Patrick Cowley & Jorge Socarras

“Catholic”

MACROM14 scanZoom inLabelMacro
Cat. No.MACROM14
FormatEXCL1CDB
Orders fromMon, 05 Oct 2009
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Review

Lost for 30 years - The revolutionary album by one of dance music’s most influential producers finally sees the day of light! Containing an incredible array of synth-driven innovation, electonic music’s history books will be rewritten. “Catholic’s” range from minimalistic proto-techno to synth-driven post-punk still sounds as fresh as it is unique. Patrick Cowley (1950-1982) remains one of Disco’s most influential artists and a key producer of the genre. With seminal hits like “Do You Wanna Funk", “Menergy” and “Megatron Man", his work for Disco superstar Sylvester and of course his million-selling remix of Donna Summer’s “I Feel Love", he created the soundtrack for a whole generation. Artists like Depeche Mode, The Pet Shop Boys and New Order cite him as a major influence. With a whole new global Disco afficionado scene, now playing his records every weekend accross the world’s clubs, this release is about to hit the streets right on time. It’s nothing less then a “once in a lifetime” sensation that Macro announces the release of a full unreleased Cowley album, written and performed in collaboration with Indoor Life vocalist Jorge Socarras. No re-issue, no material scrapped by the artists - but a work Cowley took 5 years to perfect! The original release got delayed for 3 decades due to Cowley’s tragic death due to AIDS in 1982. Recorded between 1976 and 1979, “Catholic” is a genre-bending concept album with a range from minimalistic proto-techno to synth-driven post-punk - pre-dating LCD Soundsystem and The Rapture by almost 30 years. It was in fact so way ahead of anything known at the time that it wouldn’t sound retro if it was recorded just now. It shows a much broader range than any Cowley or Socarras material available and gives a totally new perspective to one of the most inspiring eras in music history. The album will hit the stores for Patrick Cowley’s birthday on October 19th, 2009.

MACROM14 in the media

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myspace: “http://www.myspace.com/cowleysocarras”

365 magazine: “9,5/10 ! ”

Alex Attias: “Great album! I'm in!”

AME (Innervisions): “ihr seid die besten!”

Cassy (Cocoon): “Great you released this album. It's incredible indeed! ”

Disco Delivery: “A revealing glimpse into another side of Cowley's work and a more complete appreciation of his brilliance. ”

Disco Delivery: “A revealing glimpse into another side of Cowley's work and a more complete appreciation of his brilliance.”

DJ Bobby Viteritti: “Hurdy Gurdy Man - A fantastic song. A short story of me and Patrick: I remember trying to break Patrick into new wave. He was afraid of it, that is when we did the remix of Funkytown which I asked him to help me with. Also "Call Me" by Blondie and White Wedding was out. He came to my club "Trocadero Transfer", and listened up in the balcony and watched the dancefloor as I weaved in and out of Disco with it. He then realized it was a great direction and very much needed sound at the time. A lot of things happened after that with Patrick's life and music. I also had the honor of mixing Patricks Album on Fusion Records. Patrick is the sound of San Francisco! ”

Eddie Richards: “Thanks for this, I'm a big fan of Patrick Cowley, I used to play his tracks at a night in Milton Keynes I promoted when I started out in the early 80s. ”

Electronic Beats magazine: “The music works perfectly in a modern environment and I can't help wondering if now is the ideal time for it. [...] This is the real deal, not just another exercise in retro-futurism. Energetic, interesting and musical, this should interest even the most jaded dance music fan. ”

Erik Rug: “That's superb. I'm lovin' this very much...that's the best promo I've received in ages! ”

FACT magazine: “If that doesn't sound good to your ears then you need them cleaned out - preferably with a big gay policeman's baton.”

Falko Brocksieper (Sub Static): “Ein tolles Ding!! Das Album gefällt mir extrem gut. Allein der ganze Background, die Sache mit dem Kellerfund, und die Anekdoten um den Release würden ja ausreichen - selbst wenn die Musik an sich dann schrottig wäre. Aber dass sich das dann auch noch so bahnbrechend anhört. Wirklich obergeil. ”

Fred Vertura: “Great present - you made my day! ”

Gilb:r: “Sounds fantastic!!! I'm a huge fan. Great bloody fantastic release, such a genius! ”

Greg Wilson (Electrofunkroots): “Love “Memory Fails Me” - best wishes with the project! ”

Groove Magazin: “Was die Macro-Macher da in einem New Yorker Keller für ihre Prototypes-Reihe ausgegraben haben, ist der Stoff, aus dem die feuchten Träume aller Disco-Plattenhamster gemacht sind: ein verschollenes Album von Patrick Cowley, gemeinhin als Erfinder des Hi-NRG-Sounds bekannt und eins der ersten Aids-Opfer, sowie Jorge Socarras, der es mit seiner Band Indoor Life in den achtziger Jahren zu Szeneberühmtheit brachte. Was das Album abgesehen von dem Geschichtsstunde-Aspekt, Musik dreißig Jahre nach ihrer Entstehung erstmals hören zu können, zusätzlich interessant macht: Die Produktion lag noch vor Cowleys Erfolg in den späten siebziger Jahren. Sein Ruhm als „I Feel Love“-Megamixer und Produzent für Sylvesters große Hits kam ihm sozusagen in die Quere. Was Cowley mit seinen Synthesizern und Socarras am Mikrofon zusammenschraubte, klang für sein Label Megatone zu gewagt. Die hochtourige und äußerst aufgeräumte Ästhetik von Cowleys „Menergy“-Sound ist auf Catholic denkbar weit weg. Das in San Francisco produzierte Album klingt eher wie eine Vorwegnahme all dessen, was ein paar Jahre später in New York unter dem Begriff Postpunk virulent werden sollte: schleppender und scheppernder New Wave, schiefe, knorrige Stücke, die manchmal wie ein die fehlende Verbindung zwischen Disco und Suicide wirken. Damit ist Catholic eine kleine Sensation – und zwar nicht nur für Plattenhamster. ”

JD Twitch (Optimo): “It is awesome! Spaced out minimal synth. The vocals sound like Bob Calvert. ”

Jon Marsh (The Beloved): “This is mindblowingly brilliant - thank you so very, very much. I hope it gets the attention it deserves. ”

Joseph Stannard (The Wire): “I was warned, but little could prepare me for just how weird Patrick Cowley and Jorge Socarras' Catholic really is. This music is so different to Cowley's famous disco productions it's really quite ridiculous... and delightful. Somebody I know likened it to Roxy Music, but this turns out to be way off-base - it's nowhere near as sane as that would suggest. Catholic is pretty unique, all told. Endless props to Macro for putting out one of the best new/old albums of 2009.”

Massimiliano Pagliara (Balihu): “Really cool Macro is releasing this! I'm a big Cowley fan and love to listen to this. ”

Mike Simonetti (Italians Do It: “I like it alot actually. It is pretty out there stuff!”

Morgan Geist (Metro Area): “Wow. How weird and wonderful. It sucks that Cowley left us...just think of how much music he might have made! ”

Peter Kruder (K&D; G-Stone): “The cycles music goes through are rarely more evident than here. You could have released this under a different name, claimed that its new and everybody would have wet their pants about the inspired freshness of this recording. A great historic release. Looking forward to hear the whole album. ”

Peter Shapiro: “Using the name Catholic, Cowley and Socarras created a kind of proto-new wave music that suggests that Cowley wasn’t merely Giorgio Moroder’s greatest pupil, but that he was, along with Moroder, Kraftwerk, John Robie and Bernie Worrell, one of the true synth geniuses. [...] It seems to anticipate many of the directions synth-based music would take in the ensuing years. [...] The record could have been the rapprochement between disco and new wave that wouldn’t truly occur until Ze’s “mutant disco” a couple of years later. ”

Ricardo Villalobos: “The Cowley album is superb. What a story! ”

Sian: “Extremely interesting !!!”

SKUG magazine: “Mit »Catholic« liegt nun aber ein seit 30 Jahren verschollen geglaubter Schatz vor, der einem zuerst einmal sprachlos macht. [...] Gay-Punk aus dem Synthesizer, dem Sequencer, der Rhythmbox. Hier schimmert alles durch zwischen Tuxedomoon, Cabaret Voltaire, Devo (vor der Begegnung mit Eno), Pere Ubu, The Normal, Chrome bis hin zu Tubeway Army (»Memory Fails Me« klingt wie der Vorbote zu »Are Friends Electric?«), Alan Vega zu »Saturn Strip«-Zeiten (»Eddie Go To My Head«) und Basic Channel. Das macht auch klar, warum Cowley – bei allen Trademark-Sounds – Moroder überholte und auch Bobby Orlando (Divine) hinter sich ließ. Schon auf »Megatron Man« gab es ja mit »Teen Planet« einen Garagen-Electro-Punk-Song, der auf jeder E-Clash-Party für brandneu gehalten wurde. Doch während es bei Cowleys Disco-Produktionen textlich meist mindestens zwei Lesearten gab (eine straighte und eine queere) machen Catholic keine Umschweife. Cruising, Alienation, Sex in Parks, Drogen (Poppers), Abhängigkeiten erschaffen hier sozusagen nicht nur schwule Gegenwelten (die dabei auch immer wieder an Fassbinder-Filme und an James Bidgoods Gay-Fantasia »Pink Narcissus« erinnern), sondern zeigen auch, dass es outside der Disco nicht immer so glamourös und kinky zugegangen ist. Wo wir dann eigentlich auch in jenen Gassen gelandet wären, wo auch Marc Almond die dunklen Seiten des Lebens betrat. Das ist zwar ein eher gewagter Vergleich, aber gerade bei den Balladen wird klar, dass hier etwas ganz Großes verhindert wurde (vielleicht hätten sich Cowley/Soccaras einfach nur an Ralph Records wenden sollen). Denn mit »Burn Brighter Flame« gibt es hier einen Song, der von nun an gleichberechtigt neben Suicides »Dream, Baby, Dream« den Thron im geheimen Book of Love-Songs einnimmt. Ganz zurecht steht dann auch auf der aktuell eingerichteten MySpace-Seite unter »Einflüsse« schlicht »We're an influence.« ”

Surgeon: “I listened to the whole Catholic album while driving yesterday. I really enjoyed the whole thing. ”

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