#Stuart Moxham

[guessimdumb]

Stuart Moxham & Louis Philippe - The Devil Laughs (2020)

Stuart Moxham of Young Marble Giants and Gist fame teamed up with French Chamber pop maestro Louis Philippe to record the Devil Laughs.

[bandcampsnoop]

2/2/24.

Young Marble Giants have been a favorite of mine since I first heard them about 15 years ago. Alison Statton's perfect voice and melodies combined with Stuart Moxham's guitar and Philip Moxham's bass created some of the most unique music of the rock era.

Alison Statton has collaborated with many musicians (including Stuart Moxham in The Gist), but her collaboration with Spike Williams is approaching it's 30th year.

Stuart Moxham has worked with many musicians over his career - Barbara Manning comes to mind as an excellent collaboration.

Tiny Global Productions (UK) has released "Bimini Twist" and "The Devil Laughs", the latter an LP where Stuart Moxham works with Louis Philippe. Both albums are great, and currently on sale. And if you buy both, Tiny Global Productions will throw in Nightingales' "The New Nonsense" 12" for free! This sale runs through Sunday.

[spilladabalia]

Young Marble Giants - Wurlitzer Jukebox

[daggerzine]

Throwback Thursday #69!- Young Marble Giants- Colossal Youth (1980 Rough Trade)

This Welsh trio of Alison Statton and the Moxham brothers, Stuart and Philip, weren't around long, a few years, but released a couple of excellent EPs and this, their lone LP in 1980. 

Stark and minimal doesn't even begin to describe it. You've got ultra-nominal guitar/bass/organ and a hushed drum machine. Oh and the recited vocals of Statton, all to create this totally unique record. 

You have stellar cuts like the opening "Searching for Mr Right," the echoey/jagged "Include Me Out," and the weirdly haunting "The Taxi," ...and that's the first three songs. 

Elsewhere, "N.I.T.A." comes directly out of the future, while you can almost dance to the title track, and "Credit in the Straight World"  (covered in the 90s by Hole) stabs a plastic fork in every direction, and hits each and every time.

The EPs are totally worth your time as well, but man, Colossal Youth is the one. A magical debut by a band that wasn't long for this world, but made the most of it.

www.dominomusic.com

[dustedmagazine]

Linda Smith & Nancy Andrews — A Passing Cloud (Grapefruit/Gertrude Tapes)

A Passing Cloud by Linda Smith & Nancy Andrews

Linda Smith

A Passing Cloud is the first new music in over 20 years by ur-home-taper Linda Smith, reunited after even longer with her old bandmate, Nancy Andrews. In the late 1980s, Smith stood out as a rare female participant in the mostly male home-taped music scene that preceded the early 1990s international pop underground. Her CD releases on Feel Good All Over and Harriet placed her alongside Stuart Moxham as an example of what many artists recording for K and other such imprints wanted to become. Her music was informed by the emotional and sonic contours of 1960s AM radio pop, filtered through the sense of possibility and acceptance of untutored skills sparked by groups like the Raincoats, crafted using simple tools and sold in shoebox-sized quantities to like-minded, home-made music fans. Smith swapped music-making for painting in 2001, but a couple of compilations of old tracks have kept her sounds circulating.

Even before Smith started four-tracking, she was in bands. During a mid-1980s sojourn in New York, she and house-mate Nancy Andrews were in one called the Woods. They parted ways as creative partners when Smith discovered home-taping and Andrews pursued other arts, but remained friends. Music reentered the equation in 2020, when Smith made a proposal to resume working together after she was taken anew by some of their old work while cleaning out her old tape drawers during a COVID-mandated year off from her day job. They sent files back and forth between Maine, where Andrews now lives, and Maryland, for a couple years, and completed A Passing Cloud in 2022, thirty years after their last recording together.

In some respects, the album’s 12 songs feel quite rooted in the music they made back in the day. Their singing is unaffected and effects-free, born upon guitar licks that owe an undeniable debt to the third Velvet Underground album. However, drum programming and recording options being what they can be nowadays for anyone who owns a computer, the rhythms are a bit more assertive, the sound mix cleaner and more separate.

More significantly, there’s a clarity of intent about this music, a sense that its makers were consciously trying to see what new place it might take them. Andrews and Smith  kickstarted their songwriting process by cribbing lines from the former’s collection of detective paperbacks, which they used to generate stories more concerned with the manipulation of characters than the resolution of crimes. “How Could I Know” recounts a series of descriptive details about a woman, following by the question, “How could I know?” Not only does the repeated phrase make a nice hook, it drives home the message that the questioner really did know the protagonist, which in turn sets the listener on a course of making up their own stories about that relationship. Loops of dialogue sampled from some old movie abstracts melodrama into something more opaque on “The Whispering Cup,” and “Spare Me The Details” reimagines the sound of early mersh Residents as a vehicle for a couple of unabashedly older woman to pleasantly sing about giving no fucks. The music on A Passing Cloud may reference past methods and styles, but they feed an authentically present-centered process of creation. It turns out that that bedroom pop aesthetic has legs that can go the distance.

Bill Meyer

[ozkar-krapo]

YOUNG MARBLE GIANTS / The GIST / WEEKEND

"Nipped in the Bud"

(LP. Celluloid. 1983 / rec. 1980-82) [GB]

[not-my-generation]

[songe421]

La plus belle chanson du monde (5)- The Gist- "Love at the first sight" (1982)

La plus belle chanson du monde (5)- The Gist- “Love at the first sight” (1982)

Vous avez certainement vous aussi “votre” plus belle chanson du monde (et peu importe si, en fait, vous en avez plusieurs, mais l’important, c’est qu’elle le soit au moment où vous l’écoutez (et pourquoi où vous nous en parlerez)). Cette rubrique est là pour les partager. Je suis sûre que vous vous dîtes que vous ne connaissez pas cette chanson et encore moins The Gist. Pourtant, pour peu que…

[bandcampsnoop]

11/17/23.

Another day, another amazing reissue available on Bandcamp. Meat Joy were an Austin, Texas based punk band that sound like they were in Athens, Georgia sharing a stage with Pylon in the 1980s.

Part of the great minimal punk sound of the era, Meat Joy remind me of Young Marble Giants crossed with Vitamin. I know that Barbara Manning released a collaborative effort with Stuart Moxham of Young Marble Giants; Meat Joy sound somewhat like an angry version of that collaboration.

This appears to be self-released by the band. It was originally released in 1984.

[vivawunderbar]

Sky Over Water

[aaronmcmillan]

Young Marble Giants - ‘Colossal Youth’

[wardancefm]

Track of the Day; 13/9/17

The Long Run - The Gist, 1982

https://www.youtube.com/watch?v=X2D0uv38i38

[dimartblog]

Brand new life

Αυτό δεν είναι τραγούδι #1006 Dj της ημέρας, ο Γιώργος Θεοχάρης Το 1980 οι Young Marble Giants κυκλοφόρησαν το μοναδικό Colossal Youth. «Μοναδικό» –καταρχάς– κυριολεκτικά: αυτό ήταν το πρώτο και τελευταίο τους LP (ακολούθησαν δύο EP μέσα σ’ ένα χρόνο και τέλος). Οι Young Marble Giants (όνομα που παραπέμπει τους αρχαιοελληνικούς Κούρους, όπως άλλωστε και ο τίτλος του δίσκου τους) ήταν ένα…