Olympus Live LATHE CUT 7" PUMICE Stefan Neville EP Epic Sweep Kraus NZ dead c
$
41
$ 41
Sold For
Nov 29, 2012
Sold Date
Nov 19, 2012
Start Date
$ 30
Start price
2
Number Of Bids
USA
Country Of Seller
eBay
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Description
Olympus Live LATHE CUT 7"EP Epic Sweep Kraus + Stefan Neville of Pumice NZ
Olympus [Pat Kraus (Kraus) & Stefan Neville (Pumice)]- Live At The Victoria Theater 7" LATHE CUT EP (Epic Sweep Records ES007)
Limited to 30 copies only (this is #4/30...numbered inside the sleeve) an long since sold out, this duo recording from Pumice's Stefan Neville and Kraus (Pat Kraus) is a lovely piece of polycarbonite. Olympus promises to be one of the great collaborations coming out of New Zealand in the here and now.Epic Sweep said: Olympus is Pat Kraus and Stefan Neville (Pumice), and the collaboration continues its skillful, clanging, pounding pop glory on this 5 song EP recorded live at the Victoria theatre in Auckland. It follows nicely from the diverse instrumental territory covered in their ‘Bold Mould’ album jointly released on Soft Abuse/Stabbies.
7" and Cover is LIKE NEW (note: lathe cut records are hand cut by Peter King in New Zealand on purpose built lathes, they are thinner than pressed records and do not have the same level of fidelity, some surface noise is typical on these records).
Tracks are:
1. Kina Cut
2. The Melted Mane
3. Stalker
1. Rickets
2. Drug Arm
Kraus has been an figure of increasing importance in NZ beginning with Murdering Monsters through to The Futurians and more recently wit work as a member of the reformed The Aesthetics and his solo recordings on labels around the world (Foxglove, Dreamtime Taped Sounds, Dilettante Courtoisie, Bimbo Tower Records, Dungeon Taxis, Moniker Records, Palto Flats, Root Don Lonie For Cash).
Stefan Neville is a legend, in my opinion, in the New Zealand underground. He works with Chris Knox and The Tall Dwarfs and has been a member of TheeIdealGus, Ohm, Teen-X-Ray and has worked with members of Witcyst, CJA, Armpit, Birchville Cat Motel and others. He is both a true original and the modern extension of where New Zealand music was going with the Xpressway label and artists like Alastair Galbraith and Peter Jefferies in that period.
My early piece on the New Zealand Vanguard written for Popwatch 10 in 1998 said this about Pumice (though I would revise this since as it overstates only one element of Stefan's work):
I'd have to say tha most shambolic projects in this web of communities is likely to be Pumice. The "band" is primarily the work of Stefan Neville, an accomplished musician also performs in bands with Crude's Matt Middleton and Dirtlove's Shaun Jury (The Aesthetics), Birchville Cat Motel's Campbell Kneale, CJA's Clayton Noone as well as projects such as Theidealgus and Cassagrante Apparatus. Neville is often touted as one of the finest drummers in the underground scene. As Pumice, Neville is often either joined by or replaced by Sugar Jon Arcus, a record or tape released is typically the work of Neville but can also be the sole expressions of Arcus. Regardless of who is playing Pumice at a particular moment, the recordings and performances can offer countless stylistic deconstructions...repetition and looping, acoustic folk-blues minefields, Baltic-style dance pieces, Martin Denny's inspired Exotica, really nothing is beyond the Pumice grip. Like a Hootenanny in the depths of Hades, Neville/Pumice/whoever are unencumbered by the baggage of stylistic focus, they are stunningly reckless.
Foxy Digitalis said of Pumice:
Pumice is Stefan Neville, an unassuming figure in the mind-expanding Kiwi underground. Over the years, Neville has had his hand in a great number of projects, working with his New Zealand peers like Antony Milton, Clayton Noone, Sugar Jon, and others. Over the course of numerous lathe-cut and CD-R releases, Pumice sonic shape began to take form. However, last year saw Neville put his best foot forward on the stunning "Raft" album, co-released by his own Stabbies label and Last Visible Dog. The album was a melancholic journey through the ocean, searching out lost island civilizations. It was the best album to come out of New Zealand in 2004 and remains in regular rotation in our apartment. It is impossible not to find something to love about Pumice, especially when Neville himself is such an endearing character. This interview was conducted via email by Brad Rose in early April 2005.
A M G says of Pumice's Quo:
Pumice's reputation continues to grow with each new release and Quo is another step forward, at once a classically ramshackle lo-fi psych treat and something that reenergizes the form into something new. Stefan Neville's one-man-band abilities are the key -- the stop-start tempo shifts on the opening almost-title track, "Pumicequo," sound like they could be the smooth shiftings of a full act on-stage, and if that effect is easier than ever to create, the point is that Neville's songwriting is the core, with melodies both catchy and wonderfully strange. The choppy flow of Quo works to its advantage -- everything feels like an assembled artifact, and the self-consciousness of the approach is handled well in Neville's hands, from what sounds like a clunky edit on the rough chug of "Fort" to the deep echoes and what could be marimba on the amusingly titled "Heavy Punter," which if it's not about a show attendee is a fun image nonetheless. The stylistic twists on the album further fit into both Pumice's general aesthetic and that larger one it follows, from the demi-shanty of "World with Worms" to the balladish "Dogwater" and the acoustic but not serene-sounding "Sick Bay Duvet." The latter tracks show how Neville could play it "straight" in an indie rock universe that tends to value brash clarity (or at least did at the time of the album's release), but even then there's a sense of distance in Neville's vocals, something that instrumentals, like the lovely closing "Beak Remedy," help to emphasize further -- that Pumice is, just a little, not quite of this Earth.
A M G says of Pumice's Raft:
Intentional sloppiness is a double-edged sword. Sounding amateur for the sake of it usually doesn't hold enough charm to compensate for the lack of interest or aural assault of the music. Pumice's Raft is a different story. First, the lo-fi setting is attuned to the deep honesty found in the approach of multi-instrumentalist Stefan Neville. Second, his wild creativity makes up for the crude recording. Raft is a slippery album. It sounds like Neville, who handles all the instruments, is always on the verge of dropping his guitar, falling off the drum stool, or tripping over a wire and crashing to the ground while singing. One doesn't know whether this is all real or affected, but Neville manages to turn this "act" into something credible, into its own form of songwriting. Of course, he also adds a huge dose of psychedelia and noise. Acoustic guitars are never left without a track or two of noise guitar to backed them up. A beaten accordion is sent through cheap distortion effects. Drums crash and splash all over the place, while electronics drill a hole into your skull to make room for Neville's awkward lyrics. The first two tracks epitomize the range of the whole album: "Pumiceraft" is an extended instrumental dominated by a languishing melody reminiscent of anthemic post-rock, although the density of the arrangements gives it an acid rock flavor. At the other hand of the spectrum, "Exciting and Awful" is a completely mad psychedelic folk song, replete with fuzz bass and accordion. That last title could actually summarize the impression left by Raft. In tracks like "In Space (On the Burst)" and "Awe of Oar," Neville seems to get lost in his own doodlings, his sonic experiments unable to replace a lack of song ideas, but elsewhere his ingenuity and warped artistic flair produce some of the most far-out rock this side of the Acid Mothers Temple.
A M G says of Pumice's Pebbles:
Stefan Neville's intriguing explorations into ragged enjoyable psych-rock that verges on the avant-garde continue with Pebbles, Pumice's first effort for the Soft Abuse label. Kicking off with the downright jaunty "Eyebath," possibly Neville's most immediately catchy song to date, Pebbles perhaps intentionally calls to mind one of the never-ending series of psych obscurity compilations that came to be in the wake of Nuggets. Certainly much of Pebbles carefully finds a middle ground between conventionality and tripping out, in a way that suggests a wide range of antecedents -- something like "Stopover" could simultaneously be an early-'80s act on Flying Nun trying out rough indie pop, and Jandek honing down his more out-there moments just enough, if only just. At its murkiest -- which is pretty considerable -- Pebbles has a calm but strong impact; the yearning, half-heard vocals on "Bold/Old," set against an attractive, echo-laden acoustic/electric guitar combination is one such example; the rumbling demi-tribal beat and scraping feedback crunch of the lengthy and increasingly unstable "Onion Union" is another. Many other downright charming individual moments stand out -- the increasingly heavy wash of distorted organ that dominates the shambling kick of "Greenock," the more serene keyboard flow of "Spike/Spear" (with extra end vocals and, as the credits accurately put it, rattle by the very youthful Lucy Danko), and the much more conventional acoustic guitar lope of "Both Beasts."
Olympus joins an elite cadre of inventive sound artists from New Zealand's underground who have helped bring the nation an international profile in the avant garde world, artists including The Dead C., Sandoz Lab Technicians, Omit, Thela, Parmentier, Rosy Parlane, Birchville Cat Motel, Pumice, CJA & Armpit, Peter Wright, Antony Milton, Witcyst, Gate, Rachel Shearer & Lovely Midget, Eso Steel, Greg Malcolm, Eye, White Saucer, Sam Hamilton, Tim Coster, Doramaar, Rain, Surface Of The Earth, K-Group, RST, Three Forks, Ray Off, Rory Storm, Small Blue Torch, Seht, Ben Spiers, Seht and countless more.
About feedback. All the years I've been on eBay I've had no negative feedback; I strive to provide courteous service. On Oct 10, 2012 I received negative feedback from an person who bought a vinyl 7" (listed & identified as vinyl). Surprised he received a record rather than a CD he left negative feedback without contacting me. He suggested I was a fool for selling vinyl (advising no one has turntables anymore). While eBay took offense at his wording & removed the text of his feedback as inappropriate, they advised the rating wasn't subject to removal as it was his opinion. I stand by my feedback from all the other good people who have bought from me and from whom I have bought items in the past and since.
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Buyer pays shipping:
Air Mail To USA : $3.75
Air Mail To Canada : $5.25
Europe/Australia/NZ: $7.25
Asia: $7.25
I will ship internationally & I will provide proof of mailing but I cannot guarantee delivery overseas (Italy has been a problem for many sellers) unless the buyer elects to use international priority mailing (ask for details...coverage is limited). It is essential that you provide a clear and accurate address for mailing of a package. Domestic packages to the USA are sent with delivery tracking.
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These prices reflect Priority shipping with coverage of $63.78 added automatically up to 1 pound.
Western Europe: $23.00
Asia : $22.00
Australia: $21.00
New Zealand: $19.50
On Nov-19-12 at 00:24:18 PST, seller added the following information:
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