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?████████?▓█▀ ▀▀?█?▌
░ ▓████████?▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄█?▀
▐██?██▀?? █?▓█▀▀
░ ▓███?▌ ░ Artist.......: Earthling Society ?▀▀
▓ ▐████?█ Album........: Albion ▀ ░
▀█?███?▓▄█▀ Genre........: Psychedelic ░▓ ▌
▄▀█?█?▓▀ Language.....: English ░▓░?
▓▓▄▀?▓▓▀ Label........: NASONI ░▓░ ?▌
▐?▓ ? Catnr........: NASONI041CD ░▓▓▓ ▐?▓
▓?▌ URL..........: n/a ▓░ ██?▓[z0o]░
▐█? ░ ░ ▄ ░▄▄▄?▄?███?▓▄▄▄?▄▄
??▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓?████████████?▓▓▀
░ ▀?█▄? ░▓▓▓░ ░▓▓▓░ ░ ?█████?█?▓▀ ░
░ ░ ?▌▄▄▄ ? ░▓▓▓░ source......: CDDA ░▓▓▓▓▓▓░ ?████?▓▓
░▓▓░ ▐?▓ ░ ░▓▓░ playtime....: 48:36 min ░▓▓ ▐██████?▓▌ ░
░░ ██?▓ ▓▓░▓░ rip.date....: 13-09-2005 ░▓▓░ ▓███▀ ??▓ ░
▄▄▄▄?▄?███?▓▄▄▄?▄▄ str.date....: 00-00-0000 ▓ ▐?▀ ░ ░▀?▌
?████████████?▓▓▀ ripper......: JustFunCrew ░▓░ █▀ ░░▓▓▓ ?
░ ?█████?█?▓▀ ▓░ grabber.....: EAC V0.95 prebeta 4 ▓▓ ? ░ ░ ░▓░ ░▀
?████?▓▓ ░░▓ encoder.....: LAME version 3.90.3 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐██████?▓?▓▓▓░ size........: 59,4 MB ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ??▓ ▓░░ quality.....: VBRkbps/44,1Hz/Joint-Stereo░ ░▓░ ░
▐?▀ ░░ ▀?? ░ ▒
█▀ ░▓▓▓▓░ ? ░ ░ ░
? ▓▄?▓▓▓▄▄█▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄?█▄▄▄
░ ▄?███████?▓▀ ?█?██?▄
?█?█████?▓█▀ [ T R A C K . L I S T I N G ] ▀▀?█?▌
▓████████?▓█▀ ▐█▄█?▀
▐██?██▀?? █?▓█▀▀
▓███?▌ ░ track title time ?▀▀
▓███?▌ ▀ ░▌
▓███?▌ 01. Black Witch 07:29 ▓▌
▓███?▌ 02. Heart of Glass 04:35 ▓▌
▓███?▌ 03. Albion 05:09 ▓▌
▓███?▌ 04. Outsidofintime 06:40 ▓▌
▓███?▌ 05. Beltane Queen 05:25 ▓▌
▓███?▌ 06. When it All Comes Down 05:10 ▓▌
▓███?▌ 07. Universal Mainline 14:08 ▓▌
▓███?▌ ▓▌
▓███?▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓███?▌ ▓▌
▓███?▌ Note 1: In the great race to secure the most ▓▌
▓███?▌ comfortable front row Parker Knoll jetliner ▓▌
▓███?▌ recliner seats on DeathÆs Own Juggernaut currently ▓▌
▓███?▌ idling ominously at the Grim ReaperÆs terminal (and ▓▌
▓███?▌ across several platforms simultaneously) waiting to ▓▌
▓███?▌ take those most recently deceased heads down into ▓▌
▓███?▌ the afterlife, several of our most pragmatic (and ▓▌
▓███?▌ most super-confident) 21st century rockÆnÆroll ▓▌
▓███?▌ artists have ditched forever all notions of ▓▌
▓███?▌ originality in favour of adopting that Cultural ▓▌
▓███?▌ Kleptomania style employed so successfully by T.S. ▓▌
▓███?▌ Eliot in his legendary epic poem THE WASTELAND, in ▓▌
▓███?▌ which all and everything in the public domain (from ▓▌
▓███?▌ childrenÆs playground poems to soldiersÆ marching ▓▌
▓███?▌ songs) were considered to be a useful enough part ▓▌
▓███?▌ of the great cultural reservoir that they were in ▓▌
▓███?▌ themselves worthy of being appropriated wholesale ▓▌
▓███?▌ æas isÆ without even minor tinkering on the ▓▌
▓███?▌ artistÆs part. Early rockÆnÆrollers û coming from a ▓▌
▓███?▌ ætin pan alleyÆ background of popular entertainment ▓▌
▓███?▌ û were hesitant to use this approach for fear of ▓▌
▓███?▌ appearing too crass, too inauthentic and, ▓▌
▓███?▌ therefore, too ersatz to be worthy of consideration ▓▌
▓███?▌ by the so-called intelligensia. But when in the mid ▓▌
▓███?▌ æ60s such giants as Stockhausen had balls enough to ▓▌
▓███?▌ commandeer whole segments of previously recorded ▓▌
▓███?▌ national anthems for his astounding and startling ▓▌
▓███?▌ work HYMNEN; and Mellotron keyboards began to ▓▌
▓███?▌ contain entire violin sections courtesy of co-owner ▓▌
▓███?▌ Eric RobinsonÆs Radio Light Orchestra and trombone ▓▌
▓███?▌ solos by bug-eyed British jazzer George Chisholm, ▓▌
▓███?▌ the aforementioned neurotic rockÆnÆrollersÆ fears ▓▌
▓███?▌ of appearing inauthentic simply because your rain ▓▌
▓███?▌ sounds had come directly from a BBC sound FX record ▓▌
▓███?▌ diminished considerably. And so, brothers and ▓▌
▓███?▌ sisters, Joe Meek inherited the earth. Descending ▓▌
▓███?▌ through the subsequent decades, these methods of ▓▌
▓███?▌ cultural appropriation all eventually filtered down ▓▌
▓███?▌ - via sampling, synclaviers and Stars-on-Forty Five ▓▌
▓███?▌ - into Lois Common-DenominatorÆs Pantheon of ▓▌
▓███?▌ Popular Music, until the present time when you can ▓▌
▓███?▌ simply sing your song over one of StingÆs and have ▓▌
▓███?▌ a nice Top Ten hit with your own name on it. But ▓▌
▓███?▌ what be the implications for the real heads? And ▓▌
▓███?▌ are handy off-the-shelf one-size-fits-all ▓▌
▓███?▌ psychedelic constructor sets useful for ▓▌
▓███?▌ enlightenment when placed in the right hands? Well, ▓▌
▓███?▌ IÆll tell yÆallà ▓▌
▓███?▌ ▓▌
▓███?▌ Note 2: This review celebrates the vinyl version of ▓▌
▓███?▌ ALBION, which will be released to the public later ▓▌
▓███?▌ this August on the Vinyl Japan label. However, the ▓▌
▓███?▌ version which you hear currently on our audio is ▓▌
▓███?▌ that available through our Merchandiser, released ▓▌
▓███?▌ on ChileÆs Mylodon Records. ▓▌
▓███?▌ ▓▌
▓███?▌ ▓▌
▓███?▌ For Those Who Have a Problem With æWorld MusicÆ We ▓▌
▓███?▌ Salute You ▓▌
▓███?▌ ▓▌
▓███?▌ Earthling Society is a 21st century ▓▌
▓███?▌ guitar/bass/drums trio from Blackpool, in the ▓▌
▓███?▌ north-west of England, that multi-tracks itself in ▓▌
▓███?▌ such a manner that its debut album ALBION comes on ▓▌
▓███?▌ more like your typical Krautrock commune ensemble ▓▌
▓███?▌ (Amon Duul 2, Agitation Free especially) than the ▓▌
▓███?▌ Blue Cheer, Grand Funk and High Rise heart attack ▓▌
▓███?▌ than the power trio line-up would suggest. Indeed, ▓▌
▓███?▌ concerning this Earthling Society, imagine even a ▓▌
▓███?▌ æ60s San Francisco septet/octet (50 Foot Hose or ▓▌
▓███?▌ the second album augmented Chocolate Watchband ▓▌
▓███?▌ comes most immediately to mind), the kind in which ▓▌
▓███?▌ at least half the members are fiddling with ▓▌
▓███?▌ unidentifiable Buchla-type analogue synthesizers ▓▌
▓███?▌ and weird Harry Partch percussion, whilst (sure ▓▌
▓███?▌ enough) the other half have their eyes closed and ▓▌
▓███?▌ are deluding themselves that itÆs all the natural ▓▌
▓███?▌ successor to the Jimi Hendrix Experience. Earthling ▓▌
▓███?▌ Society is, in other words, pretty damn cool. ▓▌
▓███?▌ ▓▌
▓███?▌ Guitarist Fred Laird controls the proceedings with ▓▌
▓███?▌ a beautifully distinctive and highly mournful ▓▌
▓███?▌ northern lead vocal style reminiscent of Jim Milne ▓▌
▓███?▌ from Tractor and LindisfarneÆs Alan Hull. His ▓▌
▓███?▌ highly English lyrical muse is somewhat akin to ▓▌
▓███?▌ William Blake, though refracted through the cracked ▓▌
▓███?▌ windscreen of a Commer Dormobile laid waste by ▓▌
▓███?▌ police during the Battle of the Beanfield. In his ▓▌
▓███?▌ songs, Laird calls himself a ôself-loathing ▓▌
▓███?▌ motherfucking boreö for worrying that the role he ▓▌
▓███?▌ ômust play is just slipping awayö. But the spectre ▓▌
▓███?▌ of EnglandÆs landscape Goddess is so powerful in ▓▌
▓███?▌ LairdÆs lyrics that he seems always destined to be ▓▌
▓███?▌ gloriously redeemed as ôshe comes to free me from ▓▌
▓███?▌ shackles and irons of despairö. Moreover, Fred ▓▌
▓███?▌ LairdÆs willingness to cast himself in his own ▓▌
▓███?▌ songs in his real-life role of father and husband ▓▌
▓███?▌ suggests this is one confident motherfucker, ▓▌
▓███?▌ especially as the music is so timelessly edge-y. ▓▌
▓███?▌ Accompanied by Jon BlacowÆs dubby and stickily ▓▌
▓███?▌ implosive drums, and all melded together by either ▓▌
▓███?▌ a bass guitar or bass synth from the be-shaded ▓▌
▓███?▌ longhair David Fyall, Earthling Society makes what ▓▌
▓███?▌ must - by this part of the early 21st century - be ▓▌
▓███?▌ described as ætraditionalÆ underground music shot ▓▌
▓███?▌ through with a genuinely psilocybin novelty made by ▓▌
▓███?▌ peaceniks of the ecstatic refusenik variety. Like ▓▌
▓███?▌ Comets on Fire, Six Organs of Admittance, ▓▌
▓███?▌ Primordial Undermind at their best, and anything ▓▌
▓███?▌ involving Plastic Crimewave, Earthling SocietyÆs ▓▌
▓███?▌ success is because of the confidence with which its ▓▌
▓███?▌ musicians deal in several time-honoured rock ▓▌
▓███?▌ clichΘs simultaneously. But, like some ▓▌
▓███?▌ psychedelicized bureau de change, the music of ▓▌
▓███?▌ Earthling Society always keeps the lira separate ▓▌
▓███?▌ from the francs and yen, and in so doing keeps a ▓▌
▓███?▌ sharp edge to every riff and tune and rhythm, ▓▌
▓███?▌ rather than mixing up all the small change into ▓▌
▓███?▌ that dreaded catch-all known as World Music. Think ▓▌
▓███?▌ of Earthling Society as a more obvious and de-tuned ▓▌
▓███?▌ version of TrafficÆs ô40,000 Headmenö, Amon Duul ▓▌
▓███?▌ 2Æs ôSandoz in the Rainö, most anything from ▓▌
▓███?▌ BrainticketÆs PSYCHONAUT or big ensemble pieces ▓▌
▓███?▌ from The Chocolate WatchbandÆs THE INNER MYSTIQUE. ▓▌
▓███?▌ Think even of bits of The Red CrayolaÆs marvelously ▓▌
▓███?▌ disorientating PARABLE OF ARABLE LAND, and yooz ▓▌
▓███?▌ almost there. Indeed, Earthling Society have on ▓▌
▓███?▌ ALBION created a muscular summum bonum of all ▓▌
▓███?▌ things mysterious without resorting to spewing out ▓▌
▓███?▌ cod-Hindi mantras or the sub-sub-Hawkwindisms of ▓▌
▓███?▌ most festival bands. ▓▌
▓███?▌ ▓▌
▓███?▌ Ah, but thereÆs the rubà for this Earthling ▓▌
▓███?▌ SocietyÆs trio designation is nobbut a cunning ▓▌
▓███?▌ smokescreen. The term ætrioÆ in rockÆnÆroll always ▓▌
▓███?▌ implies power trio, and this lot are nothing of the ▓▌
▓███?▌ sort1. YÆsee, the basic recordings having been ▓▌
▓███?▌ achieved, Messrs Laird, Fyall and Blackow then each ▓▌
▓███?▌ layer on more tracks of percussion and disembodied ▓▌
▓███?▌ voices, with Laird adding a final paste of piano ▓▌
▓███?▌ and occasional flourishes of truly delightful Colin ▓▌
▓███?▌ Goldring-style recorder that easily passes for ▓▌
▓███?▌ flute. And so it is that the overall FX of these ▓▌
▓███?▌ multiple overdubs are most reminiscent of those ▓▌
▓███?▌ euphoric results created by the aforementioned Jim ▓▌
▓███?▌ MilneÆs Tractor duo (recorded in the early 1970s ▓▌
▓███?▌ for John PeelÆs Dandelion label: see Album of the ▓▌
▓███?▌ Month November 2004CE); that or maybe an even more ▓▌
▓███?▌ sweaty and cardiovascular (and equally ▓▌
▓███?▌ Anglo-Viking) This Heat. Indeed, ALBION sounds like ▓▌
▓███?▌ all my favourite music without the kack bits that ▓▌
▓███?▌ annoy me. And itÆs current, too. And I dig it ▓▌
▓███?▌ especially because itÆs psychedelic rather than ▓▌
▓███?▌ just psychedelically styled2, that is: itÆs ▓▌
▓███?▌ disorientating and mind manifestingly fertile and ▓▌
▓███?▌ it constantly sends listeners outside of time to ▓▌
▓███?▌ dwell on the edge of their minds. You try to grasp ▓▌
▓███?▌ a hold of it but you canÆt because it never stays ▓▌
▓███?▌ in the same place long enough. Like Dennis BovellÆs ▓▌
▓███?▌ perpetually rolling mix on The Pop GroupÆs first ▓▌
▓███?▌ album Y, ALBION is always on the edge of becomingà ▓▌
▓███?▌ ▓▌
▓███?▌ ▓▌
▓███?▌ My Children, My Woman, My Faith ▓▌
▓███?▌ ▓▌
▓███?▌ Judging ALBION on a song-by-song basis is somewhat ▓▌
▓███?▌ inappropriate, as it all segues together to create ▓▌
▓███?▌ a cohesive whole. However, for those who are ▓▌
▓███?▌ reading this review long after the audio streaming ▓▌
▓███?▌ has been taken down, I feel itÆs important to at ▓▌
▓███?▌ least attempt an itemized description of the tunes ▓▌
▓███?▌ contained herein. ▓▌
▓███?▌ ▓▌
▓███?▌ The record commences with the headlong ▓▌
▓███?▌ hollow-drummed percussion rush of ôBlack Witchö, a ▓▌
▓███?▌ riot of Pete De Freitas drums if that brother were ▓▌
▓███?▌ playing The Electric PrunesÆ massive ôHideawayö. ▓▌
▓███?▌ Chordless guitar notes burn and shatter as the ▓▌
▓███?▌ sparks fly upwards, a musical key coagulates out of ▓▌
▓███?▌ the ether and Fred Laird sings disembodied lyrics ▓▌
▓███?▌ through what appears to be a ring modulated ▓▌
▓███?▌ harmonium like that Cher song that robotized her. ▓▌
▓███?▌ Here, however, it sounds like LairdÆs smitten with ▓▌
▓███?▌ the same dark lady that Uli John Roth had issues ▓▌
▓███?▌ with, and sheÆs a Freya Doll up for frigginÆ in the ▓▌
▓███?▌ rigging: ▓▌
▓███?▌ ▓▌
▓███?▌ ôI got a witch, she wonÆt keep still, ▓▌
▓███?▌ A marionette on a freakshow bill, ▓▌
▓███?▌ But she can ride like no girl willàö ▓▌
▓███?▌ ▓▌
▓███?▌ Guide me to her, brother; I gots to meet this ▓▌
▓███?▌ enchantress. Then what sounds like a Hitlerian ▓▌
▓███?▌ night rally leads us into the superb GET ▓▌
▓███?▌ CARTER-esque themes of ôHeart of Glassö. Formerly ▓▌
▓███?▌ entitled ôUran Krystallö, more disembodied voices ▓▌
▓███?▌ inform this so-called instrumental, which hangs in ▓▌
▓███?▌ the air and threatens to ascend but never truly ▓▌
▓███?▌ ignites. Onwards to the superb title track, whose ▓▌
▓███?▌ gloriously drunken 6/8 clatterbeats and seemingly ▓▌
▓███?▌ ever-descending chords evoke the Wodenist soul of ▓▌
▓███?▌ Northern England like no-one else does, spunking ▓▌
▓███?▌ cosmic cum across the canopy of the earth. Imagine ▓▌
▓███?▌ those brief blissful moments of High Tide when Tony ▓▌
▓███?▌ HillÆs transcendental guitar and Dreaken TheakerÆs ▓▌
▓███?▌ intoxicated splatter drums collide, and youÆre ▓▌
▓███?▌ somewhere close to the timeless beauty of this ▓▌
▓███?▌ song. Side One closes with the near seven-minute ▓▌
▓███?▌ Krautrock/W. Coast-styled groove instrumental ▓▌
▓███?▌ ôOutsideofintimeö, whose hothouse gardens ▓▌
▓███?▌ atmosphere could be another quarter of an hour in ▓▌
▓███?▌ length for my tastes. But this first side of music ▓▌
▓███?▌ is really one seamless bliss-out, whose song titles ▓▌
▓███?▌ are no more useful than signposts along the North ▓▌
▓███?▌ Walean section of the Watling Street. ▓▌
▓███?▌ ▓▌
▓███?▌ The acoustic ôBeltane Queenö that opens side two ▓▌
▓███?▌ again conjures that same disembodied folk music ▓▌
▓███?▌ that the Tractor duo did so well. Imagine the most ▓▌
▓███?▌ bucolic parts of TrafficÆs JOHN BARLEYCORN MUST DIE ▓▌
▓███?▌ as played by the Syd Barrett Floyd at its most ▓▌
▓███?▌ blissed out û a place where the ska-styled æch-chÆ ▓▌
▓███?▌ vocal rhythms equal billing with the drums and bass ▓▌
▓███?▌ a la Roxy MusicÆs ôThe Bogus Manö. Starting with an ▓▌
▓███?▌ off-the-shelf downpour, ôWhen It All Comes Downö is ▓▌
▓███?▌ an atonal Kraut-skank that hinges on the ▓▌
▓███?▌ time-honoured rockÆnÆroll lyrical call to arms ôCan ▓▌
▓███?▌ You Feel it?ö Funky and un-finished sounding, this ▓▌
▓███?▌ skeletal groove threatens to come to pieces at any ▓▌
▓███?▌ time, and is all the more charming for it, ▓▌
▓███?▌ especially as most of the instrumental parts are ▓▌
▓███?▌ only implied and, even then, undermined by off ▓▌
▓███?▌ kilter sound FX. ALBION concludes with a delightful ▓▌
▓███?▌ 14-minutes long groove piece entitled ôUniversal ▓▌
▓███?▌ Mainlineö, another of Earthling SocietyÆs skeletal ▓▌
▓███?▌ and hugely understated themes that begins as a ▓▌
▓███?▌ bizarre hybrid of English finger-in-the-ear folk ▓▌
▓███?▌ music and short wave transistor music concrete, ▓▌
▓███?▌ before developing into a magnificently loping and ▓▌
▓███?▌ dyslexic anthem, again something like early Roxy ▓▌
▓███?▌ Music at their most Krautrock informed. Herein is ▓▌
▓███?▌ EarthlingÆs greatest strength, for when they bring ▓▌
▓███?▌ the bass and drums way to the fore, all those ▓▌
▓███?▌ elements that would normally play the pivotal role ▓▌
▓███?▌ become implied or hidden on the near horizon, ▓▌
▓███?▌ propelled emotionally by the bandÆs clever use of ▓▌
▓███?▌ pretty but unreachable voices that we know (but ▓▌
▓███?▌ only from the supplied lyric sheet) are singing: ▓▌
▓███?▌ ▓▌
▓███?▌ ôRide the universal mainline, ▓▌
▓███?▌ Ride the universal mainline, ▓▌
▓███?▌ Ride the universal mainline, ▓▌
▓███?▌ Ride the universal mainline.ö ▓▌
▓███?▌ ▓▌
▓███?▌ And so this album reaches its most beautiful ▓▌
▓███?▌ moments on that long closing fade, sounding like ▓▌
▓███?▌ several oft-heard yet still ungraspable sounds from ▓▌
▓███?▌ the psychedelic past, played all at once. And so it ▓▌
▓███?▌ would seem, especially in this early 21st century, ▓▌
▓███?▌ that truly psychedelic music can still succeed by ▓▌
▓███?▌ dealing in certain overt clichΘs, so long as their ▓▌
▓███?▌ context is appropriate (or, more likely, ▓▌
▓███?▌ inappropriate). I suppose this is because ▓▌
▓███?▌ subverting the clichΘ, can only work after the ▓▌
▓███?▌ artist has first accepted the clichΘ, which is ▓▌
▓███?▌ after all the unit of currency that the human mind ▓▌
▓███?▌ mostly deals in. And if Earthling Society gets ▓▌
▓███?▌ itself on a roll, we could be in for a series of ▓▌
▓███?▌ low-key underground classics from themà Blackpool ▓▌
▓███?▌ Illumination? Bring it on!!! ▓▌
▓███?▌ ▓▌
▓███?▌ ▓▌
▓███?▌ --------------------------------------------------- ▓▌
▓███?▌ ----------------------------- ▓▌
▓███?▌ ▓▌
▓███?▌ ▓▌
▓███?▌ FOOTNOTES: ▓▌
▓███?▌ When I rack my mind in search of the ultimate ▓▌
▓███?▌ opposite of the power trio, I think of ZoundsÆ ▓▌
▓███?▌ incredibly well-arranged refusenik 7" anthem "CanÆt ▓▌
▓███?▌ Cheat Karma" (ôOne Two Three Go, IÆve got an ego, ▓▌
▓███?▌ It wonÆt let me go, WhatÆmah gonna do?ö) and the ▓▌
▓███?▌ caffeinated tense but sonically weak-as-shit ▓▌
▓███?▌ tinnitus defiance that Chain Gang laid on us via ▓▌
▓███?▌ the Kapitalist label for their "Son of Sam" 45. ▓▌
▓███?▌ Otherwise, IÆm reminded of The Red CrayolaÆs ▓▌
▓███?▌ gormless first recording of "Pink Stainless Tail", ▓▌
▓███?▌ the version that made it on to Lelan RogersÆ ▓▌
▓███?▌ EPITAPH FOR A LEGEND double-LP International ▓▌
▓███?▌ Artists retrospective. But if you listen to Red ▓▌
▓███?▌ CrayolaÆs PARABLE OF ARABLE LAND LP, that same song ▓▌
▓███?▌ appears surrounded, nay cushioned, by a kind of ▓▌
▓███?▌ rolling pop-art music concrete credited to the ▓▌
▓███?▌ so-called æFamiliar UglyÆ, said to have been a ▓▌
▓███?▌ friends-of-the-band percussion and enthusiasm group ▓▌
▓███?▌ of Texan freaks akin to Hapshash and Amon Duul 1. ▓▌
▓███?▌ However, despite his miniscule credit right down ▓▌
▓███?▌ there at the bottom of the record sleeve, the real ▓▌
▓███?▌ creator of this music was sound engineer Walt ▓▌
▓███?▌ Andrus, whose role was downplayed to the point of ▓▌
▓███?▌ extinction. In reality, Andrus had created the ▓▌
▓███?▌ music of the so-called Familiar Ugly months before ▓▌
▓███?▌ the Red Crayola LP was even recorded. Furthermore, ▓▌
▓███?▌ he had touted it round Houston and Austin searching ▓▌
▓███?▌ in vain for a release before seeing it reduced to a ▓▌
▓███?▌ series of convenient Elastoplast doorways with ▓▌
▓███?▌ which to seal together Mayo Thompson & CoÆs ▓▌
▓███?▌ charming minimalist ineptitude. ▓▌
▓███?▌ Psychedelically styled music makes me sick because ▓▌
▓███?▌ itÆs anything but psychedelic and if I hear one ▓▌
▓███?▌ more fairground organ IÆll kill the musician. Or ▓▌
▓███?▌ sitarsà shit Psychedelically-styled music is 21st ▓▌
▓███?▌ century Macca on the front cover of Radio Times, ▓▌
▓███?▌ smiling under the heading "Now IÆm 64". It has ▓▌
▓███?▌ nothing to do with real psychedelic experience and ▓▌
▓███?▌ everything to do with the post-2012 Conservative ▓▌
▓███?▌ Party. ▓▌
▓███?▌ ▓▌
░ ▓███?▌ ▓▌
▓ ▐████?█ [ A B O U T . U S ] ▓▌
▀█?███?▓▄█▀ ▓▌
▀█?█?▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀?▓▓▀ siasts. Justfun is releasing different kind of music like ▓▌
? indie rock, trip-hop, ethnic, jazz, french, brazilian ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▓▌
░ ground scene. If you have, like us, a passion for ▄ ▓▌
░ music, don't hesitate to contact us ! ▄▄█▌ ▓▌
░ ▄███?▌ ▓▌
░ GREETinGs : Nuhs . Hit2000 . DGN . KSi . RAC . CHR █████▀▀▀▀ ▓▌
░ Om . rH . Fuffens . Remix . CMG . SB . AMOK ░███ ▓▌
░ Kw . aPC . iTS . i . RNS . aAF . diss . ESC ██▌ ▓▌
pyt . SEVcD ... ▓██ ▓▌
░ and all ppl who share music with us ! ▄▄▄██▌ ▓▌
? ?▓▓▓▓▌ ░ ░▌
▀■░▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄?░░░▓▌▄▄?█▄▄■▀
▄?███████?▓▀ ▀▀▀▀▀ ?█?██?▄
?█?█████?▓█▀ [ C O N T A C T ] ▀▀?█?▌
▓████████?▓█▀ ▐█▄█?▀
▐██?██▀?? We're currently looking for : █?▓█▀▀
▓███?▌ ░ - music enthusiast ppl buying cds on a regular basis. ?▀▀
▓███?▌ - ppl who can get promos or advanced rls. ▀ ░▌
░ ▓███?▌ - Siteop who can provide at least 10mbits and ▓▌
▓ ▐████?█ 50gb++ for our archive. ▄ ▓▌
▀█?███?▓▄█▀ - People with skill and experience ▄▄█▌ ▓▌
▀█?█?▓▀ ... and everyone who wants to help in a ▄███?▌ ▓▌
▀?▓▓▀ pleasant atmosphere our Just family. █████▀▀▀▀ ▓▌
? ░███ ▓▌
░ Share your forces with us ! ██▌ ▓▌
▌ IRC : You know ▓██ ▌ ▓▌
░ ? Email : jfun@hushmail.com ▄▄▄██▌ ? ▓▌
? ?▌ ?▓▓▓▓▌ ?▌ ░▌
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▓███▀ ??▓ [ J U S T F U N born in Apr. 2 0 0 0 ] ▓███▀ ??▓
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