From Projekt’s Sam Rosenthal:

There’s an ongoing fascination with 90s-era Projekt releases. For aficionados of those releases, here’s something really interesting! It’s a set of never-before-seen images from the photoshoot for one of Projekt’s iconic 90s albums! It’s been 24 years since the release of LYCIA’s A Day in the Stark Corner; back in 1993 Susan Jennings and I went out to the desert to shoot the cover photos. When I was redesigning the cover for the reissue, I asked Susan to digitize the 3 rolls of film we shot that day, 80 images in all. On this page you can see the progression of our ideas with 24 images in the order they were taken. All images are presented full frame (not cropped). I think it’s remarkable to peek into this moment in time in a way I didn’t think I would experience again. Enjoy!

If you have any questions you’d like to ask Susan and me, send a message; we’ll add your question and the answer to the page.

Today is the retail street date for the Stark Corner CD. Purchase at your favorite record store, Amazon, and of course at Projekt’s webstore and Bandcamp store.

A very limited number of the A Day in the Stark Corner t-shirts remain: 5 medium and 2 XL. We also have 2 of the 3-XL Ionia t-shirts.

On the follow-up to Ionia, Mike Van Portfleet continues his pursuit of an apocalyptic landscape of extremes in which rich gothic guitars and intense rhythms divulge a world of bleak desperation; with that unmistakeable unnerving whispered voice. Peter Steele of Type-O Negative said about Stark Corner: “Such simple hypnotic beats, everything is drowned in reverb. Yet, the emotion comes through so loud and clear. It’s just devastating, as beautiful as it is devastating.”

Robert reflects, “‘Sovereign’ is a piece that seemed to compose itself over the course of a few months. It was partly inspired by the number of months I spent in Mozambique and something of the majesty of the land and people – as well as the music I encountered – influenced the entire composition. The piece utilises a large range of analog and digital synthesizers – including a custom ‘vocal’ synthesizer I created with vowel sounds to ‘sing’ the lead melodies that were played in – as well various kinds of hand percussion, vocal sounds, field recordings and much more besides. In the second half the music shifts and the opening melody returns, now feeling quite different against the new form the rest of the music has taken. The feeling that seems to be invoked in the second half is especially important; I’d describe it as ‘otherness.’ Japanese music also influenced this composition, particularly the ‘royal’ aspect of the ending.”

“The Weaver,” the fifth track on Robert Logan’s Sculptor Galaxy, was inspired by an enrapturing experience of the natural surroundings he encountered while working alone at his village studio in the Hungarian wilderness.

Robert comments, “The weather patterns during the piece’s creation were wonderfully temperamental, with some incredible storms rolling in which shook the walls of the room where I created this music. But while those sounds and atmospheres did infiltrate the track’s formation, it was the unusual, wet stillness in the aftermath and quiet observations of plant life and intricate plantal sequences that particularly inspired the feeling behind the piece. Indeed, “The Weaver” has a somewhat different tonality to the rest of Sculptor Galaxy (even though the album is a continuous journey best heard as one long piece) in that it was written note-by-note in a microtonal 31-tone scale system, and an inspiration to its detailed interlocking threads was a book called The Algorithmic Beauty of Plants which explores the mathematical beauty and organisation of plant structures, along with minimalism/systems music. The piece’s dynamics flower in and out in rhythm to organic cycles.”

Expose Online wrote: “(Robert Logan’s) disc takes the explorative route in lieu of the predictable, and for that I’m calling Sculptor Galaxy one of the best electronic based releases of (the year).”

After six solo electronic/ambient albums and his 2016 collaborations with Steve Roach (Biosonic and Second Nature, Projekt) Logan’s new album blends unusual electronic and acoustic sources, terraforming bright, melodic molten sound with an enraptured experience of the natural world. Vibrant electronic performances, detailed tone-sculpting, processed natural sounds (captures from Mozambique, Sri Lanka, Pakistan, Hong Kong, Hungarian village life and the UK’s shores), and unusual acoustic instruments inform a musical world of exotic majesty and boundless adventure.