#benge

[vizreef]

Various vintage synths from Benge's mind-boggling collection.

via

[masochismustango]

my fucking face when the creators of the given media decide to give its interesting, talented and quite well-written villains the most pointless deaths ever

[dogpawsswapgod]

...and then she does!

Here Come The Bitch Mittens!

a comedy smut one shot inspired by Benge

shoutout to @garchankdefender for assisting w the brainstorming and issuing the challenge of making sure the metal joints of the Atlas Gauntlets don't pinch our girly, Cait!

[phonographica]

Benge – Silicon Valleys (2000)

[wrong-brothers]

Short-lived Home II

Canon FT-QL

Kodak Gold 200

9.X.2019

[nofatclips]

Preppy Boy by John Grant from the album Love is Magic

[burlveneer-music]

Campbell-Mallinder-Benge - Clinker - missed this EP last fall; the Cabaret Voltaire legacy continues

Crépuscule presents a brand new collaborative project by Julie Campbell (aka LoneLady), Stephen Mallinder (Wrangler, Cabaret Voltaire) and Benge (Wrangler, John Foxx). Titled Clinker, the first 800 copies of the album have been pressed in turquoise vinyl.

'The project began a couple of years ago,' explains Julie. 'Benge had these great sketches that were beats and synth patterns, so those were the starting point. I really went to town adding lots of guitar layers and experimenting with different sounds. On some tracks the guitar is deft and rhythmic, as if mimicking sequencer patterns. On others it's a deconstructed noise-based approach - scratching strings, making fitful, heavy chunks, howls and scrapings of noise and texture.'

Due to competing solo commitments for all 3 members the tracks disappeared into hard drive exile for a couple of years. Julie continues: 'Last year we revisited the mixes and Stephen added his trademark mysterious and menacing vocals. Now we find ourselves with a finished piece of work. I thought of the name Clinker as I love its meaning: "stony residue from burnt coal". This seemed liked an apt description of both industrial and creative processes, and a nice nod to the industrial North of England.'

Stand-out tracks include Camouflage and Condition Collapsing. 'I'd forgotten how liberating it is to play bass guitar on something,' enthuses Mal. 'It compliments Julie's beautifully angular guitar, and Benge and me ripping up live percussion onto the sound of machines... As a collection of tracks these benefited from a lengthy gestation, as they follow no particular trend and were allowed to twist and turn to develop a life of their own. After successive cycles we suddenly drew it all together so the tracks have a sense of completion and identity.'

'The real fun for me was during the mixing process when Mal and I looked at each other as the rawness of the tracks hit us on the big studio monitors,' adds Benge. 'We knew we had something untameable, and wanted to preserve that feeling of edgy rawness in the mixes.'

The cover image is by Julie, with overall design by Twilight. Vinyl edition includes digital copy (MP3).

The CD version features 4 extended remixes, 2 by Gabe Gurnsey of Factory Floor, and 2 by Pete Morgan (UXB).

[passionate-reply]

JOHN FOXX AND THE MATHS - “SEPTEMBER TOWN”

John Foxx is one of those artists who’s been around for a very long time, but always seems to be at the top of his game. His work this past decade is not only some of my favourite music of his career, but some of my favourite music ever, bar none. Really!

The Shape of Things was Foxx and collaborator Benge’s second LP together as “John Foxx and the Maths,” and was released in 2012. Far from a sophomore slump, the album is cohesive and sonically rich, combining the heavy and intense sounds of analogue synthesisers with very approachable and singable melodies. Perhaps the only criticism I have for it is that it is, overall, very similar to the first John Foxx and the Maths album, Interplay, and you could almost switch tracks back and forth between them without either album sounding too much the worse for it. I’m happy to forgive them, though, since, as is said, “if it isn’t broke, don’t fix it.”

“September Town” is probably my favourite track on The Shape of Things. While the almost completely electronic soundscape of the album resembles that of Foxx’s solo debut, Metamatic, I actually think this track reminds me a bit more of some of his more acoustic work, such as 1981′s The Garden--lush, mysterious, and eerily organic. “September Town” feels almost like a traditional folk song, whose hollow words tell a story full of ambiguity, as well as sorrow.