His third film, an idiosyncratic adaptation of Shakespeare’s THE TEMPEST, was shown at the Berlin Film Festival in 1979. The GlitterBug Gel is an innovative product designed for teaching, testing and evaluating hand-sanitiser application technique. Going through these experiences, it’s like you’re marked – whether you get through it and survive or not,” Rohmann says.

Silent Glory” introduces much more epic and atmospheric tones, like a transmission of something beautiful yet alien, a light ambient techno sound rings in my ear.Nothing too special here either, but it takes up a lot of space and has a lot of pretty flashy lights and knobs and faders as eye candy for the audience and to keep me busy: I do use Ableton as the main hub and sequencer for both midi and audio (but only for live shows, never in the studio), a lot of dedicated controllers, and some outboard instruments, like a Dave Smith Mopho, a Waldorf Blofeld, a Jomox M-Base, a digital sub mixer and some stomp boxes and external FX. It is heavy with atmospheric synth nocturnes and clockwork sequencers, and it works best when you lean back and take it in, like looking at the stars, or watching the bustling, blinkering skyline of a city from a high rise balcony. The title track opens the album and is a gorgeously atmospheric introduction that combines elegantly with following track ›Silent Glory‹ whose broken down hi-hats soar over an evocative synth. This is TRANS-personal music, the sound of shadows and dust and phosphorescence and debris, as told by etheric synthdrones and dusted drum machines. Being Glitterbug is my biggest stronghold and weak point at the same time, and there is absolutely nothing I can do about it.

In 1984 the Institute of Contemporary Arts in London held a retrospective of Jarman’s paintings and in the same year he made a short film inspired by a trip to the Soviet Union entitled IMAGINING OCTOBER. Especially touching are the sequences with longtime muse Tilda Swinton (Oscar winner for Michael Clayton, Grand Budapast Hotel) as she bashfully wanders around gardens, her joyful, intimate interaction with the camera a testimony to her and Jarman’s devoted friendship.With Glitterbug, the Wombats have repositioned themselves as more pained, serious characters, longing to get away from the life of excessive parties and settle into a meaningful relationship.

We both don’t fit into that strange music business all too well, and we both always feel a bit like the odd ones in class. My music is build upon mood, texture, emotion and tension; this is also something I always try to find in the music of other people. Well, in a way it’s both a sequel to my previous album, ‘Cancerboy‘, and since I also conceptually wanted to do something that’s relevant for Notown, I also looked at Gold Pandas last album and took some of the notions of ‘Half Of Where You Live’ to take them a step further and to knit my own stories into the fabric. We were so impressed with the album that we invited him to record a mix and discuss the album in detail. Floor‘ is a very special one indeed; more of a miniature rather than a full track, and it’s funny that you think that it sounds like Big Ben… I guess I haven’t been to London in too long, I had to Google the sound to remind myself the tonality (and that made me remember that my English teacher in school made us stand up before class and have us sing “Good morning Miss Klein – Miss Klein, Good Morning!Polish friends confirmed what Google translate had to say- so I am very grateful and very proud and feel very reassured about my music. GLITTERBUG is available as part of the Derek Jarman box set GLITTERBOX which includes THE ANGELIC CONVERSATION (1984), CARAVAGGIO (1986), WITTGENSTEIN (1992) and BLUE (1993). The slo-mo techno of Glitterbug is the aural equivalent of a long, hot electronic bath after a very hard day.

Dust is… imagining this notion of people disappearing or dying and leaving their traces, which evaporate into dust but are still there,” he ruminates.It’s about memories, traces of things and people that were, urban sub texts and long gone landscapes and the life that inhibited these places. On top of all the lovely things they posted and shared about Dust, they asked me to record a new exclusive podcast for them, and they also did a super long interview.