Erland Cooper: An Orkney Prime Cut
Stepping into the solo world after a raft of collaborations, the delicate work of Erland Cooper
Ela Orleans: Wall Of Sound
With the release of a retrospective of her melancholy collage-pop, Glasgow-based, Polish-born Ela Orleans tells us about the connections between concussion, creativity and catharsis
4,000,000 Telephones ‘4,000,000 Telephones’ (Bunker, 1985)
“You have to play this album,” says Vincent, a fellow record dealer in Lincoln where my secondhand vinyl store lives.
ACID CASUALS ‘Omni’ (Placid Casual, 2006)
Side-projects can be a complicated affair, particularly if you’re a fan of the precursory band. Acolytes find themselves talking up a lesser-known record they might not actually like very much, but a perceived obligation of support results in them writing cheques their misplaced loyalty can’t cash.
Die Doraus Und Die Marinas ’Blumen Und Narzissen’ (ATA-TAK, 1981)
Die Doraus was Andreas Dorau, who was only 16 when he recorded 1981’s ‘Blumen Und Narzissen’ (‘Flowers And Daffodils’) with Der Plan’s Kurt Dahlke and Frank Fenstermacher for their fabled Neue Deutsche Welle label Ata-Tak.
Rose Elinor Dougall
Rose Elinor Dougall picks a path through her very own musical journey from cradle to, well, right now…
Del Shannon
We set the dial to 1961 where the unmistakable sound of Del Shannon’s Number One smash hit ‘Runaway’ rules the airwaves… but what is that flute-like sound that drives it along? Prepare yourself for a lesson in electronic music instrument history.
Carter The Unstoppable Sex Machine ‘Sheriff Fatman’
Along with co-conspirator Fruitbat, Carter The Unstoppable Sex Machine’s Jim Bob tells how they penned ‘Sheriff Fatman’, their ode to slum landlords, granny farming and “awfulness everywhere”.
Thurston Moore: Sonic Adult
Since moving to London at the beginning of the decade, Thurston Moore has found himself at the forefront of east London’s experimental music scene. From Luc Ferrari to
Public Enemy, we enjoy a free-ranging chat.
Sparks: Heaven Sent
As Sparks mark the 40th anniversary of their disco opus ‘No 1 In Heaven’, Ron and Russell Mael wonder if it’s a disco record at all, explain how they bluffed their way to getting Giorgio Moroder on board, and reveal their Donna Summer epiphany