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CD
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EGGS 011CD
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2011 release. Remaining faithful to her influences of Germanic märchen tales, Eastern European children's cinema and mechanical pop music, Jane Weaver expands her critically acclaimed Fallen By Watchbird (BMS 022CD, 2010) concept album with The Watchbird Alluminate, a ten chapter sequel-of-sorts, by employing a cast of new actors and narrators to reinterpret her surreal "cosmic aquatic folklore" twelve months after the first installment. Here, Jane experiments with volks-music in its purest, most innocent form using modern tools to retell and recycle second hand stories. Inspired by post-war cinematic interpretations and hand-me-down mistranslations of global folk tales Jane has collaborated with a close-knit group of musicians, noisemakers and vocalists/narrators to create automatic-music and re-illuminate an eleven-page novella about telepathy, technology, lost-love, wiccan, war and watchbirds. As part of ongoing voice and electronic experiments with the people behind Pre-Cert Records The Watchbird Alluminate includes a wordless vocal introduction and interlude from both Demdike Stare and the elusive Anworth Kirk while the spoken-word narrative of Finders Keepers' lost American pop folk singer Susan Christie is reinterpreted by Ghostbox's Focus Group with results comparable to Ruth White's 1968 electronic/vox interpretations of Baudelaire's Flowers Of Evil (1857). Jane's own Bird Records label roster contributes two new cover versions of Weaver's self-penned tracks re-sung by Italian singer Emma Tricca and Rochdale's time-slipped falsetto soloist Magpahi (in a track evokes cinematic scenes from Night Of The Hunter (1955) or The Innocents (1961)). Elsewhere vintage soft-pop royalty appears in the form of a lead vocal from Wendy & Bonnie's, Wendy Flower, a close friend and confidant of Jane's since their first collaborations in New York and London in 2006 at the request of Jarvis Cocker for his guest curation at the Meltdown festival. Other lead performances from Weaver add a new poetic twist to the story in both solo capacity and alongside Samandtheplants' Sam McLoughlin whose Supernatural Lancashire library project (with Alison Cooper) from 2010 still resonates as one of the finest releases of 2010. With a unique approach to making non-linear mechanical music this pop-up collective adds a further creative perspective to the oft mistreated "concept album" virtually eliminating genre distinction in favor of communal noise - a unique product of genuinely independent music in 2011 which continues to sprout further branches.
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LP
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EGGS 011LP
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LP version. 2011 release. Remaining faithful to her influences of Germanic märchen tales, Eastern European children's cinema and mechanical pop music, Jane Weaver expands her critically acclaimed Fallen By Watchbird (BMS 022CD, 2010) concept album with The Watchbird Alluminate, a ten chapter sequel-of-sorts, by employing a cast of new actors and narrators to reinterpret her surreal "cosmic aquatic folklore" twelve months after the first installment. Here, Jane experiments with volks-music in its purest, most innocent form using modern tools to retell and recycle second hand stories. Inspired by post-war cinematic interpretations and hand-me-down mistranslations of global folk tales Jane has collaborated with a close-knit group of musicians, noisemakers and vocalists/narrators to create automatic-music and re-illuminate an eleven-page novella about telepathy, technology, lost-love, wiccan, war and watchbirds. As part of ongoing voice and electronic experiments with the people behind Pre-Cert Records The Watchbird Alluminate includes a wordless vocal introduction and interlude from both Demdike Stare and the elusive Anworth Kirk while the spoken-word narrative of Finders Keepers' lost American pop folk singer Susan Christie is reinterpreted by Ghostbox's Focus Group with results comparable to Ruth White's 1968 electronic/vox interpretations of Baudelaire's Flowers Of Evil (1857). Jane's own Bird Records label roster contributes two new cover versions of Weaver's self-penned tracks re-sung by Italian singer Emma Tricca and Rochdale's time-slipped falsetto soloist Magpahi (in a track evokes cinematic scenes from Night Of The Hunter (1955) or The Innocents (1961)). Elsewhere vintage soft-pop royalty appears in the form of a lead vocal from Wendy & Bonnie's, Wendy Flower, a close friend and confidant of Jane's since their first collaborations in New York and London in 2006 at the request of Jarvis Cocker for his guest curation at the Meltdown festival. Other lead performances from Weaver add a new poetic twist to the story in both solo capacity and alongside Samandtheplants' Sam McLoughlin whose Supernatural Lancashire library project (with Alison Cooper) from 2010 still resonates as one of the finest releases of 2010. With a unique approach to making non-linear mechanical music this pop-up collective adds a further creative perspective to the oft mistreated "concept album" virtually eliminating genre distinction in favor of communal noise - a unique product of genuinely independent music in 2011 which continues to sprout further branches.
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LP
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EGGS 027LP
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After almost two years of busy tour schedules and widespread unanimous critical acclaim, longstanding experimental pop crusader Jane Weaver finally commits one of her most requested projects to vinyl in the shape of dedicated mini-album The Amber Light. Originally issued as a limited CD-only bonus disc for The Silver Globe album global re-release, The Amber Light surprised fans expecting B-sides and outtakes with what for many stood up as its own isolated project. It includes some of Jane's best material to date including the pulsating synth anthem "I Need A Connection" which became a radio favorite, also appearing on film and fashion shows throughout the latter half of 2015. The Amber Light also includes further collaborations with Finders Keepers's Andy Votel as well as long-awaited collaborations with Suzanne Ciani, Tom Furse (keyboardist from The Horrors) and Sean Canty from Demdike Stare. Recorded over the course of two long weekends between tours with her custom-built band operating at an energetic optimum, The Amber Light captures Jane exuding the passion, experimentalism and justified confidence which is instantly reflected with some of her best songwriting to date. On limited amber transparent vinyl.
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LP
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VCCW 001LP
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This recording of Jane Weaver re-scored by Neotantrik (Suzanne Ciani, Andy Votel, and Sean Canty) has been described by Andy Votel as the "incidental music" counterpart to the conceptual soundtrack of The Silver Globe (EGGS 019CD, EGGS 019LTD-CD, 2014). Invoking and refracting Weaver's hugely acclaimed The Silver Globe in one engrossing session recorded in Bergen, Norway, as part of an installation at the end of 2014, Neotantrik Globes contains Weaver's original material dissected, atomized, and diffused into a side of mercurial, open-ended electronics and mechanical process. Weaver's sylvan melodies, harmonies, and vibes are scrambled, extruded, and smeared so that one hears their morphing aspects in a swirling lightshow strafing from windswept ambience thru nebulous synth-space, garroting string-tension, and siren-like drone-pop to a screw-twisting denouement. The album is also notable for Ciani's use of some specially commissioned Buchla modules -- some of the first pieces produced by Don Buchla in years -- plus a Nagoya Harp played through a fuzz pedal and dulcimer fed through a space-echo. It's totally absorbing and is perhaps one of thee strongest recordings from the trio's one-of-a-kind setup, given an added dimension by Weaver's hugely evocative voice. Single-sided LP. Artwork by Andy Votel. Edition of 500.
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2CD
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EGGS 019LTD-CD
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The Silver Globe expands: as one of the most industrious female multi-instrumentalist songwriters in modern pop, Jane Weaver literally doubles the content of her acclaimed 2014 album for the double-CD version of this synth-ridden special release. Unlike so many other big label "campaigns" that vied for PR attention via ego-fuelled video promos and down-your-throat advertising, this unassuming, dedicated, focused piece of experimental vocal pop was in no way spoon-fed to editors or playlisters. Nor did it fall within the lines of what might have been considered fashionable or culturally relevant. The Silver Globe was judged on its own merit as a brilliant, uncompromising pop record. By the end of 2014 The Silver Globe had been announced as Piccadilly Records' best album of the year, earned a spot in Gilles Peterson's top ten Worldwide Tracks of the Year, garnered repeat plays from virtually every specialist DJ on BBC Radio 6 Music (among many more global radio stations), found DJ mix support from Andrew Weatherall, and filled most of the pages in a 12-month diary with gig and festival requests. This expanded double-CD edition of The Silver Globe includes a second full-length disc called The Amber Light, which carves a niche between new age motivational music, radiophonic folk, and snarling krautrock, echoing the kosmische stylings of The Silver Globe with the punk urgency of '80s domestic synthpop. The Amber Light's four original songs are accompanied by three exclusive instrumental themes (including a commissioned theme from an American vampire film), and three collaborative re-workings/duets based on tracks from The Silver Globe, with co-production from Tom Furse (The Horrors), Andy Votel, Suzanne Ciani, members of Demdike Stare, and original Silver Globe inhabitants Pete J. Phillipson and Martin King. Substantiated by other deluxe editions, including a silver vinyl version of the The Silver Globe (EGGS 019LTD-LP), a series of compact cassettes, and a single release of standout robotic-roller-rink track "Don't Take My Soul" (as a split single with Bird label-mate Tender Prey (EGGS 020EP)), the Silver Globe/Amber Light project reciprocates the positive energy shared by Jane Weaver's loyal audience and a wide host of new converts who have allowed her self-sufficient songs and synthetic soundscapes to flourish. The Silver Globe is still turning.
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CD
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EGGS 019CD
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Like all good parables, Jane Weaver's sixth solo album, a concept album called The Silver Globe, is as multifaceted as it is beguiling. Part coming of age/part cautionary tale and part romantic peon, this 12-track synth-ridden post-apocalyptic prog-pop opus is based on tightly embroidered, non-linear recurring themes and inspired by esoteric stories, cosmic imagery and refiltered past experiences. Written from the optimistic vantage of a long-standing female independent artist, in a desperately-evolving industry, Jane's latest set of self-penned pop abstractions combine mechanical rock/recycled European cinema/empyrean vocalizations and an arsenal of rescued vintage synths to create a futurist narrative backdrop of an allegorical post-apocalyptic landscape. Assembled from disparate studio sessions recorded sporadically since the release of the critically-acclaimed Fallen by Watchbird (BMS 022CD) LP, The Silver Globe explores new collaborative relationships featuring tracks co-produced by David Holmes, guest appearances by Australian vintage space-rockers Cybotron, a recycled chunk of an '80s Hawkwind track, an intricate Damon Gough guitar solo, some Suzanne Ciani waves and post-production/remix flourishes by Andy Votel. Enjoying her most fertile period to date, Jane's reactions to the music of Italian synth stars Daniela Casa and Doris Norton with local DIY artists like Una Baines' The Fates (released on her own Bird imprint) provide yet another launch pad for Jane's latest musical trajectories. Paying homage in title to the troublesome Andrzej Zulawski (Possession) film of the same title, and combining influences from a wide range of lost pop and cinematic obscurities, Jane's new album uses the motif of a distant, mythical, impenetrable silver planet which eventually reveals itself to be a simple reflection of the beholder's own souls. Loosely metaphorical in its content, The Silver Globe witnesses Jane's commitment to self-pressed, conceptual pop music reach its next logical progression without compromising her natural skills as a talented, melodic song-writer preserving pop vaudeville over pre-packed vacuity.
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LP
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EGGS 019LP
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2015 repress. LP version. Like all good parables, Jane Weaver's sixth solo album, a concept album called The Silver Globe, is as multifaceted as it is beguiling. Part coming of age/part cautionary tale and part romantic peon, this 12-track synth-ridden post-apocalyptic prog-pop opus is based on tightly embroidered, non-linear recurring themes and inspired by esoteric stories, cosmic imagery and refiltered past experiences. Written from the optimistic vantage of a long-standing female independent artist, in a desperately-evolving industry, Jane's latest set of self-penned pop abstractions combine mechanical rock/recycled European cinema/empyrean vocalizations and an arsenal of rescued vintage synths to create a futurist narrative backdrop of an allegorical post-apocalyptic landscape. Assembled from disparate studio sessions recorded sporadically since the release of the critically-acclaimed Fallen by Watchbird (BMS 022CD) LP, The Silver Globe explores new collaborative relationships featuring tracks co-produced by David Holmes, guest appearances by Australian vintage space-rockers Cybotron, a recycled chunk of an '80s Hawkwind track, an intricate Damon Gough guitar solo, some Suzanne Ciani waves and post-production/remix flourishes by Andy Votel. Enjoying her most fertile period to date, Jane's reactions to the music of Italian synth stars Daniela Casa and Doris Norton with local DIY artists like Una Baines' The Fates (released on her own Bird imprint) provide yet another launch pad for Jane's latest musical trajectories. Paying homage in title to the troublesome Andrzej Zulawski (Possession) film of the same title, and combining influences from a wide range of lost pop and cinematic obscurities, Jane's new album uses the motif of a distant, mythical, impenetrable silver planet which eventually reveals itself to be a simple reflection of the beholder's own souls. Loosely metaphorical in its content, The Silver Globe witnesses Jane's commitment to self-pressed, conceptual pop music reach its next logical progression without compromising her natural skills as a talented, melodic song-writer preserving pop vaudeville over pre-packed vacuity.
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CD
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BMS 009CD
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2007 release. Effervescent songbird Jane Weaver once again takes flight with this spellbinding collection of heartrending recordings. Having spent a year residing under an apple tree on the outer limits of Greater Manchester putting the finishing touches to her new album immersed in the sounds of Linda Perhacs, Karen Dalton, Josephine Foster, These Trails and The Pink Fairies, Jane has also traveled over hill and over dale by special request to make a handful of rare live appearances across the UK and U.S. alongside the likes of Voice Of The Seven Woods, Gruff Rhys (Super Furry Animals), Wendy Flower (Wendy & Bonnie), and most recently Josephine Foster. Jane Weaver is a rare creature in the vanity-stricken world of female singers, and perhaps with a more generous roll of the dice we might all have heard of her. Serving her apprenticeship in the mid-'90s girl-guitar-pop outfit Kill Laura, Jane would go on to front Twisted Nerve's Misty Dixon and release her critically-acclaimed solo mini-album, Like an Aspen Leaf, as well as recording a slew of singles with the help of Doves and an album for Mancunian music maverick Rob Gretton's Manchester Records which went unreleased following his death until Jane dusted down the tapes and released it through her very own Bird imprint. Cherlokalate is the highly-anticipated follow-up to her critically-acclaimed debut album proper, Seven Day Smile. Stripped back and laid bare, Jane's songwriting has moved from strength to strength and her dulcet tones have lost none of their potency. Jane's quiet riot continues unabashed as word spreads of her unassuming but bewitching talent.
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Cassette
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EGGS 019CS
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Cassette version. "Like all good parables Jane Weaver's sixth solo album, a concept album called The Silver Globe, is as multifaceted as it is beguiling. Part coming of age/part cautionary tale and part romantic peon, this synth ridden post-apocalyptic prog pop opus is based on tightly embroidered, non-linear recurring themes and inspired by esoteric stories, cosmic imagery and refiltered past experiences. Written from the optimistic vantage of a long-standing female independent artist, in an desperately evolving industry, Jane's latest set of self penned pop abstractions combine mechanical rock/recycled European cinema/empyrean vocalisations and an arsenal of rescued vintage synths to create a futurist narrative backdrop of a allegorical post apocalyptic landscape.Assembled from disparate studio sessions recorded sporadically since the release of the critically acclaimed Fallen By Watchbird LP The Silver Globe explores new collaborative relationships featuring tracks co-produced by David Holmes, guest appearances by Australian vintage space rockers Cybotron, a recycled chunk of an 80s Hawkwind track, an intricate Damon Gough guitar solo, some Suzanne Ciani waves and post production/remix flourishes by Andy Votel. Enjoying her most fertile period to date Jane's reactions to the music of Italian synth starrs Daniela Casa and Doris Norton with local DIY artists like Una Baines' The Fates (released on her own Bird imprint) provide yet another launch pad for Janes latest musical trajectories."
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