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2LP
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DUST 126LP
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$41.00
PREORDER
RELEASE DATE: 11/22/2024
Double LP version. "Sleep Deprivation began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take center stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you're pushed to your limits, both physically and creatively." -The Black Dog
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CD
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DUST 126CD
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$15.50
PREORDER
RELEASE DATE: 11/22/2024
"Sleep Deprivation began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take center stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you're pushed to your limits, both physically and creatively." -The Black Dog
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2LP
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DUST 124LP
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LP version. Experience the sonic journey that is The Black Dog's latest album, Other, Like Me, as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, Other, Like Me, draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, Other, Like Me offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.
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CD
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DUST 124CD
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Experience the sonic journey that is The Black Dog's latest album, Other, Like Me, as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, Other, Like Me, draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, Other, Like Me offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.
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2LP
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DUST 120LP
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Double LP version. In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerizing album Silenced. Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science. Defying industry norms, The Black Dog embodies a DIY ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry. The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's four-track EP Bite Thee Back. However, this EP was only a prototype for the revitalized collective, eventually leading to the composition of Silenced, which followed soon after. This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike.
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CD
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DUST 120CD
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In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerizing album Silenced. Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science. Defying industry norms, The Black Dog embodies a DIY ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry. The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's four-track EP Bite Thee Back. However, this EP was only a prototype for the revitalized collective, eventually leading to the composition of Silenced, which followed soon after. This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike.
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2LP
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DUST 117LP
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Double LP version. The Black Dog's highly regarded album, Radio Scarecrow, is now remastered and re-issued on Dust Science, 15 years after its original release on Soma Records. Two years of constant development culminated in a masterpiece that flows delightfully and hits hard. Marking a true progression from the band's previous album, Silenced, the trio are keen to note: "The beats are faster and the bass is much heavier -- so much so, that it was making us ill, working with the low frequencies for hours on end. We could only do three hours at a time on some parts." Tracks like "Floods v3.9" and "Beep" are a testament to this. With throbbing basslines strong enough to make an impact on the Richter scale, these tracks are best played out on big sound systems. Radio Scarecrow unfolds gracefully, barely skipping a beat between tracks. The act have created an album that demands to be listened to in its entirety. With elements blending between tracks (the same kick drum being used to very different means in "Short Wave Lies" and "Siiiipher" for example) and with constant references to conspiracy theories and the supernatural, The Black Dog present more than a collection of tracks. Influenced heavily by their interest in Magick, Numbers Stations, and Electronic Voice Phenomenon (EVP), the act have hidden examples of these within their work.
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CD
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DUST 117CD
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The Black Dog's highly regarded album, Radio Scarecrow, is now remastered and re-issued on Dust Science, 15 years after its original release on Soma Records. Two years of constant development culminated in a masterpiece that flows delightfully and hits hard. Marking a true progression from the band's previous album, Silenced, the trio are keen to note: "The beats are faster and the bass is much heavier -- so much so, that it was making us ill, working with the low frequencies for hours on end. We could only do three hours at a time on some parts." Tracks like "Floods v3.9" and "Beep" are a testament to this. With throbbing basslines strong enough to make an impact on the Richter scale, these tracks are best played out on big sound systems. Radio Scarecrow unfolds gracefully, barely skipping a beat between tracks. The act have created an album that demands to be listened to in its entirety. With elements blending between tracks (the same kick drum being used to very different means in "Short Wave Lies" and "Siiiipher" for example) and with constant references to conspiracy theories and the supernatural, The Black Dog present more than a collection of tracks. Influenced heavily by their interest in Magick, Numbers Stations, and Electronic Voice Phenomenon (EVP), the act have hidden examples of these within their work.
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CD
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DUST 118CD
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"My Brutal Life delves into the profound aspects of our artistic endeavors encompassing brutalism, the environment, and humanity. Throughout our ongoing creative journey, we consistently gravitate towards these themes, documenting and exploring the human experience within these environments. Our unwavering fixation on symmetry, synchronization, and repetition are the driving force in our artistic expression. Moreover, we strive to peel away superficial layers to expose the underlying emotional strata of the human aspect, unearthing the often-overlooked beauty within the ordinary. Although frequently disregarded, the human aspect resonates with echoes from the past, enlightening and guiding our artistic process. Even the failures encountered serve as poignant reminders of the delicate structures we construct. My Brutal Life constitutes a pivotal component within an enduring exhibition, meticulously crafted to delve into the aesthetic and human facets of brutalism." --The Black Dog
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LP
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DUST 118LP
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LP version. "My Brutal Life delves into the profound aspects of our artistic endeavors encompassing brutalism, the environment, and humanity. Throughout our ongoing creative journey, we consistently gravitate towards these themes, documenting and exploring the human experience within these environments. Our unwavering fixation on symmetry, synchronization, and repetition are the driving force in our artistic expression. Moreover, we strive to peel away superficial layers to expose the underlying emotional strata of the human aspect, unearthing the often-overlooked beauty within the ordinary. Although frequently disregarded, the human aspect resonates with echoes from the past, enlightening and guiding our artistic process. Even the failures encountered serve as poignant reminders of the delicate structures we construct. My Brutal Life constitutes a pivotal component within an enduring exhibition, meticulously crafted to delve into the aesthetic and human facets of brutalism." --The Black Dog
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2x12"
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DUST 113LP
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2x12" version. "... For months, we'd been working away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere. We'd been talking about the old days; making music with friends and dodgy kit, renting small practice rooms and using makeshift recording studios. It was such a common thing back then, you could pick a dusty space in a half-derelict building for as little as £25 a month. In those days, the Cabs and Human League had studios with posh-sounding names, but in reality, they were the same old workspaces long abandoned by the industries they were built for. Nevertheless, the grand names made them sound magical. Sheffield had thousands of these spaces, and some still exist today, but their abundance and low-cost made Sheffield a very active place. Someone was always doing something. They'd exploded onto the scene in a flurry of excitement before disappearing just as quickly. There's something about these little mesters (workshops) that we believe lives in the very consciousness of Sheffield. It's one of the reasons we never really had big scenes like Manchester or Leeds. The Hacienda would've never been built here. We don't really do big gangs or have that kind of mentality. We tend to exist in little pockets, often leaving each other alone. It would be 30 years before any member of The Black Dog talked to Cabaret Voltaire. Sure, we'd stood outside their practice room as kids, trying to listen in, but never felt any reason to approach. Sheffield is like that. Once we had the first two tracks of the Black EP, we set off to see Jon at Do It Theesen, where he manually cut the tracks to an extremely limited set of 7" singles using a vinyl lathe. It just felt right to go back to the old ways; a small gang creating something special in workshops and sheds . . . We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines. Pretty much every band started this way. Depeche Mode travelled to the studio on the London Underground for their first appearance on Top Of The Pops, all lugging a synth each. That's how we approached the creation of this album; stripped back, raw and minimal -- it just felt so right. And then there's the competitive element that was influenced when the original Human League split and became Human League MK II and Heaven 17. Both continued to use the same studio to write what became the albums Dare and Penthouse and Pavement. There is something about that drive that is very Sheffield, just making stuff and hoping everything falls into place..."
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CD
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DUST 113CD
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"... For months, we'd been working away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere. We'd been talking about the old days; making music with friends and dodgy kit, renting small practice rooms and using makeshift recording studios. It was such a common thing back then, you could pick a dusty space in a half-derelict building for as little as £25 a month. In those days, the Cabs and Human League had studios with posh-sounding names, but in reality, they were the same old workspaces long abandoned by the industries they were built for. Nevertheless, the grand names made them sound magical. Sheffield had thousands of these spaces, and some still exist today, but their abundance and low-cost made Sheffield a very active place. Someone was always doing something. They'd exploded onto the scene in a flurry of excitement before disappearing just as quickly. There's something about these little mesters (workshops) that we believe lives in the very consciousness of Sheffield. It's one of the reasons we never really had big scenes like Manchester or Leeds. The Hacienda would've never been built here. We don't really do big gangs or have that kind of mentality. We tend to exist in little pockets, often leaving each other alone. It would be 30 years before any member of The Black Dog talked to Cabaret Voltaire. Sure, we'd stood outside their practice room as kids, trying to listen in, but never felt any reason to approach. Sheffield is like that. Once we had the first two tracks of the Black EP, we set off to see Jon at Do It Theesen, where he manually cut the tracks to an extremely limited set of 7" singles using a vinyl lathe. It just felt right to go back to the old ways; a small gang creating something special in workshops and sheds . . . We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines. Pretty much every band started this way. Depeche Mode travelled to the studio on the London Underground for their first appearance on Top Of The Pops, all lugging a synth each. That's how we approached the creation of this album; stripped back, raw and minimal -- it just felt so right. And then there's the competitive element that was influenced when the original Human League split and became Human League MK II and Heaven 17. Both continued to use the same studio to write what became the albums Dare and Penthouse and Pavement. There is something about that drive that is very Sheffield, just making stuff and hoping everything falls into place..."
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3x12"
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DUST 110LP
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3x12" version. Music for Real Airports is a series of exciting live art events and installations in art galleries/spaces that are artistic response to the reality of occupying the semi-public space of an airport, and a contemporary reply to Brian Eno's work from the '70s. Produced by musicians and artists with an international reputation -- the Black Dog and Human -- the project will portray airports as they really are, rather than idealized utopian vision of what they should be. Combining performances of electronic music and live-mixed animation and digital video projected on multiple screens, Music for Real Airports will be a unique, immersive experience that will draw in new audiences to art galleries.
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CD
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DUST 110CD
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Music for Real Airports is a series of exciting live art events and installations in art galleries/spaces that are artistic response to the reality of occupying the semi-public space of an airport, and a contemporary reply to Brian Eno's work from the '70s. Produced by musicians and artists with an international reputation -- the Black Dog and Human -- the project will portray airports as they really are, rather than idealized utopian vision of what they should be. Combining performances of electronic music and live-mixed animation and digital video projected on multiple screens, Music for Real Airports will be a unique, immersive experience that will draw in new audiences to art galleries.
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CD
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DUST 095CD
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"We've always worked apart. For us, it's nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn't possible during the pandemic. This isn't necessarily a bad thing; on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we've been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practiced and the skills need to be attained. Like music, it's a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book Brutal Sheffield provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bréton brut!" Features Oliver Ho.
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CD
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DUST 087CD
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The Black Dog on Fragments: "Fragments was a completely new way of working for us. We've always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined. It's a formula we've used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our supporters rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we'd try a few things and ask for feedback. Fragments was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting. And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realized we could re-organize and remaster the individual tracks into a coherent album, capturing a specific moment in time and drawing a line under the first phase of the project. Like our Allegory EPs, we've tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time. Fragments is our journey through many changes, both self-imposed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it."
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LP
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DUST 055LP
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LP version. It's a funny old world, and yet again, The Black Dog have provided the soundtrack. Our fast-approaching dystopia has been envisioned and documented by the band for decades. Now, The Black Dog's two new albums, Post-Truth (DUST 054CD/LP) and Black Daisy Wheel, translate their growing horror into some of their most accessible and impactful music, translating our manufactured reality into high-energy dancefloor constructions on Post-Truth, and reflective ambient excursions on Black Daisy Wheel. Long familiar with the tropes and pitfalls of esoteric undergrounds, in both the pre- and post-internet eras, The Black Dog have ventured deep into contemporary conspiratorial cultures with a trenchantly critical eye. In the '80s, conspiracy theories were a tonic for a skeptical mind, a stimulant to agile thinking. Today, they have become the stock in trade of mainstream political influence. The scene has morphed into a rabbit hole where nothing is "really" real, everything is a hoax, and everyone is out to get you. The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. Arguing against proven science is a part of the entry criteria, and willful pedantry its standard currency. The impact on mental health is corrosive: fear, uncertainty, and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. Auto-suggestion is rife, where willing victims drink bleach (MMS) at the behest of YouTube videos, flat-earthers are taken seriously, and the manufactured fearful believe they are being gang-stalked for finding monsters on pixelated screens. The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away. You couldn't make it up, even though that is exactly what the conspiratorial fringe (now one sharp corner from the mainstream) always do. As soon as you start engaging with people in the so-called "truth movement", one minute it's painful, but the next can be genuinely funny; these are people who are both on edge and upon the edge of a larger social and political reality that, for worse and for (even) worse, defines our times. Hence these two very different albums. Black Daisy Wheel is reflective, often intense, frequently compassionate; while Post-Truth was written while The Black Dog was fully engaged with people whose paranoia was in full swing. Welcome to our disinformation. "Tell Me What You Remember" features Emika.
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LP
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DUST 054LP
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LP version. It's a funny old world, and yet again, The Black Dog have provided the soundtrack. Our fast-approaching dystopia has been envisioned and documented by the band for decades. Now, The Black Dog's two new albums, Post-Truth and Black Daisy Wheel (DUST 055CD/LP), translate their growing horror into some of their most accessible and impactful music, translating our manufactured reality into high-energy dancefloor constructions on Post-Truth, and reflective ambient excursions on Black Daisy Wheel. Long familiar with the tropes and pitfalls of esoteric undergrounds, in both the pre- and post-internet eras, The Black Dog have ventured deep into contemporary conspiratorial cultures with a trenchantly critical eye. In the '80s, conspiracy theories were a tonic for a skeptical mind, a stimulant to agile thinking. Today, they have become the stock in trade of mainstream political influence. The scene has morphed into a rabbit hole where nothing is "really" real, everything is a hoax, and everyone is out to get you. The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. Arguing against proven science is a part of the entry criteria, and willful pedantry its standard currency. The impact on mental health is corrosive: fear, uncertainty, and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. Auto-suggestion is rife, where willing victims drink bleach (MMS) at the behest of YouTube videos, flat-earthers are taken seriously, and the manufactured fearful believe they are being gang-stalked for finding monsters on pixelated screens. The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away. You couldn't make it up, even though that is exactly what the conspiratorial fringe (now one sharp corner from the mainstream) always do. As soon as you start engaging with people in the so-called "truth movement", one minute it's painful, but the next can be genuinely funny; these are people who are both on edge and upon the edge of a larger social and political reality that, for worse and for (even) worse, defines our times. Hence these two very different albums. Black Daisy Wheel is reflective, often intense, frequently compassionate; while Post-Truth was written while The Black Dog was fully engaged with people whose paranoia was in full swing. Welcome to our disinformation.
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CD
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DUST 055CD
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It's a funny old world, and yet again, The Black Dog have provided the soundtrack. Our fast-approaching dystopia has been envisioned and documented by the band for decades. Now, The Black Dog's two new albums, Post-Truth (DUST 054CD/LP) and Black Daisy Wheel, translate their growing horror into some of their most accessible and impactful music, translating our manufactured reality into high-energy dancefloor constructions on Post-Truth, and reflective ambient excursions on Black Daisy Wheel. Long familiar with the tropes and pitfalls of esoteric undergrounds, in both the pre- and post-internet eras, The Black Dog have ventured deep into contemporary conspiratorial cultures with a trenchantly critical eye. In the '80s, conspiracy theories were a tonic for a skeptical mind, a stimulant to agile thinking. Today, they have become the stock in trade of mainstream political influence. The scene has morphed into a rabbit hole where nothing is "really" real, everything is a hoax, and everyone is out to get you. The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. Arguing against proven science is a part of the entry criteria, and willful pedantry its standard currency. The impact on mental health is corrosive: fear, uncertainty, and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. Auto-suggestion is rife, where willing victims drink bleach (MMS) at the behest of YouTube videos, flat-earthers are taken seriously, and the manufactured fearful believe they are being gang-stalked for finding monsters on pixelated screens. The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away. You couldn't make it up, even though that is exactly what the conspiratorial fringe (now one sharp corner from the mainstream) always do. As soon as you start engaging with people in the so-called "truth movement", one minute it's painful, but the next can be genuinely funny; these are people who are both on edge and upon the edge of a larger social and political reality that, for worse and for (even) worse, defines our times. Hence these two very different albums. Black Daisy Wheel is reflective, often intense, frequently compassionate; while Post-Truth was written while The Black Dog was fully engaged with people whose paranoia was in full swing. Welcome to our disinformation. "Tell Me What You Remember" features Emika.
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CD
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DUST 054CD
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It's a funny old world, and yet again, The Black Dog have provided the soundtrack. Our fast-approaching dystopia has been envisioned and documented by the band for decades. Now, The Black Dog's two new albums, Post-Truth and Black Daisy Wheel (DUST 055CD/LP), translate their growing horror into some of their most accessible and impactful music, translating our manufactured reality into high-energy dancefloor constructions on Post-Truth, and reflective ambient excursions on Black Daisy Wheel. Long familiar with the tropes and pitfalls of esoteric undergrounds, in both the pre- and post-internet eras, The Black Dog have ventured deep into contemporary conspiratorial cultures with a trenchantly critical eye. In the '80s, conspiracy theories were a tonic for a skeptical mind, a stimulant to agile thinking. Today, they have become the stock in trade of mainstream political influence. The scene has morphed into a rabbit hole where nothing is "really" real, everything is a hoax, and everyone is out to get you. The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. Arguing against proven science is a part of the entry criteria, and willful pedantry its standard currency. The impact on mental health is corrosive: fear, uncertainty, and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. Auto-suggestion is rife, where willing victims drink bleach (MMS) at the behest of YouTube videos, flat-earthers are taken seriously, and the manufactured fearful believe they are being gang-stalked for finding monsters on pixelated screens. The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away. You couldn't make it up, even though that is exactly what the conspiratorial fringe (now one sharp corner from the mainstream) always do. As soon as you start engaging with people in the so-called "truth movement", one minute it's painful, but the next can be genuinely funny; these are people who are both on edge and upon the edge of a larger social and political reality that, for worse and for (even) worse, defines our times. Hence these two very different albums. Black Daisy Wheel is reflective, often intense, frequently compassionate; while Post-Truth was written while The Black Dog was fully engaged with people whose paranoia was in full swing. Welcome to our disinformation.
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CD
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DUST 051CD
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We live in dangerous times. We are blinded by control vectors that separate us from reality. And British electronic group The Black Dog returns with a viral antidote: an album of deprogramming material that they've called Neither/Neither. It continues the work they started with Further Vexations (2009) and Radio Scarecrow (2008). Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation totally exposed, mocking our impotence, yet complete in their power. We are all proles now; all are expected to maintain a mental state of neither/neither, of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else's script. We are surrounded and occupied by systems of platitude-generation that are empty and self-referential. All is surface and all is hollow. From the Tories' election propaganda to David Icke, they're all the same, all meaning filtered to nothing by a lack of substance, science, and humanity. Falsehood becomes reason, no matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer. False prophets and the modern-day snake-oil-salesmen parade their viral vampirism, grasping for our time, money, and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic; repeat pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumors become truth, then they become action and policy that in the cold light of the day make no sense at all. No one's sure where they heard it but they have. The spectral offer of change sustains the stasis of confusion. They spin us on the ball of confusion on which we live; it continues to turn and as long as they have us in a state of neither/neither they will always maintain control. Fight back! Neither/Neither shows the world The Black Dog is reflecting.
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2LP
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DUST 046LP
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Application have selected some of their favorite artists to remix their album System Fork (DUST 041CD/LP). Each artist selected their favorite track and were given the freedom to do what they wanted with the track. Application explain: "We went to see Pye Corner Audio in Sheffield, the table was festooned with equipment that looked like it has just been dropped out of a toy box. We immediately liked him. Beneath is so clever with the way he organizes his beats, we had to invite him to be part of this project as we've loved everything he's released. Geiom's approach and ear for detail has always been attractive to us and we really wanted to hear what he'd do with one of these tracks. We knew he would create something different that we wouldn't do ourselves. Scanner has been a good friend over the years and we've been closely following the very different path he's taken, he's always doing something we'd never have thought of, so we had to get him involved. We're big fans of Russell Haswell's work and have always enjoyed watching him work live, it's as if he's trying to put something back together while it's melting! Sometimes we don't understand what Mark Fell is doing but we always enjoy the experience. He drags you further and further into his world and not many artists can do that. These are our reasons."
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2LP
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DUST 041LP
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Double LP version. System Fork was designed around the principle of itamae, where every detail was described and thought about before any work in the studio was done. This process took two years before a set of rules and principles were fully realized for the creative process in the studio. Working with Human and Shaun Bloodworth, Application also applied more design aesthetics to artwork, videos and photographs, which will become the prototypes for a live show with video. Application are Martin and Richard Dust.
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CD
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DUST 041CD
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System Fork was designed around the principle of itamae, where every detail was described and thought about before any work in the studio was done. This process took two years before a set of rules and principles were fully realized for the creative process in the studio. Working with Human and Shaun Bloodworth, Application also applied more design aesthetics to artwork, videos and photographs, which will become the prototypes for a live show with video. Application are Martin and Richard Dust.
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12"
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DUST 037EP
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Living and working in Sheffield, UK, you can't help but notice that you are living beside some heavy industry -- this was the very heartbeat of the city before Thatcher decided otherwise. This is a stubborn place, and it doesn't give up without a fight and its heart is still beating loud. The Darkhaus tracks are somewhere between Detroit and Chicago, but it's also its own twisted thing, called techno. Remix by Regis.
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