'visual mixtape' of images selected by Laura Moeller Henriksen as a birthday present for Benjamin Whitehill
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Scree Fucking Junk are set to embark on a little tour with noise rock duo Jehova's Fitness and to celebrate the #screefuckingjehovasfitnesstourjunk we’re taking a bunch of 7” lathes (cut by the excellent Loose Hair Lathe Cuts loosehair.bandcamp.com) on the road with us.
The split is released on The House Organ where you can find a whole host of other groovy stuff from Murray Royston-Ward and affiliated projects
Here's what Posset-bot has to say about it: "On ‘What the sound that starts with its Nick’s spanner. It’s all the rawness of fuxxhorn this is all the sort of sunshine. The map? But with a early-morning vigour, the tape suggests, and it’s the map of ‘chunng-fhhfhhung’ classic ‘Waterfalls’ the spectre of the dumplings of sound as copper, ‘fuh’ with a infinite brain is that dry. A whop-bam-a-loo-bop-a-whop-bam-boo! A wheexing Delicate as a little sound of the Kinder Dach Lieder’ will carved into the world of Berlin snaps into the ether in an tears? stripped to the timing, it is a whole thing of these crackly downloads, in worthy of the Half-Nelson. I’m incapable of direction takes off in the bounty of the dune. A cacophonous tearing of found-sound are the unmistakable sound of Benjamin Disraeli."  Difficult Folk is very happy to have produced a run of cassettes of Psychic Computer Wave by electronic canoodler Aidan Taylor
The album is an exploration into a post-apocalyptic sound-world where circuitry is embedded into the DNA of existence. Much the same as is the case with Aidan's life.. Aidan is an auto-didactically educated engineer and electronics hacker, currently engaged in PHD research surrounding 'maker' culture, with an involvement in various academic, charity and community based projects. Having designed his own analogue synths as well as working as a Hardware Development Engineer, his skills and interest in "making with electronics" extend from the technical through the social to the artistic and the musical. And despite the obvious technical craft that has gone into this album, it is the human element that really asserts itself. There is plenty of emotion at play here. And the landscapes of noise, drone and delicate modular exchanges that form the basis of the music are always in service to it's narrative course. And it's not just the vulnerable quality of Aidan's spoken word that evokes the human. The voice, being finely woven into the fabric of the music, only serves as a precursor to the emotive movements he manages to coax from his machines. This is symbiotic music. There's an analogue rawness to the aesthetics Aidan works with. One that works in conjunction with a sensitivity of sound. 'The Month of January' re-released in shortened twenty minute form, as part of the first edition of Otomatik Muziek's 'Echonomy Series' alongside Julius Gabriel: OTOMATIKMUZIEK>BANDCAMP>COM     “I remember that one day, when we were in a car tooling along at top speed, we crashed into a cyclist, an apparently very young and very pretty girl. Her head was almost totally ripped off by the wheels. For a long time, we were parked a few yards beyond without getting out, fully absorbed in the sight of the corpse. The horror and despair at so much bloody flesh, nauseating in part, and in part very beautiful, was fairly equivalent to our usual impression upon seeing one another.”  [difficultfolk006]  The tale of douglas firs..
At this edition of "Ich Hör Dauernd Hühner" 'Douglas Firs' were born. A guitar/ violin drone and spoken word trio consisting of Ben Whitehill and Isaac Ray + Ruth Maria-Adam (Schrein/Flamingo Creatures/Datashock). This name was acquired largely through administrative error. As such the group have now adopted a new one; 'Dead Lifts.' This name was suggested to Isaac in a dream and therefore lives up somewhat to the serendipity of the groups initial mis-billing. But will nonetheless also likely change in time. The end...  A Temple by The Sea is the first release by YSTLUM GWYN, a collaboration between Bethan Lloyd and Ben Whitehill. The album was arranged from material recorded over a couple of days in November, in a vicarage in Llandudno, N. Wales; and the presence of the neighbouring church, sitting empty save for it's ghosts, looms heavy over the recordings. The house that was their setting served as surrogate temple for a domestic ritual - a communion of sound in consecration of the old building to secular yet devotional tones and echos - and preceded an album of spectral presence. Bethan's pensive melodies and layered vocalisations sing from distant hills, born on the squall of Ben's electro-acoustic investigations. The colours in a tapestry of tempestuous noise. Invocations summoning other strange voices.. Within the walls or above the ceiling, out to sea.   with/
the rustling agitations and morphing, metallic landscapes of YORGOS DIMITRIADIS the anarchic clamour of BASTIAN HAGEDORN and/ a microcosmic presentation of resonant abrasions from BENJAMIN WHITEHILL
the lowest cardinal number, half of two
a single thing viewed as taking the place of a group just one as opposed to any more or to none at all electronics all circuit bent he put one hand around her neck and one around her waist a glass tube closed at one end none of this yet was a mistake one afternoon in late October a noteworthy example of something identical: the same a mist rose out of the river weekend drizzle and fog a domino or dice with one spot a person of a specified kind extraordinary yet inexplicably not intangibly tied to a passing smile a conversation between two loud speakers in agreement / microtonal harmonies I for one am becoming sick of writing following the vogue of deleted existence unique single she hadn't had much sleep recently one thing corresponds to or is exchanged for another not all instances fall neatly into these categories a few, there are one or two signs worth watching for but i'm done fucking thinking about it  with/
elegant investigations of the guitar from JON COLLIN and/ the singular cello probing of ANSGAR WILKEN + a one off trio performance for two guitars, tape and voice by BEN WHITEHILL, MATHEW JOHNSON and BETHAN LLOYD (Ystlum) The Month of January It was in the month of January The snow melted as it fell An aquarian winter The ground knew better than the sky Ivy crawling the walls of a disused bunker That sober refuge Where I took solace In another future Yet to be visited Though it's over now We sat In retrograde fashion Discussing how our bodies orbited about each other Or about some other point All around fresh anthropocene relics Still twitching numb with slogans and memories A salt tear fell from my eye A baby cried Bitterly We carried out hearts Still pierced with cold Through the winter's night 
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/----------------///////////////----------------------------to the spirits----------------- /--------------------------------------------------------\ \==================/of crystalline things \\\///\/\/\/\/\/\/\/\/\/\/\/\/\/\/------------------------------------------------/ \--------------------------------------------------------------//and their linear electro-mechanical------------------interactions-----------------------\\\\\\---------/ \----------------------------------------------- |
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