|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
DADA 006LP
|
LP version. Re-reissue of Cranes über rare debut album Fuse on Dadaphonic, for the first time on vinyl and CD. The Fuse album was remastered at Abbey Road in 2023. The album includes an extra unheard track from the period called "New Liberty." Artwork is by Chris Bigg of V23. The second in a series of archive releases by Cranes, Fuse was recorded in Portsmouth, their home town by siblings Alison and Jim Shaw. It originally appeared as a cassette album in 1986 on the Bite Back! label. With an initial run of only 200 copies, over the years this album, with its distinctive purple cover has been highly sought after amongst fans, often exchanging hands for more than £100. Fuse showcases a sparser, darker and more industrial, post punk sound. From the hypnotic allure and rhythmic intensity of the title track to the ferocious and challenging beats of "Wrench," the songs are just as mesmerizing as Cranes' later, critically acclaimed releases. Recorded in a garage on a four-track porta-studio, the band spent many months experimenting and became obsessed with the recording process. Jim Shaw used a very early sampling pedal to create the drum sounds, which were all individually triggered. The only and first "industry" person to hear anything by Cranes at this time was Martin Hannett (legendary producer of Joy Division and New Order). He was looking for unsigned bands to appear on a new music TV show in Manchester and so Ian Binnington from Biteback! sent him a compilation tape of many Portsmouth bands. Hannett picked out "Fuse - Original Version" by Cranes and told Ian that the track was "fucking great."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DADA 006CD
|
Re-reissue of Cranes über rare debut album Fuse on Dadaphonic, for the first time on vinyl and CD. The Fuse album was remastered at Abbey Road in 2023. The album includes an extra unheard track from the period called "New Liberty." Artwork is by Chris Bigg of V23. The second in a series of archive releases by Cranes, Fuse was recorded in Portsmouth, their home town by siblings Alison and Jim Shaw. It originally appeared as a cassette album in 1986 on the Bite Back! label. With an initial run of only 200 copies, over the years this album, with its distinctive purple cover has been highly sought after amongst fans, often exchanging hands for more than £100. Fuse showcases a sparser, darker and more industrial, post punk sound. From the hypnotic allure and rhythmic intensity of the title track to the ferocious and challenging beats of "Wrench," the songs are just as mesmerizing as Cranes' later, critically acclaimed releases. Recorded in a garage on a four-track porta-studio, the band spent many months experimenting and became obsessed with the recording process. Jim Shaw used a very early sampling pedal to create the drum sounds, which were all individually triggered. The only and first "industry" person to hear anything by Cranes at this time was Martin Hannett (legendary producer of Joy Division and New Order). He was looking for unsigned bands to appear on a new music TV show in Manchester and so Ian Binnington from Biteback! sent him a compilation tape of many Portsmouth bands. Hannett picked out "Fuse - Original Version" by Cranes and told Ian that the track was "fucking great."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DADA 005CD
|
[sold out, repress in 2024?] The first in a series of archival releases from Cranes, the band's John Peel Sessions are collected for the first time. Formed in mid-1980s Portsmouth by the brother and sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) and Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with Fuse, a self-released and now highly sought-after cassette of demos. Their debut album Self-Non-Self followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 and 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) and Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, Forever, which enjoys its 30th anniversary in 2023. Cranes are releasing John Peel Sessions (1989-1990) on their own Dadaphonic label. The first in a series of archival releases, this compilation features original artwork by fêted 4AD & v23 sleeve designer Chris Bigg (Pixies, Cocteau Twins, The Breeders). Six-panel digipak; edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DADA 005LP
|
[sold out, repress in 2024?] The first in a series of archival releases from Cranes, the band's John Peel Sessions are collected for the first time. Formed in mid-1980s Portsmouth by the brother and sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) and Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with Fuse, a self-released and now highly sought-after cassette of demos. Their debut album Self-Non-Self followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 and 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) and Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, Forever, which enjoys its 30th anniversary in 2023. Cranes are releasing John Peel Sessions (1989-1990) on their own Dadaphonic label. The first in a series of archival releases, this compilation features original artwork by fêted 4AD & v23 sleeve designer Chris Bigg (Pixies, Cocteau Twins, The Breeders). Black vinyl; edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DADA 004CD
|
This is the long-awaited release of a new studio album by Cranes, the famed British dream-pop group whose creative output has spanned over 15 years and -- with this latest addition -- nine studio albums. Cranes has been three years in the making. It is a triumph of celestial atmospheric rock and metaphysical minimalist electronics, made instantly recognizable by Alison Shaw's child-like vocals and Jim Shaw's uniquely inventive compositions. There are themes of fractals, the mysterious mathematical patterns and shapes that can be found throughout nature and the universe beyond. Lyrics speak of the passing of time, of how cyclical things can be and of wanting to move forward. This is all woven into compositions that take in everything from Krautrock and folk, to intricate, almost extra-terrestrial soundscapes and David Lynchian melodies. Stand-out tracks include "Feathers" -- a filmic, Espers-like, underwater epic, and "High and Low"'s guitar-led waltz. There's "Panorama"'s dark Parisian vocal layering and "Wires"' soaring melody, textured with Four Tet-like blips. The Cranes have come a long way since their inception almost two decades ago, and their body of work can be split into two distinct eras. The music from the '90s had a peculiar intensity, which seemed incongruous at the time. Their early fans included John Peel, the legendary Joy Division producer Martin Hannett and Robert Smith, who asked them to open for The Cure on many an international tour. In 1997 came the first stirrings of a new sound and a new Cranes, one which still revolved around the sister-brother axis but left behind the industrial rock element, replacing it with their own compelling version of electronic-based songcraft. The band re-emerged in 2001 on their own Dadaphonic label and went on to release two more acclaimed albums in their new guise -- 2001's Future Songs and 2004's Particles and Waves. The current line-up includes Alison Shaw (lyrics, vocals and guitar) and Jim Shaw (multi-instrumentalist), who are joined by Ben Baxter (bass), Paul Smith (keyboards, guitar), and new drummer Dave Hirschheimer (drums). The new album's otherworldly tonal beauty will continue to see them existing outside of the mainstream, slightly disconnected, but able to offer a very beautiful, one-of-a-kind vision of life in the 21st-century.
|
|
|
|