Nagle, Paul

Artist: Binar (Andy Pickford & Paul Nagle)
P: 2021
On August 20th 2016 Binar got together in a hut, sorry pavillion, to see if the Farce was still with them. Fortunately someone had brought an inflatable stormtrooper and an inflatable R2D2, settling the matter once and for all. Twas a splendid night, with Divorce Concepts, Mankey Trial and Boop and Crick playing stunning sets that would have intimidated lesser artists. But Binar are well beyond intimidation. And, indeed, any form of external stimuli After connecting all the gear, solving the problem of the MIDI bass pedals and burning a sacrificial herb, the boys were ready. And by that, I mean, they started making noises. The original plan had been to play a whopping 90 minutes - a major plate-spinning exercise, even assuming a set of polished, beautiful plates had been prepared. But at the last minute this switched to 2x45 sets, radically different. Inspired by the switching, the gig switched into Full Random Mode, in which neither performer knew what was coming next, other than the long ride home in the dark.
Somehow, by means of magic and misdirection, it all worked. Indeed, judging by the recording, it worked beautifully. Paul had somehow resisted spinning all of his plates simultaneously and Andy had let loose his patent form of chilled keyboarding. Tales of the Uninformed is dedicated to all those who didn't know the gig was happening, or knew but were terrified of being in a strange hut next to a pitch black car park listening to strange electronic noises.

Artist: Binar (Andy Pickford & Paul Nagle)
P: 2021
On August 20th 2016 Binar got together in a hut, sorry pavillion, to see if the Farce was still with them. Fortunately someone had brought an inflatable stormtrooper and an inflatable R2D2, settling the matter once and for all. Twas a splendid night, with Divorce Concepts, Mankey Trial and Boop and Crick playing stunning sets that would have intimidated lesser artists. But Binar are well beyond intimidation. And, indeed, any form of external stimuli After connecting all the gear, solving the problem of the MIDI bass pedals and burning a sacrificial herb, the boys were ready. And by that, I mean, they started making noises. The original plan had been to play a whopping 90 minutes - a major plate-spinning exercise, even assuming a set of polished, beautiful plates had been prepared. But at the last minute this switched to 2x45 sets, radically different. Inspired by the switching, the gig switched into Full Random Mode, in which neither performer knew what was coming next, other than the long ride home in the dark.
Somehow, by means of magic and misdirection, it all worked. Indeed, judging by the recording, it worked beautifully. Paul had somehow resisted spinning all of his plates simultaneously and Andy had let loose his patent form of chilled keyboarding. Tales of the Uninformed is dedicated to all those who didn't know the gig was happening, or knew but were terrified of being in a strange hut next to a pitch black car park listening to strange electronic noises.

Artist: Binar (Andy Pickford & Paul Nagle)
P: 2004 / 2023
It's from 2004 and a rather good one, recorded live at the National Space Centre, Leicester.
Both our fans will know there's another part to it - Project Poltergeist. That one's an actual CD boys and girls, so naturally Andy and I still have boxes of them lying around, being used as tables, speaker stands, hole-fillers etc. Dunno about his Dudeness, but in future I wanna be paid in drugs. At least I can make use of drugs!
Anyway.... this was a CDR not a CD and I'm told lots of the old CDRs are starting to fail. Hence this is here, available once again. If your CDR has gone horrible, drop me a line and I'll generate some free codes.
I found the original artwork and hacked it quickly to make a cover. Amazing I can find stuff from 2004 but lost something only this week and have no idea where it went.

Artist: Binar (Andy Pickford + Paul Nagle)
P: 2004 / 2023
Here now the new version with a 7th bonus track.
Tracks two to six were taken from what I think was the second set from their awesome September 2003 National Space Centre Concert. The first however, 'The Great Slow Down' is a new one from the studio. Vast symphonic pads create quite an epic feel. In the third minute ethnic vocal samples can be heard then text taken from some news programme, all underpinned by a gentle sequence which gradually increases in prominence as it rises through the mix.

Lovely little melodic touches add a nice gentle quality to what is becoming quite intense backing. Extra energy comes in the form of a drum line heightening the excitement as well as driving the track forward even faster. Calmness is restored in the last five minutes as a lovely flute weaves its spell over a steady rhythm. Vocal samples return, this time creating quite an uneasy feeling which, if anything, is intensified on 'The Other Side'. Dark drones reverberate and if the volume is high enough should make the floor shake. Above this are ethereal pads with an almost vocal quality to them. The contrast of the drone and pads changes the mood to one that is more spiritual than sinister.

In the last couple of minutes a rather Spanish sounding acoustic guitar can be heard finishing things off in a lovely dreamy state. 'Le Miracle Du Vert' bounces in to life on the back of a rapid high register sequence. A three note bass loop gives depth as lead lines meander over the top.

'RollencGeeken' deploys an even faster splashing sequence which is then replaced by a more bass laden one. It's a track with real attitude in the rhythm department but with sublime little melodies, which just seem to hang in the air, above it all. A more forceful virtual guitar lead line surges forward in the fifth minute giving even more oomph. 'Mellowtronic' initially calms things down with nice relaxing atmospherics, rather Vangelis sounding actually. A slow but infectious groove starts up with yet more little melodic touches weaving around it. A tinkling sequence is added, complemented perfectly by a delicate piano lead. What a beautiful track. The final number 'That Which we Know Not' begins with eerie effects and delicate tinkling bells. This moody start is shattered as some insistent drums roll forth. Things become even more exciting and powerful as a wonderful sequence forces its way to the top of the mix. An excellent track to finish a wonderful album. (DL)

Artist: Paul Nagle & Phil Smillie
P: 2005 / 2023
JIC begann vor vielen Jahren als Pauls Geheimprojekt, hatte aber keine Seele, bis Phil es auf den Markt brachte.
Jetzt hat Phil eine neue kosmische Adresse, alles was wir haben sind diese Aufnahmen.

Artist: Andy Pickford & Paul Nagle & Phil Slillie
P: 2023
Live at Brudenell Social Club, recovered from mp3 and presented as a one-off Binar/JIC sesh played live in Leeds on the named date. Forgotten until now I have been trawling through old gigs of late and realising I've not put out all that all much live stuff.
In memory of a dear friend, with thanks to a great musical other half.

Artist: Paul Nagle + Matt Howard
P: 2021
LTD 300
A unique cooperation from Matt Howard with Paul Nagle. An Enhanced CD with the music from Paul and a great comic from Matt!!
Music inspired by Matt's the Spiecies Gap. Recorded in blissfull isolation in the Soft Room, Preston UK
Masterd by Dean Honer at the Bowling Green.

Artist: Paul Nagle
P: 2023
Some musical reflections on my formative years.

Artist: Paul Nagle
P: 2022
The inspiration came from a committment to work on shorter pieces yet to retain some of the looseness (chaos?) inherent in the non-linear approach I've been exploring for some time. I got a real boost from the ultra-cool artwork by (Headshock other half) Tim Rafferty, although I've taken certain liberties with it here, twisting, cutting and generally brutalising to fit my nebulous concepts.
There's an image for every track. Actually, I had a lot more tracks and images than I've used, but I tried to keep the best for flow and narrative. It could have been much longer but weaker. The album's title was originally Ambrosia Imagined, then Tim came up with 'Incarnate' as an improvement. It stayed the main theme for a while, then I realised Ambrosia didn't really capture the mood so well compared to Approximation. It could almost have been called 'Appropriation Index' given the current state of AI.

Most of the tracks are performed on just two synths - Tim's Jupiter 6 and my Udo Super 6. Each have different strengths but they play beautifully together, I think. One track is entirely done on my lovely green Korg MS20, layered and looped - see if you can spot which. In places there is a Moog DFAM tapping away and even a tiny bit of my Casio piano is slipped in. Everything was captured into a 1010music BlackBox then arranged live. In terms of FX, the Strymon BigSky and NightSky are given rigorous workouts and Roland's RC-505 (old and new) were invaluable companions too. Sequencing courtesy of the Octatrack (and P3 for the MS20 track). I think that's pretty much the whole story.

Artist: Paul Nagle
P: 2017 / 2023
 

Artist: Paul Nagle
P: 2023
I must quite like this as I've taken the three original sources and imported them into Logic then Wavelab to make a suite of sorts. So it involved computers and overdubs and endless faffing about how much screeching top end to leave in and what is the right listening level for something that's essentially a background drone, just with stuff happening? I know, right? I even did some artwork - grabbing two of the more successful corners of a painting I'm working on to be the starting point. Anyway, hope you enjoy.
Instruments: Synthi AKS, Korg MS20, Soma Lyra-8, Experssive E Osmose, many FX, then light overdubs from Omnisphere and Kontakt.

Artist: Paul Nagle
P: 2019 / 2023
I decided I wasn't quite ready to become compost just yet so I put together a smaller studio with fewer items in it, no computer either. My tiny setup is based around an Elektron Octatrack which serves as the sequencer for an Analog Four and Digitone. For something to play, I bought Korg's Minilogue xd and loaded the MI Plaits oscillators into it.
What fun! Suddenly I was turning out a track each day again - like the old days, like the 1980s! These are a small selection of the results.
 

Artist: Paul Nagle
P: 1999
On ‘Lore’ Paul Nagle has set out to present the whole body of knowledge and experience he has gained during his EM career.
The result is a sensational album which continues, and if anything increases, the momentum he seems to have found after the ‘Elemental’ series.
4 tracks are presented, all neatly packaged around the 16 minute mark, and as with Paul’s Far From Stars project there are guest musicians aplenty - largely the FFS collective underlined by the opener being ‘Chill Factor’ which featured on ‘Proxima Centauri’. Here the track has been fine tuned to perfection, developing carefully to usher in a seductive rhythm which builds seemingly endless expectation until the awe inspiring piano melody hits home. Delightful synth interplay and reversed effects lead into a sharp vox which mutates from freehand into sequence before violin joins the fray.
‘Anachronist’ opens with mellotron flute and effects before a completely sensational sequence hits home at the 4 minute mark. It tracks some delicate guitar work before the bass registers start to be progressively introduced. Layer upon layer is added to produce a mouth watering wall of sequencer backing which moves around with the main melody in delightful fashion. The track ebbs and flows, suggesting closure then flying back at you with awesome power. Japanese style detail then bridges into a more robust rhythm which overlays the sequence layers which make a dramatic return.
The mid point reached, and already this album has achieved "essential" status. Yet the remaining tracks, if anything, surpass the form of the first two.
‘Lore’ is based on the most sublime and infectious melody which is picked out on synth voices which bring to mind TD’s ‘Poland’ in one breath, Neuronium’s ‘Chromium Echoes’ in the next. Words are superfluous when confronted with such a heartfelt theme. The mid section is a rhythmic delight, and the symphonic ending a peach.
‘Cascade’ replaces melodic splendour with sequencing from the very highest echelons.

Artist: Paul Nagle
P: 2023
One long Sequencertrack.

Artist: Paul Nagle
P: 2001
The two CDs we have here have very different characters. You very well might like one disc when you are in a particular mood but then at another time you might prefer the other. 'Blue Book' is basically a feast of Sequences sounding very retro but with fantastically strong melodies where as 'Red Book' was inspired by a holiday Paul spent in China. He took recording equipment with him capturing the atmosphere of the places he visited through the sounds around him.
Looking at 'Red Book' first, 'Multitude' begins with some of those recordings which disappear after a few seconds as a very fast sequence sizzles from the speakers over a high register lead line. A bass beat is added to the brew nestling in the middle of the mix. It is very deep but not dance sounding. At three mins the fast sequence dies away and various slow melodies weave round each other creating a slightly ominous feel, the transition from one mood to the other being handled effortlessly. This is gorgeous and captivating stuff. Allow yourself to be drawn in and wallow in the beauty. The pace starts to quicken then momentarily slows as a heavy beat can again be heard. The mood is constantly changing as the track twists and turns. It's a great way to start the CD.
We drift into 'Tomb in Darkness' on the back of more of the field recordings . This is an incredibly atmospheric track with piano initially providing the main lead. Its all rather sad but beautiful at the same time. We then get another fast high register sequence which takes us to the end. More recordings, then 'Sack of Money, Buddah'. It begins slowly with the sound of a bell then we get a superb heavy sequence / rhythm combination and things really start to rock! Its powerful stuff- my favourite bit of the album so far. 'A Night at the Opera' begins with huge ominous dark chords over which we get snapping rhythms and manic effects. More rhythms are added then a fast sequence with 'Rubycon' mellotron type effects in the background. . 'Chant & Deliver' is effectively a Berlin School sequencer romp featuring superb deep sequences over a tron background - fantastic stuff. In the middle we descend to some more of the recordings from China which provide an almost shocking contrast to what has gone on before. The sequences try to make it back to the surface but are swamped by the Chinese effects.
'Tomb in Darkness Pt 2' is a great dark moody track. A child can be heard in the mix adding to the atmosphere. 'The Goddess of Democracy' is a very short track which Paul likes and on which we agreed to differ. 'Strange Times' on the other hand is just gob smacking. We get twittering electronic effects then the first of a number of stonking sequences all combining together to form an exciting pulsating mix. A delicate highly melodic lead provides quite a contrast but boy it works so well! Even my little lad was bopping up and down in his car seat to it. 'From Space' changes the sequence but keeps up in similar blistering form to the previous number. This is no floater as the title might suggest. Instead we get sequence after sequence layered on top of each other. 'Red Book' ends with 'Shanghai Surprise'. It's a highly rhythmic track full of infectious riffs and great melodies. Just try keeping your body still to it. It's the sort of number which would make a great encore piece leaving any audience on a real high- probably the best track on a great disc.
On to 'Blue Book'. For people who like pounding or infectious sequences this disc is for you and will be worth the asking price alone. 'Power Haus' takes less than a minute for the first bass sequence to rumble forwards over which all manor of melodies are played. Each melody is exquisite - no meandering aimless lead lines here. The track builds and builds, the sequence is cranked up further - superb rhythms are added - absolutely magnificent! We flow straight into 'Wassernixe' on vast waves of sound. Things then become somewhat cosmic and out of the ether come a couple of minutes of the most exquisite piano melody, it rather reminded me of a track from 'Ages'. After this short interlude we move into 'Xyzzy' on the back of great crashing drums from which emerges a melodic sequence and then another wonderful lead line - it really doesn't get much better than this. The sequences mutate perfectly as the melodies grab you, not letting you go. If you don't like this track let me know and I will arrange your medication. To me its got everything.
'Fugsamkeit' growls into life with the deepest, meanest sequence so far. A triumphant lead flashes over the top, then its foot full down on the accelerator time as the drums enter - turn up the volume and go with the avalanche. 'Abstimmen' begins with a swirling concoction of sounds. Its all dark eerie stuff out of which slow deep pulsations rise relentlessly. More sequences come in over further tron effects. The basic pattern is set around which melodies and sequences are allowed to mutate until we move into the final cut 'Erfierung'. Here a slow rhythmic loop provides structure backed by gentle pads and a melancholy melody. At two minutes more rhythms and sequences are added and now we move forwards with a real no nonsense attitude like a tank rolling over anything that stands in its way. The leads, as throughout this disc, are fantastic but its really the rhythms and sequences which grab the attention most combining together to give one hell of a powerful conclusion. What a fantastic album!

Artist: Paul Nagle
P: 2023
This is the result of testing playing online for more than an hour on Twitch.TV just to see if my laptop melted and if I could play without dropouts etc. Seemed to go OK but I was unable to monitor it and play so will doubtless repeat the experiment a few times.
Anyway, this is the 'warts and all' audio recording exactly as it happened and straight from my Zoom H4n. It should give a good idea of what it's like in my studio on a typical Friday afternoon. I'm rather pleased with it and hope it bodes well for future spontaneous jams. Maybe I should do a proper cover but then I'd start thinking about levels, mastering, fixing the one small musical thing that I'm not happy with and generally faffing with it...

Artist: s.t.d.m. (Andy Pickford + Paul Nagle)
P: 2002
This 72 minute CD from 2002 was recorded live at the Jodrell Bank Planetarium in England in May 2002.
It begins with a glittering waterfall of crystalline electronics, spilling over the audience and readying you for an interstellar voyage. Deeper tonalities emerge, resonating with heavenly demeanor, generating a congenial cloudbank that welcomes the listener to its gently hissing embrace. Cyclic keyboards enter the mix, establishing rhythms with non-percussive sounds. Gradually, non-cyclic keyboards rise from the glistening sonic pool to delineate more forceful expressions, lending the pleasant flow a commanding presence.
All these elements commence an aerial dance that unifies them into a dynamic melody that is packed with drama and appeal.
Periodically, this upward drive abates to pause in atmospheric regions, examining the sonic qualities of breathtaking nebulas, following the gaseous streamers as these cosmic mists expand with the languid grandeur of galactic properties.
These rest-stops along the journey inevitably lead back to energetic passages that are rich with entertaining verve, sparkling with fire that rivals the starlight surrounding the audience. Rapid-fire keyboards emulate this stellar twinkling, as if each distant star pulses with cohesive patterns designed to mesmerize and energize.
Although possessing some Berlin School traits, this music displays a healthy, modern quality that carries a distinctly unique style...surging pulsations that conspire to create electronic tempos of often-frantic pace, interweaving riffs that coalesce into mighty panoramas of sound rich with astral undertones.
A very good combination of the two known artists. Nice Berlin School backgrounds with slow and different sequencing. Above it all the melodie tunes from Andy Pickford.
Three long evolving tracks for the EM listeners heart.

Artist: Paul Nagle
P: 2023
 

Artist: Paul Nagle
P: 2023