ArvoParty - ii

I’m an absolute fucking music dork, I saw this act name earlier in the year, summer time maybe, and fell in love with this act on the name alone. Arvo Part is one of my favourite composers ever, he’s just made some weird & ballsy decisions in his time, and I thought this act name would be a funny homage for something that sounds totally different - á la Elvis Depressedly.

I did not expect this to be arguably one of the most dynamic and sonically pleasant electronic records I’ve ever heard. I can’t articulate enough nice things to say about it without coming across as disingenuous, other than I have always aspired for my own music to be analysed by people the way I’m breaking this record down.


When this album is in the soft transitionary breaks it’s so spacious and beautiful, like you’re floating on water with subtle pitch modulations waving around you making the music feel infinite. It reminds me a lot of William Basinski at these points, for example F U R N E T E R.

But then when it hits hard it hits SO hard and you’re just overcome with groove that would win a dance floor without trouble - the intro into L I L a C a R C H would be an example. It's so dynamic, it blends acoustic instruments in such a bizarre way - I might be losing my mind but I’m pretty sure there was a 5 piece saxophone section in D a D A and it felt like I was in a cloud of bubbles that were popping around me.

Overall, it's really dancey and contemporary friendly while also being really glitched out and weird. Arvo Party - you and me baby, let’s do something together. Doesn’t even need to be making music, let’s just grab coffee. Become Friends. Go see a Nicholas Sparks movie. Whatever your poison is. I want to pick your brain.

Stand out tracks:

L I L a C a R C H

37 D E G R E E S

4s & 7s

An Eldritch Abomination are fans of...

We met with our industrial weirdos to ask them about some of their favourite records that might be a source of inspiration for their upcoming album hakmuziek (speculated for release in December) for part of our new blog series “Are fans of…”

Simply enough, we ask the act in question to put together a Spotify playlist of some of the music they’re vibing with at the moment and choose 5 releases to talk about in depth. This will be a regular addition to the blog with both rostered acts and non-rostered acts.

Oneohtrix Point Never - Russian Mind

I think Daniel Lopatin and I will always be kindred spirits, I completely independently of my awareness of his existence fell in love with the visual & auditory artifacts of the late 80’s and early 90’s, I’ve always had a fascination with the-road-less-traveled and the nations often overlooked by tourists, subsequently the far eastern Europe and the sprawling yet echo-chambered cultures prevalent there [the first track from hakmuziek is titled almaty, an allusion to Kazakhstan’s largest city], and even on a production level I find so much joy in light pitch modulations & reverb & Doppler replicating synths and soundscapes which Lopatin has everywhere in his discography, but it’s just so perfected on this record and when it gets distorted and noisy it’s still comforting and warm.

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Street Sects - End Position

The Flenser really is a label that’s consistently on the cutting edge of music across all of the styles that they offer, this record for all it’s grittiness and admittedly very “edge-lord” content is textured and dynamic in ways we’ve never encountered on another album. Most industrial tends to just be balls to the wall noise but this record seems to embrace all the short stops between it’s violence as ways to use contrast to amplify how aggressive it’s drenched-in-viscera moments are.

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ELLLL - Romance

This EP has actually done such damage to me, I think it might be my favourite techno release ever. It made me completely rethink how sampling could be done, how repetition adds to intensity, how atmosphere trumps pretty much every pretentious thing a musician might want to do with their music - albeit atmosphere is a layer of pretense. But yeah, and reading interviews with Ellen and how she approaches things with a “no one else was providing it for me so I just started doing it myself” mentality is just so inspiring. I feel like she’s at the forefront of a really important movement and we’ll look back on this in 20 years like we do a Loveless or a Pinkerton. Big talk, but yeah it comes from such a place of love. More music soon please!

Iglooghost - Neo Wax Bloom

I always thought the point of these lists was to introduce people to new music and I really feel like no one outside of The Needle Drop’s fan group is aware of Seamus’s stuff. He’s got this batshit insane lore & story associated with every release - something about humanoids called tampei’s that grow up to be witches that fuck with the tampei’s, and an inter-dimensional portal has opened between worlds letting these giant worms pass between times and spaces - I could be explaining that poorly, google it though it’s worth an investigation. But even outside of that, the music is so well crafted even his first EP was just nuts for a debut. I can’t sing this album’s praises enough. And he just loves the craft so much, he’s got dancers onstage for his upcoming EP release tour that are dressed as the characters and he’s got a custom built MIDI controller that looks like a kids toy and a DJ station that looks like an IKEA desk. The man is bonkers.

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SOPHIE - Product

I’ll always look at both of the current SOPHIE albums as being 2 hugely different artists - Product era SOPHIE who was still heavily PC Music affiliated and clearly trying to satirise pop music and consumerism, and on the other side of it there’s Oil era SOPHIE who’s very much come to terms with herself but still has all of the biting aggression. Maybe it’s just me, but listening to both records side by side they sound like vastly different artists and I think OOEPUI is just too perfect and a little less hellscapish. Not to devalue it, it’s just different. I listen to both weekly.

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An Eldritch Abomination have included 5 other tracks in their Spotify Playlist which you can check out HERE.

#1: An introduction...

A sort of mission statement for Teletext

Before we start, If you have come as far as to click into this link and read this sentence in the blog; thank you. You’re already being a part of what ensures what we and the acts on the roster do is worthwhile.

Myself, Danny, Donagh & JJ had a big chat over the weekend about what we all want Teletext to be, where we want things to be in a year - compiling a game plan basically so that we can milestone out how to get there. Luckily, we all largely had similar ideas of where that end point was.

The four of us have spent most of our lives involved in playing music in some capacity, and we just collectively decided that it's time to put equal effort into nourishing and organising the side of the experience that our skill sets align with more heavily. Myself & JJ are both writers, Donagh & Danny are both business graduates - we know people that could benefit from those skills, and us being a bridging point of the creative & the industry is in our eyes a worthwhile endeavour.

We as people have always tried to think outside the box when it comes to our own performances and we've been fortunate enough to come across lots of other people with a similar mindset. This is the main reason we wanted to create this collective and are accepting open submissions, we are always open to new ways of thinking about music and performance and we want to take every opportunity we can to encourage and nourish that outside the box thinking. It’s what anyone who decides on a day to be a musician has signed up for.

I was watching a documentary short on sculptor Tony Cragg recently and the way he boiled down why he had high hopes for a piece that at the time was just scrap Styrofoam was “I’m excited to see it, and that’s why you should do things” - it had such a terrible impression on me. I just wanted to be excited about live music again, about putting it together and getting to watch it myself. So often gigs are just 4 guys with beards & flannel shirts playing the same set in the same bar for a year or two, offering nothing outside of those same songs. I always felt slightly shortchanged as an audience member. I guess the mission statement boils down to wanting to create “artistic” events; experiences, rather than the same club night over and over and over again.

Sorry if this was a bit ramble-y, but this is the start of what will be like a digital diary of sorts - a place for the 4 of us to clear our head space and actually try to articulate to you where we’re at and what we’re thinking. Maybe monthly. Maybe not. We’re building this plane as we fly it.