discograph.
becoming the moon (2001)
In this release, Mark was exploring the idea of "spiritual formation," or the course of personal development over a number of years. It's a natural followup to his previous album, which dealt more in the realms of faith and doubt. It is sort of a "taking stock" kind of album, a bit more of a "where I've been" record than a "where I am" record, most notably demonstrated on songs such as "15" and "All Else Had Failed." This is not at all surprising, since Mark wrote these songs sporadically amidst the chaos of a constant touring schedule over a three year period.
Musically, it's the first record where Mark makes substantial use of the electric guitar, playing a 1957 Les Paul Special, and it's the only full album featuring Mark's Lowden O-12 acoustic guitar. In addition to Mark's guitar playing, he is joined by bassist John Gillespie (Nikki Meets the Hibachi, Kickball) and drummer Nic Brown (Atheneum, Skeleton Key, Claire Holley). Mark Kano (solo, Atheneum) adds electric guitar for a couple songs, as well.
In this release, Mark was exploring the idea of "spiritual formation," or the course of personal development over a number of years. It's a natural followup to his previous album, which dealt more in the realms of faith and doubt. It is sort of a "taking stock" kind of album, a bit more of a "where I've been" record than a "where I am" record, most notably demonstrated on songs such as "15" and "All Else Had Failed." This is not at all surprising, since Mark wrote these songs sporadically amidst the chaos of a constant touring schedule over a three year period.
Musically, it's the first record where Mark makes substantial use of the electric guitar, playing a 1957 Les Paul Special, and it's the only full album featuring Mark's Lowden O-12 acoustic guitar. In addition to Mark's guitar playing, he is joined by bassist John Gillespie (Nikki Meets the Hibachi, Kickball) and drummer Nic Brown (Atheneum, Skeleton Key, Claire Holley). Mark Kano (solo, Atheneum) adds electric guitar for a couple songs, as well.
journals of a recovering skeptic (1997)
This is the album that really first garnered critical acclaim for Mark, and brought him to the attention of college radio, in particular, though it also received some airplay in the UK. He toured for a solid three years on the back of it, from southern Florida to Nebraska, and all points in between. Through the course of supporting the record, he toured and played with the likes of Eric Peters, Bebo Norman, Andrew Peterson, Waterdeep, and Caedmon's Call.
Musically, it remains Mark's most varied album, featuring guitars in otherworldly tunings, hammered and mountain dulcimers, extensive percussion (no cowbell), handmade African flutes, kalimba, and Mark's first forays with a Vox AC-30 and a vintage Neumann M269. It was recorded, mixed, and co-produced with Wes Lachot, and the award-winning design and packaging were conceived and created by Robb Hamilton and Alan Joyner.
This is the album that really first garnered critical acclaim for Mark, and brought him to the attention of college radio, in particular, though it also received some airplay in the UK. He toured for a solid three years on the back of it, from southern Florida to Nebraska, and all points in between. Through the course of supporting the record, he toured and played with the likes of Eric Peters, Bebo Norman, Andrew Peterson, Waterdeep, and Caedmon's Call.
Musically, it remains Mark's most varied album, featuring guitars in otherworldly tunings, hammered and mountain dulcimers, extensive percussion (no cowbell), handmade African flutes, kalimba, and Mark's first forays with a Vox AC-30 and a vintage Neumann M269. It was recorded, mixed, and co-produced with Wes Lachot, and the award-winning design and packaging were conceived and created by Robb Hamilton and Alan Joyner.
a beggar at the door (1995) - out of print.
While no slouch, Mark's debut album does not possess the progressing maturity of his later work. Given that the material was written at age 18, this is, of course, unsurprising. Nevertheless, Mark's melodic instinct in his approach to the acoustic guitar was very much present, and surprisingly developed, most notably on "To Trust You." You can also see the seeds of Mark's interest in fusing ethnomusicology with contemporary writing by his inclusion of mountain dulcimer, bagpipes, and mandolin alongside electric guitars and drums. The producer chair is ably helmed by Greg Pope.
While no slouch, Mark's debut album does not possess the progressing maturity of his later work. Given that the material was written at age 18, this is, of course, unsurprising. Nevertheless, Mark's melodic instinct in his approach to the acoustic guitar was very much present, and surprisingly developed, most notably on "To Trust You." You can also see the seeds of Mark's interest in fusing ethnomusicology with contemporary writing by his inclusion of mountain dulcimer, bagpipes, and mandolin alongside electric guitars and drums. The producer chair is ably helmed by Greg Pope.
