Selasa, 28 Mei 2013
Barn Owl Edtion of Shapwick coming soon.
The Barn Owl Edition - the second edition - of Jon Brooks Shapwick vinyl LP is on its way and should be avaible to pre-order from next week. It is exactly the same as the first edition, except that it features a Barn Owl on the rear of the cover rather than a Long Eared Owl. It will be limited to around 400 copies. 
Selasa, 09 April 2013
Shapwick Owl Prints
Risograph prints based on the design of the owl on the back of Jon Brooks Shapwick LP are now available in the shop. These were printed at Dalstons Ditto Press and are limited to 50 copies, on A3 300mg Munchen off white paper, numbered and signed by Frances Castle.
Senin, 04 Maret 2013
Jon Brooks Shapwick. 12" Vinyl LP
SOLD OUT
There will be another edition of Shapwick, so if you missed out on this one please sign up to the mailing list or follow on twitter/facebook.
Jon Brooks Shapwick on 12" vinyl is now avaible in the SHOP. 500 hand numbered copies, each with a download code. Featuring new artwork by Frances Castle on beautiful reverse mat board. Previously released as a CD in a limited edition of 110 hand printed copies it sold out within a couple of hours, and Clay Pipe were inundated with requests for the album to be made available on vinyl.
'Share his mysterious vision via snatches of half-familiar incidental music, swathed in memorial reverb, and found sounds such as the echo-location clicks of bats, all recorded on deliciously deteriorating used cassette tapes;
- Stewart Lee. The Sunday Times.
I had been stuck in a five hour long traffic jam on a motorway in the autumn of 2011. At the end of the ordeal, we left the motorway and noticed the traffic was backing up onto local roads near Glastonbury; streams of cars, full of hot-headed motorists crawling along congested highways, the roads groaning under a volume for which they were not designed.
I searched the map for alternative routes. We had several hours of further driving ahead of us and it was already dark. One such route was through an area close to Shapwick, a small rural village. As we joined the approach to the village, we headed through several miles of unlit roads, with nothing but gnarled trees and woodland either side, the car headlights suggesting the twists and turns ahead.
I felt a certain energy around the place. The images created by the trees in the dark conjured inspiration and it struck me that an album could be based on an imaginary impression of this area. I had already recorded some pieces that were in search of a home and the idea formed within seconds.
The music I had been writing was recorded directly to a four-track cassette recorder. There were some piano recordings that I had made at my uncle and aunt's house in Devon (where I had stayed prior to the traffic jam), along with other acoustic and electronic pieces. With the Shapwick framework in mind, I recorded much more material. Using everything from a song harp in a garden, to a modular analogue synthesizer, I set about creating textures that would place my own notion of Shapwick on some kind of map; to create a geographic narrative.
I carried forward the notion of recording on four-track cassette - a very immediate recording medium, where there is little chance to manipulate the sound after the fact. This way of working shaped the project further and the medium suggested textures by itself - I had been using very old second-hand cassette stock that had been recorded on by others; subsequently, fragments of recordings already on the tapes showed up at various points and took on their own new lives in the tapestry.
The reality of Shapwick is probably quite different to the impression in my own mind, but nonetheless I think it's interesting to form an impression based on how a place could be, just by passing through it in the dark... and building from there.
There will be another edition of Shapwick, so if you missed out on this one please sign up to the mailing list or follow on twitter/facebook.
Jon Brooks Shapwick on 12" vinyl is now avaible in the SHOP. 500 hand numbered copies, each with a download code. Featuring new artwork by Frances Castle on beautiful reverse mat board. Previously released as a CD in a limited edition of 110 hand printed copies it sold out within a couple of hours, and Clay Pipe were inundated with requests for the album to be made available on vinyl.
£14.99 +P&P BUY
'Share his mysterious vision via snatches of half-familiar incidental music, swathed in memorial reverb, and found sounds such as the echo-location clicks of bats, all recorded on deliciously deteriorating used cassette tapes;
- Stewart Lee. The Sunday Times.
'And then Brooks brings out the real treasure: his most focused musical compositions yet; think his Advisory Circle LPs cleaned of public information films but beefed up with extra melody.'
-George Bass. Drowned in Sound.I had been stuck in a five hour long traffic jam on a motorway in the autumn of 2011. At the end of the ordeal, we left the motorway and noticed the traffic was backing up onto local roads near Glastonbury; streams of cars, full of hot-headed motorists crawling along congested highways, the roads groaning under a volume for which they were not designed.
I searched the map for alternative routes. We had several hours of further driving ahead of us and it was already dark. One such route was through an area close to Shapwick, a small rural village. As we joined the approach to the village, we headed through several miles of unlit roads, with nothing but gnarled trees and woodland either side, the car headlights suggesting the twists and turns ahead.
I felt a certain energy around the place. The images created by the trees in the dark conjured inspiration and it struck me that an album could be based on an imaginary impression of this area. I had already recorded some pieces that were in search of a home and the idea formed within seconds.
The music I had been writing was recorded directly to a four-track cassette recorder. There were some piano recordings that I had made at my uncle and aunt's house in Devon (where I had stayed prior to the traffic jam), along with other acoustic and electronic pieces. With the Shapwick framework in mind, I recorded much more material. Using everything from a song harp in a garden, to a modular analogue synthesizer, I set about creating textures that would place my own notion of Shapwick on some kind of map; to create a geographic narrative.
I carried forward the notion of recording on four-track cassette - a very immediate recording medium, where there is little chance to manipulate the sound after the fact. This way of working shaped the project further and the medium suggested textures by itself - I had been using very old second-hand cassette stock that had been recorded on by others; subsequently, fragments of recordings already on the tapes showed up at various points and took on their own new lives in the tapestry.
The reality of Shapwick is probably quite different to the impression in my own mind, but nonetheless I think it's interesting to form an impression based on how a place could be, just by passing through it in the dark... and building from there.
Kamis, 21 Februari 2013
Pre Order Jon Brooks 'Shapwick' Monday 4th March
Jon Brooks's Shapwick (12" vinyl with download code) will be available for pre-order on Monday 4th March. With the proper release date being Monday 25th March - because of manufacturing faults Shapwick has had to be re-pressed, hence the delay. If you would like to be reminded please sign up to the mailing list, or twitter /facebook.
To wet your appetite here is a great review of Shapwick from George Bass over at Drowned in Sound
Last year retro soundtrack wizard The Advisory Circle, aka Jon Brooks, took a breather from his native Ghost Box label to release Shapwick: a hand-printed CD of bewitching, original library music. The track titles and samples described a rural hideaway cut from similar cloth to his Advisory Circle output but much more melodic, and much harder to get hold of (the initial run of 110 printed by Clay Pipe was snapped up almost overnight). The imprint are now reissuing Shapwick on a larger order of vinyl - bad news for elitists, good news for anyone who wants to hear those replicated Cold War delights on authentic analogue technology.
Wherever the imaginary town of Shapwick, is you have to navigate a lot of ambience to find it - the elegant melodies Brooks has concocted are shrouded in fuzzy, unnerving mystique. ‘Stranded Work’ emits chirps recorded in an aviary, while ‘Location’ picks up the roar of a motorway and builds it to a screaming hiss. These are tasters, and later Brooks employs full field recordings that go to even quirkier places: ‘Bat Walk’ is a tape of a nature walk whose Karl Pilkington-like host blows raspberries, and ‘…little apple…' hides its analogue synths in a chopped-up answerphone message. Mix in drone horror, manipulated sine waves and twangs and you’ve got white noise so dark it’d confuse the hell out of anyone.
But beyond the strangeness lies an even more rewarding world, one of brief but brilliant lullabies. Unlike the spooky half, these are precisely the kind of tunes you want fizzing in your ears if you’re walking through dark countryside: ‘Winter’s Hamlet’ is a kids’ TV theme played on echoing, blurry piano, while ‘In The Slow Cold Air’ plays with Múm-like music boxes. These moments help take the edge off the creepy tracks, and light numbers like ‘Small Scales, Shrunken Spaces’ use chimes/Theremins/plucked springs to deliver expertly concocted shots of nostalgia. If you liked the music from The BFG animation you’re going to go crazy for this.
And then Brooks brings out the real treasure: his most focused musical compositions yet; think his Advisory Circle LPs cleaned of public information films but beefed up with extra melody. He delivers rich, tuneful vignettes: descending Eighties synths on ‘Please Drive Carefully’, ‘Quiet Movement for a Silent Night’ and its cracked Perfume Genius piano. It balances the shapeless ghosts of Shapwick with rhythmic electronica, and completes Brooks’ vision of a twinkling nightscape that honours the strangest parts of your dreams, including the feeling your teeth are disintegrating and the falling sensation/hypnic jerk.
To wet your appetite here is a great review of Shapwick from George Bass over at Drowned in Sound
*************************************
Last year retro soundtrack wizard The Advisory Circle, aka Jon Brooks, took a breather from his native Ghost Box label to release Shapwick: a hand-printed CD of bewitching, original library music. The track titles and samples described a rural hideaway cut from similar cloth to his Advisory Circle output but much more melodic, and much harder to get hold of (the initial run of 110 printed by Clay Pipe was snapped up almost overnight). The imprint are now reissuing Shapwick on a larger order of vinyl - bad news for elitists, good news for anyone who wants to hear those replicated Cold War delights on authentic analogue technology.
Wherever the imaginary town of Shapwick, is you have to navigate a lot of ambience to find it - the elegant melodies Brooks has concocted are shrouded in fuzzy, unnerving mystique. ‘Stranded Work’ emits chirps recorded in an aviary, while ‘Location’ picks up the roar of a motorway and builds it to a screaming hiss. These are tasters, and later Brooks employs full field recordings that go to even quirkier places: ‘Bat Walk’ is a tape of a nature walk whose Karl Pilkington-like host blows raspberries, and ‘…little apple…' hides its analogue synths in a chopped-up answerphone message. Mix in drone horror, manipulated sine waves and twangs and you’ve got white noise so dark it’d confuse the hell out of anyone.
But beyond the strangeness lies an even more rewarding world, one of brief but brilliant lullabies. Unlike the spooky half, these are precisely the kind of tunes you want fizzing in your ears if you’re walking through dark countryside: ‘Winter’s Hamlet’ is a kids’ TV theme played on echoing, blurry piano, while ‘In The Slow Cold Air’ plays with Múm-like music boxes. These moments help take the edge off the creepy tracks, and light numbers like ‘Small Scales, Shrunken Spaces’ use chimes/Theremins/plucked springs to deliver expertly concocted shots of nostalgia. If you liked the music from The BFG animation you’re going to go crazy for this.
And then Brooks brings out the real treasure: his most focused musical compositions yet; think his Advisory Circle LPs cleaned of public information films but beefed up with extra melody. He delivers rich, tuneful vignettes: descending Eighties synths on ‘Please Drive Carefully’, ‘Quiet Movement for a Silent Night’ and its cracked Perfume Genius piano. It balances the shapeless ghosts of Shapwick with rhythmic electronica, and completes Brooks’ vision of a twinkling nightscape that honours the strangest parts of your dreams, including the feeling your teeth are disintegrating and the falling sensation/hypnic jerk.
Selasa, 12 Februari 2013
Jon Brooks Shapwick Release Date Put Back.
There have been some problems with the pressing of Jon Brooks Shapwick, and it looks like we are not going to make the release date of the 25th Feb. As soon as I have a new release date I will let you know.
Kamis, 17 Januari 2013
Jon Brook's "Shapwick" Due 25th February.
I'm very happy to announce that Jon Brook's 'Shapwick' on 12" vinyl will be available from the 25th February 2013.
Previously released as a CD in a limited edition of 110 hand printed copies it sold out within a couple of hours, and Clay Pipe were inundated with requests for the album to be made available on vinyl. The vinyl release features new artwork by Frances Castle on beautiful reverse mat board, and is limited to 500 hand numbered copies, each with a download code.
It's funny how serendipity can shape the creative process. The most unlikely situations can provide a framework. Shapwick is just such a case in point.
I had been stuck in a five hour long traffic jam on a motorway in the autumn of 2011. At the end of the ordeal, we left the motorway and noticed the traffic was backing up onto local roads near Glastonbury; streams of cars, full of hot-headed motorists crawling along congested highways, the roads groaning under a volume for which they were not designed.
I searched the map for alternative routes. We had several hours of further driving ahead of us and it was already dark. One such route was through an area close to Shapwick, a small rural village. As we joined the approach to the village, we headed through several miles of unlit roads, with nothing but gnarled trees and woodland either side, the car headlights suggesting the twists and turns ahead.
I felt a certain energy around the place. The images created by the trees in the dark conjured inspiration and it struck me that an album could be based on an imaginary impression of this area. I had already recorded some pieces that were in search of a home and the idea formed within seconds.
The music I had been writing was recorded directly to a four-track cassette recorder. There were some piano recordings that I had made at my uncle and aunt's house in Devon (where I had stayed prior to the traffic jam), along with other acoustic and electronic pieces. With the Shapwick framework in mind, I recorded much more material. Using everything from a song harp in a garden, to a modular analogue synthesizer, I set about creating textures that would place my own notion of Shapwick on some kind of map; to create a geographic narrative.
I carried forward the notion of recording on four-track cassette - a very immediate recording medium, where there is little chance to manipulate the sound after the fact. This way of working shaped the project further and the medium suggested textures by itself - I had been using very old second-hand cassette stock that had been recorded on by others; subsequently, fragments of recordings already on the tapes showed up at various points and took on their own new lives in the tapestry.
The reality of Shapwick is probably quite different to the impression in my own mind, but nonetheless I think it's interesting to form an impression based on how a place could be, just by passing through it in the dark... and building from there.
- Jb
**************
It's funny how serendipity can shape the creative process. The most unlikely situations can provide a framework. Shapwick is just such a case in point.
I had been stuck in a five hour long traffic jam on a motorway in the autumn of 2011. At the end of the ordeal, we left the motorway and noticed the traffic was backing up onto local roads near Glastonbury; streams of cars, full of hot-headed motorists crawling along congested highways, the roads groaning under a volume for which they were not designed.
I searched the map for alternative routes. We had several hours of further driving ahead of us and it was already dark. One such route was through an area close to Shapwick, a small rural village. As we joined the approach to the village, we headed through several miles of unlit roads, with nothing but gnarled trees and woodland either side, the car headlights suggesting the twists and turns ahead.
I felt a certain energy around the place. The images created by the trees in the dark conjured inspiration and it struck me that an album could be based on an imaginary impression of this area. I had already recorded some pieces that were in search of a home and the idea formed within seconds.
The music I had been writing was recorded directly to a four-track cassette recorder. There were some piano recordings that I had made at my uncle and aunt's house in Devon (where I had stayed prior to the traffic jam), along with other acoustic and electronic pieces. With the Shapwick framework in mind, I recorded much more material. Using everything from a song harp in a garden, to a modular analogue synthesizer, I set about creating textures that would place my own notion of Shapwick on some kind of map; to create a geographic narrative.
I carried forward the notion of recording on four-track cassette - a very immediate recording medium, where there is little chance to manipulate the sound after the fact. This way of working shaped the project further and the medium suggested textures by itself - I had been using very old second-hand cassette stock that had been recorded on by others; subsequently, fragments of recordings already on the tapes showed up at various points and took on their own new lives in the tapestry.
The reality of Shapwick is probably quite different to the impression in my own mind, but nonetheless I think it's interesting to form an impression based on how a place could be, just by passing through it in the dark... and building from there.
- Jb
Kamis, 20 Desember 2012
Seasons Greetings
Thanks to everyone who has supported Clay Pipe Music this year, it has been hard work but exciting and now I'm looking forward to 2013 and the first vinyl releases on Clay Pipe.
Jon Brooks 'Shapwick' is being pressed as I write this, and if all goes to plan we are hoping for a late February release. There will be 500 hand numbered copies and each copy will come with a download code. I'll be posting updates in the New Year, so keep checking back to the website.
Later in the spring I will be releasing Plinths 'Smalls Lighthouse' on vinyl - this was initially released on Second Language in a edition of only 150 CDs, and is long due a re-release. It is a really beautiful piece of music that deserves to be heard by more people.
As usual I'll be throwing all my energies into making these interesting and well designed packages.
Plinth - Sirens (excerpt) from michael tanner on Vimeo.
Jon Brooks 'Shapwick' is being pressed as I write this, and if all goes to plan we are hoping for a late February release. There will be 500 hand numbered copies and each copy will come with a download code. I'll be posting updates in the New Year, so keep checking back to the website.
Later in the spring I will be releasing Plinths 'Smalls Lighthouse' on vinyl - this was initially released on Second Language in a edition of only 150 CDs, and is long due a re-release. It is a really beautiful piece of music that deserves to be heard by more people.
As usual I'll be throwing all my energies into making these interesting and well designed packages.
Plinth - Sirens (excerpt) from michael tanner on Vimeo.
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