Today, I found this, under Arthur Russell’s Dinosaur moniker, a pulsing disco track, not a millions miles away but certainly over the fence from his ethereal compositions I’m used to throughout his 1986 album World Of Echo, and particularly the incomparable This Is How We Walk On The Moon.

“The goal was simple: to erase the borders between interior and exterior by making a record that sounded like the whispers in someone’s head, refracted through the city.” Pitchfork review of 24->24, after its re-release in 2007

Russell’s biography makes for a bittersweet read; his life appeared tumultuous, lonely, and intense, plagued with the internal frustrations of a shy perfectionist, themselves likely key ingredients to competently eclectic and often stunning musical production. He was active in making music until his death in April 1992, at 40, although stalled by his deterioration.

“His recent performances had been so infrequent due to illness, his songs were so personal, that it seems as though he simply vanished into his music.” The Village Voice, 1992

Song of the day: The Chain - Fleetwood Mac from the 1977 Rumours album.

This Sundance Film Festival short from 2003 is a celebration of acting talent, all four characters are so engaging it makes a disaster a joy to watch.

Major Lazer. Amber Coffman. Get Free. Off-putting video. I know if I met that stiff-faced Lazer I’d punch him right in the mouth but I love a bit of Dirty Projectors & Miss Coffman’s voice came through loud & clear eventually. Now on repeeeeaaat.

‘MAZIN

Parts one, two, and three of Session Victim’s The Haunted House Of House soon to be released as a full album on the Delusions Of Grandeur label but can be found separately and then put together via, say, Spotify or something, and listened to repeatedly. And then some.

Listening to LOTS of Grimes (@Grimezsz), aka Claire Boucher. Cites the noise music genre, the grunge and death metal scene of Vanvouver, and the Coctaeu Twins as influences but through prolific viral interviews Grimes speaks with authority, business sense, and purpose about the intentions of her own music.

And she’s cool man. Totally self-composed, she is a colour chameleon as easily confident dripping in jewellery and bindis as she is stomping around a stage in combat boots & an army issue camo coat five sizes too big.

This @BenHowardMusic duet with Daughter (twitter.com/ohdaughter) of my favourite track Black Flies has introduced me to another goose-bump inducing artist. She also happens to look like Natalie Portman, especially here.