Thursday 12 May 2016, 8pm


No Longer Available

"The nine tracks lean in and spell out grim stories of darkrooms and amplified environments with a compelling, time-served authenticity, describing sensations of brokenness and inter-club anxiety in stereo-strafing drones and collapsing, sisyphean rhythms that never quite resolve their excited state of melancholy" – Boomkat on Ron Morelli's ‘A Gathering Together’ LP

Ron Morelli

Records head and Hospital Productions recording artist Ron Morelli debuting his UK live PA.

Not so far removed from his 2015 LP "A Gathering Together" the live show will be an amalgamation of Morelli's rugged deconstructed electronic soundscapes culled from the fringes. Primarily a beatless experience, this will not be dancefloor fodder, but rather an immersive sound experience with a punk attitude and tense edge evoking an uncertainty as to what sonic experience is around the next corner.

“In Fernow, you sense Morelli has found a true bedfellow, one who shares his aesthetic of misanthropy, gutter eroticism, and sonic abrasion.” – Pitchfork

“A Gathering Together displays a far greater breadth of texture than Morelli's previous records, balancing vaporous abjection with moments of incisive aggression.” – The Wire

In Conversation with Wolf Eyes

Q&A with XLR8R

Eric Copeland

Get to know Eric Copeland if you haven't quite yet made the time. Copeland is an Brooklyn- based experimental musician and a core member of Black Dice. Eric is also one-half Terrestrial Tones duo, finding Animal Collective's Avey Tare on the other end of that project. Copeland released his first solo effort, Hermaphrodite, in 2007 on the Paw Tracks label, with his next full-length LP, Alien in a Garbage Dump, via the same imprint. For his next work, however, Mr. Copeland jumps on board the great ship DFA for a solo long player, Joke in the Hole (2013) and continues to record for both DFA and several other Cutting edge labels such as Escho, Underwater Peoples Records L.I.E.S. records to this day.

Copeland has continued on his path of deconstruction- forming tracks of of scrapped samples, damaged loops and controlled chaos. Certainly not easy listening music, somehow Copeland manages to pull through with his demented pop sensibilites crawling up from the muck and spawling out on the beach to catch a tan. Jesus Freak is as addictive as it is confusing with it's screwed vocal hooks and demented twang heard throughout. This is best demonstrated on the closing track Billy Goat, which can be summed up as mouth harping redneck psychedelia cruising down a polluted river to nowhere. Just when you think "Jesus Freak" resembles something you know seconds later it becomes foregin and unattainable, yet remains headscratchingly familiar.

Not Waving

Not Waving is the solo alias of London-via-Italy producer Alessio Natalizia, an ambitious project through which he’s been tirelessly churning out woozy analogue electronics. Since 2013, Natalizia has released the murky atmospherics of debut Umwelt, followed by the sublime, cassette-only Redacted, the hazy, stargazing experiments of his Human Capabilities album and the ice-cool sci-fi techno of the Intercepts split LP with Pye Corner Audio.

Each of these showcased his impressive stylistic scope, but it might be on the Voices series, initially a trio of low-key cassettes that were compiled into one release last year, that you can successfully gage the breadth and depth of his musical experiments. His evocative analogue electronics swerve from wistful analog distortion to jerking EBM club slammers, a style that found a fitting home on his closely affiliated label Diagonal. Packing the madness of a Diagonal record with the locked-on EBM of late ’80s Belgium and reliably effective Italian ‘floor finesse Not Waving’s music is utterly ruinous and sprung for the rave.

The new album Animals harnesses the wanderlust of Natalizia’s spate of previously released music but dials up the wildness, spitting out a careering sequence of tracks that feel as warped, deep-raved and giddy as a night out in the city they were forged. These are tunes — no, songs — for post-work smash-ups, weekenders and sore commutes. And make no mistake, although Animals occasionally bites hard at the business end of the ‘floor, this is Diagonal’s most POP record yet, with Natalizia’s songwriting sensibility conjuring moments of tenderness and beauty to offset the manic strobe lighting and droppin’ sweat.