back in stock as of
april 17th, 2013
first in stock on
may 4th, 2011
|editions mego (austria) #emego 111 cd|
mark fell “ul8” compact disc
- the occultation of 3c 273 [i] (5:37)
- the occultation of 3c 273 [ii] (7:26)
- the occultation of 3c 273 [iii] (3:05)
- the occultation of 3c 273 [iv] (1:51)
- the occultation of 3c 273 [v] (3:11)
- vortex studies [i] (8:00)
- vortex studies [ii] (2:39)
- vortex studies [iii] (3:42)
- vortex studies [iv] (1:22)
- vortex studies [v] (2:53)
- vortex studies [vi] (0:33)
- vortex studies [vii] (3:39)
- acids in the style of rian treanor [i] (1:06)
- acids in the style of rian treanor [ii] (2:06)
- acids in the style of rian treanor [iii] (2:44)
- acids in the style of rian treanor [iv] (2:30)
- acids in the style of rian treanor [v] (2:02)
- acids in the style of rian treanor [vii] (1:56)
- acids in the style of rian treanor [viii] (5:06)
- death of a loved one (3:34)
|november 2010 release ; four suites of discrete electronic pieces, each aiming to “replicate the simple monosynth and drum machine equation” ... love how this (along with the 4 or 5 other discs that have seemingly been released all at once) music hints at new-wave / minimal-synth / proto-techno energies, yet stays as alien & rhythmically unresolved as hecker & farmers manual’s best output ...|
|editions mego press release...|
emego 111 / mark fell
written and recorded in whitby, york and rotherham (uk) during summer 2010 by mark fell.
mastered at dubplates and mastering berlin in 2010 by lupo.
packaged in 4 panel digipack with silver foil print
|middle sized member of the ul range, the ul8, a three unit system, embodies the good looks and high performance associated with celestion designed products. utilising the hd1000 pressured dome tweeter and an 8 inch mid/bass driver, which together a similar sized a.b.r. combine to give an overall frequency response of 30 hz to 28 khz. the mid / bass drivers large magnet system perfectly controls the excursions of the specially processed bextrene cone assembly with its 1.5 inch voice coil. designed to a precise specification, the ul8 achieves highly realistic ‘music’ reproduction.|
this project takes its name from the celestion ul8 speaker. my older brother bought a pair of these when i was starting comprehensive school, and between his 10cc and supertramp records i first encountered electronically synthesized sound at high volumes. i soon noticed a pattern emerging in my musical tastes which excluded guitars or drums. instead i favoured almost exclusively the electronic textures and rhythms of the human league, fad gadget and other synthesiser based music of that period. i was quite curious about this prejudice and would try to work out why kraftwerk sounded so much better than a rock band of the time.
so began my interest in the texture of synthetic sound - there was something much more beautiful (and perhaps more emotionally charged) about a sustained square wave than any guitar solo. i began search out and replay sections of music which dropped to a single sound - these, for some reason, were the best. this interest increased when, a few months later, my parent's next door neighbour (a technician in the electronics department at sheffield university) let me borrow his analogue synthesiser on semi-permanent loan. and, following that, i managed to convince my dad to buy me a cheap second hand boss dr55 drum machine.
many years later mat steel and i used the ul8 speakers, now relegated to an attic in a rented house, to work on early abandoned 12" projects (circa 1993). finally my brother gave in to demand and let me have the speakers which now sit in my front room. although these are of little use in a studio context, they still provide an adequate and often rewarding listening experience. the tracks here replicate the simple monosynth and drum machine equation; and have, to a large extent, been made with and for the ul8.