Adrian Flanagan (The Moonlandingz / Eccentronic Research Council) and his pals a.k.a - ACID KLAUS - return to bring their latest offering
'PTSD By Proxy'.

The first single ‘Aerodromes’ (featuring Philly Piper, one member of his current Live collective that you may know from his last single ‘You’re A Freak’) is a pulsating Italo style track with synthetic arpeggiations. Piper's haunting vocals explore the working class struggle and the death of conversation.

The second single features the wondrous voice of the Queen of Sheffield’s DIY scene ROSEY PM. The Track ‘Losing Our Way’ parks itself somewhere between the aching British electronic pop of Saint Etienne and a late night basement club session with adults who should know better!

Along with the new single comes with an exclusive low slung remix of Acid Klaus’s last single ‘Aerodromes’ ft Philly Piper by legendary producer, songwriter, impeccable creator of soundtracks and DJ - David Holmes.

The EP also features tracks with Welsh language singer songwriter and regular Acid Klaus live collective singer Cat Rin, along with Philly Piper and with short readings of prose from Adrian’s long time collaborators Maxine Peake & Lias Saoudi (Fat White Family / Moonlandingz). Adrian himself is also a featured singer on his own record. “I’m pretty good actually, a bit like a robot version of George Michael that was made up in a shed out of bits of rubbish in a backyard in Cheetham Hill. I’m definitely in the top one singers to come out of Salford, however.. I don’t do light entertainment anymore..I do heavy entertainment!!”

‘The EP is my artistic response to the horrific vista forced upon me as the earth wobbles perilously on its axis like a drunk and foul mouthed broke and broken auntie. It’s dance music you can cry too - or if you point blank refuse to look out of the window - just for dancing too whilst remaining in a state of ‘pig ignorant’ bliss!’
‘For me as an artist it’s important that someone documents this time of great historical mess by utilising heavenly voices, robotic sonics, bangin’ beats, street poetry, space chants and nifty synthetic arpeggiations whilst still remaining deep in the ice cold moment of reality.’