Carisma selects…20th October, 2014


Carisma live together in Buenos Aires, the duo have spun the shared intimacy of their home studio into the underground clubs of the South American capital. Spinning nighttime fantasies with rhythms and sounds that swing the dark side of the mirror ball. They’ve recently joined the pan-global Cómeme family, releasing Directamente earlier this year, an EP that Matias Aguayo describes as revealing a sonic world that’s “curious, hopeful, sometimes purple and full of darkening shadows, nocturnal creatures from beyond that stroll around an electric fire of subtle melodies and scary rave signals.”

Ahead of their Scottish debut show presented by No Globe and Huntely & Palmers, we spoke to the duo about the records that matter most to them right now.

1. Carisma – Muerte Instrumental
Our first track released by Cómeme on the “El untitled” compilation, we made the video by ourselves at home with this Skelletor drummer bought at “La almeja erotica”, a souvenir shop in the beach.

2. Rumanians – Altai
Rumanias are Ani and Caro Castoldi, two sisters that make amazing music released by Dengue Dancing Records. Their sound is a ritual on the dance floor.

3. Carisma – Talento Matematico
From Directamente EP, you can download this track for free from XLR8R.

4. MKRNI – Humedad (DJs Pareja Remix)
Hace calor hace calor hace calor!
DJs pareja are our friends and they make very loopy remixes that we always play in our sets, this one specially when it gets really hot!

5. John Talabot – Matilda’s Dream
We listened this track for the first time last week, then we played it at Wilde Renate at 7 am and it was amazing. That was our last gig in Berlin for our European Tour 2014 which will finish on 14th November in Paris.

6. Rous – A Bailar (Carisma Remix)
Part of the last Comemian fuel, Gasoline. Rous is a young musician from Lujan and he loves cars and red wine.

7. Love Inc. – Lady Democracy
We love each track of Life is a Gas!

8. Marc Piñol – Edit Service 21
Edit service its a net label from I’m Cliche that releases mysterious pop edits like this one, we don’t know the original but this version is very cool.

9. Ibiza Pareo – After
A new band from Buenos Aires that will release a very nice album soon!

10. Mezcla – Negro
Mezcla is Ismael Pinkler side project, a duo with Gustavo Lamas that plays alternative dance music live. This track was made 7 years ago and released in 2013 by Estamos Felices.

Out of Orbit: Dirtytalk & Joe Evans8th October, 2014

This week, Thursday night residents Out of Orbit present Echoes From the Astral Plane, a collaborative one-off party with Bristol based artists and DJs Joe Evans and Dirtytalk.

Notions of excess, embellishment, hedonism and disgust are all part of Joe Evan’s kaleidoscopic practice which spans collage, sculpture, painting, video and hosting. Part of his work has symbiotically developed alongside Dirtytalk, a club collective that began in 2010.

As a rebuttal to a prevalent trend in the Bristol club scene, Dirtytalk focus on creating intimate, sweaty parties, “we want to create a place where people can lose their shit! [Which is] hard to get in a typical club, to have that sense of freedom.” The lack of smaller late-night spaces in their hometown have forced them to look harder for alternatives, “every space comes with it’s own kind of atmosphere, its own challenges and quirks, so it keeps things interesting.” Earlier this year they threw a party in a swingers club. The owners paid a graffiti artist to create saucy UV murals on every available surface, especially for the night, “it was full-on and we were a bit horrified at first but it somehow worked!”.

Their last residencies at the infamous Motorcycle Showroom (which operated as an artist studios and music venue) is where they started working with Joe Evans. We caught up with Kerry Patterson, Shaun Tennant and Robert Needham from Dirtytalk for a chat about their work with Joe Evans and operating outside of the standard bar and club circuit.

Muscle milk and Dream Sushi by Um Zimbre Limb on Mixcloud

What were your experiences working with Joe Evans at the Motorcycle Showrooms?
We curated the music and sound, the Showroom boys created the space and the two things just came together very naturally —I guess we all had a similar vision for what a party could be. It looked different every time we did something there, Joe is prolific and was constantly adding things and mutating others. Discotheque anarchy! It got better over time, to the point where I’d be on the dancefloor at 4am and thinking this can’t be legal! It honestly felt a bit magical at times. The parties always got out of hand, but in a good way —something that I never experienced in clubs, and it just felt real!

You usually put on events in venues that are off the bar/club circuit, making parties that feel more ‘bespoke’, or intimate. Can you expand on this, and why is it relevant to Bristol particularly?
The council is now less sympathetic to arts and event spaces, that doesn’t stop plenty of great parties from happening, whether in official clubs or late night bars or unused venues. The situation is pushing promoters to be more creative with where they do nights but it has become harder I think, maybe partly because the inner city is becoming a greater focus for developers and lots of flats are going up everywhere, which tends to kill an area in terms of opportunity for nightlife or parties. I don’t think Bristol is alone in this.

It seems you’re interested in exploring Queer identities and merging different scenes within Bristol, bringing relevant acts, DJs, or producers in order to enhance this?
We don’t aim our parties at any particular group. Of course, the music we’re into, the DJs we book —is house music and disco— it’s rooted in the gay scene, black culture, from people on the fringes… we just want people to feel welcome regardless of any scene or community they associate with —as long as they are there for the music!

Out of Orbit: MWX1st October, 2014


“Ever since I have been going clubbing the lighting and the visuals have played a prominent role in my dancing experience. For me, it’s inspirational that these elements along with the music can transform a clubbing environment and take you to another space, another time.” -MWX

Marianne (aka MWX) came to the attention of Out of Orbit via all the unpretentious, fun, yet carefully curated and executed AV projects she’s involved with. One of the most engaging is Algo_Rhythm, a collaborative project between musicians and designers that explores the relationship between sonic and visual art practices. Marianne (MWX) curates all of the musicians and artists who’re involved; the artists are selected on the basis that they embrace technology in their practice. The structure of the event is based around schematic diagrams that are found in manuals for building electronics, so the progression of the night has an organic flow, with light and sound blending into one another creating an immersive environment.

There’s also Magic Waves, a record label, club night and radio show. The show is broadcast on IFM1 from either Berlin, Glasgow, Chester or London every Sunday. MWX got involved with Magic Waves by playing records on the radio show, DJing at parties and producing the artwork for the Magic Waves’ parties in Glasgow. They’re currently organising a mini festival, the line-up includes seminal disco outfit Black Devil Disco Club.

In collaboration with Alan Miller (aka Hush), she runs something altogether Italo, electro and HI NRG: Maxi Dance Pool. For each Dance Pool party they make a limited edition run of free cassette tapes -one side with a mix from HUSH and the other MWX. The cassette tapes, as well as the posters, allow both of them to express their interest in design and visual art in a playful, tactile and collaborative way. They’ve been doing the Dance Pool parties for almost two years now and have built up a regular following, including the eyeliner of approval from the unmistakable Glasgow Italo Goth contingent.

Out of Orbit’s Cosmic Q&A

The Radical Interplanetary Coop needs your help! The Commission of Arts & Social
Research have been granted their first expedition to the Sedna System. Unfortunately, the commission doesn’t have a unilateral set of space suits or lounge wear for the mission. They can’t seem to decide whether it is necessary to create such a strict set of sartorial codes, or (as one sceptical fringe group have suggested) a perfect opportunity to develop the Coalition of Garms, a pusedo-democratic board that dictates clothing production for the Coop. What should they do?

In true Wes Anderson (The Life Aquatic) – I would say uniforms are ESSENTIAL. But maybe uniforms like Sarah Brightman & Hot Gossip in the music video for Starship Trooper though!

In exchange for your recent involvement in an uprising during the Proxima-R Intelligence
Cluster Sanctions (or PRICS), the rebels have given you the opportunity to name a publicly owned vessel used to transport dispersed families to a number of locations in the sector. Do you accept the honour, and if so, what do you name it?

Of course I accept the honour! Voyager Interstellar MWX808

The rest of your crew have fallen into the darkness and shadows of the sprawling space
station OOO-1, each one disappearing with little more than a whimper echoing through the air control system. The communications system is faulty, every message you attempt to send to HQ is corrupted –your digital SOS dissipating into a seemingly endless void of
time and space. You’re alone. The only distraction is the space station’s full functioning
internal communication system. What sound do you select from the control panel to echo
around it’s empty metallic corridors?

Hmm. I would choose to listen to Carl Sagan’s Golden Record – I presume they would
have a copy of that on a space ship.

Ubre Blanca selects…16th September, 2014


Glasgow duo Ubre Blanca describe themselves as soundtrack makers of a film that doesn’t exist yet; they mine an analog synthesis of a visceral futuristic realm, fusing this revivalism with contemporary sound design to create expansive sonic atmospheres. Andy Brown, once the unrelenting drummer for Divorce, joins his brother in darkness Joel Stone, formerly of ShitDisco, to select some of their most influential soundtracks.

You can catch them live at The Art School this Friday for Eclair Fifi & Pals.

1. La Ragazza dal Pigiama Giallo (music: Riz Ortolani; track: Corpo De Linda)
Nothing in music implies confusion and tension more than a fast, hypnotic arpeggiator. Like ‘I Feel Love’ stripped of all the love, a better title would be ‘I Feel Weird’. Ortolani also created the fantastic soundtrack for ‘Cannibal Holocaust’.

2. Sorcerer (music: Tangerine Dream; track: Betrayal)
From William Friedkin’s first movie after ‘The Exorcist’ which, even with it’s spooky title, isn’t a horror movie at all. Regardless, Tangerine Dream’s soundtrack is mindblowing.

3. Beyond The Black Rainbow (music: Sinoia Caves; track: Forever Dilating Eye)
A modern soundtrack this time. “…Black Rainbow” came out in 2010 but it’s soundtrack is only being released now. Excellent, dark, brooding synth mantras that suit the film’s sense of claustrophobic foreboding perfectly.

4. Prince Of Darkness (music: John Carpenter & Alan Howarth)
Obviously a hero of ours. It was tough to pick a track by him that isn’t already burned into everybody’s memory, which is a testament to how affecting his music was. “Prince Of Darkness” is the most genuinely frightening of his soundtracks, Carpenter’s pinnacle of sheer fear.

5. Bui Omega (music: Goblin; track: Buio Omega)
Goblin were a necessary addition as well. ‘Suspiria’, ‘Tenebrae’ and ‘Profundo Rosso’ get a love of the love, deservedly so, but there are diamonds littered throughout their soundtrack work. When they go into a groove full-tilt, like they do here, it’s stunning. The bass-line is a thing of wonder!

Green Door Studio in Ghana and Belize12th September, 2014


On the September 26th The Art School will be taken over by Green Door Studio, an analogue recording hub and education space based in Finnieston that was recently described by Resident Advisor as “the beating heart of the Glasgow music scene.” Green Door’s nurturing of acts like Golden Teacher and Whilst, along with the sonic quality they have facilitated with such group’s recorded output, is already well documented. Less has been written about the studios continual commitment to youth education and cross cultural exchange, an ethos that is born out in the polyrythms and instrumentation that have come to be associated with the studio’s sound. As Laurie and Oli Pitt from Golden Teach make clear, there is a practical as well as musical element to such exchanges, “We have both been involved with projects at the Green Door since we came to Glasgow, both as participants exhausting every possible course they offered and also helping out with other courses and workshops they run for younger kids: doing drumming lessons and helping with recording sessions. Its all very informal and everything’s usually repaid with favours or recording time which we’ve recently been using to record all the Golden Teacher EP’s.”

The 26th will see Green Door launch a new youth music project that sees this exchange travel across to the Lebeha Drum Centre in Belize and Tafi Atome Cultural Village in Ghana. Three collaborative groups of young people (each with 2 Glaswegians, 2 Ghanaians and 2 Belizians), will each write, perform and record 3 songs that will then be released world-wide on Optimo Music and presented at a final Celebration Performance at the Glasgow African Caribbean Centre in May 2015. The young people will explore what the Pitt brother’s term, “ the obvious links between contemporary western dance music ( all music to some extent) and traditional African drumming” through workshops in Ghanaian and Garifuna Drumming, Electronic Music Composition, and Basic Recording, Overdubbing and Editing Skills, while making use a brand new mobile recording studio.

Surmised in typically succinct form by the Pitt brothers, this is an opportunity for some particularly, “Bangin tunes made by enthusiastic young people.” We spoke to Emily from Green Door about the project in general and this fund-raising party specifically, which sees Optimo’s JD Twitch, Golden Teacher, Whilst and Ghana Soundz all taking to the Assembly Hall stage in support.


Hi Emily, what’s the context of this project?
We’ve been running West African drumming workshops after school in the studio in conjunction with Glasgow City Council and had the pleasure two years ago of studying Ga drumming under Master Drummer Ni Tetti Tetteh at the Kusun Cultural Center in Accra, Ghana. At the start of this year we also went to two drum schools in Belize to study Garifuna and Maroon Creole drumming in the villages of Hopkins and Punta Gorda. On our various travels we came across Lebeha drum school in Hopkins and The Tafi Atome Monkey Sanctuary youth group in the Volta Region of Ghana.

In Hopkins we were blown away by the talent and exuberance of the local youths whenever they jumped on Lebeha drum school’s drums (they also ran circles round Stuart when he played football with them on the beach). On Chinese New Year, when the whole village was out partying, we were introduced to Ted Mckoy, who had recently returned home from studying in North America and was talking about setting up a non profit community interest recording studio (similar to what we do at Green Door) as part of the Nituwana foundation that he runs to promote the unique local culture in Hopkins. Meeting Ted gave us the inspiration to try and work out a way that we could link what we do at Green Door with some of the youth projects that we had encountered.

The previous year in Ghana we had had the privilege of watching the young people in Tafi Atome put on a mesmerising Borborbor drum and dance performance and had come away keen to try and find a way of returning and documenting their music (the community has no access to any recording facilities). We had also been working in the studio back in Glasgow with young musicians from the likes of Golden Teacher and Whilst who were making live analog electronic music which often incorporates traditional West African rhythms along with other musical elements from all over the world.

The exciting prospect of seeing what would happen if we paired up some of the young musicians that we work with in Glasgow with the young musicians in Belize and Ghana got Emily working on a funding application to try and make it happen. And when we discussed the proposed project with JD Twitch who runs the Optimo Music record label (and is behind the Autonomous Africa EP’s) he told us that he’d love to release the results on record.


Have Green Door has been involved in exchanges before?
This is the first international musical cultural exchange project that we’ve run as a studio. But a passion and interest in how the musical elements and rhythms of traditional West African music have fed into the music of both North and South America (Bluegrass, Blues, jazz, R’n'B, Funk, Rock’n'Roll and Hip Hop in North America, and the likes of Cumbia, Soca, Rumba, Samba and other Afro-Latin American musical styles in Central and South America, not to mention the many genres of Afro-Caribbean music), had lead to us travelling to Africa and Central America to study traditional drumming styles.

What could you tell me about them? Are you still working
in the same areas or with the same communities or groups? What has happened since?

The drumming that we studied in Ghana alongside Laurie and Oliver Pitt from Golden Teacher and Julia from Fem Bitch Nation lead to us teaching after-school drumming workshops for young people from the Finnieston area of Glasgow. And some of the young people have since also participated in other Green Door workshops and projects including this cultural exchange project.

What was learnt, exchanged and created?
This project will focus on exchanging rhythmic styles between Belize, Ghana and Glasgow—Laurie and Oliver Pitt will be lading workshops in Ghanaian rhythms for the young people in Belize and Garifuna/Kriol rhythms in Ghana. We will also be bringing our portable electronic music studio and offering workshops in electronic music. In addition, we will bring a mobile recording studio (using a Tascam DP03 8-track, mics and monitors), and leading recording skills workshops.

We are holding the fundraiser so that we can furnish each youth music group with their own mobile recording studio, so that they can continue to write, collaborate, and record music well after the project finishes.


How has it affected your personal practice as a musician and as a studio?
African polyrhythms and time signatures are incredibly fun to play around with. And their addition as live percussion can transform relatively simple drum machine loops into organic hypnotic tracks. The extra percussion we’ve picked up along the way has been used on a surprising range of musical styles recorded in the Green Door. We’re also probably the only recording studio in Glasgow that has a set of Kpanlogo drums from Ghana and they’ve appeared on quite a few recordings and releases that have come out of the studio.

What kind of differences have you already seen them do? What are the intentions with this current project?

Alot of our current work focuses on encouraging young people from different backgrounds (whether it’s cultural, economic or social) to collaborate with each other musically. This happens, for example, in our Sonic Youths project, where we teach music production skills to young musicians not in employment, education or training—in these workshops you might get a drummer who is deeply entrenched in Death Metal pairing up with a classically-trained piano-player and another who only ever makes music with synthesizers all trying to bash out a Bo Diddley cover for a recording project. It’s surprising how fast people let their guard down and open their ears to new ideas and approaches to music.

We also run a project called Supergroups, where each month we select an unsigned band who get 5 days in the studio to record, mix and master a 4-5 song EP. Then, every 4th month, the 3 bands from the previous 3 months form a “Supergroup,” who get 2 days to rehearse and write, and 3 days to record and mix. I’ve seen rehearsals where it starts with 6 people who have never met and it’s a bit awkward…then you plug in a guitar and someone starts toying with a Birthday Party riff, everyone’s ears perk up and then the next thing you know they’re off…and 8 hours later I had to kick them out of the studio when the rehearsal time ran up!

So for this project, we thought we would broaden the horizon even further and encourage young people living on other ends of the world to form a band (well, 3 bands) and make a record. Myself, Stuart, Ollie and Laurie are volunteering to be the mentors for the project, with one of us working with each band (which has 3 members from Glasgow, 2 from Ghana and 2 from Belize).

How do you think the project affects the music community of each area involved (including Glasgow)?
We are encouraging the young people to interact with other musicians from diverse backgrounds, forming both musical relationships and friendships throughout the year. I think it also helps the young people to gain a greater understanding of their own community, while broadening their appreciation of other styles of music.

I think it’s also interesting to see how musical styles have travelled and transformed. For example, the Kriols of Belize are originally of West African and Scottish/Irish ancestry. You can hear West African rhythms clearly in their style of drumming. At the start of the project, I made a compilation CD for all of the young people, featuring music from Ghana, Belize and Glasgow (including Boroborbor, Lebeha’s Drum Troupe, and Glasgow-based artists involved in the project such as Golden Teacher and Whilst)—it was interesting to hear the threads of influence in all directions (and the project hadn’t even started yet!).


What is the Lebeha Drumming Center?
Lebeha runs a drumming school and accommodation in the Garifuna village of Hopkins, Belize. They also work with the local young people, running a youth group called Tuteme Band. More info can be found here:

What is the Tafi Atome Monkey Sanctuary?
Tafi Atome is one of the most well run ecotourism projects in Ghana. Proceeds are reinvested in the community, including the recent construction of a medical clinic (unfortunately closed due to lack of medical staff). They also run a youth music project.

Why is cultural interaction important in the creation of music?
Well… music would be pretty boring and repetitive if there was never any cross-pollination of style. As lovers of music, we live to discover and explore new styles and incorporate them into our own work. As leaders of workshops and recording engineers, we like to “shake things up” and get people to think outside of the genre of music they think they are making—once you can break it down to an abstract series of sounds (and stay away from categories and classifications…are you trying to be an artist or a librarian?), people act more intuitively, and, ultimately, make weirder, wilder music.

What kind of possibilities do you think this project can create?
We hope this is the prototype of a project which can be repeated numerous times with youth music groups from all over the world. We would like to establish a network of youth music projects, so that they can communicate with each other, share musical styles and lessons, and collaborate on future recordings.