C60 // Pro-duped // Stamped, numbered download card with stamped envelope // Sticker-sealed obi sleeve // immediate download
SIDE 19 — ROSS BAKER: Terra Incognita.
ROSS BAKER has been making music since he got a hold of a tape recorder at the age of 10. From early tape and radio abuse, his music has been linked by a love of contrast and collage.
A half-hour collage salvaged from at least three hours of recordings, soundtracking the countless distant landscapes and buildings glimpsed momentarily during 28 years of car, bus and train journeys. Sprawling farm and forest punctuated by sinister undentified buildings and distant motorways. Ambient washes and sci-fi movie memories with a synth-pop interlude.
SIDE 20 — TRANZMIT: Deep Video
TRANZMIT began as a radio wave sound-college side project of BABEL in the early 2000’s. In recent years it has moved with the times, “mashing-up” (in the contemporary parlance) audio material sourced from the internet.
Film dialogue and Star Trek sound FX. YouTube video collage and movie trailer audio. Retro television commercials. Public transit, elevator and busker field recordings re-mixed. Augmented vocoder demonstration video audio. Spam emails read by text-to-speech and modified Bach. Voice synthesized random phrase generator and Twitter and Facebook updates. Digitally synthesized zen monks.
78 mins // Pro CD-R, thermal print // Sticker-sealed fold-out sleeve// Numbered edition of 50
1st edition SOLD OUT! See 2ND EDITION.
Neurinomes (a type of nerve tumor that can affect the inner ear) is the haunting debut by the duo of Montreal-based reed player Marc-Antoine Dagenais (Mad) and guitarist Dominic Marion (Mod).
Shimmering drones and angular melody lines dance and collapse against hazy ambiance and fractured glass surfaces; ecstatic meditations give way to deep noir melancholy and fiery avant expressionism.
The album revolves around improvisation, rewriting of improvised sounds, resonant mappings, organic acousmatic, combination tones; a process one may call recomposition, using recordings of spontaneous interactions as draft mapping, free to be reinvestigated and refined. All timbers were produced solely by miking acoustic sources. With the exception of a wine glass slowed down to a low drone, these soundscapes remain faithful to original acoustic production.
The duo has developed their own vocabulary through research of improvised music based on harmonic specters, thoroughly experimenting in the fields of peculiar textures and frictions that their instruments can provide. Marion often, but not always, treats his guitar signal through a certain range of effects, working a specter of textures, going from delicate jazzy chords to screaming organ like sounds. Blending with those amplified sounds, Dagenais uses different extended techniques (trumpet sounds, multiphonics, screams, circular breathing and others) on the saxophone and flutes as well as different parts of the instruments to produce unusual soundscapes.
File under: Chamber music, post-rock, free-jazz, late-20th century minimalism, soundscape, ambient expressionism, drone, harmonic resonance
C44 // edition of 50 // pro-duped // DL code included // 16 page full-colour mini-zine
Side 11—Nick Kuepfer, Tape Test For A New Year / Audrey’s Asprin / Grackles: Grinding string harmonies drone from the celestial abyss. Birds sing, forests crumble. A ghost trains thunders across the prairies, hammers on tin roofs as it passes. Somewhere to the south, a bank robber dies in the tumbleweeds, clutching a satchel full of money with a dusty hand. An entrancing, cinematic soundscape; a travelogue of the spaces between light and shadow.
BIO: Montreal-based guitarist Nick Kuepfer weaves nylon string and electric guitar pieces with live-sampled tape loops, recordings of animals, and drones from various sources. His predominantly wordless music ranges from subtle and static to frantic and abrasive, with a methodical, vigilant sense of experimentation guided by the search for consonance and dissonance with the sounds of “nature”.
Side 12—Khôra, Foris: Ringing in the shadows of a European cathedral, tones weave behind a camel train on the spice road and twist like smoke beyond the bazaars of Turkey before erupting like an Icelandic volcano, black ash on white snow.
BIO: Matthew Ramolo’s Khôra project is based chiefly on acoustic/electric guitar and field recordings, with extensive signal processing and digital interventions conditioning these sources to create an immersive soundworld of drones, chimes, rings and other pointillistic sonics. His longform compositions contain lovely stretches of relatively unprocessed and fully recognisable guitar work, with picking patterns and chord sequences that evolve/devolve into more signal-bent and DSP soundscapes. The results are highly organic and meditative while retaining plenty of icy shards, bubbling distortions and passages of controlled monumentalism, making this anything but an ambient listen.