Mark Harwood
Offering
Boomkat Product Review:
Liminal collage from the Penultimate Press purveyor, lightening up since the anxious introspection of his ace 2020 album, for a more poetic, collected, but still off-the-cuff excursion comparable with his peer Graham Lambkin.
‘Offering’ is strange but familiar company for those without. In its ten parts Harwood returns less fraught than on his excellent 2020 side ‘A Perfect Punctual Paradise Under My Own Name’, but still possessed by some lokey domestic spirits, sounding like he’s conducting paranormal summoning rites or simply making us privy to his everyday rustles as he appears like a poltergeist in his own gaff. Steering well to the right side of hokey, though, Harwood drifts piece-to-piece with an ideal mix of absent-minded and intuitive strategies, and of a quietly engaging quality shared by his Penultimate Press roster, most recently in the exquisite magick of Korea Undok Group and solo work by The Shadow Ring’s Tim Goss.
Gently glitching into earshot with enigmatic gasps of ghostly 78 voices a la Akira Rabelais, and smudging into pre lingual glossolalia on ‘Estrella Fortuna’, he keeps it all pensively open-ended between the trembling ghost notes of ‘Junifare’ and the ringing title tune, with ‘Song of Salvation’ manifesting his most strung-out sort of psychic expression across eight minuets of fondled acoustic guitar, organ wooze and record orTV noise drifting in from another room. His avant-blues tekkers gingerly come into play on ‘After Essa’ and perfuse the rest of the set between sawn-off departure into ‘Amazonian Prayer’ and the grizzled possession of ‘Hosa’, with a tensely noirish bewts ‘Violence (Screaming)’ and ‘Finally (If Only)’ leaving the record’s probing psychic tension perfectly unresolved, perhaps even hinting at the atmosphere of Mihály Víg’s Bela Tarr scores.
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Boomkat Product Review:
Liminal collage from the Penultimate Press purveyor, lightening up since the anxious introspection of his ace 2020 album, for a more poetic, collected, but still off-the-cuff excursion comparable with his peer Graham Lambkin.
‘Offering’ is strange but familiar company for those without. In its ten parts Harwood returns less fraught than on his excellent 2020 side ‘A Perfect Punctual Paradise Under My Own Name’, but still possessed by some lokey domestic spirits, sounding like he’s conducting paranormal summoning rites or simply making us privy to his everyday rustles as he appears like a poltergeist in his own gaff. Steering well to the right side of hokey, though, Harwood drifts piece-to-piece with an ideal mix of absent-minded and intuitive strategies, and of a quietly engaging quality shared by his Penultimate Press roster, most recently in the exquisite magick of Korea Undok Group and solo work by The Shadow Ring’s Tim Goss.
Gently glitching into earshot with enigmatic gasps of ghostly 78 voices a la Akira Rabelais, and smudging into pre lingual glossolalia on ‘Estrella Fortuna’, he keeps it all pensively open-ended between the trembling ghost notes of ‘Junifare’ and the ringing title tune, with ‘Song of Salvation’ manifesting his most strung-out sort of psychic expression across eight minuets of fondled acoustic guitar, organ wooze and record orTV noise drifting in from another room. His avant-blues tekkers gingerly come into play on ‘After Essa’ and perfuse the rest of the set between sawn-off departure into ‘Amazonian Prayer’ and the grizzled possession of ‘Hosa’, with a tensely noirish bewts ‘Violence (Screaming)’ and ‘Finally (If Only)’ leaving the record’s probing psychic tension perfectly unresolved, perhaps even hinting at the atmosphere of Mihály Víg’s Bela Tarr scores.
Boomkat Product Review:
Liminal collage from the Penultimate Press purveyor, lightening up since the anxious introspection of his ace 2020 album, for a more poetic, collected, but still off-the-cuff excursion comparable with his peer Graham Lambkin.
‘Offering’ is strange but familiar company for those without. In its ten parts Harwood returns less fraught than on his excellent 2020 side ‘A Perfect Punctual Paradise Under My Own Name’, but still possessed by some lokey domestic spirits, sounding like he’s conducting paranormal summoning rites or simply making us privy to his everyday rustles as he appears like a poltergeist in his own gaff. Steering well to the right side of hokey, though, Harwood drifts piece-to-piece with an ideal mix of absent-minded and intuitive strategies, and of a quietly engaging quality shared by his Penultimate Press roster, most recently in the exquisite magick of Korea Undok Group and solo work by The Shadow Ring’s Tim Goss.
Gently glitching into earshot with enigmatic gasps of ghostly 78 voices a la Akira Rabelais, and smudging into pre lingual glossolalia on ‘Estrella Fortuna’, he keeps it all pensively open-ended between the trembling ghost notes of ‘Junifare’ and the ringing title tune, with ‘Song of Salvation’ manifesting his most strung-out sort of psychic expression across eight minuets of fondled acoustic guitar, organ wooze and record orTV noise drifting in from another room. His avant-blues tekkers gingerly come into play on ‘After Essa’ and perfuse the rest of the set between sawn-off departure into ‘Amazonian Prayer’ and the grizzled possession of ‘Hosa’, with a tensely noirish bewts ‘Violence (Screaming)’ and ‘Finally (If Only)’ leaving the record’s probing psychic tension perfectly unresolved, perhaps even hinting at the atmosphere of Mihály Víg’s Bela Tarr scores.
Boomkat Product Review:
Liminal collage from the Penultimate Press purveyor, lightening up since the anxious introspection of his ace 2020 album, for a more poetic, collected, but still off-the-cuff excursion comparable with his peer Graham Lambkin.
‘Offering’ is strange but familiar company for those without. In its ten parts Harwood returns less fraught than on his excellent 2020 side ‘A Perfect Punctual Paradise Under My Own Name’, but still possessed by some lokey domestic spirits, sounding like he’s conducting paranormal summoning rites or simply making us privy to his everyday rustles as he appears like a poltergeist in his own gaff. Steering well to the right side of hokey, though, Harwood drifts piece-to-piece with an ideal mix of absent-minded and intuitive strategies, and of a quietly engaging quality shared by his Penultimate Press roster, most recently in the exquisite magick of Korea Undok Group and solo work by The Shadow Ring’s Tim Goss.
Gently glitching into earshot with enigmatic gasps of ghostly 78 voices a la Akira Rabelais, and smudging into pre lingual glossolalia on ‘Estrella Fortuna’, he keeps it all pensively open-ended between the trembling ghost notes of ‘Junifare’ and the ringing title tune, with ‘Song of Salvation’ manifesting his most strung-out sort of psychic expression across eight minuets of fondled acoustic guitar, organ wooze and record orTV noise drifting in from another room. His avant-blues tekkers gingerly come into play on ‘After Essa’ and perfuse the rest of the set between sawn-off departure into ‘Amazonian Prayer’ and the grizzled possession of ‘Hosa’, with a tensely noirish bewts ‘Violence (Screaming)’ and ‘Finally (If Only)’ leaving the record’s probing psychic tension perfectly unresolved, perhaps even hinting at the atmosphere of Mihály Víg’s Bela Tarr scores.
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Boomkat Product Review:
Liminal collage from the Penultimate Press purveyor, lightening up since the anxious introspection of his ace 2020 album, for a more poetic, collected, but still off-the-cuff excursion comparable with his peer Graham Lambkin.
‘Offering’ is strange but familiar company for those without. In its ten parts Harwood returns less fraught than on his excellent 2020 side ‘A Perfect Punctual Paradise Under My Own Name’, but still possessed by some lokey domestic spirits, sounding like he’s conducting paranormal summoning rites or simply making us privy to his everyday rustles as he appears like a poltergeist in his own gaff. Steering well to the right side of hokey, though, Harwood drifts piece-to-piece with an ideal mix of absent-minded and intuitive strategies, and of a quietly engaging quality shared by his Penultimate Press roster, most recently in the exquisite magick of Korea Undok Group and solo work by The Shadow Ring’s Tim Goss.
Gently glitching into earshot with enigmatic gasps of ghostly 78 voices a la Akira Rabelais, and smudging into pre lingual glossolalia on ‘Estrella Fortuna’, he keeps it all pensively open-ended between the trembling ghost notes of ‘Junifare’ and the ringing title tune, with ‘Song of Salvation’ manifesting his most strung-out sort of psychic expression across eight minuets of fondled acoustic guitar, organ wooze and record orTV noise drifting in from another room. His avant-blues tekkers gingerly come into play on ‘After Essa’ and perfuse the rest of the set between sawn-off departure into ‘Amazonian Prayer’ and the grizzled possession of ‘Hosa’, with a tensely noirish bewts ‘Violence (Screaming)’ and ‘Finally (If Only)’ leaving the record’s probing psychic tension perfectly unresolved, perhaps even hinting at the atmosphere of Mihály Víg’s Bela Tarr scores.
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