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TTW 144CS
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Cut A Lonely Figure is the (mostly) solo project of Blue Tapes founder David McNamee. Previous releases include Sugimoto Seascapes (Fractal Meat Cuts), Rothko Horizons (Bloxham Tapes), and In Sea, In Circles, In Concrete (Pan y Rosas Discos). For this release, recorded at home during Lockdown 1, 2020, Cut A Lonely Figure was: Sarah Angliss (theremin), Maria Marzaioli (violin), Rosie Reynolds (clarinet), Andrew Smith (saxophone), and David McNamee (everything else). Cassette only in an edition of 100. Illustration: Evan Lindorff-Ellery.
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TTW 145CS
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Push For Night is the New York City based duo of Oliver Chapoy and James Elliott. Trafficking in dark, liminal electronics, the duo's sound is an ever-shifting morass of psychoacoustic textures and spectral utterances. Evoking eerie, unnatural, and hidden spaces, this is music that exists in the threshold -- locked in a constant push and pull of thwarted expectations and sublime release, hovering in a trance state of the always in-between. These seven tracks reference dark ambient, post-industrial, electroacoustic, '90s IDM, even fourth world explorations, but the music never truly slides into any definable style. The uncertain and illusory rule this sonic soil. Recorded by PFN in NYC and CDMX, 2017-2020 using various synthesizers, drum machines, heavily processed field recordings and guitars. Cassette only in an edition of 100. Illustration: SavX.
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TTW 146CS
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The works on this cassette are based on a historic recording of "Structures I" by Pierre Boulez. Tom Schneider cut it into shreds -- samples which he then mapped onto a MIDI keyboard, ready to be played freely while pulverizing any overarching structure. In addition to improvisational reshuffles, acts of sock-puppetry join the resulting collection: The thinking behind other seminal works for piano such as John Cage's "4'33" and Helmut Lachenmann's "Guero" are linked to the audio or parametric content of "Structures". "0.433" takes the original recording's pauses and sequences them into a bumpy stretch of silence. For "Boulero", temporal and tonal properties of one of the underlying works drive the shape of the other. Further pathways open up through MIDI data-extraction, generating new layers, organized into musical units which then can be played on a keyboard: Authentically serialist extensions of the limited parameters available to the pen and paper of the original composer. Stefan Goldmann's remixes of Schneider's work are based on different types of MIDI data-extraction, with the results being routed to FM synthesizer presets. Further historic concepts and techniques are filled with the shreds of "Structures" -- one of Schneider's selective loops is "phased" with two different durations rubbing against each other. The focus however is on spontaneous order and emergent phenomena. Different MIDI-fication methods escalate from solo piano to robotic fusion trio in three steps. "Str_ct_r_s" is driven by multiple layers of the same material, slightly trimmed back into half-coherent shape by broad-brush deletion of MIDI notes. Most extremely, Schneider's "0.433" is restored to Cage's original duration by plain time stretching. The detected MIDI information is thus entirely accidental, with automation conjuring content out of the void. Tom Schneider is a pianist and composer. As a member of the trio KUF, he has released three albums and performed extensively across Europe and East Asia. Sampling is integral to his work, which he applies to band interaction in multiple ways. Stefan Goldmann is a composer and DJ of electronic music. His work offers close re-examinations of the aesthetic and technological foundations of techno, from shifting meters and designing tuning systems to re-imagining the technological fundamentals of storing music. Cassette only in an edition of 100. Illustration: venoztks.
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TTW 143CS
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Documented during peak isolation times in Los Angeles, between December 2020 and January 2021. These pieces were performed as Live AV pieces from 2017-2019, at Coaxial Arts, Zebulon and Desert Daze 2019, but not documented in a release until later. Signal processing and sequencing frameworks built in Max 8 with signals generated from Prophet '08, a broken AW16G, 0-coast, Max, and a MC-909. With the context of the electromagnetic medium, the absence of live performance and moving visuals and the new "spirit" of the pestilent times, Cutting Them All Off should barely be represented as reworks of the originally performed pieces. What was once pulsing and blasting out of PA speakers live is now referenced as a distant past document. These pieces (for better or for worse) have been removed and cut-off from their contextual source and can only be presented in their displaced/liberated state. Like a fish out of water gasping for air, or the only drunk survivor of a car crash that was his fault. Christopher Reid Martin started Rotary ECT in 2016. The project focuses on highly active signal processes on synchronized Audio -> Visual signals, with many signals being constructed to self-generate. Much like a rotary machine's rotation, the process is consistent and signaled when turned on. Much like electroconvulsive therapy, a human need to be there to actively monitor and attend to the process and generation of the signals being emitted. Christopher currently works for Cycling '74, is a curatorial/programmer at Coaxial Arts Foundation and of curators (alongside J. Prey and J. Rivera) behind the ephemeral stream Cathode TV/Cathode Cinema. Christopher continues to show gallery works, both virtual and physical, digital and video works and performs in other numerous events and projects such as Bailouts, CGRSM (with Gabie Strong), Shelter Death, Gate (with Michael Morley) and Via Injection. He has performed and collaborated with artists Joseph Hammer, Bryce Loy (RIP), Tetuzi Akiyama, Christopher Thompson, James Roemer, Andrew Scott, Gabie Strong, Michael Morley, Lev Abramov and many others. Cassette only in an edition of 100.
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TTW 141CS
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Both tracks produced by Robin The Fog at The Sticky Shed, Penge during lockdown 2020. Side A features a recording of a wine glass. Side B is created entirely from closed input sounds of the tape machines themselves. One take, no edits, no overdubs, no artificial FX. Mastered by Steven McInerney. A.H.M.F. and long live the Wyrm. Robin The Fog is a sound designer, radio producer, audio archivist, educator and occasional DJ based in London. His work falls under the broad term "radiophonics" and includes composition, sound installation, field recording and documentary. Best known as founder and chief strategist of "tape loop quintet" Howlround, he also produces work alongside DJ Food and Chris Weaver as The New Obsolescents and with Ken Hollings as The Howling. Originally described as a "second wave hauntologist", his current obsession is attempting to use closed-input feedback loops to create primitive techno, which is quite a long way from where he started. His biggest fear is being swallowed by a python, but living in South London he appreciates the contingency is a remote one.
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TTW 138CS
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The dusty streets of apartheid-era Soweto, July 27, 1987. The politically charged funeral of a young activist who fled South Africa to became a commander in the military wing of Nelson Mandela's African National Congress. Police await in armored cars. The funeral is restricted by specific government decree. The man being buried is Peter Motau, assassinated in neighboring Swaziland on the orders of South Africa's most notorious government-sanctioned killer, Eugene de Kock, orders carried out by his secret police unit in a bloody ambush. For De Kock and the apartheid government, Peter Motau was a terrorist. For the singing, chanting mourners at his funeral, he was a freedom fighter, a hero from the streets of Soweto itself. ZA87 is a raw audio document of one extraordinary day under apartheid. A father mourns, himself breaking the regulations declaring any political statements at the funeral illegal. Young activists, the "Comrades", sing in praise of the banned ANC's military wing, sirens blare, helicopters hover overhead, a police officer orders all television and photojournalists to leave. Nigel Wrench's microphone remains. Also there is Winnie Mandela, on behalf of the ANC's exiled leadership. Banned from speaking at the funeral, she speaks instead into Wrench's microphone and stages a remarkable intervention as the police seek to detain activists. The authorities sought to keep the events of that day away from the eyes and ears of anyone who wasn't there. ZA87 breaks that silence. Nigel Wrench is an award-winning journalist whose career began in South Africa under apartheid. He is the winner of a Sony Award for "Out This Week", BBC Radio's first national lesbian and gay news program, and a New York Radio Award for BBC Radio 4's "Aids and Me", chronicling his experience of living with HIV. "Few journalists have quite so intimately captured the essence of their era's great moral panics as Nigel Wrench" --The Quietus. ZA87 is the follow-up to Wrench's acclaimed first cassette on The Tapeworm, ZA86, "a remarkable documentation of South Africa under apartheid in 1986" (Boomkat), "chilling and at times stunningly beautiful" (The Quietus), "stylistically not dissimilar to Adam Curtis's 2015 documentary Bitter Lake, its hypnagogic float through the rushes feels curiously vivid, free of the dating or distancing effect further media packaging might bring" (The Wire).
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TTW 140CS
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Patrick Shiroishi is a Japanese-American multi-instrumentalist and composer based in Los Angeles who is perhaps best known for his extensive and incredibly intense work with the saxophone. Over the last decade, he has established himself as one of the premier improvising musicians in Los Angeles, playing solo and in numerous collaborative projects including Upsilon Acrox, Corima, Oort Smog as well as improvising ensembles Danketsu 10 and Borasisi. Shiroishi may well be considered a foundational player in the city's vast musical expanse. Zachary Paul is a violinist and composer currently located in New York. His work explores the boundaries of perception, the invocation of trance states, and the juxtaposition of stasis and movement. Zachary has released solo work on Touch and Preserved Sound, and has performed with the Sonic Open Orchestra and the String Orchestra of Brooklyn. He is also a regular member of the band Nadoyel and a frequent improviser in a variety of musical idioms. These recordings capture a meeting between Patrick and Zachary, a few days before Zachary left Los Angeles and embarked across the country. The sounds of Garfield Park echoed while the San Gabriel mountains burned, and Patrick and Zachary intoned a prayer for our shared futures.
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TTW 142CS
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Leif Elggren and Kent Tankred, September 3, 1999, Fylkingen, Stockholm -- a small chamber play where The Sons put the small animals on pasture and let them live their own lives, but under strict supervision and with a fixed eye so that no accidents may happen, so that no one is injured, so that no one is ill-informed, or how it might be if not everything is organized and supervised in a well-structured society. You can't just let things be without direction, then there would be nothing at all (or death!!!). No, The Sons give a taste of a well-balanced diet in this presentation, which is expected to take four hours, which will be beautiful and moist and will be able to give a much-needed sense of well-being in these difficult times. Maybe we need another clarification: The animals, here at the service of The Sons, give away their little sounds, The Sons, however, direct them with firm hands (and sometimes a little with force) to follow their wishes. The Sons simply get the cute little fellows to produce sound and together form a musical structure that is not of this world. We'll see how it goes.
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TTW 135CS
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Formed in Chicago in 2009, Apiary brought together four of that city's most versatile and prolific musicians: David Daniell (guitar), Steven Hess (drums), Joseph Clayton Mills (electronics), and Jason Stein (bass clarinet). Together, Apiary interwove disparate strands of Chicago's improvised music community, seamlessly incorporating their influences -- ranging from jazz to minimalism to noise -- into a whole that was dense and hypnotic. Having developed a reputation for the intensity of their live performances, Apiary entered the studio in the spring of 2010 in an attempt to document their unique sound. These recordings, uncovered and revisited a decade later, have lost none of their power or immediacy. If anything, the intervening years provide a sense of perspective and insight into how vital Apiary's music -- grounded in collaboration and possibility -- remains. Apiary was reworked and brought to completion in 2020; it provides a fascinating window into a crucial moment in Chicago's musical history, one that still vibrates with startling urgency. Recorded by Nick Broste on May 9th, 2010, at Strobe Recording Studio, Chicago, IL. Edited and mixed by Joseph Clayton Mills and David Daniell. Mastered by Helge Sten at Audio Virus Lab. Illustration: SavX. Cassette only in an edition of 100.
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TTW 136CS
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Trinovantes is a new collaboration between old friends Franz Kirmann and Stuart Bowditch, who originally met in 2007 at the Multivitamins events in Shoreditch. The body of work on Hidden Codes employs a new approach. Songs by metal bands were interpreted by algorithmic functions into MIDI. The extracted data was then edited and played through a variety of software and synthesizers to generate warm, ambient layers that, whilst removed from the original songs, retains a sentiment of the original ideas. The layers were then arranged and further processed to form new pieces. Since Stuart Bowditch first started making music in his teens his sound has transitioned from drumming in grindcore, death metal, and punk bands to experiments in sampling, programming, improvisation, noise, and field recordings. He is inquisitive and unconventional, exploiting objects and spaces not normally associated with making music such as tea cups, bridges, and sculptures. Sounds extracted from these objects are then processed, arranged, mutated, and spliced together into indeterminate forms of unexpected rhythms and textures. Bowditch has played live extensively including venues such as Cafe Oto, Iklectik, Tate Britain, Focal Point Gallery Southend, Hadleigh Old Fire Station and Fuse Gallery Bradford. Franz Kirmann is a French music producer and recording artist based in London. He has been releasing music since 2006, both as a solo artist and with composer/multi-instrumentalist Tom Hodge with their electronic/post-classical crossover project Piano Interrupted. Aside from his production work Franz runs the electronic dance music label Days Of Being Wild, that he started in 2009 with partner Sam Berdah. Artwork: Roman Gamaury. Cassette only in an edition of 100.
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TTW 139CS
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Many hours were spent surfing the airwaves, with often surprising results... No synths were used during the making of this album. The mysteries of the ether continue to enthrall and provide. Illustration: Bana Haffar, "The Map is Not the Territory". Cassette only in an edition of 100.
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TTW 137CS
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"I acquired my first shortwave radio back in 1998 or 1999. Living in San Francisco at that time, I found a wealth of signals being broadcast from across the Pacific towards the US. This was before cellphones became ubiquitous, so the radio spectrum was relatively free of interference, even living in a city. I quickly found that when I got out of any urban environment, I could receive more signals and with better clarity. So with every opportunity for travel, I took a shortwave. By 2000, I had upgraded by then to a smaller Grundig portable with a wind-up antenna and a MiniDisc recorder in tow. I held out acquiring a flash-drive digital recorded until the summer of 2012, with the technology of the MiniDisc already obsolete by then. This collection represents some of the more interesting finds from that collection of MiniDisc recordings." --Jim Haynes, Northern California, August 19, 2020 Artwork: Venoztks. Cassette only in an edition of 100.
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TTW 133CS
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"This tape gathers a series of demos and live recordings of a short-lived Portuguese band from the 1980s: Os Senhores (1985-87, briefly resurrected in 1990). Portugal was just beginning to open up to the international cultural scene back then; for a younger generation of creatives, this meant a visceral rejection of tradition ('Fado??? The past!'), and a thirsty embracing of whichever echoes made it from abroad, often in the shape of expensive import vinyl or hissy third or fourth-generation cassette dubs: from post-punk to post-modern, we all wanted to break from the old paradigm . . . A venue in Lisbon, Rock Rendez Vous, was congregating this younger generation through a series of rock marathons and competitions. We dutifully applied and stepped on stage for the first time ever in March 1986; track three of this tape begins with the first few seconds of such gig. A handful of gigs followed, and we recorded various sets of demos at Luís Carlos' Studio X in Porto. Paradoxically, our objective lack of formal musical training and relative scarcity of musical skills provided us with a potential degree of freedom. And oh, we were free to be our vicarious selves: the female singer was a Siouxsie devotee, the male singer was heavily into Krautrock, the guitar player wanted to play the blues, the drummer just wanted to hit stuff. The bass player and the keyboard player held it together somehow. This seemingly impossible mix of aesthetics could have produced something special; instead, we tended to cancel each other out . . . In the end, we opted for a more straightforward approach in the re-working of the original sources: we had various recordings play simultaneously, without further tweaking. Whatever fell on top of whatever else, so it stayed. In this way were able to preserve the original sonic, structural and contextual aspects of each recording, while somehow amplifying the tightrope of chaos/ineptitude we traversed throughout those two years. And just as decisively, through this process of superimposing, we were able to reveal a few odd juxtapositions that, had we had the vision back then, could have been infinitely more promising than the elusive post-something format we obsessively kept hunting down..." --Heitor Alvelos, Porto, March 16, 2020. Cassette only in an edition of 100; Illustration by Anselmo Canha.
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TTW 131CS
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Formed by Swiss post-metal veterans from Knut and Abraham, strom|morts' goal is to compose music inspired by their Alpine environment and its weather, which glides over impassive mountains, evolving with the seasons. Such a landscape encourages deep listening -- minimalist musics whose subtle evolutions reveal themselves over several minutes, disturbing the perception of time passing or even provoking, through deep and sustained concentration, a meditative state. strom|morts write: "Clock Resistance is all about time and chaos, reflecting the behavior of nature around us, embodying the cycles of life and death. The sinister yin yang of strom|morts symbolizing the source and the end of everything we have known so far. Two drones were composed as an embodiment of this concept. This record was mainly made with modular synths for their flexibility, but you can hear here and there the ghost of a Moog Voyager. One drone is totally synced, the other one is free. One side's got a guitar, the other one is synths only. Achieving symmetry, the two drones have the same timing." --strom|morts, Conthey, Switzerland, May 19, 2020. Cassette only in an edition of 125; illustration by Helge Reumann.
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TTW 132CS
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Gabie Strong is the founder of Crystalline Morphologies community imprint, dedicated to releasing experimental sound works by historically underserved Los Angeles women, queer, and non-binary artists. She has been working in experimental music since the early '90s. The recordings on this cassette document a series of live performances from 2017-2019 in which the Los Angeles artist Gabie Strong asks, "What does the body sound like when it is making its own music?" A hard-of-hearing interdisciplinary artist, Strong asks us to consider that hearing is subjective, based on how the brain translates the reception of sound. Each track documents a performative questioning in which Strong suggests that being deaf is not living in silence, but rather it is navigating a highly complex and nuanced soundscape of noise that is audible only to the deaf body. For Strong, deafness comes from her own skull working against her, closing off external sounds and sending scrambled messages back to her consciousness. Captured at Ende Tymes 9 Festival of Noise and Experimental Liberation, Land and Sea Oakland, Volume at Coaxial and the Sagehen Creek Field Station Experimental Forest, Strong layers the kinetic sound of contact mics running over her body and through her hair, ambiguous vocal utterances and amplified guitar feedback to create a visceral soundscape of her body. Cassette only in an edition of 100.
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TTW 134CS
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Recorded at Geluidwerkplaats Extrapool, Nijmegen, The Netherlands. Modular electronics, field recordings, computer, and tapes. The first time Richard Francis and Frans de Waard met was in Tokyo, Japan and they talked a lot. The second time was in Boston, USA and they danced all night long. The third time was in Nijmegen, The Netherlands and they recorded a lot of music together. During the course of a very long day they recorded in Frans' studio using a small modular set-up, Korg MS-20, computer, tapes and field recordings, all captured on a multi-track tape where it kept sitting for quite some time before Frans decided it was time to make heads 'n tails out of it. The usual process of editing and mixing resulted in the release that is now called Retired Dilettantes. No track titles as both sides are to be seen as one composition all together. From delicate static and complex electrical textures to the bursting of loud drones. Richard Francis is a sound artist working with electronics and field recordings. He has released solo and collaborative albums on Senufo Editions, Entr'acte, Glistening Examples, Korm Plastics, Banned Production, and Aufabwegen. Frans de Waard (1965) has been producing music since 1984 (Kapotte Muziek, Beequeen, Goem, Zebra, Freiband, Shifts, Modelbau, etc.). In 1984 he started his own record label Korm Plastics, releasing music from Arcane Device, Asmus Tietchens, Jim O'Rourke, among others. He has worked for the pioneering Dutch label Staalplaat (1992-2003) and since 1986 as a reviewer for his own publication Vital (now Vital Weekly), a magazine which has been an online source for underground music since 1995. Cassette only in an edition of 100; Illustration by SavX.
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TTW 130CS
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Over three decades of pursuing an uncompromising path of innovative musical juxtaposing and singular vocal stylings, Peter Hope's latest Not Now project pushes industrial techno into unchartered territories with the inspired collaborative input of electronic precisionist Henri Sizaret. In search of creative liberty, the pair adopt spontaneous composition techniques in the construction of their other-worldly voodoo machinations, resulting in a wild ride through caustically sharp electronic mutations, intriguingly tarnished with the disturbed spirits of mangled blues and depersonalized dada vocal proclamations. "To discover what lies beyond any planned form we must trust intuition, experience and the immediacy of improvisation. Whilst ever there is a safety net commitment to the moment cannot be complete. Keep the rules simple. Do not second guess. Only discard that which will poison. Embrace spontaneity and its unexpected inventions. If NOT NOW, when?" An exploration into liberation written and produced by Not Now. Personnel: Peter Hope - voice, SP75+DL4; Henri Sizaret - computer generated instrumentation. Illustration: D.M. Nagu. Cassette only in an edition of 100.
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TTW 125CS
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This cassette tape is a document of two live performances by the Bana Haffar/Nour Mobarak duo. Their mutual pleasure in variable tunings, granular synthesis, and structured improvisations shaped their collaboration. A lifelong expatriate, Bana Haffar was born in Saudi Arabia in 1987 and spent much of her childhood in the GCC. Through her switch from ten years of electric bass to modular synthesizers in 2014, Bana is attempting to dismantle years of institutional "conditioning" in traditional systems of music theory and performance. She is interested in exploring sonic disintegration and coalescence into new forms and synthesized experiences. Nour Mobarak (Lebanese-American, born 1985 in Cairo, Egypt) is an artist working with writing, music, performance, sculpture, and film making. Performances include the Hammer Museum, Los Angeles; Miguel Abreu Gallery, New York; Museum of Contemporary Art, San Diego; Stadslimeit, Antwerp; Cafe OTO, London, and Cambridge University, Cambridge; among others. Mobarak has participated in exhibitions at Miguel Abreu Gallery, Cubitt Gallery, Rodeo, Taaffe Place, LAXART. Her writings have been published by De Appel/F.R. David, The Claudius App, and The Salzburg Review among others. Her music has been released by Ultra Eczema (Antwerp) and Recital (Los Angeles).
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TTW 127CS
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Recorded by The Pathfinders -- Roger Cleghorn and Malcolm Garrett -- Imagine Something Yesterday is a compendium of playful explorations with analog synthesizers and distorted found sounds, made without an actual release in mind. Former art and design students at Manchester Polytechnic, The Pathfinders were sharing a flat together in London when Malcolm was establishing his graphic design studio, Assorted iMaGes, on Tottenham Court Road and Roger was studying for a Fine Art MA at Chelsea. These experiments from the 15th floor of a tower block in the Isle of Dogs, London were captured directly on a reel-to-reel tape recorder over a period of a few months at the tail end of 1980 and the beginning of 1981. Further embellishments were made at Chelsea School of Art. The equipment used included Yamaha CS-10, ARP Axxe, EMS VCS3, TEAC A-3340, Bang & Olufsen Beogram 1202, and Beolab 1700. Listeners may identify the aural influence of electronic pioneers such as Cluster, Tangerine Dream, Brian Eno, Cabaret Voltaire, or Throbbing Gristle and they would not be wrong as these were indeed some of the musicians whose records were frequently played at home by The Pathfinders around that time. With almost 40 years having elapsed since recording, memories are sketchy with regard to who made what noise where -- The Pathfinders could hardly be described as being musicians who jammed together -- but everything ended up compiled onto a couple of cassette tapes, where they have languished ever since -- the "master" reel-to-reel tapes seemingly lost forever. Only one track from these sessions, "Long Shadows", was previously published, on Touch's 1983 Meridians 1 compilation. Imagine Something Yesterday features almost all of the other surviving recordings. A tantalizing additional 14 minutes of sound remains unreleased, the full running time being just too long for comfortable release on one cassette. The Pathfinders remain Roger Cleghorn and Malcolm Garrett.
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TTW 121CS
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Shout out to the cops. Formed from a bond that stretches across time and space, from the rain-soaked Lancastrian hills of Manchester over towards the icy shores of Stockholm, via North down South London and a shared admiration for the hidden reverse of Nurse With Wound and Coil, the concrete surrealism of dead air time grime from the turn of the Millennium and an unhealthy drop of teeth-chattering ecstasy. The Iceman Junglist Kru's debut recording proper distills the influence of all of these sectors of sound, each as important as the other. If you see a cop, throw this tape out of the car window... Written and produced by Lil Schemer and DJ Financial Ruin. Mixed at The Ladywell Grime Lab. Cassette only in an edition of 100.
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TTW 122CS
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The new duo of electro-acoustic disciple, Zachary James Watkins and analog spacesynth master, Ross Peacock conjures a new possibility of tone, rhythm, and light. Influenced by the likes of dub, krautrock, and experimental pioneers Cluster, Brian Eno, and Scientist, their live improvised blend of psychedelic electronica embraces the fragility of analog and digital hardware systems. Watkins/Peacock engage in vibrant patterns over time with an investment in exploration and exchanges. Watkins has recently returned from Carnegie Hall, where Kronos Quartet performed his original composition "Peace Be Till". In 2017, he composed and performed an hour-long score for the 35mm film "Black Field", collaborating with acclaimed filmmaker, Paul Clipson. His duo, Black Spirituals, has released records on SIGE and The Tapeworm and toured Europe extensively including a six-week stint with Earth. They have since received glowing reviews from the likes of The New York Times and The Wire. Ross Peacock with his band, Mwahaha, have performed extensively in the U.S. performing a live Boiler Room set following the release of their first full length on Plug Research. They were invited by Warp Records to perform at their SXSW showcase where NPR's "All Songs Considered" named them one of their Favorite Discoveries of SXSW. Mwahaha was later invited to the UK to perform alongside Sigur Rós at The Eden Project after appearing in London with Damo Suzuki and Andrew Weatherall. He has been featured in Vice, Mojo, Spin, NME and has collaborated with Merrill Garbus of Tune-Yards and Jel/Odd Nosdam of Anticon. The Watkins/Peacock duo have since performed a live film score at the third annual Haxan Film Festival, opened for the Fred Frith Trio and in May 2018 appeared at MUTEK San Francisco playing alongside Aux 88, Errorsmith, and Francesco Tristano/Derrick May. The duo is in the wake of the first EP of the thematic series, Acid Escape. Personnel: Zachary James Watkins - drum and synth machines; Ross Peacock - Korg MS-20. Recorded by Zachary James Watkins at Santo Recording, Oakland, CA. Mastered by Adam Gonsalvez at Telegraph Mastering, Portland, OR. Cassette only in an edition of 100; Illustration: SavX.
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TTW 119CS
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Recorded with Lindsay Corstorphine at Devil's Mango III. "Oblex" versions mixed by Oblate and Middex. Middex came out of the city-edge where aircraft fly low, where runways and canals are false exits and disappeared in to the dense city and with crude electronics and blunt voice attempts a communication beneath tarmac, above rooftop and with side-eye slowly surveying left and right. Middex performs very occasionally and has released on Polytechnic Youth and Makina Books.
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TTW 120CS
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Written, mixed, produced, and mastered by Jay Glass Dubs, Athens, 2019. Dimitris Papadatos is a composer, musician, and sound artist based in Athens, Greece. The main concern in his work is an apposition of disparate elements that assume a re-appropriation of historically applied methodologies while questioning forms of empowering them. The biggest body of his work reflects issues as copyright, spirituality, and originality, undergoing a constant state of transfiguration of its outsourcing. His project, Jay Glass Dubs, is an exercise of style focusing on a counter-factual historical approach of dub music, stripped down to its basic drum/bass/vox/effects form.
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TTW 117CS
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Improvised site-specific performance accompanying and responding to the sights and sounds of Worringerplatz, Düsseldorf, Germany, August 10, 2018. Personnel: Swantje Lichtenstein - voice, electronics; Jono Podmore - electronics. Additional recording by Kai Winter. Mixed by Jono Podmore.
Jono Podmore writes: "After the release of our 7" single Miss Slipper/Lewes on Psychomat Records in 2017 it was time for another release in keeping with our spirit of adventure and interrogation of established forms. We'd played a few improvised shows which lead us to think of combining the anvil of the audience with the hammer of recording. A plan was hatched to create an event that would lead to an artifact -- both an open recording session and a recorded event: a site-specific incident and a time-specific document. A number of venues between our homes and workplaces in London, Köln and Düsseldorf were mooted. Suddenly Swantje found herself in possession of the keys to the Hallraum... August 10th, 2018 was a balmy night on Worringerplatz. The good, bad and the ugly of Düsseldorf were out in force; promenading their profusion of languages, habits, needs, and grudges. The architect of the platz built benches (Bänke in German) into the design, so the homeless that gather on the Bänke to put their tired feet up and have a drink, have become known as the 'Bankers'. Nestling under the trees on the northern corner of the platz is the Hallraum: a wee glasshouse that functions as a gallery, a venue and as a piece of public sculpture in its own right. We set up our gear, a PA system and an array of microphones amidst an installation in the Hallraum, opened up the doors and windows, then played for the peoples of Worringerplatz, gathering an audience as we went along. Setting the panes of glass rattling, accompanying the trams, serenading the bankers and those hungry for Pizza und Kultur, we played karaoke to the sounds of the platz. As we busied ourselves in the Hallraum, fellow traveler Kai Winter, armed with a digital recorder and synchronized to the master clock, prowled Worringerplatz and beyond to capture the environment mingling with our sound writing and wave shaping. Later, all the sources were brought together and mixed exactly as they happened in time and place to produce these pieces."
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TTW 113CS
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Wild Daughter are the light and the dark, the push/pull, the tension, the release. On Live at The Backstreet -- recorded on 13.ix.18 at infamous East London gentlemen's club, The Backstreet -- they are captured live, in their element. Accompanied by newest members Jacob Shaw and Conrad Pack, founders James Jeanette and Stuart McKenzie conjure up sexual demons, inciting the audience almost into a ritualistic trance. Be warned... Cassette only; limited edition repress of 50 copies.
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