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the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono’s reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu. Cornelius has recorded music for Edgar Wright’s Scott Pilgrim vs. Using water drops as the rhythmic backbone of “Drop” on his vocoder-infused cover of “Brazil”, the album dazed and amazed fans and set the path for the next phase of his career. With 2002’s Point, Cornelius' music took a quantum shift, going from sampling “found sounds” to looping organic elements and creating lush soundscapes. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

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Sure, there's been some long EP releases since.. Hidden Lights in 2017 (featuring the immeasurable drone sike float on “Rememory”) and Aground in 2016 (a companion, the Desert Island weather beaten psych-flow follow up to Out To Sea), now it’s time to soak up... Mind Minerals finds Carlton Melton in fine fettle, all the songs were recorded and engineered at El Studio in San Francisco by Phil Manley on September 3rd and 4th 2016 (except 'untimely' - recorded at the Dome by Brian Mc Dougall), the studio setting suits them -- a logical progression from a weekend’s recording out at the Dome. Andy Duvall plays juno synth on 'the lighthouse' Special guests: Phil Manley - juno synth on 'snow moon' and 'sea legs' / Guitar on 'eternal returns' and 'psychoticedelicosis'. Carlton Melton can provide your own aural microdose to reset your Mind / Psyche!! The band considers it both a mission statement & a battle cry: “We are musicians, and we will leave political specifics to those more qualified than we are. With it ’s contemplative tone, the song sets a mood for the album, righteous, socially conscious messaging, no more evident than the message embriodered onto the tapestry that graces the front cover artwork: “SUNWATCHERS STAND IN SOLIDARITY WITH THE DISPOSSESSED, IMPOVERISHED AND EMBATTLED PEOPLE OF THE WORLD”. “II” kicks off with the click of sticks and launches into “Nosebeers”, a righteous burner that writhes and squawks with heady desert vibes and white hot saxophone, sounding not unlike something akin to Group Doueh jamming with John Zorn.

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