On Fri, 31 Oct 1997, brap@sonic.net wrote:
quoted 3 lines anyone know what's up with this?
>anyone know what's up with this?
>
>http://www.plaid.co.uk
it's the official Plaid website. Andy says that he and Ed have been working on
it, and it should include provisions for e-messaging 'directly' to "The Bubble."
they're just taking their first 'Doggy'steps onto the Net. it's something they'd
been planning to do for a while, but they hadn't had the resources to work on it
until recently. Andy's brother offered his services and the use of his machines
to get started. the webpage will start off with just a few pages, but they hope
to expand it to include some of the sounds with they use and other fun stuff.
he told me it would be done by the 27th - in conjunction with the UK release of
the album... but i'm sure he meant that in 'Plaid Time'. ;-)
as for the prominent use of vocalists on _Not For Threes_:
ANDY: though we've worked with acoustic musicians and vocalists, at the end of
the day it still feels very much like the same way we've always written. but
rather than sampling chunks from records, we're just sampling chunks from
sessions.
<does it give you more freedom to work that way?>
A: well, totally. it's also interesting just working with other people, because
you get different perspectives, and you come up with something that you just
wouldn't [if working] on your own.
<would you ever add a 'regular' vocalist to the group?>
A: well, no. i think it's a good thing that when we started the Plaid project
the second time around, when we started this album, we were into the idea of
collaborations not just with vocalists but with acoustic instrumentalists in
general. [the vocalists] are just people we knew (we've known Nicolette for
three years and worked with her on her last album. Bjork we've known for a
little longer than that; and Mara is someone whom Rob at Warp hooked us up
with.) but i don't think there will ever be any long-term sort of 'merging' of
the band with any of these artists, though i'm sure we will collaborate with
other people on future albums.
"Chris.Hilker" <cspot@hyperreal.org> wrote:
quoted 4 lines In case you haven't noticed, a lot of the marginal independent labels
>In case you haven't noticed, a lot of the marginal independent labels
>that specialize in idm are not exactly swimming in money (GPR had to
>suspend operations for a year or two, because they simply didn't have
>the money to release anything!)
er... no. that's not quite what happened with GPR. Wayne Archbold took seriously
ill and was in and out of hospital during that two-year period. since he 'is'
GPR, this put the label on 'indefinite hiatus'. well, that and a few other
things. watch for Immerse004 for the rest of the tale...
back to the music? even if just as a temporary respite?
JURYMAN V SPACER
Mail Order Justice
(SSR 185)
Spacer (Luke Gordon) and Juryman (Ian Simmonds. yes, of Vibert/Simmonds) are
both masters of texture who favor the deepest and darkest sounds which
instrumental timbres can muster. As "Mail Order Justice" puts it: "nothing's too
dark... nothing's too deep." the bottom keys on the piano - the top frets of the
fretless - basso sax - it's all low-end. this gives tracks such as the
instrumental "Big Future" additional heft. vibes, electric piano, or the looped
grandfather-clock chimes on "Re-Run" add splashes of light, often in muted
incandescent arcs. This is most noticible on "Submersible," where the
Coltrane-esque (Alice, that is) ascending keys are the streaked headlights of an
urban traffic jam 'round midnight; or on "Sunk," rollicking "intelligent" D&B
with a bevy of buzzing horns, flutes, and vibes. Gordon and Simmonds have
revived the concept of 'the flow,' each track linked without so much as a
hairbreadth of atmospheric space. the instrumental accents - such as the guitar
sketchings of "Masters of the Unison," the chop(stick)ily played banjo and
lubricious bass of "Night Of The Sun," or the pelvis-friendly Club beat rolled
out by the tympani on "Blood" - stake out their own limits and boundaries as the
album winds on. _Mail Order Justice_'s prize is "6 Down," enriched with
electrified scratches, the hum of moody tone tangles, and a poetic ramble from
Henry Cow mouthpiece, Dagmar Krause. but the must-hear track is the [T/t]ricky
closer, "No Prints, No Trace," where the jungle flavors have mellowed to their
richest and spiciest peak, and Simmonds' lyrics of fury burn with a righteous
passion.
-gg2g4/103197
it's also worth making special note of the beautiful design and photography,
credited to Simmonds, Gordon, and Richard Johnson. another classy presentation
from SSR, who have made an artform of the tri-panel Digipak?.
there's a curious credit: "Mingus by Tim Wright," but there's no track named
"Mingus." is this just a clever way of saying that all fingers point at Mr. Germ
for the wicked horn-play?
we out-
gg /gg2g4ink@sprynet.com