Tom Penaguin – Beginnings (áMARXE, 2025)
The fantastic multi-instrumentalist and composer Tom Penaguin returns with Beginnings, a captivating collection of early material that traces his development within the Canterbury-leaning progressive rock scene. The release compiles tracks recorded between 2012 and 2020, presenting them with minimal polishing to preserve their original character. Even though this is early material, heavily influenced by Hatfield and the North, Caravan or National Health, you can tell that Penaguin was already a remarkable guitarist and composer who was destined to craft superlative works.
Penaguin indicates in the liner notes that the pieces served as opening ideas for albums he never completed. Each track marked a personal milestone, although they remained too distant for modern reworking. He describes the compilation as an unintended archival document sculptured by youthful experimentation, modest equipment, and evolving skills.
Track Highlights
“Long Piece No1” (2013) — This extended composition was Penaguin’s first venture past the 10-minute mark. The session relied on improvised microphones built from dismantled cellphones placed around a drum kit. At 06:27, he incorporated rhythmic strikes on karting trophies.
“Ominous Bathtub in April” (2013) — Frequent tone shifts appear on guitars, drums, and the pianet because he recorded each section while writing. A single microphone captured every part, creating contrasts between transitions.
“Two and a Half” (2012) — A failing snare drum forced Penaguin to reconstruct the drum track from usable fragments. He split the material across two tracks to avoid obvious repetition, and later attempts to re-record the part never matched the original feel.
“The Tap Dancing Millipede Grew Tired” (2013) — This was one of his most guitar-centered recordings of the period. A fast, subtle chorus pedal filled in for the Leslie cabinet he hoped to use.
“Several Clocks” (2015) — This piece features the overlapping chimes of household clocks along with plastic recorders kept from school.
“Hamburg’s Heaviest Pebble” (2020) — As his first analog-based session, the track began with an improvised drum performance recorded on a Fostex R8. He added bass, keyboards, and other instruments while working within eight-track limitations.
“Long Piece No1, Five Years Later” (2018) — A complete re-recording of his early work, this version benefits from improved microphone setups and no track restrictions. Penaguin sees it as a companion to the 2013 original, noting that both versions hold distinct value.
Beginnings documents Penaguin’s growth as a writer and multi-instrumentalist, capturing the early ideas that built his path before later releases reached audiences.
Buy Beginnings.