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Commissioned for an artist residency at the Mahler & LeWitt Studios in Spoleto, Italy, the Sacro Bosco tape explores various themes from the region’s holy mountain of Monteluco (Latin: lucus - a wood sacred to Jupiter), and its myths of saintly protection.Taking form as an installation in Piazza della Genga during a full moon, over 50 hand-drawn talismans invoking the spirits of the surrounding forest and beyond were nailed to the walls to create a 'universal sacred space'.Whilst the use of protective paper talismans (ofuda/fulu) is typical to Daoist practice, Sacro Bosco attempts to observe and unify the local collective religious beliefs of Catholicism and the Pagan god Jupiter. Inspired by a tale about the patron saint of Spoleto, Pontianius, and how in 1703, on his feast day, earthquakes affected the entire region of Italy, save Spoleto.This is a limited run of 50 cassette tapes - each wrapped in one of the original talismans - inked in black and cinnabar (as historically vermilion was regarded as the colour of blood, thus the colour of life), depicting the emblems and living spirits of wild boars, snakes, and trees in the surrounding forest.
Self Released, 2022
flora yin wong – Sacro Bosco
Nika Son presents a radiophonic submersion into oceanic rasp and heave, meshes of synth tones, and displaced voices that intone a dismembered, claustrophobic sea story. Released as an edition of 50 pro-dubbed cassettes.
Surfacing underneath you sea asu lapis
Trying to imagine being underneath a liquid that we call water while clutching to a metal ledge of a big concrete building with air in my lungs.Sensing water in your ears and eyes. Being split by water. Thoughts astray.Algaic groaning gulping machines touching the liquid surface. Outer voices uttering in displaced languages. Who are you I am? Sinking. Waves floating over and under. Listening to antartic krill that sway to and fro. Emerging. Walking over oceanic noise, turning the page.Your ears on surfaces.
Psykick Dancehall Recordings, 2017
Nika Son – Surfacing underneath
Don't test the waters; a gut-rigged amalgam of disengaged tape remedies, mouth whiplash and last-limb electronics.
TracklistA1 untitledB1 untitledB2 untitled
Regional Bears, 2021
UVC – Broken Phonemes Of The Unconscious Grid
Saxophonist, poet and puppeteer, Ted Milton, brought his band Blurt to the 4th Tomorrow Festival with an unusual musical scene. He has recited 5 of his poems before the performance. The full set of 19 tracks, including poetry readings, are included exclusively in the special edition of the digital album.
Ted Milton / 主唱 vocals, 萨克斯 saxophoneSteve Eagles / 吉他 guitarDavid Aylward / 鼓 drums
录音 Recording: 曾君 Zeng Jun / 罗绿野 Luo Lvye母带处理 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei摄影 Photography: 陈悦湘 Chan / 许益铭 Bug @ Dafa设计 Design : 尹思卜 Midori Yin
BLURT – Cut it! Live!
Ute Kanngiesser's first cello solo release, recorded direct to tape at two locations: The Cafe Oto Project Space, and the clock room at St Augustine's Tower, Hackney.
Ute Kanngiesser / cello
Recorded and mixed in Spring 2015 by Edward Lucas and Daniel Kordik.Embroidery by Meghan Springer
Thanks to Cafe Oto and Hackney Historic Buildings Trust.
Ute Kanngiesser – Geäder
The first cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The first in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song.'It should be a noon of 1997, when I was in the 2nd grade of middle school, I saw the music video of the Beatles “I Want to Hold Your Hand”on MTV channel. A live performance, black and white. It was the first “thriller” The Beatles brought to me. The second “thriller” was in 1999, when I was in grade one of high school. The day before, I bought the so-called “white album” in a cracked cassette shop. That day I went to attend a kind of “little campus writer seminar” with my schoolmaster and a senior. On my way back home by bike, I began to listen to the double-cassettes. After this “thriller”, I talked with the senior who also loves rock music about grouping a band. But neither of us had learnt or even had any instrument. We just talked about it and thought we were in a band for quite a long time. In 2001, I was a restudy student in a boarding high school. On the Christmas Eve, I listened to John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” lying in the bed in my dorm, which was rebuilt from a shower room. I cried out. It should be count as a “thriller” brought by the Beatles, the third one. After that, it never happened again.' MAI mai April, 2016
卖卖 MAI MAI uses: Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones
Released: Zoomin' Night
Released June 1, 2016
卖卖 MAI MAI – MAI mai plays the Beatles vol.1
In A Bog is a series of electro-ambient vignettes strung together like faded raver beads. Wobbling synths, plastic hand drums, and garbled signals slide in an out of focus. Cockeyed rhythms swirl into mellow atmospherics. Doofy samples bubble up from the bottom of the Internet. Beat Detectives hijack body music, cut it up, slow it down, and put it back together like Frankenstein with arms for legs.
Goaty Tapes, 2019
Beat Detectives – In a Bog
Belgium's Knotwilg Records delivers a heavy duty dose of DIY and out there bangers in celebration of live events they ran between 2016-2019, showcasing frequent collaborators and close friends. Snippets of live sets from favourite Belgian venues such as Les Atellier Claus and Brasserie Atlas plus some exclusives that weren't recorded.
Mastered by Christophe Albertijn Compiled by DJ Klakke
Soirée Knotwilg I at Les Ateliers Claus 14/05/2016: Tracks 14, 16 & 17 are all exclusive since recordings got lost Soiréé Knotwilg II at Les Ateliers Claus 02/06/2017: tracks 6, 8, 9 and 15 live from that night Knotwilg at Donk: 06/07/2018: Track 3 live that night Knotwilg Festival 2019 at Brasserie Atlas: 13/04/2019: livetracks 2, 7, 10, 11,12, 13 and 18 Réveil Kortemark: 01/11/2019: no recordings were made: 1 & 4 are exclusive tracks K-Group recording (track 5) at Les Ateliers Claus on 9/11/2019 during a short weekend playing Claus and Grambacht.
Released April 4 2020, Knotwilg Records
Knotwilg Records – Fit For Queens Compilation
Truly spannered churned out gunk from the mind of Duncan Harrison.
Could possibly be the best Duncan Harrison release to come out in the last 12 months
Duncan Harrison – fires.serif.
Keijo plays Woodie Guthrie's songs. Recorded between April 2019 and October 2020. All instruments, effects & voice by Keijo.
Ikusiuus Records, March 2021
Edition of 60 copies
Keijo – Keijo sings WOODY's songs
'Mentos Gulgendo (1)' is the Nowacka sisters' consuming Slip debut: a mercurial set for transfigured organ and voice, shaped to shudder, creep, or take flight. From the rough, anchored sound of a Unitra Estrada 207 AR organ, Antonina and Mila alchemise 6 nagging, fearful pieces, which alternate between burrowing, prickly beds of processed instrumental sound and more spacious sighs, buoyed up by dancing, full-blooded vocals. The Polish duo's careful ear for the grain of the organ - sometimes allowing it to sink in, more often urging, pressuring it onwards - makes for a magnetic, addictive listen. 'Mentos Gulgendo' is a new project by Antonina Nowacka and Mila Nowacka, who make possessed, hallucinatory sound and visuals as WIDT, most recently in a wild, unnerving collaboration with German producer Christoph De Babalon for Bocian in 2018.
Music composed, performed and recorded by Antonina Nowacka and Mila Nowacka at the Family Allotments "Kaloria", using a Unitra Estrada 207 AR organ.
Mastered by Filip Marcinkowski Artwork by Masia Debska
Slip Imprint, 2020
Mentos Gulgendo – Mentos Gulgendo (1)
"KENMORE / LINDORFF EXCHANGE marks two collaborations from 2009: one pairs New Orleans-based radio producer and DJ Joe Shriner with multimedia artist Evan Lindorff-Ellery, based in Kingston, NY; the other features Lindorff-Ellery and Gary Lindorff, an author and poet living in Vermont. Though performed and recorded independently, these two pieces share a common approach; they are informed by the specific acoustic environments in which they were made and exhibit an ambiguous passion for the liminal space between interior and exterior, both psychologically and literally.The title of KENMORE EXCHANGE refers to two locations on Kenmore Avenue in Chicago. Using a shoebox cassette recorder, Shriner captured various sounds at DePaul University’s Lincoln Park campus. In the basement of a building that has since been razed, he recorded himself playing a persistent F minor chord on one the school's practice room pianos, enclosed by brightly-lit concrete walls and a single window. In Lindorff-Ellery’s airy apartment (five windows total) six miles due north, the two manipulated these tapes along with field recordings Evan made as he biked between the university and his home.LINDORFF EXCHANGE is a document of Lindorff-Ellery and Lindorff's late afternoon, mid-winter experience in a cabin in the Vermont woods. No artificial lights were used in the creation of this aural portrait, and each lighted and diffused section of the cabin became darker as the recording continued; needless to say the objects merged with each other. Somehow, very faint classical music appeared on this recording, and there may or may not have been post-production tape manipulation. What we have is what we’ve got.
Regional Bears, 2021
Kenmore / Lindorff Exchange – Shriner / Lindorff / Lindorff
'I met SUGAI KEN a few years ago in Tokyo, outside the Dommune radio studios. His personality and music, a very special brand, touched me. His music is a coded vision of a dream world. A trade that is progressive yet traditional - in the most positive sense of the word. Recently out of the blue, Sugai San sent me a collection of personal field recordings he made of folklore groups and public performances in Tokyo, Toyama, Kanagawa, Kyoto, Tottori, … The close listener already knows that Sugai San’s aesthetics speak of a great knowledge of these performing arts. An open invitation: “the traditional local performing arts in the 21st century intrinsically conceive “fragility” as they are vulnerable to extinction. The Japanese local performing arts that appear in this recording is no exception, endangered by the declining birth rate and aging population which are typical to the country. (SUGAI KEN)” I bring the original recordings into conversation with new elements (corresponding field recordings and or additional percussion and strings, performed by Antwerp musicians Jeroen Stevens and Roman Hiele) like a ‘monomane’ - tr. imitating – sound game. But when i throw these old and new figurines together on the podium, the objects immediately disappear in the cracks of the stage wood. Thus only the understament of the suggestion remains. And relentlessly the significance of every movement now becomes a question. Furthermore, what’s in focus? The manipulation? Or the content? Or are we zooming in on the aspect of archiving ~ preserving? Dubious. In KAGIROI – tr. heat haze - people coexist for a moment severely carved in time like a high contrast still of dancing flames. When you bring this composition home, it will never boil yet merely evaporate. And when you gaze at the clouds of condensed droplets inside your own darkness, on a soft volume, You complete our puzzle. .
SUGAI KEN - field recordings, liner notes Lieven Martens - collage, additional sounds and field recordings Jeroen Stevens - additional percussion Roman Hiele - double bass, mastering Kohei Oyamada - liner notes translation Jeroen Wille - artwork
Edições CN, 2021
SUGAI KEN & Lieven Martens – KAGIROI
Page 29 and Page 44 are part of an iterative text-sound project Hopkins began in 2018. In this ongoing project, text generation software is used to repeatedly alter a page of text. Each alteration is collated in an expanding document that he uses to inform recordings and performances. The pages were read, but not a great deal was said.Flakes 1 and Flakes 2 are collages made from test signals and found audio fragments from Australian television between 1974 – 1979. Anticipating the broadcast, but nothing begins.
---Recorded and assembled in 2021 on Gadigal and Wangal land.Mastered by Renato Grieco.Artwork by MP Hopkins.
MP Hopkins – Two Pages & Flakes
Lament & Rejoice is a debut album by a Finnish experimental musician Juho Toivonen.Dubbed on to a 30-year old Hardcore Punk tape found from Toivonen's rehersal room in Pori, the hissing album experiments with continuous sound created either with clarinet, viola, synthesizer and chants - or just with piano and synthesizer.In these two pieces you'll find sounds and energies being emancipated for the purpose of unity.Thank you Charlotte.Performers:
1. Lament - Juho, Saija, Antti2. Rejoice - JuhoArtwork by Dima RabikCassette layout by Kryptinen Käki
Juho Toivonen – Lament & Rejoice
Collage for found text 2018-2020
Voice – Claire Bloom, Daffy Scanlan, Duncan Harrison, Josh Peterson
Regional Bears, 2021
Josh Peterson – Area of Refuge
Gnarly, ruff cut up sounds from actually cut up flexi discs. Direct to 4 track from Brighton's garbled gonk purveyor Duncan Harrison. No mercy!
Released on Robert Ridley Shackleton's Cardboard Club
Duncan Harrison – Music From Amplified Flexible Discs
Objects at Hand is the result of an ongoing collaboration between Dirty Electronics (John Richards) and T M Shaw. Just before lockdown in 2020 Richards and Shaw finished a tour, Points of Failure, which involved building performance-installations in various venues across the UK. These environments, made up of DIY devices and found objects, were constructed in response to the performance spaces, and consisted of sound, light, smell, smoke and other sonic processes. Objects at Hand was recorded retrospectively in remote locations and then edited and mixed as a memory trace and document of the sounds, physical spaces and objects encountered on the tour. Action, uncontrollable instruments, unstable systems, performative failures, reimagined affordance of objects, playing with resource, improvising inside electronics, assembling and disassembling sound devices, architectural features are folded into this performance document. Richards and Shaw see their work as a form of ‘cybernetic wayfaring’, improvising with materials, feedback and new situations, as they continue, and repeat.
1. Praxis [4:34] - coil, circuits, feedback, motors, metal sink, tin can, transducer 2. Imposed_Adjacent [4:35]- rubbing motor, interjections, radical nails, tin can, voice, large glass vessel 3. Opus 25 [3:48] - sparkler, filtered noise/whistle, hacked speak n’ spell, vowels, tin can, Tesla coil 4. Thinking in Time [5:35] - boat, creeky platform, gated noise, thrupenny synth, spring reverb feedback 5. Temporary Needs [7:18] - disposable cameras, large capacitor discharge, circuits, AM radio, prepared speakers, spark gaps 6. newCorpus [1:59] - travel, flights, hotel, coil, Dictaphone, large speech corpus, pd patch (disorderly jukebox
Opal Tapes, 2021
Dirty Electronics & TM Shaw – Objects at Hand