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Search Result for Artist or Label or Title or Catalog like mark gergis
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BEWITH 116LP
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Reissue, originally released in 1983. Fly Me To The Sun is a breathtaking German library gem from the hallowed Coloursound label. It features two Polish composers, Andrzej Marko and André Mikola. Outré synth-funk. Almost blindingly luminous with positive vibes and radiant optimism, Fly Me To The Sun is a collection of funky, sun-dappled compositions for synthesizer and live instruments like drums, bass, and guitar. A dope blend of beatbox driven future jazz and electro pop. The wonderfully sleaze-adjacent opener "Dhamma" includes some grandiose piano chords amid floating ambient sounds a la Steve Hillage with slick drums entering the fray at a languid pace. "Circulation" sounds like Bowie ran into Chaz Jankel during an extended stay in Los Angeles, the Thin White Duke emerging out of a studio at 6am, bleary-eyed and clutching this filthy, bleepy instrumental of sonic smut. "Magic Scenery" is as delicate and astounding as the title suggests, a deep ambient movement conjuring halcyon images of rolling fields with abundant fauna and flora. Cool, slo-mo breaks adorn the strutting melancholy of "Longing for Tomorrow" and "Nocturnal Flowers" to close out Side A. Skip the title track, which opens up Side B, and head straight to "Birth of a Butterfly" for a slice of creeping digi-dub-soul niceness. This should've been front-and-center of that Personal Space compilation a decade ago. Raising both the tempo and the temperature, "Riding on a Sunbeam" continues in the mesmerizing cosmic funk style before "Osmosis", one of the clear stand-outs, presents a fine vintage synth solo over a mellow funky rubberband beat. The closing track, "Solar Heating", warms things up with slapped bass and bold drum machine beats and the synth lends sci-fi vibes to the dark dub-funk-reggae rhythm. As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980's Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record -- complete with imposing, anonymous title and unearthly H.R. Giger cover art -- set the tone for the label's progressive leanings. The label's catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music." Sourced from original analog tapes. Remastered for vinyl by Simon Francis.
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ROG 124CD
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"Matthew Shipp and Mark Helias, two outstanding artists, two great careers, the first time playing together! Matthew Shipp (piano), Mark Helias (double bass)."
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BOND 12067LP
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Markus Homm unveils his twelve-track debut LP After Dark on German imprint Bondage Music. An artist with a rich history within deeper house spheres and minimal territories, Markus Homm has been a fixture of the scene for over twenty years with a long list of appearances at renowned institutions, including Panorama Bar, Watergate, Kater Blau, and Tresor. Whether releasing stand-out solo material or collaborating with fellow countryman Mihai Popoviciu, Homm's continual evolution and development have seen him become a staple name within sets of the industry's leading talent. A regular on the imprint with a string of releases dating back to his label debut in 2012 as remixer for Miguel Lobo -- Atemporal, the Romanian-born, Nuernberg-based talent returns to Bondage-Music as he presents his first album on the label. Markus Homm: "The album came together over the period of the last few years. I wanted to find the sweet spot of timeless music you can listen to at home or in a club. A few tracks have been completed also during the worldwide lockdown two years ago, such as the track After Dark. Most of us had the feeling of being in a dark place in life, for myself I always knew things would get better and I was looking forward to the moment, that motivated and inspired me to make my first artist album. After these difficult times, After Dark, just look forward again, and feel new joy." After Dark, a rich collection of eight productions on the vinyl, the album is a carefully crafted project. Starting with "The System", Homm delicately introduces the deep and dubby textures he's so well known for and sets the tone for what is to come. "Generator" builds upon this foundation with a selection of deep, aquatic tones, while "Trespasses" and "Grauzone" subtly pick up the pace and energy, guiding listeners down equally hazy and captivating trips. "Blue Mountain" harnesses skipping drums alongside resonant chords, while title track "After Dark" is an exemplary display of the Romanian's ability to fuse delicate layers of misty pads, intricate percussion and resonant stabs. "I Wish" is a spirited and breezy journey through rich soundscapes guided by floaty vocals, while "Who Are You" concludes the physical package with a twisting production crafted for the after-hours. A display of deep textures, After Dark marks showcases Homm's signature sonics while offering new shades to his sound. Four vinyl-only tracks; 180 gram vinyl.
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LIFE 028LP
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Reissue, originally released in 1970 on Forward Records, owned by Mike Curb. Markley, A Group is the sixth and final album by the American psychedelic rock group, the West Coast Pop Art Experimental Band. The album was released under another group name, Markley A Group, as decided by the group owner, Bob Markley. It features compositions by Danny Harris, Michael Lloyd, and Shaun Harris with lyrics by Bob himself. The content is simple and soft, reminiscent of the band's earlier work. A gently pop-psych stroke of genius.
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SODA 010LP
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Australia-based musician Mark Gomes presents the debut full-length under his own name for Soda Gong. Alphane Moods finds Gomes employing strategies that will be familiar to listeners of his work as Blue Chemise -- elegiac, loop-based modes of composition and a predilection for concise etude forms -- that manifest here with a strikingly different scope and intent, shifting from expressive abstraction into more conceptual terrain. Over the course of fourteen widescreen tracks, he navigates the gap between nostalgic and futurist sensibilities, concocting elusive, romantic, and sanguine settings that feel both plucked from the past and beamed in from a time still to come. Gomes describes his approach on the record as a "practice of 'constructed ambience', deploying sounds and track titles with pop-psychological associations of escape." The result is a vivid, cinematic album that splits the difference between the worldbuilding retrofuturism of the best vaporwave music and the shadowy, homespun tape vignettes for which Gomes has become well known. Written and produced by Mark Gomes. Master and cut by Kassian Troyer at Dubplates & Mastering. Artwork by Alex McCullough. Includes download code; edition of 500.
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SCR 230CD
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Mark Peters releases a second solo album Red Sunset Dreams on Sonic Cathedral. The follow-up to his hugely acclaimed debut Innerland (SCR 094CD/LP, 2018), which was one of Rough Trade's albums of the year when it came out in 2018, it features a number of guest musicians, including former One Dove singer and songwriter Dot Allison and pedal steel legend BJ Cole. Like its predecessor, Red Sunset Dreams is an album about an imaginary landscape. Whereas Innerland was an introspective psycho-geographic trip inspired by Mark's move back to his hometown of Wigan and the memories it stirred up, Red Sunset Dreams looks outwards, across the Atlantic to the United States of America, but very much through a UK prism; a representation of the subconscious Americana that's buried deep in our collective psyches. The result is an incredibly evocative trip through the landscapes of old Western movies, exploring their links with the North West of England while touching on wider themes such as isolation, freedom and dementia. Sonically, it builds on the palette of the previous record with instrumentation equally inspired by the ascendant ambient Americana movement and classic country-rock. As a result it ends up somewhere between Acetone's peerless I Guess I Would, Diamond Head-era Phil Manzanera and the dusty instrumentals on the second disc of David Sylvian's 1986 classic Gone To Earth. Mark has spent the four years since Innerland recording and releasing Destiny Waiving, his third collaboration with Ulrich Schnauss, and recently followed up 2020's new Engineers recordings (the ambient perambulations of Pictobug) with a reissue series of the band's much sought -after early albums. He has recently put a brand-new band together and will be playing a series of live shows following the release of Red Sunset Dreams.
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SCR 230LP
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LP version. Red vinyl. Mark Peters releases a second solo album Red Sunset Dreams on Sonic Cathedral. The follow-up to his hugely acclaimed debut Innerland (SCR 094CD/LP, 2018), which was one of Rough Trade's albums of the year when it came out in 2018, it features a number of guest musicians, including former One Dove singer and songwriter Dot Allison and pedal steel legend BJ Cole. Like its predecessor, Red Sunset Dreams is an album about an imaginary landscape. Whereas Innerland was an introspective psycho-geographic trip inspired by Mark's move back to his hometown of Wigan and the memories it stirred up, Red Sunset Dreams looks outwards, across the Atlantic to the United States of America, but very much through a UK prism; a representation of the subconscious Americana that's buried deep in our collective psyches. The result is an incredibly evocative trip through the landscapes of old Western movies, exploring their links with the North West of England while touching on wider themes such as isolation, freedom and dementia. Sonically, it builds on the palette of the previous record with instrumentation equally inspired by the ascendant ambient Americana movement and classic country-rock. As a result it ends up somewhere between Acetone's peerless I Guess I Would, Diamond Head-era Phil Manzanera and the dusty instrumentals on the second disc of David Sylvian's 1986 classic Gone To Earth. Mark has spent the four years since Innerland recording and releasing Destiny Waiving, his third collaboration with Ulrich Schnauss, and recently followed up 2020's new Engineers recordings (the ambient perambulations of Pictobug) with a reissue series of the band's much sought -after early albums. He has recently put a brand-new band together and will be playing a series of live shows following the release of Red Sunset Dreams.
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PP 050LP
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Offering is Mark Harwood's second LP and is an album of songs about geography and placement and the way people choose to move across the surface of our planet. His simple tools of acoustic guitar, voice, tapes and bric-a-brac give Mark the freedom and clarity of vision to offer hope in song to those who choose to hear him. Offering is more than we deserve in these lousy times -- it is calm and it is forgiving, but it is also sharp and can cut. It is wise and all-inclusive but Offering is never blind and sees the world as truth, as if on a TV screen. Recorded in Berlin 2021 and mixed/edited in London by Graham Lambkin, Offering is only that, but it asks to be accepted. Recorded in Berlin, Winter/Spring 2021. All music/words Mark Harwood. Mixed/edited by Graham Lambkin. Mastered by Bhob Rainey. Artwork by Graham Lambkin and Mark Harwood "Guillaume-en-Égypte".
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12"
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FEELI 004EP
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International Feel founder and guru of the sunset soundtrack, Mark Barrott returns with a new EP entitled Travelling Music. After spending the last few years writing and producing for other people, Mark is focusing his creative efforts inwards & rediscovering his own musical compass, calling it "the best medicine and therapy there is". It's this energy he looks forward to sharing via a number of releases over the coming months, including a new La Torre compilation, a series of Bandcamp only releases, the soundtrack to a new Japanese documentary (蒸発) and this new vinyl release, Travelling Music. He refers to the title track as Balearic trance. Not in the overblown Dutch sense, but trance as a metaphor/mechanism for an altered state, through hypnotic unraveling synth lines and a dash of wonkiness thrown in for good measure. Elsewhere on the EP, "Arcade Scene" flexes its melodic Italo dance moves with a slight nod to New Order, but a version of the group that's beamed in from an alternate reality, where The Haçienda was called Il Tesoro and relocated to Ancona via a Gerd Janson DJ set circa 1991. "Chillin' 4 Work" channels Aphex Twin from his easy listening Gentle People remix era, with added Sketches from an Island/Ry Cooder-esque guitars and the reprise of "Travelling Music" already feels like a La Torre sunset classic, bouncing with sequenced polyrhythmic arpeggios, before gently evaporating into a Vangelis-meets-Edgar Froese heat haze. As with most of his work, Barrott calls this folk music -- the telling of stories from everyday life and being Ibizan in origin, there are always a lot of varied and crazy stories to tell, but this chapter in particular feels like a deep burnt therapeutic transmission straight from the heart.
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CORE 023CD
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The trio's music creates a strong sense of place, yet you can't quite put your finger on the exact location. There are crescendos that remind me of the vibrant frenzy once experienced in the Amazonian rainforest. Jan Bang injects into the mix both snippets of his co-creators' performances and samples collected over time for deployment in just the right context. You hear faint orchestral swells and then voices, both spoken and sung, the recordings degraded so far as to be barely recognizable. These add a strange authenticity to this imagined territory, the acoustic purity of David Toop and Mark Wastell's instruments providing a counterpoint that expands the stage.
Personnel: Jan Bang - live sampling, samples; David Toop - lapsteel guitar, flutes, whistles, small percussion, harmonica, elastic, paper; Mark Wastell - Paiste 32" tam tam, gongs, beaters, brushes, sticks, bow, autoharp. Recorded by Shaun Crook, London, November 22, 2019. Compositional structure by Mark Wastell. Mixed and mastered by Rupert Clervaux. Cover image by Crimson Wastell. Liner notes by David Nibloe. Design by Matthew Brandi. Produced by Mark Wastell.
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DRUNKEN 122LP
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Debut LP from The Mark Vodka Group, Nova Scotia delivers again. FFO Coneheads, DLIMC, Buzzcocks, and sunshine in the city. More effortlessly catchy brilliance from Nova Scotia, Canada, that your ears, speakers and shelves simply cannot live without. You want a quality guarantee? Includes members of the Booji Boys? This is a different prospect to the Boojis, of course. While that group buries deceptively tasteful hooks in clouds of ear-lacerating distortion, the Mark Vodka Group opt for a more immediately accessible level of audibility, while still keeping things firmly in the box marked "lo-fi". They sound like a bare-bones Descendants at their most irritably bratty, stealing the Oblivians' homework and doodling stupid faces all over the most insightful parts. Or maybe the other way around. Point is, they do smart and stoopid simultaneously and they'll make you wanna dive onto a dancefloor to revel in both sides. As they're not ashamed to tell you, however, the band have been around this music long enough to grow pissed off with... well, what have you got? Scenester elitism ("Big Time Rocker"), the sudden trendiness of punk among previously skeptical normies ("Everybody's Punk Now", which also boasts a killer Buzzcocks homage at its peak) and everyone dumb enough to cross them. Truth be told, punk rock doesn't come out of these lyrical screes too well, but the Mark Vodka Group are too in love with the stuff to truly let go.
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CVSDS 004EP
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Chicago-based saxophonist and clarinetist Ken Vandermark was invited to arrange a set of '70s music for a concert in 2019, and among the pieces he chose were tracks by funk legends Parliament and post-punk iconoclasts DNA. On this 12-inch 45rpm EP, Vandermark's band Marker presents a unique take on "Night of the Thumpasorus Peoples", drawn from Parliament's 1975 LP Mothership Connection, and DNA's "Egomaniac's Kiss", which first appeared on the classic 1978 Brian Eno-produced collection No New York. Together with the entire Marker lineup, featuring Vandermark on reeds, Andrew Clinkman and Steve Marquette on electric guitars, Macie Stewart on keyboards, and Phil Sudderberg on drums, on this one-of-a-kind affair Marker invited Poughkeespie (New York) icon Joe McPhee to be the proverbial fly in the ointment. Applying the most unhinged version of his tenor saxophone stylings to the deep groove of George Clinton and out-James-Chancing the no wave thump of Arto Lindsay, Ikue Mori, and Robin Crutchfield, this rare disco-single-format free music release is one for your record player's auto-changer -- just hit repeat! Featuring design and artwork by Michael Dyer/Remake, uncompromisingly recorded by Alex Inglizian at Corbett vs. Dempsey's Chicago gallery, as direct to you as humanly possible.
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GUESS 183LP
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2022 repress. Originally from Chicago, Haymarket Square released in 1968 one of the rarest vinyl artifacts from the US underground psychedelic scene: the Magic Lantern album. Originally conceived as the soundtrack to a psychedelic lightshow art installation, the album offers crude, dark, psychedelic rock featuring trippy fuzzed-out/wah guitars, male-female vocals and long tracks. Newly remastered sound, insert with liner notes, repro of the ultra-rare Baron & Bailey Lightshow poster. New repress in hard cardboard sleeve; OBI; resealable outer sleeve.
"Magic Lantern is as fine a display of American psychedelia as late-60s albums by It's a Beautiful Day and Jefferson Airplane. This will appeal to fans of the fuzzed-out guitar antics of Cream and Blue Cheer." --Dean McFarlane (AllMusic)
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CVSD 080CD
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With his riveting performance in the inaugural Sequesterfest online festival in April 2020, Ken Vandermark inspired the Black Cross Solo Sessions. Already in the early days of lockdown, making good on the promise -- or threat -- of protracted off-road time, Vandermark had dedicated himself to the creation of a new book of works for solo reed instruments, which he debuted that day. The result of this watershed moment for the Chicago-based improvisor and composer was a body of works that reassert his seriousness and test his ability to reflect and reevaluate. The compositions, which are platforms for invention, are dealt with in relatively economical, almost stripped-down fashion, ringing with a kind of bell-like clarity and focus. Most tracks are on the shorter side, straight to the point, featuring the rippling intensity that is a Vandermark hallmark, but with an altogether reborn sense of purpose. Pieces are dedicated to filmmakers, photographers, and painters, musicians, choreographers, and writers, pointing outward from the hermetic situation of the pandemic to a network of creative icons. Recorded at home in the detailed chamber sonics of his living room, they offer a bulwark against adversity -- the triumph of an endlessly questing mind over the terror of enforced stasis. Liner notes by Vandermark, cover art and design by Christopher Wool.
Corbett vs. Dempsey on Black Cross Solo Sessions: "In our lifetime. We hear this phrase repeated often these days. About things we have never experienced. The sense of global isolation imposed by COVID-19 has literally given us pause, required reflection on something unique in our lifetime. Musicians have been particularly hard hit by the virus, its travel bans and supply chain clogs. They faced an exaggerated number of unfamiliar conditions, many of them adverse, some of them career threatening and anxiety provoking. All of a sudden, players who were accustomed to the constant refreshment of different partners in shifting circumstances found themselves alone at home. But... what better time, we thought, to make a solo record? A production collaboration between artist Christopher Wool and Corbett vs. Dempsey, Black Cross Solo Sessions culminates in eight individual responses to the predicament of creative music during this unprecedented moment in our lifetime. All of the BCSS packages feature artwork by Wool, a distinctive black cross image that has been a part of some of his work since the outset of the pandemic, in this case decisively laid atop images of his paintings. The musicians have worked under a range of conditions, recording where possible -- at home, out in the world, or in the studio -- and each release has its own backstory, a highly contingent tale that speaks to the adaptability of creative musicians, their resilience and power in the face of a devastating obstacle. A personal statement. A singular response. The solo record is a special challenge. Nowhere to hide, no place to run."
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BB 371LP
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LP version. The new album by electronica producer Ulrich Schnauss and the Engineers guitarist Mark Peters Destiny Waiving is released via Bureau B. Hailing from Kiel in North Germany, it's now 20 years since the electronica prodigy Ulrich Schnauss released his debut album. His second, A Strangely Isolated Place cemented his reputation as both a pioneer and an artist who routinely creates inspirational music that is adored by many. As a full-time member of Tangerine Dream since 2014, his lifelong passion for their work inspired a creative resurgence for the band, resulting in their most successful new album for over 30 years, 2017's Quantum Gate. Liverpool born guitarist (and founder of the dream pop outfit Engineers) Mark Peters shared a similar musical path, exploring ambient textures and effect laden songwriting via a series of blissful albums for the band. In 2017 he released his first solo album, Innerland which was enthusiastically received by BBC6 music and later included in Rough Trade's top ten best albums of 2018. Destiny Waiving completes a collaborative trilogy that began with 2011's Underrated Silence (BB 094CD/LP) and followed by 2013's Tomorrow Is Another Day (BB 148CD/LP) (Schnauss also became a full-time member of Engineers at this time). Initial sessions began at Ulrich's East London home studio in early 2017 and final mixes were completed there in late 2020. Despite its extended conception, most tracks were completed during 2017, in part informed by improvisational sets in London, Dublin and St James' Church in Birmingham. Despite these exercises in exploration, Destiny Waiving is perhaps the most focused and concise collection of all three releases. Ranging in tone from precognitive foreboding to soaring optimism, the album delicately hones a particular atmosphere that is unmistakable in their work. While track titles such as "The Supposed Middle Class" acutely display a concern for society at large, compositions and performances reveal a great deal more light and shade. This inherent balance is a key facet of the duo's chemistry, signposted by the titles of "Chiaroscuro" and "Clair-Obscur" and the shifting moods within the tracks. For every rushing, upward sweep ("Hindsight Is 20/20", "Circular Time"), contemplative countering is evident in tracks such as "Words Can Be Dismissed" and "So Far", "The Moment".
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BB 371LTD-CD
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Double CD version. The limited double-CD includes alternate versions with added live drums by the Von Spar drummer Jan-Philiip Janzen. The new album by electronica producer Ulrich Schnauss and the Engineers guitarist Mark Peters Destiny Waiving is released via Bureau B. Hailing from Kiel in North Germany, it's now 20 years since the electronica prodigy Ulrich Schnauss released his debut album. His second, A Strangely Isolated Place cemented his reputation as both a pioneer and an artist who routinely creates inspirational music that is adored by many. As a full-time member of Tangerine Dream since 2014, his lifelong passion for their work inspired a creative resurgence for the band, resulting in their most successful new album for over 30 years, 2017's Quantum Gate. Liverpool born guitarist (and founder of the dream pop outfit Engineers) Mark Peters shared a similar musical path, exploring ambient textures and effect laden songwriting via a series of blissful albums for the band. In 2017 he released his first solo album, Innerland which was enthusiastically received by BBC6 music and later included in Rough Trade's top ten best albums of 2018. Destiny Waiving completes a collaborative trilogy that began with 2011's Underrated Silence (BB 094CD/LP) and followed by 2013's Tomorrow Is Another Day (BB 148CD/LP) (Schnauss also became a full-time member of Engineers at this time). Initial sessions began at Ulrich's East London home studio in early 2017 and final mixes were completed there in late 2020. Despite its extended conception, most tracks were completed during 2017, in part informed by improvisational sets in London, Dublin and St James' Church in Birmingham. Despite these exercises in exploration, Destiny Waiving is perhaps the most focused and concise collection of all three releases. Ranging in tone from precognitive foreboding to soaring optimism, the album delicately hones a particular atmosphere that is unmistakable in their work. While track titles such as "The Supposed Middle Class" acutely display a concern for society at large, compositions and performances reveal a great deal more light and shade. This inherent balance is a key facet of the duo's chemistry, signposted by the titles of "Chiaroscuro" and "Clair-Obscur" and the shifting moods within the tracks. For every rushing, upward sweep ("Hindsight Is 20/20", "Circular Time"), contemplative countering is evident in tracks such as "Words Can Be Dismissed" and "So Far", "The Moment".
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BB 371CD
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The new album by electronica producer Ulrich Schnauss and the Engineers guitarist Mark Peters Destiny Waiving is released via Bureau B. Hailing from Kiel in North Germany, it's now 20 years since the electronica prodigy Ulrich Schnauss released his debut album. His second, A Strangely Isolated Place cemented his reputation as both a pioneer and an artist who routinely creates inspirational music that is adored by many. As a full-time member of Tangerine Dream since 2014, his lifelong passion for their work inspired a creative resurgence for the band, resulting in their most successful new album for over 30 years, 2017's Quantum Gate. Liverpool born guitarist (and founder of the dream pop outfit Engineers) Mark Peters shared a similar musical path, exploring ambient textures and effect laden songwriting via a series of blissful albums for the band. In 2017 he released his first solo album, Innerland which was enthusiastically received by BBC6 music and later included in Rough Trade's top ten best albums of 2018. Destiny Waiving completes a collaborative trilogy that began with 2011's Underrated Silence (BB 094CD/LP) and followed by 2013's Tomorrow Is Another Day (BB 148CD/LP) (Schnauss also became a full-time member of Engineers at this time). Initial sessions began at Ulrich's East London home studio in early 2017 and final mixes were completed there in late 2020. Despite its extended conception, most tracks were completed during 2017, in part informed by improvisational sets in London, Dublin and St James' Church in Birmingham. Despite these exercises in exploration, Destiny Waiving is perhaps the most focused and concise collection of all three releases. Ranging in tone from precognitive foreboding to soaring optimism, the album delicately hones a particular atmosphere that is unmistakable in their work. While track titles such as "The Supposed Middle Class" acutely display a concern for society at large, compositions and performances reveal a great deal more light and shade. This inherent balance is a key facet of the duo's chemistry, signposted by the titles of "Chiaroscuro" and "Clair-Obscur" and the shifting moods within the tracks. For every rushing, upward sweep ("Hindsight Is 20/20", "Circular Time"), contemplative countering is evident in tracks such as "Words Can Be Dismissed" and "So Far", "The Moment".
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LANR 001LP
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2022 repress. Clear 180 gram vinyl. Debut solo album for Alternative TV front man and long-time running UK punk scenester, originally released in 1980 on Deptford Fun City Records. Mark Perry was also the man behind the iconic Sniffin' Glue zine, founded in July 1976. The album was produced by Grant Showbiz, principally known for his work with The Fall, The Smiths and Billy Bragg, and it is literally an art-rock nugget. Sort of an autobiographical work, the record is full of twisted hooks, showing the dark side of post-punk. Less hysterical than the output released with Alternative TV, Snappy Turns should be considered as a post-apocalyptic pop record. It could have been easily included in the infamous Nurse With Wound list (guess what, his former band was there) introducing several connections to the so-called "grey area". In particular, the disturbing tape loops and the violin heard in "Death Looks Down" are perversely informed by late Throbbing Gristle, a band seriously informed by the same aesthetics (Alternative TV used to rehearse in TG studio in Hackney back in the days, while former ATV member Alex Fergusson founded Psychic TV with Genesis P-Orridge). As the shadow of doubt surrounds the nearby future, Snappy Turns could be easily an appropriate soundtrack. Contains two bonus tracks from the 1980s 7" Whole World's Down On Me.
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MVD 5910DVD
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"Don't Go Gentle is a film about finding strength in vulnerability. It journeys through determination, friendship and adversity of IDLES' as they fight for a place in a divided socio-political environment, unexpectedly inspiring and unifying an international community along the way. In a time when the ground is shifting beneath our feet, where open communication and truthful reflection are more vital than ever, we journey with lead singer Joe Talbot and the band as they tear across stages, knock down stereotypes and empower fans to face down uncomfortable realities and talk about mental health."
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FTR 376CS
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"Back in 2012 Mark Cunningham of Mars and Blood Quartet, who also records as a solo artist was back in Western Mass, where he once had some roots. Mark came by the store to hang, but he was itching to do something, so a jam was suggested. Once the shop was closed, Mark brought his trumpet back to the store. To meet him, Brett Robinson stood up his bass, Jen Gelineau lifted her violin and Ted Lee entered his percussion zone. At that time these last three were mostly gigging with Egg Eggs, but they didn't let that stop them from playing a light and fine improv set. On the first side, Mark's trumpet really sets the pace with long, loosely Baker-fried lines, and everyone hits a fine and abstract groove. On the flip, Jen's violin carries a bit more of the tonal weight with Mark dropping back into the shadows to lay strange accents onto her saw lines, while Ted and Brett both pop like knuckle monkeys. Now that's what I call music. Pretty dang bracing!" --Byron Coley, 2021
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2CD
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RA 031-32CD
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"It happened to be my birthday, that day in October 1992 when I had the great fortune of listening to the first incarnation of Frisque Concordance at the Ruhr Jazz Festival in Bochum (Germany), ingeniously curated by Martin Blume, who also played the drums in this quartet along with Hans Schneider on bass, offering his wonders . . . Here, on Distinct Machinery, Georg Graewe and John Butcher, the Concordance's core, team up with Wilbert de Joode and Mark Sanders, both another two constants in the wider Graewe universe for quite some time. Structurally the four-some and its two realizations is to be understood as a pars-pro-toto for how exactly this universe operates and evolves. Schneider was one of the very early members of this poly-centric bundle, dating back to the legendary FMP releases from 1976 and 1978 by Graewe's first quintet, a group the pianist had formed only a few days before his 18th birthday. Butcher, a collaborator for 30 years now, is (along with Frank Gratkowski) the most congenial horn counterpart to Graewe's fuid ways of sublime bridge-building. This is just a small sample of the ways in which Graewe develops his work: long-standing relationships perform expeditions into uncharted territories and then sometimes do it again, years later, offering Proustian moments of recognition plus, always, things never heard before. Continuities and disruption, known and unknown, frisque concordance and contenance angloise, as Martin Le Franc described the 15th century new distinctive style of Dunstable-English music. Distinct Machinery is just that. The combination of a studio and a live set very much distills all these qualities into diamonds, nuggets, and land-slides of sound ever unfolding. You buy one and you get two, but these two give you all. And it is not like these two are easily peg-holed sides of one coin. Listen to the drive and the dynamics of 'Hot and cold' in its two iterations here, studio- and live-setting, and you immediately realize this is not about simple dichotomies. There is a distinct romanticism in the abstract, there are planes of Ayleresk layers in the physical feel of Butcher's sometimes almost silent sound, there are distinct single-notes in Graewe's waves of still energy. There are the endless great plains of Sanders' roaring thunder filled with the warm hues of metallic star-breath-cymbal colors, there are de Joode's interstellar pulse-like sheets of legato, grounding and multi-mirroring it all..." --Markus Müller, Berlin November 2020
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LP
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NA 5208LP
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LP version. "The definitive reissue of one of rock's rarest and most sought-after albums -- 'acid-folk' -- equal parts pastoral folk and contemplative psychedelic. The fi¬rst time since 1971 that this album has been run from the original master tapes, recently discovered in Italy. Mark Fry was 19 -- recently graduated from high school and in Italy studying painting -- when he walked barefooted into RCA's Italian subsidiary, played some songs he'd written on his guitar and was signed to record the album that would become legend. The first recordings he made proved stuff, so he was paired with members of the Scottish band Middle of the Road, who were in Rome while under contract to RCA Italiana. Convening in a basement home studio with two 4-track reel-to-reel recorders, Mark's visions coalesced in a dreamy, airy manner -- 'Nick Drake meets Dr. Strangely Strange with a touch of Lewis Carroll' The Word Magazine would later write. Pressed in small amounts for Vincenzo Micocci's RCA sub-label It, Alice remained an out of reach masterpiece for many but its creator, who returned to England in 1971 and subsequently traveled the world, playing music, sometimes recording and painting. By the time of its rediscovery, its master tapes were assumed lost. The pristine source material reveals nuances not heard on anything but original It pressings and pairs Alice with previously-unreleased recordings from the mid-70s."
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CD
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NA 5208CD
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"The definitive reissue of one of rock's rarest and most sought-after albums -- 'acid-folk' -- equal parts pastoral folk and contemplative psychedelic. The fi¬rst time since 1971 that this album has been run from the original master tapes, recently discovered in Italy. Mark Fry was 19 -- recently graduated from high school and in Italy studying painting -- when he walked barefooted into RCA's Italian subsidiary, played some songs he'd written on his guitar and was signed to record the album that would become legend. The first recordings he made proved stuff, so he was paired with members of the Scottish band Middle of the Road, who were in Rome while under contract to RCA Italiana. Convening in a basement home studio with two 4-track reel-to-reel recorders, Mark's visions coalesced in a dreamy, airy manner -- 'Nick Drake meets Dr. Strangely Strange with a touch of Lewis Carroll' The Word Magazine would later write. Pressed in small amounts for Vincenzo Micocci's RCA sub-label It, Alice remained an out of reach masterpiece for many but its creator, who returned to England in 1971 and subsequently traveled the world, playing music, sometimes recording and painting. By the time of its rediscovery, its master tapes were assumed lost. The pristine source material reveals nuances not heard on anything but original It pressings and pairs Alice with previously-unreleased recordings from the mid-70s."
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LP
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PP 047LP
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"A Perfect Punctual Paradise Under My Own Name is a two-part audio drama that charts the life of a middle-aged Australian man in the throes of an existential crisis, brought about through a series of unforeseen circumstances that collectively threaten to undermine the fundamentals of his existence. It's a work that explores the sound of a mind collapsing under pressure, where lucidity is traded for mania, and eloquence reduced to a scattershot of primal rambling and abstract self-reflection. It's man-as-animal, cowering in a cage, teeth exposed, as vulnerable as it is unpredictable. It's the sad musings of a failed musician turned stand-up comic, left alone in his squalid flat to reflect on life's undelivered promise with only the constant playback of his odd routines for distraction. It's a palimpsest of derelict ideas and unloved skits, etched onto the tattered skin of Salmon Run and worn before an audience of no one. It's a series of wrong turns and dead ends, a puzzle, a game, a confession, but above all else, A Perfect Punctual Paradise Under My Own Name is the greatest record Astor never made." --Graham Lambkin Edition of 300.
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LP
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CORE 002LP
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Last remaining copies RSD 2020 release. Long anticipated vinyl reissue of a concert that took place at the I-and-E Festival at Trinity College, Dublin in 2006 by Keith Rowe (legendary AMM guitarist and one of the founding fathers of European improvised music) and Mark Wastell (pivotal London based experimentalist). The duo had formed the previous year for a show at ErstQuake Festival in New York and this was to be their second, and only, other performance together. Fully remastered. Cover art by David Sylvian. White vinyl.
"Keith Rowe and Mark Wastell -- This last performance balanced the evening well. Louder, more gestural, bringing the evening to a climax in two ways -- the temporal one and also by taking the audience on a long journey to the satisfactory end of the piece -- more musically referential towards the end especially as Rowe dropped in a distinct seesawing 6/4 rhythm. Theme and statement and variations... all here but not under the figure of traditional moves. But the strategies are very much the same. They just require a shift in the mode of listening." --Rod Warner
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