Anticipating Nowhere #18

Hello, and welcome to Anticipating Nowhere #18: The One That Nearly Broke Me.

This show has been my biggest test of all those I have done do date. It has been the one through which I have needed to deal with certain aspects of myself once more. It has made me face my regular, sadly familiar, yet never welcome demons. This one show has been more than just about music and this blog will reflect that.

Those specific demons:

  • My need for everything to be perfect; my fear of putting myself above the parapet, where creations, in any form, are open to be critiqued; my struggle with the constant feeling of needing to do what I think others want without taking time to find out if they even want it or to consider the impact on my wellbeing.
  • To feel like I must always be giving something.

Simply put, rather than just those usual doubts and fears, this one show stopped being fun and I wondered if I should even carry on. I felt like an imposter in the world of these far-more knowledgeable and experienced people in the whole experimental/No-Audience Underground realm.

Here I am, not even a year on from diving headlong into this long-established group of friends/artists, impulsively putting a show together then throwing it out there. There are many other similar, yet incredibly excellent, shows already in existence that I was not aware of before I started because I did just that, dived in. I got myself in a rut thinking about it.

  • Did anyone even need my show? No.
  • Did it matter whether they did or not? No.
  • Was I having fun and not causing harm or distress? Actually, yes.

Still, I felt rubbish.

  • On diving in (this relates to ‘what happened next’).
    • A personality profile we each did at work had, at the very top of mine, ‘accident-prone risk-taker’. That pretty much covers it; I love the rush of something new but always fail to assess the full situation. As I realise what I have done (a blog? a podcast? for anyone to listen to/read? you what?) I can knock myself sideways. I’ll jump out as quickly as I jumped in.

What did happen next? I had a little meltdown about the whole thing where it seems I ended up, looking back to that night, having a word with myself on Twitter! Personal therapy for everyone to see. Nice touch.

That said, the aforementioned group of long-standing friends/artists into which I waded earlier this year were, as they always have been, thoroughly supportive. They are a wonderfully welcoming, ecouraging, engaging, intelligent and funny worldwide group who helped me put things into perspective. I don’t want to pick out individuals through fear of neglecting to mention anyone but, should any of you happen to be reading this, you know who you are. Thank you.

In this mini exchange something did click though, especially when I was typing one particular reply – I called these shows my mixtapes.

Mixtapes. Yes, that’s what these are to me and that’s what I had forgotten; the ‘why’ I started doing this. Replicating all those hours of mixtape-making after college and long into the night; copying tape-to tape, vinyl-to-tape and sometimes straight from the radio. When I made those tapes, whilst they were always a gift for someone else, they were always for me too. The same goes for Anticipating Nowhere. Whilst the tools are different the sentiment is not.

I loved making those tapes which were often heard by no more than 2 people (thanks are given specifically here to @KieranMahon1 for that reminder which helped put the final piece into place) but the thrill of making them was why I loved to do it. Remembering this I felt that old excitement rise-up again.

  • I made those tapes, as I do these shows, because I love doing them and if others enjoy them too I’ve exceeded what I set out to do.
  • I get to spend hours immersed in all the music I love and to support those artists and labels in my own small way.
  • I have a fortnightly schedule because I need structure in my life, or I never stick to anything. I’d always find excuses to not do it and it would be something else to add to the list of ‘Things Simon started and Never Finished‘ (it’s a huge list) and I would dive headlong into the next thing. So this self-imposed schedule, whilst creating an element of anxiety, is actually ‘a good thing’.

So, I went and did it. Anticipating Nowhere #18. Here it is, the mixtape I wanted to make, not the one I thought I should be making. It’s not perfect, but I like it.

I enjoyed making it. If you enjoy listening too = great! If not, just be good.

Peace : Respect : Compassion


Anticipating Nowhere #17

Hello, welcome to Anticipating Nowhere #17.

Starting this show is a track from Black Robert, an artist I first encountered when putting together AN#9, the Muteant Sounds special. A wonderful human being with a knack for delightful, uplifting and ultimately refreshing music. This track is a genuine pleasure from beginning to end and is taken from his new album which will be released in January 2020 on the Wormhole World label.

Following this we have Elizabeth Joan Kelly from New Orleans with a track from her new release ‘Farewell, Doomed Planet‘; a musical trip exploring the destruction we have wrought on our planet and a journey away from this mess. Or in Elizabeth’s words ‘Farewell, Doomed Planet! is about the apocalypse. And Chernobyl wolves. Pollution. And space travel. Existential dread. And whales.‘  This track reminds me, in equal measure, of lamenting what we are leaving behind but also hope that this isn’t really the end – Elizabeth’s voice taking us on this journey accompanied by the sounds of the vast cosmos. As her voice floats off into space and we drift into the tranquil sounds of La French; bubbling bass, keys and guitar – gorgeous, floating, like atoms of the essence of life rippling throught the universe. A perfect way to remind ourselves that all is, for now, not too bleak.

From here, as is my wont, we begin to venture into slightly darker territory, starting with Aidan Baker (featured on the previous AN show #16). Another track from his album The Forever Tapes albeit from the ambient version this time. A clanging train ride in the dark of night, through rolling hills with only the moon and stars to light the way.

Things take a much darker turn with ANCO as we hear a recording of Jim Jones from when he led 900+ members of his People’s Temple to commit suicide in Jonestown, Guyana, in 1978. Our journey continues but now the night is truly dark; the land around us bleak, desolate. A suitably pulsing, menacing blast of rhythmic noise drives us on, the on-going recording buried underneath, occasional snippets sneaking their way through. Waves washing over you, transfixed yet horrified by the events that led to, and followed these recordings.

The next two tracks come from different artists on the Trepanation Recordings label sent to me by Dan. First up we have a slice of dark synth from Fjaeldmark, taken from a split release between Fjaeldmark and Wintarslāf. Fjaeldmark is an artist living in Berlin and this track fits the mood perfectly; a doomy, funereal march to follow the tragic events from the track before. The press release states “The split collectively references loneliness, isolation, winter, desolation. The stark whiteness is like walking through an empty field during heavy snowfall. The tree is something we hold onto. It’s life, hope, shelter. Wisdom and surety. I want to hug the shit out of that twig.”

The subtle, slow melodies lead us into a forest of darkness where Catafalque (another split release, this time with Clawing) take us by the hand, lay us on a bed of moss, close our eyes and let the night envelope us. Absolutely beautiful, heavy guitar drones and tones – an earthy embrace; a connection with nature, lost to the world outside. 9+ minutes, it could go on for hours and I’d still be happy.

“Catafalque are an experimental metal duo, taking influence from across the entire musical spectrum. Their debut album ‘Catafalque’ combined elements of harsh noise, fuzz laden drone and doom metal with a dousing of industrial to create what has aptly been described as a ‘hypnotically horrible’ release. With ‘Memento Mori’ they have shown a more restrained side to their craft, creating 3 brand new works that befit the company that they are in. Mixing sounds of guitar, strings, synths, organ and even double bass, they have drastically expanded on their sonic arsenal.”

As the previous track crackles and fades we welcome Megaheadphoneboy with Lostyphone; crunchy synths and deep bass rattle the brains – a mildy discombobulating moment of sudden wakefulness from our forest repose into the real world…..then, behind the trees, the sun rises, dewdrops sparkle and DALHAM warms our hearts with warm synth pads and arpeggios.

The sun beats down, getting hotter and hotter; the haze blurs our vision. We are transformed into an ancient beast, looking down over a scorching desert – powerful & majestic. Journey to Ixtlan – tribalistic chants and droning synth fills the sky, calling all around to worship at the Pyramid of Light!

Caulbearer has released an album of two halves on Peacock Window Recordings, called Diseased Imaginings LW112. The first half sees them collaborating with some cracking artists in the dark ambient, noise, and drone fields; the second features the original recordings. I’ve chosen a track from the first half, a collaboration with Black Mountain Transmitter. Confusion surrounds us as the heavy stomp of huge machinery powers away in the background. Sparks fly and electricity pulses and crackles through the air. Stunning. Dark. Immensely powerful. Downright brilliant.

The penultimate track is from Kryptogen Rundfunk, a Russian artist I have only just discovered and what a fantastic discovery this was. Taken from the excellent album, Tales from the Mirrored Spaces, here we have the slow, metronomic pulse of the bass, the sound of shortwave radio, distorted synths, harsh noise sounding like a blowing gale caught on a poor quality mic. Seriously, this is one cracking album and a hugely recommended listen from me.

Finally, to bring a sense of serenity and to finish the show on a peaceful note, we have the sounds of Bluetech. ‘Multitracked sequencers in long takes at different clock speeds to get a fractal layer of shifting melodies evolving at different rates with Strymon modulation at different times for complexity.’ This track is taken from the second Tone Science compilation from the DiN stable of Ian Boddy. Tone Science 3 has only recently been released and, personally, I think each release gets better and better

Thank you for listening/reading – please do support the featured artists and lables where you can, links to each below the tracklist.

As always – Peace : Respect : Compassion


An Occasional Diversion #2: Longform 1.0

Hello, welcome to An Occasional Diversion #2, the little sister to big brother Anticipating Nowhere as it were.

Whilst this particular show ploughs a similar furrow to Anticipating Nowhere (unlike AOD#1 which was dedicated to The Telescopes) I opted against releasing this one as a standard AN show.

Why? I guess it is because, whilst these tracks would fit into a regular AN show they are far longer than I would normally include. These tracks take you on a deeper journey than the average 5 minute track and, to my mind at least, require a more focussed and concentrated listen.

But you previsouly did a similar AN show of 3 tracks over 20 minutes each (AN#8: 20/20 Tri-Vision) so why change now? Ah, so you spotted that did you! Again, this is all a learning process for me: as you will see I have also released two other themed AN shows (AN#3 & AN#6). However, over time, as I have put together more AN shows and, in all honesty, gained more confidence in myself, I feel I have given AN a certain style of its own. I feel more comfortable giving shows that are, to me, significantly different, a platform of their own.

It’s a personal thing as these shows are very personal to me. I need to be happy with how I present these and this way, well, makes me happy.

So, on with the show. 5 tracks, all 10+ minutes and one clocking in at nearly half an hour – worth every single second of your time. Several of the releases included here only had 2 tracks to choose from and it was a tough selection. Every track is great but I feel this selection works the best once I had pieced it all together.

I played a shorter track from Phil Hollins & Richard Sanderson’s Grumpy Records release, Social Media, on AN#15 to act as a taster for this show where I could present one of the two longer tracks on the album. Guitar and melodeon drones underpinned with field recordings lead us into where the field recordings take over; the flowing of a stream, bird-song and other sounds of nature. A child’s voice signals the time to move onto our next track.

Hyberus, released on concretetapes, was new to me even if the album was released over 4 years ago. A sample opens and closes the track, quoting two of the most futile and destructive wars being waged across the world – the ‘wars’ on drugs & terrorism. In between those samples this track is at times bleak, sparse, glitchy, droning but never anything less than utterly compelling listening.

I really don’t know what to say about this next track; it genuinely leaves me lost for words. Released on the fantastic Crow versus Crow label, here we have a tape with just two tracks clocking in at over 20 minutes each. I could have put a show out with these two alone! Side 1 (featured here) has Embla Quickbeam and Natalia Beylis working together, the other sees Neil Campbell accompanying Natalia. I chose Side 1 as I had not heard any work by Embla Quickbeam before and have included Neil on previous shows – it really was almost like tossing a coin trying to decide which one to play for you! Either way, this is an astounding journey of sound that I daren’t even try to describe through fear of not doing it justice.

A new favourite of mine (I have a couple of previous albums already but went all in and have been bingeing on all his NYP releases on Bandcamp) is Drooping Finger. Despite the wealth of releases I wanted to focus on his most recent, Bleak Encounter (I also featured a track on AN#16). Atmospheric, hypnotic and just absolutely marvellous. Deep, slow, mechanical drones – brain bliss music of the highest order.

Finally we have the wonderful Alison Cotton from her upcoming solo album The Girl I Left Behind Me. There is no point in my writing about this when the promo material says it all:

Last year, Alison was commissioned by BBC 6 Music’s Gideon Coe to create a soundtrack to the Muriel Spark ghost story ‘The Girl I Left Behind Me’. It was broadcast at Christmas and read by Bronwen Price. In the story, the narrator works in a London office, her first job after a long illness. As she leaves work one evening she is struck by a strong conviction that she has left something important at the office, but can’t work out what it can be. Alison based this track (side 1, not featured on this show) around a simple melody composition following the form of the narrative, building up the suspense as the story draws to a dramatic and unexpected conclusion.

For the second side of the 10” (featured here) Alison has created another piece inspired by a Muriel Spark ghost story ‘The House of the Famous Poet.’ This is also set in London, this time in 1944 against the wartime backdrop of the Blitz and V-1 sirens. On a delayed train journey, the narrator meets a soldier and a girl named Elise. Elise, a maid, invites the narrator to stay at the house where she works as the owners are away. The house turns out to be the home of a famous poet who the narrator greatly admires. The following morning, the story takes on a surreal nightmarish quality, when the soldier from the train turns up at the house with an enormous box that he says contains an ‘Abstract Funeral’ which he proceeds to sell to the protagonist. Later that day, both Elsie & the famous poet are killed when a bomb hits the poet’s house. It was the idea of the abstract funeral that inspired Alison to create this piece; “The viola has a naturally mournful tone, and I endeavoured to capture the mood of how I’d imagine an ‘abstract funeral’ march would sound. My viola was completely improvised here, recorded in a single take. My layered vocals enhancing the melancholy and the crescendo of cymbals adding to the solemnity of the drama”.

Beauty in tragedy – what a glorious way to end this show. That voice! That viola! Wow.

Please do support the artists and labels where you can; links to the releases are below and hyperlinks to relevant labels, artists and other AN shows are highlighted in the blog above.

Thank you


Peace : Respect : Compassion

Anticipating Nowhere #16

Hello, welcome to Anticipating Nowhere #16.

The last few shows have seen me drift into deeper, more dense sounds and a bit of a story-led blog. This is one of quirks of having a mental illness; there are times it controls me far more than I am able to control it and, seeing as this is a harmless outlet for my thoughts and words, I went with the flow.

I was out of work for 8 weeks this summer so did plenty of listening, and thinking. I am back in gainful employment now which brings its own new challenges, especially making time for myself to put these shows together along with this blog. The usual demons that accompany me into any job reared their ugly heads and tried to scupper this show. A supportive family and kind and encouraging words on Twitter helped me pull through – I hope you enjoy this show as much as I do; the selection may reflect a more peaceful state of mind!

We start with the glorious sounds of JMO taken from a CD given away with October’s edition of The Wire; Interactions: A Guide to Swiss Underground Experimental Music. The artists and the label were all new to me and there is an eclectic mix of synths, electronics, musique-concrete and noise. Brilliant stuff. This track is a gorgeous mix of soft, booming bass, ethereal voices and buzzing drone gets us off to a perfect start.

CLOAK + CLOACA is a collaboration between 3 friends (find them on Twitter; @G_R_M_M_S_K ( GRMMSK /// TOTSTELLEN /// COLDSORE /// TOTES FORMAT), @ForestofDark (Wizards Tell Lies) and @19f3_records (KEK-W)); more gorgeous drones, buzzing electricity and sounds that suck you in; leading you into the realms of internal contemplation and away from the hustle, bustle and distractions of daily life.

J.G. Sparkes comes to us from the Wormhole World label which is releasing a steady stream of wonderfully diverse music and artists at an incredibly pocket friendy price. I love this release and this track just won out over the rest on the album – a slow build of electronics and textured guitar that gently rises and ebbs away. Just beautiful.

cacero lazo contacted me via email-through and sent me their latest album which was released on Friday, 18th October (see Bandcamp link below) on Submarine Broadcasting Company. More splendidly tender tones, subtle drones and beautiful sounds to tickle the tendrils of your brain. A pleasure to include you on my show.

From here we take slight upturn in pace, but not much! I played an excerpt from Sawak‘s latest release, Renunciant, on the last show, AN#15. The whole album is a fantastic, non-stop, 40+ minute trip so I would have struggled to find the right sections to pull out. Greg from the band kindly did this for me and sent me two excerpts, you heard one last time around and here is the 2nd; treated sounds – sitar, guitar, piano and glitchy goodness. Thanks again Greg.

Aidan Baker is another artist I was not aware of until he contacted me. He sent me two versions of his album The Forever Tapes; a ‘standard’ version and an ‘ambient’ version. Both takes are unique and both are an absolute delight. The track on this show is taken from the ‘standard’ version and is a rolling tune, led by a gentle beat, with underlying drones and picked, singing, guitar lines………

…….Fragmentary Beings fade into the sounds of the sea on the shore. Paula Garcia Stone appears courtesy of yet another label in which I can find no fault, Linear Obsessional. Paula is a visual and sound artist – this is either her first ever recorded release or her first for Linear Obsessional, I can’t be 100% certain. Either way the whole album is fantastic journey through field recordings and physical sound. Richard has put a stop to any more submissions to the label for now so he can focus on catching up on the backlog to date (which could still take him a whole year!). He has said this may also mean an end to releases after this – let’s all selfishly hope that turns out to be a temporary intermission (sorry Richard!)

I am not even sure how I came across Marja Ahti but this release, Vegetal Negatives, (on the Hallow Ground label which I first learned of via the fantastic Kali Malone release, Cast of Mind earlier this year) is a captivating journey through sound and everyday objects. Apparently this release is a diversion from Marja’s previous ways of composing and creating. If you are interested to learn a little more about this album you can read a short interview with her in the small, but more than perfectly formed, Soundest Zine produced by Ava Grayson. Be warned, copies of each edition of this zine are very limited.

//mKnoise is an Austrian artist, Marco Kultus, who has released an excellent catalogue of ‘musique non concrète. Experiments on electronic tunes’. This track is taken from his recent release, a 5-track E.P. called The Quarrel of Brothers. 5-tracks, 31+ minutes all for the price of……whatever you want to pay. Another track in which to lose yourself, allowing the music to take you wherever you need to go. Deep, deep drones of pleasure. Synapses firing, body melting, light pulsing through your veins……

Kieron Mahon is a master of ‘drones, loops and echoes’. I have only scratched the surface of his full Bandcamp collection but each album requires repeated listening so this will take some, hugely enjoyable, time. More Light takes us on a psychedelic journey of mind-expansion, floating like ripples on the surface of a lake, until we find ourselves at one with the water.

I Heart Noise have released some cracking compilations (well, cracking releases in general) and it is always hard choosing a track from a specific release when they are all so good. Walt Thisney wins out this time with a beautifully haunting piece; piano sustained, echoed; electric zaps & squelches taken from the Summer 2019 collection.

The Bandcamp page for the next artists quite perfectly states: Swine are a Somerset based group of sound makers and improvisers. They create debris strewn wetlands of sound and conjure sonic deliriums using a wide variety of sound sources including Michael Fairfax’s sound sculptures, electronica from dystopian drum and bass producer Jon Cooke, combined with Tim Hill’s layers of treated saxes. The result is an organic, improvised sound world of tides, swirls, swamps. of geologies of noise blurring inner and outer landscapes.‘ That should be more than enough to drag you in, factor in the fact it is released on MuteAnt Sounds and you know you can’t go wrong.

Hainbach was a new discovery for me so I am slowly getting acquainted with his back catalogue. I did however opt for something recent for the show; a track from Gestures which was released in early September this year. ….‘is an album of disappearing and acceptance. The sense of loss is lifted by interweaving piano phrases, harmonized by fragile oscillators. Gentle movements above radio antennas guided the recording process, adding an incorporeal, dreamlike feel.’ Ah yeah!

And so we come to the end of another show. I leave you with the sounds of Drooping Finger, from the current release, Bleak Encouter. I played a track from a previous Drooping Finger release on AN#5 but I will confess to knowing nothing other than whatever sounds this artists makes transport me to another realm. Dark, dense, all enveloping and absolute heaven to my ears – and every release on the Bandcamp page is free/NYP – do it! This was released on Soundtracking the Void which has just celebrated its first birthday so congrats and Happy Birthday StV.

As always, my deepest gratitude for reading, listening, sending your music, communicating on Twitter etc. and – if you like anything on the show please show your support with a purchase here and there on Bandcamp. Links to artists/albums featured on this show are below the tracklist.

Sections in this blog in ‘quotes and italics’ are taken from the respective Bandcamp pages.

Peace : Respect : Compassion

Simon (Aidan Baker)

Anticipating Nowhere #15

Hello, welcome to Anticipating Nowhere #15.

After last weeks’ one-off special featuring music solely from the Girly Girl Musik netlabel Anticipating Nowhere returns to ‘normal’ service – whatever normal may be. This week we take in noise (I likes a bit o’ noise I does); glitch, warm-synthy-goodness, ambience, drone. And more noise.

As always, links to the tracks/albums/artists featured in this show are below the tracklist at the end of the blog. If you like what you’ve heard and can support the artists in any way, please do.

We start the show with a track from Dialect, an artist I stumbled across on Twitter. Deep, pulsing, bass sounds drive this track on with crackles, bird sounds and subtle glitches providing the perfect accompaniment. This leads straight into a track by Naujawanan Baidar, taken from the latest incredible anthology from around the world (Various Artists – Anthology of contemporary music from Middle East) on the wonderful Unexplained Sounds Group label – more pulsing, driving bass, drums and eastern horns in which to lose yourself.

Ben Nash (this release on the Aurora Borealis label) takes us from hypnotic, bass driven sounds to a beautiful, drifting journey of woodwind and strings and ghostly voices – gentle waves of sound washing over us until the pulse of drums introduces Furchick to the mix with Volta. Rumbles, clangs, mic-interference, footsteps, manipulated strings – all mixed fantastically to create a spell-binding sound. Reminiscent of travelling on an old, wooden, train through deep, dark, mysterious woodlands and countryside you can hear, but you can’t see.

Warnings sound. Are they running out of track? The engine is stoked ever higher but as sirens wail the train heads off into the distance and we head into a wall of glorious noise courtesy of Ben Glas. Each time I hear this track I can think of murmurations of starlings, swirling and weaving their pattern in the dusky skies. The birds in communion with each other, speaking a language of avian art that only they understand. As they dance in the sky they build an ever more harmonious sound. Submerged beneath the noise, a tiny songbird chirps its melody; proud, outnumbered but not unheard.

As the birds settle down for the night we jump into a Giant Unprovoked Pile On from Phil Hollins and Richard Sanderson. Sounds of the animals of the night clamour to be heard over one another through glitchy, complex, rhythmic guitar manipulations. As they settle, the sound of Richard’s melodeon ushers in the night. The dark encompasses all, the sound of electricity surging along the power lines above as the animals sleep is Swept by Edø Pistø Sømi – crackles and hums and dawn arrives with the deep, boom of wakefulness intruding upon dormant minds.

Neurons fire, we stretch, breathe, welcome the day into our lives. In the distance clouds gather, the low rumble of thunder reaches our ears bringing the storm that is Grey Guides. This track, The Thing That Took the Ball Away is taken from Beast Mask Supremacist (from the great Crow Versus Crow label). Static hum, distorted voices from broken radio signals, the groan of the unseen ‘Thing’ all add to the air of unease and menace…….

The beast leaves, Sawak jumps in: glitchiness and uncertainty follow the disquiet from before. Strings enter as the authorities try to restore calm in the wake of what has passed. The uncertainty still lingers, what just happened? Ethereal voices from loudspeakers echo out across the land – mumbled conversations return as the people return to their daily lives.

Calm is fully restored by Portland Vows. Every now and then an album comes along that hits you in the heart – each tone, note, melody, speaks to you in such a way that you must stop and just be one with what you are hearing. I’m not one for end of year lists but if I ever did one for 2019 this album (This Fragile Workforce on concretetapes) would be right up there. I always listen to the mix as I write these blogs and it has happened again – I have been sat, motionless as this song plays, completely lost in its absolute beauty. The whole album is an absolute treat for your ears and your soul.

That song and the sense of peace leads us towards the back end of the show where, as regular listeners will know (there are some of you – thank you) I like to wind things down. Red Spells Red, from their album Secret Sounds, are next on our journey of tranquillity; a beautiful, atmospheric piece of synths and processed guitar on the, new to me, Versus Records. Thanks for getting in touch guys, I look forward to discovering more of your catalogue, especially after listening to this album many times through.

Rupert Lally provides another of those tracks where the gentle beauty takes over your senses and you just need to let go and be. This is from yet another incredible release on the bibliotapes label, of music inspired by the novel Dune. Deep, warm synths and gorgeous melodies – none of the tracks are very long but they are all stunning and suit this format perfectly.

Whettman Chelmets is our penultimate guest this week (I also featured one of his tracks on the Girly Girl Musik special show). This is a lesson in making something sound simple when it is anything but. Clever stuff and an absolute delight for the ears – I need to do myself a favour and delve more into his vast catalogue of music.

Finally, we say goodbye for another show with the delightful bucolic, psychedelic sounds of Heron & Crane from their release Firesides. Congratulations on the release guys and thank you for sharing your music with me. Music this good needs to reach many, many ears.

My thanks to the artists who have already sent me music; if I haven’t featured you already, I can assure you that you will be in future shows. I plan these a few weeks in advance to give me plenty of time to listen through, rearrange, adjust, mix…….become acquainted with each one.

Thank you, as always, for listening, reading, sharing; for being part of this musical journey with me. If you ever have any comments on the show or music to share, please do get in touch. I put a lot of time and love into these shows so truly hope you enjoy them too.

Peace : Respect : Compassion

Nam Myoho Renge Kyo


Anticipating Nowhere: A Girly Girl Musik Label Special

Girly Girl Musik: Portland, Oregon based label founded by Fae Moonbeam and Seffi Starshine that focuses on lesser known genres, experimental works, post-"vapor" genres, and fresh takes on popular genres.
Portland, Oregon based label founded by Fae Moonbeam and Seffi Starshine that focuses on lesser known genres, experimental works, post-“vapor” genres, and fresh takes on popular genres.

Hi, welcome to a special edition of Anticipating Nowhere, a Girly Girl Musik Label Special.

One of the many great things about Twitter (yes, there are down sides too but it is how we use and engage with them or not) is the close community of artists and the incredible number of recommendations and pointers to great music you get if you keep your eyes peeled. That, combined with the option in Bandcamp for artists to offer their digital catalogue at a hugely discounted price, means you can pick up fantastic music at ridiculous prices.

One recent instance was when Alan Morse Davis released his opus, Everything Special, on the Girly Girl Musik label. I had not really come across this label before so I began checking out the artists and releases on their Bandcamp page. I liked what I heard… fact I liked it so much I bought the whole damned compa…….oh, wait a minute…lost myself in a Viktor Kiam moment.

What I did was buy 64 fantastic releases at the bargain price of $4.20 (interesting price, 420!) @ You will get an even better deal than me if you buy the collection now as they have since released more great albums……and those of you reading this at an even later date will, I suspect, get an even better deal than that etc….

Chilled beats, ambient drones, psychedelic voyages, vaporwave, mallwave and other genres I’ve never heard of before 🙂 – all here for your delight and delectation.

Enjoy and please remember, this mix is my unique take on the label, please do check them out and support any artists where you can. Links to the main page and the individual albums featured in this show are below.

Peace : Respect : Compassion


Anticipating Nowhere #14

Hello and welcome to Anticipating Nowhere #14

Today’s show is bookended by tracks submitted to me by artists on Facebook; starting things off we have DüllHaus with a slice of delightfully catchy, 80’s style synth-goth. Welcome to the show guys (please see their bio at the end of this piece).

The kisses planted after their long night of Delirium lull us to sleep and Simon Proffitt, in the guise of Cahn Ingold Prelog, takes us into the world of dreams. Drones slowly ebb before we are transported into the buzzing control room of our mind at sleep; computers whirr and click-clack as they process the memories of our day, leading us down mental corridors as we smash through the barriers of our subconscious and on to the next phase of our nocturnal voyage.

Kieran Mahon takes these mental printouts and gives them voice; a woman’s repetition of the frequency, underpinned by static noise, urges us to tune in so we can make sense of it all. Confusion balanced by the underlying, warming drone and hum, keeps us drifting along peacefully until we are elevated into the pure bliss of innocent sleep by Polypores. This track, Sky Man, from his wonderful album, Flora, raises us high into the sunlit sky of organic, wholesome, pure oneness with the universe.

From here Binaural Space takes over, keeping us aloft with the gorgeous synth pads, drones & arpeggios of Remember the Way from his album Encounters. But wait: from such tender, comforting sleep The Night Monitor soundtracks a darker, more foreboding place in our dreams. Our heart beating as spooky sci-fi synths give a sense of foreboding before Matt Atkins takes us back into the random cut-up thoughts, the stored memories and experiences, that are the source material for our dreams. Found sounds, everyday objects and other noises take us through the inner corridors of our mind as we drift toward the final stages of the night. The static hum and distant echoes of Grey Frequency hint at the oncoming dawn, all slightly surreal – that strange world of thought, feeling and sound we experience between sleep and wakefulness.

Alas, these dreams can’t last forever; Surface of the Earth take our hand for the final stage of our night; the beautiful rumbling, hypnotic drones, less surreal and distant, take on a more direct, present feeling. As the sun rises over the surface of the earth, we’re off.

Footsteps as we head from the house, guided by the sounds of Ivy Nostrum (released on the ace Invisible City Records). The world with all its energy seemingly too much for us as we stumble, still half-asleep, uncertain of what they day will bring. Echoes of the beginning of our dream causing that sense of unease when the memories of our sleeping world haven’t quite cleared your head – knowing those things didn’t really happen yet still holding sway over some of your thoughts and feelings.

Finally we ‘wake’, we come to terms with the day. A sense of calm fills us. We are here, ready to take the day as it comes, without fear. Surya Kris Peters, on the ever-wonderful Misophonia Records, provides this assurance. Feeding our soul, refreshing our mind and guiding us to a place where we feel alive, ecstatic, and at peace with ourselves. Dark clouds and strong winds, Pink Smoke Rises over Telephone Wires by Tremolo Ghosts, do nothing to dampen our spirits – we ride easily through this short storm; unperturbed, resilient.

After the storm, the calm. Closing things off we have Nefelibata from Oregon. This beautiful track, Forcoming the Closure, eases us gently to the end of another show.

Thank you all for listening/reading; if you are an artist and think you fit well into the show please do drop me a mail at and I’ll be really pleased to listen/chat with you.

Peace : Respect : Compassion


As always, links to the artists are at the end of the blog – if you like what you hear and can afford to support the artists please do so. Many of these artists offer ‘pay what you want’ for digital releases so every penny you can spare goes to them.’re DüllHaus, an Industrial/Gothic Electronica duo from Los Angeles, California formed in 2017 by brothers James and Quinn Clearwater. DüllHaus uses mind bending and dark analog synthesizers alongside huge, pulsating drum machines all wrapped around vocalist/programmer James’ howling voice and haunting lyrics, all working in unison to create a sexy and provocative soundscape that will transport any listener into the dark. In 2019, DüllHaus Partnered with Phage Tapes, Minneapolis based Industrial label, to release their debut record ‘Love Is Violence’. ‘ project that enters your mind, and leaves you wanting more of the deep wondering inside. Headphones Work Best. Its the inner daydreamer in us all that use it to get away for awhile.’