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viewing 1 To 4 of 4 items
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LP
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PV 1010LP
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Second edition, with watercolor paper tip-on sleeve glued to heavy board. Jackets printed by Stoughton Printing Company. "Rob Noyes has been on the Eastern Massachusetts scene for a while, but what we've heard him play is music from within the context of electric bands, most of whom are loud as hell and exist somewhere along the rim of the post-core continuum. More recently, Rob has taken to displaying his solo acoustic guitar chops and they are massive. The Feudal Spirit is the first vinyl evidence of their 'shoulders.' Like Western Mass's Tony Pasquarosa, who mines the same widely-variant style-pits, Rob's approach to acoustic playing resembles his electric work only through shared-belief-in-a-strong-downstroke. On the way to developing his own compositional/performance approach, Noyes sometimes seems to have absorbed an almost infinite reservoir of influences. Apart from some superb Basho-like 12-string tunneling, most momentary fragments tend to recall legendary Limeys like John Renbourn (and through him, Davey Graham), because Rob's overt melodic structures tend towards the non-bluesoid. But then you'll maybe hear a note-sequence spiced like something dropped from the hot strings of Michael Chapman or even a powerful throng that makes you think of Wizz Jones. When that happens, you realize there's more of a blues base to some of the songs than you'd been able to untangle. Mr. Noyes hits a vast array of sub-genres on this album, and he hits them all pretty damn hard. Rob's playing carries the weight of many possibly-imaginary forebears, but the way he smears them all together shows a holistic mastery of touch and imagination that defies a lot of today's players, who tend to shine in short bursts, then allow their dreams to outrun their technique. Rob Noyes has no such apparent limitations. Like Raymond Pettibon, whose artwork graces The Feudal Spirit's cover, Rob's able to create a true form-gobble, making some real beautiful noise in the process. Around the world, licensed Hodologists whisper, 'Make mine Noyes.' Why don't you join them?" --Byron Coley, October 23rd, 2016, South Deerfield, MA. Cover art by Raymond Pettibon. Lacquers cut by Bob Weston at Chicago Mastering Service. Audiophile pressing from RTI.
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LP
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PV 010LP
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2017 repress. "Rob Noyes has been on the Eastern Massachusetts scene for a while, but what we've heard him play is music from within the context of electric bands, most of whom are loud as hell and exist somewhere along the rim of the post-core continuum. More recently, Rob has taken to displaying his solo acoustic guitar chops and they are massive. The Feudal Spirit is the first vinyl evidence of their 'shoulders.' Like Western Mass's Tony Pasquarosa, who mines the same widely-variant style-pits, Rob's approach to acoustic playing resembles his electric work only through shared-belief-in-a-strong-downstroke. On the way to developing his own compositional/performance approach, Noyes sometimes seems to have absorbed an almost infinite reservoir of influences. Apart from some superb Basho-like 12-string tunneling, most momentary fragments tend to recall legendary Limeys like John Renbourn (and through him, Davey Graham), because Rob's overt melodic structures tend towards the non-bluesoid. But then you'll maybe hear a note-sequence spiced like something dropped from the hot strings of Michael Chapman or even a powerful throng that makes you think of Wizz Jones. When that happens, you realize there's more of a blues base to some of the songs than you'd been able to untangle. Mr. Noyes hits a vast array of sub-genres on this album, and he hits them all pretty damn hard. Rob's playing carries the weight of many possibly-imaginary forebears, but the way he smears them all together shows a holistic mastery of touch and imagination that defies a lot of today's players, who tend to shine in short bursts, then allow their dreams to outrun their technique. Rob Noyes has no such apparent limitations. Like Raymond Pettibon, whose artwork graces The Feudal Spirit's cover, Rob's able to create a true form-gobble, making some real beautiful noise in the process. Around the world, licensed Hodologists whisper, 'Make mine Noyes.' Why don't you join them?" --Byron Coley, October 23rd, 2016, South Deerfield, MA. Screenprinted jackets -- new EZ-open jacket for the OCD/record collector set! Cover art by Raymond Pettibon. 180 gram vinyl pressed at RTI; Lacquers cut by Bob Weston at Chicago Mastering Service.
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CD
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PV 001CD
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Gate is Michael Morley (Dead C., Precious Metal Inc.) and whoever he feels like working with. This CD features performances from the 1994 Gate tour, when Morley travelled around with Keiji Haino & The Thurston Moore Male Slut trio. Lee Ranaldo (who recorded a ton of studio Gate stuff with Morley around the same period that has yet to surface), joined him for a single-song 30+ minute guitar duo instrumental extravaganza in Boston, which is reproduced in its entirety here as the first track on this CD. Building layers of feedback, sonic delay and looped drones, this is a mesmerizing work of organic power. It's followed by six shorter tracks, recorded a few days later in NY, with a trio lineup of Morley, Ranaldo and electric harp improviser, Zeena Parkins; densely organized sectors of gloriously abstract noisic combinations are faded in & out for appraisal. Packaged in Poon Village's elegant trademark screenprinted card-folio.
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CD
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PV 004CD
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The White Winged Moth represents the solo activity of Dean Roberts, of the New Zealand improv/drone trio Thela (whose debut CD on Ecstatic Peace was released in 1995). Beautifully ringing guitar tones of organic-metallic origin (sounding akin to some of the sweetest extrapolation of electric string activity since Sonic Youth took Bad Moon Rising on tour), occasional whispered vocals, bits of piano and taped-haze add together for the effect of ultimate dreamsearch ambiance. Simply, one of the most gorgeously resonating releases of the current millennium. Typically stunning Poon Village screen-printed, die-cut folio packaging wraps it all up.
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