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ANDREW WEATHERALL

Andrew Weatherall meets audiobooks downtown!

Those of us with a penchant for musical and spiritual psychogeography - 'believers in the laws and specific effects of the geographical environment' - will locate the exact root of this anthem of high abandon in the building which stands on the corner of White Street and Cortland Alley in the Manhattan borough of New York. The neighbourhood: Tribeca. This is where the vibes will be felt the strongest.

Times were tough then, the late 1970’s / early 1980’s. The squares were being taken seriously again. Menacing horror-show bigotry was rife. Sound familiar? And this was the place, home to the Mudd Club, that the post-punk art head freaks went to escape the crap and express themselves - create timelessness - flick the finger - look sharp - show off - have a bit of a laugh.

And dance their lives away.

Back to the present: It was inevitable that Andrew Weatherall would collaborate with audiobooks. They come from the same place. Trace their lineage and you’re back in Tribeca. Anya Phillips is on the door. James Chance is on the stage. Lizzy Mercier-Descloux is on the dance floor. and Karen Finlay is looking pretty fucking dangerous. Again.

Weirdly, depressingly, the current political landscape is a mirror image of those times and the freaks are having to look out for themselves once again. This song is one for the freaks. For the outsiders. Its message is one of liberation.

And that message is: Lose your shit. Stay free. Dance your life away.

STAFF COMMENTS

Sil says: Weatherall gets playful with the reverb effect on a super cool original with disco not disco tinges all over the place. Excellent as always!

FORMAT INFORMATION

Ltd 12" Info: 500 pressing, stamped white label.

Almost exactly a year after his first EP on Byrd Out (the Kiyadub EP), the legendary Andrew Weatherall returns with new material for a second release. Andrew invited a mate round to his studio to try out a Les Paul his friend was looking to buy. As it turns out, his mate was Ride's (and Oasis') guitarist Andy Bell. Anyway, Andrew suggested he test the guitar out over a track he was working on, and ‘Making Friends With The Invader’ is the resulting track, which Andrew paired with the EP’s title track ‘Blue Bullet’. Both tracks plough the trippy, cosmic dub furrow, and come in at a weighty 8 and 9 minutes plus. On the A-side "Blue Bullet" pairs a gloomy post-punk B-line with mindwarping dub fx and flawless sound design, winding out the subs like a stoned Golden Teacher or Adrian Sherwood in a K-hole. Over on the flip Wevvers knocks up a more traditionally dubby bassline, makes liberal use of the fx units and leaves space for Andy Bell to strum, pick and shred somewhere between shoegaze, ska and Floyd. 1000 vinyl only. Grab them while you can! Mastered by Noel Summerville. Artwork by G.S-L Studio. 

Lark / Andrew Weatherall

Can I Colour Your Hair

    Care in the Community recordings release a 7" single of Lark’s Can I Colour In Your Hair featuring a flip side dub version by renowned DJ and producer Andrew Weatherall, adding to past re-workings of Lark songs by artists such as Scritti Politti’s Green Gartside, Erol Alkan and producer Brendan Lynch (Primal Scream).

    The label released Lark’s first two albums; the “sharp and clever” (Quietus) debut ,Shop, and the purely solo effort of song writer and front man Karl Bielik, I Don’t Got, which Uncut noted “...throws up myriad references - Daniel Johnston, Tom Waits’ junkyard jazz, early Human League - but the wonky, unsettling world it creates is completely Bielik’s own.” (4/5).

    Can I Colour In Your Hair dates from the period that formed Lark’s debut and was always intended for its own vinyl cut. While the Andrew Weatherall version that followed, a while later, featured in his BBC6 music 6 mix and gained traction in his club sets, the physical record has proved elusive until now.

    Can I colour In Your Hair is coinciding with the release Larks next album, The Last Woman,on Standard Lamp Records. 


    For starters: to pin down and value Andrew Weatherall’s musical deed takes more space than available in a press release text but here is some of many highlights. As a producer, Weatherall has since he first shook the foundation for modern pop music with ground breaking and genre bending remixes of Primal Scream (Loaded), My Bloody Valentine (Soon) New Order (World In Motion) and many other influential acts, continued to push sounds in to unknown territories. His importance as a musician is as big, with bands like the iconic Sabres Of Paradise and Two Lone Swordsmen in the 90’s and top quality solo records from the 00’s up till today.

    With the above In mind, Höga Nord Rekords are proud to announce the release of Andrew Weatherall new album Qualia! This album fits perfect in to the Höga Nord – Catalogue, which shows clearly already from the opening track Evidence The Enemy. This song is a monotonous yet uplifting piece of music, a case that holds for the album in full; Weatherall lets the melodies, built on a deep tradition of classical music and later developed by bands such as Kraftwerk, go in major scales, which lets fresh air in and creates a feeling of freedom. The music put you on top of Mont Blanc to overview the complete European music history. Qualia is soothing, harmonic and transporting. Within his framework, Weatherall knocks those frames out of place from time to time. When a song goes to much in one direction a new melody or a new instrument steps in to redirect and surprise the listener. This album is the perfect soundtrack to a road trip inside your own, ever-changing inner landscape. 

    STAFF COMMENTS

    Barry says: Weatherall does it once again, and smashes out a refined and perfectly measured suite of cosmic electronic excursions, infused with the melodicism and songwriting prowess of a classic indie anthem. Will he ever make a bad record? It certainly doesn't look like it.

    If ‘Convenanza’, released in February, was a distillation of all Andrew Weatherall’s influences in one place then ‘Consolamentum’ takes that instinct a step further. Here he invites friends old and new to rework the tracks from Convenanza in their own style.

    On board are redoubtable musical architects such as David Holmes (under his new ‘Unloved’ guise), Justin Robertson (wearing his ‘Deadstock 33s’ hat) and the legendary Bernard Fevre of Black Devil Disco Club notoriety.
    Leading the charge by the new guard are Heretic, Red Axes, Solar Bears and Vox Low whose tracks have twisted into existence a quiet storm on ALFOS nights.

    STAFF COMMENTS

    Barry says: A veritable Smörgåsbord of remixes from a plethora of talented acts from all over the electronic spectrum. From smooth and satisfying grungy acid-house stormers to astral swarming cosmic 'tron, this has something for everyone. A varied but reassuringly cohesive whole. What a trip.

    Irish electronic duo Solar Bears - fresh from releasing their critically acclaimed third album ‘Advancement’ earlier this year - receive the remix treatment from seminal DJ, producer and IDM techno forefather Andrew Weatherall. 

    Reimagining ‘Separate From The Arc’, ‘Advancement’s’ climactic, swirling and masterfully cathartic closer, Weatherall delivers a leftfield, darker-toned re-shift that preserves the track’s central energy whilst propagating and expanding its percussive elements via glitched-out rhythms and syncopated nuances.

    "Convenanza" is the sound of Andrew Weatherall looking back at the clutter of a life thoroughly lived and realising it’s too late to tidy it up in any meaningful way. It would be marvellous to throw out lines about the artist exploring the periphery of his musical vision or redrawing the boundary between confrontational electronica and a fondness for a decent melody. That would however indicate some kind of preconceived plan or, failing that, a musical objective which shaped the record. Even serendipity would suggest a more organised approach to the album than was actually the case. Many years of listening to music with a unique ear has resulted in the disordered cabinet of highlights, touchstones, revelations and half recalled good times that make up being Lord Sabre.

    Andrew and his long time fellow recusant Nina Walsh met up in her studio following their enjoyable collaboration as The Woodleigh Research Facility with a view to "doing something" and started tinkering around with the bare bones of some rhythm, top lines and loose vocal meanderings Nina had had sitting on the shelf for a while. Andrew yanked and pulled at the threads and added lyrical ideas until the ghosts of songs started to emerge. Refusing to concern themselves with any kind of structure, they scarpered when tedium threatened and let the music do what it wanted. Sometimes it took a sharp left turn; sometimes it dropped any pretensions of a tune and made do with a wonky groove and at other times simply disintegrated. The post funk punk rhythm of "Frankfurt Advice" takes a deep breath but soldiers on when the disquieting sound of the trumpet playing in the next room intrudes and remains firmly in control despite momentarily stumbling over an unruly guitar. The self-assured top line of "The Confidence Man" collapses in on itself and the loosened beats enjoy a gentle unrestrained boogie atop the solid bassline before the vocal’s final hymnic retreat. Is this sounding incoherent, an uncomfortable disjointed mess? It’s no more so than you’d get dipping arbitrarily into a life or trying to describe any long relationship. Being untidy is allowed; in fact it is to be celebrated as it reflects more truly the jumble of moments any of us experience at the best of times and we all recognise can never be caught on the page. The upside of this promiscuous attitude to music is the sheer joy when it all comes into focus on "We Count Our Sins"… The trumpet returns but this time it’s the soaring spirit of the song which strains against a deeply anchored bassline. The message of abandonment in the verse is thwarted by the obstinate optimism of the key refrain and there’s a sense of resolution as the song ends and melds into the blissful "Thirteenth Night".

    That Andrew has grasped random thoughts, memories and life markers then assembled them so they become such a satisfying musical voyage is a testament to a mind that can draw pictures in the air but still has trouble finding the on-off button on his laptop.


    Primal Scream give us the first taster for upcoming album 'More Light' (due in mid-May). '2013' sees the band back at their angry best, with politics at the forefront of the lyrics and a fierce barrage of feedback-laden psychedelic indie-rock for the nine minute-long backing track. Co-produced by David Holmes, who was also behind the band's 2000's sonic blitzkrieg 'XTRMNTR'. There's also some skyscraping guitar work from MBV's Kevin Shields during the chorus adding to the intense layered feel of the track.

    Andrew Weatherall strips the track back and turns in a couple of chugging electro-dance remixes, pinning feedback, treated vocals, those guitars and other elements of the original to a motorik chug. Includes vocal and dub versions for your dancefloor.

    STAFF COMMENTS

    Andy says: Epic, state-of-the-nation adress that takes its heady cues from late 70s Hawkwind / Hawklords. Hard-hitting but dead catchy: it's a monster!

    FORMAT INFORMATION

    Ltd 12" Info: 1 COPY FOUND!


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