Morgan Fisher
Freewheeling through time and space, Kris Needs continues his adventures in sound. This month: Morgan Fisher
Cold War Electronica: A For Armageddon
By the mid-1980s, the threat of nuclear annihilation was dominating British culture. Actor Reece Dinsdale and film editor John Cary look back at their contributions to two keystones of the Cold War aesthetic – ‘Threads’ and ‘When The Wind Blows’
Optimo Espacio
In the weeks before his recent untimely death, Keith McIvor, aka JD Twitch, revisited the birth of Optimo Espacio, the celebrated Glasgow club night he helmed with Jonnie Wilkes, from 1997 to 2010 and beyondÂ
Cold War Electronica: Cold Warrior
Factory Records insider and founding member of Die Unbekannten, Mark Reeder arrived in West Berlin in 1978. His Cold War life in the divided city, smuggling music into the East like a dangerous subversive, reads like a post-punk spy yarnÂ
Graham Massey
As 808 State’s Graham Massey prepares to tour 1991’s acid house/rave classic ‘Ex:el’, he revisits his various influences, from Hawkwind to jazzÂ
Cold War Electronica: The Hands Of Doom
Created in 1947, the Doomsday Clock is a terrifying visual representation of how near we are to the end of the world. The closer that the hands get to midnight, the closer we get to oblivion
Ashnymph
Psych-tinged electropoppers set to erupt
Cold War Electronica: Wired For War
The birth of electronic music carried the tensions of its age – Cold War anxiety, nuclear dread and divided ideologies. From Stockhausen’s post-war Germany to musique concrète, radio labs and tape experiments, an avant-garde soundtrack emerged, documenting decades of division, secrecy and a world permanently wired for fear
Bug Teeth
Leeds outfit aim high with debut album
Cold War Electronica: The Jingle At The End Of The World
In 1975, the Central Office of Information secretly produced the chilling ‘Protect And Survive’ series of public information films, to be broadcast on British TV in the event of an imminent nuclear war. And the composer of its jingle, potentially the final piece of music the country would ever hear? The BBC Radiophonic Workshop’s Roger Limb