The Work's long-lost, never before issued last album from 1994 superbly recorded live in Breisgau, completing their catalog with 18 songs never before released on any studio album.
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Label: Ad Hoc Records
Catalog ID: Ad Hoc 26
Squidco Product Code: 13478
Recorded live in Freiburg im Breisgau, Germany, on April 18th, 1994 by Volkmar Miedtke.
Mick Hobs-bass, sine wave generators, percussion, guitar, voice
Tim Hodgkinson-flat guitar, keyboard, alto sax, main voice
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1. Dark glass 2:54
2. Wrong place 3:50
3. Onward 1:57
4. Humanity, lost, wandering 2:46
5. Place of emergence 2:40
6. Irregular 0:36
7. Numeral tints 0:53
8. Vera and the nihilists 1:53
9. Daily for revenge 0:50
10. G7 2:11
11. (We) go back 1:38
12. Like a water 2:21
13. Nothing left over 2:27
14. Hell 4:29
15. Crawling to safer ground 2:34
16. Read to me quietly 4:10
17. The distance 2:29
18. This is the cure 3:20
19. The hive coda 1:51
20. The rim 5:20
Ad Hoc Records
Rock and Related
RIO (Rock in Opposition)
Song Based Music
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sample the album:
"The 4th World is The Work's long-lost, never before issued, very last album, from 1994. Succeeding See by some two years, it shares that album's aesthetics and approach - an economy of means, and superior song-writing/ playing - even when compared to their earlier albums. One wouldn't guess it was recorded live at a gig in Breisgau, because the sound is, quite honestly, superlative, and is even better than any of their studio albums. The original, mono recordings (by Volkmar Miedtke) were meticulously reprocessed into stereo years later by Udi Koomran, and the sound has really been, "opened up". The playing itself is also powerful and thoughtful. Especially important is the fact that only two of the twenty songs on this disc were released on previous albums, thus making The Work's entire catalog finally complete, and now wholly in print."-Ad Hoc Records
• Show Bio for Tim Hodgkinson
"Tim Hodgkinson (b. 1949) studied social anthropology at Cambridge, and co-founded the politically and musically radical group HENRY COW with Fred Frith in 1968. In addition to composing, he has a long involvement in improvisation, and came back to anthropology in the 1990's with research into music and shamanism in Siberia.
He has participated in many concerts with Iancu Dumitrescu's Hyperion Ensemble both as bass clarinetist and composer and conductor. His compositions have been interpreted in such international festivals as: Spectrum XXI (Brussels, Paris, Geneva, , Berlin, London), Huddersfield Contemporary Music Festival (U.K.) where he was a featured composer in 2007, Craiova and Ploiesti Festivals (Romania), Guarda Festival (Portugal), Cantiere Internazionale d'Arte di Montepulciano (Italy), Konfrontationen Festival (Austria), Nordlyd Festival (Norway), Musique Action (France) and the European Symposium of Experimental Music at Barcelona.
His Piece for Harp and Cello was selected for the SPNM shortlist in 2005. His composition SHHH was accepted for the IMEB electroacoustic music archive at Bourges in 2006. His piece Fragor appeared in the Martin Scorsese film Shutter Island in 2010. He has worked with Hyperion Ensemble, Talea Ensemble, Ne(X)tworks, the Bergersen String Quartet, London Sinfonietta, Insomnio Ensemble, Phoenix Ensemble, Basler Schlagzeug Trio, Nidaros Slagverkensemble, Bindou Ensemble.
As an improvising musician on reeds and lap steel guitar Tim Hodgkinson has performed all over the world with many of the most acclaimed artists in the field, and continues to be fully engaged in the celebrated Konk Pack trio with Roger Turner and Thomas Lehn. In 2009 he released KLARNT - a CD of solo clarinet improvisations.
With Ken Hyder, and Gendos Chamzyryn from Tuva, he works in the K-Space project: numerous tours of Europe and Siberia and CD releases - including INFINITY, a set of recordings that uses customised software to re-compose the music with each listening. In 2009, K-Space developed a sound-installation for the exhibition Shamans of Siberia at the Museum of Ethnology in Stuttgart.
As a writer, he has published articles and reviews on improvised music, musique concrète, spectralism, the ethnomusicology of shamanism, and the aesthetic problems of the impact of new technology on contemporary music - in, amongst others, Perspectives of New Music, Arcana, Contemporary Music Review, Musicworks, The Wire, Cambridge Anthropology, Variant, Rer Quarterly, and Resonance Magazine. His book, MUSIC AND THE MYTH OF WHOLENESS will be published by MIT in January 2016.
He has given lectures, workshops and seminars at Cagliari and Lyon Conservatoires, at the Institute of Contemporary Art, at Goldsmiths College and the School of Oriental and African Studies in London, at Istanbul, Edinburgh and Cornell Universities, and art schools in several European countries, at COMA summer school, and at the Verband für Aktuelle Musik in Hamburg where he was artist in residence in 2010."-Tim Hodgkinson Website (http://www.timhodgkinson.co.uk/information.html)
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