Kevin McCormick & David Horridge
Light Patterns
Kevin McCormick & David Horridge
Light Patterns
Boomkat Product Review:
Aiming for the hearts of Woo and The Durutti Column disciples, Smiling C pluck out an early ‘80s ambient jazz gem from the archive of Manchester’s Kevin McCormick & David Horridge.
Nigh on impossible to find 2nd hand, 1982’s ‘Light Patterns’ remains the sole full length recording by McCormick & Horridge, a duo who met whilst working at the Labour exchange office on Aytoun St in 1970 and would go on to play various Manchester clubs and nightspots during that decade. Bonding over a mutual love of the ‘60s/‘70s’ more worldly, languid styles from John Martyn to Alice Coltrane and Terry Riley, and even the airy classical parlour music of Satie from long before, their bedroom recordings elided acoustic guitars and webs of FX in a modest but properly immersive style that ran counter to the city’s prevailing hard rock and emergent punk sounds; effectively paralleling aspects of a style that Vini Reilly was fostering over in Didsbury, and, with the benefit of hindsight, would predate similarly beautiful efforts from KS Eden (check Stroom’s ‘Passed Beyond’ comp!) by a few years, and even the recent debut from Celestial by some 40 decades.
Strung out with a Manc melancholy surely detectable by anyone who’s revelled in the city’s drizzle, McCormick & Horridge’s quietly lyrical craft quintessentially speaks to a quieter flipside of Manchester’s party life. Their music offers a blissed and lissom soundtrack to hash toking loners and trench-coated plodders encouraging users to slip into oneiric states of mind between the spare touch of ‘Glass Dreams’ and the cosmic contrails of ‘Special Places’, evoking widescreen cinematic panoramas in the sublime scape of ‘Last Chances’ and crucially never slipping into anything miserable, alway keeping it the right side of gloomy with the optimistic pucker of pieces such as ‘Sandpatterns’ and the skin-stroke delicacy of ‘Quickdance.’
Use your ears; it’s a real no brainer.
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Boomkat Product Review:
Aiming for the hearts of Woo and The Durutti Column disciples, Smiling C pluck out an early ‘80s ambient jazz gem from the archive of Manchester’s Kevin McCormick & David Horridge.
Nigh on impossible to find 2nd hand, 1982’s ‘Light Patterns’ remains the sole full length recording by McCormick & Horridge, a duo who met whilst working at the Labour exchange office on Aytoun St in 1970 and would go on to play various Manchester clubs and nightspots during that decade. Bonding over a mutual love of the ‘60s/‘70s’ more worldly, languid styles from John Martyn to Alice Coltrane and Terry Riley, and even the airy classical parlour music of Satie from long before, their bedroom recordings elided acoustic guitars and webs of FX in a modest but properly immersive style that ran counter to the city’s prevailing hard rock and emergent punk sounds; effectively paralleling aspects of a style that Vini Reilly was fostering over in Didsbury, and, with the benefit of hindsight, would predate similarly beautiful efforts from KS Eden (check Stroom’s ‘Passed Beyond’ comp!) by a few years, and even the recent debut from Celestial by some 40 decades.
Strung out with a Manc melancholy surely detectable by anyone who’s revelled in the city’s drizzle, McCormick & Horridge’s quietly lyrical craft quintessentially speaks to a quieter flipside of Manchester’s party life. Their music offers a blissed and lissom soundtrack to hash toking loners and trench-coated plodders encouraging users to slip into oneiric states of mind between the spare touch of ‘Glass Dreams’ and the cosmic contrails of ‘Special Places’, evoking widescreen cinematic panoramas in the sublime scape of ‘Last Chances’ and crucially never slipping into anything miserable, alway keeping it the right side of gloomy with the optimistic pucker of pieces such as ‘Sandpatterns’ and the skin-stroke delicacy of ‘Quickdance.’
Use your ears; it’s a real no brainer.
Boomkat Product Review:
Aiming for the hearts of Woo and The Durutti Column disciples, Smiling C pluck out an early ‘80s ambient jazz gem from the archive of Manchester’s Kevin McCormick & David Horridge.
Nigh on impossible to find 2nd hand, 1982’s ‘Light Patterns’ remains the sole full length recording by McCormick & Horridge, a duo who met whilst working at the Labour exchange office on Aytoun St in 1970 and would go on to play various Manchester clubs and nightspots during that decade. Bonding over a mutual love of the ‘60s/‘70s’ more worldly, languid styles from John Martyn to Alice Coltrane and Terry Riley, and even the airy classical parlour music of Satie from long before, their bedroom recordings elided acoustic guitars and webs of FX in a modest but properly immersive style that ran counter to the city’s prevailing hard rock and emergent punk sounds; effectively paralleling aspects of a style that Vini Reilly was fostering over in Didsbury, and, with the benefit of hindsight, would predate similarly beautiful efforts from KS Eden (check Stroom’s ‘Passed Beyond’ comp!) by a few years, and even the recent debut from Celestial by some 40 decades.
Strung out with a Manc melancholy surely detectable by anyone who’s revelled in the city’s drizzle, McCormick & Horridge’s quietly lyrical craft quintessentially speaks to a quieter flipside of Manchester’s party life. Their music offers a blissed and lissom soundtrack to hash toking loners and trench-coated plodders encouraging users to slip into oneiric states of mind between the spare touch of ‘Glass Dreams’ and the cosmic contrails of ‘Special Places’, evoking widescreen cinematic panoramas in the sublime scape of ‘Last Chances’ and crucially never slipping into anything miserable, alway keeping it the right side of gloomy with the optimistic pucker of pieces such as ‘Sandpatterns’ and the skin-stroke delicacy of ‘Quickdance.’
Use your ears; it’s a real no brainer.
Boomkat Product Review:
Aiming for the hearts of Woo and The Durutti Column disciples, Smiling C pluck out an early ‘80s ambient jazz gem from the archive of Manchester’s Kevin McCormick & David Horridge.
Nigh on impossible to find 2nd hand, 1982’s ‘Light Patterns’ remains the sole full length recording by McCormick & Horridge, a duo who met whilst working at the Labour exchange office on Aytoun St in 1970 and would go on to play various Manchester clubs and nightspots during that decade. Bonding over a mutual love of the ‘60s/‘70s’ more worldly, languid styles from John Martyn to Alice Coltrane and Terry Riley, and even the airy classical parlour music of Satie from long before, their bedroom recordings elided acoustic guitars and webs of FX in a modest but properly immersive style that ran counter to the city’s prevailing hard rock and emergent punk sounds; effectively paralleling aspects of a style that Vini Reilly was fostering over in Didsbury, and, with the benefit of hindsight, would predate similarly beautiful efforts from KS Eden (check Stroom’s ‘Passed Beyond’ comp!) by a few years, and even the recent debut from Celestial by some 40 decades.
Strung out with a Manc melancholy surely detectable by anyone who’s revelled in the city’s drizzle, McCormick & Horridge’s quietly lyrical craft quintessentially speaks to a quieter flipside of Manchester’s party life. Their music offers a blissed and lissom soundtrack to hash toking loners and trench-coated plodders encouraging users to slip into oneiric states of mind between the spare touch of ‘Glass Dreams’ and the cosmic contrails of ‘Special Places’, evoking widescreen cinematic panoramas in the sublime scape of ‘Last Chances’ and crucially never slipping into anything miserable, alway keeping it the right side of gloomy with the optimistic pucker of pieces such as ‘Sandpatterns’ and the skin-stroke delicacy of ‘Quickdance.’
Use your ears; it’s a real no brainer.
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Boomkat Product Review:
Aiming for the hearts of Woo and The Durutti Column disciples, Smiling C pluck out an early ‘80s ambient jazz gem from the archive of Manchester’s Kevin McCormick & David Horridge.
Nigh on impossible to find 2nd hand, 1982’s ‘Light Patterns’ remains the sole full length recording by McCormick & Horridge, a duo who met whilst working at the Labour exchange office on Aytoun St in 1970 and would go on to play various Manchester clubs and nightspots during that decade. Bonding over a mutual love of the ‘60s/‘70s’ more worldly, languid styles from John Martyn to Alice Coltrane and Terry Riley, and even the airy classical parlour music of Satie from long before, their bedroom recordings elided acoustic guitars and webs of FX in a modest but properly immersive style that ran counter to the city’s prevailing hard rock and emergent punk sounds; effectively paralleling aspects of a style that Vini Reilly was fostering over in Didsbury, and, with the benefit of hindsight, would predate similarly beautiful efforts from KS Eden (check Stroom’s ‘Passed Beyond’ comp!) by a few years, and even the recent debut from Celestial by some 40 decades.
Strung out with a Manc melancholy surely detectable by anyone who’s revelled in the city’s drizzle, McCormick & Horridge’s quietly lyrical craft quintessentially speaks to a quieter flipside of Manchester’s party life. Their music offers a blissed and lissom soundtrack to hash toking loners and trench-coated plodders encouraging users to slip into oneiric states of mind between the spare touch of ‘Glass Dreams’ and the cosmic contrails of ‘Special Places’, evoking widescreen cinematic panoramas in the sublime scape of ‘Last Chances’ and crucially never slipping into anything miserable, alway keeping it the right side of gloomy with the optimistic pucker of pieces such as ‘Sandpatterns’ and the skin-stroke delicacy of ‘Quickdance.’
Use your ears; it’s a real no brainer.
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