From gg2g4ink Sent Sat, Nov 1st 1997, 09:00
From gg2g4ink Sent Sat, Nov 1st 1997, 09:00
On Fri, 31 Oct 1997, xxxx@xxxxx.xxx wrote: >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" <xxxxx@xxxxxxxxx.xxx> wrote: >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 DigipakŪ. 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 /xxxxxxxx@xxxxxxx.xxx