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Githead

Landing + Headgit (Special Edition)

    First released on CD in late 2009, "Landing" marks Githead's fourth release (and third full album) since its inception in 2004. In a short career that has boasted more five-star reviews than most bands have had hot dinners, "Landing" is, unquestionably, Githead's most accomplished recording to date.

    For the uninitiated, Githead are Colin Newman (Wire), Malka Spigel and Max Franken (Minimal Compact) and Robin Rimbaud (aka Scanner). However, who they are is far less important than what they are. And what they are is a band, rather than a collaboration between four individuals. Githead has developed incrementally and organically : from the Krautrock-infused roots of 2004’s debut EP "Headgit", through an expansion in style and mood on first album "Profile" the following year, to the self-descriptive "Art Pop" in 2007, which was critically hailed as the band's zenith. Improbably, "Landing" goes one better. All the familiar components of Githead's distinctive idiom remain in place - Newman and Rimbaud's minimalist guitar patterns, their supremely catchy melodic sense, Spigel's propulsive bass rumble, Franken's solid, steady drive - but "Landing" broadens the band's vocabulary considerably. Adding depth, texture and shading, this album's ten tracks are somehow simultaneously harder, edgier, more expansive, more organic, and more hypnotic. Crucially, though, while Githead might now be speaking a more sophisticated, nuanced language, they never once lose touch with their essential pop sensibility. It's this unique balance of convention and subtle experimentation that's always distinguished Githead from so many others attempting to plough the same adventurous avant-pop furrow.

    Previously unavailable on vinyl, this new and limited LP version of "Landing" is accompanied by a one-off pressing of Githead’s first ever release, the six track EP "Headgit" from 2004. Long out of print, "Headgit" has - like "Landing" – never been on vinyl and will only be available in this special edition package.

    Immersion

    Sleepless

      Immersion are Malka Spigel and Colin Newman. Although best known for their work with, respectively, Minimal Compact and Wire, the duo’s work as Immersion provides an outlet for their ongoing fascination in crafting enthralling, unique musical soundscapes. Sleepless is Immersion’s latest album, a suite of ten distinctive, unpredictable instrumentals that effortlessly encapsulate a range of emotions and energies.



      Immersion

      Analogue Creatures / Living On An Island

      The duo of Malka Spigel of Minimal Compact and Colin Newman of Wire, Immersion is a true collaboration, with no delineation between who plays what. Through the nineties Immer-sion released three acclaimed albums of expansive instrumental electronica. Now 17 years later they are back. Available as a 9 Track CD and 2 separately released 10” vinyl Immersion’s new album of seductive in-strumentals takes in a range of moods and energies. Though their sound is unmistakable, clearly the duo have evolved. The pulsing and sliding analogue synths are still present but the most noticeable differences are the introduction of guitars into the mix and an increased sense of urgency to the compositions. This means it can-not be classified as ambient mu-sic. Although it does have its contemplative moments - such as the gently un-folding Slow Light - the majority of the album is powered by a strong sense of motion. Nanocluster is a tense, insistent composition. Like the score to some futuristic spy film, it demonstrates their skill at creating sound worlds alive with detail. The urgent forward propulsion of Organic Cities weaves in shades of prime era Tange-rine Dream. The fact the album has been largely constructed using analogue instrumentation rather than digi-tal definitely gives it a warmth and depth which sets it apart.

      Githead are Colin Newman (Wire), Malka Spigel and Max Franken (Minimal Compact), and Robin Rimbaud (Scanner). But who they are is far less important than what they are: a band, rather than just a collaboration between individuals, each with their own highly regarded creative résumé. Githead formed in 2004, for what was initially intended as a one-off performance at the Swim record label's ICA-hosted 10th anniversary event. Over the course of preparations for the gig, though, it quickly became obvious to all involved that there was a natural and rare chemistry between them, one that held the potential for significant organic development.

      Waiting for a Sign marks the return of Githead after a five-year break from recording and pushes further than their previous records, underscoring the band’s commitment to pursuing new directions. Fans will recognize many of the classic Githead tropes here: the hypnotic, motorik repetition, the weighty bass lines, and the dreamy melodicism that have come to define the band’s aesthetic. But Waiting for a Sign isn’t about sticking with a proven formula: Githead are forward-looking musicians, committed to reinvention rather than recycling. As previous releases such as Art Pop (2007) and Landing (2009) show, Githead’s forté has increasingly been to bring the synergy and inventiveness of their live performances to bear on the studio process.

      For this album, however, they upped the ante, arriving at the studio without any written material and trusting that their response to each other’s ex-temporization, as well as to the mood and the surroundings, would get the creative juices flowing. “Slow Creatures” is a good example, kicking off in an almost heretically bluesy mode, although this flavour eventually dissolves into a larger hypnotic groove as the track builds. There’s a similar effect on “Air Dancing,” its introduction combining Kala bass and acoustic guitar. Most memorable is “For the Place We’re In,” whose melodic structure makes it Githead’s first bona fide folk song. Approaching the project as something of a blank slate, their minds free of predefined ideas and open to creativity makes this their most accomplished release thus far.

      Originally from Lodz, but raised in Tel Aviv, Malka Spigel began her musical and artistic life in Amsterdam in the early 1980s. There, she first picked up a bass guitar and, with fellow émigrés Berry Sakharof and Samy Birnbach, founded Minimal Compact, whose middle-eastern nuanced post-punk would garner a large, loyal following, especially in continental Europe. The band (later joined by Rami Fortis and Max Franken) put out six studio albums between 1981 and 1988, and their song ‘When I Go’ – sung by Spigel – was famously featured on the soundtrack to Wim Wenders’s 1987 film, “Wings Of Desire”. Although Minimal Compact haven’t released any new material for over two decades, their stature has continued to grow with each reawakening of the band for live work: six dates in Israel in 2012, for instance, saw them play to crowds unimaginable even in their heyday. Marrying Wire’s Colin Newman in 1986, they quickly developed a creative partnership and set up the Swim label in the early 1990s.

      Spigel’s debut solo album ‘Rosh Ballata’, mini-album ‘Hide’, second full-length ‘My Pet Fish’, and projects recorded under the names Oracle and Immersion all emerged between 1993 and 1997. In 2004, with Newman and Robin Rimbaud, she formed the band Githead, which has to date released three acclaimed albums. ‘Every Day Is Like The First Day’ may be Malka Spigel’s third solo album, but it opens a whole new vista for her work, and has all the freshness and promise of an exciting debut. The genesis of this material was an exploratory four-day stint with Newman with “zero preparation” at a studio run by Stereolab’s Andy Ramsay, which offered a treasure trove of musical playthings with which to interact intuitively – from bouzouki and vibraphone to decommissioned Stereolab organs and synths.

      Having laid the foundations, the couple embarked on a second phase, opening the work up to collaboration, with guest musicians chosen from friends with whom she hadn’t worked before, so as to remove any sense of continuity, familiarity or habit.That list of collaborators would eventually include Alexander Balanescu, Andy Ramsay, Johnny Marr, Julie Campbell (LoneLady Psychic Life), Matthew Simms (It Hugs Back, Wire), Nik Colk Void (Factory Floor, KaitO, Carter Tutti Void), Ronald Lippok (To Rococo Rot, Tarwater), and acclaimed soundtrack composer Teho Teardo. What comes across from this elaborate process (involving a grand total of thirteen musicians, four countries and eight studios) is the essence of each song as what Spigel would call “the first song” – a distinct, singular entity, with its own unique emotional resonance and atmosphere.

      Blending real and synthetic instruments in ways that are at once seamless and striking, these songs are as rich as they are diverse. A meditation on ephemerality in 3/4, ‘Ammonite’ sets the agenda, its Mellotron flute, live strings and bouzouki shaping otherworldly textures. Newman’s production here – and throughout the record – is crucial, allowing the individual parts to breathe and retain their own identity, while weaving them into a lush, integrated whole. There’s often a subtly hypnotic quality to this work, most memorably on tracks that forego drums, building cyclical patterns from more understated percussive and melodic elements such as vibraphone, xylophone, violin, cello and Mellotron: the ethereal ‘Dream Time’ and ‘After The Rain’, the haunted ‘Back In The Old City’ and the bittersweet ‘Lost In Sound’. Other tracks have a greater immediacy and a sometimes harsher edge.

      This is, above all, an album about creativity and the creative process – an artistic statement bringing together her work in different media, and music made with a visual artist’s sense of colour, atmosphere and composition. First 1000 copies presented in limited edition with exclusive eight page photo print booklet.

      Silo

      Alloy

      Ostensibly a guitar/bass/drums rock trio, their originality stems from their insistence that electronic methodology is as fundamental to their music as strings and amps. Their exploration of digital manipulation creates the tron-like effect of a rock band inside a computer, and the sound they make is the very aural definition of the leading edge in contemporary music.


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