aheM!

This is the word of the Lord

2011-11-27T11:05:00.000-08:00

Well, Will Oldham actually.

acCOBRA entertaining the masses at 93 Feet East, 29th September 2011

2011-09-30T09:51:00.001-07:00

Standing on tables

A very relaxed performer nowadays

Look at this!

Another peerless performance!
As the First Official acCOBRA Appreciation Month draws to a close, it is important to remember that you can appreciate the Boscombe (now it's flats) B-Boy all year round for no extra charge.

acCOBRA: John, I'm Only In A Dancing Mood (Bill Posters Remix)
Bass performed by Mr B. Hair

acCOBRA In Action At The George Tavern, 16th September 2011

2011-09-17T05:41:00.001-07:00

"I Took An Overdose"

"Gitface"

"You're not ready for this, but your kids will be."

And here, for the betterment of your mind, the benefit of your soul and the health of your body, is the debut acCOBRA E.P. in full. You need this, you really do.

acCOBRA: Jazz, Pop, Etc.
acCOBRA: The Peasant's Dance
acCOBRA: Yoot Of Today
acCOBRA: Jazz, Pop, Etc. (Bill Posters Remix)

RANDOMWOMAN: I Feel Love

2011-09-16T17:03:00.001-07:00

The Cobra was fantastic tonight. Good to have you back A.C.
Be sure not to miss his next show at 93 Feet East on the 29th September.
Here's one for the aftershow party; a classic cover from back in the day, by the one and only Randomwoman. Not entirely dissimilar to the original, but it just kicks more ass. USA!

Randomwoman: I Feel Love

IIIIIIIIIIIIIIII Took An Overdose!

2011-09-10T05:18:00.000-07:00

The acCOBRA revival is now in full swing and here is the song that kick-started it. "I Took An Overdose" is the Cobra's first recording for at least three or four years and is, unarguably, one of his finest yet. Ever since it first flew from his venomous lips we've all been hooked.
Come and see the man himself pushing the boundaries of sense at the George Tavern, Commercial Road, E1 next Friday (16th) from 8pm. It would be foolish to miss out.

acCOBRA: I Took An Overdose

EVERYBODY!!!

2011-09-08T13:50:00.000-07:00

As it would appear that September is now officially acCOBRA Appreciation Month, it seems fitting to post this classic from A.C.'s fantastic E.P. "The 13th Apostle", which you can hear performed live by the great man next Friday (the 16th). In the words of the beast himself:

"YO YO CAMDEN CALLING, Friday 16th September at The George on Commercial Road in Shadwell/Stepney come down after 8 and and see the A.C. see 'cause I'm the COBRA, REVOLVER! staring down the barrel of a gun so we gonna get along, fire away 'cause I'm shooting from the hip, take it back like the Hammer 'cause I'm too legit to quit!"

And by the way, the new track is coming VERY SOON. You're just gonna have to try and be patient!

acCOBRA: Gitface

The Fantastick History of Gertrude's Storm

2011-08-24T13:27:00.000-07:00

Part 1: Alan vs. Michael

Years ago in a semi-detached bedroom in St. Reatham, as a young girl tries to sleep her dreams are kept at bay by raucous laughter, songs about chilling out, bunny girls, Russians, war and herself; hallucinatory jams where fingers turn into dwarfs, where a new type of music, ‘queavy’, is created and immediately ceases to exist; where delay trails are infinite; where dreams are carefully realised using metallic strings, whistles, drums, voices: the chimerical world of Alan vs. Michael.

At some point, in this maelstrom of warehouse careers, ‘get-ins’ and, equally arduous, but more inebriated, ‘get-outs’, spirit bars and golden flakes floating in backlit liquor, these fantasies were committed to disk. The Bunny Song arrived fully formed in the lucidity of a drunken stupor, while War Is Imminent (And Has Already Started) drifted out of news reports, declaring the commencement of the slaughter of hundreds of thousands of innocent Iraqis and communal viewings of the second series of I’m Alan Partridge.
A few months later (its impossible to say exactly when), in a darkened, candlelit room in south London, presided over by a hulk of a man, whose surname had been usurped by the name of a band he had once played in, and about whom all manner of apocryphal stories circulated, this comic folk-rock troupe performed for the first time. The room was somehow filling (mostly, it has to be said with friends, other performers, and straying locals), and the performance was raucously received by those applauding in the shadows, baying for more, and receiving, in return, a ridiculous rendition of We Are The Robots.
The break-up of all such ensembles is a cliché, invariably motivated by personal or musical differences, and Alan vs. Michael was no exception. Increasingly drunken performances, and increasingly manic songs could only temporarily conceal the malaise that lay at the heart of the troupe. A shambolic show at the now non-existent Telegraph, proved to be their last.

Original artwork no longer known to be in existence

Alan Vs. Michael: The Bunny Song
Alan Vs. Michael: War Is Imminent (And Has Already Started)

From Alan vs. Michael, Fragile Rock Records (Wrock 001)

Part 2: Interregnum

After months apart, during which time the many-headed hydra, aheM!, came into being, old friends, songs, were discarded and new ones took their place; wounds inevitably began to heal.
A return to that south London stage, overseen again by the guru with the pretender of a surname, was a less rapturous affair than the last; more considered, melancholic than before. As an old man, who seemed permanently trapped in a Lynchian suburban nightmare, twirled and pirouetted like the ghost of a young debutant trying nonchalantly to impress potential suitors, the band, newly christened Gertrude’s Storm (for no particular reason), played their plaintive tunes to a hushed room, telling stories of heartbreak, betrayal and sacrifice. Later that evening, the raucousness returned, as the band’s spiritual mentor, and future founding member, A.C. Cobra performed, with considerable verve, spontaneous versions of Toxic, and the first song he ever wrote. It may not have been apparent then, but the future lay somewhere between these two extremes: practiced musicality pitted against dramatic, impulsive outbursts.

Part 3: Gertrude’s Storm

Revelling once again in the old certainties, the old rapture, the band toured the bars, taverns and impossibly tiny basements of the ancient city, preaching to the converted and gently bemusing the uninitiated. The new sound was, at once, harder yet softer, louder yet quieter, better rehearsed while still allowing room for spontaneity and improvisation; their sets at this time never failing to end with a cacophony of furiously slashed guitars, frantically twiddled knobs and delicately pounded drums.

Randomwoman and Bitchhair at The Betsey Trotwood, 2004

Gertrude's Storm: Do As You Would Be Done By
Gertrude's Storm: Hell For Leather

From The Misplaced Trust E.P., aheM! Recordings, 2004 (aheM001)

Gradually, the sound of the band started to evolve, shedding its doleful, heartbroken skin, and adopting a more flamboyant, eccentric shell; ukuleles hung from necks with a shoelace; menacing synths were introduced; guitars were cranked, strings sliced by the dozen; vocal cords shredded. The band rapidly became a behemoth, always thirsty, always hungry, always demanding time, money, patience; and creating joy, madness, and ecstasy. Gertrude’s Storm became a way of life. Songs were often created on Saturday nights, communal experiences, inspired by ‘delay games’, with whoever was around contributing yelps or shrieks; neighing or bleating. Raw sounds would be lightly fried by producer, Bill Posters, before Bitchhair added fashionable bass lines, an integral part of any Gertrude’s Storm song, Falk added stylish guitar lines, and the inimitable Randomwoman introduced a touch of magic with her soulful, and occasionally demented, vocals.

Gertrude's Storm: No Way! I Won't Do It

Previously Unreleased

Gertrude’s Storm at the Purple Turtle, Camden, 2006

Falk and A.C. at the Bull and Gate, Kentish Town, 2005

Gigs were becoming more frequent, more raucous and more focused on entertaining, involving and, occasionally, insulting the audience, berating them with a megaphone if they failed to show the requisite levels of enthusiasm; if you came to see Gertrude’s Storm then you were damn well going to enjoy yourself.

Randomwoman at the Bull and Gate, 2005

A new sense of professionalism infected the band: their sound became tighter, the recording process became more arduous and perfectionist, and they started organising their own gigs. The first of the so called, ‘aheM! nights’, took place downstairs at the Royal George in December 2005, tucked away off Charing Cross Road, to promote the joint release of A.C. Cobra and Bill Posters’ debut releases on aheM!, and it was a joyous affair, with Bill Posters djing and A.C., ‘the Miles Davis of the mumble’, wowing all with his vocal dexterity and confusing befuddled drinkers who wandered downstairs to use the toilet.
The success of this night encouraged the band, now otherwise known as the aheM! collective, to book a night at The Amersham Arms in New Cross. This night proved to be a true one-off. Of the six acts who played that night, only the opening act, Organ Morgan, did not feature a member of Gertrude’s Storm; the tireless A.C. played in four of the five remaining acts, including the one and only performance of his very own punk band, GHSPB, screaming his way, to the immense enjoyment of the crowd, through classics such as Fish Head and Poisoned Pen. Gertrude’s Storm were also reconfigured into Bill Posters’ misanthropic, nihilist folk band, niGHt, before solo shows by both A.C. Cobra and Randomwoman, performing solo for the first time. The evening was rounded off by a thunderous performance by Gertrude’s Storm, bringing together all of these disparate musical interests in a unified whole. Far from the ‘get ‘em in, get ‘em out’ mentality of most live music promoters, the evening had a party atmosphere that the band would became keen to foster at future shows.

Part 4: What’s Weird?

For the next aheM! night at east London’s, now sadly defunct, Spitz on a sultry July evening, the line-up was stripped back; the demands of multi-tasking lessened though not removed entirely. Randomwoman and A.C. Cobra both played solo sets, as well as performing with Gertrude’s Storm, while Bill Posters and Bitchhair donned a rabbit and gorilla mask respectively to lend some sinister assistance to Randomwoman – during a rendition of I’m Not Shy, which must have seemed like stating the obvious when she started decapitating a doll onstage - and the whole band joined A.C. for an uproarious encore to his set. The night also saw the first performance of fellow sonic explorers Sharing Sheaths, whose debut E.P. was soon to be released on aheM! and who opened the night with aplomb, incorporating dancers into their set of doom-laden, post-apocalyptic, industrial pop.

The night also followed the release of the new Gertrude’s Storm E.P., entitled What’s Weird?, after a lyric from Jesus! Horses! – perhaps the most completely realised example of the band’s unique, experimental and innovative sound – which was itself lifted from a transsexual’s rant at a bus stop:

‘Weird? What’s weird? Weird that I don’t want to fuck you’

Somehow the transsexual’s outspoken defiance seemed to encapsulate the band’s own sense of difference, of defying expectations, and its innate rebelliousness.

Gertrude's Storm: Drinking My Brain
Gertrude's Storm: Recycling Old Crap
Gertrude's Storm: Jesus! Horses!

From What’s Weird?, aheM! Recordings 2006 (aheM004)

Everything was now in place; and the momentum was building. Intense rehearsals turned this once endearingly amateurish band into a much slicker, a much more focused ensemble, and audiences from 93 Feet East to the Windmill were responding accordingly. Even the DJs started taking notice and the band received nationwide airplay. Interest from record shops prompted the band to release a seven-inch single, and they had suddenly become inundated with gig offers.

The single was released on the 20th November, with all promotion and distribution being done by the band themselves. An unequivocal recommendation helped the single to fly out of Rough Trade, and the single received some decent reviews. Another aheM! night was organised – this time at the Pleasure Unit in Bethnal Green - to celebrate the launch. Sharing Sheaths were again on the bill, now armed with their debut E.P., and Gertrude’s Storm headlined. It was a memorable night and without doubt one of the band’s best shows.

Gertrude's Storm at The Pleasure Unit, 25th November 2006

Part 5: Endgame

As the new year approached the band decided to take a short break from gigging to continue work on the debut album. In common with all Gertrude’s Storm and Alan vs. Michael recordings, these were produced at home in the band’s own makeshift studio, with the drums being recorded at the rehearsal studio on snatched afternoons. The work progressed at a steady rate and by March most of the recordings were nearing completion. Songs like Badass and Driving Me Crazy, already staples of the live set and crowd favourites, marked a new stage in the development of the band’s recorded output; meticulously programmed and edited, yet retaining the urgency and soulfulness of their live incarnations.
Their return to the capital’s stages came on April 7th at Cargo, performing at a Soundcrash all-dayer. It was an impassioned performance; Randomwoman now led the band with charisma and confidence, and A.C.’s appearance and onstage antics were helping to raise the level of spectacle: his role as a sort of odd-job man having taken on talismanic qualities. But, in fact, the whole band were playing with gusto and, without doubt, had never sounded this good.
However, this was to be the last gig that the current formation of Gertrude’s Storm played together. It would seem that pressure applied had caused fissures and divisions within the band. Soon after the show at Cargo, and following a heated discussion at a rehearsal, drummer Parkstone, for reasons best known to himself, called the studio to announce his decision to quit the band without notice. For a band who had been together, in one form or another, even long before the dark days of Alan vs. Michael, it was a devastating blow, and one from which they never fully recovered.
Nonetheless, at this stage there was no talk of quitting; a full schedule of gigs had been arranged for the spring and summer, and though some had to be cancelled while a replacement drummer was sought, the band were determined to fulfill their commitments.
Previous experiences of auditioning drummers had proved to be depressing episodes and, initially, this time was no different. It immediately became apparent that Parkstone could not be easily replaced, so integral had his drumming been to the sound and development of the band. After two or three dispiriting encounters, an audition was arranged, through a mutual friend, with Silke Steidinger, and immediately everything felt right again. However, her own band, Kaputt, that she fronted were on a hiatus, so it was only a temporary replacement that would enable Gertrude’s Storm to fulfill their commitments that summer. She figured it all out with remarkable ease and by June was ready to make her debut performance as the band supported Hexstatic at Cargo.

Next up was the band’s first festival performance at the Secret Garden Party, headlining the AMP stage. The band’s performances were becoming more and more intense and outlandish, and the festival provided them with the perfect backdrop.

Gertrude’s Storm at the Secret Garden Party, July 2007

Gertrude’s Storm played their last gig at The Spitz, in August; but they didn’t know that at the time – they only knew that it was to be Silke’s last gig as Kaputt were, at last, ready to reform. Although there was, maybe, a vague sense of the band winding down, there had been no talk of quitting, of finally abandoning their illusions and surrendering their fantasies. But really, after that night, to all intents and purposes, the band ceased to operate.

Last gig at the Spitz, August 2007

Part 6: Epilogue

For over a year aheM! remained silent: in mourning, readjusting; until November 2008, when the creation of this blog marked its rebirth. While the hard drive that contained the Gertrude’s Storm ‘album’ gathered dust, remixes were completed and featured on Remixes For Pleasure, an aheM! compilation that was given away to celebrate the resurrection.
Finally, four years since the disintegration of Gertrude’s Storm, the hard drive has been dusted down, and the lost album is being readied for release. Does it really matter? I hear you ask. Does anyone really care? I hear you cry. Well, no, probably not, OK.

William Macbeth, London 2011

How To Eat

2011-07-21T06:59:00.001-07:00

Someone (I think it was me, yes it was me) once described Sister Piss as 'a silly mess', which pretty much nails this shambolic partnership between Randomwoman and Bill Posters. Written in Reading, sometime around the turn of the millenium, 'Fuck's Sake Man' was one of the first 'songs' the pair ever wrote together, if not the first. This recording was produced on a whim during a quiet afternoon some years later, and encapsulates a vague, indeterminate sense of playfulness, rebellion and defiance.

Sister Piss: Fuck's Sake Man

Two Unnecessary Drawings of Gertrude's Storm

2011-07-07T05:56:00.000-07:00

Bedroom with a view

2011-06-21T11:05:00.001-07:00

The Tower

2011-06-18T11:25:00.001-07:00

Westminster: then and now.

2011-06-18T11:15:00.000-07:00

Illustrations by Scrope Stonor

"You can take that to the bank!"

2011-06-01T16:09:00.000-07:00

The New Age Of Jazz: To The Cemetery!

The Lost City

2011-05-30T13:07:00.000-07:00

"It's number 65, but the house is called Wales...Yeah, I'm ready. Love you, bye."

Group of Folk: A House In Wales

Bill Posters: Friendship, Friendship, Friendship

Recorded 2004/5. More Group of Folk here

BILL POSTERS PLAYS THE BEATLES

2011-03-06T08:20:00.000-08:00

Like pretty much everyone else who was born on the planet Earth in the last sixty years or so, I grew up listening to the music of The Beatles. But I didn't hear I Am The Walrus until I was about sixteen and I can remember finding it quite amusing. In that spirit, I offer you these Beatles "covers" that I recorded in 2008, after being inspired by performing a rendition of All You Need Is Love at a family party, with the surviving members of Gertrude's Storm. As Keith Barret would say: "It's a bit of fun!" Thanks to Randomwoman and John Lennon for sharing their vocal prowess.

Bill Posters Feat. Randomwoman: I AM The Walrus
Bill Posters: All You Need Is Love
Bill Posters Feat. Randomwoman: Strawberry Fields Forever
Bill Posters Feat. Randomwoman: Strawberry Fields Forever (Reprise)

acCOBRA: Jazz, Pop, Etc.

2011-03-05T06:58:00.000-08:00

It's not every day that I sing out loud as I'm walking down public streets, (it's about once every three and a half weeks actually and it usually happens when I'm listening to Carter U.S.M.!) but that is exactly what happened this morning when I listened to Jazz, Pop, Etc. by the legendary acCOBRA. Produced by Bill Posters, the track is taken from the maestro's 2005 E.P. The Past, The Peasant And The Future, and features the enviable vocal talents of our very own Randomwoman. Six years on it still sounds like a classic. Smoking crack!

acCOBRA: Jazz, Pop, Etc.

Hear more from the E.P. here

BILL POSTERS VS. KAPUTT: ROUND 3

2010-11-16T08:09:00.000-08:00

Last time Kaputt asked me to do a remix, I ended up doing three; so this time I was determined to restrain myself. It was tough, but I managed somehow.

Kaputt: Luft (Bill Posters Remix)

BILL POSTERS: 2010

2010-10-15T12:44:00.001-07:00

A new album from Bill Posters...

1. Abroz's Dance
2. Egyptian Flute (Album Version)
3. No, Are You Cold Down There?
4. Got To Get Better
5. Breathing The Air
6. Oh, For God's Sake!
7. Upward
8. W-W-W-Wolfman WIlson

2010 By BILL POSTERS...Coming Soon!!!

2010-09-30T07:43:00.000-07:00

BILL POSTERS VS. KAPUTT: ROUND 2

2009-11-26T09:27:00.000-08:00

Kaputt's new single "Blow Up These Lights" was released last week & it really is excellent; I had so much fun remixing it that I ended up doing 3 remixes. It's a fantastic, flawless vocal performance from Silke & a real progression of the Kaputt sound.

KAPUTT: Blow Up These Lights (BILL POSTERS Remix)

KAPUTT: Blow Up These Lights (BILL POSTERS Remix No. 2)

KAPUTT: Blow Up These Lights (niGHt Remix)

As heard on John Kennedy's XFM show this week.

For all Kaputt info head over to their myspace...

No Bill Posters

2009-10-30T15:27:00.000-07:00

BILL POSTERS: No Time To Hurry

BILL POSTERS: Undated Autograph

from the 2005 release: "No Bill Posters"

It's Jesus!

2009-09-29T10:11:00.000-07:00

Here's an unreleased BILL POSTERS track from the voluminous aheM! archives. Created mostly using samples from the GERTRUDE'S STORM monster 'Jesus! Horses!'.

BILL POSTERS: It's Jesus (Again)

An Evening With MAX TUNDRA

2009-08-31T12:59:00.000-07:00

About a half-dozen weeks ago I interviewed MAX TUNDRA, a literal wizard & a huge musical influence, for SLASH STROKE magazine. I asked him some simple questions & got some interesting answers...

SLASH STROKE: What’s good about the new?
MAX TUNDRA: It doesn’t have to rely on old ideas or things that have gone before…however, try telling that to the new album by The Killers!
BILL POSTERS: How do you come up with your tunes?
MAX: Quite often I wake up in the morning & there’s a musical idea in my head, like almost a fully formed song. It involves me quickly switching all the machines on, before I forget the idea & banging it out-listening to it a few times to check that I haven’t dreamt a song by Cliff Richard that already exists. Once I’ve confirmed that it is my own composition then I’ll take a few months planning the arrangement and what instruments to play & some words for it. But the last album took six years so the next one’s going to be a bit quicker, I think, so I better try & dream faster.
BILL: As far as I know you’ve always been a solo performer. Have you ever played in bands or wanted to play in bands?
MAX: The trouble is I don’t like being told what to play. When I left school I was in crappy bands that I really hated & I’d turn up at rehearsal with this proggy keyboard part that I’d worked out & they’d say, “Oh, it’s a bit weird mate, sorry can you just play” [sings melody] whatever & I just thought, well, that’s really annoying, so I just taught myself a load of instruments. So I would be in bands again so long as I can tell people what to play.
I did a Peel Session & that was me & seven of my friends playing twenty instruments; arrangements of songs from the first two albums. It was the third to last ever Peel Session. Unfortunately Mr. Peel died before it was broadcast so it was left to Rob da Bank to badly read out the press release he was sent & get loads of facts wrong about the session & my name & things like that. Unfortunately he wasn’t quite as into the music as John Peel perhaps was. I don’t even know if Rob da Bank particularly paid attention to the session or likes what he heard because I’ve never been asked to play Bestival.
BILL: How was touring the U.S.? Did you notice any difference between American & British audiences?
MAX: The difference between American gig-goers & British ones is that the Americans are less swayed by trends & good reviews in whatever magazines or blogs. Over here you get quite big bands with extremely erratic attendances at their shows. It can go wildly up & down depending on whoever else is in town that night, but mainly what Lily Allen’s into that week. Whereas in America it seems to be firstly: you can tour the U.S., then you can tour the U.S. again & there’ll be slightly more people at your shows each time because people are genuinely into the music & unpretentious & clearly want to spread the word if they really like it. Even if you’re not that cool & you wear clothes from H&M like I do they’ll still come to the show. Also you get a wider cross section of people from all backgrounds, ages, races, clothes-wearers & sexuality. You just find in America there’s no way of predicting who’s going to be in audience that night. People are genuinely into the music & they ask you really interesting questions at the end of the shows. It really feels like you’re building on something when you go to America, whereas over here you just forget about it. It’s very hard to develop as an artist in London & the U.K.
BILL: What’s next for Max Tundra?
MAX: This autumn I’m touring with a band called Passion Pit, who are a hot, trendy, new, young band who are actually quite good & I got the tour support because I sent them a myspace message saying, “Oi, I like your music can I support you please”. We’re playing Koko & all these big venues in the U.K. When I get the opportunity to play in front of loads of people, they’re quite into it. So I just feel there’s a breakthrough about to happen. 12 years slogging away. It took Animal Collective nine albums: I’ve only done three. We’ll see, ey. So I’m doing this tour & I’m working on the next album, which hopefully won’t take six years!

myspace.com/maxtundra for gigs & everything else

Hear Max Tundra on Resonance FM 104.4 every Saturday 14:30-15:30.

Read the whole magazine online here.

niGHt: Yr Backyard

2009-07-30T09:18:00.001-07:00

A trip to the country!

niGHt: Yr Backyard Is Just Outside

acCOBRA in a dancing mood!

2009-06-29T09:23:00.000-07:00

This is a perfect song for barbecues, picnics & car journeys to & from such events. A classic Cobra cut remastered for your listening pleasure. Check out his new blog where you can download exclusive mixes & unreleased tracks. Go on: do it NOW!

acCOBRA: John, I'm Only In A Dancing Mood

www.mraccobra.blogspot.com

BILL POSTERS & RANDOMWOMAN: HEADFIRST

2009-05-25T10:04:00.000-07:00

For an unlimited time only & entirely devoid of any charge, here is the new single from BILL POSTERS & RANDOMWOMAN. Suck it up bitch!

BILL POSTERS & RANDOMWOMAN: Headfirst
BILL POSTERS & RANDOMWOMAN: Yrbangshavegotalifeoftheirown

EVERYTHING YOU'D EVER FEARED

2009-04-30T11:47:00.000-07:00

Here's a little gem from occasional nature jam band Group Of Folk, that featured on the 2006 aheM! compilation "Everything You'd Ever Feared". "Calm Down, It's Only A Mask" was conceived on a sunny day on Hampstead Heath & recorded soon after. Bitchhair plays bazouki, bass & gorilla mask, whilst Bill Posters plays guitar, melodica & rabbit mask.

GROUP OF FOLK: Calm Down, It's Only A Mask

...& another track from the same album by the unbelievable & astonishing RANDOMWOMAN: a party anthem that keeps you coming back for more.

RANDOMWOMAN: It's Friday Night

SISTER PISS

2009-03-30T12:02:00.000-07:00

SISTER PISS is a name BILL POSTERS & RANDOMWOMAN have used sporadically since the dark days of the late 90's. "Don't Be" is a silly mess recorded in 2006 with Bill on toy accordion & Random beating a child's drum kit.

SISTER PISS: Don't Be

JAMIE LIDELL REMIX

2009-02-09T12:12:00.000-08:00

(irrelevant picture)

Here's a remix Randomwoman & I did for a Jamie Lidell remix competition. I never heard anything back but I think it's amazing.

JAMIE LIDELL: Little Bit Of Feel Good (BILL POSTERS & RANDOMWOMAN Remix)

A.C. COBRA & BILL POSTERS

2009-01-26T10:36:00.000-08:00

Way back in December 2005, acCOBRA & BILL POSTERS hosted an evening of musical extravagance at the Royal George to mark the dual release of their debut EPs for aheM!; "No Bill Posters" & "The Past, The Peasant & The Future". A.C. followed his explosive live set on the night with more microphone trickery at venues such as The Amersham Arms, The Spitz, MacBeth & others, while the reclusive sounds of Bill were broadcast nationally by Huw Stephens. The night itself was a triumphant affair & marked the proper launch of aheM! Here are the original versions of two tracks from those EPs.
Right click & save as...

BILL POSTERS: He Wasn't Even Laughing
acCOBRA: Yoot Of Today

BILL POSTERS: Egyptian Flute

2009-01-09T12:11:00.000-08:00

Here's an unreleased track made almost entirely from a cheap flute I bought in Luxor.

BILL POSTERS: Egyptian Flute

the dead of ... niGHt

2009-01-09T11:25:00.000-08:00

Into the light flooded darkness, or something like that. Everything looks beautiful in the dark, or so they say.

The sound of niGHt is hard to fathom at first, but becomes clear once your eyes adjust. Broken folk & warped lullabies beckon you to a land of misanthropic idealism, absolutely heaving with illusions of grandeur.

niGHt is so called after that which gave it life. It sounds like a mess kept at a safe distance. It's not really there, but you know it is. You can't ignore it forever.

At night all sounds are magnified. It's not real, but you think it is. Its imperfections are what makes it imperfect.

niGHt: wake up! wake up!
from ahem009 "the dead of..." buy it here

& here's a bonus track that didn't make the album for some reason...

niGHt: murderer at dawn

GERTRUDE'S STORM: Recycled Old Crap

2008-12-19T08:20:00.000-08:00

In July 2006, aheM! put on a show at the Spitz, which featured the live debut of SHARING SHEATHS, plus breathtaking performances from acCOBRA, RANDOMWOMAN, & GERTRUDE'S STORM. A compilation called "Recycled Old Crap" was given away to all attending & then ceased to exist. That is how it happened. Here is the first track from it, a reworking of GERTRUDE'S STORM's "Drinking My Brain"...

GERTRUDE'S STORM: Drinking Your Brain

BILL POSTERS VS. KAPUTT

2008-12-08T08:05:00.000-08:00

KAPUTT released a great 7" recently on Too Pure & I was lucky enough to offer to do a remix & have my offer accepted. Here are the results.

KAPUTT: Family Tree (BILL POSTERS remix)

buy the 7" here

BILL POSTERS: Remixes For Pleasure

2008-11-13T09:17:00.001-08:00

This E.P. marks the return of aheM! (& the launch of this blog) & as such is being offered to you all free of charge.
BILL POSTERS has been working on this for some time & has given some old (& some new) friends a makeover, recreating them in his own image. The E.P. features the recorded debut of GEE-GAW, the latest addition to the aheM! roster, a multi million pound humour, an electro magnetic dream, an unknown quantity & quite possibly the most brilliant band you’ve never heard. There are also two rebodied tracks from south east london’s favourite nightmare pop duo SHARING SHEATHS, & two born again nuggets from the, now defunct, electro-jazz dance party that was GERTRUDE’S STORM, including live favourite, “badass”.
You can check out more of Bill’s remixes (including remixes of KAPUTT & JAMIE LIDELL) & original tracks at www.myspace.com/nobillposters
Enjoy & keep forever.

Right click to download...

GEE-GAW: Hunting Ground Remix
SHARING SHEATHS: Wheelchair Remix
GERTRUDE'S STORM: Driving Me Crazy Remix
SHARING SHEATHS: Gulag Chic Remix
GERTRUDE'S STORM: Badass Remix

All remixes by BILL POSTERS