mark fell






2x12"x45rpm editions mego 2011

With the right degree of responsiveness can adapt the Innu legend on the evil creature that inhabits the mountain Manitutshu in Labrador, Canada, author of the terrible things that serve to perpetuate the sense of threat about the locations. "Manitutshu", the album has a lot of debris on the cover and also serves to perpetuate the sense of threat hovering over the linear track, especially on the comfort of expectations fulfilled. Music as you hear this album puts in question many values, this is the threat. Once passed - or, ideally, used to our advantage - reveals a fascinating world that facilitates us in a kind of omniscience, all sounds are on the same level of importance. Seriously. (from translated in google translate)

comes with free, full colour, a1 poster

track list

  • 1.1. Acids In The… thin razor, attack noise hat, Linn (2:29)
  • 1.2. Acids In The… primes version (0:51)
  • 1.3. Manitutshu (A New Algorithm)… LatelyBass and NewElectro, attack pulse hat (5:42)
  • 2.1. Acids In The… razor experiment (0:51)
  • 2.2. Manitutshu... parameter set 2, Linn HI Tom, JazzOrg, vortex study performance overdub, and synthesis reminiscent of Duet Emmo (6:23)
  • 2.3. Acids In The… stochastic energy pause with thin razor, attack noise hat, Linn (1:47)
  • 3.1. Manitutshu... First Algorithm Test (3:41)
  • 3.2. Occultation… razor simple acid pause version with lfo to cutoff (1:47)
  • 3.3. Materialisation epic razor chord and LatelyBass version with found voice (3:26)
  • 4.1. Occultation of... Mat Steel Extended Remix (14:57)

Total Running Time: 42 minutes

press release

In January 2011 Mark was invited by Erik Wiegand (aka Errorsmith) to make some presets for his new software synthesizer which he was building for Native Instruments. After developing about 40 sounds*, Mark decided to rework his UL8 project by extending the pattern generating systems used in its construction, which he then connected to the sounds produced in Erik's synthesizer. The result is this double 12" single, featuring 9 tracks and a remix from Mark's friend and colleague Mat Steel. The project ships with an A1 full colour poster. Recorded Rotherham (UK) and Sheffield (UK) March 2011. Mastered by Lupo at Dubplates and Mastering (DE) March 2011.

unfortunately NI rejected all of Mark's presets and none were used for the final distribution.

purchase here

nice review here

wire review

Mark Fell likened his music’s logical gameplan in The Wire 293 to playing chess without a chessboard. Without strategic moves there could, of course, be no game, but Fell’s pattern-generating algorithms keep the rules forever openended, meaning a pawn can usurp a kingly gesture without anyone flinching. He is best known for his work inside Sheffield electronic duo snd, whose Mat Steel appears at the end of Manitutshu with an extended remix of one track; otherwise this is Fell’s follow-up to his 2010 releases UL8 and Multistability.

Manitutshu began when Errorsmith, Berlin producer Erik Wiegand, invited Fell to devise new presets for a software synthesizer he was in the process of building for Native Instruments. Although the company ultimately rejected Fell’s presets, he broadened and refined the pattern generating systems he’d prepared, hooking them through sounds produced by Wiegand’s synthesizer.

Elsewhere, Fell has mused, “It’s all dead simple, I have no real interest in technical complexity”, and this music has a streamlined quality I admire. No gesture is strained or wasted – the music is complex, the technology is simple, a better way round than the age old problem of academic electronic music where muscular technology too often produces pissweak sounds.

If titles like “Acids In The… Thin Razor, Attack Noise Hat, Linn” or “Acids In The… Stochastic Energy Pause With Thin Razor, Attack Noise Hat, Linn” invoke the tart sting of labelmate Florian Hecker’s Acid In The Style Of David Tudor, Manitutshu is more dancey and deadpan. Fell’s techniques set up forms and harmonic overlays from outside the realm of subjective compositional control, putting intriguing distance between the composer and his visceral beats. Throughout the first track, arithmetically rudimentary patterns accrue deep complexities; later, “Manitutshu… First Algorithm Test” counterpoints simple pawn beats with elaborate harmonic spectra that have something of the knight about them. Philip Clark

© mark fell, modified October 04, 2011, at 01:20 PM PDT edit print