logo of Oliver Ho's Meta label:

...which had been running for a couple of years prior to ARC's launch, and on which my first record was released. While this wasn't entirely deliberate it was not inappropriate that some kind of association was suggested. Both labels were being run out of the same flat, and of course the musical paths of the artists involved were very much intertwined.


Incidentally in my previous post I forgot to mention another gallery I set up. I've had a bunch of magazines hanging around for years now. In an attempt to clear out some clutter I scanned all of the reviews and other articles that I had copies of and put them online. In each case I also scanned the front cover of the publication in which the appearance featured....many of them are really quite depressing reminders of how cynically commercial much of the dance music scene was (and still is? It's been so long since I paid attention to "the scene" that I couldn't comment on whether it's still the same. Do any of those magazines still exist?).

Anyway, if for some reason anybody wants to read them, they are all accessible here.

a couple of Nadler photos published

Two of the photos I took at the Marissa Nadler gig have been published as part of a review on an Italian website.

The Ver Sacrum site is the online incarnation of a fanzine which has been in existence since the early 1990s. One of its authors contacted me after I blogged about the photos on

label art

I've just made a small but very rare update to the ARCart site, adding links to commentaries on the centre label art used on ARCart releases and other releases I did on various labels.

You can reach the commentaries from the
releases section of the site.

Marissa Nadler gig

A few days ago Marissa Nadler performed at The Luminaire in London. She's an American singer/songwriter of ethereal folk-ish sounding music, mostly acoustic but using occasional electronics in the form of the reverb ever present on her dreamy voice. I saw her at the same venue last year so it was interesting to compare the shows, which were quite different.

For a start, this year she was performing with other musicians. Her new album contains drumming, which has been almost entirely absent from previous material, and a lot more electric guitar than has appeared previously in her work. Last year she performed solo, with three microphone stands, each mic providing different levels of reverb, and she would sidestep between them. Personally I think the earlier material is stronger in its simplicity, and that the additional instruments have not brought anything extra to the music.

That said, she sang as enchantingly as ever this week....definitely a singer who can carry off a live performance without worrying that there's no studio trickery to help hide or re-take the bad bits. The competent backing musicians didn't play on every track, so we got to hear a few favourites from earlier years in their pure form (and also managed to pick up a copy of the recent vinyl reissue of the excellent "Ballads Of Living And Dying" too - bonus!).

Her appearance and demeanour were different this time too. She seemed a bit out of it at times, but if she was it certainly didn't effect her performance, and she interacted well with the audience in this intimate venue (incidentally - The Luminaire operates a laudable policy of audience silence during performances).

a couple of photos I took on the night:

see the rest here

update: 24/05/2009: as posted here two of the photos from this set have been republished by the Italian website Ver Sacrum.

some hawks, a swan, and other friends

I recently accompanied a friend to a bird of prey centre where he spent an afternoon hawking:


In the Norfolk Broads during a recent stag weekend, a swan swam close by. It was late into the evening and almost dark. Managed to capture a few shots that have a strange vibe to them:


Some portraits of friends at a house party. There was only one part of the room with an unintrusive background, so these were taken throughout the day as people randomly moved into that area. It was a light coloured wall which produces an almost "studio" effect:

new photos

It has been a while since I posted on here. I keep forgetting to post updates. There are a lot of new photos that I've put up in the meantime:

Bleep43 party, February 2009

An excellent party, with DJ Stingray and Intergalactic Gary as guest DJs, amongst others.


New Lomo fisheye shots:


Taz, my mum's dog:


Some images taken at the G20 protests in London on 1st April. I will follow up on this in more detail, as the experiences of the day and the consequences that have been reported in the media warrant a detailed account.


Images of the grim town of Slough, Berkshire, and the nearby Burnham Beeches:

London Calling Photographers

Last night I attended a meeting of a recently formed group called "London Calling Photographers". Two days ago I’d never heard of them, but the meeting was announced on Spyblog and the subject matter, “Know your rights: Facing the police crackdown on public photography”, immediately sparked my interest.

By some coup, they had managed to arrange for three professionals in photojournalism and law enforcement to attend and speak on new laws due to come into effect later this month: Olivier Laurent, News Editor of the British Journal of Photography; Superintendent David Hartshorn of the Metropolitan Police Public Order Branch; and Jeff Moore, Chairman of the British Press Photographers' Association.

Throughout the evening, chaired by Moore, the three speakers gave an insight into how relationships between the media and police had developed over the past few years, as the government and associated authorities, in particular the Home Office and Police, have sought to restrict or remove civil liberties and privacy, and increase state sponsored snooping and repression – all in the name of our safety. Of particular interest to this group is the fact that photographers have seen daily harassment at the hands of the police, often in utterly ludicrous circumstances where the only illegal or dangerous behaviour is that of the police themselves, plus the fact that new laws are due to come into effect in a couple of weeks which specifically target photographers. For more on this, check here and check some of the links here for a plethora of horror stories.

Fortunately, the copper in attendance seemed to be very experienced, down to earth and pragmatic. He quite openly admitted that there have been some awful abuses by police officers, largely down to the deliberately vague wording of anti-terror legislation which allows rogue, bent, stupid, or simply badly informed/trained coppers to do what the hell they like and pretend it’s for the protection of the public. He also admitted that one of the ways this is manifested – in the targeting of individuals in public spaces with SLR cameras, large lenses etc, shows a distinct lack of intelligence on the part of those in uniform, wasting people’s time and subjecting them to humiliating public searches and potentially devastating reputational damage. Any idiot can work out that someone seriously wanting to conduct hostile reconnaissance for illegal activities would not be walking around with a camera bag and a great big piece of kit hanging around their neck. In the unlikely event that anyone would even need to leave their home to get pictures of specific locations, a mobile phone or compact point-&-shoot would be much more discreet.

Jeff Moore was keen to state that he was most impressed with the officer’s input to the evening, and that he had attended many similar sessions at which the police had either not attended, or simply spouted the party line, so to speak. However he also emphasised that the sort of views and observations Hartshorn was giving really need to be fed down to the inexperienced recruits being put out onto the streets. PCSOs, he suggested, are the worst offenders when it comes to abusing their powers (or rather getting ideas above their station: PCSOs don’t have many powers to start with!).

The meeting remained very orderly and respectful at all times, which considering the fact that many in the room had been unfairly detained or hassled by the police many times while out taking photographs was a good achievement.

However none of this changes the fact that in a couple of weeks, taking a photograph of a police officer (or members of the armed forces, and other organisations) could potentially lead to a 10 year prison sentence. Of course, this will not happen frequently, if at all. Convictions will (hopefully!) require proof that the photographs were to be used as part of terrorist activities. However, it will give dodgy or poorly trained police the ability to further hassle the public, particularly when they know they are being photographed behaving inappropriately or illegally in the course of their duties. We already read stories of police illegally deleting images or destroying film. They currently have no right to do so. They won’t have the right to do so with this new legislation either, but some of them will doubtless have their delusions of power enhanced by its existence and act as if they do have those rights.

Unfortunately it seems that despite his relatively enlightened point of view, Superintendent Hartshorn is not confident that things will get better in the short term. In fact he suggested that the next couple of years could see an increase in tensions between the police and members of the public going about their daily lives, engaging in perfectly legal activities they are absolutely free to do without abuse and harassment, particularly from the authorities who should be protecting them. However it was reassuring to see that at least one copper out there is willing to say quite unequivocally that he is not in favour of the introduction of more complex legislation that is unlikely to either make the public safer, or improve the public image of his gang. That is, I found it reassuring until my inherent distrust of the police made me wonder if the whole performance was a sham. Guess I’ll never work that one out, as even if he is a good apple, the barrel has enough bad apples to spoil the broth. Or something like that.

It was a very interesting evening. I should stress that it was an extraordinary evening for the group, the first time they’d attempted an event of that sort. They are not a politically driven group, their focus is photography. I intend to attend some future meetings to see how things develop on the more creative front.

For any Londoners interested, the group is currently organised via a wiki, here, and a Google group that you can find via the wiki page.


On the evening of Sunday 1st February 2009 it started to snow in London. This is a rare occurrence. Rarer still is heavy snowfall, and even rarer is heavy snowfall that settles and doesn't immediately turn into mush.

I'd been holed up in a dark room with the blinds down, watching DVDs for hours, and I was just on my way to bed when I happened to look through a window in another room and noticed how much snow had fallen and that it had settled. So despite being tired and ready to sleep, I got dressed again (very dressed in fact) and picked up the camera & tripod and went out trudging through powdery virgin snow, even in the middle of the roads as seemingly it was only me and the foxes making the first impressions in the new landscape.

I returned home at about 4am, and then went out again at lunchtime the next day, to see how the rest of the world was dealing with the sudden change in environment.

On Monday morning I was most annoyed to hear the BBC describe the event as "the worst snowfall in the south east for 18 years". Worst? Seemed wonderful to me. I could understand if they said "heaviest" or "deepest" but "worst" sounded more like the opinion of business than news.

The atmosphere that the snow created was very noticeable. There was a lot more interaction between strangers than happens normally, a lot of conversations that would never otherwise have taken place.

Electrodrama set (Riga, 12/2008)

The guys in Riga managed to rescue the recording of the Electrodrama night. Here's my set for download:


Up Above The World - 'Trying To Reach You' (Exist Dance)
Age - 'Age' (Force Inc.)
Planetary Assault Systems - 'Forms' (Peacefrog)
Robert Hood - 'Radius' (M-Plant)
Terrace - 'Shaking Bassline' (Djax-Up-Beats)
Nukubus - 'Roller' (Bunker)
Luke Slater - 'Expectation No 3.' (Peacefrog)
Liquid Sun - 'Tone Float' (Bizarre)
Omar-S - 'Nikademas' (FXHE)
Terrace - 'Bassi[n]c' (Djax-Up-Beats)
Luke Eargoggle - 'If I Were A King' (Bunker)
Der Zyklus - 'Roche Limit (v2)' (Frustrated Funk)
Susumu Yokota - 'Amai Niyoi' (Leaf)
Dez Williams - 'Patience Of A Saint' (Blasé)
Legowelt - 'Pandamonium' (Crème Organization)
Continuous Mode - 'Direct Drive (Mode 2)' (Chain Reaction)
E.R.P. - 'Vox Automaton' (Frustrated Funk)
Kenny Larkin - 'Catatonic (Third State) Carl Craig mix' (R&S)
Sluts'n'Strings & 909 - 'Past The Gates' (Cheap)
Max Duley - 'Numb' (ARC(ANE))
Robert Hood - 'Motion Detector' (M-Plant)
Peter Benisch - 'Sabines Song' (Eevo Lute)
Plastikman - 'Krakpot' (NovaMute)
Michaelangelo - 'Transmission696' (Labrynth)
Ultradyne - 'Agony - Be Still' (Pi Gao Movement)
Oasis - 'Oasis #7' (FXHE)
Robert Hood - 'Externus Oblique' (M-Plant)
Percy X - 'Break It Down (Original Master)' (Soma)
Jürgen Paape - 'Autechre (TR7AEremix) vs. Jürgen Paape' (Sub Rosa)
Mike Parker - 'Inversion 6 (Donato Dozzy Remix)' (Geophone)
Tommy Gillard - 'Patterns' (Continual)
Popol Vuh - 'Aguirre I (Haswell & Hecker Remix)' (Editions Mego)
Anakrid - 'Memories Of Submersion' (Stereonucleosis)
Composite Profuse - 'Kommando Amphora' (Bunker)
Alden Tyrell - 'Obsession (More Obsession Remix)' (Clone)
Robert Hood - 'Sterno-Mastoid' (M-Plant)
Alex Norinh - 'Reign Of Control' (Bunker)
Like A Tim - 'Freeloaders' (Like)
Exquisite Corpse - 'Traditional Ties With Dreaming' (KK)
Sluts'n'Strings & 909 - 'Puta' (Cheap)

Get it from the downloads page on the ARCart site.