These easy crispy tofu vegan nuggets with sweet chilli mayo are a delicious and fun snack or lunch to enjoy on a weekend with the family. The kids will absolutely love these meat-free “chicken” nuggets and so will you.
Electroconvulsive Therapy Vol 1 – A Collection of Rare Singles, Etc. (MR-028)
Medical Records is proud to release it’s first compilation LP. In association with Crispy Nuggets blog (crispynuggets.blogspot.com), we have carefully curated a collection of extremely rare and sought after singles and rare tracks. This compilation includes 5 complete A + B sides as well as 2 other tracks that only appeared on obscure compilations in the early 80s. The first 2 tracks are by UK’s The Electronic Circus. Featuring Chris Payne (who also performed synth work on the iconic “Pleasure Principle” by none other than Gary Numan), the track “Direct Lines” is pure synthpop perfection. The second featured artist is Boston’s Psychic Youth who released one lone 7” in 1982. One of the members, Perry Geyer, was also a founding member of the industrial outfit Manufacture. “Step in Time” and “The Future Is Now” are both dense minimal synth hits that have been remastered by Mr. Geyer himself. Another excruciatingly rare 7” is the self-titled single by UK’s Aaah…! “Slip Away” and “Duty Calls” further fit the bill for moody minimal synthpop greatness. Possibly even more rare is the Shazam single released in 1983 in the UK. Both tracks from the single are included here. The 2 “wild card” tracks if you will on the record are “Panic In Your Mind” by N.A. Pop 2000 (UK) and “Maske” by Berliner Strasse (Yugoslavia). Both tracks were plucked from rare wave compilations from the early 80s. The final single featured is the solo outing by Claude Arto from Mathematiques Modernes. Released in 1981 on Celluloid (France), the 2 tracks drip synthetic bloops and blips while being propelled by rhythmic electro sequences. A perfect closing of each side of the LP. This collection will certainly appeal to fans of the rare minimal synth culture, early stripped down synth pop, or anybody else who has wanted even one of these tracks on wax again as they are all quite rare. This reissue is presented on high-quality 180gram splatter paint on transparent green vinyl. Front cover photography by Alan Masters. Limited edition.
hhhhhhhhhh, Em how dare you hit me with this GOOD GOOD SHIT, how D A RE Y O U…
Matt could write a thousand stories in this single moment.
It feels like it goes on forever; like it stretches on endlessly, and he can’t move, can’t even blink- because it’s a second going on forever, a long, still beat of a moment, and Matt will remember this forever, will have it engraved into his brain for life.
There was build up, to this- getting his hands tied behind his back, getting stuck in this stupid chair. Being snapped over the head so hard he’s got blood crusted along his forehead and temple, and Matt’s so fucking scared he’s gone right round to numb.
There was build up, there was a hundred and more words before this, but this is what he’ll remember:
The chair is uncomfortable. His wrists ache. He’s soaked, head to toe in gasoline, and the match is arching over to him in slow-motion, and Matt’s terrified.
He breathes- thick and sharp, hitching along his throat, and the match plops down, and just like that-
woosh
The fire eats up rapid-quick, faster than the eye can follow, and he tries to get away, he does- pushes back with his shoulder, eyes wide and panicked, heart beating rabbit-fast in his chest, and it does shit.
One of the chair’s leg wobbles, and the fire consumes his legs.
He screams. Of course he screams- fire eats it’s way through his pant-leg, burns its way to his skin and his flesh and it sizzles, nerves screaming and body writhing, and it’s agony.
Matt’s gotten hurt before- he’s broken his leg, got bruised and twisted fingers, and he knows pain, but this is beyond that.
He arches his back, screams- his skin pops, cooks, and he can smell himself burning, can smell the stench of burnt hair and cooked meat.
Vomit bubbles up his throat, and he’s crying, except the fire is working it’s way up, is wrapping its way around his throat, and the tears are evaporating, fading away into steam, and he pukes all over himself, fire eating it up without hesitation.
He’s going to die.
The thought’s there, just like that- beyond the pain, beyond the sheer agony, he knows this. He’s going to die.
The fire licks its fingers along his cheeks, and he can’t scream anymore, can’t really do- anything. Just sit there, his body cooking, the fire eating up his flesh and skin, eating away at him, and the pain is all-consuming, is everything, except for that little thought, that knowledge.
This is it, it screams. This is it, you’re dying-!
The flames wraps its hand over his face, cooks his eyeballs in his sockets, and the thought clings, stubborn and young, even as he screams without a voice, even as his chair tips over and he hits the floor back-first.
You’re going to die. You’re dying- we’re dying!
The fire swallows him whole, toe to head, cooking flesh and snapping bones, and the only thing Matt can feel, can hear, is that little voice in the back of his head, quietly whispering.
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imagine Edd just remaining catatonic on the floor for hours, all throughout the night, crying and shaking and eventually just, slipping into his head, lying curled up and exhausted
and eventually it’s day and the house is quiet and still, and of all people, it’s Eduardo who checks up on it. who knocks on the door for minutes, who eventually gets annoyed enough to try the door- and it’s open, because they usually lock it when they go to bed, so he slips inside, calls out for Edd, for Tom, and there’s no answer, of course
and Eduardo shivers, because the house is cold, echoes empty and he crosses his arms, frowns as he walks into the quiet
and he checks in the living room, the kitchen- looks out at the backyard, at the wilted sunflower, and he scoffs, grumbles about annoying neighbours, but he doesn’t leave- he goes to check the first room, opens the door, and sees Edd immediately
and Eduardo doesn’t really need to look up, doesn’t need to see past the sneakers- so he doesn’t bother. he reaches out, tries to shake Edd out of whatever state he’s in, but it’s of no use
Edd’s gone, at least right now, so Eduardo just ends up dragging him out of the house, ends up calling 911 and leaving it up to them, because what the hell is he supposed to do?
so he takes Edd back home, gets him on the couch and tells Mark and Jon what happened, doesn’t go into details, just lets them know that Tom’s gone, and Edd’s off somewhere, so look after him, he’s going to go deal with the police and stuff
so he does. and it takes a while, obviously- there’s no note, no nothing, just a wilting sunflower in the backyard, and when it’s all done, Eduardo gets back to find Edd still on the couch, face blank and shoulders hunched, Jon sitting beside him
and there’s not really anything to do, is there
so Eduardo sighs, rubs at his face, and accepts the fact that they’re going to be housing a catatonic Edd now, apparently
and it’s the worst. Edd doesn’t move, doesn’t react- just sits there, quiet and still, like a broken doll, and Eduardo doesn’t want to take him to the hospital, wants to just- shake him out of this, so he keeps on badgering Edd, spends hours sitting beside him, rambling and prodding and talking
and one day Edd moves. shifts where he sits, and tilts his head to Eduardo, and it’s not big, but it’s something
so Eduardo keeps it up. keeps on talking and talking and talking, and two days later Edd quietly goes “i’m hungry”
and fuck yeah, Eduardo will take that. so he gets Edd some food, and he sits there as Edd eats like, half of it, and it’s not a lot, but it’s a step in the right direction
and so that’s how it goes for a while. Edd won’t talk unless it’s to say he’s hungry, but he’ll listen, he’ll nod sometimes, and it’s mostly Eduardo who sits there on the couch, who talks until his voice is rough like sandpaper, who rambles on till it’s dark outside and he has to go to bed
and then one day the couch is empty
and Eduardo freaks- he ransacks the whole house, checks every room, but Edd is gone. and Jon, quiet and hesitant, suggest maybe checking their house?
so they go. and they find him in the backyard, hands smeared with dirt, the wilted sunflower dug up
“... are you... okay?”
Eduardo stands a touch away from Edd, close enough he can reach out- and Edd’s crouched in the dirt, head bowed, and the sunflower is twisted up, torn apart
“i don’t want to die,” Edd says, voice quiet. “i don’t want to give up.”
and he doesn’t sound angry; doesn’t sound like anything, really. but he’s saying it, he’s talking, and Eduardo hesitates, before reaching out to lay a hand on Edd’s shoulder
“okay,” he says. “we can work with that.”
and it’s not healing- it’s not really anything, except a grave empty of ghosts, and a boy who’s lost every piece of his world, except his own
and Edd moves in with them; stays with them, puts the house up for sale, and if he sometimes stares out at the yard on the other side of the fence, listening for siren-songs, well. that’s not really a surprise, is it?
urgent: do they plant flowers in the place where he died
HHHH, YES, YES, A HUNDRED TIMES YES
i like the idea they plant sunflowers or something; that it’s Edd’s idea, and he tells it to Tom, who’s quiet and still and hasn’t said a thing for days, and Tom doesn’t perk up- but he raises his head, looks at Edd, and so they go flower shopping, the two of them, Edd dragging Tom around by the sleeve
Tom spends a lot of time out there, shoulders hunched, face hollow and sad