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viewing 1 To 11 of 11 items
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2LP+CD
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FNM 004LP
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Limited edition double LP version; includes a CD version of the album and poster. In the finest dub tradition, Mark Stewart has returned to his highly-acclaimed The Politics of Envy (FNM 002CD/LP/LTD-CD) album, sonically savaging it into a new monster, suitably-entitled Exorcism of Envy. This album sees Stewart revisit the soundscapes which hotwired the original album as a viciously spot-on aural depiction of our world, re-molding its ingredients with gloves off and intensity levels on overdrive. "I've got this nonchalance that nothing is sacred," declared Stewart; a crucial element in this mission as he deconstructs songs such as "Apocalypse Hotel," "Method to the Madness," "Codex," and "Want," retaining the original essence but sand-blasting them into skull-crushing or soul-challenging new versions. In the style of Jamaican titans like Jack Ruby, he rips out the song's ghost to give it a fresh kicking, taking care to keep the soul alive, often with a new title; "Autonomia" becomes "Attack Dogs," "Gang War" turns into "Mirror Wars" (featuring Xacute), recent single "Stereotype" becomes the electro-yearn of "Sexorcist" and "Vanity Kills" swells into a swarming monolith of electrocuted sonic tendrils. Meanwhile, the previously beat-less version of Bowie's "Letter to Hermione" is amped into "Letter (Full of Tears)" aboard the filthiest funk bass line. "I've deconstructed in the tradition of dub," explains Stewart. "The original dub masters experimented and for me experimentation really matters, crashing in an index of possibilities. It's an expansion of my recent album, stripping it back to a skeletal dub and then burying it in bi-products of our hyper media." The Politics of Envy is a stunning work of gladiatorial proportions, a seething arena of stellar collaborations and deceivingly dislocated backdrops, shot with Stewart's twistedly eloquent observations and manifestos. After spending the last three decades watching his innovations plundered and turned into gold by friends and foes, he coolly returned with his most high profile album to date, re-establishing him as one of the most volcanic creative minds this country has ever produced. Recent single "Stereotype" has shown how Stewart could also make the perfect post-punk pop song over 30 years on. Now he's capping his remarkable year with his most gloriously ferocious statement yet, blowing up the sound system with proper aural anarchy.
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CD
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FNM 004CD
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In the finest dub tradition, Mark Stewart has returned to his highly-acclaimed The Politics of Envy (FNM 002CD/LP/LTD-CD) album, sonically savaging it into a new monster, suitably-entitled Exorcism of Envy. This album sees Stewart revisit the soundscapes which hotwired the original album as a viciously spot-on aural depiction of our world, re-molding its ingredients with gloves off and intensity levels on overdrive. "I've got this nonchalance that nothing is sacred," declared Stewart; a crucial element in this mission as he deconstructs songs such as "Apocalypse Hotel," "Method to the Madness," "Codex," and "Want," retaining the original essence but sand-blasting them into skull-crushing or soul-challenging new versions. In the style of Jamaican titans like Jack Ruby, he rips out the song's ghost to give it a fresh kicking, taking care to keep the soul alive, often with a new title; "Autonomia" becomes "Attack Dogs," "Gang War" turns into "Mirror Wars" (featuring Xacute), recent single "Stereotype" becomes the electro-yearn of "Sexorcist" and "Vanity Kills" swells into a swarming monolith of electrocuted sonic tendrils. Meanwhile, the previously beat-less version of Bowie's "Letter to Hermione" is amped into "Letter (Full of Tears)" aboard the filthiest funk bass line. "I've deconstructed in the tradition of dub," explains Stewart. "The original dub masters experimented and for me experimentation really matters, crashing in an index of possibilities. It's an expansion of my recent album, stripping it back to a skeletal dub and then burying it in bi-products of our hyper media." The Politics of Envy is a stunning work of gladiatorial proportions, a seething arena of stellar collaborations and deceivingly dislocated backdrops, shot with Stewart's twistedly eloquent observations and manifestos. After spending the last three decades watching his innovations plundered and turned into gold by friends and foes, he coolly returned with his most high profile album to date, re-establishing him as one of the most volcanic creative minds this country has ever produced. Recent single "Stereotype" has shown how Stewart could also make the perfect post-punk pop song over 30 years on. Now he's capping his remarkable year with his most gloriously ferocious statement yet, blowing up the sound system with proper aural anarchy.
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12"
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FNMTW 2002EP
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Limited edition of 500 copies only. Mark Stewart remixes tracks from his album The Politics Of Envy (FNM 002CD/LP/LTD-CD). With contributions from Factory Floor, Primal Scream and Lee "Scratch" Perry.
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2CD
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FNM 002LTD-CD
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Limited deluxe edition, packaged in a hard-case book format. Includes the bonus CD, Experiments EP. At the end of 2011, a year of riots, revolutions, occupations and an increasing collapse of the global financial system, Mark Stewart returned with the limited 7" of Children Of The Revolution, perfectly capturing the restless mood on today's streets worldwide to create the apocalyptic dancehall mutation of T. Rex's glam classic. His new album, The Politics Of Envy, features a stellar cast, including original Clash/PiL guitarist Keith Levene, NYC punk innovator Richard Hell, Lee "Scratch" Perry, Gina Birch of The Raincoats, Slits bassist Tessa Pollitt, Jesus And Mary Chain bassist Douglas Hart, Factory Floor, Daddy G of Massive Attack and all of Primal Scream. All roads have been leading to this. The Politics Of Envy cages, consolidates and hotwires the rampant barrage of elements which have infused Mark Stewart's work since his first band, The Pop Group blasted the post-punk landscape. "Vanity Kills" kicks off the album with cult film-maker Kenneth Anger on Theremin, plus Richard Hell and Bristol new-blood Kahn. Followed by "Autonomia," featuring Bobby Gillespie's frenetic call-and-response chant with Stewart, who wrote the song about Carlo Giuliani, killed at the 2001 G8 demonstrations in Genoa. Lee "Scratch" Perry guests on "Gang War," spitting diamonds, with Tessa Pollitt blanketing the dense, heavyweight urban dubscape, before Stewart takes us into the slo-mo cold-wave of "Codex." Joined by Factory Floor and Youth for "Want," Stewart then hits us with the album's fine example of 21st-century schizoid wall-of-sound, "Gustav Says." Railing against "corporate cocksuckers" and declaring "sanity sucks" on the cool disco-electro track "Baby Bourgeois," we're then taken into the huge, seething synth-crawl of "Method To The Madness," providing one of the album's atmospheric highlights, gouging beyond industrial or dubstep to create a frightening new take on modern mood music. Daddy G's unmistakable deep-throat intonations make the perfect garnish for the bleak, heaving whale of a tune, that is "Apocalypse Hotel." Being mutual fans of their work, Stewart gives us his version of David Bowie's "Letter To Hermione," now a spookily-orchestrated, beatless lament. Stewart turns on the light and lets Keith Levene unleash some of his inimitable metal guitar jangle on "Stereotype." They are joined by Factory Floor and Gina Birch on this slice of gorgeously-melancholic brilliance, an effortless modern pop classic which provides the perfect end to this intoxicatingly provocative set of songs. Continuing an unmatchable track record of anarchic pioneering and seismic influence, Mark Stewart is back with his eighth album and what must be his most high-profile project to date, reasserting him as one of the great volcanic creative minds.
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CD
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FNM 002CD
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At the end of 2011, a year of riots, revolutions, occupations and an increasing collapse of the global financial system, Mark Stewart returned with the limited 7" of Children Of The Revolution, perfectly capturing the restless mood on today's streets worldwide to create the apocalyptic dancehall mutation of T. Rex's glam classic. His new album, The Politics Of Envy, features a stellar cast, including original Clash/PiL guitarist Keith Levene, NYC punk innovator Richard Hell, Lee "Scratch" Perry, Gina Birch of The Raincoats, Slits bassist Tessa Pollitt, Jesus And Mary Chain bassist Douglas Hart, Factory Floor, Daddy G of Massive Attack and all of Primal Scream. All roads have been leading to this. The Politics Of Envy cages, consolidates and hotwires the rampant barrage of elements which have infused Mark Stewart's work since his first band, The Pop Group blasted the post-punk landscape. "Vanity Kills" kicks off the album with cult film-maker Kenneth Anger on Theremin, plus Richard Hell and Bristol new-blood Kahn. Followed by "Autonomia," featuring Bobby Gillespie's frenetic call-and-response chant with Stewart, who wrote the song about Carlo Giuliani, killed at the 2001 G8 demonstrations in Genoa. Lee "Scratch" Perry guests on "Gang War," spitting diamonds, with Tessa Pollitt blanketing the dense, heavyweight urban dubscape, before Stewart takes us into the slo-mo cold-wave of "Codex." Joined by Factory Floor and Youth for "Want," Stewart then hits us with the album's fine example of 21st-century schizoid wall-of-sound, "Gustav Says." Railing against "corporate cocksuckers" and declaring "sanity sucks" on the cool disco-electro track "Baby Bourgeois," we're then taken into the huge, seething synth-crawl of "Method To The Madness," providing one of the album's atmospheric highlights, gouging beyond industrial or dubstep to create a frightening new take on modern mood music. Daddy G's unmistakable deep-throat intonations make the perfect garnish for the bleak, heaving whale of a tune, that is "Apocalypse Hotel." Being mutual fans of their work, Stewart gives us his version of David Bowie's "Letter To Hermione," now a spookily-orchestrated, beatless lament. Stewart turns on the light and lets Keith Levene unleash some of his inimitable metal guitar jangle on "Stereotype." They are joined by Factory Floor and Gina Birch on this slice of gorgeously-melancholic brilliance, an effortless modern pop classic which provides the perfect end to this intoxicatingly provocative set of songs. Continuing an unmatchable track record of anarchic pioneering and seismic influence, Mark Stewart is back with his eighth album and what must be his most high-profile project to date, reasserting him as one of the great volcanic creative minds.
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LP
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FNM 002LP
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LP version with full-color printed innersleeve.
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7"
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FNMSE 002EP
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Mark Stewart, sonic visionary and pioneer of mutant music returns. Limited edition of 500, individually hand-painted and numbered 7" single for Black Friday. Double A-side. Each hand-worked sleeve constitutes one unique piece of Mark's bombart. Ultra-violently noisy and perfectly capturing the restless mood on today's global streets from London to Libya, these two non-album tracks come from recent sessions for Mark Stewart's forthcoming LP. The apocalyptic revamp of T. Rex's "Children Of The Revolution" sees Mark team up with The Bug for a jaggedly compulsive take on the glam classic. "Nothing Is Sacred" features Crass' Eve Libertine, Berlin electro monsters Slope and Pop Group bassist Dan Catsis -- a rabble-rousing clarion call and indictment of 2011 Britain.
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DVD
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MPE 028DVD
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Mark Stewart first made his presence felt as the front man for The Pop Group in the late 1970s. They were pioneers of the post-punk dance sound and had success with singles such as "She Is Beyond Good And Evil" and "We Are All Prostitutes." When the band split in 1980, Mark joined the emerging On U Sound crew as a part-time member of The New Age Steppers. He then went on to form his own band with Keith LeBlanc and Doug Wimbish, the rhythm section of the Sugar Hill Gang and guitarist Skip McDonald. With Adrian Sherwood and his production magic at the controls, The Maffia unleashed an awesome mix of styles that sounded like Bootsy Collins jamming over a bootleg Jah Shaka tape in an urban warzone. This incredible mix of funk, dub and electronic overload pre-empted techno and drum n' bass by years. Mark Stewart, often copied, never bettered. This film retraces the singer's steps and paths from the early days of The Pop Group right up to the present. Director Tøni Schifer, who followed Mark around for a full 3 years, has crafted a detailed, often intimate portrait of the artist, supplemented by interviews with, amongst others, Mark Stewart himself, Adrian Sherwood, Daniel Miller (Mute Records), Nick Cave, Mick Harvey, Doug Wimbish, Skip McDonald, Keith LeBlanc, Douglas Hart (The Jesus And Mary Chain), Fritz Catlin (23 Skidoo), Mike Watt (Minutemen, The Stooges), Gareth Sager (The Pop Group, Rip Rig And Panic), Dan Catsis (The Pop Group), John Waddington (The Pop Group) Janine Rainforth (Maximum Joy), Massive Attack, Keith Levine (Public Image Limited) and many others, plus never-seen live recordings and music clips. Film: 82 mins; bonus material: 70 mins. Director: Tøni Schifer; Format: DVD10; Audio language: English; Subtitles: German, English; Format: PAL + NTSC, 16:9, Color, Region 0; Sound: Stereo.
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2LP
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CDHW 105LP
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CD
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CDHW 105CD
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2008 release. A legend who left a lasting mark on the world of music returns with a new studio album: Mark Stewart. Created and recorded between London, Vienna, Bristol and Berlin, Stewart's sixth full-length release, Edit, marks a welcome return to his solo career after numerous collaborations with, among others, Tricky, Massive Attack, Chicks On Speed, Adult and Primal Scream. As teenage front man and mastermind of seminal Bristol post-punk legends The Pop Group (1978-80), Stewart already used his microphone as a weapon. In an era that saw public opinion and perception tainted by Thatcher, Reagan and the Cold War, The Pop Group emerged as one of Britain's most radical exponents of new music and quickly gained notoriety well beyond the British Isles. Their until then unheard mix of punk, funk, dub, jazz and noise, countered by Mark Stewart's scathing political slogans and lyrics ("We Are All Prostitutes"), easily counts among the most impressive, provocative and lasting manifestations of musical spontaneity seen, heard and experienced by the end of the 1970s. After the group's dissolution in the early 1980s, members of The Pop Group re-emerged in a flurry of new bands and guises: Rip Rig & Panic (featuring the then still unknown Neneh Cherry), Pigbag (with their surprise Top 10 hit "Papa's Got A Brand New Pig Bag") and Maximum Joy. After a short stint with the New Age Steppers, Mark Stewart decided to pursue a solo career as Mark Stewart & The Maffia. His friend, production genius and ON-U sound owner Adrian Sherwood, took care of production and mixed the Maffia on their various tours. With Doug Wimbish, Skip McDonald and drumming talent Keith Leblanc, Stewart recruited a truly exceptional rhythm section who had previously played with the likes of James Brown, Madonna, Africa Bambaata, George Clinton, Tackhead and many others. Considered seminal milestones by many of his peers and fans, the solo outings by this "godfather" of Bristol's eclectic music scene blend the most diverse of genres in a unique and unconventional mix of dub, funk, punk, techno, electro, noise -- spiced up with a generous dose of Stewart's trademark political lyrics and slogans. Albums like As The Veneer Of Democracy Starts To Fade or Learning To Cope With Cowardice have left a lasting mark on the current music scene: icons in their own right like Massive Attack, David Bowie, Nine Inch Nails, Carl Craig, Asian Dub Foundation and Nick Cave call Mark Stewart's work a decisive influence. On Edit, Stewart adds some unusually melodious touches to his inimitable vocal delivery ("Loner," "Rise Again" or "Secret Suburbia"), slips in a smattering of his familiar, forceful cut-up collages ("Freak Circus," "Radio Freedom," "The Puppet Master") and gives us the almost delicate, abstract "Almost Human," plus a very odd and refreshing cover version of the Yardbirds' "Mr You're Better Man Than I" (featuring Ari Up of The Slits). The travel journal of an exceptional artist, Edit proves that Mark Stewart continues to defy all categorization.
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CD
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SJR 113CD
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"This album spans the entire musical career of Mark Stewart, The Maffia and The Pop Group. Curated by Mark Stewart, Kiss the Future is a mixture of new material (with new collaborators such as The Bug, Sanjay T), classic material from the legendary Pop Group ('We Are All Prostitutes,' 'We Are,' 'She Is Beyond Good and Evil') as well as Stewart's groundbreaking solo-work from the 1980s to the present day with the legendary Sugarhill Records/Tommy Boy rhythm section (as The Maffia) along with producer Adrian Sherwood (On U Sound). With unlimited access to the vaults Kiss The Future also includes rare and unreleased material. Mark Stewart (at aged 17!) was the lead vocalist and revolutionary sloganeer behind the Pop Group, now cited as one of the most influential post-punk bands. In the 1980s and thru the 1990s he went on to form Mark Stewart and the Maffia releasing a range of heavily politicised, boundary-pushing albums fusing electronic, dub, twisted disco, and industrial-strength hip-hop into a unique ground-breaking sound. The music ranges from post-punk/funk to electro-funk, hip-hop and dub. Mark Stewart (with The Pop Group and The Maffia) brought black music influences into punk for the first time influencing a generation. This continues today with the punk electronic/dancehall/desi/dub experiments of the new material ('Radio Freedom,' 'Puppet Master,' 'The Lunatics Have Taken Over The Asylum'). Mark Stewart is one of the most respected musical figures in music. LCD Soundsystem, DFA, The Liars, !!!, Radio 4, etc and the whole new wave of New York bands are heavily influenced by the sound. He has constantly surrounded himself with creative artists. His group The Maffia features legendary New York musicians Doug Wimbush, Keith Le Blanc and Skip Macdonald. From their early days playing alongside Grandmaster Flash, Afrika Bambaata and Sugarhill Gang the group have since played with everyone from Mos Def to The Last Poets, from James Brown to George Clinton. The co-producer of The Pop Group is legendary Jamaican mixer Dennis Bovell and for his solo career Mark to this day works with Adrian Sherwood (On U Sound) who himself has an incredible list of credits that include Lee Perry, Junior Delgado, Bim Sherman, Einsturzende Neubaten, Andrew Weatherall, New Age Steppers, Primal Scream and many more. As well as the original punk/funk outfit The Pop Group (which he founded) inventing what became The Bristol Sound and influencing the music of Massive Attack, Tricky (with whom Stewart collaborated) etc, Mark Stewart himself is the artists' artist: Two new recent Channel 4 TV programmes quoted both Nick Cave and Daddy G as choosing Mark Stewart as their favourite ever artist. With everyone from Carl Craig to Sonic Youth, DJ Hell to David Bowie (!) citing Mark Stewart as an influence, this album is the first to ever bring his musical career together."
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viewing 1 To 11 of 11 items
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