Sweely
Private Navigation EP

Deadbeat and Om Unit combine forces to explore their shared love of dubbed-out electronics.Starting a thread from Montreal to Bristol, this mini LP is rooted in the tradition of dub and techno, but with tinges of roots and acid as well as the etheric ambience they are both known for.Root, Stalk, Leaf and Bloom is contemplative but heartfelt, with a sense of momentum and positive purpose.

Denham Audio makes his long awaited debut onto Club Glow with the Thirty Eight Snub EP. 4 ruff cut breakbeat jungle tracks feature the legendary Grime MC Trim on the title track.

DE269 - US - 2019Patrick Cowley was one of the most revolutionary and influential figures in the canon of electronic dance music. Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study music at the City College of San Francisco. By the mid ’70s, Patrick’s synthesizer techniques landed him a job composing and producing songs for disco diva Sylvester, including hits like “You Make Me Feel (Mighty Real)”, “Dance (Disco Heat)” and “I Need Somebody To Love Tonight.” This helped Patrick obtain more work as a remixer and producer. Cowley created his own brand of peak time party music known as Hi-NRG, also dubbed “The San Francisco Sound.” By 1981, Patrick had released a string of his own dance 12″ singles, like “Menergy” and “Megatron Man”. He also co-founded Megatone Records, the label upon which he released his debut album, Megatron Man. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he composed two more Hi-NRG hits, “Do You Wanna Funk” for Sylvester, and “Right On Target” for Paul Parker, as well as a second solo album Mind Warp. His life was cut short on November 12, 1982, when he passed away 24 days after his 32nd birthday from AIDS-related illness.Mechanical Fantasy Box is a new collection of 13 unreleased songs recorded between 1973-80 released in tandem with Cowley’s homoerotic journal of the same title. Featuring Patrick’s first electronic compositions in the Electronic Music Lab at CCSF when synthesizers were new technology to songs made at his semi-professional studio on Minna Street equipped with an Oberheim DS-2 digital sequencer. The sounds flows from funk to kraut to psychedelic ambient electronics inspired by Tomita and Krafterwerk. As Maurice Tani wrote in the liner notes that accompany this release, “What you hold in your hand is a collection of Cowley's work from the years preceding his meteoric rise as a pioneer of Hi-NRG dance music. This was before drum machines. Before programmable, polyphonic digital synthesis. This was before “cutting edge”. This was experimental music in every sense.”Some songs were mixed from 4-track stems by Joe Tarantino and all songs have been remastered by George Horn at Fantasy Studio in Berkeley, CA. The vinyl comes housed in a black and white gatefold jacket designed by Gwenaël Rattke featuring a photograph by Susan Middleton and include an essay from music partner Maurice Tani and an 8.5x11 insert with notes. Proceeds from Mechanical Fantasy Box will be donated to the San Francisco AIDS Foundation, who have been committed to ending the pandemic and human suffering caused by HIV since 1982.

Locked in a 486 glow, lightblink machines nightlight, being enters lighttime limelight. The long nineties already distending, the Major midbloats, crowds throng superclubs- strobelit honeys on a podium in Ibiza already blasted a stratosphere away from mildewed badflats, emphysemic parlours, the fug of week old washing drying slowly on the rad. Ach we’ll hang it out in the morning fire another joint of badhash and turn that tape over. We are being Here. beings disconnected, shut ins, psychick worriers, long walks to and from clubs, mostly dark, always raining, or mizzling anyway, lug bigbrick machines into cabs and Venue, setup and playing live and right now from the lounge lobby at Sativa, down the stairs from the caustic, twitching thrashpit being sits, being works. Dole sludge, shirking class zeroes, scoff pizza rolls w salad cream, that headchef gaffer never reckoned you’d graft at the potwash, a slick fur of rotfood dish slop residue right to the elbow, absolutely bowfin. Rumours of other places, people, scenes, tapes sent and emissaries return, invites to get trains, overnightbus south to London. being brought water to the ‘wells in South London and monthly emissions snaked out into the world, into badflats elsewhere where gowched couch tatties sprawl and the being burrowed deep into memories.. Tea is toast and sandwich spread and endless crisps as the binbags pile high in the backyard, the being blinks, it’s a twilit morning and it’s time to go to bed.

Turbulent synths ooze and oscillate, roaming like searchlight beacons across darkened shores. The experimental and idiosyncratic sound of duo Inkasso explores the feeling of being cast adrift in disorientating, mechanical worlds. In the studio, the pair jam with drills, string instruments, field recordings and everyday objects to create a hypnotic cacophony. Hear the penny drop on ‘Asso,’ chains rattle on ‘Träume aus Draht;’ the junglist murk of ‘Tag der Imker,’ and the sharp, crystalline beat of ‘Punkervirtel.’ Inkasso invites you to get lost in the uncanny spaces between dub, drone and techno; static introspection and the primal desire to dance.