Forty Five Minutes Of Colourbox

A few days ago I posted Colourbox's Tarantula and the wonderful Pandit Pam Pam v Darkinari cover version of it (out two days ago here). Eduardo sent me this video he made on Friday, filmed on the forty five minute flight between Sao Paulo and Rio. 

Today's forty five minute mix is some Colourbox tracks thrown together/ skillfully sequenced, a celebration of a band who threw soul, reggae and dub, electro, industrial and sampling together into a big stew and came up with some genuinely pioneering records between 1982 and 1987.

Some biographical details first.  Colourbox were formed in London in 1982, brothers Martyn and Steve Young, Ian Robbins and singer Debion Currie. Currie and Robbins left a year later, after the first single was released (Breakdown/ Tarantula) and singer Lorita Grahame joined. They signed to 4AD, a street counterpoint to the ethereal, indie/ gothic sounds of the rest of the 4AD line up (Cocteau Twins, Dead Can Dance, This Mortal Coil) and released three albums, all called Colourbox, and a slew of great singles. In 1987 Colourbox and AR Kane collaborated as M/A/R/R/S and between them, despite a rather difficult studio relationship, created an international hit- Pump Up The Volume. Pop star fame and long running legal bother over Pump Up The Volume and sample clearance led both Martyn and Steve Young to abandon Colourbox. 4AD issued best ofs and  box sets and in 2000 Andrew Weatherall included them on his 9 'O' Clock Drop compilation. Steve Young died in 2016. 

Forty Five Minutes Of Colourbox

• Looks Like We're Shy One Horse
• Baby I Love You So (12" Mix)
• Breakdown
• Say You (12" Mix)
• Edit The Dragon
• Tarantula
• The Official Colourbox World Cup Theme
• Arena II

Looks Like We're Shy One Horse, packed with gun shots and Spaghetti Western samples, was the B-side to Colourbox's 1986 Baby I Love You So single. The slowed down dub section at the end is genuinely thrilling after six minutes of drum machines, guitars, keys, samples, river dredging bass and South London via the Great Plains.

The A- side was Baby I Love You So, a cover of a Jacob Miller and Augustus Pablo song from 1974. King Tubby Meets Rockers Uptown was constructed around the dub version of it. Colourbox's cover is a dub version it its own right, a masterful and superbly produced slice of 80s British street sounds with a bassline that you could chew. 

Breakdown was Colourbox's debut single, released in 1982 with Debian Currie on vocals. Tarantula is industrial synth with a detached, numbed vocal. Breakdown is New Wave synthpop, a very of its time song but one that should be better known than it is. 

Say You was a 1984 single, a cover of a U- Roy song from 1976, one of those reggae songs that has a complicated back story with umpteen versions, dubs and covers. Colourbox's version is sweet 80s electro dub- soul. 

In 1985 Colourbox released their first full length album- Colourbox (a mini- album called Colourbox came out two years before). It included Just Give 'Em Whiskey which I wanted to include here but couldn't find a digital version and a cover of Keep Me Hangin' On, the Motown classic. William Orbit plays guitar on Manic. The first 10, 000 copies with a second album, also called, wait for it Colourbox. The mini- album had versions and tracks extra to the first including Edit The Dragon, an electro/ sample piece that in some ways sounds like one of Pump Up The Volume's origin stories. Arena II is a different version of Arena, a mid- 80s soul/ torch song that could have been huge. 

Official Colourbox World Cup Theme was a 1986 single released on the same day as Baby I Love You So. The track was recorded to coincide with the 1986 Mexico World Cup and was nearly chosen by the BBC as the theme music for their coverage. It is Martyn Young's favourite Colourbox song and came in a sleeve that had Jimmy Hill on one side and Bobby Robson on the other. England went to the 1986 World Cup, managed by Bobby Robson and Jimmy Hill was the anchor in the studio- they reached the quarter finals where they lost to two pieces of Diego Maradona audacity. 

Tarantulas

I've written about the music of Pandit Pam Pam several times previously. Pandit Pam Pam is the name Eduardo Ramos uses for his music a style he describes as 'unsettling punky ambience' but it goes way beyond whatever you might think that sounds like. 

Eduardo lives in Sao Paulo, is inspired by European electronic music but is also obviously very much affected by Brazilian and south American music- those two influences combine to give his music very distinct sound and flavour. At the start of January he released a two minute track called Pause Rafraichissant, a soundscape that fades in with some ambient drones and synth FX, a very subtle and detailed track that you can listen to in two ways- you can let it wash over you as a background ambiance, a calming audio presence or really listen to it, paying attention to the small changes in pitch and tone and the static that replaces it at the end. It's at Bandcamp here. 

It has recently been carnival in Brazil, the Mardi Gras celebration that marks the beginning of Lent. Eduardo's wife Bianca and young children developed a love for an old song by Olodum, Farao Divindade Do Egito, a song about ancient Egyptian pharaohs and spirits. Eduardo took the song his family were dancing to and did an edit, turning it into 'a dark, Balearic, dubby dream'- his words and I can't find any better way to describe it. The Pandit Pam Pam Deep Into The Bowel Of A Dub is at Bandcamp here. It's an infectious and affecting listen and a bit of a groover too. 

Eduardo's on a roll at the moment- out tomorrow is a new track he's done as Pandit Pam Pam together with Darkinari, a cover of a Colourbox song, Tarantula. The Pandit Pam Pam/ Darkinari version is a treat, a deep dub bassline and wandering trumpet doing a dance, entwined and interlocked, the bassline descending, the trumpet weaving. Eduardo says that it was inspired by Andrew Weatherall, that he keeps making tracks that he'd like to have played for him, hoping for some kind of cosmic validation from the man. I think that if Andrew were alive, he'd have played Tarantula on his much missed NTS show. Find it at Bandcamp- I love it, it's highly recommended. 

There's another new one, Familinea, lined up for a March release, a six minute ambient beauty but we'll come back to that nearer the time. 

Colourbox's original version of Tarantula came out in 1982, their debut single along with Breakdown on the A- side, on 4AD. It was reworked the following year with producer Mick Glossop. Vocals on both versions were by Debian Currie who left in '83, replaced by Lorita Grahame. Tarantula is post- punk/ synthpop, drawing from their love of reggae and dub and also industrial synth music, dystopic dub disco with a numbed out vocal from Debian. It was later covered by 4AD supergroup This Mortal Coil. 

Tarantula

Colourbox went onto make a load of great records- their 1986 dub/ soul single Baby I Love You So and it's B-side Looks Like We're Shy One Horse are 80s peaks (and both much loved by Mr Weatherall), their 12" Official World Cup Theme/ Philip Glass single is a good one. Their self titled album, a 1983 mini- album and a 1985 full length one, both contain much to enjoy and in 1987 they joined forces with AR Kane for a one off  single as M/A/R/R/S, Pump Up The Volume, a seminal moment in UK sample/ dance music culture. 

Forty Minutes Of Music For Sunday

Today's mix is just some music that seemed to fall together well. I was rediscovering some tunes from five years ago, some of them by ambient/ Balearic duo Seahawks*, and started weaving them and some much more recent tracks into one piece. No theme, just some music, mainly ambient or in the ambient area, I like and that strikes a chord with me right now. 

Forty Minutes Of Music For February 2026

• Seahawks: Islands
• Kevin McCormick: Passing Clouds
• Hawksmoor: Storm Bird- Storm Dreamer
• Le Carousel: Echo Spiegel (Psychedelic Mix)
• Private Agenda: Malanai Ascending (Seahawks Remix)
• Thurston Moore: Asperitas
• Boards Of Canada: Olson Version 3 (Peel Session)
• Olodum: Farao Divindade Do Ogito (Pandit Pam Pam Deep Into The Bowel Of A Dub)
• Maria Somerville: October Moon

Islands is from Seahawks 2014 album Paradise Freaks, a beautiful piece of music that comes in at under two minutes long but which says and suggests so much in that time. It's the final track on Paradise Freaks, a short closer after an hour of longer tracks that seems to sum the whole album up. 

Kevin McCormick is a guitarist from Manchester, who should be better known than he is, whose early 80s recordings were recently re- issued and who plays on the 12" from Arrival that came out on Before I Die last month, a highly recommended release. Passing Clouds is from October 2024, a guitar meditation on sky watching.

Hawksmoor's Am I Conscious Now? will be out on Before I Die soon and is going to be one of the best ambient releases of 2026. Last year a two track EP called Life Aboard The International Space Station came out, reprising two unreleased tracks from 2021- one of them was this one, named after a JG Ballard short story. Storm Bird- Storm Dreamer is several guitars, acoustic and electric, playing together.  

Le Carousel is Phil Kieran from Belfast. Next month he's going to release one of 2026's best post- Weatherall/ electronic albums, The Humans Will Destroy Us. Last year's WE're All Gonna Hurt was a big tune round Bagging Area way and Echo Spiegel came out right at the end of last year. Phil's own Psychedelic Mix is an ambient/ psychedelic journey, four minutes of beatless, floaty, slightly trippy synths that spin further and further with each passing bar.

Private Agenda are a duo split between London and Amsterdam. Their six track mini- album Submersion came out in May 2021- remixes of material from their Ilse de Reve album. Seahawks created something spectacularly otherwordly with their remix of Malanai Ascending. Malanai it turns out is a gently cooling breeze found in coastal parts of Hawaii which makes perfect sense when you listen to the music. 

Thurston Moore's Asperitas came out last Monday, a ten minute guitar instrumental with drum machine taken from a six track album of instrumentals based on the skies as seen in England, wales and Ireland. All six tracks are named after types of cloud. Asperitas is a total joy, thudding primitive drum machine and Thurston's chilled, repetitive and evocative guitar parts. 

Now I'm looking at the tracks I've chosen for this mix and wondering if there is a theme after all, one I wasn't even aware of as I was pulling the tracks together- islands, clouds, skies, storms, breezes... 

I've been on a Boards Of Canada binge recently and their Peel Session, released by Warp in 2019 but recorded for Peel back in 1999, has been on repeat. Olson is one of four tracks from the session, the one that made the most sense in this mix.

My friend in Sao Paulo Eduardo records as Pandit Pam Pam and has been featured at this blog several times. Last month he sent me two new tracks, one out at the end of the month and also this one, an edit of a song celebrating the Pharaohs and deities of ancient Egypt. Eduardo said his wife was listening to it and his kids loved it too and it drew him in, and with carnival approaching he did a new version, something dark, danceable and dubby. Mardi Gras is on Tuesday next week, 17th February, and the carnival started over this weekend- it seemed apt to put it into this mix.

Maria Somerville's album Luster came out last year and I slept on it a bit, not really appreciating it, or just giving it enough time, until recently. It's an album inspired by the mythic and the real, the wild coastal landscape of Connemara, Ireland, a mystical swirling record that blurs ambient, early 80s 4AD and dreampop. Another subliminal nature nature- how strange that this only became apparent after pulling the tracks together and I began writing about them.

* Maybe this was subliminal influence from the Superbowl, not a sporting event I take any interest in, but Seattle Seahawks were in the Superbowl- the final I think we call it in most other sports- and they beat the New England Patriots 29- 13. I didn't know that until I looked it up. The main interest in the Superbowl from my end over here was that trump didn't go 'because it was too far away', and the half time entertainment was by Bad Bunny who sang entirely in Spanish (he's from Puerta Rico) and this was widely viewed as an anti- Trump, anti- MAGA performance especially when he announced 'I love America' and began listing countries from South, Central and North America while his dancers carried their flags. Trump predictably said that it was, 'absolutely terrible, one of the worst EVER!' and added 'no one understands a word this guy is saying'. Trump is a cunt.

An Hour Of 2025 Dub/ Dance

A follow up to my New Year's Eve mix which was an ambient/ downtempo and largely instrumental hour of music. This one starts out dubby and then heads in Balearic and dance directions, getting increasingly thumpy with a three tune Belfast detour before finishing with the voice of Andrew Weatherall. As maybe all mixes should. 

There were a lot of things that I couldn't find room for here, not least Four Tet's Into Dust (Still Falling)- maybe there's time for one more 2025 mix next Sunday to see that year out. 

An Hour Of 2025 Dub/ Dance

• Adrian Sherwood: Spaghetti Best Western
• Soft Cotton County: The Future's Not What It Used To Be (Justin Robertson's Five Green Moons Remix)
• Rude Audio: No Sleep
• Escape- Ism: Last Of The Sellouts
• Daniel Avery ft. Cecile Believe: Rhapsody In Blue
• Jezebell: Movimento Lento
• Puerto Montt City Orchestra: ...And We'd Be So Happy
• Pandit Pam Pam: The Senator
• Le Carousel: We're All Gonna Hurt
• Factory Floor: Tell Me
• Black Bones: Voodoo
• The Light Brigade: Shuffle The Pack

Adrian Sherwood's The Collapse Of Everything was one of my favourite albums of 025, a solo album that becomes a mystical sonic adventure, Sherwood reaching out from dub into soundtrack territories and beyond. Spaghetti Best Western's guitars are worth the price of entry alone. 

Soft Cotton County's Coward Of The County Fair came out in January 2025, a single backed with a pair of Justin Robertson dubs (wearing his Five Green Moons hat- and the Five Green Moons Moon 2 album should have showed up here too). SCC are an indie/ dreampop/ shoegaze duo from Richmond- upon- Thames. This is lovely, laid back folk/ dub. 

Rude Audio are a South London dub/ dub techno specialists under the leadership of Mark Ratcliff. The Strange Phenomenon EP was a 2025 highlight, premium grade Dulwich dub. 

Escape- Ism's The Charge Of The Love Brigade was one of my 2025 peaks, a ten song trip inside Ian Svenonius' world, the last man in the business to sell out. 

Daniel Avery and Cecile Believe's Rhapsody In Blue was the most 80s teen drama, pop moment on Tremor (and came with a Midnight Version too, dirtier and tougher). It still hits the right spots now, six months after its release.

Jezebell's second album, Jezebellearic Beats Volume 2, pulled together some further remixes and productions together with some new material- this track, Movimento Lento, and the closer Turn It Yes, were a perfect pair of bookends. 

Puerto Montt City Orchestra's ...And We'd Be So Happy came out on Brighton's Higher Love label, the home of many fine modern Balearic releases. A spoken word family trip to the seaside in the pouring rain. 

Pandit Pam Pam is from Sao Paulo and makes uneasy ambient music. The Senator is the most dancefloor friendly thing in the Pandit Pam Pam back catalogue, dynamic and lively but still a little unpredictable and the horn that floats above the drums is a thing of beauty. 

Le Carousel is Phil Kieran from Belfast. We're All Gonna Hurt is full on, pulsing, electronic dance music, uplifting but shot through with heartbreak, like all the best dance music is. 

Factory Floor's 2025 return saw them come back with more bone shaking beats and face melting synths, on a pair of singles, Tell Me and Between You. Stephen Morris added some drum programming touches to Tell Me. Experimental, machine music with a random human heart. 

Black Bones are also from Belfast. They released an album across a variety of vinyl formats, dark industrial basement music- acidic, technoid, dubbed up Belfast rave. 

The Light Brigade are David Holmes and Keith Tenniswood. Shuffle The Pack is a righteous acid house record, a call to arms and positivity and very much part of Holmes' 'music as an act of resistance' vision that fades out leaving Andrew Weatherall's voice talking about music, smoke, coloured lights and acid house as gnostic ceremony. 

Natal

My contact in Sao Paulo, Brazil, Eduardo, sends me music from his Boston Medical Group label along with updates from his life. He records as Pandit Pam Pam and at the start of this year released Dot, experimental ambient music recorded on modular synths (on at least one occasion with his infant son Diogo asleep in his arms). 

In April Pandit Pam Pam released a single track, The Senator, a track that moved towards the dancefloor, the modular synths joined by a drum track and a lovely trumpet, three different sounds converging into a unified whole. Inventive and totally hypnotic, a 2025 highlight, a treat from Sao Paulo. Go on, listen to this...

In November he put out Newsun, an album fusing field recordings and ambient sounds using analogue synths and Ableton. Pandit Pam Pam's tagline is 'unsettling punky ambience' and that's definitely part of the story and the sound. 

Pandit Pam Pam has released an ambient Christmas EP for the last three - Equipe Exploratoria Papai Natal I, II and III. Volume IV came out yesterday, four tracks for an ambient Christmas. 

Italian Brain Rot Xmas sounds like it was recorded live in a busy shopping centre, a busker with an organ annoyingly close by. A minute in Eduardo's modular synth sounds weave their way in and we're onto more familiar ground, analogue ambience, rising and falling notes, ticking echoes, whispers and space. 

More Christmas music should sound like this.  

The second track is Unconditional Love, a shorter piece, only three minutes long, minimal synth notes and some light background drone. Christmas Arrived (Theme) is an interlude, just forty seconds, the self service machine at the checkout having a pre- Christmas breakdown. Santa Sitting On The Kerbside Wondering What's Next finishes the EP off, three minutes of synths and a heavy background thump that fades out into bubbling water and bird squawks. For Pandit Pam Pam, Christmas is whatever you want it to be. 

Equipe Exploratoria Papai Natal IV is here. 

Newsun

Pandit Pam Pam's latest album, Newsun, came out last Friday. The ten tracks on Newsun are an ambient treat, a beguiling and hypnotic blend of field recordings and ambient synth sounds, analogue and digital merged and layered. The opener, Diogo Crying, starts off with the sound of Eduardo's infant son and the wind and then piano chords gradually work their way in. Jun 14th is lovely experimental ambient (and coincidentally my daughter's birthday). Halfway through a drum machine pitter- patters in as gentle guitar chords descend. Khords has reverb FX, synths and street sounds- traffic, voices, the outside world and music brought together. 

Lullaby For Lara is the sound of being half asleep, with repeating melodies dancing about. Closer, Peter and Beijo all sound like ideas that became sound sketches and then became tracks- there's an immediacy to them and the sense that you're listening to the world passing by. The album's final track is also the longest, Pascoa, almost eight minutes of gorgeous, slowly unfolding ambience, music that captures the passing of time, daybreak and sunrise. You can listen and buy Newsun at Bandcamp. 

Twenty One Minutes Of Two Minute Tracks

I had an idea that I would do a Sunday mix of all those short electronic/ ambient tracks that appear on albums, the intros and outros, the bridging tracks, found sounds, brief ambient pieces and short one minute ideas that never got worked up into a full track but that the artist clearly liked. I realised that to make it forty minutes long would require at least twenty tracks and time constraints this week meant that I started the mix but haven't got anywhere near forty minutes- it's just shy of twenty one minutes, fourteen tracks from a variety of sources. I need to give it more thought really and gather together some more and either do a part two or expand this one out but in the meantime, here it is...

Twenty One Minutes Of Two Minute Tracks

I decided early on that two minutes was the cut off (although there are a couple here which just tip over that time). I was going to go totally beatless but that didn't work out. It's almost completely without vocals too. I wasn't sure it all worked but playing it back last night I was pretty happy with it. An expanded edition/ part two is definitely on the cards. 

• A Man Called Adam: Easter Song (Gospel Oak FX)
• Two Lone Swordsmen: Tiny Reminder No. 1
• Four Tet: This Is For You
• Sewell And The Gong: MYND
• The Orb: Snowbow
• Ultramarine: A Year From Monday
• A Man Called Adam: Easter Song (Hi- Tech)
• M- Paths: Calm
• Polypores: Mystery Energy Score
• Aphex Twin: Avril 14th (reversed music not audio)
• Pandit Pam Pam: Interludio
• Daniel Avery: First Light
• Sydney Minsky Sargeant: Intro
• Andrew Weatherall: Intro

A Man Called Adam's Easter Song is one of their best, a triumphant piece of optimsitc, life affirming Balearica. In 2017 the duo put out a special edition on Bandcamp to celebrate the song's 20th birthday which came with two new very short versions, the found sound intro of Gospel Oak FX and the ambient with beats of Hi- Tech. Both appear on this mix. 

In 2000 Two Lone Swordsmen released their electronic triple disc opus Tiny Reminders, Weatherall and Tenniswood's pursuit of  techno/ bass purism followed through to its end. Each of the three disc opened with a burst of static/ quiet noise called Tiny Reminder and numbered 1, 2 and 3. 

Four Tet's Sixteen Ocean's was a 2020 highlight, three sides of vinyl that soundtracked those early days of lockdown in March/ April 2020 of that year. This Is For You is one of five short tracks on it- the others are Hi Hello, ISTM, 1993 Band Practice and Bubbles At Overlook 25th March 2019- any/ all of which I was going to include here and didn't.

Sewell And The Gong's Patron Saint Of Elswhere is one of my favourite albums of 2025, a Balearic  folk/ motorik beauty with MYND a short one minute fourteen seconds of sound sandwiched between much longer excursions. 

The Orb tend to do long tracks. Snowbow is from 2005's Okie Dokie It's The Orb On Kompakt, an album I only found recently and have been enjoying. Snowbow is the closing track, two minutes and fourteen seconds.

A Year From Monday gave me the idea for this mix. It's on an album of Ultramarine recordings from 1997/ 8 that sat unreleased until this year. I posted it a few Monday's ago and listening to it in the car I wondered how it would work with a load of other very short tracks around it. 

M- Paths' Calm was on their album Hope, released on Mighty Force in 2023, a rippling melody line and drums. 

Polypores released an album in June, Cosmically A Shambles. I posted a song from it on Friday. The slightly hyperactive and bleepy Mystery Energy Score is in the middle of the album and this mix. I couldn't decide if its energy was a good change of pace or not and nearly took it out. In the end I thought it just about worked.

Aphex Twin's Avril 14th is his most streamed track, a Satie like piano piece smothered in reverb. THis version, the music reversed not audio version, is from user18081971's Soundcloud page, widely acknowledged to be Richard D James' outlet for all manner of unreleased music. 

Pandit Pam Pam is from Sao Paulo, Brazil. Interludio is from Dot, an EP from January this year, six tracks recorded while caring for a young baby, Diogo. 

First Light is the opening track on Daniel Avery's Song For Alpha, a 2018 album that was the start of a run of outstanding albums that isn't over yet. One minute and forty seconds of wodnerful ambient drones. 

Sydney Minsky Sargeant's album Lunga came out last week, an autumn 2025 highlight. Intro is the opening track (obviously), a short ambient piece that eases us into Lunga. And out of this mix.

Andrew Weatherall's Intro was the very short first track on Convenanza. 'I seem to have got in with the wrong crowd', the voice says, setting Andrew's stall out. 

Lay Down Dot

There's lots of new music around as we head into February. I have a list in my notebook that's a page long, all of which I intend to write about here. Today's new music is a pair of releases that came out at the end of January from opposite hemispheres. First up is Eduardo, my friend from Sao Paulo, Brazil, who records as Pandit Pam Pam. His latest is a six track mini- album titled Dot. Pandit Pam Pam's previous EP, Ar, was a musical response to the poor quality of air in Sao Paulo. Dot  was originally lined up to be on that EP but Eduardo was persuaded to leave it off and make something new with Dot as the starting point. Eduardo has a young baby and his recording is to some extent built around the baby's needs as the second track- Recorded With Diogo In My Arms- makes clear. 

Dot, the title track, doesn't appear until five tracks into the EP. Shuffling drums, echo, a rippling melody on top, bags of atmosphere, and then at nearly two minutes in a female voice drifts in and out again. It's a gorgeous piece of music, calling to mind a fractured version of One Dove or Death In Vegas gone ambient. 

The rest of the EP is equally beautiful, from ambient opener Samba De Longe to the eight minute modular synth/ sleeping babe track mentioned above, the skittery ambience of Fot and even more hazy Interludio. The EP ends with Guitar 2- background buzz of static, wash of FX and picked guitar notes creating a very blissed out, blurred out track that stretches time. You can listen and buy at Bandcamp. Highly recommended for small hours and headphones listening. 

Back in the UK comes an EP from Velvett called Lay Down. Velvett are Jo Sims and Natali Williams. Lay Down starts out ambient but drums kick in and then Natali's vocal, both suggesting mid- 90s trip hop is in the ether again (Kruder and Dorfmeister were featured here only a few days ago). Slowed down late night sounds. 

There are remixes, one from Warehouse Preservation Society which toughens up the rhythms and stretches it out into something darker, and one from Dicky Continental (Red Snapper's Rich Thair) which builds slowly, drums and strings, and snatches of the original mix flitting in and out, Rich cutting from one element to another. The trip hop vibe continues. 

There's also a Velvett club mix, the Rubber Dub Club Mix which suddenly switches everything into gay disco mode, bouncing bassline, whooshes, and Hi NRG sequencers. You can find the whole EP at Bandcamp.  

Ambient Christmas

I've avoided Christmas music here this year largely but today I thought I'd treat you to an ambient mix for Christmas Eve. I said last week that for me ambient music and found sounds do carry a very wintry and Christmassy feel- the half heard conversations and hum of background noise of shops and pubs, bells and drones, and the constant half dusk of December. This mix is all of that, mostly ambient, and a little bit more. 

Forty Minute Ambient Christmas Mix

• Pye Corner Audio: A Winter Drone For Christmas
• Pye Corner Audio: Omnichord Omnishambles (At Xmas)
• Pye Corner Audio: Satan's Slay
• Durutti Column: One Christmas For Your Thoughts
• Saint Etienne: Lillehammer
• The Vendetta Suite: Christmas In Cologne
• Pandit Pam Pam: Equipe Exploratoria Papai Natal III
• Pye Corner Audio: Get Thee Behind Me Santa

Pye Corner Audio releases new music onto his Bandcamp page monthly, ambient/ drone/ acid tracks that are free/ pay what you want. Martyn Jenkins (Mr Pye Corner Audio) has recorded four Christmas tracks, all included in this mix, the opening three forming a long slow ambient fade in and the fourth a long slow drone fade out. It's worth noting that Omnichord Omnishambles was PCA's Christmas 2020 track, the omnishambles being a reference to the then chaotic government of Boris Johnson and the bewildering, populist, bullshit decision making of the government during Covid and Christmas in 2020.

Durutti Column's One Christmas For Your Thoughts is from 1981 and a compilation called Chansons Noel on Crepescule (along with other early 80s post- punk heroes such as Aztec Camera, Paul Haig, Simon Topping and Cabaret Voltaire). Vini and his guitar never sounded better. 

Saint Etienne's Xmas 2021 EP was a four track CD only release that followed hot on the heels of their I've Been Trying To Tell You album. Lillehammer is a gorgeous wintry instrumental, named after the Norwegian ski resort which hosted the 1994 Winter Olympics. The lead song on the single was Her Winter Coat, Pete and Bob's music a low key, mini- winter epic, synths and sleigh bells, and Sarah in spoken word mode. 

The Vendetta Suite is Gary Irwin from Belfast, a veteran of the city's acid house scene. In 2021 he released an album called The Kempe Stone Portal with Christmas In Cologne on it, a song that first appeared in 2019's The Wheel Turns EP. Cosmische Christmas. 

Pandit Pam Pam is from Sao Paulo, Brazil. He released an album this year which should have made yesterday's list and an EP that did, plus his third Christmas release. The Natal III EP also contains a ten minute long track that should have been on this mix but I wanted to keep it to forty minutes, the brilliantly titled Santa Crying And Depressed On 26th Because He Is Concerned About The Coming Years, As He Is Technically An Illegal Immigrant And The Political Landscape Is Changing. You can find that here. 

Happy Christmas. 

Shimmering Lights

The 12th of December is possibly leaving it late for delivering old school style acid house/ wonky techno monsters into the world but this is a time for gifts and giving and Paisley Dark are offering a brand new EP of the finest quality today- its not free, you'll have to pay for it, but its worth every penny. Ben Hunt's Shimmering Lights is deliberately nodding its head   towards classic, early 90s Underworld. The monstrous wobbling 303 bass and synapse bothering synths are one thing- the vocal sample, 'I see patterns in everything/ Everything everything', is another. Cowgirl here we come. It really kicks up and off after the midpoint, everything coming together...

Shimmering Lights comes with six remixes courtesy of Mindbender, Cosmikuro, Ben himself with label boss John Paynter, Rude Audio, Keith Forrester, and Airsine. Mindbender hits the settings marked 'sci trance'. Ben and John's Space Age Freak Out twists the original even more and adds a synth whistle. Keith Forrester strips things down for an acid techno ride. Airsine cuts the tempo for early set chug. 

The Cosmikuro remix really stood out for me, a beautifully handled trip from the a Leeds based electronic psychedelicist, found sounds taking the Shimmering Lights out into the forest, the 'everything everything' sample at the centre along with that bassline and a big old kick drum prodding onwards. Lysergic delights. The other one that I've been clicking replay on is from South London's Rude Audio remix. Rude Audio take us on a dubwise excursion in their remixes, but here Mark goes for early 90s dancefloor adverting, bringing the thump of acid house early and aiming for the lasers, the dry ice and the strobe. Rude Audio four four dub techno with timbales and 303 mayhem. Get the Shimmering Lights EP here.

Leeds to Sao Paulo is a journey of 5, 978 miles according to the internet. In Sao Paulo lives Pandit Pam Pam, a Brazilian musician/ producer who has lit up 2024 with an album, singles and remixes (by Jezebell). Earlier this week Pandit Pam Pam released his now annual Christmas single- fear not, this is no novelty Christmas song but some lovely, chilled, slightly woozy electronica. Equipe Exploratoria Papai Natal III is blissed out, southern hemisphere Four Tet and will do very nicely for winding down on a Friday night. 

Another Bagging Area Mix For Tak Tent Radio

I've done another mix for Tak Tent Radio, an internet radio station broadcasting out of Scotland for several years now and host to a wonderfully diverse and obscure selection of music. This is my twelfth mix for Tak Tent, an hour of tunes entirely music from 2024 and focussing very much on the dubwise sounds before pitching things up at the end with a pair of twisted dancefloor bangers. Listen to it at Tak Tent or at Mixcloud.

Tracklist

•          Coyote: OMG
•          Five Green Moons: One Lost Moon
•          The Jonny Halifax Invocation: The Mountain Dub
•          Richard Norris and Jon Carter: Ceefax (Jon Carter Due South Dub)
•          Puerto Montt City Orchestra: Hey You (10:40 Remix)
•          Pandit Pam Pam: Pass A Wish (Jezebell’s 50 Ways Mix)
•          100 Poems: Come, Hear Me Now
•          Fat White Family: Bullet Of Dignity (Beyond The Wizard’s Sleeve Remix)
•          Acid Klaus ft Philly Piper: Aerodromes (David Holmes Remix)

Pass A Wish And Take Me To The House

Out today on Brighton's always reliable Higher Love label is one of my favourite EPs of the summer, Pandit Pam Pam's Pass A Wish with a pair of Jezebell remixes. Pandit Pam Pam is an electronic musician from Sao Paulo whose album Camburi came out in July (and featured some guest spots from Henry Olsen, formerly the bass player for Primal Scream in their late 80s/ early 90s pomp and before that part of Nico's touring band in the 80s). I wrote about Camburi here. Eduardo, one of the two men behind Pandit Pam Pam also puts music out on his Boston Medical Group label and has sent me music from time to time, including releases by Feriasdasferias. On Pass A Wish Eduardo in Sao Paulo gets remixed by my favourite remix/ edit pair Jezebell, Jesse (in Stockholm) and Darren (in London). 

Pass A Wish is a dreamy, floaty four minutes of music, built around a fluttering rhythm and with horns hinting at its Brazilian origins and surroundings. The synths bubble away and a female voice drifts on top, somewhere between singing and talking. It nods in the direction of A Man Called Adam's 1990/ 1991 sound- yep, that good. 

The pair of Jezebell remixes both transport Pass A Wish elsewhere. Jezebell's 50 Ways Remix presumably tips its hat at Paul Simon's 50 Ways To Leave Your Lover (whose drum break has been sampled widely, not least by one Andrew Weatherall on his head spinning remix of Love Corporation's Give Me Some Love). The drums give it a funky, constant motion while the synths and voice swirl around the rhythm and the chopped up horn drops in and out. Very cool indeed. 

Jezebell's Leave Your Lover Mix is sleek and chuggy, a different rhythm and feel, more night time with handclaps and percussion leading the charge, the horn chopped up and FXed even more, everything pushed a little further into the cosmos. The Pass A Wish EP is available at Bandcamp from today. You know what to do. 

Also out today is the latest release from teenage wonderkid OBOST. Take Me To The House was one of the standouts on OBOST's debut album (released at the start of this year), a shimmering, multi- coloured slice of electronic euphoria, rising and falling synths and four four drums. On the new EP the original is reworked into Take Me To The Basement, a slowed down version with a juddering rhythm and fizzing synths. 

There's a remix too by Tronik Youth, a much beatier, more percussive version, with a no nonsense kick drum, pulsing synthlines and heading straight to the heart of the dancefloor. The EP is out today and again, available at Bandcamp. 

Camburi

My contact in Sao Paulo, Eduardo Ramos, records as Pandit Pam Pam and is head man at a record label called Boston Medical Group. A few months ago he sent me a couple of new tracks he'd recorded including one intriguingly with Henry Olsen guesting, a track called Lago...

Pandit Pam Pam often blends electronics, ambient and more organic instruments and sounds. On Lago Eduardo has perfected it, finding a sweet spot where laid back Brazilian cool, gamelan and ambient blur together. Eduardo said that Henry was top class, a joy to work with bring, and that he brought so much to the sound and the songs. 

Henry Olsen you might recall was the bass player for Primal Scream, between 1988 and 1995. He played bass on Screamadelica, the Dixie- Narco EP and Give Out But Don't Give Up as well as the self titled album they released in 1989. Before this while based in Manchester Henry played in Nico's band The Faction when on tour (a life detailed brilliantly and vividly in James Farmer's book Songs They Never Play On The Radio, an account of Farmer's time as Nico's keyboard player, while Nico lived in North Manchester). After playing with Primal Scream Henry played bass for Beth Orton. In the Classic Albums episode about Screamadelica Henry comes across as a thoughtful, articulate person, speaking highly of Denise Johnson especially. 

Pandit Pam Pam's album Camburi came out last week with Lago as one of the nine tracks. It's a lovely album, opening with the analogue ambience of Verlaine, a track followed by a second collaboration with Henry, a chilled, percussive two minutes called Failed Gamelan with some muted trumpet by Joao Sousa. Most of the tracks are fairly short, mood pieces and sketches fleshed out into songs. The longer Burroughs And Associates has dancing synths and drone waves. Joao Sousa's trumpet playing returns on Neuva, a jazz flecked fanfare with ambient synths. The final song is named after Eduardo's new born second child Diogo, Diogo's Heart, and has Hamilton Beck's wonderful, emotive lap steel guitar up front, an excursion to the recent ambient- Americana sounds of groups like SUSS and Nashville Ambient Ensemble. This sounds in some ways like it shouldn't work- ambient analogue synths from Brazil with the former bass player from Primal Scream, with trumpet, gamelan and lap steel guitar as the lead sounds- but it does, it works beautifully, a superbly cohesive and moving album. Listen and buy Camburi at Bandcamp. 

Monday's Long Songs

I've posted music from Feriasdasferias here twice this year- one release just a few weeks ago here - but make no apologies for offering you this today, a collaboration with Marcelo Gerab recorded live and then broadcast on radio in Sao Paulo. Cirurgical Cuts 54' 54'' is six long pieces, all eight minutes long except for the last one which is ten minutes. The sounds are hypnotic, rhythms and drones, repeating patterns and layers of synths, overlapping and returning, vague hints of voices dropping in and out, acres of reverb and echo, electronic lo fi dub from Brazil. By the time you get to the third part, 17'39'',  you're in so deep, so mesmerised, you have little choice but to follow it all the way through. You can listen and buy here. 

Another of Eduardo Ramos' many pseudonyms for making music in Sao Paulo is Pandit Pam Pam. As Pandit Pam Pam in July 2021 he released this track, Bondade. It was recorded in the countryside in deep summer, as Eduardo says, 'surrounded by trees and lots of sun... while looking at a small gathering of lemon trees and orange trees'. It sounds like it was too.