Pumice And Room 14-Dumbos Jamaican... LATHE 7" NZ RARE
$
104
$ 104
Sold For
Jun 6, 2011
Sold Date
May 30, 2011
Start Date
$ 20
Start price
6
Number Of Bids
USA
Country Of Seller
eBay
Auctioned at
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Description
Pumice And Room 14- Dumbos Jamaican Egg Dance lathe cut 7” (Stabbies And The Rockets)
Supremely rare Pumice lathe cut 7" from 1999 (between 20 and 40 made, I believe), this is Pumice (Stefan Neville) with backing from Room 14 of Form One and Two class at The Wellsford School.Front Porch Productions says of Pumice:
There is an idea of New Zealand pop music that isn't pop music at all: Pin Group, Alastair Galbraith, Peter Jeffries and Antony Milton. Now, enters Stefan Neville, aka Pumice, and the most broken down, lo-fi approach to pop yet! One man band compositions and variations for small silver guitar, intercoms, endless cassette, chord organ, spring reverb, buzzbox, drums and voice. The struggle between sinking and swimming, swallowing water and going to the toilet either way since 1991.
The new Stefan Neville album just arrived & is burning a hole through my life with its beautiful ragged, spacious static anthems. Music is Pumice's raft, & he's barely holding on. Electric & acoustic guitar, chord organ, fuzz box vocals & a tape machine: this is the white soul music.... represents the best in murky New Zealand-ish downer hymns. Inspiring.
-- Glenn Donaldson, Jewelled Antler Tribe, on Routes for War and Travel list
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."
7" is MINT- (note that lathe cut discs have a fair amount of surface noise from the nature of the King lathe cutting process)/Cover is MINT to MINT-.
I accept payments through Paypal. I also accept payment by mail in US currancy and Checks drawn on US banks (Checks require 10 days to clear the bank). Please do not send cash by postal mail, I cannot be responsible for cash sent by mail.
Buyer pays shipping:
Air Mail To USA : $3.00
Air Mail To Canada : $4.25
Europe/Australia/NZ: $6.00
Asia: $6.00
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.
I need to be clear that I can provide proof of shipping on any package mailed, but I cannot be responsible for packages lost in the post. In order to minimize the likelyhood of lost packages I print the address from your paypal payment address and give you the oppportunity to correct the address if necessary. If you pay by postal mail, I ask that you email me your address so that I can print a label from your email.
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 May-30-11 at 21:56:48 PDT, seller added the following information:
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