{"title":"The state51 Conspiracy","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe State51 Conspiracy is a 21st Century Music Company. With a focus on innovation and creativity, they are dedicated to supporting and promoting independent artists from around the world.\u003c\/p\u003e\n\n\u003cp\u003eFounded in [year], The State51 Conspiracy has quickly become a leading force in the music industry. They offer a wide range of services including distribution, marketing, licensing, and artist development.\u003c\/p\u003e\n\n\u003cp\u003eWith an extensive roster of talented musicians spanning various genres, The State51 Conspiracy is committed to providing their artists with the tools and resources they need to succeed. 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Alongside this, Kitty Whitelaw’s forays into the deeper end of her register and the dark churns of McGivern’s double bass – strengthened by a raft of digital effects – build a crushing, nightmarish landscape. \u003c\/p\u003e","brand":"The state51 Conspiracy","offers":[{"title":"Brown LP","offer_id":50380156961099,"sku":"2213228","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/CON985LP_Sealionwoman_-_Nothing_Will_Grow_in_the_Soil_f36f2459_thumbnail_409.jpg?v=1726209722"},{"product_id":"music-for-film-tramps-and-women-against-the-bomb","title":"Music For Film: Tramps! and Women Against the Bomb","description":"\u003cp\u003eA seismic, cinematic double dose from two sonic veterans with previous in Wire, Electrelane, and Better Corners. 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Saint sees him reconnect with one of his first musical loves: heavy metal: “My cousin used to babysit me when I was six. He played me a lot of Metallica and it blew my head open; I had no idea music could do that.” He went through a teenage phase of loving Slipknot and Napalm Death and has, in more recent years, tried to capture some of this overwhelming power, in a completely unique form of music which owes just as much to experimental electronic music, English and Indian folk, sea shanties, post rock, noise and techno.\u003c\/p\u003e\u003cp\u003eOn listening to the opening track from Saint, lead single, ‘Kitab Siriyun’, a joyful life of enheavyment and riffology can be sensed. Seismic doomy riffs with processed black n’ roll drums might sit satisfyingly between the sturm of Kverletak and the drang of Neurosis but that is just a fraction of what is going on here. Buzzing analogue synths beat microtonally against one another creating the sense of marching pipes played in the Middle Ages during wartime, linking Loveridge to a deep folk past and painstakingly recorded harmonised vocals create the sense of a crew of seafarers lost on the waves singing shanties for comfort.\u003c\/p\u003e\u003cp\u003eElsewhere on ‘Prayer Slips To Mammon’ early music is reimagined as inventive alternative rock which comes from a similar place to the music of Richard Dawson, but with Loveridge unleashing his not inconsiderable skill for throat singing. The album reaches an apotheosis of harshness on ‘Saturn’ which still contains Goblin-like passages of organ-driven beauty. Featuring more infinitely harmonised vocals, ‘The Eternal Roar Of The Howling Static Void’ dares to give form to that Earth\/Lightning Bolt collaboration we’d all dreamt of but didn’t dare ask for outloud.\u003c\/p\u003e\u003cp\u003eChance lent a hand in the creation of the album. He describes how when he was ready to start on the new record last April, “I accidentally kicked my main synth down the stairs and broke it, so I ended up creating 90% of the sounds on the album using FM synthesis, a process I’d never used before.” The integration of all of his different ideas stemmed ultimately from distancing himself from outside influences as much as he could: “I forbid myself from listening to any music while writing and recording so I had no outside influence to worry about. On previous albums I'd find myself listening to Slipknot or Napalm Death and get frustrated, thinking to myself, \"Why the fuck don’t I sound like them?!\" So this time I decided to go without. This meant that what came out came out as it was, with nothing else to cast a shadow on the process.” Listen to tomorrow’s cult artist today; listen to MXLX’s \u003ci\u003eSaint\u003c\/i\u003e.\u003c\/p\u003e","brand":"The state51 Conspiracy","offers":[{"title":"CD.","offer_id":50384162914635,"sku":"2164824","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/df07172d-a8c4-b2df-de66-b95f9277da5c_85ce36b3_thumbnail_4096.jpg?v=1726289026"},{"product_id":"modern-dance-gold-vol-1","title":"Modern Dance Gold: Vol. 1","description":"\u003cp\u003eWhat happens when three inveterate unconventional music pathfinders such as Valentina Magaletti, Sarah Register, and Matthew Simms combine their experimental trajectories to form a new adventurous project interacting remotely with no predetermined direction? A clash of sounds in a stream of relentless outbursts that holds the listener captive in an untamed forest of sound occasionally brightened by glades of epiphanic breath. \u003cbr\u003e\u003cbr\u003eSet in England and in the States, between March and December 2021, \u003ci\u003eModern Dance Gold: Vol. 1\u003c\/i\u003e recounts the first sonic adventure of the trio referred hereafter for more conventional purpose as Better Corners.\u003cbr\u003e\u003cbr\u003eThis is the jagged sound-scape of a remote interaction shaping up across ether. Not much physical interaction occurred between the musicians who managed to deliver their own distillates adding organic, singular approaches to this magical pot.\u003cbr\u003e\u003cbr\u003eThe powerful merging of their multifarious background finds renewed drives throughout the eight stations that make up this impressive sonic assemblage – an undaunted secular hymn to the dreads and forethoughts that have haunted our last two years. Prepared piano, pandemic flute, melting metals, modular boxes, lavish vibes and spectral voices lead us from dreaming to waking up abruptly, modulating promises through the dark and the light for a better version of us. 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Hay is a 12 string guitarist and his style, with its penchant for unusual tunings, is all his own. His distinctive sound often comes from a desire to make his guitar sound like another instrument altogether. He engages with landscapes and their inhabitants, and while \u003ci\u003eThe Gathering\u003c\/i\u003e painted a musical portrait of Hay’s home, the scope of The \u003ci\u003eLongest Day\u003c\/i\u003e is broader. He visits America (\u003ci\u003eLeaving Chicago\u003c\/i\u003e and \u003ci\u003eMarvin the Mustang From Montana\u003c\/i\u003e) and Cornwall (\u003ci\u003eLate Summer In Boscastle\u003c\/i\u003e), but also travels inward: a heartbreaking and joyous pair of tracks - \u003ci\u003eCurlew part I\u003c\/i\u003e and \u003ci\u003eCurlew part II\u003c\/i\u003e - explores loss and grief, the circularity of time and its healing qualities. On the title track he looks both forward and back in time while recognising the importance and difficulty of living in the present. 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The audio showcases their various visions for electronic music production, exploring analogue synthesis, tape collages, voice experiments and field recordings revealing a meeting point of Western and Indian avant-garde traditions, and offering a unique insight into South Asia’s post-colonial sonic imaginary. The release is a collaborative release by Strange Attractor Press and The state51 Conspiracy and has been mastered by Hari Shankar Kishore (HVAD) with design for the release and a vinyl etching created by Shreya Aurora a recent graduate from the National Institute of Design.\u003c\/p\u003e\u003cp\u003eSide A S.C. Sharma - After the War \/ Atul Desai - Compositions \/ S.C. Sharma - Dance Music I \/ Gita Sarabhai - Gitaben's Composition \/ David Tudor - Tape Feedback with Moog \/ Jinraj Joshipura - Space Liner 2001 I\u003c\/p\u003e\u003cp\u003eSide B S.C. Sharma - Electronic Sounds Created on Moog \/ S.C. Sharma - Dance Music \/ I.S. Mathur - My Birds \/ I.S. 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The 40 minute album features a reading of the Shani's text by Molly Moody, backed with a captivating, hypnotic score for cello and electronics by Maxwell Sterling. Mastered by Rashad Becker.  Tai Shani's new solo show 'Your Arms Outstretched Above Your Head, Coding With the Angels' is currently running at London gallery, Gathering.  The Neon Hieroglyph:  a series of painterly and poetic considerations on a feminized history of the rye fungus Ergot, the chemical basis of LSD, from the author of Our Fatal Magic.  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Then came the reproduction of 12 loose leaf lyric sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to find the same paper stock? “I found out that it was made at a paper mill in North Wales called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the paper remained. However enough paper remained to allow us to produce the numbered certificate also signed by Donovan that sits within the box.” \u003c\/p\u003e\u003cp\u003eThen to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels on a reproduction from an original copy of the album while allowing it to remain a little bit faded, as it would be after half a century. 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To hear the icy IDM of ‘Grip’ rubbing up against the drone-led modern classical in ‘Sow The Salt’, and the strange sound experiments in ‘Gap of Cloud’ juxtaposed with the fractured emotion of ‘Playground Martyrs’ is to hear an artist capable of ploughing his own unique furrow through music.\u003c\/p\u003e\u003cp\u003eAlthough nine years and another glut of projects (an ambient album called A Secret Life made with John Foxx and Steve D'Agostino, an array of instrumental pieces, Jansen and Japan bandmate Richard Barbieri’s fifth album, Lumen, and the list really does go on and on) came between Slope and second album, Tender Extinction, the same restive spirit remained that first prompted Jansen to go it alone. Tender Extinction is a more meditative affair than its predecessor, one where comet tails of synthesiser stretch across a song and fathomless sonic depths simmer and roll like an ocean. 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Some of those movements are under the surface, buried purposefully low in the mix “so they can surprise you when you’re under different conditions,” as Pilkington puts it. “Like psychedelics, we like to think that people can return to the music in different moods and different frames of mind, and that different things will appear in their hearing.” It fits the cosmic experimentation that the duo have explored on previous albums such as To Kiss The Earth Goodbye and Frequency is The New Ecstasy, and acts as an adjunct to York’s previous work as part of Coil, and currently alongside Steve Davis and Kavus Torabi in The Utopia Strong.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eOf Nature And Electricity\u003c\/i\u003e is as forward-thinking as Teleplasmiste have ever been. “It’s some of the most complex music we’ve ever made,” says Pilkington. Its five tracks, only one of which is less than eight minutes in length, are all vast in scope. 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