Bambi

Not even 30 years old yet.

Music income is split into two halves, the Master and the Publishing. The Master is the actual recording. In this case AF have licensed the rights to the recording. This is what record labels do. They release and exploit recordings. Publishing pertains to the music itself (the composition, historically the sheet music) which has its own avenues of exploitation separate to the recording. This is why musicians can be signed to a label (e.g. Warners) but be published by a different company (e.g. Domino)

It's already been released on a compilation https://musicinsupportofblackmentalhealth.bandcamp.com/releases

There are a few older tracks on there like Blauwasser (from the Heterotic days), Murker (2013, 2014?) and Bentley (2015?). You can hear a version of Bentley called Utopiary with my friend Daniel O'Sullivan (Grumbling Fur etc.) singing over it on my FACT magazine mix https://www.factmag.com/2018/03/26/mike-paradinas-fact-mix-u-ziq/ - oh look Blauwasser is on there too. Named after the shopping centre by the way.

Gear used on Lunatic Harness: Sequencer: Atari 1040ST using emagic cubeat software Mixer: Fostex 280 4-track recorder & Soundcraft Spirit Folio 10+2 mini-desk. Yamaha DX11 synth Roland D-50 synth Alesis HR16 drum machine Yamaha RY30 Drum machine Casio FZ-1 sampler. Boss delay pedal ART Multiverb LTX - - - That's it. One of the b-sides was a later track and used the EMU ESI-32 (Jiggery Panky or the other one)

4+5=9

https://doormouse.bandcamp.com/album/skelechairs

I think this is all to do with this

Burgundy Tracks 3 would be relatively easy to put together.

They asked me.

Planet Mu (1st May 2020) https://italtek.bandcamp.com/album/outland 01 Chamber Music 02 Open Heart 03 Deadhead 04 Reverie 05 Bladed Terrain 06 Diamond Child 07 Angel In Ruin 08 Leaving The Grid 09 Endless 10 Oblivion Theme Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘.The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel. Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’. The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect. This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters.

Yes it is Greg Hanec on the cover, the same Greg who hated car culture 20 years ago.

does now (forgot to click a couple of backend buttons)