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TTW 130CS
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$11.00
PREORDER
RELEASE DATE: 7/24/2020
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 128CS
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$11.00
PREORDER
RELEASE DATE: 4/10/2020
Founded in Lisbon, 2018, Candura is Andre Hencleeday and Pedro Coragem. Their debut recording, /I, was released through GreySun Records (Portland, OR, USA) in October of the same year. In 2019, the duo presented a new composition live at Galeria Zé dos Bois, Out.fest, Amplifest, and during the closing of Rui Chafes' exhibition "Desenho sem fim (Endless Drawing)" at Casa da Cerca. This piece now becomes the duo's second published work, /II. Rui Chafes writes: "Candura is a mountain. It is also a deep forest, full of strobe shadows and dark roots falling from the sky. This music takes us to a pure and untouched space where time has no beginning and no end, a space for the un-born and for the un-dead. Maybe it is a sound coming from an era before the beginning of the world, from the deepness of time. Each concert of Candura is a rough and sharp journey (or a dive) while listening to the noise of blades cutting a feathery silence. During this voyage we remain awake, with maximum attention. There is no space for rest neither there is for distraction. Here noise is silence and silence is noise. Suddenly, we hear a primordial and archaic howl coming from this distant ice-cold wind, piercing our stunned fragility. Nobody stays on land during this musical piece: Candura uproots people from their positions and takes them to another place. At the end of the concert, everybody feels paralyzed, unable to move. Was it a birth? Where did it take us? To the beginning of everything or to the end of everything? Into life's turmoil or into the scaring crackle of death? We will never know. It is a very romantic and terribly positive music, closer to the voice of Nature than to the voice of Man. Maybe between those tumultuous points, between the silence trying to survive and the powerful hurricane that takes everything with it, that is where some inner peace can lay. When this journey comes to an end, we put our feet back on the ground and remain silent, empty of words. Our fragmented bodies have crossed a somber landscape of wreckage, looking for light through the shrapnel. Candura is an inner mountain." --Rui Chafes, Lisbon, Portugal, 1 March 2020 Composed, recorded and produced by Candura. Mastered by James Plotkin.
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TTW 125CS
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$11.00
PREORDER
RELEASE DATE: 4/10/2020
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 126CS
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$11.00
PREORDER
RELEASE DATE: 4/10/2020
The life recordings on this C40 cassette are raw, unedited transfers from Dungeness made with a Sony Walkman Professional WM-D6 by Simon Fisher Turner. With the voice of Derek Jarman recorded on June 20, 1992 in his cottage as he begins to write Chroma, and sounds from around the nuclear power station in the fifth corner at the end of the globe. From child actor to teenage pop idol, from self-confessed "extreme sound freak" to acclaimed solo recording artist, Simon Fisher's career has been nothing if not varied. His early acting credits included film and TV roles from Black Beauty to The Big Sleep (re-made with Robert Mitchum). At the same time, he was fronting various '70s pop acts, and at the age of 17 was signed to Jonathan King's UK Records, releasing his first solo album in 1969. After that precocious start, Simon followed an often eccentric, sometimes outlandish musical path. He operated on the fringes of punk; performed briefly with The The; became Musician in Residence at the ICA in 1980; released two albums as one half of a fictional French female duo know as Deux Filles. But through all this Simon was developing a deep and abiding interest in the stuff of sound, accumulating a vast library of collected sounds from daily life. It is this interest which now forms the basis of his improvisatory, eclectic approach to music making, and is manifest on his most recent solo albums on the Mute label (his discography comprises some 30 solo albums to date). From trite pop to extreme sound-freakery, the mature SFT (as he now styles himself) has arrived at a mesmeric originality. Simon's life as a film composer stems from his association with Derek Jarman in the 1980s and 1990s. His scoring credits for Jarman included Caravaggio (1986), The Last of England (1987), The Garden (1990), and Edward II (1992). His final film for Jarman was the powerful, poignant Blue (1993), where a soundscape recorded by Simon at Eno's country house, together with Jarman's AIDS-inspired spoken words, stood in for visuals -- only a blue screen was projected. The film won a Michael Powell Award. His work with films has continued unabated since Jarman's death. Illustration: Russell J.R. Harris. Cassette only in an edition of 126.
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TTW 127CS
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$11.00
PREORDER
RELEASE DATE: 4/10/2020
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 118CS
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Interminable Conniption finds avant metallurgist Aaron Turner ruminating on the aberrant possibilities of solo electric guitar. Herein, Turner focuses on psycho-emotional atmospherics built from the sonic detritus of a full-stack and a few effects pedals. The resultant tracks are minimally-layered spontaneous performances interweaving quivering drones, distended melodies, and saturated dissonance into an immersive architecture of burbling turbulence and uneasy quietude. Besides his solo works, Aaron Turner is renowned for his participation in the bands Sumac and Isis. His other projects include Old Man Gloom, Mamiffer, and House of Low Culture, as well as collaborations with other artists such as Tashi Dorji, Daniel Menche, Keiji Haino, and Circle. He is the founder of Hydra Head Records and co-founder of Sige Records. Cassette only; limited edition of 200 copies; Illustration by SavX.
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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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TTW 091CS
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Biting Tongues were formed in 1978 to improvise a soundtrack to the screening of a 16mm experimental film of the same name at Tony Wilson's original Factory Club in Manchester. A core membership was soon established that was to last until 1984: Howard Walmsley - sax; Ken Hollings - texts; Eddie Sherwood - drums; Colin Seddon - bass; and Graham Massey - guitar and noise. Their performances, an unpredictable "post-punk avant-funk" mix of spoken word, percussion, random tapes, films and free-form soloing, were mostly confined at this time to clubs in Manchester and London. The release of their first three albums Don't Heal (1981), Live It (1981) and Libreville (1984) widened their audience, and Biting Tongues found themselves performing more in theatres, arts venues and galleries. Still On Hawaiian Time captures two Biting Tongues performances from this later period. The Library Theatre in the center of Manchester was a large seated venue with an even larger stage, meaning that the group members could spread out more and incorporate additional percussion, tapes and electronic devices. It also shows Biting Tongues cutting up and rearranging themes from different recordings - the performance also anticipates their work on Feverhouse: their full-length experimental feature film released in 1984 by Factory Records's video offshoot IKON The improved facilities available in a theatre venue, including greater space, better acoustics and more time for a sound check, meant that Biting Tongues could concentrate on the performance, producing some of their most aggressive and demanding work. During the early 1980s, Biting Tongues excelled as a live band, always seeking to challenge both themselves and their audiences. These two recordings are fascinating documents that convey some of the immediacy and commitment of their performances - something that can still be felt in these old tapes some thirty years after they were first recorded. Personnel: "Library Theatre, Manchester 16.6.1983": Colin Seddon - bass guitar, drums, percussion; Eddie Sherwood - drums; Ken Hollings - voice, clarinet, percussion, tapes; Graham Massey - guitar, trumpet, trombone, clarinet, drums, Astroban, iguarglaphon, voice, percussion; Howard Walmsley- tenor and soprano sax, glockenspiel, percussion, voice; Barry Seddon - pick-axe handle. "Riverside Studios, London 5.6.1982": Colin Seddon - bass guitar; Eddie Sherwood - drums; Ken Hollings - vocals, Hohner Pianet, percussion; Graham Massey - guitar, clarinet, reed cornet, trumpet, iguarglaphon, Morello loop, diary, percussion; Howard Walmsley - tenor sax, voice, percussion, Hohner Pianet. Edition of 150.
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TTW 089CS
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Mark Fell on Focal Music: "This series of works on this cassette began in 2011 when I attended a workshop/residency program led by the British sound artist, composer and performer Jan Hendrickse. During a workshop session I played a pattern generating system via headphones to a drummer, Patrik Jarlestam, who played a single snare drum. The basic premise of the work was that the performer should follow the pattern as accurately as possible, and to see what happened at the moments when the pattern changed - i.e. to foreground the performer's attempts to follow the pattern and their ability to cope with the subtle yet unusual changes. The pattern itself consists of a single percussive sound. The timing of the sound is determined by a list of five values ranging from one to 11 that represent timing intervals... Although the patterns are relatively simple, and as a listener one can assimilate their form quite easily, it can be quite difficult to play along to them especially at those moments of change. So the piece can be thought of as a kind of intervention into the musical training and embedded musical vocabularies that the performer brings to the work. The point of the piece is not a perfect recital, but the difficulties that the performer encounters and the musical moments that these difficulties produce. Unfortunately I believe there is no recording of Jarlestam's first performance of this piece - 'Focal Music #1'. The piece was performed a second time by Okkyung Lee during her residency at Cafe Oto, London 2015. 'Focal Music #3' was performed with Laura Cannell at Baltic 39 (Newcastle, 2015) for Broken Telephone, an event which formed part of Peter J. Evans's exhibition Across Islands, Divides. 'Focal Music #4' was performed with Aby Vulliamy at The Leeds Library (Leeds, 2015). 'Focal Music #5a' and 'Focal Music #5b' were recorded with Sandro Mussida at Zentrum für Kunst und Medientechnologie (Karlsruhe, 2016) in the Kubus studio. The piece, performed on piano, takes two forms: the first based upon a six note pitch set of which any two notes are played at the same time; the second is formed of five discreet layers each with a single note. These were played in isolation following the same guide pattern and then later overlaid to form a single pseudo chord." Tracks mastered for this release by Phil Julian; Edition of 150.
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TTW 084CS
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UnicaZürn is Stephen Thrower and David Knight. Ωmegapavilion consists of three improvisations played, recorded, and edited by UnicaZürn specifically for this release across one weekend in March 2015 in Battersea, London. Instrumentation included ARP Solina String Ensemble, EMS Synthi AKS, electric guitar, and two iPads. Here's Joe Banks, writing about the group for The Quietus: "UnicaZürn is an ongoing collaboration between David Knight and Stephen Thrower, two musicians with some serious avant rock credentials -- Knight was a key member of Shock Headed Peters and songwriting partner to the divine Danielle Dax, while Thrower was with Coil for eight years and is also one half of Cyclobe. The music they make together using a variety of vintage keys and reed instruments is a viscerally organic strain of proto-ambient, strongly influenced by the pre-sequencer Tangerine Dream of Zeit and Atem. We're firmly in drone territory here, but a long way away from throwing a few synth loops into GarageBand and hoping for the best."
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TTW 083CS
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"I found some talking books out on the street -- someone was throwing them away. They had been in the sun a while. Perfect. I took one home and recorded over it with sketches and ideas. This isn't a mix tape -- it's a 'mist tape" --Cristian Vogel, Copenhagen, August 27, 2015. Cristian Vogel is a long-term innovator in the composition, mixing, and performance of electronic sounds. His professional career as an independent creator working in advanced music and technology has established him as an outstanding influence in the fields of composition for stage, club culture, and studio. Born in Chile 1972 and raised in the UK, he is now based in Copenhagen. All music composed (95 minutes) and recorded directly to cassette by Cristian Vogel 2014-2015, except for the slamming beat at 3'27" of side one, which is a short clip of SØS Gunver Ryberg mixing one of her tracks in Vogel's studio -- used with kind permission.
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TTW 085CS
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Lori E Allen is an unemployed prehistoric archaeologist from middle America, b. 1975, now living and working between London and Berlin as an experimental composer and video artist. In the early '90s while studying at New York University she met and began vaguely collaborating and cavorting with DJ Fat Pants, the obscure genome from which Madame Chaos was conceived. "Madame Chaos" was a public access television show, cablecast on Manhattan Neighborhood Network and Brooklyn Community Access Television in New York City from 1995 to 2005. Allen was involved until she was kicked out and describes the show, as it was seen on TV, as being "a re-digested type of media vomit which should comprise one the major vital food groups for growing children." Tears of the Material Vulture is a new composition which builds itself specifically upon three samples from two of Madame Chaos' early cassette releases, MC Sampler and Creeping Eskimo Chong, both dating from 1995, and resurrected here in memory of those creepy times. Cover illustration by Deborah Wale.
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