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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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TTW 105CS
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The Dead Mauriacs' music is a journey into post-industrial landscapes, nonsensical hörspiel, concrete exotica, Ballardian dystopia: a joyful nightmare. It is Olivier Prieur's art and music project -- primarily a solo act, but occasionally a collective with the addition of nice and lovely people such as Susan Matthews, Vincent Domeyne, Thorsten Soltau, Jan Warnke, and Michael Esposito -- with recent and forthcoming releases on Discrepant, NPH, and Geräuschmanufaktur. The Dead Mauriacs: field recordings, real and fake piano, files, computer, music. Cassette only; Edition of 75.
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TTW 103CS
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Mamiffer is Faith Coloccia and Aaron Turner. Mamiffer on the release: "The majority the sounds on this tape were culled from cassettes we used in live performances and recordings. Many were field recordings from various sources, found tapes from thrift stores, some were samples/textures we made as backgrounds/backing tracks for specific live songs. A few pieces were also in finished Mamiffer studio recordings but ended up being somewhat buried in the final mixes -- they were and are elements we felt strongly about and have thus given them a proper chance to shine herein. It was put together semi-chronologically starting with some of the earliest Mamiffer materials going back to 2008 or so. It was all edited together with the idea of creating a listenable narrative and letting the chance audio occurrences within each piece inform the choices about how they were melded together and sequenced." Illustration by Ashley Isadore Coloccia-Turner.
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TTW 100CS
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A C120 mixtape featuring exclusive, previously unreleased tracks from 36 artists. Features Achim Mohné, Simon Fisher Turner, Laura Agnusdei, Howlround, Hanno Leichtmann, Cristian Vogel, Autodigest, Andrew Poppy, Othon, SGR^CAV, Tearsov, Saturn and the Sun, Château Laut, Derek Jarman, Richard Torry "Punks", Jasmin Blasco , Marta De Pascalis, Kumo, Parker, Stefan Goldmann, Carl Michael von Hausswolff, John Butcher, Henry Rodrick, Leslie Winer, Watkins/Peacock, Jay Glass Dubs, Mark Van Hoen, Philip Marshall, Le Forbici di Manitù, Christos Chondropoulos, Acid Fountain, Paul H Williams, Offerings For The Cannibal Gods, Leif Elggren, Nigel Wrench, Phil Julian, and Dale Cornish. Cassette only; limited edition of 150. Illustration by SavX.
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TTW 099CS
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Damo Suzuki in performance with Château Laut. Recorded at Ausland, Berlin, 2010 by Stephan Laackman. Château Laut's Stefan Fähler writes: "I contacted Damo in 2009. He didn't reply immediately and at one point I just forgot about it... So, it was a huge surprise when he replied, exactly a year to the day later, explaining his email's calendar was weird and he had only just now received my mail. Quickly, we arranged all details for our concert-to-be. We first met a couple of months later, at the airport. We picked him up in the morning and were stoned just an hour later in our kitchen. The energy for the whole day was so peaceful and warm. On the way to soundcheck we saw barricades and police vans on the streets in readiness for 1 May -- a date famous in Berlin for rioting and protest. We joked about this 'predictable riot', marked in calendars for all to see. The gig at Ausland proceeded organically. We shared many beautiful moments, both on and off stage. Damo was so much into the atmosphere and the crowd that, after our main set, we went on-stage a second time. Afterwards, we crashed at our place, downing a couple of whiskeys before going to sleep, happy. We kept in touch. He became something close to a spiritual mentor for me. He gave us contacts around the globe for travels and put me in touch with many nice people. He once said to me, one of the most important things in life is to travel. We were glad he stopped by our place on his journey." Mastered for cassette format by Mark Van Hoen. Illustration by SavX. Edition of 150.
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TTW 092CS
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Dimitris Papadatos (b.1981, USA) is a composer, musician, and sound artist based in Athens, Greece. His experimentation in various territories of sound began in 2002 and since then, he has indulged in sonic areas that vary from pop music to music-concrete, post-grime, and dub. At the moment, he actively runs three projects: U, The Hydra, and Jay Glass Dubs. 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. His work has been presented in various institutions and festivals from the Transmediale, the Athens Biennale, the Onassis Cultural Centre and Fasma Festival, to the Athens/Epidaure Festival, Cynetart Festival and the Greek National Theatre, while he has composed scores for award winning short films and pioneering theatrical performances. He has performed in venues and spaces such as Haus der Kulturen der Welt in Berlin, mo.ë in Vienna, Bios in Athens, Echo Buecher in Berlin, Salon Des Amateurs in Dusseldorf, Detail Gallery in Paris, and Goldsmiths University in London. His music has been featured in various radio shows including Trevor Jackson's show on NTS Radio, Sam Segal's show on WFMU, Tristan Bath's "Spool's Out" show on UK's Resonance FM and the "Tabs Out" podcast. Dislocated Folklore, recorded especially for The Tapeworm, consists of two 30-minute long tracks that incorporate mainly stretched-out 0'03" sample recordings of '90s Ragga 12" single intros combined with recordings of a Quran recitation from a Turkish TV channel and Jay Glass Dubs' signature hybrid hardware/software set-up. The title refers to (and therefore is an intended pun of) the misinterpretation of "otherism", "orientalism", "exoticism", etc. - phrases often used over the past 100 years to describe a tendency of metropolitan musicologists to intellectualize forms of expression that have a very strong relation to roots, religion, and ethics.
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TTW 095CS
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Pinkcourtesyphone is a continuing project by Los Angeles-based sound artist Richard Chartier. He is considered one of the key figures in the current of reductionist sound art which has been termed both microsound and neo-modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself. Pinkcourtesyphone is a more emotional, dare one say musical, side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slips in-and-out of consciousness. Pinkcourtesyphone operates like a syrup-y dream and strives to be both elegant and detached. Pinkcourtesyphone has collaborated with the likes of Cosey Fanni Tutti, Kid Congo Powers, harpist Gwyneth Wentink, AGF, William Basinski, and Evelina Domnitch. Pinkcourtesyphone's work has been released internationally on labels including: Editions Mego (Austria), Room40 (Australia), Line (US), Important Records (US), Dragon's Eye Recordings (US), Farmacia901 (IT), Champion Version (UK), Boomkat (UK), and IO Sound (Canada). Chartier's sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000, he formed the recording label Line and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism. Formed from plastics and particulars by Richard Chartier, 2015 -- "I am lonely, yet I feel wonderful..." Edition of 100.
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TTW 094CS
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Norwegian sound artists Alexander Rishaug and Lasse Marhaug have worked together as a duo for almost 20 years. In this time they have produced one album, 2004's Feel Free At Home. Now, the pair are ready with their follow-up: Corneal Clouds. The music was recorded in 2012, then put through an extensive and meticulous fermentation process of five years until now -- at last -- it is ready for the public. Rishaug Marhaug promotes positive thinking through their unique brand of electronic music. Recorded at Brugata, Oslo, 2012. Mixed by Alexander Rishaug at SinZen Studios, Oslo, 2017. Mastered by Stephan Mathieu at Schwebung Mastering. Illustration by SavX. Edition of 125.
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TTW 087CS
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Sabina is a suite of improvised music about nature and magic. About the kind of traces one leaves or want to leave on Earth. All music on this tape (except "Heavy Sand") was improvised and recorded in one take in Corbeil-Essonnes, France, during the last week of October 2015. Recorded, mixed, and mastered by Richard Francés. Cover art by Simon Scott. Francés is a French composer and musician born in Alicante, Spain, in 1981 and based in Paris at the time of this release. His Acid Fountain project seeks to bring together abstract and representational art, improvisation and composition, and experimental and dance musics. Other projects by Francés include Juju, his "électronique libre" duo with Adrien Kanter. He also composes, arranges, and tours with French pop artists such as Owlle and Adrien Soleiman, to name but two. . . . As a live performer, he has worked on Julien Lheuillier's kosmische musik project Pointe du Lac and in 2015 he collaborated with the French art dance collective (LA)HORDE. Previously, Francés played drums and synthesizers with French underground psych/kraut/drone band The New Reformed Church of Napalm Katia. In January 2015 Francés founded Hylé Tapes, an experimental electronic music label releasing limited-edition cassettes by international artists like Takahiro Mukai, Raphaël Leray, D. Burke Mahoney, Jay Glass Dubs, and Mortuus Auris & The Black Hand.
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