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Originally conceived as a compilation of outtakes and live recordings from The Shadow Ring's 1995 stateside tour, Wax-Work Echoes takes it's name from the first line of InchPut the Music in It's Coffin,Inch the title track of the group's breakthrough . Lambkin abandons the bits-and-bobs approach, advancing the Shadow Ring concept with entirely original material that builds on the unit's self-mythologizing lyrics, celebrates the clicking of horse hooves, ponders on the sociability of rats and mice, and warns of the dangers of poultry. The first Shadow Ring album to officially include Tim Goss in the main lineup, Wax-Work Echoes reveals the group in it's final and lasting form, awash in the outer bounds of atmospheric exploration, with Lambkin's familiar wry and morbid lyricism and the stripped-down angularity of amateurishly detuned guitars fully intact. While Klaus Canterbury and Tony Clark seem all but forgotten, and the shrugged off S. Fritz is listed on the liner notes as performing only Inchwhen required,Inch Lambkin did solicit contributions from outside the inner circle. A bit of InchMambo Twist,Inch lifted from a tape of unreleased Vitamin B12 material sent to Lambkin by Alasdair Willis, found it's way into InchV.E.R.M.I.N.,Inch while an extended epistle contribution from Richard Youngs (and, technically, Brian Lavelle) would be employed in the second half of InchCatching Sight/Of Passing Things.Inch Released on CD in 1996 for Bruce Russell's newly minted Corpus Hermeticum, Wax-Work Echoes was recorded concurrently with intense rehearsal periods, in anticipation of the forthcoming InchRose Watson Tour,Inch and was supported by a celebratory fanzine media blitz. The album seemingly absorbs the frenetic excess of the band's transatlantic travels; Wax-Work Echoes channels the trio's wilder instincts into an unresolved catharsis, not yet free of frustration or res
