7 Sep 2008
Really, I just like bagpipes 
When the avante garde do mainstream, do they become mainstream?

Not according to Fractured Music, "an imprint which specialises in one-off editions and artists' projects", whose debut release Recovery features twenty of the most left-field electronic musicians performing their favourite guilty secrets: "cover versions, tributes and appropriations of classic hits from the 70s, 80s and 90s".

Read 'em and weep, the Recovery track list in full:

BJ Nilsen: 'Heart and Soul' Joy Division
People Like Us & Ergo Phizmiz: 'Mull of Kintyre' Wings
Fennesz: 'Hunting High and Low' a-Ha
:zoviet*france: 'Bomber' Motörhead
Ryoji Ikeda: 'Back in Black' AC/DC
Mika Vanio: 'Running Up That Hill (A Deal With God)' Kate Bush
Robert Henke: 'Lucifer' Alan Parsons
Susan Stenger: 'My Sharona' The Knack
Jenny Hoysten's Paradise Island: 'Dream Tree' Buffy Sainte-Marie
Alva Noto: 'Planet Rock' Afrika Bambaataa
Matmos: 'C30, C60, C90, Go!' Bow Wow Wow
Barbara Morgenstern: "Temptation" New Order
Carter Tutti: 'Lucifer Sam' Pink Floyd
Robert Lippock with Caroline Thorp: 'Freedom! '90' George Michael
snd: 'Billie Jean' Michael Jackson
Richard Chartier & CoH: 'Bleak Is My Favourite Cliché' Soft Cell
Momus & Germlin: 'Ashes to Ashes' David Bowie
Jason Forrest: 'Damn Love' 10cc
J.G. Thirlwell: 'Warm Leatherette' The Normal
Jóhann Jóhannsson: 'Souvenir' OMD

Recovery is a collector's limited edition box set (500 numbered) of 10 x 7 inch singles priced at GBP 60.00 (plus postage) available from the Fractured Music site.

Irony or legitimisation? You decide.

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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

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