Mark_E--Works_2005-2009-(Merc)-CD-2010-jAZzMan
NFO
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| artist.....: Mark E |
| vibe/s.....: Works 2005-2009 |
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| year.......: 2010 |
| archiveisms: Merc |
| MERC 002 |
| source.....: CDDA |
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| moodswing..: Disco |
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| releasesize: 93,5 MB |
| tracks.....: 08 |
| length.....: 68:49 min |
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| encoder....: Lame 3.97 (-V2 --Vbr-New) |
| quality....: avg. 188kbps |
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. | scenealized: 08.24.2010 | .
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| The term "re-edit" implies distance. To edit is |
| to look upon from above, move parts around, |
| exercise judgment over an object to give it shape |
| to play God. Add a "re-" and double the expanse. |
| Mark E's music emits nothing like this. Its remit |
| is to get as far inside the grooves he's working |
| with as possible, so deep that he knows them |
| better than the people who made them did, in |
| order to isolate everything ripe and distend it |
| forever. And he puts you so close up that you can |
| see the veins. |
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| There's something seething and ritualistic about |
| these tracks. Part of it is that they are, at |
| bottom, pure tools' the whole exercise exists |
| largely because DJs want cool exclusives to play |
| out. But somehow I don't see myself putting on |
| Jeff Mills' "Cycle 30" for my grandkids to teach |
| them about the good old days. (Live at the Liquid |
| Room, Tokyo, definitely.) Out of the mix, in the |
| midday living room, Mark E's edits blossom, draw |
| the ear closer, suspend time; they overwhelm you |
| with their sheer patient grandeur. They're gilded |
| memories of the records Mark E is working with, |
| playing like the highlight reels of his mind. |
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| When "You (Full Vocal Edit)" is going, you hear |
| Diana Ross's 1978 "You Were the One" not simply |
| remade, but idealized. It's six minutes of |
| buildup followed by a two-minute explosion, only |
| not quite that black-and-white. In this case, |
| it's more like red and purple: the chopped guitar |
| stab Mark E tweaks the EQ on for two minutes |
| establishes the neon-accented scene, and by 4:30, |
| when the background vocals come in, he's ramped |
| things so gradually but assuredly that when Diana |
| finally arrives near five-and-three-quarters, the |
| head is ready to burst. |
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| "RnB Drunkie" has only gotten crisper and |
| flutterier. "Slave 1" slivers its components till |
| they induce hypnagogia; "Plastic People (MEDIT)" |
| has the same effect by focusing so obsessively on |
| the cymbals' fizziness. Works 2005-2009 builds to |
| its hooks so patiently that their arrival has |
| more swell than if they'd ambushed you. The |
| closer you get, the closer it gets. I play it |
| every day. |
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| -- Resident Advisor |
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. | Psst, more info at mercmusic.net | .
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| 01 Sun Shadow 10:01 |
| 02 You (Full Vocal Mix) 08:30 |
| 03 Slave 1 07:53 |
| 04 Smiling 08:11 |
| 05 Night Mover 07:37 |
| 06 Ray Gun 08:23 |
| 07 Plastic People (Medit) 09:06 |
| 08 Rnb Drunkie 09:08 |
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|:::| "After silence, that which comes nearest to |:::|
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|:::| expressing the inexpressible,is music." |:::|
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|:::| -- Aldous Huxley |:::|
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Files
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