Mauve SideshowMauve Sideshow

Label:Ventricle – Ventricle cd-01
CD, Compilation, Reissue
Style:Ethereal, Avantgarde, Ambient, Minimal, Abstract, Sound Collage, Experimental


1Golden Sand8:30
2Beneath The Rose6:29
4Jet Girl Talks In Her Sleep3:47
5Hide In The Rain4:29
6Absorbed By The Periphery8:57


  • Mellotron, Keyboards [Keys], Noises [Sound Collage]Dusty Lee
  • Voice, ElectronicsTreva


Remixed reissue of the Refraction Sound CD with different track 6.

Tracks 1, 3 and 4 taken from Dark Flowers.
Track 2 taken from Stray Apparitions.
Track 5 taken from the Refraction Sound CD release.
Track 6 previously unreleased.

Packaged in a standard jewel case with 4-page booklet (the tray colour varies).
Copies may also have a sticker (silver with red print) on the jewel case front.

[Total time: 38:35]

Barcode and Other Identifiers

  • Matrix / Runout (Mirrored): MAUVESIDESHOW ·

Other Versions (1)

View All
Title (Format)LabelCat#CountryYear
New Submission
Mauve Sideshow (CD, Compilation)Refraction SoundnoneUS1991



  • bonnicon's avatar
    This is a 6 track CD taking tracks from their two previous LPs. The opening track is titled "Golden Sand" and clocks in at 8'34". It consists of huge sweeping, blanketing synthesizer sounds which rise and fall in graceful phases, some warm as the golden Summer sun, some as cold as the harshest Winter's frosty bite. You'll be lulled into a calm when suddenly a new sound will leap out at you, it's crystal teeth snapping for your carotid. Over this huge panning, disturbing ocean of transmuting sounds carries the voice of the Siren, luring your ears closer into dark and dangerous waters. This music, lacking beat rhythm or shape, is disturbing enough to chill your viscera. "Beneath The Rose" is next, again an unsettling piece of music, through which all manner of strange entities seem to emerge. This is the New Age sound of Chaos and Disorder - sometimes warm and inviting, other times it rises almost to tonal pain, inflicting itself on your ears like a knife. There's so much in it that it seems at moments almost to be 3 or 4 radio stations fading into each other, each playing strange Folk, Cathedral Organ, New Age, Ethnic and Non-beat Rock, mutated to a point where it is none of these things. "Barricades" opens with sweeping white hordes of noise enveloping reality like some Amoeba-God-Thing, crawling through time, space and dimension, consuming what passes for 'normal' and excreting something 'other'. Again the female voice raises just above the morass, the primordial soup of toxic sound which seeps and splashes, laps and trickles from your speakers - you cannot hear what she says, except perhaps the odd fragment of voice. None of it sounds disturbing, yet in context of the music, it may by random event, evoke something beyond the imagination. The next track is "Jet Girl Talks In Her Sleep", rising on huge keyboards, this track once more climbs the lights of chaos which are MAUVE SIDESHOW's music. This is relatively calming and minimal music, allowing all manner of sound access into the arena. It crawls and claws at you with talons of liquid nitrogen ice, it's caress gentle as any abomination could manage. "Hide In The Rain" arrives on a thunderous storm of impending dread, growing in it's own Stygian-black cultivated soil into something which might trigger terror inside Racial Memory. "Stray Apparitions", the concluding track, and the longest clocking in at 16'05" opens on indistinct voice, then fades into the most complicated, most 'composed' track on the entire album. There is structure which drops away from time to time to form new and stranger shapes. It sounds as if recorded backwards, which it probably is! One part actually forms itself into a song, which sounds a little like a crowded slice of THIS MORTAL COIL. This track keeps dying and rising Phoenix like from it's own dust. Sometimes it fades in like melody, other times it leaps out at you with fearful intentions.
    Not easy to categorize this. If the sounds themselves had been a little more harsh, I'd have compared them to the early & best work of T.G. yet most of the sounds here sweep in on huge keyboards, rather than grow from distortion and ambient noise. I've heard other things similar to this, but nothing which achieves success quite so well. They really ought to be doing soundtrack music to subtler horror films - their own particular brand of creeping menace might do quite well there.

    Originally reviewed for Soft Watch.


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