126CD - Nick Robinson - Lost Garden - CD plus download

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£12.50
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Description

Nick is a guitarist with a long history, most of it not troubling the charts. From the youthful pop of Polydor’s “Typhoon Saturday” through the anarchy of Dig Vis Drill, as well as working with the Comsat Angels, Neil Ardley, Bernhard Wagner, Combat Astronomy, Julie Tippets,  Carla Diratz and Neil Ardley.and many, many more. He has developed an individual musical voice based around the looping and processing of a guitar.


The music evokes many different moods and is both beautiful and challenging in equal measures, like theme music for films that have never been made. Every sound you hear is created by the guitar, other than a live loop of the bells of Cologne (if you listen carefully) recorded in the field.

Some tracks incorporate elements of live improvisations, augmented by studio overdubs, others were composed in the studio. Whilst you may hear influences, Nick’s performances are very much his own vision. He feels that at long last, he has found his voice.

Nick is also one third of fellow Discus Music outfit “Das Rad” (along with Martin Archer and Steve Dinsdale) and in his day job, an origami artist with over 100 books to his name. He has taught and lectured all around the globe. He is president of the British Origami Society! He feels there are many parallels between music and paper-folding and will explain this at length if asked. 


Nick Robinson - guitars, loops, electronics
Reviews

Steve Hackett (Genesis)
Interesting with some excellent playing and innovative atmosphere. I wish you luck with the project.

 

Adrian Belew (King Crimson)
I liked it very much. All the best in this crazy world we now have...

 

Paul McMahon (Haze)
By turns Ambient, Aggressive, Ethereal, Discordant, Thoughtful and Melodic, it's stunning that all of this music was made on the guitar. A fabulous piece of work!

 

Michael Peters (looping guitarist)
I like it, great guitar textures, a healthy dose of chaos and of course, lyrical passages...

 

Zal Cleminson (SAHB)
Beautifully atmospheric and creative guitar work.

 

Bernhard Wagner (Sonar / David Torn )
Tasteful superimposition of down-to-earth electric guitar sounds and noises with otherworldly swirls and shrieks evoking birdlike creatures from aeons gone or lightyears ahead. All this embedded into reverberating spaces of varying sizes, often within the same track. Like a good book, only multiple listens will even start to reveal what has been put into this deep album. 

 

Ben Christophers
This is stunning, I love the twisted nature of the album and yet everything seems so considered, the format has been distorted and the guitar takes more the form of a spectre to translate an otherworldly sound. The use of pedals / effects is really tasteful, never choosing to get away with anything, it has rough edges and leaves a lot of room which gives the music so much life.

 

Bill Walker (US slide/looper)

I’ve been listening for a few weeks now, and I am struck by the sonic and emotional range this music conveys. So many wonderful guitar based sounds and creative use of loops and noise elements can be found in this 11 song collection. These are beautifully improvised guitar inventions that balance lyrical passages with ambient elements and adventurous sound design.

 

Dave Sturt (Gong / Bill Nelson)

Inspired; uncompromising; challenging; beautifully intense … There are shades of Nelson, Torn, Belew, Frisell even Oldfield- but it’s still 100% Robinson. His experimental use of effects and sonic explorations are intriguing and lead to some unexpected and beautiful soundscapes. I can see this album being a source of inspiration for quite a while.

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Wie das Leben so spielt. NICK ROBINSONs Ambitionen mit Typhoon Saturday, They Must Be Russians und Dig Vis Drill sind Mitte der 80er im Sand verlaufen, werden aber nostal­gisch erinnert als “Dreams to Fill the Vacuum - The Sound of Sheffield 1977-1988”. Dafür brachte er es als Papierfalter zur Berühmtheit – er ist Präsident der British Origami So­ciety. Doch blieb er der Gitarre treu, mit neuen Ohren, die er David Torn verdankt, als Nick Robinson Loops, bei “No Worn Bearings” (2010) mit Bernhard Wagner von Sonar. Auf Dis­cus setzte sogar ein goldener Herbst ein, mit Martin Archer im Outward Sound Ensemble, in The Archers of Sorrow und mit noch Steve Dinsdale als Das Rad. Lost Garden (DISCUS 126CD), benannt nach seinem zeitweiligen Ambient-Duo mit Andy Peake (von The Comsat Angels), zeigt nun essentiell seinen Stand der Dinge, den er mit etwa 'Cautious Tragic', 'Toccata Apologetica' und 'Silver Streams of Sorrow' als melancholisch andeutet und floral und faunisch illustriert. Der Wind, der da mit über die Saiten bläst, der weht nämlich her von Electric Eden (wie Rob Young Britain's visionary music taufte in ihrer Grünkraft seit den 60s). Woher allerdings der deutsche Zungenschlag bei 'Zitterig' und 'Lebensfaltung' rührt, dazu fand ich keinen Hinweis. 'Trip_o_Phonix' ist eine ziemlich gute Metapher für die furiosen oder ätherisch fragilen Spektren in Pink und Crimson, durch die sich sein Glücks­rad dreht. 'The Gates of Paradise' stehen dabei nie so offen wie bei Robert Fripp, auch dreht sich sein Räderwerk weder frippertronisch crafty noch sonar. Robinsons Anspruch ist zwischen Feuervogel, formelhaftem Mantra und schwebender Drift, deren Mood an Gavin Bryars' 'The Old Tower of Löbenicht' streift, ein eigener, in tagträumerischer Intui­tion, aber mit doch auch allerhand Studioalchemie, die den Zeitpfeil der Gitarrenwizardry verunklart. Er lässt Schmetterlinge aus Kristall und aus Gummi faltern, morphende Dröhn­wellen surren und orgeln zu wehmütig gepickten Silberfunken. Der Gitarrenflow wird zum Delta, Sounds zucken und heulen, Saiten zirpen, Sekunden quallen vor und zurück. 'Bunting Nook' zieht zuletzt mit 18 ½ Min. nochmal alle Register der Robinsonade, vom orchestralen Intro über fragiles Kreisen, funkelnde Wellen, silbriges Klampfen, zagendes Innehalten zu doch fräsendem Andrang, der überquillt wie Alienblut und rauen Wellen intensiv Bahn bricht. - Rigobert Dittmann, BAD ALCHEMY

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