Limited edition of 100 LPs pressed as a fundraiser for Cafe OTO to acquire some new equipment.
Fred Frith - Guitar, Piano
Christian Marclay - Records and Turntables
Recorded 7 July 2012 at Cafe OTO by John Chantler & James Dunn.
Mixed and mastered by Myles Boysen at Headless Buddha Mastering Labs.
Design by Laurent Benner, Collages by Christian Marclay.
All proceeds from this LP go towards Cafe OTO's equipment fund. Thanks to Fred, Christian and Laurent for generously making this possible!
100 copies + 10 Artist Proofs. Two colour screenprint sleeves on 380gsm acid-free archive quality card stock, printed by Pat at Heavyrock, Brighton. Centre labels hand-stamped (Black on Black). Vinyl pressed at MPO (via Curved, London).
Frith's work has ranged from ground-breaking avant-garde rock with Henry Cow and Art Bears to extended compositions for choirs, orchestras and saxophone quartets and collaborations with figures such as Mike Patton, John Zorn, Brian Eno, Ikue Mori and Derek Bailey. His highly individual approach to the guitar and use of extended and unorthodox techniques give his music a unique and at times disorienting sense of texture and space.
Frith's musicial journey started when he formed Henry Cow with Tim Hodgkinson in 1968, a legendary group that expanded the parameters of rock music to include complex compositional forms as well as improvised elements.
After moving to New York in 1979, Frith was a key figure in the downtown experimental music scene, his collaborations with Zorn, Laswell, Mori and others helping form an important new musical vernacular in which elements of rock, contempary composition, noise and improvisation overlapped and intertwined.
Since 1999 Frith has been Professor of Composition at Mills University, California. Recent projects have included duos with Anthony Braxton and Evelyn Glennie, collaborations with the Arte Quartett and choreographer Donna Uchizono, and numerous festival appearances in Europe and America.
“A masterful sound colorist, Frith is in no way subject to analyses of has artistic legitimacy - (he) redefines the possible uses of the guitar and makes traditional discourse irrelevant” – L.A. Herald Examiner (USA)