Isolated

Isolated by Simon Christophers

Isolated

Released 27/09/2020

Available from:
Bandcamp
iTunes
Amazon
Google Play

Listen on:
Spotify

 

Secrets & Lies (Mixes)

Secrets & Lies (Mixes) by U.H.O.

 

The One (Remixes)

The One (Remixes) by U.H.O.

 

Miami Flight

Miami Flight by UHO

Centred around the ‘Little Portugal’ area of Lambeth, UHO’s compositions reflect the street sounds of his locality and the escapism of his mentality. Arrangements, orchestration and melody rule the day – with each production unfolding mystery and depth on each play.

Previous press for UHO:

“I love the music comin’ outta the UHO” – Teddy D (Basement Boys)

“Deep production and strictly jazzy vibes with that all important latin twist” – Phil Cheeseman (Essence Records)

“Too, too deep” – DJ Alex from Tokyo

“A future classic from Recreation Records (UK), English eccentricity flavours the new world sunshine of ‘Miami Flight’. ‘Strange Lines’ on the flip picks up the laidback thread while adding some subtle d&b action.” – IDJ Magazine

“Live sounds come to the fore on this strong, slice of Latin-flavoured dance. Breakbeats and acoustic guitar give a haunting sun-kissed quality to the b-side, Strange Lines.” – Music Week

“Downbeat recommended: UHO’s Miami Flight a strange, soulfully chilled trip.” – XLR8R Magazine

“UHO make beautifully different music. Two tunes with a jazz edge that defy categorisation. It’s the atmosphere that gets you.” – www.tunes.co.uk

“Technojazzmusik for spy kids!” – www.musicmarkt.de

“This is simply intelligent, tuneful electronica.” – Technics Dance Update

 

Simple Things / Strange lines

Simple Things / Strange lines by U.H.O.

Centred around the ‘Little Portugal’ area of Lambeth, UHO’s compositions reflect the street sounds of his locality and the escapism of his mentality. Arrangements, orchestration and melody rule the day – with each production unfolding mystery and depth on each play.

Previous press for UHO:

“I love the music comin’ outta the UHO” – Teddy D (Basement Boys)

“Deep production and strictly jazzy vibes with that all important latin twist” – Phil Cheeseman (Essence Records)

“Too, too deep” – DJ Alex from Tokyo

“A future classic from Recreation Records (UK), English eccentricity flavours the new world sunshine of ‘Miami Flight’. ‘Strange Lines’ on the flip picks up the laidback thread while adding some subtle d&b action.” – IDJ Magazine

“Live sounds come to the fore on this strong, slice of Latin-flavoured dance. Breakbeats and acoustic guitar give a haunting sun-kissed quality to the b-side, Strange Lines.” – Music Week

“Downbeat recommended: UHO’s Miami Flight a strange, soulfully chilled trip.” – XLR8R Magazine

“UHO make beautifully different music. Two tunes with a jazz edge that defy categorisation. It’s the atmosphere that gets you.” – www.tunes.co.uk

“Technojazzmusik for spy kids!” – www.musicmarkt.de

“This is simply intelligent, tuneful electronica.” – Technics Dance Update

 

Betsey Bobbin (Slight Reprise)

Betsey Bobbin (Slight Reprise) by Emmie Ward

Soulful voiced Emmie Ward sings a collection of traditional songs from the British isles. Most are unaccompanied or have simple instrumentation of vocal harmony, flute and drum.

She has been singing for as long as she can remember and loves the powerful stories and emotional themes in traditional folk songs.

Regularly performing solo and with other musicians around London, Emmie won Islington Folk Club singer of the year 2016 as well as the South London Folk Festival solo song performance 2018.

Emmie has been performing songs from the ‘Folk Opera’  Captain Swing and The Blacksmith, based on the book by Beatrice Parvin, throughout the UK in 2018 and 2019. The shows garnering praise for the “musicality and lyricism of its language” as well as showcasing specially commissioned songs written by her late father, Fairport Conventions Dave ‘Swarb’ Swarbrick.

2020 sees the continuation of her work at Cecil Sharp House as ‘Folk Unlimited’. Leading creative, inclusive and multi-sensory band sessions for disabled young people alongside fellow folk artist Joe Danks.

Click here for gig dates and further news 

Produced by Simon Christophers
Mastered by Mark Beazley

 

2020 Vision: Maeg Music compilation

2020 Vision: Maeg Music compilation by Various

A review of Maeg releases from the last 3 years including brand new never released tracks by Emmie Ward, Riketté, Headstockz and U.H.O.

Full track listing:

1. Duggie Fields – Boom!
2. The Hellfire Club (UK) – I Am A Different Animal
3. Larry Mison Jnr – Healer
4. Riketté – I Lived And Then I Died
5. Guilo – Ancient Tracks
6. Emmie Ward – Betsey Bobbin (Slight Reprise)
7. Earthman – Simmer
8. U.H.O – Hard day
9. Gareth and the Southgates – I Am Gareth Southgate (Instrumental 2020)
10. Headstockz – Aria Pro II 335 (Cosmic edit)
11. Larry Mison Jnr – If Only
12. Team Lambeth – Leftie Raver
13. Earthman – Yeah!
14. Guilo feat. Neil Cole – Autonomous Sensory Meridian Response

2020 Vision: Maeg Music compilation

Released 27/12/2019

Available from:
Bandcamp
Amazon
Google Play

Listen on:
Spotify

See also:
Acoustic / Electric – Maeg Music, Volume One

 

'BOOM'

'BOOM' by Duggie Fields

This Halloween sees the release of BOOM a new single from influential Conceptual Pop artist Duggie Fields.  The track is the precursor to Duggie’s forthcoming long player, So Cool, a collation of his musical works from the last 20 yearsThe strident art-pop sound takes us on an aural journey riding a Tardis from the renaissance to the future.

The sound.  BOOM samples and remixes the Maximalist Manifesto the artist laid out in the early 90s. His painting, poetry/spoken word, film-work and music are populated by figures drawn together to form a pulp universe.  The characters in his work may appear familiar, but in name and symbolism they are complex and alien. While he may seem like an artist existing within his own universe, he is still very much an artist of London – as can be seen from his ‘just around the corner’ social media feed. 

First impressions.  Now in his seventh decade, Duggie Fields is still setting out his stall from the moment you first see him.  Peepers dressed in the most far-out of frames. Jeans with smiley-faced knee-caps. Oversized lapel badges on a vintage teddy-boyish drape, a polo neck and leather waistcoat… everything meshing and distinctively Duggie.

From art to music, a journey.  Musical connections and artistic leanings mix.  Studying architecture and art whilst also working at The Hampstead Record Centre selling vinyl to the influencers of early 60s London (DF would see them go on to become the Rolling Stones, Pink Floyd and T. Rex), led to a gradual percolation of musical ideas and thirst for seeking out the new sounds that continued through the eras – going to the second ever Sex Pistols performance being one moment that comes to his mind. As such Duggie’s music can seem to exist outside of time. The strong lines and bold graphic compositions of his artwork feel shockingly modern and this translates seamlessly to the art pop of BOOM.  After working with Howie B and Arthur Baker in the late 90s the artist began collaging his musical work with images and posted online video-film shorts to a virtual gallery. This led to a BFI retrospective in 2016 and he has been honing the perfect Duggie Fields experience ever since. Quizzed on how and why he creates, he answers: “I don’t have a clue what I am doing I just enjoy making things. That applies equally to my painting, music and film work.”

The backstory. Born the day the atom bomb was dropped on Hiroshima, Duggie grew up in the English countryside in the middle of an army base and began making early recordings by splicing together tape from reel-to-reel recorders. Later, when in London, with his friend Pink Floyd co-founder Syd Barrett, moving into a flat in Earls Court – the same flat that Duggie still resides in today. And that consistency has become king. The home and studio he’s lived in for more than 50 years is very much the epitome of an ART Tardis, being the backdrop for BOOM and all his output; re-created in great detail last year as The Modern Institute contribution to the Glasgow Biennale.

You may have seen Duggie Fields online or dressed to the nines strolling through town, or on the telly quizzed by Mariella Frostrop, or seen his work pop out at you whilst leafing through a vintage ZOOM magazine from the early 70s or Face Magazine from the early 80s for that matter.  Maybe snapped at a Pam Hogg fashion show or at Frieze this month?  Wherever he goes, he’s consistently creative, constantly there.  It’s a continual reduction that has made a potent sauce. 

BOOM is out 31st October 2019

'BOOM'

Released 31/10/2019

Available from:
Bandcamp
iTunes
Amazon
Google Play

Listen on:
Spotify

See also:
Read all about it

 

Upon The Ancient Tracks

Upon The Ancient Tracks by Guilo

Stridently pastoral music encompassing orchestrated chaos and fidgety folk

Simon Christophers’ Guilo project produces music of arcadian beauty and of circadian disquiet, a sound that is both joyous and disturbing, reverential and satanic.  Upon The Ancient Tracks, the third album from Guilo is the first one that feels as if one has been given an invite into a private world of secret thoughts and delicate delights that allows one to forget the plunge into dystopia instead floating through via an uneasy space between societal turmoil and internal monologue.

Ancient Tracks is the product of what Guilo has described as an extended period of pleasured anxiety, and it sounds like it, full of wraithlike frequencies and fibrillating pulses. That’s not a huge surprise: Guilos material has always sounded delightfully anxious… Incline Thine Ears (2011), Simon Christophers debut outing as Guilo, largely succeeded in channeling the decade’s post-millennium tension into compellingly moody abstractions, later that year flushed on creative freedoms Guitarra, compiled outakes and collaborations that contrasted ITE’s singularity  – mining similar viens but diging up some rarer ore with the help of cohorts (relationships that he has rekindled and added to augment this latest release).

Through that, Christophers,  long a fan of left-of-center music, pulls in sonic references, modal and harmonic from the vanguard, moving beyond contemporary fashion. Yet for all the music’s heavy structure, it isn’t obviously mapped to a rhythmic grid: It slips and slides all over the place, wheezy melodica feints… synths rise, timables lead.

Track after track, Guilo provoke the listener, stressing the importance of stripping back. It’s remarkable how much he can make out of so little: The best here get by on the strength of just one or two elements, a handful of electronic drum sounds—mostly just scraped white noise, plus the occasional booming kick drum—and his use of voice, processed and layered as often as is needed.  Every element practically dares you to so much as ask for any further accompaniment.

Upon The Ancient Tracks is a complex and involving instrumental journey through delicate and disturbed electronica and nu folk/nu classical. All things told, this is a gorgeous album from start to finish, without a weak track amongst its number. The overall effect makes Upon The Ancient Tracks feel like the world’s first baroque-Krautrock-folk-rock-Michael Nyman-album. But more than all that, it is genuinely very beautiful.

TRACK LISTING
01. Ancient Tracks (3:14)
02. Atmospheric Weather Conditions (5:49)
03. Autonomous Meridian Response System – feat Neil Cole (7:25)
04. Arcadian Rhythms (1:37)
05. Plough Your Own Furrow (3:18)
06. Homespun (8:00)
07. Homemade (5:13)
08. Gilt feat. Mark Beazley (4:43)

Total time – 42:00

MUSICIANS
Simon Christophers – Composer, Arranger, Conductor, Nylon-string Acoustic Guitar, Electric Guitars, Electric Bass, Acoustic Bass, Piano, Chamber Organ, Synths, Laptop Computer & Voice
Alice Westlake – Clarinet
John Eacott – Trumpet
Neil Cole – Voice and Percussion
Frank Biddulph – Violin
Mark Beazley – Bass & synth
Ella Harrington – Percussion
Rikette Nefertiti Genesis – Voice
Emmie Ward – Voice
Alex Maclean – Voice

 

Arcadian Rhythms

Arcadian Rhythms by Guilo

Simon Christophers’ Guilo project produces music of arcadian beauty and of circadian disquiet, a sound that is both joyous and disturbing, reverential and satanic.  Ancient Tracks, the first single from Guilo in 5 years is the first one that feels as if one has been given an invite into a private world of secret thoughts and delicate delights that allows one to forget the plunge into dystopia.

Ancient Tracks is the product of what Guilo has described as an extended period of pleasured anxiety, and it sounds like it, full of wraithlike frequencies and fibrillating pulses. That’s not a huge surprise: Guilos material has always sounded delightfully anxious… Incline Thine Ears (2011), Simon Christophers debut outing as Guilo, largely succeeded in channeling the decade’s post-millennium tension into compellingly moody abstractions. Later that year, flushed on creative freedoms Guitarra compiled outakes and collaborations that contrasted Incline Thine Ear’s singularity  – mining many a similar vien but digging up rarer ore with the help of cohorts (relationships that he has rekindled and added to, augment this latest release).

And through those associations, Christophers,  long a fan of left-of-center music, pulls in sonic references (modal and harmonic) from the vanguard, moving beyond contemporary fashion. Yet for all the music’s heavy structure, it isn’t obviously mapped to a rhythmic grid: It slips and slides all over the place, wheezy melodica feints… synths rise, timables lead.

Ancient Tracks is a complex and involving instrumental journey through delicate and disturbed electronica and nu folk/nu classical. But more than all that, it is genuinely very beautiful.

TRACK LISTING
01. Arcadian Rhythms (3:34)
02. Autonomous sensory meridian response (5:14)

 

Maeg Music Catalogue