FINI TRIBE Release the classic Balearic anthem, DeTestimony, 25 years after original release

FINI TRIBE
Release the classic Balearic anthem, DeTestimony, 25 years after original release – featuring 6 brand new remixes.
Release Date: 20th January 2014
Label: FFFt
Formats: Limited 12” Vinyl, followed by Digital Package one month later
DeTestimony will be released on FFFt on the 20th January initially as a very limited edition 12″ EP with mixes by Justin Robertson, Optimo (Espacio), Robot84 and A Finiflex Production. A digital edition will be released a month later which will include the original mix, Tauchsieder and an unreleased mix of 101/Detestimony by 808 State.

Since the late 80’s Finitribe have continued to plough their own particularly distinctive furrow, releasing albums and singles on their own label Finiflex, Chicago’s Wax Trax, One Little Indian, London Records and finally bowed out with their final album release Sleazy Listening on Infectious Records in 1998. At this point there were only two of the original six members left, David Miller and Philip Pinsky. Perhaps feeling they’d reached the end of the line, they chose this time to bow out gracefully. However several singles like 101, Ace Love Deuce, Forever Green and of course, DeTestimony are still regularly spun on club-night dancefloors across the world by the likes of such revered gentlemen as Justin Robertson, Andy Weatherall and Rocky & Deisel.
Fast forward to 2012. Trevor Jackson of Playgroup infamy approached David Miller with a view to licencing DeTestimony for inclusion on his forthcoming release, Metal Dance 84 – 88. With this agreed, further correspondence led to discussions regarding re-releasing the track around the time of its 25th anniversary. With the idea favourably implanted in his mind, David contacted original Fini Tribe member, John Vick, who now owns the highly successful Finiflex Record Studio in Leith Edinburgh. During discussions regarding possible re-mixes, it came to their attention that legendary Fashion designer, Paul Smith, used DeTestimony on the catwalk during London Fashion Week 2012. The signs were all good – already there was interest in various corners of high Art and high class international couterie.. A plan was duly hatched. The result of which, being the re-release of DeTestimony featuring brand new mixes from:- Justin Robertson, Optimo, Robot 84, John Vick, Graham Massie, French Bloke and Logan Fisher.
The revival started in earnest last Summer with David Dj-ing at Café Mambo in Ibiza, followed by another wonderfully received DJ set at Dundee Rhumba Club’s Festival of House in October of last year – their first return to the club since they last blew the roof off in 1991. More details on further DJ and live sets as and when the details arrive. So far several Summer festivals have shown great interest in bookings. Welcome back Fini Tribe, one of the finest purveyors of alternative Balearic Beats ever. In the meantime, here’s a word from a certain man of wealth and taste, who has been a long-time supporter of Finitribe. Over to you Mister Welsh:-
“More than any other act, Finitribe defined my love of dance music and provided the soundtrack to my social life of the late eighties and early nineties. These weren’t the songs I grew up to, they were far more important than that; they were the songs that I refused to grow up to… Irvine Welsh
FINI TRIBE
Release the classic Balearic anthem, DeTestimony, 25 years after original release – featuring 6 brand new remixes.

AN OBSERVATION ON THE EXTENDED LIFESPAN OF A CONTEMPORARY CLUB CLASSIC
Sometime towards the end of the 1980’s, I was in one of Edinburgh’s most beautiful listed buildings – The Assembly Rooms on George Street. This palatial Arts Venue was more used to hosting contemporary and classical theatrical productions. This particular night was very different. Numerous ‘hand-sculptures’ on metal rods created a mini barrier between audience and performance space, suggesting ‘do not pass this point, otherwise enter at your own risk’. The performer’s own personal Berlin Wall. Onstage stood six males, with shaven skulls, naked apart from what appeared to be muslin diapers – it indeed appeared we were witnessing something ‘tribal’.

This was further accentuated, by the painful looking cuts and blood flowing freely from the torsos of at least two of the perpetrators of this unholy spectacle – it was apparent a certain degree of self-mutilation had occurred prior to appearing onstage. Then there was the sound – deafening, relentless beats – funky but dark; thundering bass-grooves, squalling keyboard and vocal samples and meticulously played-out percussion patterns, all accompanied by abrasive screams and chants. What looked like tribal war dances were played out by all six members, whilst all the time this unholy soundstorm played on, becoming louder, until all at once, after about forty minutes, it stopped. Yet menace still hung heavy in the ether. Each member in turn reached down and picked up a dagger, and one by one slashed at something above them, unseen by the audience, only to be drenched in gallons of what may have been blood, but I could only hope it was paint. Finally, as the last fluidic container bled dry, all six huddled in a group on the floor, looking for all the world like a mass of aborted foetuses The lights glistened off the sweat and blood saturated bodies, and oddly child-like hairless heads. The stage-lights went down, the hall plunged into darkness – showtime was over. The audience milled out into the blinding bright light of the foyer, shielding their eyes – conversation was minimal, facial expressions showed visible disbelief.
They had just witnessed the new-look, performance-art led Fintribe, now light years away from the brooding serious young men of yore, dressed in black, fixated on their instruments, and carving out their own dark, funky interpretation of Post-Punk. In comparison, tonight’s Finitribe were inhabiting a completely different dimension. Finitribe were about as far away from The Sound of Young Scotland as you can possibly imagine!
It was that night I first heard DeTestimony played live, and it finally made sense, in that particular architectural building, and as a segment of that particular theatrical performance. I doubt they could have done it justice as part of their previous, more conventional, avant-rock performances, in more conventional, rock venues. Although DeTestimony was initially released on their Let the Tribe Grow EP on Glasgow’s Cathexis Recordings back in ’86, the song seemed somewhat at odds with much of the material they were then performing live.

Their pre-Fini tribe incarnation, Gallery Macabre’s repertoire had more in common with Wire, The Pop Group, A Certain Ratio, and 23 Skidoo, whilst it was also apparent that most of the Factory and Industrial Records back catalogues were in their record collections. Finitribe built on this and took it further experimentally, moving into more dance-oriented territory. It was evident from this night onwards, Finitribe’s Electro-Industrial progression had begun. Throbbing Gristle’s shadowy influence continued to remain, alongside bands like Berlin’s Einsturzende Neubauten, who in turn inspired the new-look metal-bashing Depeche Mode; add to this Nitzer Ebb, Mark Stewart and The Mafia, and the four German bands we’ve come to collectively know as the ‘pioneers of Krautrock’, all of whom were now instilling themselves in the consciousness of many of those who would come to be at the forefront of the imminent Acid House phenomenon at the beginning of the 90’s. DeTestimony was to benefit greatly from that Second Summer of Love, through regularly being played by Danny Rampling at Café Del Mar in Ibiza, and various other House clubs across the island. DeTestimony remains immediately recogniseable through its use of that now legendary ‘bells’ sample which permeated the track throughout.

Subsequently, it became an even bigger floor-filler back at Rampling’s London club, Shoom! one of the ground-breaking Acid House clubs in the Capital. Additionally, the legendary House/Dance DJ, Pete Tong, licensed the track for his Balearic Beats Volume 1 collection. Ibiza has been good to DeTestimony, most recently through the renewed interest in the track on that hedonistic paradise, in the Summer of 2012.
Since the late 80’s Finitribe continued to plough their own particularly distinctive furrow, releasing albums and singles on their own label Finiflex, Chicago label Wax Trax, One Little Indian, London Records and finally bowed out with their final album release Sleazy Listening on Infectious Records in 1998. At this point there were only two of the original six members left, David Miller and Philip Pinsky. Perhaps feeling they’d reached the end of the line, they chose this time to bow out gracefully. However, several singles like, 101, Ace Love Deuce, Forever Green and of course, De Testimony are still regularly spun on club-night dancefloors across the world by the likes of such revered gentlemen as Justin Robertson, Andy Weatherall and Rocky & Deisel. There’s life in the old dog yet

.
Fast forward to 2012. Trevor Jackson of Playgroup infamy approached David Miller with a view to licencing DeTestimony for inclusion on his forthcoming release, Metal Dance 84 – 88. With this agreed, further correspondence led to discussions regarding re-releasing the track around the time of its 25th anniversary. With the idea favourably implanted in his mind, David contacted original Finitribe member, John Vick, who now owns the highly successful Finiflex Record Studio in Leith Edinburgh. During discussions regarding possible remixers, it came to their attention that world-renowned Fashion designer, Paul Smith, used DeTestimony on the catwalk during London Fashion Week 2012. The signs were all good – already there was interest in various corners of artistic influence, now the world of ‘couterie’ was taking notice. A plan was duly hatched. The result of which being the re-release of DeTestimony on limited edition 12” vinyl on 20th January, followed by a digital edition one month later – the complete package of both formats will feature brand new mixes by Justin Robertson, Optimo, Robot 84, John Vick, Graham Massie, French Bloke and Logan Fisher.
The revival started in earnest last Summer with David Djing at Café Mambo in Ibiza, followed by another wonderfully received DJ set at Dundee Rhumba Club’s Festival of House in October of last year – their first return to the club since they last blew the roof off in 1991. More details on further DJ and live sets as and when the details arrive. So far several Summer festivals have shown great interest in bookings. Welcome back Finitribe, one of the finest purveyors of alternative Balearic Beats ever. In the meantime, here’s a word from a certain man of wealth and taste, who has been a long-time supporter of Finitribe. Over to you Mister Welsh:-
“More than any other act, Finitribe defined my love of dance music and provided the soundtrack to my social life of the late eighties and early nineties. These weren’t the songs I grew up to, they were far more important than that; they were the songs that I refused to grow up to, and they came along at exactly the right time in my life, where the noose-like tie was tightening steadily around my white collar. The music of that era gave me back my legs and my lust for life, and helped facilitate my own personal creative growth. I associate the best nights of my life with listening to An Unexpected Groovy Treat, while preparing to get ready to go out and hit a club, rave or party somewhere. To this day Sheigra remains one of my favourite dance records. DeTestimony is a terrific updated and remixed testimony to the brilliance of one of Scotland’s most innovative and talented dance music acts. As with so with many other artists I respect, I was never able to properly say thanks to Finitribe for the music. By allowing the honour of writing this note, they’ve now made that possible. So thanks twice.” Irvine Welsh

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