12/31/2023 0 Comments Between a rock and a dubplate albumAlso: I got to know Holger while recording. Klaus was the name that gave us cuedos but nearly all the songs were the demos from the HH studio just enhanced in CAN. I went on performing some of the new songs live but gradually we faded apart. CBS was then bought by Sony Music and that was it. But then he moved on before we could clinch the go ahead for the second album. We had all the songs recorded in our Cologne studio. Just to give some more perspective- I didn’t leave a musical career to go back to teaching! The reason I couldn’t continue with the band was CBS didn’t want to bring out our second LP as agreed in the contract. All mistakes below her info are humbly all mine.įascinated to discover your article on me and the band, with a surprisingly positive critique. Masters was an early collection of proto-future Pop from someone who managed to take the mind of elite session musician, Klaus Voormann, and the studios of CAN to create something swinging wildly between next wave New Wave, and sophisticated, richly detailed dance music.Įditor’s note: Romie contacted me recently () to kindly correct some of the record. Masters is a wonderful reminder of the bit of delightful weirdness that Romie was able to capture in a bottle, some months in Hamburg, in 1986. For all its implied sense of space, there’s a paradoxically close intimacy to 'Lady’s Mantle’ which feels like you’re the passenger in Muir’s ride, and he patently knows the scenic route.Romie Singh’s Masters is more than just one killer 12” dub plate surrounded by lord knows what. resident Richard Chartier) and Andrew Pekler’s sensorial soundscapes and even the plangent production techniques of Phil Spector and the subby sublime of Rhythm & Sound. In effect the album recalls the intoxicated airs of Pinkcourtesyphone (a.k.a L.A. With fading harmonic auroras and glinting, half-heard surf rock melodies, the album is rendered in an abstract impressionist manner that suggests a fine tracing of in-between-spaces, perhaps describing the metropolitan sprawl giving way to vast mountain ranges and oceanic scales. On ‘Lady’s Mantle’ Muir combines these elements with aqueous field recordings made everywhere from Iceland to the beaches of California with results that limn a wide but smudged sense of space and place. Muir isn't so much interested in making sounds for mindless zoning-out, but instead evaluates the very essence of sound itself, in a way that feels like a microscopic view of the very fibre of popular music. ![]() His conceptual approach to sampling follows a lineage of artists at the very top of the game - from Fennesz’s re-imagined cover-versioning on his pioneering ‘Plays’ (also using the Beach Boys as source material), to DJ Olive’s quietly radical Illbient movements in the mid 90’s, to Jan Jelinek’s loop-finding heyday a decade or so later. ![]() Sferic cruise the best coast with Jake Muir, an artist and field recordist hailing from Los Angeles, California, who has quietly become one of the more interesting operators in this crowded field. Followers of work by Jan Jelinek, Pinkcourtesyphone, Andrew Pekler or even Rhythm & Sound should be all over this one - a highly immersive exercise in blissed worlbuilding. ![]() Jake Muir’s by-now classic debut for sferic is a thing of spectral wonder a luxurious set of gently phased and looped edits and field recordings based around gutted Beach Boys samples cast adrift in a sea of atmospheric shimmers.
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