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Quirke
QUIRKE002

QUIRKE002

Artists

Quirke

Labels

Quirke

Catno

QUIRKE002

Formats

1x Vinyl 12" White Label

Release date

Jan 1, 2016

Quirke - QUIRKE002 | Quirke (QUIRKE002)

Media: Mi
Sleeve: Generic

$25*

*Taxes included, shipping price excluded

Unsealed but unplayed and new!

A1

Lauren Red Palette

A2

Lauren Sleep

B

Salt

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No Corner: ...Lowkey but pivotal Bristolian duo O$VMV$M supply No Corner with their first 12”, some 6 years after their debut ‘Memoryz Ov U’ in 2015Part of the sprawling but loose knit Young Echo collective, Amos Childs (Jabu) and Sam Barrett (Neek) have been in the shadows recently, producing for Manonmars and Rider Shafique, but ‘Weekend Saviour’ marks their sultry return to the fray via six slow and eazy downbeats in signature style. Chopped & screwed rap instrumentals, R&B, and dancehall inform the vibe, although skewed with a lilting South Western accent and perfectly skudgy, stoned appeal that oozes from every cut, working with a paucity of ingredients in an unshowy manner that’s made them clear favourites of red eyed night owls.The ghosts of Avon’s trip hop and heritage gloam large over proceedings, with perhaps obvious comparisons to be between Portishead and their dusty, creaking opener ’116 Greystoke,’ but there’s also something more fugged out to the likes of their dungeon bunkered title cut that’s more intimation, not imitation, as they pursue a perpendicular style of bluntedness between the slompy ‘Deathphone,’ plus the pastoral dancehall of ‘Bird Ride’ nodding to Equiknoxx, and an outstanding closer of cartoonish samples and groggy groove like a Metal Fingers meets Wiley screwball in ‘Codzilla Outro’ pointing to new angles of their sound.
from the artist's bandcamp: ...Winner of the 2018 BASCA British Composer Award for Solo or DuoA music project featuring a specifically design half-tonne double bell, an array of rare percussion and two highly virtuosic percussionists.“Bloody hell that was good” Tim McKinney, BBC Radio 3Watch The Harmonic Canon in action: dominicmurcott.com/harmoniccanonCreated in collaboration with sculptor Marcus Vergette, The Harmonic Canon is both the name of the piece and the double bell that was custom-made for it. Comprising of two bells tuned a semitone apart, the bell was created using Finite Element Analysis, a type of structural analysis that determines the vibration patterns of the bell, manipulating its harmonic series to create a complex series of frequencies that make up a note. The result is a sound world that straddles consonance and dissonance, murky and clear, pure and distorted. Parts of the bells are in tune with each other, while others are out of tune, creating a unique ‘beating’ between the bells. Oh – and did we mention it spins?‘I came up with the idea of a series of 21-minute pieces in conversation with Gabriel Prokofiev,’ says Dominic. ‘The perfect length for one side of vinyl, it is also a message of intent and a gentle demand for the track-skipping listener.’Part One is made up of rapid, high energy, virtuosic passages, articulated with the ominous striking of the bell while the second part contrasts with a single resonant tone that evolves and shifts over time. This is part of nonclassical’s 21 Minutes series, a new project commissioning 21-minute pieces.
boomkat: ...Sterling first volley from Bristol’s Young Echo Records, featuring Sam Kidel (Killing Sound) and Amos Childs (Jabu) backing Rider Shafique’s incisive, intimate reflections on I-Dentity in modern Britain.Perhaps best received as a clear response to the divisive, race-baiting politics our times, in both parts Shafique presents an ice-cool yet impassioned dissection of the state of playlucidly channelling his thoughts in a rooted, low-key style that resonates with the delivery and impetus of classic dub poetry from Linton Kwesi Johnson and Mutubaruka.However, this being the first release from one of the UK’s most conscientious, variegated and distinctive outfits, don’t expect them to play to convention. This is most apparent in I-Dentity, where Shafique’s ennui and haunted ontological observations intersects Sam Kidel’s miasma of coruscating strings and insectoid inflection, creating a weightless, pensile and abstract space where Shafique ruminations on the stubborn hangovers of the colonial mindset and the semantics of its redundant taxonomies resonate in a wholly unique manner, similar to the way Kidel’s juxtaposed materials in his amazing Disruptive Muzak LP for The Death of Rave.For a smart contrast, in the flip side’s Freedom Cry, Shafique spells out a more positive, stately message, hailing the heroes of the Civil Rights Movement against Jabu’s unfathomable, melting backdrop of slow, celestial jazz swoon, with the lyricist holding tight to his message at the centre of it all. If we’re totally honest, on previous records Shafique’s delivery has seemed slightly over earnest or, conversely, even too droll to us. But here it makes complete, affective sense.Highly recommended!
- Juan A. ARTECHE ( All Instruments)- Pelayo FERNANDEZ ARRIZABALAGA (Bass Clarinet)- Indians from Alto Xingú (Voices)- Juan C. FERNANDEZ (Keyboards, Programming)- Javier PAXARINO (Flute, Piccolo Flute, Kabal, Baritone Sax, Bass Ocarina, Bansuri, Soprano Sax)- Markus BREUSS (Trumpets)- Julio CANO (Caja y Rumberas)- Wade A. MATTHEWS (Short Waves Radio)