Like one of those dreams where you’re in a headwind down a dark tunnel and the light at either end never comes closer, The Labyrinth Of The Straight Line is a typically petrifying yet compelling transmission from Gordon Sharp’s Cindytalk, presented as “a compilation of chimerical poetry” where “ambiguous haikus of agony, melancholy, obscurity and dissensus are unfolding over time”.
Almost needless to say but, it’s a markedly different sound to Cindytalk’s previous techno travails with Ancient Methods as In The Mouth Of The Wolf for Diagonal, largely leaving the beats on the floor in favour of absolute abstraction and icy-fingered ambient noise gestures laced with his own, sparingly used vocals that lend a really uncanny presence at times.
At its most succinct in the opener, Sea of Lost Hopes’ recursive metallic matrices, the album expands and contracts, freeze and cracks between the sustained intensity of Shifting Mirrors and the guttural 15 minute chasm of A Wolf At The Door, with traces of brittle rhythmic structures coruscating in the bombed out Sleight of Mind and sparking under the surface of the title track and the skeletal stepper In Search of New Realities.
But ultimately it’s not all dank AF; the aforementioned glimmers of light do become clearer in the shoegazing resolution of Who Will Choose My Dress and with the alien, hyaline harmonies illuminated by Filthy Sun in Diminished Light, yet they remain deliciously just of reach, always sending you back under in to the cycle to be chewed up and spat out again.
Beat-less modular improvisations made in the Hawaiian jungle
”Anthony Child AKA Surgeon presents the second volume of recordings of Buchla Music Easel recorded in the jungle of Maui.
Again we find Child's in a more ambient guise and setting as the calm breath of the jungle sets a real time back-drop for his electronic explorations. There is no additional layering and all environmental sounds simply 'occurred' throughout the improvisations. The range on display veers from melodic drones to sparkling arpeggios all revolving around a thick bed of (Buchla) electronic and (environmental) acoustic interplay.
Nine Personality Type Map hovers on a bed of syncopated rhythms whilst the nearby sonic mist of the forest seeths in and out of the frame whilst Nightfall Of Diamonds provides a sonic analogy for the darkness and light contradiction that occurs only in such rich natural environments. The simultaneous acts of improvising, listening and creating provide a rich setting for the curious listener. Another gem in a catalogue filled with gold.”
‘Satan’s Slave’ is the latest release from Moscovitch Music (Terror/Prey), the brainchild of producer/compiler Joel Martin (Quiet Village/Velvet Season & The Hearts of Gold/Maxxi & Zeus) whose ‘de Wolfe Music’ compilations ‘Bite Hard/Bite Harder’ are considered essential primers of the library genre.
"This Holy Grail Black-Magic British Jazz soundtrack from 1976 is the most requested movie score of cult film composer and top English Jazz saxophonist/flautist - John Scott (Symptoms/Wake in Fright/Craze). For aficionados of rare library music and obscure Horror soundtracks this is an essential album.
‘Satan’s Slave’ - The original soundtrack to Norman J Warren’s (Terror/Prey/Inseminoid) nihilistic tale of Witchcraft and occultism conjures an uneasy yet compelling experience for fans of exploitation OST’s, and a veritable smorgasboard of dark progressive samples for the producers. The ritualistic tribal beats of ‘Sacrifice’ could have been culled from the KPM library catalogue (John Scott was a regular session player for them) while ‘Drive to Alexander’s and crash’ is forgotten filmic UK Modal Jazz with a tropical flavour which harks back to Scott’s legendary Columbia Lansdowne LP from 1967 ‘Communication’, a firm Gilles Peterson favourite. ‘A walk in the grounds’ is pure mellow heat - fuel for the MPC 2000, with its crisp Fender Rhodes chords and ‘Dusty Fingers’ vibe, and ‘Unused Cue’ which is an additional recording we discovered on the reels is a fiery free-Jazz odyssey for explorers of the fifth dimension!
The complete ‘Satan’s Slave’ soundtrack, which is being presented here for the first time on any format, has been lovingly remastered from the original half-inch master tapes courtesy of Sean P(Z Records), and sounds as edgy, fresh and relevant as it did back in the swinging seventies.
Pour the Absinth, switch off the lights and say a little depraved prayer!"
At 26 tracks wide and 2hr 22mins long, Playgroup’s Previously Unreleased collection forms one of the strongest portraits you’ll find for Trevor Jackson’s unique dancefloor style.
Issued over the course of summer ’16 in a series of 9 x 12”s, which are collected here in their entirety, Previously Unreleased rinses Jackson’s archive for still glowing, mongrel mutations of the boogie-disco, dub, hip hop, punk and electro that he grew up with as both a graff writer and nascent B-Boy. By the late ‘80s he’d turned his hand to designing classic record sleeves for the likes of S-Express and Eric B. & Rakim, and was subsequently producing rugged breaks records in the mid-late ‘90s as Underdog.
If you want track by track appraisals, check the individual vinyl release pages, but take it on trust that this is a hefty party load of tricks that sounds properly wide and heavy with amplification.
Orient Occident is a more recent recording of the great Estonian composer Arvo Pärt's work, released in 2002, and might surprise those familiar with his better known, sparser works.
Performed by the mighty Swedish Radio Symphony Orchestra and the Swedish Radio Choir the three pieces contained here are markedly busier, but no less spiritual than you would expect with two of the pieces set to Psalms. The opening piece 'Wallfahrtslied / Pilgrim's Song' was written in 1984 as a tribute to a composer friend, and is fittingly melancholic, taken from Psalm 121.
The rest of the record is markedly lighter however, with the final piece 'Como Cierva Sedienta' almost triumphant, jubilant heights and feeling almost cinematic in scope. There are mirrors here somewhat with the work of Philip Glass, and the piece has a similar quality to Glass's operas. It might not be the most obvious of Pärt's records to choose, but 'Orient Occident' is a hugely rewarding disc which will enthral as much as it will challenge listeners. Highly recommended.
Collecting six beautiful Arvo Pärt compositions performed by the Estonian Philharmonic Chamber Choir and Estonian National Symphony Orchestra, covering a breadth of styles over 25 years between 1989-2005
“The eagerly-awaited new Pärt: Released 25 years after the Estonian composer started ECM’s New Series (“Tabula Rasa”, 1984), “In Principio” offers six compositions of different scale and instrumentation written between 1989 and 2005 thus allowing for an impressive overview of Pärt’s recent stylistic development.
The dramatic 25-minute “In principio” for mixed choir and large orchestra sets the famous opening of the gospel of St. John, “In principio erat Verbum”. In its five movements, “tintinnabuli”-diatonicism is contrasted with sophisticated harmonic procedures, massive brass chords are juxtaposed with almost stoic calm in the choir.
With most of Pärt’s more recent works, the score (2003) was written in response to a major commission.
The purely orchestral “La Sindone” (The holy shroud), mirroring the textile’s symbolic shine-through effects in delicate string-textures, was premièred in Turin during the 2006 Winter Olympics whereas “Caecilia, vergine romana” for mixed choir and orchestra is a commission from the organisation for the celebration of the jubilee of Rome in 2000.
“Da pacem Domine”, one of Pärt’s most serenely beautiful pieces responded in a very subtle way to the 2004 terror attacks in Madrid’s Atocha station. The piece which could be heard a cappella on the 2005- release “Lamentate” appears here in a striking new version with choir and strings.
The programme is completed by two instrumental compositions, “Mein Weg” (1989 / 1999 / 2000) and “Für Lennart in memoriam” a very still piece for the late Estonian president Lennart Georg Meri.
The exemplary interpretations by some of the best and most faithful Pärt specialists were recorded in Estonia with the assistance of the composer and will surely make for one of the strongest 2009 releases on ECM.”
Marshalling orchestral and choral forces under the direction of Tõnu Kaljuste, this new Arvo Pärt album, produced by Manfred Eicher and realized, like all Pärt's ECM discs, with the composer's participation, is a major event.
"Sacred music predominates, by turns monumentally powerful and tenderly fragile. Compositions featured, in premiere recordings made in Tallinn's Niguliste Church, are: "Adam's Lament" for choir and string orchestra; "Beatus Petronius" for two choirs, eight woodwind instruments, tubular bells and string orchestra; "Salve Regina" for choir, celesta and string orchestra; "Statuit ei Dominus" for two choirs, woodwinds and string orchestra; "Alleluia-Tropus" for choir and string orchestra; "L'Abbé Agathon" for soprano, baritone, female choir and string orchestra. The album concludes with two lullabies - "Estonian Lullaby" and "Christmas Lullaby" - for female choir and string orchestra.
In title piece "Adam's Lament" Pärt uses a poetic text by Silouan of Athos to emphasize our common heritage in the figure of Adam. "Adam is all of us who bear his legacy. This 'Total Adam' has been suffering and lamenting for thousands of years on Earth. Adam himself, our primal father, foresaw the human tragedy and experienced it as his personal guilt. He has suffered all human cataclysms, unto the depths of despair.""
A particularly gusty piece of kosmiche contemplation conceived in Berlin, 1979
"Electronic musician Adelbert von Deyen’s debut and sophomore album were released just a year apart from each other. “Sternzeit” was followed by “Nordborg”, which featured only one track on each side. Again, von Deyen took his time crafting a meditative maelstrom of ambient sounds. The B-side, “Iceland”, is actually an acoustic interpretation of a snowstorm in Nordborg, Denmark, as remembered by von Deyen.
Von Deyens debut album “Sternzeit” had caused quite a stir in 1978 in his home town of Lübeck, where the unconventional young artist found himself inundated with fan mail and booked for autograph sessions. His contract with Sky Records obliged him to deliver a set number of albums to the label—one per year. Enjoying financial independence, he was able to give up his job and focus exclusively on his music.
“Nordborg” appeared in 1979 and featured just two tracks, one on each side. It was inspired by a short holiday in Nordborg on the Danish island of Alsen, which coincided with a violent blizzard. “Moonrise”, the A-side title, is a slow motion improvisation on the rising of the moon on Nordborg. Opening with synths evocative of seagull cries, meditative soundscapes mesh together massive lead sounds in unhurried harmony. Winds swirl, synths twist into electronic spheres of sound, drifting without any clear dramatic structure. Immersed in introspection, Adelbert von Deyen celebrates life in the moment.
“Iceland”, the B-side piece, depicts the snowstorm. Perfect for Adelbert von Deyen’s artistic expression: sustained organ tones deliver beat frequencies, an electric piano pattern is lost in reverie, winds build through the ARP Odyssey, finally sinking into icy melancholy and detached organ tones. Towards the end we are reconciled by an almost sacral organ part which Adelbert von Deyen brings full circle as he returns to the opening theme.
Adelbert von Deyen recorded the second album, like the first, on a Revox A77 tape machine in his little home studio. The instrument list echoes that of “Sternzeit”, with an ARP Odyssey performance synthesizer, a Farfisa VIP 233 organ, a Farfisa String-Orchestra, Hohner Clavinet D6 electric piano, rhythm computer and an electric guitar.”
“The message is very simple; think for yourself and question authority”, so says Timothy Leary in the looped intro to Joachim Nordwall’s follow-up to The Power of Repetition and two volumes of Soul Music for Entr’acte.
The iDEAL ringleader is at his quietest and most contemplative here, firstly offering Leary’s looped mantra before opening out into starkly minimal space ambient drone space where we’re implicitly encouraged to meditate on that message amid the rustle and hum of vintage oscillators and haptic scuffs.
Some half way into the piece those etheric drones begin to coagulate into a glowing aurora which glacially descends into rumbling lower registers and returning almost like a palindrome to Leary’s mantra, which reinforces the piece’s effect, and possibly implies a positive point of resolution on the horizon if only you hold your line.
As with pretty much everything Nordwall touches, this one comes highly recommended!
Epic 3CD set celebrating 10 years of Moon Wiring Club via 66 tracks of unreleased, archive and obscure tracks, all remastered splendidly to form something like an 'alternative best of'. It's chronological, so you get the first disc covering 2003-2009, the second 2010-2011, and the third 2012-2013. None of the tracks have been on CD before!
Moon Wiring Club breaks out the black pudding bunting to celebrate 10 years of quintessentially northern english surreality with When A New Trick Comes Out, I Do An Old One, collecting three discs of cherry-picked freaks and ill-conceived ideas sourced from the nether region of his steam-powered hard drive. Fair to say that after a decade of exploring this sound, MWC brilliantly and definitely sounds like nobody but himself.
If you’ve had the head to follow the MWC and Gecophonic saga over the years so far, you’ll no doubt be as a charmed and baffled as us by its darkly sophisticated sense of glamour and maze of Escher-esque looping arrangements which never seem to go anywhere, yet always make you feel like you’ve been somewhere else.
The first disc, A Field Full Of Sunken Horses hearkens back to MWC’s earliest phase c. 2003-2009, including a higher quality version of the titular fan fave which was issued as 128kbps MP3 only by The Wire in 2005, and now appears in higher quality along with the flanging, bubbling magick of Rotten Druid and the bandy-legged swagger of Owd Lads Night, each making canny, secretive use of samples procured from the fecund charity shops and second hand record stores of Clinksell.
His 2nd disc, Tripping In The Elizabethan Sense brings us up to the period surrounding Clutch It Like A Gonk, namely variations on a “dance” music theme. But that’s dance music from Clinksell, some time in a dimension that’s familiar yet parallel to our own, and the results spell out a slew of wrong-steps and mystic fogtrots which, if they came from this dimension, would have predated the ‘90s’ fixation with multiple CD mixes of the same songs. At 22 tracks long, it’s clear that MWC isn’t short on ideas, and that sometimes it’s his overlooked bits that can be the strangest components in Clinksell’s fractal mosaic.
The final disc is a descent into the bowels of MWC. Under the title We In This Hill Are Alive he relinquishes a farther 22 tracks of undulating soundscapes, taking inspiration from the rugged hills and valleys surrounding Clinksell to render a series of deep topographical studies mapping plasmic links between stone circles, hill mounds and ancient folk dressed in cutting edge couture, strongly recalling the feel of Mordant Music’s MisinforMation DVD soundtrack in parts, and leaning into the dreamiest corners of Coil-esque electronics with Midsummer Visitation.
This is a music and upside down world unto itself, one where clocks go backwards and anthropomorphic fancies are an everyday occurrence. It’s a world that will be familiar to many, and seductive to many more.
Texturally detailed ambient-electronic study on the relationships between man made and natural environments in the Cromarty Firth, Scotland. File somewhere between Cindytalk and Richard Skelton
“Mark Lyken is an Artist, Composer and Filmmaker based in rural Dumfries & Galloway, Scotland. He creates musical and sound pieces, film, paintings and installations.
The Cromarty Firth is an inlet of the North Sea in the Highlands of Scotland. It is an important and protected natural habitat of seabirds and marine mammals, yet it is also an essential berth of the Oil and Tourism industries. Based in a field station ideally located at the Cromarty Lighthouse, Ecologists from the University of Aberdeen study how natural and man-made environmental changes influence the behaviour and populations of the Firth's protected species.
In 2012 Lyken was Artist in residence at the Lighthouse Field Station where he worked alongside the Ecologists and recorded The Terrestrial Sea album. He returned to Cromarty in 2014 to collaborate on a companion film with award-winning Filmmaker Emma Dove.
The Terrestrial Sea is the culmination of that work, highlighting the diverse and ever-changing environments that the Ecologists are studying through music and film.
The Terrestrial Sea is deeply imbued with a sense of place. Whilst sonically evoking the drama and beauty of the land and seascapes of the Cromarty Firth it also explores the tensions that exist surrounding the natural and industrial world. The music combines real world, electronic and processed sounds, creating a sometimes incongruous soundworld of corroded melodies, percussive clangs, drilling platform drones, pile driving booms, intensifying boat noise, local voices, the simulated sounds of weather and the ever-present sea itself.”
Limited edition 8-CD box set, collating Kirk’s solo work from 1974-1989. Contains the albums: "Disposable Half-truths", "Time High Fiction Part 1", "Time High Fiction Part 2", "Black Jesus Voice", "Ugly Spirit", "Earlier / Later - Unreleased projects anthology 74-89 Part 1", "Earlier / Later - Unreleased projects anthology 74-89 Part 2", plus 16 track rarities album "Super Duper Soul". Includes 28 page booklet.
Richard H Kirk’s ‘#7489 (Collected Works 1974 - 1989)’ is an eight CD box set collating Kirk’s solo work from 1974 - 1989. Walking a tightrope of experimental and dancefloor themed electronic music, Richard H Kirk’s solo work precedes his output with Cabaret Voltaire and his releases continued alongside the band’s output.
Cementing his reputation as a pioneer of electronic music, this box set amply proves Kirk’s inventiveness and sounds as fresh now as it did otherworldly then. The box set includes the 2CD ‘Earlier / Later’ album as well as the newly re-mastered albums ‘Disposable Half Truths’, ‘Time High Fiction’, ‘Black Jesus Voice’, ‘Ugly Sprit’ and an album of previously unreleased materiel, ‘Super Duper Soul
Limited edition 5CD box set containing the albums "Digital Lifeforms Part 1", "Digital Lifeforms Part 2", "Intensely Radioactive", "Dark Continent", plus 8 track rarities album "Runs The Voodoo Down". Includes 20 page booklet.
‘#9294 (Collected Works 1992 - 1994)’ is a five CDn box set collating the melding of African sounds with European electronic music, the mission statement of Richard H. Kirk’s alter ego, Sandoz.
The box includes the 2CD ‘Digital Lifeforms’, the long-time unavailable and newly re-mastered ‘Intensely Radioactive’ and ‘Dark Continent’ albums and an album of previously unreleased material, ‘Sandoz Runs The Voodoo Down’.
New soundtrack creation by Francisco López.
"In constant nudity, which highlights the diversity of their bodies and origins, eleven men, eleven dancers throw themselves, body and soul, into this Anima Ardens or 'Burning Breath', surrounded by the organic sound environments of Francisco López Trance rituals or in shamanic trance, taking us out of ourselves, to the source of our emotions."
Demdike Stare return with their first album since 2012’s Elemental, a feral, loose-limbed and angular rave odyssey wrecking Dancehall and Jungle templates via found sounds, Ambient and exotic spaces.
Wonderland plays the full breadth of the duo’s wide open aesthetic, taking their Testpressing series of dancefloor lashes - issued on 12” between 2013-2015 - as the diving board for an innovative, reverie-like album forming a parallel dancefloor narrative where the spirits of mid ‘90s jungle and digital dancehall are made plasmic, malleable, and syncretised with industrial and ambient techno sound design.
Rooted in record collecting and the art of DJing, and in line with Demdike’s atypical style and pattern, Wonderland veers across styles and temporalities, forming wormholes between Hardstyle and submerged jungle in the curtain-raiser, Curzon, and going in like Slimzee slicing up grime dubs with jungle in the crackden atmosphere of Animal Style, whereas the eleven minute Hardnoise catches them at full stretch, tumbling from head-rinsing noise to a dank, sublow techno mission framed by unsettling ambience somewhere between Prurient’s Rainforest Spiritual Enslavement episodes and a mutant variant of classic Exotica, before coughing you up someplace else.
At the album’s epicentre, FullEdge (eMpty-40 Mix) obliterates distinctions between dancehall and techno as you’ve never heard, an edit that re-laces their formerly mutually exclusive ligature in a belly-tightening and brilliantly messed-up new mutation, before Sourcer prangs out like a cyborg calibrating itself to ragga jungle arrhythmia, and the psychoacoustic nose drip of Fridge Challenge dissipates into the ‘static thizz of Overstaying at the LP’s perimeter, like some DJ Sprinkles cut paused at mid-flow and delayed, re-shaped into a tense burner.
It’s probably the most enjoyable and loose-limbed hour of music in their catalogue, or that you’ll likely hear in these weird, angst-ridden times.
Pre-eminent free improv unit SPUNK offer a feast of uncanny, otherworldly sound in Still Eating Gingerbread For Breakfast, which is a recording of both sets from their 20th anniversary concert at Nasjonal Jazzscene in Oslo, December 2015. It forms their 9th album together, and evidently demonstrates that Maja S.K. Ratkje, Hild Sofie Tafjord, Kristin Anderson and Lene Grenager have lost none of their unparalleled ability to beguile and hold our attention like no other.
Produced and mixed by the golden ears of Maja S.K. Ratkje, and mastered by Helge Sten (Deathprod), the results are unflinching, perspective-morphing portraits of the ineffably tight unit at their most attuned, putting 20 years of finely honed, near-telepathic intuition at the service of searching out fascinatingly odd new structures, timbres and sensations from an indefinable intersection of free jazz, modern composition and total improv.
It’s essentially a highly complex sort of aural alchemy, carefully combining the naturally reverberant tones of trumpet, recorders, french horns and cello with the electronic/synthesised sounds of a theremin, live processing, sampling and oscillators to create something which feels like a darker evolution of the Darwinian aesthetics applied in their previous album, Adventura Botanica.
The 43 minute first section starts tightly focussed on the interplay of Maja’s animalistic purrs, growls and slurps and the tentative buzz of Lene’s cello, before slowly zooming out to reveal a crepuscular scene of whistles and bat-baffling spatial dynamics where the cello becomes more panicked in a skirmish with Kristin’s recorder, triggering the entrance of much larger imaginary creatures, like brobdingnagian giants to the pygmys of Rashad Becker’s notional species. The effect is somehow, simultaneously daft and yet scarily unforgettable; you’ll need to pinch yourself at some point.
Allowing for an intermission, the 2nd part captures the quartet at their most possessed and kinetic, with frenetic french horn darting around wrenched cello strings and utterly manic vocals, and Maja diffracted into a coherent cacophony channelling myriad voices from beyond and within, from the spirits of Joan La Barbera and Trevor Wishart to Albert Ayler and the sounds that occur in nature when nobody’s listening.
In effect, it’s practically as close as you’ll hear to otherness in contemporary music, and, as the title Still Eating Gingerbread For Breakfast suggests, they’ve definitely not lost the wide-eyed wonder or characteristic SPUNK of Pippi Longstocking.
Svartmoot’s eponymous debut EP appears to document the end-times of some mysterious avatar who’s just about surviving in an unwelcoming, not-too-distant future.
It’s a perilously bleak place, seemingly perfused with the stench of blood and rotting flesh and the plangent cacophony of your lone protagonist, searching for life amidst the ruins and nuclear winter blackout by using rudimentary dub sonar technology.
Consummate collaborator and modern minimalist, Richard Chartier return to his most active project with a lush new volume of Pinkcourtesyphone material received via Editions Mego after calls made to Boomkat Editions, Room40 and of course, his own LINE label.
Taking Into Account Only a Portion of Your Emotion shores us up on a lonely beach at the edge of a vast, atemporal ocean of internalised desire, riffing on familiar themes of elegant detachment and sub or unconscious sensation with a palette of diaphanous orchestration intent on setting the mind adrift in six glacial movements.
We can think of few other projects which have replicated or simulated the codeine or syrup-induced effect of prescription narcotics with such subtly seductive guile and patience; practically bubble wrapping your world and dimming the lights for you so that everything is couched in that reassuringly warm glow, and, yet conversely, the key to this project lies somewhere in the vast, cold space between the music’s distant, meridian timbre and the listener themselves.
On his 2nd LP sojourn of 2016, Sam KDC follows the charred ambient aesthetics of KVLTVR with something more spacious, cosmically-inclined in Cycles of Perspective, which is also released by his firm supporters at Auxiliary.
Thru a combination of beat-less electro acoustic sound design and mental dowsing, he navigates eight planes of weightless consciousness, always steering his sound towards a distant, optimistic light rather than anything dissonant or scary, resulting the sort of album with no sharp edges which you can trustingly drift off to sleep with.
Gavin Bryars’ 1st ECM release in 25 years; compositions for vocals performed by esteemed American choir, The Crossing
“The music of English composer Gavin Bryars has long managed the distinction of being both “accessible and defiantly personal” (The New York Times). A deep yet unsentimental emotional resonance and a patient, contemplative view of time – whether relating to harmonic rhythm or human experience – are complementary characteristics that run through his instrumental, vocal and theatrical catalog like a red thread, the composer inspired by disparate spirits from Wagner and Satie to Cage and Silvestrov.
The ECM New Series released multiple recordings of Bryars’ music in the 1980s and early ’90s, including the classic albums After the Requiem and Vita Nova. The first full ECM album from Bryars in decades is The Fifth Century, which includes the seven-part title work: a slowly evolving – yet immediately involving – setting of words by 17th-century English mystic Thomas Traherne, performed by the mixed choir of The Crossing with saxophone quartet PRISM. The album also features Two Love Songs, luminous a cappella settings of Petrarch for the women of The Crossing.”
Thomas Ragsdale (Winter Son) and Gavin Miller are still worriedaboutsatan on Blank Tape, their 3rd album of gauzy post rock-styled electronica together since debuting in 2006. Blank Tape appears on Gavin Miler’s This Is It Forever label. Miller also selected music for Adam Curtis’ Hypernormalisation.