The Shadow Ring - Wax-Work Echoes - VINYL LP
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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
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- GenreRockDescriptionOriginally 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 resArtistThe Shadow RingTitleWax-Work EchoesFormatVINYLLabelBlank Forms
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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
Recorded from late 1996 through early 1997, Hold Onto I.D., The Shadow Ring's fourth album, marks the apogee of the trio's experimental rock epoch-their last record clinging to their factitious bandness before they let all song and structure go awash in sonic malaise for their final run of releases on Swill Radio. The surrealist dreams of City Lights and Put the Music in It's Coffin give way to pseudo-expressionistic lyrics mired in the banality and bleakness of the everyday, set against the backdrop of the Coombe House (as pictured on the album's cover). While Hold Onto I.D. is the group's most overtly autobiographical to date, Lambkin's lyrics obfuscate his expressionist tendencies filtering them through the codes and languages of officialdom, linking the Inchinner selfInch with documents of the state-identification cards, National Insurance numbers, and British passport numbers. Having moved out of their parents' homes and into the top floor of the famed Coombe House, Graham Lambkin and Darren Harris set out to rework material drafted over the previous year, aided by Tim Goss, still safely in residence at the InchValebrook Inn.Inch While the familiar sounds of Harris's deadpan recitation and Lambkin's electric guitar, amateurishly strummed, dominate the album, the emotive interludes of Goss's keyboards populate the record along with of home-cooked tape experiments and dime-store concrète. Originally released on CD and supported by a US tour with friends Scott Foust and Karla Borecky's Idea Fire Company, Hold Onto I.D. is perhaps the band's best-known and most accessible album. (The Shadow Ring's sole representative on a streaming , it was once acknowledged by the Guardian as one of Inchthe 101 strangest records on Spotify.Inch) Offered here for the first time on vinyl, Hold Onto I.D. is an essential album for both completists and the uninitiated alike. Throughou
Recorded in summer of 1994 at S.H.P studios (frontman Graham Lambkin's parents' home), the group's sophomore record Put the Music in It's Coffin is a more sinister, saturnine affair than their debut City Lights. From the get-go, the record has a menacing, vile ambience. It's opening track InchHorse-Meat Cakes,Inch inspired by an anecdote by pulp author Philip K. Dick about how he and his wife subsisted off low-grade pet food when he first arrived in San Francisco, sets the tone lyrically and sonically. Subsequent tracks are filled with Rabelaisian body horror and sinewy, haptic diction. InchI try to pass out vital organs, convinced that they are waste,Inch intones Lambkin in InchHeart, Liver & Lungs,Inch before a chorus of detuned guitars kicks in, nearly drowning out the speaker's account of consuming chevaline intestines. Later songs similarly detail vernacular cooking (InchCaribbean Porridge,Inch about a cornmeal hangover cure), bodily processes (InchNocturnal Middle Rumbles,Inch about nighttime defecation), and creaturely conflict (InchCrystal TearsInch and InchSpin The Animal DialInch). Album Tracks 1. Horse-Meat Cakes 2. Heart, Liver & Lungs 3. Put the Music in It's Coffin 4. Remembering Old Friends 5. Mustard Hooves 6. Nocturnal Middle Rumbles 7. Caribbean Porridge 8. Crystal Tears 9. Spin the Animal Dial 10. Moonlight in Wings
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Elisabeth Leonskaja is one of the most celebrated pianists of our time, remaining true to herself and to her music, and in doing so, is following in the footsteps of the great Russian musicians of the Soviet era, such as Sviatoslav Richter and Emil Gilels.InchA kaleidoscopic Mozart with a lifetime's wisdom and experience behind itInch according to The Arts Desk after a Wigmore Hall concert Album Tracks 1. Piano Sonata No. 1 in C Major, K. 279 I. Allegro 2. Piano Sonata No. 1 in C Major, K. 279 II. Andante 3. Piano Sonata No. 1 in C Major, K. 279 III. Allegro 4. Piano Sonata No. 2 in F Major, K. 280 I. Allegro Assai 5. Piano Sonata No. 2 in F Major, K. 280 II. Adagio 6. Piano Sonata No. 2 in F Major, K. 280 III. Presto 7. Piano Sonata No. 3 in B-Flat Major, K. 281 I. Allegro 8. Piano Sonata No. 3 in B-Flat Major, K. 281 II. Andante Amoroso 9. Piano Sonata No. 3 in B-Flat Major, K. 281 III. Rondeau. Allegro 1. Piano Sonata No. 4 in E-Flat Major, K. 282 I. Adagio 2. Piano Sonata No. 4 in E-Flat Major, K. 282 II. Menuetto I - Menuetto II 3. Piano Sonata No. 4 in E-Flat Major, K. 282 III. Allegro 4. Piano Sonata No. 5 in G Major, K. 283 I. Allegro 5. Piano Sonata No. 5 in G Major, K. 283 II. Andante 6. Piano Sonata No. 5 in G Major, K. 283 III. Presto 7. Piano Sonata No. 6 in D Major, K. 284 I. Allegro 8. Piano Sonata No. 6 in D Major, K. 284 II. Rondeau en Polonaise. Andante 9. Piano Sonata No. 6 in D Major, K. 284 III. Tema Con Variazione 1. Piano Sonata No. 7 in C Major, K. 309 I. Allegro Con Spirito 2. Piano Sonata No. 7 in C Major, K. 309 II. Andante Un Poco Adagio 3. Piano Sonata No. 7 in C Major, K. 309 III. Rondeau. Allegretto Grazioso 4. Piano Sonata No. 9 in D Major, K. 311 I. Allegro Con Spirito 5. Piano Sonata No. 9 in D Major, K. 311 II. Andante Con Espressione 6. Piano Sonata No. 9 in
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