DJ Mad A Dr. Stevie The Ambient Guru
The Mad Vibe E.P.

Deeply moving Casio jams from central Australia…Keanu Nelson is a young Aboriginal Australian artist from the remote but artistically rich community of Papunya, northwest of Alice Springs. He paints in the Western Desert movement style, and, on this album, sings poems from his notebook over minimalist DIY Casio beats programmed by Yuta Matsumura.We heard his debut album, released last year on the local Altered States label, and were blown away. We’re happy to work with Keanu to re-issue the record on a wider scale, hopefully bringing this vital music and unique voice to (slightly) more people.Keanu wrote these songs as private poems about family, home, and loss. He was finally inspired to sing them, make them public and loudly heard, after meeting Matsumura at the Papunya Tjupi Arts Centre. Inspired by the strong local gospel scene and reggae beats passed around the community via USB sticks, they created eight haunting, seering, lonely tracks, somehow familiar yet totally new, sung in both Papunya Luritja and English. Someone said it’s like Francis Bebey meets Suicide meets a slew of home-made Soundcloud artists, broadcasting from one of the most remote places on earth. A completely beautiful and original sonic work that should not be missed!!!!creditsreleased August 30, 2024All lyrics and songs written by Keanu NelsonProduced by Yuta MatsumuraRecorded in Warumpi by Yuta MatsumuraMastered by Mikey YoungFront cover photo by Paloma PizarroFront cover text by Keanu NelsonBack cover image by Keanu NelsonAltered States Tapes (AST-150) & Mississippi Records (MRI-211)

Editions Mego: ...If you have heard any of Thighpaulsandra's previous albums, you will know that you'd best approach this record with no fixed set of expectations, because once again he changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized and Julian Cope's band (in each case arguably at the height of their creative prowess) and his work as producer and sound engineer for an even larger variety of customers, you'll find classical passages next to hard rock riffing, krauty experimental work-outs turning into super catchy, almost radio-friendly songs and more.Many adjectives have been used to describe Thighpaulsandra’s work: epic, challenging, timeless, idiosyncratic, but certainly never predictable or boring.Possibly his most rewarding album yet and a welcome and unusual entry, in the Mego catalogue, which will entertain and astonish listeners who are fond of having their mind severely altered by sound.

Pointillist club rhythms and dense, porous dub clouds encircle the Wrecked Lightship as Laurie Osborne and Adam Winchester set sail for phantom islands once more. The nocturnal boatswains chart a course guided by pronounced percussive impulses, using physicality to navigate the looming atmospheric pressure that has become their signature style.Opening tracks ‘Arial’ and ‘Third Law’ speak to the roots of Osborne and Winchester’s respective work as Appleblim and Wedge, dealing in dancefloor abstractions where techno, electro and dubstep once stood, but there’s much more at play than simple genre tags could ever express. ‘Third Law’s electro-static interference calls back to Winchester’s work in Dot Product, while the twitchy urgency and gnarly bass echoes Osborne’s ALSO project with Second Storey.Wrecked Lightship is an anchorless concern, free to drift into experimental waters if the currents surge that way, and so ‘Kill Mirror’ and ‘Hydrotower’ head away from forthright structures to play around with sound design and full-frequency manipulation. It’s too kinetic and jagged to be considered ambient, even if it willfully shirks the dancefloor. But for every starboard swerve there’s a prevailing wind, and the likes of finely-tuned club weapon ‘Take It Back’ whip ahead with laser-eyed focus.Nailing their split interests between immediacy and the avant-garde to the mast, Wrecked Lightship deepen the reach of their project on their second album. Whatever shape a specific track might take, Oceans & Seas serves as a paean to the art of sonic manipulation and spatial processing.

Lost icebergs off the arctic, hollowed out memory, an acerbic embrace.Third Space presents his first long-player via .jpeg artefacts. Venturing from previous, punchier, swinging percussion found on previous releases, the LP delivers careful introspection, experimentation, and rich conceptual development.The beatless iterations and encompassing walls of sound that stuck their heads out on earlier EPs are embraced in full here; it’s claustrophobic but space is found in the right areas. Tension and release to the nth degree, but without becoming a trope. Percussion remains, but slowed to a crawl.The release calls on memories of Ambarchi’s Oystered (as well as, notably, Grapes from the Estate) and the clicks and hums of Pan Sonic, but it’s the development past this that allows Scissor Kick to shine. The areas where intimacy is pushed through field recordings, live scattered percussion (from R.Rebeiro, as well as TS), and those subtle reminders that Third Space still has an iron-firm grasp on percussive rhythm, is where this record stands on its own solid ground. What was foggy red-roomed speaker stacks has given way to arctic tundra, vast expanse, acid rain.Layer up.~~