Bonding Tapes

BOND021 Asymmetrical Head – ‘Information World Remixes’ C29 $6
Remixes by CB.DB.SN., Valance Drakes, Zander One, Randomform, Sonic D, and QBLA. Original track is on the 2014 album Proper/Random.


Tiger Asylum

Champagne Sequins • Snaykhunt C54
Half mixtape and half collaborative live set, this release compiles new and unreleased material from Champagne Sequins (Wesley Marcarelli) and Snaykhunt (Kate Henderson). Using samples and synthesized tones both artists explore rhythms; Henderson incorporating acoustic drums (live and sampled) and Marcarelli delving into modular synth patches and electronic percussion. Edition of 50 cassette tapes with artwork by Thermos Unigarde.


Moon Myst

DOORWAYS TO HELL II – ‘Sculptures of Ittenbach’ 2xC90
For the sequel to 2015’s film evisceration case study, we disfigure four vhs gore classics directed by Olaf Ittenbach. Ittenbach’s films push the limits of splatter and require great resolve to endure for even the most desensitized mutants. Bits and pieces of decayed vhs audio are crudely stitched together to create dark and unpleasantly rotting ambient discompositions. Nasties included in this three-hour set include: Black Past (1989), Premutos (1997), Beyond the Limits (2003), and the masterpiece, The Burning Moon (1992). Edition of 20 double cassettes, full-color artwork. All sound sampled, mixed, and edited (from the films) by D.Dlugosielski, 2017.

MOSSY THROATS – ‘Embalmer’s Story’ C47
The sound of blood pumped away rhythmically, replaced with medical fluids. Crepuscular thud-heavy electronic drums summon deathly and harsh whispers from the EMBALMER. Edition of 20 cassettes, full-color artwork. All sound by D.Dlugosielski, 2017.

GEL MAUSOLEUM – ‘The Flesh Staircase’ C60
Hi-tech lurching death slowly spreads putrid gas over the FLESH STAIRCASE. An hour of uneasy, nebular murk and gunk that forever unfolds its sooty and rotted interior. Panic-room chamber music. Edition of 20 cassettes, full-color artwork. All sound by D.Dlugosielski, 2017.


More Mars

Anne-F Jacques & Takamitsu Ohta – ‘Two Forms Of Contact With Objects’ CS 7€
Collaboration between Anne-Françoise Jacques and Takamitsu Ohta, contemporary artists. For the recording they are using low technology, custom instruments, trivial objects and tape loops. The material recorded in Koyoto, 2014. On side A, each performer uses their own objects. On side B, they use the other one’s objects. Anne-Françoise Jacques is a canadian composer and performer from Quebecis. She is interested in amplification, erratic devices and construction of various contraptions and idiosyncratic systems. Takamitsu Ohta is a contemporary artist, Born in Osaka, Japan. He is using material from the exact place and builds his own works.

Pablo Picco – ‘The Bombastic & Repetitive Sounds Of Tashi Ling Buddhas In Pokhara, Nepal’ cs 7€
“The bombastic and Repetitive Sounds Of Tashi Ling Buddhas In Pokhara, Nepal” is a sound mix of field recordings, documenting a Buddhist ceremony in Pokhara Nepal, that took place on the 6th of February, 2012 and various recordings from river, caves and a wedding band, recorded on the same day between 10 AM and 18 PM. The cassette includes 40min of ethnological interest recordings made by Pablo Picco, known most as a member of the Argentinian folk band O+yn (Omasin).


Shaking Box Music

(SBM021) Neil Campbell & Richard Youngs – ‘Six Scores’ LP
First new duo LP in over 15 years from these UK-based experimental stalwarts. Six Scores is a puzzling record of score-based (musical & directive) songs, playfully rigid yet entirely absurd in both process and the result presented on the LP. In advance of a live gig in Leeds, Neil and Richard figured they would try making songs by giving each other directions. Both agreed to pick one instrument each, in addition to vocals. Richard chose electric violin and Neil chose casio/electronics. After coming up with six song titles, lyrics were written independent of one another. They also wrote six scores to be played or followed by the other, so each would be singing their own lyrics while also attempting to play the other’s score. For the gig, neither showed the scores to each other beforehand. Neil made verbal instructions, “sometimes elaborate, sometimes simple, that I thought might cause Richard some problems performing.” Richard’s scores were long, carefully notated pieces that, in Neil’s words, “would definitely cause me some problems, as I don’t read sheet music. To compound it, he later told me most of them were unplayable anyway.” In laying this approach to record, each recorded their contributions independently without reference to the other’s playing. Neil took effort to play the actual notation as closely as he could, giving each piece a general tonality. He recorded three tracks and told Richard the track lengths, so their contributions would be the same length. They recorded three songs each in this manner, eventually mixing their contributions over each other so that any interaction between their playing is coincidental, with only key and track length forming the cement. Edition of 300.

(SBM022) Friesen/Waters Duo – ‘No. 3’ C48
First new tape in several years from Calgary-based ambient/free jazz duo of guitarist Devin Friesen (aka Bitter Fictions) and saxophonist Nate Waters. No. 3 is their most assured outing of spontaneous compositions yet, reflecting several years of improvising and performing together. There is a copacetic lightness to the playing, even when it gets murky – a floating swamp of effected & prepared guitars poked and prodded by Waters’ entirely clean playing, carving spaces between shearing distortion, melodic sensibility, and enveloping textural droning. The ambient zones are deeper, the dissonance cuts sharper, and the tape recording keeps everything just warm enough to keep from freezing. Recorded & mixed by D.F. in the Library Basement, 2016. Blue cassettes with black ink-screened print. Edition of 80.



DK068 Modelbau – ‘Typewriter’ C30 €5
Modelbau is not the latest in a series of names used to create music, but it is indeed the latest one for a solo vehicle. Each of the names, and that includes my own name, stands for something particular, an idea, and something not found in the other monikers I am using. Modelbau is, like Freiband, not a proper German word (it should be Modellbau, but I thought that looked ugly) and as such is probably already a lo-fi name, and as such also very personal. As a musician I have noy a particular instrument, nor do I favour any technqiue, and I think one should use what is needed for a particular project or a piece of music. When I started Modelbau, I wanted to use various lo-fi sound sources, such as Dictaphones, walkman, shortwave radio, small synthesizers and such like. This would not be a project for improvisation, but more or less planned pieces of music. All of which to be released in the digital domain only. That was in 2012. Now, in 2017, almost nothing is left of this outline, and yet the msuic is very much what I envisaged as Modelbau. These days Modelbau uses pre-recorded cassettes, iPad apps, sound effects, laptop, shortwave radio, small synthesizers, ancient 2bit sampling device; everything is recorded on the spot, as is, and without multi-tracking and very minimal editing (save for fades and mastering) released as downloads, but also on cassette, CDs and CDrs. Vinyl is only a matter of time. Whenever Modelbau plays a concert (all of which are recorded) preparations are made, and these are also recorded; sometimes they have these preparations can have the length of a concert, but they can also be single pieces of a few minutes. All of these recordings are archived and whenever a release is prepared, the latest sessions are listened to again. ‘Does it stand the test of time’, is it still interesting What’s really peculiar about Typewriter’s four tracks is the contrast between two different types of sound: the pulsation – for instance a soundwave (in track 4), a radio crackling (in track 1) or the flow of a magnetic tape – and a more substantial sound that seems to be static. It’s a set of synthetic drones, of pink noise degrading layer after layer, or even a bleak field recording (in track 3). The pulsation in its hypnotic repetitiveness leads you through the most diverse soundscapes. This structure, that could be seen as relatively simple, is anything but – Frans de Waard brilliantly orchestrates these reiterations and in the most natural and effective way he embarks the listeners on a journey through sound and guided by sound itself.

DK069 Molestia Aricularum – ‘Dissolvi’ C30 €5
Molestia Auricularum is Federico Trimeri’s solo project – also known as a member of Storm{o}. Born as a Harsh Noise/HNW project, over the years Trimeri has explored different music genres, focusing especially on musique concrète, tape music and field recording. In his latest work – highly influenced by the Japanese onkyo music scene and the works of William Basinski and Jacob Kirkegaard – the sound was created using a no input mixing board, a reel-to-reel tape recorder and various tape loops. In Dissolvi, glitch, pulses, tones and digital interference overlap with repetitions, buzzes and silence produced by loop manipulation and analogic deterioration – the final result is a polymorphic hybrid, born out of the merge of antithetical sounds, which share a common feature: the absence of a start/end. Artwork by mic_nodolby.

DK070/Viande18 Mario – ‘XBCE’ C30 €5
Mario Gabola aka Mario is a member of Aspec(t) from Napoli, which released on Dokuro an earthshaking CDR back in 2010 (DK022 Skinless). XBCE – born from the partnership between Dokuro and Viande, Gabola’s very own label – is his second attempt as a solo. As in the former “May Solo” (Suoni grezzi/Viande), Mario’s collaborators and forever friends M. Argenziano, G. Leandra e Sec_ take part in the recording and as usual Gabola plays with self-built devices, no input, feed drum, feedback and saxophone. XBCE tracks are as always characterised by sharp sound and are packed with sonic energy – they shift from explosions of unrestrained noise to rarefied moments of apparent calm, leading to the inevitable chaotic and cathartic explosion. This is the Fire music to our rotten times. Artwork by Merlo.


Fragment Factory

GREGORY BÜTTNER – ‘Tonarm, P.S.’ C45
Gregory Büttner (b. 1972) is a Hamburg based sound artist, curator and label owner and has been a key figure in the city’s experimental/improvised music scene for more than 10 years. As the person in charge of the 1000füssler imprint and one of the main organisers of the annual „Blurred Edges“ festival for contemporary music, Büttner has collaborated with countless local and international artists over the years, Birgit Ulher, Simon Whetham, Anja Winterhalter, Rhodri Davies, just to name a few. After numerous CD releases since the early 2000’s „Tonarm, P.S.“ is Büttner’s first work for the cassette medium and perhaps also his most direct approach to the aesthetics of sound. By using different objects and materials to educe noises from record grooves, he draws on the synergy of materiality and acoustics to combine recorded sounds and the immediate sonic response to his actions. By this stripped-down technique, the sound itself seems to materialise and becomes experienceable in a very tangible manner. High-grade C45 chrome cassette, edition of 50 copies.


Lighten Up Sounds

Debut full length of monolithic funeral doom from the darkest shadows of Seattle. The mysterious duo BLOOD OF SOKAR delivers a distinct vision of terrifying sludge metal, an arcane offering of blackened cosmic dirge in it’s most unsettling form. Harrowing vocal howls and caustic organ drones over atmospheric pummel and painful bruise, not for the faint of heart. This deluxe physical edition includes the as of yet unheard track, “Mortum Ventum”, filling out the previously self released digital EP to a full length session of grim seclusion. Horrifying claustrophobia manifests, a 38 minute nightmarish descent into the barren screaming void. Professionally duplicated translucent red shell cassette with silver imprint comes packaged in 5″ x 3.5″ black vinyl clamshell case with full color artwork on 80 lb. gloss cardstock. Includes 3″x 2″ insert printed to translucent red vellum, plus bonus 1″ logo badge and vinyl sticker. Hand numbered limited edition of 100 copies.

(LUS-109) DER ELEKTRISCHE TRAUM – ‘Continuum Flow’ C34
Der Elektrische Traum is a solo project from Germany, focused on deep hardware synthesis and raw cosmic atmospherics. All tracks are improvised in real time and recorded to Zoom R-16 Multitrack Recorder, no computer was used. Serpentine melodics and motorik arpeggio propels through the stratosphere and beyond the celestial sphere, a sonic transmission at true escape velocity. Plasma navigation through globular cluster, breaking free of planetary gravitation and into the infinite reaches of radioactive space beyond. Professionally duplicated / imprinted orange shell cassette comes packaged with full color double sided J-card featuring “Standing Stones” artwork printed to 80 lb. glossy cardstock. Limited hand numbered edition of 50 copies.

(LUS-110) PREYOCUPADO – ‘Characters Of A Calendar’ C20
Bizarre gurgle electronics and queasy acid reflux from the duo of Andy Neubauer (Impractical Cockpit, Doggerella Decided Upon) and Mar Lunk (Mar Habrine, Skoal Kodiak). Recorded in hard Stereo to 8-track Tascam 388, this is a “pristine” document of deep lurch and electro belch, freak groove and synthesis grit under the cover of darkness. “The raptor appears, it’s behooved prey upon the precipice without recourse. With a fearsome swooping lunge, talon pierces flesh and the doomed creature is lifted skyward until inevitable release. The graceful plunge to the crags below seems endless, a distance ensuring nothing but instant death. With that, the lethal predator has secured it’s gruesome meal, a feast for the true king of the sky.” Real time duplicated clear shell Chrome Type II cassette with bright crimson labels comes packaged with full color double sided cardstock J-Card. Limited hand numbered edition of only 30 copies worldwide.


Cellar Tapes

Storch Interior Extracts – ‘Remote Assistance Failure’
The filtered, unintelligible sounds of a voice somewhere across the atlantic, travelling through a cable to your display. All clarity is lost along the way, but in this post-language vacuum something far more soothing emerges in place of words. Edition of 10.


Strategic Tape Reserve

StratRes014: VLK – ‘Avril and Sean in Camden’ C53
Avril and Sean in Camden is constructed entirely out of processed sounds from a) Avril Lavigne’s debut album, and b) conservative talk-radio hosts from the mid-naughties. To draw, specifically, from precocious, Canadian, proto-emo skate-pop and far-right, moralizing, authoritarian resentment-peddlers was not arbitrary. In the summer of 2004, VLK undertook temporary employment which primarily involved being a passenger in a car that was driven around Camden, New Jersey. Though the job description was undemanding, it arose that a key responsibility for this role was to engage the driver/employer in conversation, thus enhancing the work environment (a Toyota Camry). Regretfully, it became soon evident to both parties that this personal objective would not be achieved, and the driver, activating his contingency plan, put into use his preferred auditory stimuli, i.e. conservative talk radio broadcasts and the glove compartment’s lone compact disk, Avril Lavigne’s Let’s Go. In Camden, the birthplace of modern convenience food, the home of the first Church of Scientology, a city beset by the poverty and crime not uncommon in post-industrial American small cities, VLK spent two months in silent shotgun, bombarded with the pleas from Lavigne and Hannity for simple answers to the increasingly complicated world outside of the Camry’s windows. This kind of prolonged auditory experience, one can imagine, could leave the listener with some degree of lasting psychological damage, though keeping with the spirit of the Goldwater rule, it would be inappropriate for us to speculate on this particular case. We can report that this album sees VLK connecting his conceptual sample collages to personal experience, and distilling that into a hazy, beat-heavy, absurdist electronic melange.

StratRes015: moduS ponY – ‘Phonogetic Ouch’ C22
While not entirely free of generic reference or conceptual foundation, Phonogetic Ouch leans toward the avant-garde. If there are themes to be found, they are stylistic and abstract. Phono is an exploration of rhythm, specifically that of vocal loops, on which most of the tracks are founded. Traditional compositional structures exist along side more experimental frameworks, a common pairing for moduS ponY. The production is occasionally treated the same way a DJ might treat sampled material, with effects or edits being applied to the entire master track, adding an unexpected layer of sonic reality. The term “Phonogetic” combines the root phono with the words photogenic, and diegetic (the later meaning: within the story world, typically of a movie).