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Part of the way round my fairly regular lunchtime power-amble (It's like a walk, but it's accompanied by skronky music so as to drown out the idling shitboxes, both vehicular and human, that clutter the place up) the scrot-o-pod presented me with FUSE vs LFO, which was jolly nice of it. The sun was out and I had something of a Tyres moment.

If I ever get to write a screenplay with in-atmosphere AG vehicles, the instructions to the set/model designers will be 'All the vehicles should look and sound like Pro-Mod or Nascar.'

Earlier, it had played the German version of 'Neon Lights'.

I first came across that track on a luminous 12" that was sold to me by someone in the upper sixth. He had a haircut and may or may not have been in a punk band, so was treated as some ultra-cool arbiter of taste. That he would sell an oik like me a Kraftwerk record was clear evidence that Kraftwerk were completely over and everyone should buy Pigbag records. Crip Russell, who fancied himself a somewhat temporally-close arbiter of taste (not in a punk band), crowed at some length in the loud, confident and wrong manner that teenage boys of all ages can manage so well (see half of twitter) about it all. He was especially pleased that I had paid like a pound or something for a record that had sellotape on the sleeve and had been thrown down the school bus at some point. Clearly it was a terrible object, I had no idea about music (which at that point was probably true) and was probably a communist who hated fun. (It was the seventies. I was not yet in a punk band.)

At one point, everyone I knew was in some sort of unpopular beat combo. It was a source of regular astonishment in later years to meet people who'd never spent all their money on a drum-machine. What was wrong with them? Didn't they like music enough to want to make some of their own?

(I also like SF and computers, so I made my own. I don't quite understand people who don't have that sort of passion for a thing.)

Crip and haircut-the-sixformer had got their punk-rock semiotics the wrong way up. Which was not unexpected, given words like that weren't allowed in the North Cotswolds then.

The point of the sodding record was that it contained 'Neon Lights' by Kraftwerk, which even through the pops and scratches and poor quality luminous alleged-vinyl, is a transcendent sort of noise. The weird and good music is the stuff that stays in your head for years, even if you only hear a few bars on the Peel programme when you're nodding off.

In 1990, Peelie (although it could have been a pirate or Kiss-FM when they had the two hours of 'acid house' on a Wednesday evening) played a track called 'I believe' by Sensomilla. I wrote down the name in (oh god) my rather new micro-filofax and then life went a bit weird. Much later in the decade, I was at a record fair in Cheltenham town hall, digging through a box of random old techno records. I found that Sensomilla 12", couldn't remember how it went but did remember that it was just a lovely thing, which is why it's in the record box behind me. It only took a few years to find.

A couple of nights ago, the last ever PoI featured something that sounded like a minor-key Boards of Canada. I poked at the phone during an ad-break and found the wiki where people had collated all the music featured in each episode. That track was called 'Bunsen Burner' by some mob or chap called CUTS.

CUTS turns out to be a Bristol mob or chap and I think I am mildly annoyed that I've managed not to find out about them until two days ago.

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