A1 Overhill 8:54
A2 Loyola 3:56
B1 Half Day 4:37
B2 Cawthorne 4:50

Credits

  • Design, Artwork, Assemblage – Gregory Euclide
  • Mastered By – Simon Scott
  • Written By, Producer – Clem Leek, Mark Peters (4)

Standard Edition 10" vinyl

Thesis 019 - Mark Peters & Clem Leek

$14.00Price
  • THESIS PROJECT:
    ________________

    Two musicians asked to collaborate resulting in a 10" vinyl record

    Limited to 300 copies.

    Hand Numbered

    Housed in handmade laser-cut laser-etched jackets and an acrylic sleeve.

    ________________

    Ships Mid April

    From Mark:
    In the summer of 2019 I was on holiday in Minorca and received a message from Gregory Euclide asking if I would be interested in working with Thesis on a project.
    I was immediately drawn to the simple and effective nature of the label’s presentation. My first thought was that this would be the perfect opportunity to try out
    the loop function on my boss DD7 delay pedal and after three or four attempts I was hooked. Gregory asked for a minute long loop to accompany an image on his Thesis Recurring app
    so I worked up one of them and decided to think a little more seriously about guitar loops.

    As the format of Thesis releases is collaborative in nature, Gregory asked if there was anyone I would like to work with on a project. As I had worked with Clem on an admin basis
    (via the production music company I worked for), clicked with him on a personal level and enjoyed his music I thought he would be perfect…

    I picked up the Boss RC300 shortly after that, sat down one afternoon and composed and recorded the basis for the e.p in one sitting. I really love the way a piece of equipment
    like that enables you to record without being chained to a computer. As simple a thing as looking out of the window at trees and the sky is infinitely more inspiring than glaring at
    a monitor and the gloomy grey background of Logic Pro. In addition to the Boss DD7 I also use a Boss RV 6 for reverb and had some older Digitech X-series delay and reverb pedals in the chain too.
    They have excellent reverse functions and add a distinctly otherworldly feel to guitar pads. I love the Eventide Blackhole plug in too, so that’s pretty much on most of the music I make in some form or other.

    Going back to the early Engineers days, I have always approached producing music in a semi architectural sense. I’m the son of a builder and recording software almost encourages it.
    Working from the ground up and I often reinforcing elements to create a strong upward sweep. Great buildings sometimes have Impractical, idiosyncratic elements and this to me is echoed in
    fragile, imperfect human touches that provide an element of intimacy to the main spectacle. Working away from the computer encouraged me to work in a much different way. Focusing on the
    slow moving drift of clouds, or the way that wind blows trees to create random patterns made for much different and freer creative process. The asymmetry and the intuitive, abstract rhythms
    of the natural world are a much more attractive stimulus than a grey computer monitor interface and i think is apparent in the music we have recorded - finding patterns in the formless

    After making some first stage mixes, I sent the tracks to Clem to sprinkle some of his very particular fairy dust over them…I was very pleased with the results.

    From Gregory:
    I was initially intrigued by the artwork for Mark’s New Routes out of Innerland. It felt so familiar. I had to have a listen. Upon hearing it I was shocked to find out how much I loved the music. It was a beautiful blend of the things I loved about ambient music and what my partner calls “Space Rock.” I had never heard Innerland and I was already taking New Routes out of it… I needed to buy Innerland. So I did some research - found out Mark was on Sonic Cathedral label and contacted Nat over there who ended up being super helpful and friendly. I was able to get Innerland and A journey through Ambient Innerland in vinyl. It is no wonder I was drawn to the music, a frequent collaborator with Ulrich Schnauss, Mark’s work is at once blues, ambient and psychedelic.
    I contacted Mark and asked if he would be interested in the project and he agreed. I love it when I stumble upon kindred spirits. It seems everything is done over the internet these days, but Mark and I were able to chat up the better part of an afternoon. He suggested working with Clem and I was thrilled. Could not have made a better suggestion myself. The results are exactly what I would have guessed two musicians at the forefront of their genres would produce. You are going to love this one.