Mark Stewart - The Politics of Envy (Sampler)
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Published on Apr 4, 2012
Mark Stewart's new album The Politics of Envy is OUT NOW.
"A National Treasure" 4/5 - Daily Mirror
"A well-aimed Molotov" 4/5 - Uncut
"A counter blast and anti-venom in one dosage" 4/5 - Mojo
"Stewart's always been ages ahead of the game" 8/10 Spin
All roads have been leading to this. Two years in the making, The Politics of Envy cages, consolidates then hotwires the rampant barrage of elements which have infused Mark Stewart's work since the Pop Group blasted the post-punk landscape with their raw-energy flamethrower and barbed social howls.
It's a stunning work of gladiatorial proportions, a seething arena of sonic mischief, stellar collaborations and deceivingly dislocated backdrops, shot throughout with Stewart's twistedly eloquent observations and manifestos. After spending the last three decades watching his innovations plundered and turned into gold by both friends and foes, Stewart is back with his most high profile album to date, re-establishing him as one of the most volcanic creative minds this country has produced.
Over two years, material was recorded in Berlin, Lisbon, New York, Vancouver and old mucker Adrian Sherwood's On-U Sound, before being knocked into shape with Mark's co-producer Youth in London. Stewart takes the art of collaboration to a different level in his never-ending quest for the perfect beat and fresh aural vistas. Like a lightning conductor, he channels the verbal insurrection racing through his brain at light-speed, and he casts bolts of sonic uproar, carried or embellished by names including Kenneth Anger, Richard Hell, Primal Scream, Lee Perry, Gina Birch, Slits bassist Tessa Pollitt, Massive Attack's Daddy G. and Factory Floor.
He has also performed something of a miracle by getting Clash founder and original PiL guitarist Keith Levene involved with often startling consequences, along with original Jesus And Mary Chain bassist Douglas Hart.
"The whole thing grew out of something I was trying to do with Kenneth Anger," explains Mark. "I was living in Berlin and these mates of mine were connected to this kind of Dada art group in Portugal called Mechanosphere. First of all, I organised this week-long symposium in Portugal for some art funding about magic and art. It was such a pleasure to do that. I was then going to do some weird thing with Kenneth as some kind of avatar...It's passing it on but also paying homage. Kenneth Anger's spirit kind of hangs over the whole thing."
The Anger connection: renowned as one of the most influential independent filmmakers in cinema history, he is notorious for injecting surreally unsettling works such as 1964's Scorpio Rising, 1969's Invocation of My Demon Brother and 1972's Lucifer Rising with elements of homoerotica, gay culture and his abiding fascination with the occult (or unknown).
"I feed off things (like Kenneth's stuff) like a nutrient. 'Little Johnny Jewel' by Television when we were kids, gave us an amazing energy, Richard [Hell] was crucial to my history. Daddy G casts a different shadow, but then people like Massive say that I feed them. Then there's this generation next, like Factory Floor, Kahn the Bristol Bass kid and Crookers. It's a pleasure to give something back and also help kids who are starting off...I've never really collaborated with people before. I've always been a real loner, on my own doing weird experiments and not giving a fuck what anybody thought about it. I just wanted to hear a backwards noise; that's how I got my pleasure."
Stewart's unmatchable track record of anarchic pioneering and seismic influence prompted Nick Cave to declare, "Mark Stewart changed everything". Looking back, Mark says, "I thought I was making dance music, but a track on Veneer of Democracy supposedly inspired all the American industrialists, like Front line Assembly and Skinny Puppy, while another track supposedly inspired the Bristol kids. It happens all the time. I've got this nonchalance that nothing is sacred so I'll crash a Slayer guitar line with Rotterdam gabba beats. For me, it's like colours. I grew up doing montages; like I did this collage of Ronald Reagan's head on this gay porno cowboy. In fact, I've never really grown up at all. I'm still trying to put round things into square holes."
'Like' Mark Stewart on Facebook: https://www.facebook.com/markstewartm...
Follow Mark Stewart on Twitter: http://www.twitter.com/_markstewart
Released on Future Noise Music
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