digital re-up...

coming to bandcamp soon.

no head in the helmet gets a digital release

code 17 abstraction shortlisted for the 2015 dead albatross music prize

"Michael Valentine West’s multi-dimensional and multi directional release, Code 17 Abstraction manipulates jazz & glitch to name just a fraction of the sounds coming back at our ears from this collage of chilled and engaging abstraction."

uvg212 is very happy to announce that mvw's code 17 abstraction has been shortlisted for this year's dead albatross music prize.

for more information, click here.

mvw interviewed by Madeleine Byrne

mvw in conversation with Madeleine Byne, talking about Code 17 Abstraction, minimalism,
hip hop and his various techniques.

To read it, click here.

coming soon on uvg212...

Disco Kill Disco by Mikimo Sosumi


suck susan - arigatou

a free mini album from suck susan to celebrate the launch of uvg212's Bandcamp page.

skewed beats and hidden melodies. enjoy


Thank you so much. After six years, uvg212 Facebook has finally broken the '100 Likes' barrier. We are especially proud of this because it has happened organically.

Once again, thank you for your support.
It has and will continue to mean a lot.
Freebie rewards are due... soon!

more praise for code 17 abstraction from awkward movements magazine/record label

After a few days getting back to nature we were plunged in to a week of travel and a new level of hecticness reserved for the inner-circle of hell, hence the radio silence over the last seven days. Very pleased to be returning not only with new discoveries from Melbourne, but also to a few welcome deliveries of tapes and wax.

Had to get my hands on this record after Paul dropped a track on our NTS show a few weeks back. It's been some sort of perverse waiting game having not even listened to the previews of the remaining six tracks from the seven on the Code 17 Abstraction plate.

Released on Ana Ott, this is the first time we've come across Michael Valentine West, though it turns out he's got a slew of aliases and has been working behind a load of joints for time. Next steps will be hunting down the rest, because this guy's on to something, and we're possibly just scraping the surface on what he's done.

Every time we open the email we read press releases with fifteen or so genres and influences crammed in, discussing the melting pot of sounds stating it as 'breakthrough'. In reality, the best case scenario is generally a decent record in a genre we like. And while Ana Ott makes no such promised of Michael Valentine West, it would be oddly at home doing so.

Code 17 Abstraction changes direction as often as it strips down it's tracks and rebuilds them. This in-depth soundcrafting using templates from jazz and glitch to put you on an abstract journey with each cut. Across these templates experimental analogue electronics and field workings might drop in and out to set the scene and vibe of joyous franticness and new directions.

 Head to the Ana Ott bandcamp to order yourself a copy.

 20th November 2014 by Keith Pettinger [awkward]

sonic seducer magazine reviews code 17 abstraction

In the past, the composer and musician Michael Valentine West has entered the public under various names such as Twiggy And The K-meson, Suck Susan, Lower Third or Mikimo Sosumi. "Code 17 Abstraction" is the first release under his real name. West mixes electronica and glitch with influences from jazz and drum 'n' bass pieces. A similar musical setting is found in Squarepusher, unlike that West does not seek the abstruse grand gesture. West draws attention to the smallest details, such as mutually evolving, while canceling each other, Rhodes and drum sounds - at least on the first side of the album. For the second is almost completely dominated by "Betsy" - a monster between pulsating Industrial Bass, a freak out in the spirit of Sun Ra and flawless Funk. Rich in contrast and yet completely inherently consistent.


code 17 abstraction by michael valentine west

a post-jazz glitch odyssey.
released 17 October 2014 on 12" vinyl.
All tracks decomposed by Michael Valentine West. Mastered by Pascal Gehrke. Published by Ana Ott.

Get it [here]