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Blacknecks announce sixth and final release



Truss and Bleaching Agent have announced the dissolution of their maniacal collaborative project Blacknecks, following one final 8-track record.

Responsible for some of the most demented, haphazard, industrial techno we’ve ever heard, Blacknecks have served up five EPs so far. Their sixth and final will be presented as a double vinyl release, containing seven new tracks, plus one that “wasn’t quite good enough” for any of their previous releases.

Blacknecks 006 is out soon, but for now we’ll hand it over to the producers, to talk you through the release and bid you a fond farewell…

Good afternoon, Widely regarded as pioneers of PC Music, Blacknecks are proud to unveil their final and most shambolically cobbled-together record to date. After 6 half-arsed releases, a couple of half-arsed gigs and a brutally honest interview in a popular far-right culture pamph, all while managing to maintain their stellar UK garage careers, Blacknecks are now dead. This final release contains seven new tracks, plus one which wasn’t quite good enough to go on any of the first five EPs. It features toe tapping minimalism, knee jerking industrial, tear inducing melodies, fist clenching hoovers, a novelty track that really shouldn’t have made it onto the record and a whole mess of shite that they would be ashamed to release under their own names. Packed with obscure literary references from one of those books that they saw for sale somewhere, Blacknecks tread the delicate line between the Apollonian and Dionysian, by throwing any old bollocks together and sucking up the acclaim. It is, to put it simply, the single most important record of the 21st century. If you disagree, you are wrong. Goodbye. Blacknecks


A1 Moon Over Rotheram A2 Easy Lionel B1 Stunning Gurn B2 Don’t Dream It Be It C1 Powerhole Gloryhole C2 Spudgun! Dave Hedgehog! D1 Don’t Say It’s Goodbye D2 Clubbing 

Grahame Farmer

Grahame Farmer’s love affair with electronic music goes back to the mid-90s when he first began to venture into the UK’s beloved rave culture, finding himself interlaced with some of the country’s most seminal club spaces. A trip to dance music’s anointed holy ground of Ibiza in 1997 then cemented his sense of purpose and laid the foundations for what was to come over the next few decades of his marriage to the music industry.

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