Originally released on Graham Lambkin's KYE, Alcor is the debut LP by a voice from the Australian wilderness - Mark Harwood. Alcor gathers together the prime of Harwood's previous CDR micro-editions and presents the material as a seductive and puzzling new whole. Field recordings of humble organic activity bend against a foundation of discreetly processed electronics/piano, creating sonorities that are as undefinable as they are unforgettable. Alcor is the ideal record for fans of fringe position electro-acoustic study, Delphic audio confusion, or anyone who pines for the days when Small Cruel Party still roamed the earth. Mastered by Graham Lambkin.
1. Montenegro - 4:462. II - 5:193. III - 4:424. Q - 4:215. Trumpets - 4:42 6. Guns - 8:007. November - 6:25
Astor - Alcor
Advancing the cause of 2012's 'Alcor' LP, 'Inland' finds Mark Harwood complicating reason with dark and circuitous audio constructs.
Taking its inspiration from Gerard Murnane's 1988 novel of the same name, 'Inland' explores a personalized perception of space, both real and imagined, returning a fabricated dreamworld which teases logic and tricks the ear. Conceived with piano, bells, tapes, gong, autoharp, hammer, t.v., organ, and dry ice pellets, 'Inland' cuts the face of expectation to expose a 10 part fractal sonic geography, governed by its own laws, and flushed with all the beauty and horror of the natural world.
Mastered by Graham Lambkin.
1. Out - 2:142. Inland - 6:523. Summer - 3:334. Fire - 3:345. Space - 5:356. Eh - 4:347. Island - 6:258. Leaves - 5:249. Aliqua - 2:509. Mimosa - 2:40
Astor - Inland
Debut LP from New York's Derek Baron. Baron’s work muses on the interior and exterior via explorations of history, memory, listening, domestic ambience and the collective understanding of sound as amorphous matter. Crooked Dances presents a series of Erik Satie’s piano works as played in a flatshare with various interruptions by those who also contribute to the electricity, water and internet bills.
Crooked Dances is a melancholic, playful journey rooted firmly in the real.
"Satie’s Danses Gothiques (1893) and other keyboard sketches are interspersed/interrupted by conversation, drones both accidental and deliberate, and the ever changing mise-en-scène of rooms opening out onto further hidden rooms." The Wire
Bland photographs supplied by Baron.
Derek Baron - Crooked Dances