Richard Thomas

Richard Thomas was the initial single artist release a a full-length album with the Lo Recordings label, shaped by Jon Tye (MLO, 2Player, Twisted Research) in 1994. The label provides rapidly evolved right into a type of lightening fishing rod for the stylistically abject, and Thomas’ evocative, soundtrack-y pasteboard visual is an suitable applicant for Lo’s initial non-compilation discharge. Unlike a lot of the remaining U.K. electronica staff, Thomas began in a rock-band (known as Guinea Worm), and his recordings combine acoustic instrumentation (from electric guitar and bass to trumpet, sax, and different items of expatriated percussion) with sparse consumer electronics, studio remedies, and an nearly narrative method of digital editing. Although some of his single electronic experiments discovered their method onto a compilation of regional performers in 1992, it wasn’t until he still left for college in London that he could hook up straight with performers and labels working in an identical stylistic framework. In 1995, Thomas was commissioned by Tony Morley’s Leaf label to contribute incidental recordings to the next installment from the Invisible Soundtracks compilation series, using the resultant paths (called things such as “Intrusion Reported by See” and “Muffin Spencer-Devlin”) maybe greatest approximating the nature of this series. Thomas cites the vibrant connection with noodling about on his grandmother’s out-of-tune piano in acclimating his hearing towards the sonorities of dissonance, and his documented output up to now registers some sort of years as a child disregard (in not a regressive feeling) for compositional “propriety.” And just like the refreshingly pretense-free scratchings from the Mego and A-Musik stables, Thomas’ music manages literacy and lunacy at exactly the same time, pairing titular referrals towards the functions of Sigmund Freud and Man de Maupassant with brass bleets and double-time reverse-scan vocal cut-ups, the outcomes much nearer to joyful irreverance than po-faced overseriousness.