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Saturday Night Live - The Sultan of The United Acid Emirates

Some things, it is said, can only be known by witnessing them.

If this is said about you in the field of music, this counts as a huge compliment. And so it is with Ceephax Acid Crew, who recently released United Acid Emirates and has wowed audiences for the past 15 years with his analogue keyboard blockbuilding live sets and cockney demands for sustenance (beer) over the PA.

Expect early electronic and analogue mayhem.

Electronic Turkey, Midi Metal + Daphne Oram Industrial Reels - October 1st. 11



We'll be sampling tuns from remote mountains in Canada, tunes penned in Argentina, London, L.A and so on. Celebrating the ochres of Autumn and the not necessarily foreboding dark nights ahead, there's a veritable box of chocolates in there (sic SBTRKT).

From 1am Chris Weaver plays out industrial reels from Daphne Oram, her demo pieces to show the potential of her groundbreaking system.

Fishtailing Tonight Between Prevailing Analogue Revival and Rare Psych













Tonight Ruth White sets her synths to this Baudelaire poem (back in '69, but once again on the show):

Evening Harmony

The season is at hand when swaying on its stem
Every flower exhales perfume like a censer;
Sounds and perfumes turn in the evening air;
Melancholy waltz and languid vertigo!

Every flower exhales perfume like a censer;
The violin quivers like a tormented heart;
Melancholy waltz and languid vertigo!
The Sky is sad and beautiful like an immense altar.

The violin quivers like a tormented heart,
A tender heart, that hates the vast, black void!
The sky is sad and beautiful like an immense altar;
The sun has drowned in his blood which congeals...

A tender heart that hates the vast, black void
Gathers up every shred of the luminous past!
The sun has drowned in his blood which congeals...
Your memory in me glitters like a monstrance!

— W. Aggeler, The Flowers of Evil (Fresno, CA: Academy Library Guild, 1954)

A Modern Old School



A night of modern old-sounding dance music to celebrate the debut London performance of VHS Head on 10th September. A lot of the show will sound like: "why-don't-you-turn-off-the-radio-and-go-out-to-hear-this-live-instead".

CEEPHAX ACID CREW, VHS HEAD and LEE GAMBLE play exclusive
live sets at the launch of brand new night XENOGLOSSY on Saturday,
September 10, at the Shacklewell Arms, Dalston. Xenoglossy
'aims to explore the mind-meltingly colourful area between various
forms of modern-day electronic music-making'.

Ceephax Acid Crew with their disgracefully hedonistic approach to analogue acid rave are joined by VHS Head for his first London performance. VHS Head sounds like an 80s keyboard with the frog in it's throat playing for the soundtrack to the Twilight Zone. We love him, hopefully after the show, you will too.

Radio Legend, We Are Excited


Remember having the radio at the side of the bed at 4am, you'd just got back home, couldn't sleep due to the thrill of being alive, awake with the dawn chorus and listening to tracks on air you couldn't hear elsewhere? Those dulcet tones at 4am belonged to Patrick Forge, a man as passionate and determined about specialist music as those who ran the pirate radio station from which his voice reached us. At the time KissFM was a groundbreaker, it was fun, it had that home-made edge before becoming corporatised and same-same-same-ish (Rinse, take note). Forge played out latin-jazz and early electronica hosting nights across London, championing new music and DJing on KissFM for no less than 18 years from 1990. We love this man!
So enjoy an hour of Forge-left-field on Sat night from 11-midnight, we will....

In the 2nd half of tonight's show feature a mix of recent recording that were complied for the performance, "Variations for Rooms and a Tone". These recordings will form the basis of documentation to be released early next year, but in tonight's show there are presented "as is" Variations for Rooms and Tones is an installation performance making audible the resonant frequencies of a space. As the feedback tones vie against each other for priority, the chord mutates. The introduction of these tuned tones destabilises the feedback; enrichments of tone resound, dense modulations are created, sound peaks are formed in specific areas and the unique voice of the architecture can be coaxed toward complex flourishes. Each performance is unique, as the resonant properties of a building are never identical.