Tape Of The Month: February 2014
2.26.14 by Mike Haley

Artist: Jeremiah Fisher
Title: Martyrboys
Length: C30
Label: Tonal Shit Research
Edition: 200
Dubbed: Home

You ever make a meal and when it’s all finished it doesn’t resemble anything you would possibly consider appetizing? Maybe you set out on a mission to make Baingan Bharta for the first time. Ya gripped a recipe from the world wide web, hit up an Indian grocer for some authentic ingredients, maybe even downloaded a conversion app on your phone so you could make sense of the measurements (680 grams of eggplant??). This was gonna be it, man. This was gonna be THE meal. Then, instead of a bowl of rich, creamy, amber-orange goodness you’re looking at a clumsy lump of dollar store vomit. But hey, you go to dinner with the meal you have — not the meal you might want or wish you have at a later time. Begrudgingly you have a taste. And oh shit, it’s good. It’s REALLY good. You dip some naan in that mess, take a bite. Take another bite. It doesn’t look like much but this is the best meal you’ve had all month.

When Martyrboys, a C30 from Illinoiser Jeremiah Fisher, showed up at Tabs Out HQ I didn’t think much of it. The cover image was a photo of a young lady twerking on a fella, as the kids are known to do these days, with a shameful solarize Photoshop effect. The title “MARTYRBOYS” emblazoned in all caps down the front and Fisher’s name, sans vowels, in a stencil font on the spine. The shell itself just a five screw white jawn with “A Martyr Boys” and “B” scribbled in dried out Sharpie on their respective sides. I would leer and slowly shake my head at it for days in disgust as it sat on the shelf. Then, like all the rest, it had it’s day in the deck. And oh shit, it was good. It was REALLY good. I had actually heard some of the material on Bandcamp a few weeks prior and talked with Jeremiah over email. He said the tape was on it’s way and I was stoked to be getting it. I just didn’t know this was it.

If you listen to Tabs Out you know that I can be a harsh pundit (read: nitpicky baby wha wha) when it comes to cassette presentation. I’m not asking for the world here, just spend some time and make that shit look nice. We got about 700 tapes in the mail last year. Hook something up that’s gonna catch my eye, man. That’s all I want. But I’m willing to put aside my critique of Martyrboy’s artwork in order to form an alliance with these jams. They are just too damn impressive to let packaging get in the way. Right from the get-go a scramble of coked-up cicadas bounce all the ideas they’ve had bottled up for 17 years off of you in three minutes and 18 seconds, all while cadenced taps quickly sound off. It’s a gnarly brew that comes across as both natural and synthetic. Jeremiah Fisher has a dope method of doing that, throwing your brain concurrently into a jungle and a circuit board with these tracks. He shows off that trait again and again. On the next piece, Installation Of The Vizer, Fisher busts levels of breezy, organic vibes with subtle mechanical churns like a snake charmer playing a pungi that runs on D batteries conjuring up a snake that doubles as an extension chord.

Jeremiah Fisher doesn’t over think things here, and I like that a lot. There are times, like during the 5:22 track The Pilgrims Encounter a Spirit, where you sort of get his train of thought as he messes with ideas. Momentum will build then abruptly revert back. Almost as if he’s like “Maybe this…? Nah”. Shit that the brainiacs would focus group and dump on the cutting room floor. Instead you get to go on an ooey-gooey walk that gets sidetracked here and there, and sometimes those sidetracks are exciting, especially when an artist enjoys whats going down. Fisher notes that all of the material on this 30 minute cassette are live synth recordings with no overdubs. And I gotta say, they are way better than most of the overdubbed, over thought synth “master works” that are being overpraised.

Each cut is relatively short-form, the longest being the closer, When They Try to Stare You Down Gouge Out Their Fucking Eyes, clocking in at just 7:00. When They Try is a smooth, but still way weirdo jam. Fisher keeps time with a deep-chill rhythm, putting you waist deep in a relaxed, head nodding zone. Almost to the point where you don’t even notice the scattering of dank magic in the background. An eccentric collection tones and bubbles contorting and bursting calmly. It’s one of those shots of experimental music that gives a new layer to peel with each listen.

This cassette was released by Tonal Shit Research, which is possibly a name that was put on there In lieu of making this a self released tape. I could be wrong, but for now I’m going with that. You can pull a grip from Fisher’s Bandcamp and unpack his obstreperous textures and casual patterns in the comfort of your own home. Forget about the twerk_colors_inverted.jpg cover. Pay no attention to the bo-bo shell. Get past all of that and buy this sucker!

 

Beakman Schools Kids On Cassettes
2.25.14 by Mike Haley

So a couple of weeks ago I started a Tumblr called Experimental Music on Children’s TV. As you may have guessed from the name, It’s a collection of instances of experimental music on children’s TV. Shit like Herbie Hancock showing a Fairlight CMI to some kids on Sesame Street, the music of The Residents on Pee Wee’s Playhouse, and Bruce Haack jamming with Mr Rogers. While perusing the internet in search of more stuff I came across an episode of  the 90’s show Beakman’s World. Beakman’s World was sorta like Bill Nye The Science Guy, but Beakman had hair like Buzz from The Melvins and a dude wearing a weathered rat suit in his crew. The ‘sode was #19 from 1993 and it had a segment titled “Tape Recordings”. Now, you may not know this, but I’m a fan of tapes. So I checked it out.

In the segment they get a question (on cassette tape) from Yolanda Salas of Waco, Texas asking how her portable cassette player works. Beakman answers the query in pretty solid detail, using props to explain things like how magnetic tape works and what a recording head is. It was actually pretty dope, which is why I’m sharing it here. I’m assuming you wont hear terms like “supply spool” on any kid’s shows today. *sigh*

Check it:
 

Do The Rite Thing
2.24.14 by John Pyle

You’re too late.

Compulsion Rites is already sold out of the new batch (the first since relocating from Cleveland to Milwaukee), and you missed it. Too bad, friendo! Maybe next time you’ll pay a little bit more attention so that you won’t miss out on releases from artists like Developer, Sunken Cheek, Plague Mother, Constrain, Breaking the Will and Pleasure Island (so dreamy).

C’mon, look at what you missed (descriptions are taken directly from the label’s website):

Sunken Cheek / Plague Mother split c30 (CR021)
Two sides of claustrophobic atmospheres and heavy electronics. Sunken Cheek might be the most underrated project in the entire country, as “East East Hill” leaves no dispute as to his flawless execution of tension and catharsis. Plague Mother explores the uncomfortable realm of fever dream states with uncomfortable space and decaying static. Together, this split is a soundtrack to a death Midwestern. Edition of 50.

Developer c30 (CR022)
Matthew Reis is an innovator with cut-throat precision, and he holds court on side A with almost schizoid intensity, an array of harsh textures zipping across at breakneck speeds, while side B explores a more subtle approach to “harsh musique concrete” with meditative results. Edition of 50.

Constrain “Default Trade” 2xC10 (CR023)
Thematically building upon his 2013 tape “Travail” (note: track this down if you can, one of the best tapes of last year!) regarding the disgust of daily life and routine, the Los Angeles based Heavy Psych label boss Kevin McEleney (also of Droughter, Life Trap zine) serves up 4 sides of pure harsh noise in frantic cut-up bursts with “Default Trade”. . This double cassette release is house in a 5” reel box and includes 4 double-sided inserts. All artwork done by Kevin, who is one of my personal favorites amongst contemporary xerox manipulators. Edition of 25.

Pleasure Island “Chorny Kot” c10 (CR024)
Reflecting upon historical struggle in a former Soviet state that has seen no end to its woes, Pleasure Island uses brooding synths, screeching feedback, and buried vocals to recall tragedy after tragedy over decades of loss and desperation. Archival obsessiveness from this rising star in the American power electronics scene.

Breaking The Will “Active Nihilism” c10 (CR025)
The soundtrack to complete breakdown of social order, chaos bouncing between channels with insurrectionary spirit. Stefan Aune wields harsh noise like a seasoned guerrilla with an molotov: scrap metal abuse, static, hiss and buzz, low end rumbling… all are tools at his disposal in this pipe bomb of a recording. Edition of 50.

See? Lucky for you, these will so be available from the following fine distros:

The Tide Of The End
Analog Worship
Unseen Force
Skeleton Dust

Really, though, and in all seriousness: this batch is amazing. Do yourself a favor and grip them while you can! Listen here:

Bathetic’s Toolkit For The Inward Explorer
2.18.14 by Ian Franklin

“It’s not what we do once in a while that shapes our lives. It’s what we do consistently.”
– Tony Robbins

I don’t know if Asheville, NC based Bathetic Records prescribes to much of the philosophy of Tony (Toni Toné) Robbins, but the above quote seems tailor made to sum up their entire record releasing effort. Always a consistent and forward thinking outfit, Bathetic has managed over the years to pull off what most record companies only hope to accomplish: release music that is somehow essential listening before the listener even realizes it. From Lee Noble’s wide-open bedroom stylings, to Earn’s completely mesmerizing drift, to Cough Cool’s self-reflective fuzzed out burners and a long list of who’s who encompassing everything in between (Sparkling Wide Pressure, King Dude, High Aura’d, Zac Nelson – to name a small few), Bathetic manage to hone in and deliver essential head vibrations which make you question what life was like before you listened.

Their newest batch is no different, dropping the Tsar Bomba of loaded sonics. Up first is “Live at the Hideout” a 3xCS collection from Bitchin Bajas encompassing a lengthy collage of performances and rehearsals in residency at Chicago, IL’s Hideout in January 2013. Using their Bitchitronics setup (a system of tape loops set up for generation and manipulation) with a wide array of synthesizers, woodwind & brass instruments, and percussion, they stream an other-worldly dose of musical sensory data to unsuspecting minds. This music is perfectly suited to long explorations of self-awareness and this long-form release, with over 120 minutes of music, is the perfect entry point for any sonic-explorers journey into the other. As the band says themselves on their website, “Find your zone”.

Next up is a new full length from the enigmatic Angel Olsen, “Burn Your Fire for No Witness” out on Jagjaguar with Bathetic slinging the only cassette offering. Featuring her syrupy razor croon, this is sure to be an absolute soul crusher in all the best ways. Evidenced on the track “Hi-Five” which kicks off with slightly overblown electric guitar accompanied by a warm warbly tremolo and punchy honky-tonk drumming, her voice cuts straight through to your heart and grips the fuck out of it. Delivered with stunning vocal control, the lyrics serve to hook you even more, “Are you lonely too?/ Are you lonely too?/ Hi-Five/ So am I”. This is pain everyone can understand delivered in a false bouquet of serenity. The cover art, from the equally enigmatic Daniel Higgs, solidifies the themes and mentality of this release as demonstrated in “Hi-Five” with blood red text around a beautiful image of what appears to be an internally burning head, all wrapped around a red soaked cassette shell. A firestorm of emotional turmoil bursting forth and displayed with no regard to who may be watching.

Rounding out the grouping is an expertly conceived “split” from Rale and Lolly Gesserit across two cassettes. A brilliant method of release and exploration establishing both artists as expounding on a mutual conversation; two complimentary pillars as opposed to different sides of the coin. Billed as more of a collaboration rather than a split in Bathetic’s words, both artists are free to elaborate over the double cassette with the artists alternating sides of each, creating self contained voices within a larger framework. Featuring harsh rumblings of fragmented mutterings, layers of metallic drones, and terse interjections of static and feedback, this dialogue will surely unfold and bloom across the 4 sides. Each rebounding and expanding upon the other as both blend together into a continuous regeneration of form.

Grab all three releases from Bathetic’s site, Check out the video for Angel Olson’s “Hi-Five” (below), and step into the vast expanse of inward exploration young traveler!

C For Comfort: An “I Dream Of Wires” Addendum
2.12.14 by Ian Franklin

Those not already consumed by the ever growing presence and resurgence of modular synthesizers of the past 7 or 8 years may have yet to come across the I Dream Of Wires mega-documentary released this past year. Encompassing an enormous scope (over 4 hours!) of interviews, visual eye-candy, and comprehensive information about the instrument, it’s enough to make any gear head and electronic music fan spiral out into a dizzying comatose of drool and lust. Endless gear shots accompanied by a steady stream of curated modular synth tracks from producer and co-writer Solvent (Jason Amm) brings the viewer on a long distance brain burner, simultaneously leaving you physically drained and yet still hungry for more.

To satisfy some of that insatiable hunger, Solvent (a Ghostly International recording artist and accomplished musician) has released “C for Comfort”, a cassette release on Suction Records comprised of a select grouping of tracks from the documentary made entirely with modular synths. In an edition of 150 copies, C for Comfort is set as an addendum to Solvent’s sixth studio album “New Ways: music from the documentary I Dream of Wires” released in conjunction with the documentary and available on 2×12” LP + 7” and CD, rounding out Solvent’s seemingly modular approach to media consumption and adherence to format equality. (What, no LaserDisc? pssh.)

Stream clips from C for Comfort below (mouse over image) and grip a copy from science-with-synthesizers.com and grab a copy of the IDOW documentary while you’re there. But readers beware, these luscious sounds can leave you fiending like you’ve never felt before until you start looking around your house contemplating what you can sell to grab a Serge panel or fund that 9U which has somehow become essential. Do I really need this couch? What’s all this crap in the corner I never use? I could probably sell that. Somebody’ll buy that, right? Right?

Track Listing
a1. Small and Efficient
a2. Subharmonics
a3. Pattern Recognition (Minimal)
b1. Clustering
b2. Corg
b3. Old Flame (*Cassette Exclusive*)

 

Anthony Janas’ Funny & Pretty Modular Musings
2.11.14 by Mike Haley

Everyone’s been talking about how chill the current Pope is. I think  mainly because the bar has been set so fucking low that if the dude doesn’t drive around, bumping into homosexuals in his bullet proof car, then people are like “Oh, wow! This one is super progressive, right guys?”. If you ask me, and I know you didn’t, but if you did I would say to forget about Vatican City and look about 7,000 miles west to Chicago, IL for the real deal. There you will find Catholic Tapes, a much doper place to offer your faith up. Brett Nauke has been running the label for about seven years now, baking up some heavy duty jams for the world. Things have been quiet lately, but today the white smoke billowed out of CT HQ signaling that new releases were now available.

One of those releases is an insanely delicious six-track cassette from Chicago-based sound artist Anthony Janas. The tape, titled “Funny & Pretty” is just over a half hour of carbonated modular synth structures mingling with clouds of atmospheric and quirky realness. Far from noodling, Janas navigates his way through some Mort Garson inspired space-pop arrangements that are sweetly thought out and executed. Catholic Tapes lays out that Janas busts “An extremely refreshing and new take on modular synthesis and electronic composition for 2014. One of the most exciting people in Chicago’s vast electronic scene and truly unlike anyone else in the game” and that ain’t just a bowl of hyperbole. You can figure that out by streaming the tape below.

When you are done, head over the Catholic Tapes shoppe and BUY THIS sucker before the well runs dry. A new 7″ from Brett Naucke is also available.

 

Cassauna Days Re Revisited
2.6.14 by Mike Haley

Since sorta falling asleep in 2011 after a year of heavy production, Important Records is waking up their cassette imprint Cassauna. Cassauna issued fourteen tapes from the likes of Conrad Schnitzler, Greg Davis, Maurizio Bianchi, and Richard Lainhart’s Buchla 200e System recordings “Lux” (pictured below), to name a few, packaged in letterpressed and silk screened packaging. The relaunch brings two new release, two releases on deck, a Cassauna-centic episode of Imporant’s podcast, plus a Cassauna Bandcamp for the digital natives.

The new releases are by Randy Gibson & Zachary James Watkins with future cassettes coming from Claudio Rochetti + Pietro Riparbelli and Sarah Davachi. Here’s some info about the two new dudes direct from the Important horses mouth:

sauna15: RANDY GIBSON – THE FIRST PILLAR APPEARING IN SUPERNOVA
“The two sides of The First Pillar Appearing in Supernova could be considered as opposing explorations of the simplest section of my ongoing work, Apparitions Of The Four Pillars. When approached by Cassauna to make this cassette, I knew I wanted to use the mechanism of the cassette to create the work. As with my previous work for cassette, Analog Apparitions on The Tapeworm, the sound of the cassette is integral. Cassettes of individual vocal drones were recorded onto a Marantz PMD222. Using the volume and speed capabilities of the Marantz, I worked with a single line at a time to create a dense harmonic world from a simple intervallic source.”

sauna16: ZACHARY JAMES WATKINS – MOVEABLE
“Movable is scored for pianoforte in a unique just intonation/equal temperament hybrid tuning and employs a new mechanical extension we like to call the Piano Monster built by NYC artist Ranjit Bhatnagar that uses 16 voltage controlled motors with attached objects that resonate piano strings.”

 

 

 

The cassettes will set ya back ten bucks a pop and can be ordered by clicking the artist names above. I’m not seeing them on Bandcamp just yet, but most of the back catalog is up now. You can listen to episode six, an hour-long show focusing on Cassauna’s past, present, and future, on Soundcloud or below.

This Tape Is Rotten
2.6.14 by Mike Haley

Mr. Greg Gorlen, who runs the San Francisco based Turmeric Magnitudes imprint and shares his thoughts on cassette tapes over at his Demagnetization blog, has released a dizzying amount of material on cassette tape under multiple monikers. Someone will have to Snopes this for me, but Vibrating Garbage, Black Thread, Spitting Falcons, Dark Spring, Mannequin Assembly Co., Birds You Once Knew, Wires & Relays, Crosshatch Tape, and Greg Garbage are some, but not all, of the names in his noise-alias stable. Let me just punch the numbers into a calculator real quick to figure out exactly how many solo releases he has out… Okay, a shitload. It’s a shitload. But today’s release from Double G, “Rotten Tape”, is the first under his actual name.

“Rotten Tape” is a C20 of sloshing tape loops made from some of his previously released work as Vibrating Garbage and Crosshatch Tape, and source material for a collaboration with TVE. Fleshy, sluggish patterns of sound that squirm and drip, sometimes cruising into each other. Keeping with Turmeric Magnitude aesthetics the cover is a black & white closeup texture and the shell sticker is simple black text. It’s available to stream or buy for $5 from the TM Bandcamp. If you aren’t familiar with Turmeric Magnitudes deep catalog, do some digging around while you are there. It will be worth your time.

Greg Gorlen will be hitting the road come March playing a live version of this material across the United States of America. Follow him on Twitter to keep up to date on that shit.

 

Check Out Junior Pande’s Red Tape
2.5.14 by Mike Haley

The Red Tape is Junior Pande’s fourth cassette on Spring Break Tape in as many years. Junior Pande is the project of Justin Peroff, who Wikipedia says is best known as the drummer for the Toronto based indie rock collective Broken Social Scene, but I never actually heard that band, and I have heard Junior Pande, so this is what I know him best for. Don’t worry, I’ll update the Wiki article later. {{Citation needed}}

The Red tape is 20 minutes of beat & sample based music dabbling in experimental hip hop and footwork with moments of serene chillness. Each tape is packaged in a cardboard Ocard with original, unique photographs attached to each side and includes a zine with some of Peroff’s photography work. It’s limited to 50 copies and can be gripped up through Spring Break’s Bandcamp (linked in the player below).