So You Betrayed The Creative Arts For Your Own Personal Ends
D&B prism-pusher Mark goes on like Parmegiani-meets-Source Direct at Valentina Magaletti’s gaff in the Berlin artist’s baddest, noirish breakbeat experiments to date.
Chasing up a split with Christoph De Babalon and mixtape pack with Good News, Nina & Moopie on ACS/V I S, the barbed title of ‘So You Betrayed The Creative Arts For Your Own Personal Ends’ signifies a sharpening of tools and ideas.
It’s been a few years since Mark’s previous releases for A Colourful Storm, Berghain’s Unterton and BEB sibling Low Company, and we can hear that the time was spent getting right down to the nuts and bolts of his thing. To be quite honest, while his previous works didn’t quite live up to the hype for these ears, this new half hour of music has us rapt at his grasp of more intricate meter, space and vibe.
Impossibly taut but lithe breaks sizzle and ricochet in the space between performed and programmed ballistics, subtly gelling with instrumental touches that recall recent Valentina Magaletti solo work as much as the noirish, inner-city spy-funk of Barry Adamson on the first part, before opening out with orchestral staging with the GRM-like diffusion of Parmegiani, and the reticulated, jazz-fusion referencing D&B of Source Direct alloyed to Kenji Kawai-like vocal and synth-string arrangements on the latter.
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D&B prism-pusher Mark goes on like Parmegiani-meets-Source Direct at Valentina Magaletti’s gaff in the Berlin artist’s baddest, noirish breakbeat experiments to date.
Chasing up a split with Christoph De Babalon and mixtape pack with Good News, Nina & Moopie on ACS/V I S, the barbed title of ‘So You Betrayed The Creative Arts For Your Own Personal Ends’ signifies a sharpening of tools and ideas.
It’s been a few years since Mark’s previous releases for A Colourful Storm, Berghain’s Unterton and BEB sibling Low Company, and we can hear that the time was spent getting right down to the nuts and bolts of his thing. To be quite honest, while his previous works didn’t quite live up to the hype for these ears, this new half hour of music has us rapt at his grasp of more intricate meter, space and vibe.
Impossibly taut but lithe breaks sizzle and ricochet in the space between performed and programmed ballistics, subtly gelling with instrumental touches that recall recent Valentina Magaletti solo work as much as the noirish, inner-city spy-funk of Barry Adamson on the first part, before opening out with orchestral staging with the GRM-like diffusion of Parmegiani, and the reticulated, jazz-fusion referencing D&B of Source Direct alloyed to Kenji Kawai-like vocal and synth-string arrangements on the latter.
D&B prism-pusher Mark goes on like Parmegiani-meets-Source Direct at Valentina Magaletti’s gaff in the Berlin artist’s baddest, noirish breakbeat experiments to date.
Chasing up a split with Christoph De Babalon and mixtape pack with Good News, Nina & Moopie on ACS/V I S, the barbed title of ‘So You Betrayed The Creative Arts For Your Own Personal Ends’ signifies a sharpening of tools and ideas.
It’s been a few years since Mark’s previous releases for A Colourful Storm, Berghain’s Unterton and BEB sibling Low Company, and we can hear that the time was spent getting right down to the nuts and bolts of his thing. To be quite honest, while his previous works didn’t quite live up to the hype for these ears, this new half hour of music has us rapt at his grasp of more intricate meter, space and vibe.
Impossibly taut but lithe breaks sizzle and ricochet in the space between performed and programmed ballistics, subtly gelling with instrumental touches that recall recent Valentina Magaletti solo work as much as the noirish, inner-city spy-funk of Barry Adamson on the first part, before opening out with orchestral staging with the GRM-like diffusion of Parmegiani, and the reticulated, jazz-fusion referencing D&B of Source Direct alloyed to Kenji Kawai-like vocal and synth-string arrangements on the latter.
D&B prism-pusher Mark goes on like Parmegiani-meets-Source Direct at Valentina Magaletti’s gaff in the Berlin artist’s baddest, noirish breakbeat experiments to date.
Chasing up a split with Christoph De Babalon and mixtape pack with Good News, Nina & Moopie on ACS/V I S, the barbed title of ‘So You Betrayed The Creative Arts For Your Own Personal Ends’ signifies a sharpening of tools and ideas.
It’s been a few years since Mark’s previous releases for A Colourful Storm, Berghain’s Unterton and BEB sibling Low Company, and we can hear that the time was spent getting right down to the nuts and bolts of his thing. To be quite honest, while his previous works didn’t quite live up to the hype for these ears, this new half hour of music has us rapt at his grasp of more intricate meter, space and vibe.
Impossibly taut but lithe breaks sizzle and ricochet in the space between performed and programmed ballistics, subtly gelling with instrumental touches that recall recent Valentina Magaletti solo work as much as the noirish, inner-city spy-funk of Barry Adamson on the first part, before opening out with orchestral staging with the GRM-like diffusion of Parmegiani, and the reticulated, jazz-fusion referencing D&B of Source Direct alloyed to Kenji Kawai-like vocal and synth-string arrangements on the latter.
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D&B prism-pusher Mark goes on like Parmegiani-meets-Source Direct at Valentina Magaletti’s gaff in the Berlin artist’s baddest, noirish breakbeat experiments to date.
Chasing up a split with Christoph De Babalon and mixtape pack with Good News, Nina & Moopie on ACS/V I S, the barbed title of ‘So You Betrayed The Creative Arts For Your Own Personal Ends’ signifies a sharpening of tools and ideas.
It’s been a few years since Mark’s previous releases for A Colourful Storm, Berghain’s Unterton and BEB sibling Low Company, and we can hear that the time was spent getting right down to the nuts and bolts of his thing. To be quite honest, while his previous works didn’t quite live up to the hype for these ears, this new half hour of music has us rapt at his grasp of more intricate meter, space and vibe.
Impossibly taut but lithe breaks sizzle and ricochet in the space between performed and programmed ballistics, subtly gelling with instrumental touches that recall recent Valentina Magaletti solo work as much as the noirish, inner-city spy-funk of Barry Adamson on the first part, before opening out with orchestral staging with the GRM-like diffusion of Parmegiani, and the reticulated, jazz-fusion referencing D&B of Source Direct alloyed to Kenji Kawai-like vocal and synth-string arrangements on the latter.