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Tranquility Tapes Fall Preview
9.8.14 by Mike Haley

If you’re anything like me, you’re probably in the market for a soundtrack to go along with that extra tall Apple-Smoked Spiced Pumpkin Soy Latte. After all, you can’t chug that sucka straight out of a gourd in silence, now can you? No, you can’t. Well Tranquility Tapes has your back. It’s invariably splendid news when this Brooklyn imprint announces a new batch, and this fresh clique of five for fall is shaping up to be an ultra-pleaser.

TT’s corn maze of jams will include some super sprawled-out lounge music by Jake Webster’s always relaxed Tuluum Shimmering project, spanning over a 100 minute epic titled “Dark Star”. A half hour splintered nostalgia buzz on Bluesharp’s “Sinkhole Flora”. Label head Franklin Teagle going solo with his caramelized meditations as Cenote Glow on  the “Musa Paradisiaca” C60. Pooling ooze by cloudsound (no affiliation with Soundcloud, that I am aware of) on their “asperatus” C38 droner.  And the ever prolific Charles Barabé rippin’ & tearin’ unlimited laser logic on his 50 minute “Dates & Confessions”. That is 278 minutes of pro dubbed sensory juice that you will most likely NEED to funnel into your ear holes. But don’t take my word for it, watch this Planet Earth style sampler by Eric Brannon of Tranquility alumni Glass House.

Scope Tranquility’s site for these later this month.

Deep Sea Navigating With “Oceanic Triangulation”
8.29.14 by Ian Franklin

Ok, now here’s a real traveler. Sonic companion for The Journey. Super lush and mega-dense 4-way split over two tapes (C22 & C37) featuring Hakobune, Oliwa, Former Selves, and Panabrite titled “Oceanic Triangulation” out on the mapmaker of zones, Inner Islands. I just threw a lot of information at you, you can go back and read that last sentence again (I did). If you’re familiar with any of those names, and you should be, by the simple fact of their conglomeration here, you can guess what type of experience is in store across this hour’s worth of sonic landscape.

Jumping right into tape 1, side A is Hakobune, a Japanese ambient/drone artist with a lengthy back catalog of excellent work, with “Kakogawa”. Beginning with a slow moving cadence he builds a shimmering drone that sways ever so slightly. Dripping with reverb, but not overly cavernous, he introduces wave after wave of flowing notes that sustain and fall in a circular pattern, creating a wider web of evolving sound. Never settling on a specific point works very well here and the effect is the perfect beginning to set the mood of the overall split.

On the flip side of the first tape we find Buenos Aires based musician, Oliwa, with “After Night, Before Sunrise”. Radient synthesizer chords are presented with a heavy melodic drone undercurrent and just a splash of solo exploration. The soft pressure of night time is felt as the track slowly fades and pulses with a fiery ember. But sure as the sun rises, morning comes with deep and thunderous awakening. Rising from yesterday’s ashes is the pulsating rhythm of new life. Brilliant composition here on a simple joyous track.

Jumping off to tape 2, side A kicks it off with Former Selves’ “Triangulate Upon Paradise”. Former Selves’ track is like an ocean all to itself. Tranquil synth tones extend outward in all directions and float through everything. Plucked and drippy notes sprout up like islands in the glistening waves. New territories are discovered and sections blossom into beautiful open fields. But this place won’t hold you for very long and it’s time to venture back out on the search. Tentative and anxious are the tones now. Everything has a bit more bite to it. The wind stings your cheeks and warns you to turn back. But the only way is forward, and paradise beckons your arrival. Gorgeous spacing across this track; an incredible journey.

Panabrite’s “Digest of Botanicals” rounds off the last side, starting with a walk through the forest into a damp and drippy cave. Arpeggiated square waves emanate from the base and bounce off the cave walls, flashing and dancing in the shadows of a freshly made fire. All manner of wildlife bristles with activity just outside the entrance, their echoed calls venturing closer towards the warmth. Pots and pans clang as the preparations begin to cook the day’s harvest. The cave illuminates with the glow of life.

Sean Conrad provides some dope artwork featuring some inverted triangulation with a day and night mirror across the two tapes. This is a seriously fantastic split between 4 excellent artists, check out the Inner Island store to grip yourself a copy for $12 + postage.

Magnetic Collages –
The Cassette Artwork Of Terence Hannum
8.23.14 by Mike Haley

Studies show that 88% of the time the magnetic and leader tape is unraveled from it’s shell it is a total bummer [citation needed].  It’s a totally different story for musician and visual artist Terence Hannum. Terence, who teaches Art Foundations at Stevenson University in Maryland and spends time laying waste in his band Locrian and solo, creates remarkable works of art using the tape, leader, and dust from the magnetic coating of unspooled cassettes. The results are outstanding. I spoke with Hannum a bit about what he is doing.

How long have you been working with magnetic tape like this?
About two years now, but I have been messing with tapes for about 22 years, dubbing, looping, etc.

What was the catalyst for working with it to create these pieces?
Well I use a Roland Space Echo, and I have for a few years with Locrian. I was replacing the tape and artistically I was in a bit of a funk, I just had this show close of some drawings and collages and wasn’t happy and like everything I tried wasn’t going where I wanted it to. So I was replacing the tape to record something and I share my music studio with my art studio, and the tape unspooled across some of my drawing paper and the surface just caught my attention. It was like that 1/4″ brown tape, I always make fresh loops for my machine. It just got me thinking, like how do I adhere this, what will it look like?

How did that first experiment turn out?
It was like a search for the perfect adhesive, so many of the first ones are rough. But within a few weeks I got it to work. I mean they maybe look tight from a far but what I like is that they get marred and break and have problems. Some of the mistakes are important.

So what were some of the trial and errors you went through before getting it right? And what is the process like now?
Well it wasn’t just the adhesive, but the surface too, so finding a great flat paper and perfect flat surfaces. That became important, I really wanted it to be like this mass of time, where typically you think of time and audio in they linear fashion, but laying it out parallel in this mass can allude to painting but also when you learn of the material maybe make you think of time differently. One of the errors that I use all of the time now, is I tried to fix a line once and all of the ferrous dust stayed behind, and I thought, well that’s a neat way to make a line. So now I essentially use the adhesive surface to peel off the mylar coating and leave behind this magnetic dust trail. Some brands fail better, but it’s been a great discovery.

Do you ever record any audio onto the tape, specifically to make these? Or make loops out of them afterwards?
No, sometimes I’ll use something that was significant to me. Or something that it being destroyed would have a new meaning or the context changes. But typically once they’re on the panel or paper it isn’t to be played, like do you know Nam June Paik’s “Random Access”? That was a big inspiration for me.

That’s interesting because most of your work seems organized and somewhat structured. Do you go in not knowing what patterns you’ll make or where the leaders will land?
Sometimes I don’t know, but I do a lot of sketches and drawings. I always work on pieces as variations, I was really influenced by early 20th century composition, like try this set of ideas again. I think John Cage did that with David Tudor. And obviously in like modern art and the history of abstraction that is a method to work with. Sometimes the leaders I try and save them to punctuate at certain points, and others I like to be exactly where they showed up so that sense of time is really expressed.

Do you look at cassettes differently now? Do you ever see one with a red or green leader and start thinking about wrapping it around a canvas?
Oh yeah, man I am an obsessive, I go to thrift stores and I am positive they think I am insane because I open all of the tapes and see what color is the tape or the leader, or is there something weird on it that I don’t have. I collect a ton of vintage head cleaner cassette too, like I have maybe 50 of them.

That’s amazing. Were any of those obsessive traits, or your interest in head cleaners, present before making these?
I mean I obsessively would follow labels or designers, I have a collection of the tapes Peter Saville designed for Factory in this luxe packaging. I always do research, maybe its obsessive, but I think of it as research.

Are there any ideas you have to take this project a step further that maybe you haven’t figured out how to execute yet?
Size. I’ve been trying to go larger so I am figuring that out. I’ll be getting some custom panels built. And I’ve been exploring two new ideas from my recent residency that were surprises to me focusing more leader. So like minimal color studies. I recently did a two week residency in Vermont at the Vermont Studio Center, essentially working 12-14 hour days in a great studio near a waterfall. Drinking sweet brews, but it was great, I made a lot of work and had some great studio visits.

You can view more of Hannum’s work here and follow him on twitter here.

Preorder Fabrica’s End-Of-Summer Batch
8.17.14 by Mike Haley

“Summer’s almost gone.”

That’s what it said in a recent email blast from Fabrica Records and, after confirming with a calendar, totally checks out. Another summer wasted. I didn’t experience a steamy summer romance, I didn’t find myself while backpacking through Europe, I didn’t even join forces with a rag-tag group of youths to save a camp from an evil corporation who wanted to bulldoze and build a parking garage. Ugh, what a waste.

The next line in the said email from Fabrica gave me summertime hope though.

“There are 4 new tapes containing new music by Parashi, KILT, Sindre Bjerga and Luciernaga/La Mancha del Pecado and they will be shipping before or by the second week of September.”

Huzzah! My bullshit summer can now be partially salvaged by some colossal sounds, all of which are preorderable right now. Curious experimentation from Norway’s Sindre Bjerga, live grumbles from the ALL CAPS trio of Bob Bellerue, Raven Chacon, and Sandor Finta known simply as KILT, Mike Parashi’s glorious sonic sputtering as Parashi, and industrial darkness split up and housed in 5″ x 5″ reel boxes. Let’s examine…

FAB033: SINDRE BJERGA “FUTURE JAZZ LOOPS” C60

FAB034: KILT “SHE’S GOT THE EVIL IN HER EAR” C60

FAB035: PARASHI “TOVARICH” C30

FAB036: LUCIERNAGA/LA MANCHA DEL PECADO SPLIT C30

All of these will be editions of 50 pro dubbed chrome tapes. Grabbing them right now is something that you should be doing. So do it here.

Metaphysical Circuits Readies A New Batch
7.31.14 by Mike Haley

Metaphysical Circuits, the relatively young operation from Denmark, has developed quite the positive rep over the past year and a half. And not without good reason. Their nearly fifty release catalog boasts serious cosmic rigor from Guenter Schlienz, Homeowner, Nickolas Mohanna, and MICROFL▼RSCNCE and the splashy artwork wrapped around those sounds are a grandiose zone. Basically, when you hear that MetaCircs are readying a new batch, you listen up. And wouldn’t ya know it, MetaCircs are readying a new batch of four tapes.

The label posted the above pic on their social media networking wall days ago, offering a visual preview of things to come. Those things are rather gorgeous looking jammers from Strange Mountain, Ondness, a Gedane Zaken / Lero split, and TAKAHIRO MUKAI.

They say you’ll be able to grip these up “in a couple of weeks”. While ya wait for these mugs to get dubbed and whatnot, feel free to peruse the Metaphysical shop and listen to the mix below featuring some new and forthcoming sections from the label. Due to super silly licensing restrictions there is no tracklist. 🙁  Boo, Mixcloud. Boo.

Let’s get Metaphysical!

 

Grandma Lo-Fi: The Basement Tapes Of Sigríður Níelsdóttir
7.28.14 by Mike Haley

I’m always skeptical of stories like this. Unearthed demos someone bought at a yard sale of nameless Russians who built synthesizers out of old space shuttle parts and shit like that. Stuff that reeks of too-good-to-be-true Febreze. The tale here is about an Icelandic woman named Sigríður Níelsdóttir who, at the ripe old age of 70, began making home-recordings straight to cassette tapes. After seven years she had compiled a John-Olson-like amount of material. Over 600 songs of fanciful, odd, and beautiful music. Apparently the story seems to be true and managed to sneak under my radar. There was even a 2011 documentary made about her called Amma Lo-Fi (Grandma Lo-Fi).

21 tracks from Sigríður’s immense catalog were selected for a cassette, out now on Hornbuckle Records. The music, recorded from 2001 – 2004, ranges from simple, off-beat Casio’d melodies, to an eccentric blend of whimsical vocals and flowing harmonies, to minimal folky tunes that will make you wish you didn’t put Grandmom in that home (yes, you are a horrible person). Staying extremely true to the album name, and her circumstances, everything is submerged in lo-finess. Airy recordings, odd stop-and-starts, cut in’s of vacuum cleaners and pets. It all comes together in a perfect way. This hour+ cassette will serve you well as an introduction to an Icelandic cult figure and her dazzling back story (though I may be last to the party). And I swear to Christ, if I am being catfished I will lose my shit all over this place.

“Grandma Lo-Fi: The Basement Tapes Of Sigríður Níelsdóttir” was made in an edition of 200 copies and available for $7.00 plus shipping from Hornbuckle’s site. Sample a snippet of all the tracks below.

A Whole Mess Of Andrew
7.21.14 by Mike Haley

I’m not banging out mix tapes today like I was in my roaring 20’s. Those were some wild times, man. Staying up past 9:00, listening to records, drinking alcoholic refreshments by the several. I was like the James St. James of dubbing. Shit was super intense. One thing I’d love to do while making said mixes was to give them a theme. Fancying it to be a bona fide genius concept, I (on more than one occasion) put together cassettes called “Black & Blue” with a touch of Sabbath, Dice, and Flag on one side and some stuff like Cheer, Öyster Cult, and Ridge Rangers on the other. In retrospect not the most creative undertaking, but it definitely yielded me three or four extremely similar C60s. I recently rediscovered the cover, sans cassette, for a 40-artist burner I made on 1/31/03 called “Party Animals” with The Jesus Lizard, Bunny Brains, Pig Destroyer, Wolf Eyes, and, for whatever reason, White Lion. The point here is me gusta a good theme.

It would seem Rainbow Bridge is in the same camp, or at least was last month when they released the hour and a half comp “Potpourri Of Andrew”; A collection of 20 experimental-heads all of which had parents who chose the name Andrew or Andy for them. The misfit group of weirdo musicians include Tiger Hatchery’s Andrew Scott Young, Evil Moisture (Andy Bolus), Andrew Chadwick (aka Ironing), Andy Borsz of Slasher Risk, Gaybomb (Andrew Barranca), noise mainstay, and the man behind Panicsville, Andy Ortmann, Andrew Weathers, DumpsterScore CEO Andrew Quitter, and(y) more.

The comp opens up decently chill with the laid-back clank, jangle, and scrape of Andrew Scott Young’s fingers and bow on upright bass and finishes out with three minutes of Andy O’Sullivan’s patented harsh-as-fuck Goat material. The 18 jams between them  moon-bounce from Andrew Weathers’ acoustic guitar clarity to Andrew James MacKelvie’s berserk electronic splatter, but unarguably reside in a total noise zone. Possibly the definitive guide to Andrew and Andys in the world of experimental sounds, at least until Volume Two drops with Dr Dre’s power electronics debut (he’s an Andre but it counts).

“Potpourri Of Andrew” is limited to 50 copies, with some classic 8th grade notebook artwork, from the Rainbow Bridge bandcamp. Nosh up the entire serving of A-bones below.

Fresh from the Gutter: The “Rotten Contingent” Comp
7.17.14 by Ian Franklin

I enjoy a good compilation.  Throw some cheese over some chips, add in a little lettuce, tomato, beans, and guacamole and you got yourself a nice compilation.  Bolognese has got to be one of the tightest comps ever put together.  Big fan of the comp.

And lucky for us, compilations come in all shapes and flavors.  On New York based Fieldwork’s first comp, the label’s 5th release, they showcase a filthy smorgasbord of some of NYC’s finest in the noise/industrial/PE department.  “Rotten Contingent” is a C40 of disgustingly brutal and unforgiving concrete fantasies and decrepit attitude, scooped fresh from the gutter.

Arbiter’s “Inimical Temptations” leads Side A off with a fury of squealed and restrained wails, drifting uneasily like a drunk down a crowded street.  Dizzying and unsettling, Arbiter weaves a dense image of a dark, urban landscape, aptly setting the mood from the get go. Leading straight into the second track begins “The Courage as a species To Die” from :M:.  Hissing static mixed with old found sounds conjures a disjointed memory of distant pain.  Dreamlike and terrifying is about all I can say. Mixed with death squeals and mid-level contact static, Swollen Organs delivers aggressive and painful lyrics for distorted voice.  Not only are the vocals executed with amazing force and hate, Swollen Organs has a perfect awareness for spatial placement and crafts a fantastically complex creation of inner turmoil spread out across a harsh temporal wasteland. On “Suicide Barge”, Penchant takes billowing static blow out and layers it on top of a fragmented bed of bass synth.  Never becoming the focal point nor completely fading away, it drifts with the thick static and flows over everything like dirt through rainy street gutters.

The B side begins with H.C.O.D.‘s “Zealous Specula” featuring a dizzying cascade of gritty distortion and grime.  Furious electronic currents spew in all directions and spiral out of control.  Stifled chokes are audible briefly before sinking back below the blistering ash. Venerence’s “Death March” begins with a brisk bpm of pulsating synth drone adding swells of rising fuzzy synth current around the edges.  Metallic swashes overflow and rise until suddenly giving out to nothing and silence.  Flowing in slowly behind it is Aischrolatreia with “Persecution Apparatus”, a grey melodic drone with flashes of warbled percussion, moving in a circulatory reverie.  The only time on the comp that a major melodic interval is present and it’s a nice end cap to a demonstration of the disgusting and miserable environment the other tracks of the compilation portray.  However, this also eventually shifts into a darker, and sinister minor chord drone before fading into nothing, conjuring images of the unending suffering yet to come.

Housed in a black shell with labels for both sides, the 4 panel double j-card folds out nicely into a poster with artist and track titles displayed alongside cut up collages of mysterious doorways and claustrophobic industrial spaces.  “Rotten Contingent” is a fantastically dark compilation of some insanely good NYC artists doing amazing things with distortion, static, and darkness.  One of my favorite releases of the year so far and a good sign of things to come from Fieldwork.

Stream cuts from all the tracks below and hit up the label’s website to grip a copy.

From Aughts Unknown
7.11.14 by Mike Haley

They say “less is more”. Of course, they also say “go big or go home” and “if you can’t run with the big dogs, you’d better stay on the porch”, but those don’t really apply here. In this selfie-infused culture exists Aught. An entity that has released cassettes by Elizabethan Collar and, as of today, Topdown Dialectic. Packaging-wise both tapes are pretty much as minimal as it gets; Totally clear, screwless tapes with artist names and label insignia imprinted in white, housed in clear 4″x5″ poly bags. No inserts are included. No track listing, gear list, or who/what/where’s at all. The complete opposite of “HEY, FUCKING LOOK AT ME ON VACATION!!”. Just a tape in a bag, bro.

The examples of little consistent details in cassette packaging roll thick. You got the drips of paint on Fag Tapes’ cases, the duct tape on RRR’s recycled series, NNA’s folded circles on all their Jcards, yada yada yada. We could be here all day listing them off. But while aesthetic themes exist abound, that reasoning does not apply for Aught. They didn’t go the über-clear route because they thought it looked cool, which it does. They did it to, as they put it, “narrow the scope of engagement” in order to “limit the contextual elements that inform one’s engagement with a piece in order to provide a direct channel to a sensory experience”. So basically – listen to this. To make sure you don’t go judging the book by it’s cover Aught is revoking your access to a cover. Are you about to dive into 50 Shades of Grey or One Fish Two Fish Red Fish Blue Fish? The only way to find out is the play button. Basically Aught is a spoiler free zone, existing with the intention of immersing listeners in as pure and organic of a listening sesh as possible. They go as far as Batmanning their identities as to not taint the waters one iota.

I conducted an “interview” with the someone(s) or something(s) behind Aught. To not stray far from their covert motif we kept it to a single word question / single word answer style.

Tabs Out: Name?
/\\: n/a
Tabs Out: Why?
/\\: Inevitable
Tabs Out: Where?
/\\: Diffuse
Tabs Out: Tapes?
/\\: Direct
Tabs Out: Bags?
/\\: Neutral
Tabs Out: Aesthetic?
/\\: Contained
Tabs Out: Always?
/\\: Unlikely
Tabs Out: Change?
/\\: Permutation
Tabs Out: To?
/\\: n/a
Tabs Out: Anonymity?
/\\: Clean
Tabs Out: Focus?
/\\: Imperative
Tabs Out: First?
/\\: EB.C
Tabs Out: Sounds?
/\\: Placements
Tabs Out: You?
/\\: Clear
Tabs Out: Clearly?
/\\: No
Tabs Out: Second?
/\\: TD.D
Tabs Out: Describe.
/\\: Systems
Tabs Out: Details?
/\\: Results
Tabs Out: Next?
/\\: De Leon
Tabs Out: Who?
/\\: n/a
Tabs Out: Tape?
/\\: Same
Tabs Out: Secrecy?
/\\: Focus
Tabs Out: On?
/\\: Listening
Tabs Out: Format?
/\\: Consistency
Tabs Out: Data?
/\\: Unmediated
Tabs Out: Unmeditated?
/\\: No
Tabs Out: Ephemera?
/\\: Hyper-mediated
Tabs Out: Reason?
/\\: Scope
Tabs Out: Digital?
/\\: Scope
Tabs Out: Objective?
/\\: Cohesion
Tabs Out: Future?
/\\: Permutation
Tabs Out: Hint?
/\\: August
Tabs Out: Month?
/\\: Yes
Tabs Out: Thanks
/\\: Ditto

Learn something? Probably not. But the following is what’s actually important…

Their first release from June by Elizabethan Collar is a C26 that plays with engaging, throbbing synth rhythms. Hollow flickers that exist on the same minimal plane as the label. Who is Elizabethan Collar? *shrugs* I don’t think I’m supposed to know, and I like that.

Available today is their second release. A C20 by another occupant of parts unknown, Topdown Dialectic. A solid delivery of gritty, technoish thumpers alongside a rippling of slurred noise and a weird, choppy, almost hip-hop rapport.

A tight start for an interesting endeavor. Classy tapes for sure, but will one have a more focused experience due to Aught’s efforts? Will their choices draw MORE attention to random minutia and make idiots with blogs talk about shit like how many screws the cassettes have? You’ll have to figure that one out for yourself. I’m not your fucking father, sport.

You can purchase both tapes for $7 each through Aught’s Bandcamp.

((Cave))’s June Batch
7.10.14 by Jamie Orlando

Charles Barabé has been on my radar for a bit after listening to some albums on his label La Cohu and hearing his fantastic solo work on episode 44 of some cassette podcast.  All of his La Cohu tapes are sold out, and assumably they sell out fast, so I was thrilled when he announced that he was releasing a new tape on ((Cave)) Recordings.  As I usually do when checking out a label that is new to me, I try to grab their newest batch:

Charles Barabé – Adieu Fantôme C30
Charles is masterful at creating strange soundscapes and doesn’t fail to deliver here.  Amidst a tapestry of tortured oscillators and overall cacophony, there are tastefully interspersed samples of orchestras, opera singers, strange middle-eastern-sounding guitars, organs, french spoken word, gregorian chants, buzzing bees, bells and some butt-scratching.  Well, I think it’s someone scratching their butt, butt I could be wrong.  One of the most impressive things about this tape is that the transitions are so seamless.  As you listen you get lost, and can’t remember how you ended up where you are.  There is also quite a bit of variety in dynamics, so the fact that he can make you not notice things are changing is, well … noteworthy.  Are you taking notes?  Glad I picked up this tape, and you should pick one up too if it’s still available.

Brian Beaudry & Gianluca Favaron – s/t C36
This is an album of interesting textures.  You’re not going to find many musical notes on this album, and may even have a hard time finding guitar tabs on the internet for it…. Hold on, let me check …. *three years later* …. nope … nothing.  On the A Side, Gianluca does field recordings and Brian does electronics.  On the B Side they switch roles.  It’s an interesting concept.   Furtherly, to tickle your musical earbuds, both sides are quite different.

The A Side, to me, represents the land.  Lots of deep sub bass drones with power electronics type sounds overtop, such as drills, hair clippers and overall rustling.  Yes, a lot of rustling to be found here, which may or may not be aforementioned butt-scratching.   As a contrast, there is also the pleasant blowing of leaves and birds chirping in some of the more relaxing and serene moments.

Flip the tape over and you get a full-on underwater adventure.  You start off in a submarine deep under the sea, exiting the submarine in your metallic diving suit.  Suddenly, something goes awry.  Clanking and crashing.  You feel very claustrophobic.  But don’t worry.  Your partner exits the sub and is able to repair your suit.  That was a relief!  Finally you do some exploring and come across a fleet of robot fish from the future.  This musical journey is pretty special and unique, so if minimal soundscape stuff is your cup of tea, grip this tape and listen to it while drinking a cup of tea.

Ala Vjiior – Detours & Details C20

Usually when I see tapes that are jet-black and short, my assumption is that it’s going to be über-harsh.  Ala holds it back a bit kicking off the A Side with subtle loops, undulating drones, and pleasant sax and vibes, climaxing into a heavy bass grind.  The B Side is jazzy in some parts, spacey in others, but overall never really becomes too harsh.  Not that there’s anything wrong with it.  EVERYONE loves harsh noise, and everything on the internet is true?  The tape is short enough to leave you wanting more.  I’ll be interested in checking out some more of this guy’s stuff, and his bandcamp page has plenty.

All three tapes are pro-dubbed, editions of 50 copies, and currently available from the label (along with more samples). Definitely check out this new batch on ((Cave)) Recordings, and also check out Charles’s very own label La Cohu, which has a ton… err metric ton (*Canadian measurement) of great recordings.