Hello one and all! I've set up this Pozible campaign to raise funds via pre-orders for my newly completed album (first LP release), Existential Eczema, which I'm having pressed into 180gm heavyweight translucent red vinyl. All tracking, mixing and mastering for these songs have been completed with my old friend David Harper at Vault Recording Studio and have now been sent off for master cutting.

I'm proud of the results and very much looking forward to releasing this record. As some of you may know, I've been hiding away from the world for quite some time, and while I do have a tendency to hang onto stuff and never put anything out (with the exception of the Microflora 7" 'Egan's Sketchbook/Jethro' on Dog Bay Records in 2011 which was taken from my first solo album 'Under & Among'), I'm determined that this one see the light of day. Existential Eczema was completed at a time of my life when I was under great physical and emotional duress, and whilst I didn't go into the last session with the intention of playing most of the instruments myself, it ended up turning out that I did, which strangely, seems to work. David Harper, who engineered the record, is great friend and a wonderful corner man and without his help it would've never happened.

I've produced this myself and have had some wonderful friends of mine guest appear to lend their hand; Mirko Vogel drums on 'The Searchlights Scored', Seja Vogel plays synth on 'The Other Side of the Firelight' and sings on the album closer 'Pharaoh Prescriptions' along with Heinz Riegler, Melanie Smart, Jason Pickering, Sez Wilks, Chris Yates, Mark Monnone, Cameron Allen & Tylea Goold. I had the idea to ask a few friends of mine to sing their part on that song to a guide vocal I'd sent them while I was at the studio with Dave (without anybody hearing what the other was doing). I told them sing harmony or octaves to my guide vocal melody and if it worked, it worked. And it worked! Some additional input on the record is provided by Stew Duff (drums on The Heart, The Art, The Wealth, Tracks Line Up and On Giedi Prime), Matthew Lobb (bass on Guinevere Got Caught on the Fence), Jane Elliot (bass on Tracks Line Up), Lucy Roleff (backing vocals on Guinevere Got Caught on the Fence) and Donnie McKay (accordion on Pharaoh Prescriptions).

In relation to the cover art; I became friends with Christelle Jones when I worked for McCann Erickson in Bristol in 2003 (she was copywriting at the time, I was art directing). We bonded over our penchant for wine in the park at lunchtime (and more often than not, more wine at our desks to see out the afternoon) and our general interest in musical and artistic endeavours. A few years ago she started posting pictures of some wonderful watercolour paintings she'd started doing, and recently I thought to ask if she'd be keen to paint a portrait of me for the cover of this record. To my delight she said yes. She definitely manages to capture more than a camera can with her paintings. Whilst it seems like the ultimate exercise in narcissism to use a portrait of oneself for a record cover, I couldn't help but think it was appropriate for this release and the 'self reflective exorcism' that this record serves to be.

So, that's it for now. As you will see, in more ways than one, this whole thing is very much a heart on the sleeve type affair and I thank you for being a part of this record.

Saul Jarvie


Some words on Existential Eczema...

"I personally never think it’s a good idea to release a musical project under your own name. Who are you going to shift the blame to if nobody likes it? How can you separate your ‘artistic’ persona from your real self? Is it possible to break up with yourself without suffering years of lingering resentment?

Saul Jarvie’s new album ‘Existential Eczema' is an exception to this rule. There is something focused about the album that separates itself from his previous ‘Microflora’ moniker. It’s like he’s managed to scrape a layer of mucus from his brain to make something quintessentially ‘Saul Jarvie.’

Saul himself insists the record was made under extreme physical duress, but it doesn’t show. Sure, there’s a sense of simmering urgency, but also some excellent production choices and carefully considered arrangements. His songs are intriguingly obtuse. Not actually stories, but more Carver-esque snapshots ranging in style from country to folk and guitar-driven rock. Saul’s baritone is often sweetened by some thoughtful backing vocals, which sometimes soar into the stratosphere with a full-blown rock-choir accompaniment and at other times crash back down to earth with a simple guitar-and-vocal delivery. There is a great sense of light-and-shade on display.

The thing I’ve always liked about Saul is that he’s a believer. The key to Saul's modus-operandi is probably the second song off the album, ‘The Heart, The Art, The Wealth’ and is the closest thing he has to a believer’s manifesto. As long as he releases albums this good, then I’m happy to attend The Church of Saul.

It occurs to me that, like most things, Journey said it best:
Don’t stop Believin’, Saul!"

Trevor Ludlow

The record is already in production and will be released whether I reach my goal or not, so anyone who pledges will get the opportunity to buy the record either way.