13 May 2015

All My Friends and EMW Present Superhand, 5th Spear and Ghostlawns at GwhdiHw


All My Friends and Electronic Music Wales are bouncing to be able to present one of Wales' most exciting experimental, electronic, downright darkly hypnotic acts - Superhand.

Described as by turns "ethereal and twisted electronica" and "Alt-Electronic-Rock Genius" (Louder Than War), the part Welsh, part Swedish duo have been getting rave reviews for May's 'American Teeth' EP, and we can't wait to see the work in full.

The LP draws on an extraordinary array of collaborators - being produced by Mike Mason and mixed by Mike Mason (Grammy award winner, no less who's worked with Placebo & UNKLE). Atop that, members & collaborators of The Cure, Primal Scream and Radiohead helped draw out the nuances and dark subtleties that inform American Teeth - making it a potent, dramatic mix.

Informed by Electronica, Psychedelic music, blues and more, it's all drawn into a stunning, cinematic mix which is going to be a treat to enjoy live.

Support comes from 5th Spear & Ghostlawns.

SUPERHAND - http://www.superhandland.com/
5TH SPEAR - https://www.facebook.com/5thspear
GHOSTLAWNS - https://twitter.com/ghostlawnsUK

29 Apr 2015

All My Friends debut nights in Cardiff. Tonight!



All My Friends are hugely excited to kick off as a promoter with a huge launch party with 2 gigs in one night! We are kicking off with 2 separate shows in 2 venues, with 6 bands & DJs extravaganza with an experimental amalgam of Electronic, Punk and Indie music at Gwdihŵ Café Bar & Undertone

Inspired by the dance-punk spirit of the eponymous LCD Soundsystem song, we're infusing the two venues with bits of both - with Heyrocco's 'Disney Grunge' headlining Undertone as part of their UK tour & the gorgeous, Jon Hopkins-esque, ambient dance soundscapes of Cotton Wolf at Gwdihw. 

Tickets are separately priced at £5 at Undertone & £4 at Gwdihw, with All My Friends DJs at both venues after and free entry for either club night with either ticket.

As James Murphy said - That's how it starts.

TICKETS -
Cotton Wolf - http://www.wegottickets.com/event/315516
Heyrocco - http://www.wegottickets.com/event/311584
-------------------------------------------------------

Gwdihw | Cotton Wolf, Karenin & Parcs plus All My Friends DJs | Wed 29th | 8PM | £4

We've been lucky to get a wonderful bill of Electronic, Ambient and atmospheric dance crossovers, with the gorgeous electronica soundscapes of Cotton Wolf headlining. Variously described as “meticulously crafted...Jon Hopkins like ambient dance” and a “brighter Boards of Canada”, they perform the trick of producing synth-led, sometimes meditative, sometimes outwardly beautiful digitalism which cracks and bleeps in a way that ushers you into it’s world.
Support comes from Karenin and Parcs. All My Friends DJs will play their eclectic mix of Alt, Electronica, Indie-Punk & Experimental tunes ‘til late.

COTTON WOLF - https://www.facebook.com/cottonwolfworld
KARENIN - https://www.facebook.com/karenindontmakehiphop
PARCS -https://www.facebook.com/pages/PARCS/720149271395300
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Undertone | All My Friends & Jealous Lovers Club Presents | Heyrocco with Birdcage & Mumbleman & DJs
We're stoked to welcome the compelling, dark yet nostalgic pop, ‘Disney Grunge’ of Heyrocco fresh off a string of shows in South By South West.
The trio may be known for their dark, nostalgic pop tunes, but they are full of “a corrosive mixture of The Cure & Mudhoney, conjuring all manner of adolescent fury” (Clash Mag), making them a particularly energizing mix of something like Nada Surf, Broken Social Scene and early Pumpkins - grunge with moments of sugar-sweet catharsis.
Plus Birdcage & Mumbleman & DJs ‘til late.

HEYROCCO - https://www.facebook.com/Heyrocco
BIRDCAGE - https://www.facebook.com/Birdcagewales
MUMBLEMAN - https://www.facebook.com/mumblemanmusic

19 Mar 2015

Foyer Sessions returns this Saturday at Sherman Theatre, Cardiff.



Foyer Sessions Event page

Welsh Electronica is always a fascinating subject, the language and weather seems to naturally push electronic music in to the realms of experimentica. Art and sound blurred in to colourful, bi-lingual and gloriously joyful pieces, Y Pencadlys has the ability to make even the most traditional wet Welsh day a little more bearable.  He will be performing this Saturday at Foyer Sessions this Saturday (21st March). It's free entry and starts at 8pm. Foyer Sessions Event page



Joining will be H O R S E S, drenched in dreary reverb and driven by 80's sounding percussion. Their self titled Gloom Wave could easily be mistaken for the grey soundscapes of Joy Division. So beautifully gloomy and depressing there are elements of Catharsis with in these compositions. H O R S E S perform at Foyer Sessions this Saturday. Free entry starts at 8pm. Foyer Sessions Event page

Tree of Wolves are returning with more this year!



Tree of Wolves are preparing for a new run of releases after a busy year touring and spending time in the heart of West Wales at StudiOwz writing and recording new material. ‘Shapes’ is the first glimpse in to the direction TOW are heading and it is unashamedly Pop. A simple backbone rhythm leads the shimmering sound that TOW have been crafting for the last couple of years. Wales is a very exciting place to be right now with Anti-Pop being a buzz word on many lips and more and more musicians reaching deeper in to their musical tool boxes. This year is going to introduce the world to many new exciting acts emerging from this beautiful country and TOW are definitely on the list! Keep listening! #WelshElectric

3 Mar 2015

Evolving education: An interview with Leigh Davis one third of the Feed App team.




Feed - Remix Everything - V2 from incidental on Vimeo.


During the last semester at USW we were fortunate enough to have 3 excellent guest lectures from different fields relating to the creative industries. Leigh Davies a former pupil of the CSM course has gone on to work on some really exciting and innovative projects. Feed is an App that is making an impact in schools across the UK, encouraging fresh faces and ears to listen in ways that for some takes years to get around to. I was supposed to post this up at the beginning of the year but feel that now would be a good time. Spring is coming and new ideas blossoming. For more info follow the links at the bottom of the page.

EMW: Your guest lecture today at USW for CSM was really interesting and it is great to see a start up like Feed flourishing in Wales. What were the biggest challenges when developing Feed?

LD: Thank you. Without a doubt the biggest challenge was committing to a project fresh out of University and not knowing exactly how to do what was asked of me. The opportunity arose as I graduated, and opportunities like these are few and far between, so in order to take it, it was a case of say yes now and figure it out later! After that, over the years the problems weren't as big of a hurdle as this was I suppose… Things like learning to professionally "wear many hats" was quite a big learning curve. There's only three of us as the core team, with things to do to make Feed happen, so it was tough, but this is also one of the best things about working in this field.

EMW:  It’s more than just another app but it seems to have evolved in to a tool to educate people on sound and music, did studying at CSM give you many ideas on how to integrate education in to creative industries?

LD: Yes, since its inception it has definitely become more about "what happens around Feed" as an experience rather than just as a product/app, one of those things being our education program. CSM definitely influenced what concepts were brought into our education courses. My time at CSM exposed me to thoughts and concepts that were totally new to me in music and further, and these were things I wished I'd have been exposed to years ago, so we decided to begin exposing primary school pupils of this generation to some of these perception-bending concepts too.

EMW:  Feed is now at a place where you are able to build upon the original concept and make available to an even more diverse audience. You are currently working on FeedforAll. Could you explain this briefly?

LD: Absolutely! Feed is now becoming a bit of an "umbrella" which branch projects are sitting under. FeedforAll is looking to bring a much more accessible Feed experience to SEN/ALS students. Very recently our experience of running a few of our course sessions at Special Needs schools went fantastically but it became clear immediately that not all individuals were able to fully engage in the experience…  The concepts carried over well but a barrier was presented to us in the form of the touch screen, especially to those with poor fine motor control. FeedforAll will be a new development of Feed kicking off in 2015 and we hope, over the next few years, will ultimately will take us into hardware tool development and spacial/immersive experiences that will remove as many of those disability barriers from the equation.




EMW:  It is also a creative tool. What I love most about Feed is that no matter who gets their hands on it, whether it's a class of year 3 students or a fully versed musician working with all the latest tech it can make exciting content. How did you manage to balance ease of use whilst maintaining this far reaching aesthetic?

LD: On approaching the UI design for Feed we immediately decided to keep things very graphical and representational. So there are no words, icons, or workflow grids to guide users in any specific way, and I think this is what allows us to tap into that wide audience age/ability span; it's open to interpretation. Because of this I've always personally viewed Feed like an "instrument" in that sense, as it's something you can learn to use, get better at with practice, and develop a personal user style. Every user we've come across uses it totally different from the other, and that's been one of the more extremely satisfying result of this project for me.

EMW: What is it like for a start up within the creative industries based in Wales? Is there much support out there and would you recommend more people do it?

LD: So… in terms of the "traditional" avenue of the start up and funds associated with that, that side is still very new to this project. Incidental have only recently become LTD so those models weren't really applicable to us on starting... Feed was born through Arts funding in Wales in 2011, it's thrived through educational income since Sept 2013 in both Wales and England, and only now are we looking to explore supporting our growth through the more traditional Start-up funding model.

So we've come through a slightly strange avenue of realising Feed to get it to a point as a "business". I'd definitely recommend the process of sitting down and finding out all options and avenues available outside of the traditional methods to make a project happen, there's more options out there than you might think.

EMW:  From your work with schools and Feed you have built up a large sample pack of material that I believe has fallen in to the hands of a couple of electronic acts from Cardiff, Jauge and Bodhi. Is there a project developing based around this?

LD: Yeah, so all of this has come out of our finalisation of the format of our "Feed Beginners" course. This is a course where pupils get 6 sessions learning about Feed, about the concept of found sound, and alternative music composition. Recently we wanted to bulk up the outcomes from the course to increase its impact and value to schools. All of the Beginners courses we have delivered to date have always churned out several gb of audio files that sound totally interesting, fantastic, and weird! So as well as the pupils getting a chance to create their own Feedcentric tracks during their time on the course, a collection of the pupil produced stems get handed over to a professional musician to produce a "class track". It's a way for the kids to get involved in the professional music scene but also an opportunity for artists to wind up with a large sample pack produced by primary school pupils, which is really quite a bizarre thing to have when you think about it!

Jauge has been in residency this month piloting this new idea for the Beginners course and it has been absolutely fantastic, he's delivered incredible tracks and the pupils/schools and general community have loved what’s been created. And yes, we've spoken to Bodhi plus a few other artists in order to get a few more names involved over the coming Spring and Summer school terms.

It's proving to be a really great model so far, and we're currently closing in on secure a radio play for each track that comes out of every beginners course to take the impact of the delivery to its limits and further inspire the pupils.



EMW:  Can others get hold of this sample pack?

LD: I think the exclusivity of the complete sample pack that each class produces is one of the rewards that the artist gets when they jump on board and create a class track; a "unique content for unique content" trade if you like. So if any electronic musicians were interested in grabbing a few gig of audio content exclusively, produced by these crazy primary school classes then this opportunity is now finally open to the network of electronic musicians.

In terms of public audio content, we have talked about some form of in-app sound content for Feed. Maybe… a browser in the app that features monthly selected sound sample collections, or audio background feeds that can be loaded up and used by anyone inside their personal copy of Feed… but this is all currently on the drawing board.

You also present Feed in a live performance setting. Could you talk a little about this?

LD: Yeah, Feed:vox is the name of this branch of the project. This was developed as an opportunity for us at Incidental to explore a new live performance method using Feed. We debuted it at Wellcome Collection in London as part of "The Voice" event. Basically we turned up with a multi iPad setup, audio routing gear, and a solitary microphone at the front of the stage. We had no content, or no idea what we were to perform so the performance was sculpted in real time around the audio that a member of the audience gave to us through the microphone at the front of the stage. High levels of risk, weirdness, and flying by the seat of your pants character building for sure.

EMW: Who else is of interest to you working in emerging tech within the creative industries?

LD: We're always keeping an eye on emerging tech in order to perch us back on the edge in terms of pushing our projects development. We're starting to think about hardware utilisation and/or development, especially with some of the more blue-sky ideas around FeedforAll, so things like the Leap Motion have caught our eye in the past year or so, and it sorta goes without saying that the heavily cited Oculus Rift is on our radar in terms of a way of starting to look at spacial interaction with sound and jumping out from the touch screen.

EMW:  What’s next?

LD: 2015 is looking to be the first big year for us in many ways, the development for FeedforAll will be kicking off early in the year. We'll also be expanding the Feed course facilitators team with new willing, driven individuals across the UK, potentially further. We’ll also finally be getting around to porting the standard app to mobile and then also outside of the iOS platform, something that been delayed with the added responsibilities we’ve had outside of our “app developer” roles.

But most importantly there will be a big push for us as the core team to put ourselves once again at the edge of the emerging and experimental art tech arena, but this time under an already established umbrella, being Feed, to put it onto and into new platforms and incarnations via new systems and technologies, a professional mantra for us that brought Feed into the world in the first place.

Useful Links for Incidental/Feed:

 www.theincidental.com/feed


Facebook: www.facebook.com/thefeedapp

App

Twitter: @FFeeeedd 


26 Jan 2015

Romanian Music "This Ain't A Scene": An interview with Andrei Bucureci from Crowd Control.



Occasionally music can help us cross borders and bring people far apart geographically, closer together. Andrei Bucureci is in the heart of the Romanian music community as a musician, poet, promoter and writer. He is currently working on documenting several bands who are from all over Romania that share his love for spreading positive messages through music. From Cardiff to Bucharest!   

EMW: Hello and welcome to EMW. Could you perhaps introduce yourself and the work that you do?

AB: Hello there good people of EMW! Very sweet idea and cool initiative to link international artists and music!

My name is Andrei Bucureci, I’m originally from Ramnicu Valcea, but now I reside in Romania’s capital, Bucharest. In the daytime I’m an art director in a small responsible advertising agency called Creionetica, we’re so responsible that we work mostly with NGO’s. In the nighttime meanwhile (not only in the night time, but that’s when most concerts take place) I perform and write music as Intimidatah with two brothers in a electro-fusion band called Crowd Control. My aspirations go further than making the music, into the field of design, so to speak, I “control” the audio-video-visual concepts and materials that represent this trio. I handled the production of most of the videos, interviews, merchandise, making-offs and kept the connection with media & promoters. Its a very DIY attitude around here. Now i’m building the team to help me do all the things above so i can concentrate on the music and direction.





EMW: I see that Crowd Control have just had their latest video ‘Airbow’ posted on Vice Romania. This is big news! 

AB: Indeed! Its actually the third time around one of our videos has exclusivity on Vice. Its some sort of partnership. We’ve got an eclectic sound and they’ve got an eclectic approach on things. Right now we’re quite happy about working with a spanish label called False Flag Operations. It is a subsidiary of Dubkraft Records. A very special and talented man, calls himself Alien Pimp, is doing a whole lot of good work and now we’re taking this, Crowd Control music, to another level. Such cool people overall! We’ve just finished our third EP called LOADING PLEASE. Also, our song Brixton Riot is right now on some online radio stations: eclecticFM, Radio Cooperativa Urbana, Baraka & DelaHaze. It was actually our first single locally. We’re now working on a video for this song. Airbow is the international single. A song composed by our synthesizer player Razvanescu and I fused in the title two of his favorite bands, the french duo AIR and the prog-brit-popers Elbow. That’s where Airbow comes from. It’s a tune about the way generations pass and nothing seems to change for the good. I hope it’s just apparently.



EMW: The visuals come across nicely with movement going backwards and forwards. I see how this could be a way of saying ‘one step forwards, two step backwards’ if you have heard that saying? How long have you been performing with Crowd Control? 

AB: Yes, I know the saying, we have in Romanian too. But it also involves the fact that it’s usually crabs and lobsters that walk that way. I think my message in this song is about the circling, the cycle of life and the way society acts in patterns, most of the time in predictable patterns. I’ve been performing with CC for about a year and half now, but I’m playing with the brothers in different bands since 2009.


EMW: Would you say that all of the music you make has a message behind it like ‘Airbow’? 

AB: Yes. The step forward I made with CC, and that separates it from other bands I’ve played with, is the social message. A side of me that approaches more openly activism and responsibility for the environment is now on the loose. I try to make music that means something in a cultural way and conscious way. I’m a big fan of Gil Scott-Heron, Fela Kuti, Ian Dury, The Spaceape and Linton Kwesi-Johnson and the way the bridged the gap between the social and the sonic innovation perspective of life.

EMW: It was a great loss for music and culture when Spaceape passed last year. 

AB: A great loss actually. The Spaceape gone is depressing. Such potential wasted. 

EMW: Is there many other bands in Romania that you could point towards who are on the same circuit as you?

AB: I have a few bands in mind, let’s call them peers of ours: Fine Its Pink and Noisecode from Iasi, Harlequin_Jack, Temple Invisible, Moebius, GOLAN, The Dream Diggers, Yoon, The Bridge Committee, Secuem, Plurabelle & Fierbinteanu, Liar & Elektromekanik from Bucharest, Lights Out, Baba Dochia & Kaleidonescu from Cluj. Some of them are older bands playing for more than three-four years now and on different levels of popularity, but i don’t know why i view them as comrades in arms.

EMW: It seems that you are in a great place to document this and I believe that you are working on a documentary at the moment about music in Romania? 

AB: Yes indeed. Most of the artists mentioned above I’d like them to appear in a documentary. It’s the perfect time to document this new wave. It’s an eclectic one too. I’d like to call it, the Documentary - “This Ain’t A Scene”, but who knows when it will be done and how it will be called. I hope it will be done next year and released in autumn!

EMW: I am reading the press release/concept that you sent me and this jumps out - “The bands appearing are not the only alternative or the most experimental. They’re 
nowhere near the most original, virtuous or talented ones, but they feel the need to 
connect and collaborate in any way.” - Is there a strong community for musicians in Romania?

AB: There are quite a few perspectives. With some of the bands above I like to call myself friends with. Bands like Harlequin_Jack, we’ve done even music together, Fine Its Pink, we’re working on new music together, and I’m close to people like Fierbinteanu and members of The Dream Diggers and we surely will collaborate in the future. The others we’re acquaintances & I’m a big fan of their music. I’m also a music journalist and I like to write about them and the way their music is inspiring and should be better known internationally. I can’t say we’re a close community like some waves and scenes that happen in the UK, or in some circles in the States, let’s say New York. We’re respectful one to the other, but there are some sort of “small churches” and that’s a good thing for competition. We’re competing, constructively, sometime with very interesting and good results.


EMW: Here in the UK and also more precisely in Wales there is a constant translation happening from external influences of different music from around the world being adopted and slightly altered making for very interesting mix of music. Would you say it is a similar story for you in Romania? 

AB: Yes indeed. So many people fusing electronic music with different other genres. Latin jazz with dance and house by GOLAN, trip-hop and post-rock with electro and soulful vocals by Fine Its Pink, industrial and indie with trip-hop by Temple Invisible. There’s a glaswegian indie-rock and dance feeling that comes out from Harlequin_Jack’s music, old-school and new-school hip-hop with some tinges of country music in The Bridge Committee’s vibes. Bass music, hip-hop and industrial are all over The Dream Diggers soundscapes, deathinvegasian electro-rock mixed with dub and dubstep by Baba Dochia from Cluj, rave and electro-funk-rock by Noisecode, post-rock and indie-folk by Moebius, psychedelic and jamband directions by Lights Out, noise-electro and glitch-dance by Kaleidonescu, weird-core and electro-dance from Plurabelle ^ Fierbinteanu, Future RnB by Secuem, and nostalgic-electro from Yoon. This romanian scene ain’t a very cohesive scene but it’s one aware of what taste is and what happens worldwide. Just like what you said some sort of a translation.

EMW: Let’s go back to your own musical influences, how did electronic music become a part of your creative outlet?

AB: That’s a good question. I’ve been originally just a lyricist and wannabee producer. Working with friends that had a musical experience and trying to construct a certain authenticity missing in romanian music back then. Romanian alternative music had a blast of inspiration and direction at the end of the nineties and beginning of the 2000’s but almost ten years later a crisis of originality occurred. In the middle of that I mutated from my visual art past towards writing my visions into poetic and spiritual lyrics. I had different periods of musical explorations tastewise: hard rock, grunge, indie, reggae, metal, hip-hop, spoken-word, punk and now electronic & afrobeat and world-fusion-music. I had crushes on bands like Uriah Heep, artists like Sizzla & Damian Marley, I’m still a great fan of punk phenomenons like Bad Brains, Ian Dury, Public Image Limited, John Cooper Clarke, poets like Mutabaruka, Benjamin Zephaniah, innovators such as Enter Shikari, Zach De La Rocha, Mars Volta and many many others. With experience in music-making I’ve discovered alongside Coshmelin & Razvanescu the two brothers I’m working with an affinity for synthesizers, piano and that electronic, contemporary feel. Beats, synths & rhymes are a solution, to all the musical pollution!



EMW: Does being involved creatively help with connecting the dots between the different ‘churches’ that you have described? 

AB: I think so. I have a better understanding of all the stress and creative processes and promotional strifes and tribulations. I can understand how much sweat and blood involves making music, making it some sort of a product and not just keeping it for yourself. The whole “churches” perspective is about connecting dots like you said, each of the people involved has initiatives, tastes and things in common with me and us. Having lived in the same country, under the same political regime, and in the romanian society is giving us inspiration, frustration and the necessary drive to have a daytime job and making good music.

EMW: If one was to go to experience live music in some of the places that you have mentioned what venues would you recommend visiting?

AB: Just as with bands, Bucharest, Cluj and Iasi has eclectic venues. We’ve played with CC in most of them also. There’s a very internationally active venue called Control Club, where i’ve seen some of my favorite bands: from legends like Swans, Stereo MC’s and Mike Watt to electronic-influenced things like Suuns. Rangleklods, Breton, Stubborn Heart and indie noisers like Dirty Beaches or Motorama. There’s also a smaller but more locally supportive and with an intimate feel venue called Question Mark. Some of my favorite local metalcore, hardcore and industrial bands have played there: Breathelast, The Boy Who Cried Wolf and Temple Invisible. Bucharest has most venues of course: punk-rockers go to Underworld, alternative parties happen in B52, Expirat, Energiea, The Silver Church, Atelierul de Productie & Fabrica. In Cluj theres The Shelter, where we played and had a very good time. When in Iasi in Underground the Pub we’ve had an awesome show and we’ve illegally projected the Holy Mountain by Jodorowsky. I don’t know about a real recommendation but if you ever get to Romania, take your time to really feel the tissue and veins of all cities, villages and venues. They’re warm and welcoming if you leave all preconceptions at the border.

EMW: Music crosses borders and all though EMW focuses mostly on music with links to Wales it is great to see other places around the world building great art to share worldwide. Is there much focus and support for rural (out of the city) music makers or is it important for musicians and artists to move to the city to take the next step?

AB: I actually know what you mean. I like Bondax and i know there’s a whole movement of rural electronic artists in Britain. I find that very very cool. That and the rural has such an organic independent approach. Sadly in Romania, from my limited point of view, most bands move to the city to make music. Life in smaller provinces is by default oblique and minimal. There are bands there i am sure of it, but most of them emulating big city sounds or foreign old ones. People there are making music as an episodic hobby. I hope i’m wrong and something comes out to prove me otherwise though.

EMW: Please could you link to some websites that can help us learn more about the Romanian music scene?

AB: Sure. I’ll make a random list here, in no particular order. For a direct listen here’s some online radios promoting these bands:


Sites and music platforms:

There are plenty more but I want to be realistic and give only a few so you can be able to browse through them not be overwhelmed. 

Cheers and thank you for your time and patience! Support local authentic bands, Jah bless less stress! Intimidatah out!

Update: Crowd Control have just dropped this massive track on Soundcloud. 

18 Dec 2014

Touched 2: An interview with the man behind it all.


Martin Boulton aka Min Y Llan has had a busy couple of months in run up to the release of Touched 2, a massive collection of electronic music from some of the finest producers around in the experimental electronic field. All proceeds go towards Macmillan Cancer support and over 20k was raised in the first couple of days of release on the Touched Bandcamp. In amongst the releases are several electronic music producers from Wales including Martin himself. We caught up with the man to talk about Touched. 


EMW: Hello and welcome to EMWblog. You are currently working on the second release of Touched. Could you tell us a little bit about this amazing project and how it came about?

M: Hi, nice to chat with you again..

Yes last year I put together an album called Touched. It started of in my mind as a small album that I could put together with a few friends and label mates, maybe making £500 to help Macmillan cancer support as my mother was told she had cancer in the summer of 2013.

I was friends online with a few of my music heroes so I just thought I’d ask them too, telling them what it was all about and its just kicked off from that really. I had a few bigger named artists so that helped me to email a few others and with that I soon had over 100 artists helping out.

Touched one in the first few months had raised over £5.000 and the album was only £6 and over, some people gave amazing amounts of cash for it, so I knew people were behind the project.

EMW: It’s great to have you hear.  It’s obvious that this project has very personal significance to you but also resonates with a lot of people around the world. How difficult was it to curate over 100 artists into a single release? Were there many major setbacks?

M: To be honest it was without any setbacks, I did email and even tried calling some artists managers but things just didn’t work out but in the end I was happy with the 123 artists that it had.

I went through all of my records cd’s and hardrive and emailed all of the artists I wanted to be on Touched, so that would have been over 1000 different artists.

I did have to remind some of the artists every few weeks that the deadline was coming up.



EMW: Touched 2 is now released with over 200 tracks available. It’s been getting some great publicity. Are you solely behind the promo and marketing of Touched 2 or are you getting help from others?

M: I’ve been a fan of Logreybeam’s music for many years so having him on board was great and it turns out that his wife runs a PR company called pitchblend
(Big Thanks to El Ea & Candise)

They have been a massive help on this project, and I messaged all 200+ artists to share the info cover and little video all made for Touched 2 a month before release to start to get it into peoples psyche.



EMW: You have been posting some great promo shots of the ‘beautiful’ Touched art work. Was this your idea?

M: Yes that was my idea, using some photoshop and other apps they turned out great and really had a good response, some of the followers of Touched started making their own, like man on the moon with touched flag.





EMW: Who is behind the art work?

M: That would be Victor Ferreira aka Sun Glitters, the girl in the touched two cover and video is his daughter. I was looking for the right cover for some time and had lots of ideas, I was out at dinner with my mum of all people when I was sent this cover so it all felt right and I loved it from the start.

EMW: This is probably a very difficult question to answer but I’ll ask. Who are you most excited about having on Touched 2?

M: It’s hard to say as I’m happy to have every single artist on the album, I’m a fan of them all and even more so now. I’ve made some great friends and some really good contacts.

With a lot of the artists I had to get over people to ask them, so record labels would email out to its rosta of artists and if I saw a poster or flyer that some artists were playing in the same place I  would try and get them to ask the others, it’s handy as most musicians know other musicians.

Some were hard to track down and needed a lot of emails to make it happen but it all came good in the end.

Min Y Llan’s Top 10 tracks of 2014.

Plaid - Wallet
Robin Saville - Bryophyte Society Annual Picnic
Buspin Jieber - Night Drive
Scanner - Muster
Asonat - Rather Interesting
A Winged Victory For The Sullen - Atomos VII
Jon Hopkins - Immunity (with King Creosote)
Murya - Triplicity
Elbow - New York Morning
Christina Vantzou - And Instantly Take Effect (Loscil Remix)

M: I didn't pick any of my top 10 from touched two as I couldn't just name 10.

But if I had to pick my top 255 tracks of the year...