“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively. More

“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively. More

Experience the sonic journey that is The Black Dog's latest album, "Other, Like Me," as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, "Other, Like Me", draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, "Other, Like Me" offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression. More

In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerising album "Silenced". Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science.

Defying industry norms, The Black Dog embodies a Do-It-Yourself (DIY) ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry.

The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's 4-track EP "Bite Thee Back". However, this EP was only a prototype for the revitalised collective, eventually leading to the composition of Silenced, which followed soon after.

This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike. More

The Black Dog's highly regarded album, Radio Scarecrow, is now remastered and re-issued on Dust Science, 15 years after its original release on Soma Records.

Two years of constant development culminated in a masterpiece that flows delightfully and hits hard. Marking a true progression from the band's previous album, Silenced, the trio are keen to note:

"The beats are faster and the bass is much heavier - so much so, that it was making us ill, working with the low frequencies for hours on end. We could only do 3 hours at a time on some parts."

Tracks like Floods v3.9 and Beep are a testament to this. With throbbing basslines strong enough to make an impact on the Richter scale, these tracks are best played out on big sound systems.

Radio Scarecrow unfolds gracefully, barely skipping a beat between tracks. The act have created an album that demands to be listened to in its entirety. With elements blending between tracks (the same kick drum being used to very different means in Short Wave Lies and Siiiipher for example) and with constant references to conspiracy theories and the supernatural, The Black Dog present more than a collection of tracks. Influenced heavily by their interest in Magick, Numbers Stations and Electronic Voice Phenomenon (EVP), the act have hidden examples of these within their work.

"These transmissions and recordings (and people's interpretations of them) had a strong influence on many of the final concepts and compositions, to the point where we've been embedding coded messages and curses deep inside the tracks". More

WHITE COLOURED VINYL / LIMITED TO 300 COPIES!

My Brutal Life delves into the profound aspects of our artistic endeavours encompassing brutalism, the environment, and humanity. Throughout our ongoing creative journey, we consistently gravitate towards these themes, documenting and exploring the human experience within these environments. Our unwavering fixation on Symmetry, Synchronisation, and Repetition are the driving force in our artistic expression. Moreover, we strive to peel away superficial layers to expose the underlying emotional strata of the human aspect, unearthing the often overlooked beauty within the ordinary. Although frequently disregarded, the human aspect resonates with echoes from the past, enlightening and guiding our artistic process. Even the failures encountered serve as poignant reminders of the delicate structures we construct. My Brutal Life constitutes a pivotal component within an enduring exhibition, meticulously crafted to delve into the aesthetic and human facets of brutalism. More

Originally released in 1995, Spanners is the second album from The Black Dog and their first for Warp Records. In 2017 it was selected by Pitchfork as one of ‘The 50 Best IDM Albums of All Time’. The reissue will be the first time the vinyl is available since its original pressing in 1995. After this release the original trio of Ed Handley, Andy Turner and Ken Downie went their separate ways - Handley and Turner formed Plaid, whilst Downie carried on with The Black Dog name, initially by himself, and latterly with the assistance of brothers Martin and Richard Dust.

Exact replicas of the original editions, Album re-cut by Beau Thomas at Ten Eight Seven Mastering on classic black wax.

- Packaging spec: Black 2LP vinyl in polylined inner sleeves in gatefold outer sleeve with download code

Tracklist
A1. Raxmus
A2. Bolt1
A3. Barbola Work
A4. Bolt2
A5. Psil-cosyin
B1. Chase The Manhattan
B2. Bolt3
B3. Tahr
B4. Bolt4
B5. Further Harm
C1. Nommo
C2. Bolt5
C3. Pot Noddle
C4. Bolt6
C5. End Of Time
D1. Utopian Dream
D2. Bolt7
D3. Frisbee Skip
D4. Chesh More

TIP!!!

Sometimes, things "just happen". For months, we’d been working away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

We’d been talking about the old days; making music with friends and dodgy kit, renting small practice rooms and using makeshift recording studios. It was such a common thing back then, you could pick a dusty space in a half-derelict building for as little as £25 a month. In those days, the Cabs and Human League had studios with posh-sounding names, but in reality, they were the same old workspaces long abandoned by the industries they were built for. Nevertheless, the grand names made them sound magical.

Sheffield had thousands of these spaces, and some still exist today, but their abundance and low-cost made Sheffield a very active place. Someone was always doing something. They’d exploded onto the scene in a flurry of excitement before disappearing just as quickly.

There’s something about these little mesters (workshops) that we believe lives in the very consciousness of Sheffield. It’s one of the reasons we never really had big scenes like Manchester or Leeds. The Hacienda would've never been built here.

We don’t really do big gangs or have that kind of mentality. We tend to exist in little pockets, often leaving each other alone. It would be 30 years before any member of The Black Dog talked to Cabaret Voltaire. Sure, we’d stood outside their practice room as kids, trying to listen in, but never felt any reason to approach. Sheffield is like that.

Once we had the first two tracks of the Black EP, we set off to see Jon at Do It Theesen, where he manually cut the tracks to an extremely limited set of 7" singles using a vinyl lathe. It just felt right to go back to the old ways; a small gang creating something special in workshops and sheds. There’s something very satisfying about it, a perfect circle, if you will.

We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines. Pretty much every band started this way. Depeche Mode travelled to the studio on the London Underground for their first appearance on Top Of The Pops, all lugging a synth each. That's how we approached the creation of this album; stripped back, raw and minimal - it just felt so right.

And then there’s the competitive element that was influenced when the original Human League split and became Human League MK II and Heaven 17. Both continued to use the same studio to write what became the albums "Dare" and "Penthouse and Pavement". There is something about that drive that is very Sheffield, just making stuff and hoping everything falls into place.

In Sheffield, we do things differently, because that’s how we are built. away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere. More

4x12” – heavy weight 180g vinyl – gatefold sleeve – limited to 500 units.

We’ve always worked apart. For us, it’s nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn’t possible during the pandemic. This isn't necessarily a bad thing, on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we’ve been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practised and the skills need to be attained. Like music, it’s a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book "Brutal Sheffield" provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bre´ton brut! More

We’ve always worked apart. For us, it’s nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn’t possible during the pandemic. This isn't necessarily a bad thing, on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we’ve been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practised and the skills need to be attained. Like music, it’s a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book "Brutal Sheffield" provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bre´ton brut! More

We live in dangerous times. We are blinded by control vectors that separate us from reality. And The Black Dog returns with a viral antidote: an album of de-programming material which they've called Nether/Neither. This record continues the work they started with Further Vexations and Radio Scarecrow. Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation being totally exposed, mocking our impotence, yet complete in their power. We are all proles now; all are expected to maintain a mental state of Neither/Neither, of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else's script. We are surrounded and occupied by systems of platitude generation that are empty and self-referential. All is surface and all is hollow. From the Tories' election propaganda to David Icke, they're all the same, all meaning filtered to nothing by a lack of substance, science and humanity. Falsehood becomes reason, no matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer. False prophets and the modern day snake oil salesmen parade their viral vampirism, grasping for our time, money and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic; repeat, pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumours become truth then they become action and policy that in the cold light of the day make no-sense at all. No one's sure where they heard it but they have. The spectral offer of change, which actually sustains the stasis of confusion. They spin us on a ball of confusion we live on continues to turn and as long as they have us in a state of Neither/Neither they will always maintain control. Fight Back! More

“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively. More

“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively. More

Experience the sonic journey that is The Black Dog's latest album, "Other, Like Me," as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, "Other, Like Me", draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, "Other, Like Me" offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression. More

In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerising album "Silenced". Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science.

Defying industry norms, The Black Dog embodies a Do-It-Yourself (DIY) ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry.

The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's 4-track EP "Bite Thee Back". However, this EP was only a prototype for the revitalised collective, eventually leading to the composition of Silenced, which followed soon after.

This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike. More

The Black Dog's highly regarded album, Radio Scarecrow, is now remastered and re-issued on Dust Science, 15 years after its original release on Soma Records.

Two years of constant development culminated in a masterpiece that flows delightfully and hits hard. Marking a true progression from the band's previous album, Silenced, the trio are keen to note:

"The beats are faster and the bass is much heavier - so much so, that it was making us ill, working with the low frequencies for hours on end. We could only do 3 hours at a time on some parts."

Tracks like Floods v3.9 and Beep are a testament to this. With throbbing basslines strong enough to make an impact on the Richter scale, these tracks are best played out on big sound systems.

Radio Scarecrow unfolds gracefully, barely skipping a beat between tracks. The act have created an album that demands to be listened to in its entirety. With elements blending between tracks (the same kick drum being used to very different means in Short Wave Lies and Siiiipher for example) and with constant references to conspiracy theories and the supernatural, The Black Dog present more than a collection of tracks. Influenced heavily by their interest in Magick, Numbers Stations and Electronic Voice Phenomenon (EVP), the act have hidden examples of these within their work.

"These transmissions and recordings (and people's interpretations of them) had a strong influence on many of the final concepts and compositions, to the point where we've been embedding coded messages and curses deep inside the tracks". More

WHITE COLOURED VINYL / LIMITED TO 300 COPIES!

My Brutal Life delves into the profound aspects of our artistic endeavours encompassing brutalism, the environment, and humanity. Throughout our ongoing creative journey, we consistently gravitate towards these themes, documenting and exploring the human experience within these environments. Our unwavering fixation on Symmetry, Synchronisation, and Repetition are the driving force in our artistic expression. Moreover, we strive to peel away superficial layers to expose the underlying emotional strata of the human aspect, unearthing the often overlooked beauty within the ordinary. Although frequently disregarded, the human aspect resonates with echoes from the past, enlightening and guiding our artistic process. Even the failures encountered serve as poignant reminders of the delicate structures we construct. My Brutal Life constitutes a pivotal component within an enduring exhibition, meticulously crafted to delve into the aesthetic and human facets of brutalism. More

TIP!!!

Sometimes, things "just happen". For months, we’d been working away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

We’d been talking about the old days; making music with friends and dodgy kit, renting small practice rooms and using makeshift recording studios. It was such a common thing back then, you could pick a dusty space in a half-derelict building for as little as £25 a month. In those days, the Cabs and Human League had studios with posh-sounding names, but in reality, they were the same old workspaces long abandoned by the industries they were built for. Nevertheless, the grand names made them sound magical.

Sheffield had thousands of these spaces, and some still exist today, but their abundance and low-cost made Sheffield a very active place. Someone was always doing something. They’d exploded onto the scene in a flurry of excitement before disappearing just as quickly.

There’s something about these little mesters (workshops) that we believe lives in the very consciousness of Sheffield. It’s one of the reasons we never really had big scenes like Manchester or Leeds. The Hacienda would've never been built here.

We don’t really do big gangs or have that kind of mentality. We tend to exist in little pockets, often leaving each other alone. It would be 30 years before any member of The Black Dog talked to Cabaret Voltaire. Sure, we’d stood outside their practice room as kids, trying to listen in, but never felt any reason to approach. Sheffield is like that.

Once we had the first two tracks of the Black EP, we set off to see Jon at Do It Theesen, where he manually cut the tracks to an extremely limited set of 7" singles using a vinyl lathe. It just felt right to go back to the old ways; a small gang creating something special in workshops and sheds. There’s something very satisfying about it, a perfect circle, if you will.

We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines. Pretty much every band started this way. Depeche Mode travelled to the studio on the London Underground for their first appearance on Top Of The Pops, all lugging a synth each. That's how we approached the creation of this album; stripped back, raw and minimal - it just felt so right.

And then there’s the competitive element that was influenced when the original Human League split and became Human League MK II and Heaven 17. Both continued to use the same studio to write what became the albums "Dare" and "Penthouse and Pavement". There is something about that drive that is very Sheffield, just making stuff and hoping everything falls into place.

In Sheffield, we do things differently, because that’s how we are built. away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere. More

4x12” – heavy weight 180g vinyl – gatefold sleeve – limited to 500 units.

We’ve always worked apart. For us, it’s nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn’t possible during the pandemic. This isn't necessarily a bad thing, on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we’ve been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practised and the skills need to be attained. Like music, it’s a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book "Brutal Sheffield" provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bre´ton brut! More

We’ve always worked apart. For us, it’s nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn’t possible during the pandemic. This isn't necessarily a bad thing, on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we’ve been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practised and the skills need to be attained. Like music, it’s a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book "Brutal Sheffield" provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bre´ton brut! More

4x12” – heavy weight 180g vinyl – gatefold sleeve – limited to 500 units.

We’ve always worked apart. For us, it’s nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn’t possible during the pandemic. This isn't necessarily a bad thing, on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we’ve been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practised and the skills need to be attained. Like music, it’s a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book "Brutal Sheffield" provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bre´ton brut! More