So, the last entry was about us buying a bunch of music and expecting some through the post and, y'know, all manner of crap. However since then it's gone very quiet except for us telling you that we were gonna be a different person, a better person, we were drivers we were winners, things were gonna change we could feel it.

The first thing to note, is that both Rustie and Heralds Of Change use really crap American rappers for their tracks. Which is a shame since theirs is pretty well crafted transatlantic booty hop, a bit crunk, a bit glitch, a bit Lex but actually, surprisingly well suited to a mainstream context. Whether or not that's just us being, as ever, hopelessly out of touch with what kids would potentially listen to we don't know but otherwhere mentioned Andre 3000 links crop up, along with caricature Timbaland Neptunes and, uh, the crunk minimal likes of Ying Yang Twins or screwed hip hop of David Banner or The Cool Kids. We're calling their genre glitpop, possibly gitpop or maybe just glitchpop. GitChop? Tchp? We aren't sure yet. A mixture of glitch, dub, lean-to-you-fall-over hip hop slant, broken beats and future soul but, with a massive dose of fun and a lack of aversion to pop thrown in for measure.

So, it's iTAL tEK, then, extra roots dub from Brighton. We first heard him on mmmmmMary Anne Hobb's Evangeline compilation for Planet Mu with a long drawn out Nile River of a dub record, up there with Pinch's best (well, his second best). The single we got of his comprised Deep Pools, Shallow Sun and Weave. It's weird because Deep Pools actually really heavily - like, really, can't get past it heavily - samples Pyramid Song by Radiohead. We're not great for spotting samples but then this sample is carrying three tonnes of bread down the M1 and hit us going at 70. It's a nice track, though, as you'd expect from, well, Pyramid Song. the next, Shallow Sun, isn't as good, definitely not as good as Archaic from the compilation, however the standout and the one that keeps him in the game is Weave, featuring Anneka (?) on vocals it's deep but thin, somewhere between the shimmering break soul of early (best) Tipper and the dub sonics of Massive Attack, post Mezzanine, pre-100 Windows (we know, we know, it's a blank period, but we're talking style and quality wise - not as dense sonically as Mezzanine, not as generally weak as 100 Windows).

Good stuff, though, in both cases. The massive wealth of gitchop we got saw a few real standouts; the quirky Kelis vs Andre 3000 meets Gnarls Barkley of Bopgunn; the swerve hop of Mic Of The Year or lyrically awful musically brilliant Just 4 Kicks; some amazing straight instrumentals, like Clipper by Rustie or Muse by HudMo and Slott (aka Heralds). Overall, though, perhaps it was an overdose. A lot of annoying American MCs (weird, since we were just saying maybe it was being American which made The Cool Kids automatically feel better than a lot of UK output), a lot of heavy, techy beats all in one sitting. We'll wait for it to settle in.

Much like 'The Taxpayer' in Metro's relatively crap cartoon today, we keep being mugged. We do so well with money up to a point and then, occasionally, like today, we're just bum rushed. The perpetrator today was one Mr Boomkat, possibly the sneakiest thief in all of Christendom.

The thing about Boomkat that's just so amazing is how deep their love of music runs. Their complete passion for anything that eminates from speakers. Their current most alluring prospect is a Richard Skelton album they're frankly taunting us with, even thuogh we've never heard so much as his name before today. Elsewhere, they've even got us wondering if we should be investing in a collection of wartime reports. How about that for bredth? A kind of all encompassing range you would struggle to find elsewhere.

Their speciality, however, much like us (anywhere on the internet, we identify closest with Boomkat), is leftfield electronic music. Currently, the zeitgeist is in favour of dubstep and, indeed, however many years ago now, it was Boomkat that introduced us to man like Burial and Various Production and we've not looked back. Today it was Hudson Mohawk and Mike Slott's project Heralds Of Change that is most threatening to bankrupt us. As it is, we don't buy singles these days, especially not lovely, lovely vinyl - can't afford it mate - so are downloading most of these. Some from iTunes (sorry Boomkat!) cuz they're cheaper. Some from Boomkat (in your face, iTunes) cuz we can't find 'em elsewhere.

So, after the Neo Broken Hip Soul R+G of Heralds we were swayed by an older release from Rustie and Joker (all of whom were originally mentioned to us by Sonic Mine Field), as well as iTAL tEK and Chase + Status, King Cannibal and, well, that's it. We're gonna leave Cloaks, Breakage, Aaron Spectre et al for later. Not least since the whole reason we went online was to get Stateless' album (finally) from Amazon (cuz HMV are still charging thirteen quid for it). We also picked up the Midaircondo album for three quid (inc. P&P) and Los Campesinos! for just over a fiver. We considered bumping it up a bit to get the free delivery but instead we just whet our appetites and now, sitting in our many checkouts is Amiina (née Amína) and a Pivot track that wasn't on our Beatport purchase a while back. We're done now though! We won't buy anything else for a Fucking Year. Geeze. Weakness.

Not only is Boomkat a shop, by the way, but for the sheer wealth of information and insight on the site, it's your one stop shop for pretty much anything interesting happening in music, on this site of things. It's not big on indie, like. Either way, anything that uses the phrase "the suavest aquakrunk and crunched bootyhop you're likely to hear for a while" (re: Heralds Of Change, Secrets) is A-OK in our book.

So. Anyway, this will be another weekend without a huge number of updates. We've been quite busy. We have been thinking though, prompted by one thing or another, what the purpose of us being here is. We don't have a huge readership if we have any readership at all (we haven't made a hit counter yet to gauge) and, even when (when!) we do finish No, Really, we're never going to be Drowned In Sound or Pitchfork now are we. We probably won't even be good enough to play for Accrington Stanley. Exactly.

That's just the website proper, not to mention this little outpost here. You see we get our aspirations and ideals all mixed up. Oh, sure, we'd love to be a big website that people go to for reference and learn things from but that's not who we really are. We bang on (on the site proper especially) about how we're just a personal website without the bit about our cats (old school, nineties, Geocities reference?). Except we talk about music here like we know what we're going on about. In truth, we don't. Not really.

This isn't a reference site, this is just the 'music wot i like' page of someone's 'about me' section gone horribly wrong; possibly in a toxic waste related accident. We have much, much to learn and this site should just be here as a sort of series of breadcrumbs on the road to learning. Oo, minimal techno, wots that. Oo, alt hip lounge jazz folk, interesting. Too often we try to pass ourselves off as knowing stuff - not all the time, we use 'dunno' and 'whatever' a lot more than many sites, we think - when really we should be making it quite clear where the boundary of our knowledge lies.

So. From this point on, perhaps, depending on whether or not we succumb to the lure of pretending to be a professional website for the guestlist passes and unlimited groupie love, we shall be a bit more honest. Write less to sound like something and write more like wot we wud rite if we woz talkin to ourselves. Which, let's face it, is basically what we're doing.

Okay. That's enough of that.

Fuck it's been ages ain't it. Tomorrow is ten days since the last update. And we'd been doing so well. Once again, it's mostly the Twentys that's doing it, this time with a little work thrown in. Luckily, in the meantime there hasn't been a huge amount pressing. Plus, it's not like you hear anything here first. Indeed, we've no idea why anyone would read. So. On with more self-indulgent bollocks. Purchases!

This week we went a bit mad, after not buying anything the past couple of weeks. Basically we continued our back-filling. A whole bunch of stuff we should have bought when it was released. Indeed, of that ilk we only now have a couple of things left, we think. Maybe the last Sigur Rós album, although it is quite pricey, the Stateless album (same thing) and the Thomas Tantrum album, which we're mostly scared of. Much like, actually, the Isobel Campbell and Pete And The Pirates albums. So, what did we buy?

Well, first we got this month's Plan B, with a lovely Ninja Tune/Big Dada/Counter Records sampler on the front. We've not had much chance to sit down with that but from a mile away the King Cannibal track Flower Of Flesh And Blood jumped out at us as a wicked breakdub worrier. There's also a well dubby Roots Manuva remix, which is alright (we don't love his dub stuff much, although it's not actually his remix).

Moving on, we finally got Emma Pollock, Fujiya & Miyagi and Tunng's albums. Of those Fujiya looks most primed to be a disappointment. The disappointment we expected, from within the confines of it still being a really nice album. Just, it feels like its trying harder than before and that's a shame as their effortless melding of influences was where they always excelled.

Emma Pollock slots in just as we thought she would. Lovely, indie melancholica with a bold heart and bustling ambitions. She is a well school artist and her controlling stake in the Delgados franchise is evident here, with their textures, rhythms and chord progressions everywhere. She's their natural succession and this does sound slightly more personal than the band project. We'll always miss their glorious twin vocals, though. They were dun so rite.

Which leaves Tunng as the winners of this particular bout of albums you wot should already own don'tcha. We were worried they were leaving the tronic of their electro-folk behind but, as we say, recent compilation inclusion Take convinced us otherwise and, yep, just like the two albums before it, this is a complete world of beauty. There is a small core of albums we know we didn't get when they were release and just kept looking at for months thereafter - múm, PJ Harvey, Tunng and Stateless are they. Tunng current lead that pack in terms of it being a much better album than most of those we bought in its stead. Maybe we'll get the Stateless album next week. Finally.

Which brings us to the random purchase of the day. Well, fuck us, Errors have an album out. Much like Mugison in the last batch of purchases, it was just sitting there, as if saying 'oh, hi, yeah, i'm available to buy now, didn't i text you?'. Much like all these albums we've had them on last night as we drifted to sleep so can't comment fully but it certainly doesn't sound like a disappointment. We're just eager as to get it on our Walkman with some big speakers and a long walk. Mm. Electro post rock, electro folk and electro kareoke in the negative style. Yummers, right?

New music the other day. We'll quickly skim it here but between workin' long* and going straight to bed, updating the site is getting a bum rap. Anyhoo! The main crux of this short but sweet entry will be to innumerate the items purchased on iTunes the day before yesterday (then converted to mp3 and listened to yesterday).

Firstly, we'll just note we also got a few more Puregroove freebie remix doobries. This included Munch Munch and Mirror! Mirror!, as well as more lacklustre efforts from My Tiger My Timing, Portasound and Red Light Company. The description of Red Light Company put us in mind of old Manc band Omerta. We weren't disappointed - other than in the sense that them being like Omerta was a disappointment. Still, Munch Munch, Mirror! Mirror! and Electrocute were all fine additions. Plus the Thomas Tantrum acoustic track was, obviously, nice.

On top of that we got Dave Spoon's remix of Flex by Dizzee Rascal. Man. This version, quite emphatically not grime, really shows this up as being at the very weak end of Dizzee's MCing canon. Gone is the switching flows like Moscow, in is 'stuttering as an effect' that surely The Fresh Prince killed back in the eighties. When it was acceptable. Still, rough electrojackin' beat by Dave Spoon. Whoever he.

We filled the rest of our basket with dubstep, really. There was an old release by Dusk + Blackdown. We didn't love their album but that's odd since we do really love this release, the Lata EP, which includes, alongside Lata, Crackle Blues and The Danger Line. it also has a Burial remix of Crackle Blues which is sumptuously dark. Burial's remix of Thom Yorke is a more by numbers affair by him. Some of the bass is satisfying but his clanking beat does leave him open to criticism. Better, on that release, is the Modeselektor remix of Skip Divided and the 'Various' (Various Production, one assumes) take on Analyse. It doesn't make the actual The Eraser album sound very good, though, even if it is a lovely release.

Oh, one non-dub purchase was that of Justice's remix of MGMT's Electric Feel. It's in the vain of their Klaxons remix more than their Franz Ferdinand one, being quite faithful and quite traditional, song structure wise. It doesn't kick anyone's electro head in, unfortunately, which is what we'd have enjoyed from Justice after all this time. It's pleasant on the ears, though. Y'know.

Finally, back to Forward>>, Pinch's remix of I Believe, the most interesting (other than maybe Chrome Hoof) of Simian Mobile Disco's Sample And Hold remix package. It's quite a wobbly dubstep affair, which is a shame since Pinch's minimal stuff is definitely where his strength lies (even if we are just bias towards minimal breaks in general). It is a complete transformation of the song, though, which is nice. Maybe a bit of a grower, we'll see. Reminds us a bit of Plastician and Skream's take on The Black Ghosts, perhaps.

Let's talk about happier things, people. Let's not dwell on the negativity of the past. Santogold remixes. A constant source of joy in our lives. She herself we can take or leave to a greater or lesser extent but the string of talented post-production jobs is a positive boon. And not a gashy little CSS style name band cash-in anywhere to be seen.

The most recent addition to our cannon of super soaraway Santogold remixes is Lights Out. We said before we didn't like the song itself from what we'd heard and we essentially stick by that. It is more difficult to like an original when the remixes are so good, though. You tend to just get used to enjoying the vocals and parts of the hook and then the original evoke positive feelings. It's not a bad song though. Just boring.

There are three remixes involved in the package. French bleepbeat housetro Tepr provides two mixes, a bumpin' club mix and a mellow 'emo' mix, American Kid Gloves comes with a bit of an opus at seven minutes of cowbell disco and Parisian Dave Rubato, who gives us a bit of vocodor retro.

The last of those needs the fewest words. His remix is nice but it's not a big remix, it doesn't do a huge amount to the structure of the song, just adding some cute backing robo-vocals and a bassline-on-a-string that pushes the whole thing into italo-disco territory, with its synth flashes and sprinkling of glitter. It's nice, sure, but that's all.

Strangely, the Tepr remix, one of our favourite remixers, is only the second best on here. Well. Second and third best. The emo mix is a keyboard lead affair, with 909 percussive claps and a big rain-against-my-window, look mournful, blue lighting, eighties swell about it. It's alright. Probably wouldn't notice it much were it not Tepr. Shame, too, cuz it would've been funny as if he'd turned it into a colonopenbracket style emo blipriot track.

His club mix, though, is pure par. It's not quite Cause Des Garçons but it's definitely up there with his best. Its very main room for him, with a deep, wide breakdown and peaks and troughs of gelatinous bass, which drop for a stabby, jackin', assault of good times. He has reused the ubiquitous vocal snatch he also used in his (frankly comedy) Teenagers remix but we'll let him off. We're good like that.

The real draw here, though, is the Kid Gloves mix though. My word. What a beauty that truly is. If you take the bits you love about Stuart Price's remix of D.A.N.C.E., the Soulwax remix of Gravity's Rainbow and DFA/LCD Soundsystem when they're on bustin' up a punk disco storm and you'll have a good idea. It's got a constant cowbell refrain, a wonky, fidget/baile bassline, a little falling over guitar part that leads into one of those sparse, spiky, subaquatic builds that Price did so, so well on his D.A.N.C.E. remix. In short, it's a wonder to behold. We'll be keeping an eye out for Gloves in future if this is his general standard.

Sorry. Did we hear you right? Elbow won the Mercury Prize? Is that what you said? Elbow the little indie act who are quite good but are never going to wrong foot anyone or change of anything of any note? That's who won? Won the prize this year of all those who entered?

We said right at the start we'd be happy for Burial not to win only because it meant he'd keep his anonymity thing and the shitstream press would leave him alone (how much of a cunt is whoever wrote that article) but Elbow, of everybody, really? This is the biggest non-event since the indefinable period of time before the Big Bang when it almost happened but then didn't for another eternity of indeterminateness.

So much so we're already bored of talking about it. It's a good job these events are so chasmally distinct from where music is really interesting that the handing out of an award is like a star exploding. You find out about it millions of years later (or two days, in this case) and don't really care when you're told. You think you will, at first, wow, exploding star, then you try to think about it more deeply and it's such a meaningless event, so far out in the depths of vacuous space, that...

Well. Yeah. Whatever.

Still! Congratulations Elbow. We like the band and, while we haven't heard the latest album or really trust it to be anywhere near as good as Asleep In The Back (which is truly sublime in places), at least it wasn't Adele, eh.

Wow. Colour our faces red. Turned out an entry we did ages ago about Glasvegas we managed to actually write about Glass Vegas (albeit calling them a slightly easier to confuse Glassvegas). We said we hadn't made up our minds but hadn't been impressed by what we'd first heard. Actually, Glass Vegas are a Liverpudlian garage rock band that we probably wouldn't have listened to long enough to bother writing an entry about if it wasn't for this catalogue of errors.

So. Thanks to Gaz of Hull. Maybe we'd have been told sooner if Dave'd got himself in gear and set us up a contact form the way he was supposed to.

Actually, Glass Vegas probably would've had a similar effect on us that Glasvegas did. Maybe we should just leave it as it is. Except Glass Vegas don't sound like they've got a heavy paycheque behind them. They sound like they've recorded their track in their bedroom. On a dictaphone.

So. Not to come over all Literally Mental or Scenes Of A Pornographic Nature but: fuck us sideways over burning coals first thing in the morning with a ribbed dildo. Wow.

Actually, to be honest, that might be an overreaction. Still, we've just had our eyes opened to a truth and it makes us feel both like we've stepped out, finally, after years of blindness, blinking, into the beautiful bright light of the world. And. Like the world lied to us all these years.

We've long taken issue with people harping on about (insert your whingiest little chalkboard-screech voice here) mp3s aren't high enough quality oh i hate itunes oh its impossible to listen to music at anything but a thousand megahertz i may as well cut off my ears i'm such a prissy fucking speng. We won't lie to you, we hate that discussion and everyone who has it.

HOWEVER. Here are two links, from YouTube (again).

Feadz - Edwrecker 2.0 - http://www.youtube.com/watch?v=dqH0oBRygWA
Feadz - Edwrecker 2.0 - http://www.youtube.com/watch?v=dqH0oBRygWA&fmt=18

As you can see, the only discernable difference is the little &fmt=18 at the end of the URL that isn't otherwise advertised. There's no "see this in high quality" link that sometimes exists, someone just mentioned it in a comment. Now, just listen to the first bit, the first ten seconds tops, of the two songs. What. The jumping. Fuck?

These aren't even the same songs. Surely. Surely to goodness. What the hell? What does this mean for all creation?! TELL US! Etc.

We don't, as yet, have a 'why the fuck weren't we told' section to this site but believe you me, one is definitely coming. If it did exist, though, its most recent entry would be the Crystal Castles remix of Uffie. We found it randomly on YouTube (why does Uffie have no official videos yet?) and were so incredulous as to its existence at first we thought it was just a really good approximation.

However, further research does seem to suggest that Crystal Castles may have actually remixed Make It Hott by the young American cum Parisian rapperette. Even if they, personally, over there in Canada, the two of them, haven't done this remix themselves, you gotta assume there's no point them doing it now because this - video link here - is exactly how it would sound. It's not as good as we perhaps hoped however it's one of those remix pairings that really had no right not existing in this world.

It was posted on YouTube as a response (a cyclical response as it happens) to a Mr Oizo Uffie mash up (cunningly titled Half An Uff), which is why we weren't so inclined to believe it was official like. Plus. I mean. We hadn't heard of it. Surely we'd have heard of it. Right? Pah.

To be honest, we're still not convinced, despite it appearing all over teh shop...

We thought, since his remix compilation is coming out soon, we'd check to see which SebastiAn remixes we don't have that we can feasibly cross our fingers and hope is on the release (which isn't coming out on CD, almost as if to negate any benefit other than the artwork). We did a quick search on Hypem and, skipping the Sebastien Tellier and Belle & Sebastian, here are a few that we hope make up the non Klaxon tracks on the release.

We are pretty sure his remix of Camera by Editors still hasn't had an official UK release, so that would be a good one. We've only just discovered he's done a remix of The Kills' Cheap And Cheerful (wonderful choice for him) so we shall wait for that on the compilation now. We don't actually like Annie that much but, hey, we don't like Das Pop that much and we loved his take on them, so we'll look out for Happy Without You, too. (Although we know about Phones remix of her and still can't be arsed to pay 79p for it). There's a remix of The Who's Baba O'Reily by the capital A one, apparently, which is complete news to us and very exciting. There is also a remix of band called Scenario Rock that we've never heard of (they're French, apparently) for a song called Both Gotta Move On that we've never heard. Whack it on there. Chuck out the Rakes remix, burn the Rapture remix and that version of Killing In The Name Of that you didn't go through with and hit us up with some rarities, SebbA. That's all we found of remixes we don't own on Hypem, though. Remixes by him, anyway. There were a slew of remixes of his recent tracks, though (the Motor tracks, mostly). We'll give them a listen next and update below.

Click To View: What They Did About Him

Just for fun and Google, we also hope there is a SebastiAn remix of a Sebastien cover of Belle & Sebastian. That would be great.

We got that Bloc Party remix EP then. The original Mercury, Bloc Party's comedy dance hit, then remixes of it by CSS, Flosstradamus and Hervé. The names should all be familiar to you, although Flosstradamus perhaps less so than the other two (and perhaps for some, Hervé - AKA The Count Of Monte Cristal - may also not be common parlance). Not exactly a name we bandy about, Flosstradamus is a nu hippop duo from Chicago. Not that you'd get that from this remix.

You know Flosstradamus' type, style wise. They're indie boys dressing in a vague pastiche of hip hop style, a kind of Beastie Boys for dummies. They make tongue-in-cheek hip hop and R&B, dabbling in things like crunk and booty bass. Nothing on their MySpace sounds great but we don't really know their output. They strike us as safe hip hop pop (hence hippop) for Pitchfork readers. It's so knowing! They're so arch! But you can dance to it and it's cheesy and I bet they play Destiny's Child a lot during their DJ sets! Crazy! But credible! Who knows. We're just judging them on their hats.

Anyway, their remix here is the second most successful of the three. It's got a pretty heavy drop after the initial bog standard intro and is pretty lite on the vox, just flicking Kele's vocal ticks and tourettes through the first half of the mix. It does a pretty good job of changing the context of the song, too. From tropical pop knockaround Flux 1.4, to ominous, Bond villain techno, making those trumpets sound more like something Portishead would use (circa Only You) than a cute (although, admittedly, successful) addition to a fluffy song. It reminds us, in a vague way, to the Jackson And His Computer Band remix of Justice's D.A.N.C.E.. Except nowhere near that good, since that was amazing.

The most pointless remix is CSS's. Expectedly so, as we've yet to hear a decent remix by them. It just turns the whole thing into a bleepy electroclash number but with all potential excitement removed. They've thrown a riff under the whole thing but otherwise done little of note. CSS are not a remix act, they are a band, even if they are a tiny bit electro. Bands can't automatically remix or DJ. Still. Bums on seats, right? You've heard of them, we've heard of them. Maybe Wichita (despite being home to both) felt Simian Mobile Disco would be overly pandering to the underground, since Hervé's on here. Demographic, tick.

(Wow. An SMD Bloc Party remix surely has to happen one day though, right?)

Or maybe we're just cynical. Even if, compared to the Flosstradamus and Hervé remixes, the CSS one might as well not exist. The Herve Is In Disarray edit is a big of a beast. As we say, we don't always like his old rave doughnut bassline; it's too flangy and spherically indiscrete for our delicate ears. See his New Young Pony Club or GoodBooks remixes for details. He has started to move away from that now, though, with his Santogold remix also being a delicate little beauty.

This isn't, though, this is a kick to the chops from a big fat slab of club-banging filth. Much like the Floss' remix it doesn't rely too heavily on the vocals or the main hook of the song. In this case it's condensing the body of the track into a crumpled, dense synth line and garnishing it with that Count/Sinden tendency to wind up to the drop with a vocal pile-on and, on this remix, a rather spiffy timpany roll*. The bassline is still a Hervé one (this isn't the departure L.E.S Artistes was) it's just that it's fun we can participate in, not just want to shield out ears from.

Indeed, listening to them now, it's difficult to call between Flosstradamus and Hervé. A shame, cuz we really don't like the look or sound of Floss' from their MySpace. Still! They did make Mercury a different beast and that's what we look for most in remixes. What we can all agree on, though, is that taking the CSS remix off and replacing it with a small glass of water with ice would've been just as much fun to listen to.

The inimitably brilliant SebastiAn has uploaded a new picture as well. This one is more a not-so-subtle advert for a forthcoming anthology of his remixes. Gosh.

We went to watch a friend do at swimming on Sunday, after spending the preceding days and hours downloading grime and dubstep from the internet. We haven't listened properly to electro in ages and certainly haven't got much new stuff, not in the quantities we have downtempo or avant records. We didn't know if we missed it a huge amount but between Kissy Sell Out, Switch and SebastiAn we were suitably reminded that we could really do with some more dancefloor dynamite.

We must admit we have our moments with and without Switch. It's a common thread on this journal so we shan't harp on here. Kissy and SebastiAn, however, can pretty much do no wrong. When we are sad and low we always pop over to iTunes or Beatport to see if there's anything new by either to perk us up.

Which would make a remix compilation by either a mixed blessing. On the one hand, we love them, we get to own and hold their remixes in our sweaty, grateful paws. On the other (sweaty, grateful) hand, we can't imagine we're missing many. If you press stop on your browser while that pictures blinking you might be able to read what it says. If not, we'll transcribe here;

Hey look who's here - SebastiAn. With a fine selection of his remixes. Do you think you can handle that? Is it a best of? Well, yes, somehow it's true. Dancefloor fillers. Dancefloor killers. From 2005 'til today. Also surprising pop reworks. Including the remixes of: la creme de la creme. Sebastien Tellier, Klaxons, The Kills, Bloc Party, Daft Punk and more!

There are other words but our ailing eyes can't make them out. We don't think we have his Kills remix, maybe. Plus, the packaging will be super lovely So-Me at least. Ah well. Bring it on. Maybe there will be extra surprising pop reworks. Mm. Each more surprising, etc.

So. We've got a little text box in the corner now that you can send messages to us from. It's like sending an e-mail but we don't automatically get your e-mail address. It's super easy, just type in some words and press send. Then we get the words. That's it, really.

There are no rules. Agree with us or don't. Tell us we shouldn't have called your band shitehawk fucking awful. Tell us we should talk more about your shitehawk fucking awful band. It would be nice to know who reads this but we've been going five or six years without knowing so no doubt we'll survive.

We sound cavalier but in honesty, we'd appreciate some feedback. We would like some recommendations or to meet interesting new people - we're just very aware that the internet doesn't have a door policy and, trawling MySpace as we do, we know how crap most music is.

Okay. Well. Whatever. In the meantime, go listen to Smile For The Cameraman, Honey's spiffing remix of The Mae Shi. It's good, like, and he's put it up for download too, the plucky bugger. Also, when we recommended that Fujiya Bomb The Bass collaboration before, we hadn't seen the video. The video is cute AS.

We're getting into folk quite a bit recently. Folk folk, non-folk, anitfolk, all the various denominations. We've just remembered we saw another that needed to be added to the list that currently boasts Thomas Tantrum, Tunng, Pete And The Pirates, Emma Pollock and Scout Niblett. Not that Pollock or Niblett are the folkiest.

Anyway, Isobel Campbell has recently updated her profile on MySpace, which is what brought her to our attention. That and this picture. Who knew ex Belle & Sebastian cellist Miss Campbell was quite so dirty looking, when she put her mind to it? Not us!

Even better is the first comment at the time of writing, "Ms. Campbell you seem to only get better looking with age... I hope to be so Lucky." Dunno why 'lucky' has a capital L but we do know that it's more a miracle that person needs. That or plastic surgery.

Glaswegian chanteuse Campbell's new album is another with gravelly American Mark Lanegan. Her last with him was our least favourite of the three albums of hers we have. So. That's a shame.