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It reflects so many things – culture, community, fandom and the incredible bond between Radhika and her father, Sushil, the Future Pilot AKA.\u003c\/p\u003e\n\u003cp\u003eThe record spans generations and continents but its home is always Radhika and the family jams she made with Sushil in various garages, bedrooms and garden dens – her soaring voice and love of all kinds of music from Bollywood to Goth Pop to The Glasgow School. The songs are collected from memory and the immediacy of time – one goes all the way back to her 10 year old self penning Future Me, an eco anthem. In different moments other musicians appear – most notably key collaborator, Eric MacDonald, on hazy synth and keys, and Radhika’s mother Vinita, who has a gorgeous voice too. The Glasgow School is very present – Mitch Mitchell (The Pastels) , Gerard Love (Lightships\/ ex-Teenage Fanclub) and Tracyanne Campbell (Camera Obscura) all bring their casual magic to the table.\u003c\/p\u003e\n\u003cp\u003eCine-Pop, mostly made in Glasgow at La Chunky Studio with the excellent Colin McGeogh (who also contributes flute, keys and electronics) is a one-off. It’s unrepeatable – there, gone. It’s the world through the eyes of a dazzling young Indo-Scottish woman. Everything she is has gone into it, is part of it and is there for a reason. 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radio airplay.The exquisite nature of this slices of dappled pop genius is a joy to behold.”-The QuietusRose McDowall’s Cut With The Cake Knife was originally reissued in 2015 by Night School Records and Sacred Bones.Since then, Rose McDowall and her previous band Strawberry Switchblade have only grown in cult status.Following a discovery by a generation of young, disaffected kids on social media of Strawberry Switchblade and McDowall’s succeeding band Sorrow, Night School Records has remastered Cut With The Cake Knife and presents the album with a reimagined artwork that more closely recreates the original hand-made CD produced by McDowall.Cut The With The Cake Knife was recorded by Rose McDowall in 1988\/89 following the break up of her group Strawberry Switchblade.Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album.More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.Tibet opens the set and could be one of the best pop songs you’ve never heard.The innate sadness of the songs’ content – the loss of a friendship, impending sorrow – is heightened to heart-melting level by McDowall’s pop nous and melodic sensibility.Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall’s vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade’s early 80s recordings.The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was.Like the veiled melancholy of her former group’s hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations.Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.Rose McDowall’s role in the canon has always been one of an outsider.Beginning in Glasgow’s East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance.Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives.As McDowall elucidates: “They’re real sad songs, about real life.I’ve had people come up to me to say I’d connected with them and helped them.I remember a gig in America when we made a whole room cry.It was bizarre.A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying.And I thought, “that’s power.”Night School’s issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7” “Don’t Fear The Reaper.”","brand":"NIGHT SCHOOL","offers":[{"title":"LP - Black Vinyl","offer_id":53072442360150,"sku":"MRM-04241","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":53072443769174,"sku":"MRM-04242","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"Dinked LP - Red \u0026 Black Marble LP","offer_id":53072444096854,"sku":"MRM-04243","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/e579b199d965c5c8a82d25785571c600.jpg?v=1775762838"},{"product_id":"charanjit-singh-synthesizing-ten-ragas-to-a-disco-beat","title":"Charanjit Singh - Synthesizing: Ten Ragas To A 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highest quality listening experience.The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage.Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.More on Synthesizing: Ten Ragas to a Disco Beat:Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat.Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s.Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices.As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career.Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981).While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales.From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time.Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas.Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term.Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house.But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus.In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed….Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose.“This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion.Considering this reassessment is as exciting as it is fascinating.Much like this record.”While Ten Ragas sparked plenty of conversations within the electronic music 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Featuring longtime collaborator Marta, the track pairs Marta’s restrained vocal with Tricky’s urgent, almost punk-like delivery. The contrast between the two creates a dynamic finale that captures the album’s stripped back intensity. Originally written for Marta’s own album, Tricky ultimately reclaimed “Out Of Place” for Different When It’s Silent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDifferent When It’s Silent follows a prolific period of activity. Since 2020’s Fall to Pieces, Tricky has released music under several different guises, including the collaborative project Lonely Guest, the Fifteen Days project with producer Mike Theis under the name Theis Thaws, and last year’s joint record Out The Way with Marta, al via his own label, False Idols. 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A shared musical sensibility was immediately apparent, and a few months later Ali handed Frazer a USB drive loaded with stems recorded directly from his vast modular system. Over the summer and autumn of 2019, Frazer took around a dozen of those stems as the foundation for a collection of tracks, shaping them into fully realised pieces spanning techno, lo-fi, breaks, acid house and ambient.\u003c\/p\u003e\n\u003cp\u003eAnd so the Dohnavúr method was born: Ali coaxing raw materials from his modular setup, and Frazer working them up instinctively — his encyclopaedic knowledge of electronic music guiding the feel, genre and direction suggested by Ali's foundational building blocks. 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