Shiver me timbers. Reader Benjamin in Atlanta shot me a message letting me know that Broadcast has a tour EP available called Mothers of the Milky Way (as you might’ve inferred from, ya know, the title of this entry). Anyway, I did not see this EP at the Columbus show, as the band had no merch presence, so I’m a little bummed I wasn’t able to grip a physical copy there. It totally rules, as is expected. Mother is the Milky Way is, in some ways, a continuation of Witch Cults, though I’m not sure if The Focus Group was involved in its recording.

Turns out the second song they played in the show’s second half Sunday night was “In Here the World Begins” from this EP.

MP3 :::
Broadcast – In Here the World Begins

Broadcast, in some ways, seem to have followed rather stridently along a solid trajectory. The group started as a quartet firmly planted in haunting ’60s vocal pop and garage ballads, augmented by lightly arranged vintage atomic age samples and Trish Keenan’s silky and distant vocals. The latter was, of course, the only thing that ever remained consistent, as Broadcast became more divergent through the years, ending with 2005’s glitchy, noisy, electronics-heavy and cosmically surreal Tender Buttons.

Perhaps it as simply a new direction or the influence of Julian House from The Focus Group on this latest effort, but Witch Cults of the Radio Age acts as the bridge between the organic retro-futuristic pop of Work and Non-Work and the more chaotic latter repertoire, with extra ornate instrumentation courtesy of House. This is a spooky, gorgeous record, and probably the most accessible effort from the “library music” camp (i.e. the Ghost Box/Mute/Warp family that both samples and draws inspiration from the classic BBC Radiophonic Workshop – see Barry 7’s Connectors and the Ghost Box site for additional reference).

With the exception of Keenan’s contributions that channel Margo Guryan and The United States of America, it’s hard to distinguish where Broadcast ends and The Focus Group begins, other than the weirdo samples that House is wont to incorporate into his instrumentals (including a slew of Conet Project snippets, which is major thumbs up). The collaboration is seamless and refreshing, and has added to an extremely strong addition to the nearly flawless curriculum vitae for both Broadcast and The Focus Group. I’m not sure if I feel this way because I’ve been listening to the same Broadcast catalog for four years and this disc is new, but Witch Cults of the Radio Age might just be my favorite Broadcast release thus far. Hence, I’m getting very excited for the full length due out on Warp some time next year.

No need to give Broadcast and The Focus Group Investigate Witch Cults of the Radio Age our normal rating or any of that jive. This is absolutely essential listening that earns its one billion smiling Donald Fagens. It’s total insanity.

You can purchase the digital release right now at Bleep, and/or grip the physical release on October 26. Get on it!

POSSIBLY RELATED :::
Praise Ye Jehova… Broadcast is Back in Action

MP3 :::
Files removed per request

Without any fanfare, Broadcast just released their first new material since 2005’s Tender Buttons, um, today. I was correct about the title, it’s called Witch Cults of the Radio Age. That’s the cover up there. And… it’s a collaboration with Julian House! House is, as you may know, not only the graphic designer for all of Broadcast’s album and poster imagery, but is also a member of Ghost Box “library music” powerhouse The Focus Group.

Though it’s a “mini album,” or EP, or “primer for proper forthcoming full length,” or whatever they’re categorizing it as, Witch Cults spans 23 tracks (though I’m sure some of them are segues and analog tomfoolery). Here’s a preview. Shit is space age!

This is going to be so good. I haven’t heard it in full, but I’m currently downloading it RIGHT NOW from Bleep. You should do the same.

Majorly stoked on the Columbus gig October 25. Perhaps the press pass fairy will pay ol’ Bloggins a visit for that one. Pretty please?

Broadcast & The Focus Group Investigate Witch Cults of the Radio Age:
1. Intro/Magnetic Tales
2. The Be Colony
3. How Do You Get Along Sir?
4. Will You Read Me.
5. Reception/Group Therapy
6. A Quiet Moment
7. I See, So I See So
8. You Must Wake
9. One Million Years Ago
10. A Seancing Song
11. Mr Beard, You Chatterbox
12. Drug Party
13. Libra, The Mirror’s Minor Self
14. Love’s Long Listen-In
15. We Are After All Here
16. A Medium’s High
17. Ritual / Looking In
18. Make My Sleep His Song
19. Royal Chant
20. What I Saw
21. Let It Begin/Oh Joy
22. Round and Round and Round
23. The Be Colony/Dashing Home/What on Earth Took You?

I’m really good at the Internet. I find awesome videos. I share some of my favorites with you. It’s a nice change from posting MP3s and waxin’ on why they’re awesome/not awesome.

The Cube is an early surrealist teleplay written and directed by none other than Jim Henson. It was broadcast only once, late at night probably, as part of NBC’s Experiment in Television in 1969. You can sort of feel a whimsical, exaggerative undertone to the film that remains congruent to his latter work. The Cube is also certainly evocative of Eugene Ionesco’s absurdist theater piece The Chairs. The original film ran about an hour, and unfortunately, is no longer available online. Here’s a Cliff’s Notes version, though, which provides the basic gist of The Cube.

And one more from Henson. This one is Limbo, The Organized Mind, with music by Raymond Scott . He, somehow, managed to get this short piece on the Tonight Show.

I have absolutely no information concerning the origin of this rare Cream television appearance. Lana Montana discovered it not too long ago. It’s just strange, totally weird, brain melting, fuct tape. EC looks either pissed or tweaked on uppers. Or both. What an insane way to promote your new album on TV.

And finally, Harry Smith’s Early Abstractions, Part 3. Get shattered.

Our favorite round, beachball-sized, constantly beeping friend turns 51 today. Or would’ve turned 51 today had he not burned up a bit in the Earth’s atmosphere. I like to spend my Tuesday evenings with PBS’ science program Nova, and this week’s installment covered all that you probably didn’t know about the Sputnik program and the advent of the Space Race…

“Listen now,” said the NBC radio network announcer on the night of October 4, 1957, “for the sound that forevermore separates the old from the new.” Next came the chirping in the key of A-flat from outer space that the Associated Press called the “deep beep-beep.” Emanating from a simple transmitter aboard the Soviet Sputnik satellite, the chirp lasted three-tenths of a second, followed by a three-tenths-of-a-second pause. This was repeated over and over again until it passed out of hearing range of the United States.

The satellite was silver in color, about the size of a beach ball, and weighed a mere 184 pounds. Yet for all its simplicity, small size, and inability to do more than orbit the Earth and transmit meaningless radio blips, the impact of Sputnik on the United States and the world was enormous and unprecedented. The vast majority of people living today, at the beginning of the twenty-first century, were born after Sputnik was launched and may be unaware of the degree to which it helped shape life as we know it. Now is an especially good time to take a fresh and focused look at the event whose impact looms even larger with the passing of time. In the last decade an incredible amount of once-secret material has been declassified and made public. Scholars and writers both inside and outside government have coaxed key Cold War documents out of hiding. Collectively, this material has given new dimensions and twists to almost every aspect of the events leading up to and following the launch of Sputnik.

For example, one recently released document reveals evidence of a long-forgotten pre-Sputnik “olive branch” extended by Russian scientists, who asked their American counterparts to supply a piece of scientific equipment for a planned launch. By most indications, this piece of equipment was meant for the third Sputnik.

It is not widely known even now that one of the reasons President Dwight D. Eisenhower and those around him did not react with alarm over Sputnik going into space ahead of an American satellite was that Eisenhower welcomed the launch to help establish the principle of “freedom of space” [the idea that outer space belonged to everyone, thereby allowing satellite flights over foreign countries]. At the time of the Sputnik “crisis,” the White House, Central Intelligence Agency, Air Force, and a few highly select and trustworthy defense contractors were creating a spy satellite that was so secret that only a few dozen people knew of it. Even its name, CORONA, was deemed secret for many years. Instead of being concerned with winning the first round of the space race, Eisenhower and his National Security Council were much more interested in launching surveillance satellites that could tell American intelligence where every Soviet missile was located.”
- Continue reading at Sputnik Declassified

To celebrate the beep that bummed the Western World out, here’s a space related Super Swingin’ Mix. Can YOU guess how each song relates to Sputnik? I’ll get you started – Laika was the name of the dog who accompanied Sputnik II a month after the first launch and the name of the British space pop group whose song “Almost Sleeping,” off their album Sounds of the Satellites, is found below.

MP3 :::
Laika – Almost Sleeping
Spacemen 3 – Hypnotized
Boards of Canada – Over the Horizon Radar
Raymond Scott – Twilight in Turkey
Raymond Scott – Ripples (Excerpt)
Belbury Poly – The Moonlawn
Stereolab – Golden Ball
Astral – Blinder
Space Needle – Scientific Mapp

Ghost Box brings it heavy on the zone out times. If you love Silver Apples, Raymond Scott, or Broadcast, you need at least one Ghost Box release in your collection.

The Focus Group’s new release “We are Coming Back to Dance with You” is dense while creating a huge sonic headspace to take in each sound with profound consideration. As with most of The Focus Group’s catalogue, “We are Coming Back…” treads this weird, thin line between being tranquil and being spooky, sorta in the same vein as Music Has the Right to Children. And as prevalent on that aforementioned album, The Focus Group lays it thick on the bucolic imagery. This is pretty much the same with The Advisory Circle. “Energy in the Home” builds itself around analoge synths and what is, presumably, some public television program. Once again, futuristic in the most nostalgic sense. Some of my favorite songs feature random field recordings over vocals. It’s a good way to go, and you get plenty of that with both The Focus Group and The Advisory Circle.

MP3 :::
The Focus Group – We are Coming Back to Dance with You
The Advisory Circle – Energy in the Home

Just look at their playlist from last week! If you wanna know what’s up, but you don’t know what’s up, that playlist is what’s up.

Not hip to Ghost Box? No problem. Get your education here. This is your basic reference point for Broadcast and Boards of Canada glitch trips.

Also, want. That’s doppler good!

From the mighty Ghost Box collection
MP3 :::
Belbury Poly – Tangled Beams