Archive for the ‘Norman Records’ Tag

A Guide To Getting Hold Of Um Around The World   1 comment

An hilarious look at the spotty availability of yr grist, were you wishing to avoid international shipping cost+hassle, as it were.

Asia: No dice.
Africa: No dice
North America: Happily, the good folks at Mimaroglu are selling Can’t Get Started
They were good enough to say this:
“december 2011 release ; … fascinating overview of the work of contemporary uk “outsider” peter “um” gregory, a cantabrigian trawler of intersections between barrett-esque mumblecore & a-synchronous electro babble (with hints of uk post-punk diy squawk) …
… covering his “early years,” this comes (chronologically) after the (tyfus-covered, felix kubin-issued) “no pressure” lp for gagarin & the self-issued “babysitting the apocalypse” full-length ; highly recommended !!!”
South America: No dice.

Antartica: No outlets as yet.
Europe: Let’s subdivide this.
Germany: Deutschland is the only place you can buy No Pressure, my record on Felix Kubin’s Gagarin label. You can buy from Stora (where you can also get the Pete Um/Miss Hawaii spilt 7″) or from A-Musik
Actually, thinking about it, Gagarin might have been able to get copies of this in other places in Europe but I know they didn’t get none to Blighty.
Russia: Another Um exclusive for this mysterious ‘n’ cool lathe-only label Cyland Audio Archive. CAA#8 is a double 7.5″ EP of watery tape music from the fathomless pool of such recordings what I have done. To be fair I think it might cost you $35 whether you live in Saint Petersburg or in Godalming or Ghanzi but fuckit.
They said this:
“The use of amateurism and error as a means of composition characterize the art of Pete Um. It is important to understand that to be able to appreciate Pete’s work for CAA. His off-kilter methodology and stumbling attitude is still present, but it’s drenched in an abrasive and tape-hissy miasma. Worth it alone for transmutation. Here are the most intricate drones one has ever heard, analog meditations on life, anxiety, and death, bringing an incredible depth to what could have been a very flat sound, tape hiss clear as day with the distant warbles and close ripples sounding as if they’re inside your head, immaculate dreams filled with soft synths, galvanic and calming on so many levels, the silence is anything but, embedding the slightest shred of suddenness into every next moment, and going full on lumpy euphoria in the most restrained way, a heaven we never knew existed and never want to leave, this is masterful in its strange beauty, a perfect goddamn record.”
UK. By far and away the greatest suppliers of all Pete Um grist is Leeds-based online music retail heroes Norman Records, where you can buy reasonably-priced copies of Can’t Get Started, The New Album, Babysitting The Apocalypse and Giraffe! Amazing. Well done everyone.
I’m not going to mention Boomkat but I think you can get the split with Ascoltare there still too, but then you might as well just get that off Discogs cos even if you were shipping to the moon it’d still probably be cheaper and you wouldn’t have to read any of that “Don’t sleep!” business.
Australia. Nothing.

So yeah, if you live on Earth and you don’t do Bandcamp or you loathe global commerce or whatever, that’s what you’re up against. If there’s any way anybody out there can help with distribution I would be very pleased to hear from you. I don’t mind sending small numbers of stuff on flexible terms and so forth.

Norman Does Babysitting   2 comments

In their wisdom, the good chaps at Norman have furthered the grist of the prophecy and stocked the probable 5, as it was written. Thankyou very much again to Phil, Business Lady and especially Mike for this nice review ting.


Norman Records review Babysitting The Apocalypse

…according to our Mike on Wed 02 Jan, 2013.

Lo-fi contrarian and tireless enemy of mundanity Pete Um is back with yet another limited LP of his oddball ramblings and stuttering sample mayhem (nice to spot yours truly on the thanks list “for probably stocking 5”, too). There are 21 songs on this album and while the bedroom wonkiness is still present and correct it’s the most cohesive and accessible release I’ve heard yet from Um, with his brittle experimental weirdness draped around bona fide pop song structures.

The melodic, plodding space-pop vignettes he conjures tend to fall in territory somewhere in between Ariel Pink, the Clangers, Ergo Phizmiz, Bruce Haack, early Beck and perhaps a little Devo, but there’s passages of patient, loopy grooves in here that are reminding me of some of the hypnotic sampledelic weirdpop coming out of Clan Destine at the moment from the likes of Ela Orleans and Curt Crackrach.

There’s a current of humourous playfulness to the music, and Um isn’t really a man who could be accused of taking himself too seriously, but that’s tempered by a quite wistful, nostalgic psych-pop feel, with the lyrics often being somewhat introspective and self-deprecating. It’s a weird patchwork of sampley trip-hop, vintage computer sounds and thoughtful lyrics, but this seems more laboured-over than his previous works and to good effect. Far from the frantic lo-fi sprawl I was expecting, this is actually a cleverly paced, multifaceted and surprisingly coherent LP which I could listen to over and over. Hats off.

Eko chamber   Leave a comment

Ha, today I’m standing outside the pharmacy in Fulbourn with the dude I’m working with, watching the rain piss down and waiting for it to stop doing so, and against support-worker protocol I have a sneaky look at Twitter, and even though it isn’t @peteum the first thing I clock is this:


Now, aforementioned supported-chap has occasional epileptic episodes that manifest as him trancing out and repetetively rocking his body and repeating a phrase with some vigour, and one of these hits him as we’re standing there, but because I’m so seduced by the above bizarrely out-of-context affirmation of my obscure genius in tiny text on my mobile device, my perception is wholly tunnelling down towards that, and not-at-all focusing on my immediate surroundings. Therrfore it actually takes me a little while to realize that there is actually a Real Life, and that it is someone in it right next to me saying the words:


And then there we both are, suddenly readjusting to what passes for our respective realities.

Anyway, not written by the man Loki himself but occasional contributor/Twitpuppet Ekolad, the guy that makes all those records, and had the improbable industry in him to write:


Not enough people seem to be aware that Pete Um is a musical/lyrical genius.

And he cooks a mean goat curry.

Buy this record.

There’s a only a 100 copies.

One day everyone will realise what a genius Pete Um is, and then your record will be worth loads of money and you can sell it, pay off the mortgage, take early retirement, etc.

Everyone will be a winner.

Yes, one day, we will all be winners…

Not sure about the genius or the mortgages, but the curry is unassailably amazing and I do stand by the scarcity value argument also. And thanks Nick!

Posted August 30, 2012 by peteum2013 in Uncategorized

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Norman's Brian's Psychiatric Assessment   1 comment

Bless Brian at Norman for taking the time to sum up the Um sound or whatever.

He gives The New Album 5 stars and sez:

There’s not many British eccentrics as wonderful and awe-inspiringly mad as our Pete Um. His scattershot irreverent prose, weirdo-raps and surrealist sound-sculptures are pretty distinctive, I feel, and have a place in the marginal DIY art performance world inhabited by anyone from Ergo Phizmiz to Felix Kubin or The Rebel. I cannot easily start dissecting this gibbering new record of his. It’s like trying to psycho-analyse what goes on in David Shrigley’s head but with more LSD and gleeful irrelevance involved thus making the task a head-hurtingly impossible one.

This crazy man produces ace junk shop electronic pop/cabaret gems with more life, humour and imagination than is decent for such an endeavour, he really doesn’t give a fuck, man and I love him a great deal! I wonder if there is actually a book around in the inky-sphere with some of his writings in, he never floods his music with too many syllables and seemingly ad-libs, mutters, croons or freestyles rather than merely narrating. From lo-fi hobo gutter grooves to sinister, warped Jam-like head-fuckery, this is one mentalist journey that will leave you some place between delighted, terrified and perplexed.

Cheers mate. Hope you sell them!


Hannah's Barber   4 comments

God I hate the thing whereby when you know that if you want to write about anything properly you know it’s going to take a lot of time and effort to do it justice, and the word count will pretty high too, but here it is, an unlikely-ish story. Ever since Nochexxx played me the Carlton “Killawatt” Valley record that made me splutter in pissed wonder for it’s entire duration I’ve wanted a copy, and initial research into its perceived market value put it just slightly beyond my financial reach, or made me think to bide my time, which I did. Therefore I was chuffed to randomly discover it on eBay, looking at the prices of Dulcitones in the first instance, I think, and win it by being the first and only bidder, with my sniping skills still in the box of Old Things. Must be pretty old things, because the record got sent to my lovely Ex’s cos that’s where the ‘Bay still thinks I live, and it should keep up really. Or I should, because when the record didn’t appear I’m afraid I started making assumptions about people not finding the time to post records that they would have expected to realise more from bidwise at auction, and I sent a bit of a terse enquiry asking whether I should be expecting it anytime soon. I should, said the seller, because he’d swiftly posted it after sale, had proof of postage, was a postman himself and knew the drill, and, ridiculously, had recognised my name as a that bloke out of The Wire, and had therefore included a copy of his own record in the package. I was, of course, comprehensively disarmed. So, after fetching the red card from Sam and having to explain to matey at the PO that Pete Um is not my government name, and once we’ve all sat around listening to Special Request & Truck Inna Garage etc, I put on this weird gift, more than 99% certain to be underwhelmed, but curious nonetheless.

Strangely enough, it’s great! It’s got that neither-one-thing-nor-t’other quality which those with a jones for new kicks ‘n’ weird thrills consider standard in a standardised “surprise me” jaded appetite. But it’s a subtle thing – it’s not knocking you over the head with some gimmicky claim to unusualness. It’s like, uh, well it’s like a lot of things and none, but it’s like a melancholic 4-track Mouse On Mars using some outboard gear, perhaps, and that’s just one thing it’s like, a bit. It’s definitely a strikingly successful mixture of the programmed and the played, although it’s hard to tell what’s being done to what, and in a good way. Actually I think the only thing I don’t like about this record is the font the text on the cover is written in, which brings back bad memories of trying to like trip-hop, and that’s a shamefully weak-ass First World 21st Century reason for being negative about anything. But the music, which might be the main thing after all, that’s pretty solid, all the way through. I’m more into it the less beats there are, I think, but then I didn’t get where I’m not today by being overly concerned with rhythm-programming. In fact the standout track for me is probably the pianoey sketchitude of Piano 4OK, if I’m typing that right Mr. Trip-Hop font. That seems to me a good example of what this lot do best, i.e a kind of judicious execution of textural progression perhaps, or the kind of sound-painting that chooses all the right colours and then puts them all in the right places. There’s a lot going on on this record, but it unfolds beautifully. In fact it kind of hides its light a bit, but then that’s sort of what’s good about it. Looks like Boomkat still got some too.

Oh, 99p at Norman!
Yeah, it’s “organic” man!


Norman is selling me.   Leave a comment

Can’t Get Started, the new narrowly acclaimed 10″ record on my own Grist label, is now for sale here also! Thanks to the guys at Norman. I buy quite a few records there so they probably figured fuckit, but like the people in the Dr Seuss book they have a useful Mike who writes reviews and they didn’t have to use their Mike for such a purpose so I appreciate it. Here’s what Mike says if you’re not going to visit Norman:

Weird little fella, this. It’s got 17 songs running to a total of 23 minutes 39 seconds. The music contained in those minutes and seconds is frankly bizarre. Our Brian’s saying that this guy has been going a while but this is the first time we’ve met. Basically this is a collection of weird little lo-fi electro acoustic songs with oddball lyrics and even odder backing. It’s so hard to find things to compare this to because it’s just so bizarre. I guess Dan Deacon’s early stuff is a fair reference point but this is much more focused than some of that, so if noises are being made that you don’t like then you don’t really need to worry because they’ll be over in a minute (literally). One of the songs has a weird digital Dan Higgs-esque droney plainsong feel to it too. The closest we’ve got to a pop song here is the surprisingly catchy minute and a half of minimal electro that is ‘My Life Is Hard’. This record is shambling and clattery and disjointed and yet the cumulative effect is far more charming than you’d initially assume from just hearing one song. There’s a beautiful little essay about the pains of modern life that’s well worth reading, too. He certainly has a way with words. This is a weird record, make no mistake, but if you’ve learned anything from us by now then you’ll know that we like weird. And we like this.

Thanks to Mike, Norman.


Posted March 14, 2012 by peteum2013 in Uncategorized

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Be the first of your friends.   Leave a comment


Posted January 24, 2011 by peteum2013 in Uncategorized

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