Ok, you asked for it

1) Mark is a highly capable polyinstrumentalist capable of switching instruments in the middle of a song and not losing momentum at the cross over point, see "Trees" at Eden and F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E post 2000.

2) During the early 90's not only was he playing live with the band, but also acted as their tour manager and president of the fan club. To bear such responsibilty when one is barely in one's 20's is truly astounding. I know 20-somethings that can barely manage their own hair! I know it was initially Russell that set the fan club up originally, but Mark set a high precident that was carried on superbly by Alex Deck until the fan club was suspended in 2002. Least you forget, in the early days, when you became a member, Mark would send a personal HANDWRITTEN letter, thanking you for your support. Name me another fan club that showed that much heart.

3) To label Mark as "a generic indie guitarist" is ridiculous. I defy anyone who has heard the track he remixed for Thurston Moore's "Root" album, to suggest it sounds like anything Mark has performed before or since.  If I may be so bold as to take a quote from Mark Scott, Pulp's senior guitar technician from an article in Melody Maker 98.

"He plays quite strangely, he's definitely got his own sound."
 
The reason that Jarvis wasw able to develop his unusual yet instantly recognisable stage craft, was that Mark freed him from the responsibily of having to actually "play" on stage. I know for a few songs, "Babies" "Sorted" "LBS" he does play guitar, but for the bulk of the song during the initial stages of his live career, Mark was Jarvis's musical, erm, for want of a better word, avatar.

4) Name me another contemporary guitarist that had their own regular club night at the ICA. Mark set up "Little Stabs at Happiness" as a reaction to the abject banality of the London club scene. Where else could you find somewhere which combined a cult cinema screening with a "School Disco" all for the princely sum of £8? . Little Stabs ran for three years, was usually packed to the rafters, and in a poll in 1999 came 13th in Time Out's "100 Coolist things in London". In comparison the Met Bar, one of the most notorious A-list night spots at the time came only 83rd!

5) Mark is a highly intelligent man with an incredibly inquistive mind (developed as a teenage fanzine writer in the 80's one assumes). Anyone who has read his articles on avant -garde and artists films or been to the screenings he curates at various can see that. And his enthusiasm stems not from academic nescessity or reasoning - unlike Jarvis and Steve, Mark did not initially attend art college, but from a desire to see and to "know" these films.  Many times he goes to the source - the directors of these films, himself, interviews them, interagates them, probes them about their work. Alreaady he has co-authored a book with film maker Owen Land, looking in detail at two of Land's most recognisable short films, and is current writing a book on the history of Avant-garde film. In his curation work he tirelessly delves into the vaults, both at British and American institutions and brings to light many beautiful if somewhat neglected and forgotten pieces of work, that may have at one time, inspired the great film makers of today. Mark is not only pupil but he is teacher, not only educating the public at his screening, not by drowning his viewers in information, but by giving the briefest of notes and introductions and then showing the films, giving the public the oppurtunity to make their own minds up about what the message, if any the film or the film maker is trying to convey. He also lectures at the London College of Communications, introducing new generations of film students to the rare and sometimes bizarre delights of "avant garde and artists' moving image.

6) Mark has a great sense of humility. He rarely if ever mentions his past achievements to draw the public to his exhibits. He doesn't really need to, his work speaks for itself. When in public, he walks alone, and need no entourage to steer him around. No. You can just walk up to him, and talk to him, query him about his work, without having to be vetted by a publicity agent (due to the nature of his work, Mark is himself his own publicity agent). He listens to what you have to say and he will respond to it. If you put forth your hand, he will shake it.