HEXA, Lawrence English & Jamie Stewart
Factory Photographs
HEXA, Lawrence English & Jamie Stewart
Factory Photographs
Boomkat Product Review:
This is very tasty indeed: Lawrence English and Xiu Xiu's Jamie Stewart’s Hexa duo present their soundtrack to an exhibition of David Lynch’s factory photography, Between Two Worlds, which was displayed at Brisbane’s Gallery of Modern Art in 2015 and is now presented as a fully realised release.
We can hardly imagine a more evocative subject to work with, and Hexa pick up the task with aplomb, spilling ten tracks of imposing scale and cavernous structure that heavily resonate with the monotone brutalism of Alan R. Splet and David Lynch’s own, seminal soundtrack to Eraserhead. They describe it as “a work that maps the terrain of Lynch’s photographs, and more broadly, the idea of industrial music in a post-industrial age”, and at the hand of English and Stewart the results are both beautiful and terrifying.
Like Lynch, we’re also rather partial to a good factory building or warehouse, and can definitely relate to his comments on the subject: “I grew up in the north-west of America where there are no factories at all, just woods and farms. But my mother was from Brooklyn, so when I was little we used to go there and I got a taste for a certain kind of architecture and a feeling for machines and smoke and fear. To me, the ideal factory location has no real nature, except winter-dead black trees and oil-soaked earth. Time disappears when I'm shooting in a factory, it's really beautiful.”
HEXA really nail the brief, distilling trace elements of all the unheimlich styles that Lynch’s art has inspired over the generations, from industrial noise and drone in the toiling Sledge to doom metal in There Never Was and dominating electronic atmospheres in A Breath.
Huge recommendation if you're into anything from Lynch, Sunn O))), NiN, Thomas Köner etc.
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Boomkat Product Review:
This is very tasty indeed: Lawrence English and Xiu Xiu's Jamie Stewart’s Hexa duo present their soundtrack to an exhibition of David Lynch’s factory photography, Between Two Worlds, which was displayed at Brisbane’s Gallery of Modern Art in 2015 and is now presented as a fully realised release.
We can hardly imagine a more evocative subject to work with, and Hexa pick up the task with aplomb, spilling ten tracks of imposing scale and cavernous structure that heavily resonate with the monotone brutalism of Alan R. Splet and David Lynch’s own, seminal soundtrack to Eraserhead. They describe it as “a work that maps the terrain of Lynch’s photographs, and more broadly, the idea of industrial music in a post-industrial age”, and at the hand of English and Stewart the results are both beautiful and terrifying.
Like Lynch, we’re also rather partial to a good factory building or warehouse, and can definitely relate to his comments on the subject: “I grew up in the north-west of America where there are no factories at all, just woods and farms. But my mother was from Brooklyn, so when I was little we used to go there and I got a taste for a certain kind of architecture and a feeling for machines and smoke and fear. To me, the ideal factory location has no real nature, except winter-dead black trees and oil-soaked earth. Time disappears when I'm shooting in a factory, it's really beautiful.”
HEXA really nail the brief, distilling trace elements of all the unheimlich styles that Lynch’s art has inspired over the generations, from industrial noise and drone in the toiling Sledge to doom metal in There Never Was and dominating electronic atmospheres in A Breath.
Huge recommendation if you're into anything from Lynch, Sunn O))), NiN, Thomas Köner etc.
Boomkat Product Review:
This is very tasty indeed: Lawrence English and Xiu Xiu's Jamie Stewart’s Hexa duo present their soundtrack to an exhibition of David Lynch’s factory photography, Between Two Worlds, which was displayed at Brisbane’s Gallery of Modern Art in 2015 and is now presented as a fully realised release.
We can hardly imagine a more evocative subject to work with, and Hexa pick up the task with aplomb, spilling ten tracks of imposing scale and cavernous structure that heavily resonate with the monotone brutalism of Alan R. Splet and David Lynch’s own, seminal soundtrack to Eraserhead. They describe it as “a work that maps the terrain of Lynch’s photographs, and more broadly, the idea of industrial music in a post-industrial age”, and at the hand of English and Stewart the results are both beautiful and terrifying.
Like Lynch, we’re also rather partial to a good factory building or warehouse, and can definitely relate to his comments on the subject: “I grew up in the north-west of America where there are no factories at all, just woods and farms. But my mother was from Brooklyn, so when I was little we used to go there and I got a taste for a certain kind of architecture and a feeling for machines and smoke and fear. To me, the ideal factory location has no real nature, except winter-dead black trees and oil-soaked earth. Time disappears when I'm shooting in a factory, it's really beautiful.”
HEXA really nail the brief, distilling trace elements of all the unheimlich styles that Lynch’s art has inspired over the generations, from industrial noise and drone in the toiling Sledge to doom metal in There Never Was and dominating electronic atmospheres in A Breath.
Huge recommendation if you're into anything from Lynch, Sunn O))), NiN, Thomas Köner etc.
Boomkat Product Review:
This is very tasty indeed: Lawrence English and Xiu Xiu's Jamie Stewart’s Hexa duo present their soundtrack to an exhibition of David Lynch’s factory photography, Between Two Worlds, which was displayed at Brisbane’s Gallery of Modern Art in 2015 and is now presented as a fully realised release.
We can hardly imagine a more evocative subject to work with, and Hexa pick up the task with aplomb, spilling ten tracks of imposing scale and cavernous structure that heavily resonate with the monotone brutalism of Alan R. Splet and David Lynch’s own, seminal soundtrack to Eraserhead. They describe it as “a work that maps the terrain of Lynch’s photographs, and more broadly, the idea of industrial music in a post-industrial age”, and at the hand of English and Stewart the results are both beautiful and terrifying.
Like Lynch, we’re also rather partial to a good factory building or warehouse, and can definitely relate to his comments on the subject: “I grew up in the north-west of America where there are no factories at all, just woods and farms. But my mother was from Brooklyn, so when I was little we used to go there and I got a taste for a certain kind of architecture and a feeling for machines and smoke and fear. To me, the ideal factory location has no real nature, except winter-dead black trees and oil-soaked earth. Time disappears when I'm shooting in a factory, it's really beautiful.”
HEXA really nail the brief, distilling trace elements of all the unheimlich styles that Lynch’s art has inspired over the generations, from industrial noise and drone in the toiling Sledge to doom metal in There Never Was and dominating electronic atmospheres in A Breath.
Huge recommendation if you're into anything from Lynch, Sunn O))), NiN, Thomas Köner etc.
Back in stock.
Out of Stock
Boomkat Product Review:
This is very tasty indeed: Lawrence English and Xiu Xiu's Jamie Stewart’s Hexa duo present their soundtrack to an exhibition of David Lynch’s factory photography, Between Two Worlds, which was displayed at Brisbane’s Gallery of Modern Art in 2015 and is now presented as a fully realised release.
We can hardly imagine a more evocative subject to work with, and Hexa pick up the task with aplomb, spilling ten tracks of imposing scale and cavernous structure that heavily resonate with the monotone brutalism of Alan R. Splet and David Lynch’s own, seminal soundtrack to Eraserhead. They describe it as “a work that maps the terrain of Lynch’s photographs, and more broadly, the idea of industrial music in a post-industrial age”, and at the hand of English and Stewart the results are both beautiful and terrifying.
Like Lynch, we’re also rather partial to a good factory building or warehouse, and can definitely relate to his comments on the subject: “I grew up in the north-west of America where there are no factories at all, just woods and farms. But my mother was from Brooklyn, so when I was little we used to go there and I got a taste for a certain kind of architecture and a feeling for machines and smoke and fear. To me, the ideal factory location has no real nature, except winter-dead black trees and oil-soaked earth. Time disappears when I'm shooting in a factory, it's really beautiful.”
HEXA really nail the brief, distilling trace elements of all the unheimlich styles that Lynch’s art has inspired over the generations, from industrial noise and drone in the toiling Sledge to doom metal in There Never Was and dominating electronic atmospheres in A Breath.
Huge recommendation if you're into anything from Lynch, Sunn O))), NiN, Thomas Köner etc.
Limited smokey/coloured vinyl edition.
Out of Stock
Boomkat Product Review:
This is very tasty indeed: Lawrence English and Xiu Xiu's Jamie Stewart’s Hexa duo present their soundtrack to an exhibition of David Lynch’s factory photography, Between Two Worlds, which was displayed at Brisbane’s Gallery of Modern Art in 2015 and is now presented as a fully realised release.
We can hardly imagine a more evocative subject to work with, and Hexa pick up the task with aplomb, spilling ten tracks of imposing scale and cavernous structure that heavily resonate with the monotone brutalism of Alan R. Splet and David Lynch’s own, seminal soundtrack to Eraserhead. They describe it as “a work that maps the terrain of Lynch’s photographs, and more broadly, the idea of industrial music in a post-industrial age”, and at the hand of English and Stewart the results are both beautiful and terrifying.
Like Lynch, we’re also rather partial to a good factory building or warehouse, and can definitely relate to his comments on the subject: “I grew up in the north-west of America where there are no factories at all, just woods and farms. But my mother was from Brooklyn, so when I was little we used to go there and I got a taste for a certain kind of architecture and a feeling for machines and smoke and fear. To me, the ideal factory location has no real nature, except winter-dead black trees and oil-soaked earth. Time disappears when I'm shooting in a factory, it's really beautiful.”
HEXA really nail the brief, distilling trace elements of all the unheimlich styles that Lynch’s art has inspired over the generations, from industrial noise and drone in the toiling Sledge to doom metal in There Never Was and dominating electronic atmospheres in A Breath.
Huge recommendation if you're into anything from Lynch, Sunn O))), NiN, Thomas Köner etc.
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