User talk:Bassmec/Mark Fairfax-Harwood
http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=45792 CRADLE OF FILTH bassist Dave Pybus has laid down bass tracks for the upcoming debut album from ANGTORIA, the new Swedish/British orchestral/metal band formed by female singer Sarah Jezebel Deva (CRADLE OF FILTH, THERION, MORTIIS), composer Chris Rehn (ABYSSOS) and Tommy Rehn (MOAHNI MOAHNA).
Commented Sarah Jezebel Deva: "With a few technical hitchs, but things running to plan, we have finally recorded the bass! My search for a bassist wasn't hard. I had two in mind, equally as talented and equally as amazing! Ryan Sinn from THE DISTILLERS and Dave Pybus from CRADLE OF FILTH/Six Six Six Records.
"Due to budget and time, Dave did the dirty job. It made sense because he doesnt live far from me. Personally it's a shame we couldn't have had two bass players! The tracks were recorded at Springvale Recording Studios by Mark Harwood, who is famous for various CRADLE OF FILTH work and EXTREME NOISE TERROR, amongst others.
"Finally, a dream come true for me! A song with Aaron [Stainthorpe] from MY DYING BRIDE. I've waited years to sing with his immaculate voice! It's at last happened. No title for the track as of yet but the lyrics were written by the both of us."
ANGTORIA's debut album, "God Has A Plan For Us All", is tentatively scheduled for release in April 2006 via Listenable Records. To help out with engineering the drums, the band have hired Daniel Bergstrand, who has previously worked with such acts as IN FLAMES, SOILWORK, MESHUGGAH, DEVIN TOWNSEND, STRAPPING YOUNG LAD and BEHEMOTH. A full-length MP3 of the ANGTORIA demo track "Six Feet Under's Not Deep Enough" has been made available for download at Angtoria.com. Other songtitles expected to appear on the upcoming CD include "Confide In Me" (KYLIE MINOGUE cover), "Little Girl", "Deity Of Disgust" and "I Cried Alone". http://www.jpgr.co.uk/col_r2799689.html
http://www.iankitching.me.uk/music/bonzos/bonzo-albums.html New Tricks 2000 Right Records RIGHT010 Digitally Remastered Original Tracks Vivian Stanshall thought up the title Neil Innes put together the running order Mark Lucian Fairfax-Harwood made it sound good Cool Britannia I'm the Urban Spaceman The Intro and the Outro Look At Me I'm Wonderful Canyons of Your Mind Shirt Big Shot Hunting Tigers The Sound of Music Ready-Mades Hello Mabel Tubas in the Moonlight Mr Slaters Parrot We Were Wrong Labio-Dental Fricative Straight from the Heart Busted Rusty (Champion Thrust) Don't Get Me Wrong Slush Rhinocratic Oaths
http://metal-archives.com/release.php?id=70
Dani Davey - Vocals
Stuart Antsis - Guitars
Gian Pyres - Guitars
Robin Eaglestone - Bass
Les Smith - Keyboards
Nicholas Barker - Drums on track 6
Was Sarginson - Drums on tracks 1, 3 and 4
Adrian Erlandsson - Drums on track 2
Sarah Jezebel Deva - Female vocals
"From The Cradle To Enslave" recorded by Mike Exeter & Dan Sprigg at Parr Street Studios, mixed by John Fryer at Townhouse Studios. "Of Dark Blood..." recorded by Mike Exeter & Dan Sprigg at Parr Street Studios, mixed by John Fryer at Townhouse Studios. "Death Comes Ripping" music by Danzig/Only/Doyle/Robo. "Sleepless" music by D.Cavanagh & Anathema, recorded & mixed by Mike Exeter & Dan Sprigg at Parr Street Studios. "From The Cradle..." remixed by Damien Clarke(Ship Of Fools) & Lecter. "Funeral In Carpathia" recorded and mixed by Mark Lucian Fairfax-Harwood at Springvale Studios. All tracks mastered by Noel Sommerville at Transfermation.
Photos by Stu Williamson with further decay by Alex Chandon. Layout & design by RiSe Graphics.
European version is a digipack. US version is a regular jewel case and includes "Dawn Of Eternity" (Massacre cover) in place of "Pervert's Church". 1. From the Cradle to Enslave 06:36 [view lyrics] 2. Of Dark Blood and Fucking 06:03 [view lyrics] 3. Death Comes Ripping (Misfits cover) 01:57 [view lyrics] 4. Sleepless (Anathema cover) 04:19 [view lyrics] 5. Pervert's Church (From the Cradle to Deprave) 04:59 [view lyrics] 6. Funeral in Carpathia (Be Quick or Be Dead version) 08:09 [view lyrics] Total playing time 32:03 Album Notes and Credits
Notes & Personnel Info Cradle Of Filth includes: Dani Filth (vocals). Additional personnel includes: Sarah Jezebel Deva (vocals); Was Sarginson, Adrian Erlandsson, Nicholas Barker (drums). Engineers include: Mike Exeter, Dan Sprigg, Mark Lucian Fairfax-Harwood.
http://www.bourbonstreetrevival.com/davebiog.html —Preceding unsigned comment added by Bassmec (talk • contribs) 00:02, 11 March 2008 (UTC)
extract from an interview published in 'Standard Music News' , August 2003. Thanks to M. Grappler for permission to reproduce. "Dave Jillings was born in an isolated rural community, and after being expelled from one of the better provincial public schools he became a farm labourer. It was here he learned how to take life. During the blistering hot summer of 1976 a combination of inhuman manual labour, record high temperatures and heavy home-made safety clothing caused a small part of his brain to actually melt, leaving him with some of the 'distinctive' behavioural characteristics that are still evident today. Ironically, the effects are also echoed in the drumming style that underpins the energy of the Bourbon Street Revival package. Jillings other influence at the time was county blue-blood bad boy Mark Harwood. Harwood carved out a notable career on bass guitar and in sound engineering, and still runs the Springvale Studios within spitting distance of the stately home he grew up in. "Mark personified sex drugs and rock 'n' roll." says Jillings. "He toured in Europe, and at one stage his band included a former member of chart topping Mungo Jerry, so they had to be the real thing! Mark encouraged me on drums, and his younger brother Oli gave me my first lessons."
http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?Mode=Archive&Date=9/10/2003
CRIMINAL, the formerly Chile-based act who feature in their ranks ex-PENTAGRAM mainman Anton Reisenegger and former EXTREME NOISE TERROR drummer Zac O'Neil, will enter Springvale Studios in Suffolk, U.K., on October 3 to record the follow up to 2001's "Cancer". The album will be produced by the band and engineered by Mark Harwood, whose previous credits include EXTREME NOISE TERROR and CRADLE OF FILTH.
"Last weekend I went over to the UK and we got to finish the songwriting," said Reisenegger. "I think people are in for a real surprise when they hear the new material. We've incorporated loads of blast beats, huge harmonies and some really interesting ideas. In this respect it has been really great to work with [new drummer] Zac [O'Neil]. He can play anything he wants and has taken the band to a whole new dimension. I know most bands say their newest album is always their fastest, heaviest, etc., but this is for real! As for the keyboards, I know a lot of people are having a hard time trying to imagine CRIMINAL with keys, but we're just using them to make things sound bigger and heavier. The trademark CRIMINAL sound is still there in full force!"
The working title "Supersonic Death" has been scrapped in favor of a new concept, which the band will announce shortly. The cover design will be handled by Claudio Bergamin, who was responsible for the artwork on the European version of the band's previous album "Cancer".
CRIMINAL's new album will be released in South America in late November through a major label that will be revealed once all paperwork has been signed. A European release will follow through Metal Blade Records in early 2004.
http://www.roadrun.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=5197
CRADLE OF FILTH have entered Parkgate Studio in Hastings, England to record their much-anticipated Damnation And A Day CD for a late 2002/early 2003 release through Sony Music.
"The studio is akin to a buzzy hive of activity right now, with several recording processes' going on at the same time," bassist Dave Pybus (ex-ANATHEMA, DREAMBREED) explained in the official CRADLE OF FILTH newsletter. "In addition to the main recording room we've got our own studios B and C set up for development of everyone's integral musical parts. Once a drum take has been finalised, we re-demo each track with guitars, bass, keyboards and even vocals before the 'final take' in the main control room, pushing our outlet for ideas to the limit and saving us a lot of time in wasted experimentation in a studio that is costing the best part of a grand a day. Nothing is spared (obviously including expense). Every avenue is explored, each of us adding our own ingredients right up to the last minute. And it doesn't stop there. Ideas are still encouraged and developed during the final recording phase and captured there and then for everyone to hear, helping the songs become even more dynamic, streamlined and complete. At least that is the general intention!
"Each track is hugely varied. Some fast and brutal, others mid-paced and heavy with majestic keyboard parts and crushing melodic guitars. There's even a slow song in the vein of BATHORY's 'Aria/Beauty Slept At Sodom' entitled 'Thank God For The Suffering', which will incorporate full use of real life orchestration! We've got lots of ideas sonically to keep each track surprising, with many new and interesting layers, helping the album become a huge piece of work to take in all at once. All done in the usual 'over the top' CRADLE OF FILTH style, of course. Plenty of influence from late night bonfire sessions induced with alcohol and agricultural explosives put to varying degrees of misuse.
"It's been very creative since day one. Well, actually, day one saw us celebrating the fact that we'd made it as far as the studio with a massive drinking spree, so at least since day two. Writing began in October 2001 at Springvale Studios in Ipswich and by February the band was well into its stride and able to demo the first thatch of songs. Two pre-production sessions followed in May and June in a secret hidden location in deepest, darkest Wales, (the somewhat rustic Windings) resulting in all 12 songs being recorded at a high standard, giving us the confidence to enter Parkgate Studio, Hastings (battle site of the Midian opus) in mid-July with machinegun-toting engineer Doug Cook (Midian/Bitter Suites/Live Bait For The Dead) guiding the chaos and peppering underachievers in the band with a hail of gas-propelled Uzi pellets.
"I can't give away much in song titles yet (as well as the aforementioned 'Thank God...', confirmed track titles include 'Presents From The Poison-Hearted', 'Mannequin' and 'Horror Epic') but I can tell you the album will be 17 tracks in total! Including: Intro, outro, 12 songs and 3 instrumental links, which have been written by Martin and will be recorded with a full philharmonic orchestra, with the help of one Dan Presley, who is in the process of scoring all the parts we need in order to take it over to Budapest in Hungary, where the choirs and thirty-six piece orchestra suitable to our 'special' needs are based.
"We are recording the album in two separate, 6 song sections, although on the album these will be further split again to provide four quarters or acts. This will be a huge advantage later as the first six tracks can be listened to while the other six are being recorded, meaning that we have more time to develop ideas and make important changes right up to the time the whole composite can be mixed.
"Right now everyone wants to know what the hell this new album is all about, this will be explained by Dani in the next exciting installment which you will receive sometime soon when the moon hangs in the ether like a rotted wedge of cheese. Until then, stay hungry...." —Preceding unsigned comment added by Bassmec (talk • contribs) 23:37, 10 March 2008 (UTC)
http://www.discogs.com/release/505175
Extreme Noise Terror - Being And Nothing
more images Label: Candlelight Records Catalog#: Candle057CD Format: CD, Album Country: UK Released: 2001 Genre: Rock Style: Grindcore Credits: Bass - Manny (Butcher) Drums - Zac O'Neil Engineer - Mark Harwood Guitar - Ali Firouzbakht Guitar [Lead] - Gian Pyres Lyrics By - Adam Catchpole , Dean Jones (2) Mixed By - Dean Jones (2) , Zac O'Neil Music By - Dean Jones (2) , Zac O'Neil Producer - Dean Jones (2) , Mark Harwood , Zac O'Neil Vocals - Adam Catchpole , Dean Jones (2) Notes: Recorded at Springvale Studios, Ipswich Nov 2000. Rating: 5.0/5 (1 vote) Rate It Submitted by: AbsoluteBodyControl
Possible New article
Mark Fairfax-Harwood is a music engineer, producer and bass player with a professional career going back to the mid seventies.
Following a half-starved dickensian choirboy's existence at Betteshangar preparatory School for Boys, Mark was by the heady summer of 1969 busily being educated at Frensham Heights, one of England's more liberal public schools. There he befriended, amongst others, Benjamin Hoffnung the son of the Orchestral writer and humorist Gerard Hoffnung.
Ben had a drum kit at school and Mark had a somewhat battered old cello guitar with a pickup but no amp, but this was soon rectified by the dismemberment of an elderly school gramophone and with the addition of a few more odd speakers from
here and there, and thus something akin to real rock and roll was almost achieved.
Unfortunately Mark's public school career was curtailed by said school although quite liberal for the time, disappointingly had a rather intractable clause relating to sex, drugs, live ordinance and rock and roll.
This was to be a turning point for Mark, as he surveyed the new opportunities afforded by local state education, he involved himself for a short period with uncharacteristic extra curricular hard manual labour resulting in the purchase of a Fender precision bass, having purloined and borrowed various other larger loudspeakers and whittled an amplifier or two out of some metal string, valves and what not, (Mark always seemed to want to get in amongst the gubbins). It was then that having begun to attend the local technical college to undertake electronics seriously but on a fairly weather dependent basis.
Mark had by 1974 achieved a marked reduction in the degree of nausea the audience experienced attending his various bands performances.
And after a few dozen nerve-steadying drinks the wise decision to go pro was taken. This meant first signing on the dole and then, to save money the band decided they should all live together as close as possible to a seaside amusement park full of girls.
Near the center of band operations was USAF Bentwaters, after careful consideration it was thought that by adding a sufficiently pulchritudinous and talented female vocalist and some extremely odd stage outfits, quantities of dollars could be liberated from the US treasury for the purpose of investing in even larger loudspeakers and with the help of a 16 year old Clacton girl called Sade this plan was put into action. Unfortunately a little later for some obscure reason Sade's mum seemed unwilling to let her daughter escape as far as a minor tour of USAF entertainment lounges in Germany.
So Mark's cover band at this point (tastefully named "OOH LA LA" ) sadly did it with without her and having failed to cause any real difficulties or international incidents, did it quite a lot. While this was ongoing (on the back burner) so as to speak an original set list was being prepared. Partly out of musical vanity and in some little part in revenge for the bombing of Coventry. Operating this set (with his new powerhouse drummer Steven Burgess under the new band name WINSTON) surprisingly proved innocuous enough to see the band booked on Wednesday nights (being rock nights at the Cavalier clubs) and many others all over Germany without let up, until a point was reached whereby at another post gig round or two of wise words and dutch courage and hand rolled cigarettes it was decided that, as by now the band considered Germany well and truly defeated and them selves to be musical geniuses and so why should they remain exiled from their mother country, thus "Winston" returned triumphantly to England. A move that was greeted by the UK music press with almost complete apathy.
It was at this point that Mark realized that apathy tended to result in placing very large loudspeakers and some very pretty microphones way beyond his budget. So Mark (being the old gear-slut he is), jumped ship and took the Polydor shilling in the hope of surreptitiously fondling loudspeakers and other gear that belonged to the Who and many other musicians that had huge equipment budgets. So being very keen and quite gullible about not being properly rewarded, he somehow achieved his goal and today runs his own studio and at various other venues has wantonly interfered with some of the very largest loudspeakers and shiniest microphones and things known to mankind.
It has however sadly driven him quite quite mad.
Corrected By Danny Filth
Regards.•:*¨¨*:•. ¸¸.•´¯`•.Mark Fairfax-Harwood, Engineer Springvale Studios 12:04, 13 March 2008 (UTC)