Tapes


Tracklist 1.Ben Bertrand - Ben Bertrand - Vanatoare De Pasare (Rough Mix) 2. Humbros - Live Excerpt 3. Stefan Christensen - Stefan Christensen - The City 4. Bird In A Grave - Bird In A Grave - Schaerbeek vs Zarren (Demo) 5. K-Group - K-Group - Live Excerpt 6. Leda - Leda - In Brussels 7. Mosquitoes - Mosquitoes - VS 8. Kanker Kommando - Kanker Kommando - Live Excerpt 9. Lemones - Lemones - Collective Stupidity 10. Vito Ricci & Lise Vachon - Vito Ricci & Lise Vachon - Deep Felt Song 11. Pumice - Pumice - Live Excerpt 12. The Coolies - The Coolies - God Take Me 13. Christophe Clébard - Christophe Clébard - Suce Moi 06:16 14. Saule - Saule - 2006 02:31 15. Weird Dust - Weird Dust - Live Excerpt 08:3 16. Blood Music - Blood Music - Next Day Acid Skin 03:08 17. Gangalai & Gourabai - Gangalai & Gourabai - Polders (Atlas Mix) 03:56 18. Weiland - Weiland - Live ExcerptBelgium'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

'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.  . -Lieven Martens --- 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

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

Available as a 320k MP3 or 16bit FLAC   Tracklisting: 1. Schism 19:452. Eremozoic 14:35 "Stumbling into the Age of Loneliness I carry cloudy glass bottles to the edge of the Pacific. After 100 years in dirt beneath San Francisco they breathe fresh ocean air, fill with the energy of breaking waves. Microphones inside, ear to conch, I hear shadows: scurrying, wing flaps, chirps and chatters, whimpers and bellows. So many creatures, once emerged from the sea, now gone. How many vessels would the disappeared fill? What is the weight of a lost species? I make an offering of listening to help me carry all these ghosts we made." ⟶ Cheryl Leonard Life through the computer. We all have had to grapple with it over the past year, as we attempt to wring as much meaning, intimacy, experience and variety as we can from our shiny boxes of electronics. Concerts, plays, ballet, meetings, dates, dinners, coffees and conferences all became just a click away. Some of us cocooned ourselves in soundscapes lost, from old streams from noisy bars, to recordings of natural locations we could no longer get to. It was by turns revelatory, empty, full, sad and comforting. In Schism’s title track Cheryl E. Leonard treats us to her own imaginings of the world within her laptop; a pulsating, flickering, stuttering morass of coil pick up recordings, set amid the co-mingling of crickets, squirrels, birds, bats, and sounds played on natural-object instruments. She asks: “What does it mean when our mediating technologies have both the power to connect us to and distance us from the ecosystems we are part of?” Certainly this is a question which predates the pandemic, but it is one which we grapple with now with a set of new knowledges which speak to both the possibilities, and the shortcomings of a life lived digitally.In addition to her laptop recordings Leonard also turns to mics placed inside bottles to render the second piece on this release, Eremozoic. In the context this simple gesture takes on new resonances; a separation, enclosure, limitation which captures and reverberates particular tones, while missing others entirely. When I think of the computer in this era, I think of it like this, it exists as both echo chamber and conversation; alienation and hope. I think many of us have felt the last year, a little like life was lived inside a bottle. With this release Leonard reminds us of what we lost during the pandemic, but more profoundly what we might lose more permanently as we continue into the climate crisis. - Kate Carr --- Composed, performed, and recorded by Cheryl E. Leonard Mastered by Thomas Dimuzio at Gench Studios   Liner Notes by Cheryl E. Leonard Words by Kate Carr  Artwork and design by Juliána Chomová  Stone composition and photography by Ester Sabik  Risograph print by Kudla Press  Photography by Zoltán Czakó Dedicated to Patty Chen-Wei Liu Released by mappa as MAP026 in 2021

Cheryl E. Leonard – Schism

Available as 320k MP3 or 24bit FLAC   Tracklisting: Gnarlage Of Self 1. 10 Banks Of The River Nein 2. Extinct Lord 3. Galling Truth 4. Bent Oath Scenario 5. It's A Fuck On (From Jeuvre's "Time Under Hark") 6. Decalage For 3 TVs In Layering Off Dario 7. Decalage In Vivid Counts 8. Degnarlage In Test Card Frame 9. Prelude To Speedo Foyer 10. Make Your Own World Now (From Hadbegor's "Sleep Yer Lives") INTROSPEX / ORTRESPOX 11. INTROSPEX12. ORTRESPOX "The  Godfather  of  Wild  Pop." "'Trouble  Number'  is  a  major  retrospective  of  four  decades  of  peerless,  visionary,  and  feral  production  from  Gwilly  Edmondez  -  the  dad  from  Yeah  You.  This  90  minute  package  cherry  picks  from  hundreds  upon  hundreds  of  hours  of  psychoanalysis  through  pop  waste,  performed  by  Gwilly  upon  himself  since  the  founding  of  his  '80s  outfit  Radioactive  Sparrow.  Bewildering  and  basically  incomparable  in  its  entirety,  'Trouble  Number'  mongrelises  strains  of  hip-hop,  black  metal,  folk,  power  balladry,  more  more  more,  with  a  properly  prophetic,  popwise  soul.    Pay  your  respects." Says  Gwilly: Gwilly  Edmondez  just  grew  as  a  character  project  in  the  mid-1980s,  offshoot  from  the  to’l-spon/non-com/pop-kak  invention-pool  that  was/is  Radioactive  Sparrow,  itself  founded  by  a  group  of  Bridgend  (13-year-old/non-voter)  elements  in  1980.  Gwilly  is  a  solo/collaborative  improvisation  that  started  out  making  fake,  unwritten  rock,  then  progressed  in  the  1990s  to  real  unaccompanied  rock,  before  settling  into  a  mode  of  practice  defined  by  sampling,  tapes  and  vocals.  Over  many  years,  Gwilly  has  struck  up  many  material  partnerships  and  misadventurist  associations  of,  with  the  likes  of  James  Joys,  Val  Persona,  Faye  MacCalman,  Karl  D’Silva,  Tobias  Illingworth,  Laura  Late-Girl,  b-cátt,  Odie  Ji  Ghast,  THF  Drenching,  Tony  Gage,  Richard  Bowers,  People  Like  Us...  But  in  the  end  none  more  so  than  Elvin  Brandhi.  ‘Gnarlage  of  Self’,  the  C30  album,  was  made  on  Newcastle’s  hottest  day  in  2017,  in  an  upstairs  room  in  Heaton,  recorded  by  Dario  Lozano  Thornton  with  Schoeps  MK2/MK8  pair  to  Sonodore  preamps  in  one  take  subsequently  edited  and  disorganized  by  Dario.  ‘Gwilly  Edmondez:  A  Retrospective  Mixtape  Made  Questionably  &  Unquestioningly  by  Himself’  started  out  as  a  kind  of  slapstick/slapdash  best  of...  but  quickly  became  its  own  entanglement  of  old  stuff,  new-but-unused  stuff  made  for  the  C30,  and  bits  of  recent  live  sets.  The  first  half,  side  one,  tries  to  bungle  blindly  into  the  nature  of  supplication,  confession  and  self-condemning  introspection  –  find the  self  then  kill  it;  side  two  starts  on  the  other  side  of  death  inhaling  wafts  of  cheap  air  freshener  as  a  means  to  hallucinate a personal  history  that  never  could’ve  happened  anyway,  before  scrambling  back  through  the  rear  end  of  personality  only  to  be  consigned  to  liturgical  palliatives  in  a  manner  carried  out  by  his  countless  forebears  of  the  cloth.  It  could  only  end with “Walken’s  Kiss”,  a  sardonically  pronounced  cliffhanger.  --- Music  & Artwork by Gwilly Edmondez. Mix and Edits by Dario Lozano Thornton and  Gwilly  Edmondez.

Gwilly Edmondez – Trouble Number