New Batch – Spring Break Tapes! 2.22.17 by Scott Scholz
Spring Break Tapes! proprietor Joe McKay had a busy 2016 that included the launch of the incredible Dinzu Artefacts label, an experimental/sound-art focused imprint with a thoughtful, unified art/layout design scheme. But fear not, Spring Break fans: SBT shows no signs of slowing down, either, with a recent pair of jams that may be the best yet on the label.
Hainbach – The Evening Hopefuls
Berlin-based composer Stefan Paul Goetsch’s electronics side project Hainbach takes a fascinating turn with “Evening Hopefuls.” Previous Hainbach jams have mostly incorporated beats, though 2015’s “Ashes” heads into more ambient pastures. While these pieces still ebb and flow between layers of loops, the source material is generated from rehearsal recordings of Goetsch’s debut orchestral composition, a long piece intended to be performed in sync with a showing of Wiene’s silent film classic, “The Cabinet of Dr. Caligari.” Many composers record ongoing orchestral rehearsals if possible, as they’re invaluable for helping to improve scores during the rehearsal process, but Goetsch took his rehearsal tapes to a whole new level, using his downtime between rehearsals to create Hainbach-styled arrangements of the material.
The result is an incomparable ambient album, with mesmerizing, gentle layers of sound. While very small fragments of sound are deployed to create these soundscapes, the timbral richness of its orchestral origins comes through with a variety of sounds one doesn’t hear in albums made of modular sounds and field recordings. Worlds collide, and charmingly so.
Bus Gas – Live On Leave Us
Nebraska ensemble Bus Gas returns for their second tape on Spring Break, and fourth overall. Past recordings have found these gentlemen processing their drone-oriented improvisations into complex tapestries that sound highly composed, but this outing finds them tackling a pair of composed pieces instead. Recorded live at O’Leavers Pub in Omaha, Nebraska, richly orchestrated layers of sound turn this trio lineup into a massive force of drone, and for guitar tone aficionados, you’ll find some of the most satisfying tube-fueled melodic lines of the Obama-era outlining the mysterious architecture of these pieces.
2014’s “Snake Hymns” highlighted shorter pieces that often took on a more Faust-ian sound-collage delirium, but the alternating delicacy and weight of these new jams takes a classical kind of solemnity, like Sclesi’s harmonic-based minimalism hefted into Ligeti-esque sound masses. There is a deep current of melancholy woven into this music, but to make sure you don’t turn into a ball of ennui sobbing in a corner, Bus Gas helpfully provides a little brevity in the form of the album title itself, a play on “Live at O’Leavers.” This performance marked a sort of geographical split-up of the project, but considering how each of their tapes has reached new heights of beauty and darkness, let’s hope they find a way to continue working together regardless of distance.
It should be mentioned that Spring Break has really stepped up their already killer j-card game on this new batch as well: both tapes feature intricate zillion-panel artwork, printed on both sides, that provide a lot of visual interest while listening. The metallic inks on the Hainbach tape really pop, and the enigmatic artwork for Bus Gas fits perfectly with the music. With only 100 copies of each in the wild, you’d best step up to Spring Break Tapes in a jiffy.
Let’s not kid ourselves – 2016 was a fucking disaster. The entire year was like a waiter clearing a table, stacking up far too many plates and glasses in a Jenga-like tower, and the second they step away from the table the restaurant explodes. But tapes? Tapes did just fine in 2016. Actually, I take that back. Tapes had a blast in 2016, with familiar and fresh names both permeating profound vibes on the fringes of weirdo tape culture. Over the last twelve months around 1,000 little spooled suckers made their way over to Tabs Out headquarters, and we listened to every one of them. Some not all the way through of course . Let’s be real, A LOT of them were garbage, but most were fantastic and provided a glimmer of hope during this jerk of a year.
So here they are: Our 200 favorite tapes from the year – IN PERFECT ORDER!!! Please do not tell us what you think should or shouldn’t be on the list. We are literally the smartest people we know and got this very VERY right. Just like previous years [‘13, ‘14, ‘15] we only included tapes that we had a physical copy of.
Enjoy!
#1: Jake Tobin “Sorta Upset!” (Haord) It’s rare but incredibly exhilarating to hear an album that sounds kind of like the weirdness perpetually bouncing around in my own head, and Jake Tobin’s latest opus, “Sorta Upset!,” stokes every synapse in my skull and fires up a few more. While this tape barely clears 15 minutes of running time, it’s a concentrated quarter-hour with a career’s worth of phenomenal ideas. And for as complex and layered as it can get, it’s somehow catchy as hell, too. You will totally find yourself humming along with this music, and humming more acrobatically than ever before. [read more]
#2: Belarisk “Greys, Escaped” (Moss Archive) Only seconds into “Greys, Escaped” I had a very vivid image in my head. As the tape went on that image naturally expanded into a scenario which was reinforced with each blop, zap, surge, scratch, whist, and tickle Belarisk dispatched. Aspects of the artwork gave credence to this micro story my brain had fashioned. Everything was lining up. My imagination was being a good little boy and deserved a treat in the form of repeat listens. Those repeat listens put even more fat on on the bone of my now rather formulated story. It got deep. Deep to the point of being embarrassing, quite frankly. [read more]
#4: Khaki Blazer “Gelatinous Ground” (Unifactor) “Gelatinous Ground” raids the sugar packet and unlabeled medication caches, nervously blending cocktails and idiosyncrasies. Velvety vocal manipulations mush into eccentric weirdouts. Bubbles pop and thick gels spill. When rapid haphazardness isn’t tugging at your amygdala, Pat cleaves hip hop chunks and kneads em like he’s trying to activate their gluten. At times you almost feel concerned. Is he okay? Why is he doing that with his mouth? Then synthesizer magic swoops in with grace and charm, and you feel even more concerned. Extremely crisp, collected, fist clenching coldness stretches from seconds to minutes. [read more]
#5: Charles Barabé “Les Dernières Confessions” (Orange Milk)
#10: Sam Goldberg “Kiss Me While I Excuse The Sky”(Unifactor)
#11: The Spiritual Switchboard “Post-Age Variations” (Baked)
#12: Fletcher Pratt “Dub Sessions Vol.3” (Crash Symbols) Pratt, a Canadian we allow to live within our borders until Trump kicks him out, started his sweltering dub journey in 2011 on Dub Ditch Picnic. Five years later the third chapter of his “Dub Sessions”, released by Crash Symbols in an edition of 100 copies, continues the heat and humidity of it all. The music has a spooky mechanical nature, but is still sweltering. Sizzling. Sultry. One wonders if Fletcher Pratt relaxed pool side while Dubbot-5Px maintained the phantom flow of swank and style. “Dub Sessions Vol. 3″ being flush, teeth to toes, with such. [read more]
#16: Maharadja Sweets “The Caprice Of Young Gods” (Oxtail)
#17: Various Artists “Compilation Two” (Noumenal Loom)
#18: 21st Century Wolf “Ideographic Space” (Sacred Phrases)
#19: M. Geddes Gengras “Two Variations” (Umor Rex)
#20: Max Eilbacher, Alex Moskos, Duncan Moore “SEF III” (Ehse) The structural layering is so DEEP across the whole release, like one of those yummy 7 Layer Dips that they just bring out in the casserole dish it was made in cause there’s no possible way to transfer it without it falling apart. And you can make out the top couple layers for sure, maybe even a middle layer or two, but you’re gonna want to reach that WHOLE chip in there and scoop up every little piece. Soliloquies on spontaneous clown generation, slowly transitioning into a mechanic relay stream of consciousness. Peppered blasts of frequency modulated nodes. Slippery lilts trigger the resonator squelch. Claustrophobic foot step rhythms. Real tasty stuff. [read more]
#30: IMF “Harlem Electronics” (Pilgrim Talk) IMF is all about discombobulated shots of relentless noise. Noise created by, or not created by, Ian M Fraser. I say not created by because the liner notes state that “this program performs with no human interaction whatsoever”, IMF opting for algorithmic, computer rendered compositions. Human interaction or not, this tape gashes into existence with unsettling, wavy coarseness and grating randomization. [read more]
#31: Yves Malone “Today is the Last Day of the Rest of Your Life” (Field Hymns)
#37: Sparkling Wide Pressure “Answerer” (Patient Sounds) “Answerer” conjures up a sonic realm inhabited by acoustic and electric stringed instruments, synthesizers, organs, and looped up, talking background vocals. The A side, with its shorter, lighter tracks acts as the entrance way into this world Sparkling Wide Pressure have created for us. The opener “Deb’s Song,” with its loose, acoustic picking and muted electronics slowly guiding you in. [read more]
#46: Semănat “Duobė” (III Arms)At just under eight minutes, Duobė I coats the A side like a lacquer. Bleached-white guitar riffs exist in a panic-free void, uncoiling in an immutable, reliable attack. Hovering in arms reach above a fog of drones, thumps, and injured vocals. It’s with absolute reverence to grey scale scenery and poorly manicure historical battle sites that Semănat pours this poison.
#51: William Cody Watson “Patriot” (Lime Lodge) “Patriot” is like a fairy tale. One of the classic cuts. The dark as fuck German shit where parents are constantly dying. Nothing sugar coated or CGI’d. “Patriot” is actually worse than the Brothers Grimms’ yarns, because “Patriot” starts off with everyone dead. Well, not EVERYONE. The listener is functioning. And maybe a few talking snakes and grey scale mushrooms. Other than that, no life [read more]
#52: Various Artists “Half A Decade Of Chrome” (Field Hymns)
#61: Ink Jet “Cold Shoulder” (Gohan)Forget everything you know about hanging in fancy hotel lobbies, watching montages of very specific teams preparing for a heist, and Blaxploitation fonts. Wait, that’s not right. Remember those things. Remember all of those things at once. Force them into your thoughts until they crash together like matter and antimatter and create pure energy in your skull. Dapper energy with an unhesitating swagger. [read more]
#68: Talibam! And Alan Wilkinson “It Is Dangerous To Lean Out” (Astral Spirits)
#69: MrDougDoug “These Magical Numbers” (self released) MrDougDoug continues his trek into absurd zones. On “These Magical Numbers”, Doug Kaplan crams a stupid amount of sound into a tiny space. The earlier mention of 69 National Anthem renditions was not a joke. On the track “69 Starspangled 420″ there is literally audio from 69 different videos of the The Star-Spangled Banner ground into a fine paste over the course of a half hour. A thick mush of nationalism and anxiety that feels like walking on a soaking wet red, white, and blue shag carpet. You don’t have to be strapped to a chair with the pause button just out of reach to give this a proper listen, but you fucking should be. And it gets darker. MUCH darker. [read more]
#81: Mot “Rebecca’s Spit” (self released) This tape has the personality of a clogged sink, but isn’t exactly trying to be the most popular kid at the party anyways. It’s not even sure why it’s at the party. With the agenda to drink cough syrup, explore the basement, and burn family photos, it should have just stayed home. [read more]
#86: Christina Schneider “Violence Etcetera” (OSR) The sound and method might be pure C86, but the complex, unblinking lyrics, full of visceral imagery, feel very timely. Another piece of evidence that OSR has an ear for sounds which might be able to transcend the moment of their creation. [read more]
#94: Gerritt Wittmer “Unknowns” (No Rent) Near nothingness. A stretch of vacancy occurs. Then, in a Kramer-like jolt, the machines start up. Functioning correctly or not, gears chug along. Stray bolts drops to the floor and roll underneath the onerous mountains of metal and belts and wire. Maybe the machines grind up bones for old, rich people snort and look younger? Maybe they manufacture those tiny plastic taco and sushi toys for kids? It starts up. [read more]
#109: Glou Glou “Fey Flight Founders” (Full Spectrum)Gretchen Jude and Arjun Mendiratta. Those are the humans behind this magnetizing Bay Area two-piece. An open air recording gives their already temperate sounds an even deeper organic glaze on this hour long, single session cassette. Lustering violin and vocal drones shiver, balloon out, and maneuver through wayward zones of knob swiveling. Brief patterns emerge, but the Glou Glou modus operandi is a random and chill one. [read more]
#113: Ottaven “Sequenze Per Raffigurazioni Mentali #1” (Sincope)
#114: Softest “Six Wishes” (Inner Islands)A kinder gentler iteration of Braeyden Jae, softest gives us six “wishes” over two sides. That’s twice as many wishes as the average genie, folks. And what gorgeous wishes they are—where Channelers often feels oceanic, softest evokes those ozone-heavy moments right after a good spring downpour. These pieces progress carefully, initially feeling a little static but gently evolving as they dry off in the sun. [read more]
#124: C. Reider “Sophist I & II” (self released)His tinkering with sound can be magnetic and calming, but risk is right behind the curtain. In the most casual ways, C. Reider knots sequences of inescapable coils. He creates filmy, and sometimes almost muted atmospheres, then proceeds to nudge them into shared spaces with corrupted noise to the point of vertigo. 9-volt beats, voices rising through distortion, asterisks of glimmering hope all helix into web-like patterns. [read more]
#136: Jay Glass Dubs “New Teeth For An Old Country” (Bokeh Versions)
#137: Various Artists “Death On The Hour” (Geographic North)“Death On The Hour: Aural Apparitions from the Geographic North” is fueled by spectral atmospheres. Focus is averted from the trick-or-treat and pumpkin carving conditions of the holiday and fixated more on the idea of spending the night in the vacant house that Old Man Wallmaker hung himself in on Halloween night 6 years ago. I’m talking classic horror movie patterns, reconstructed as an experimental cassette comp. [read more]
#142: Wild Anima “Blue Twenty-Two” (Blue Tapes)Featuring an eclectic group of instruments including violins, Korean flutes, and more, Wild Anima’s Blue Twenty-Two tape is an atmospheric and at times, supernatural, experience. Alex Alexopoulos is at the helm of Wild Anima, with help from friends. [read more]
#143: Miguel A. García / August Traeger split (Bicephalic)
#148: Sister / Body “Spells” (Baba Vanga)The Prague duo’s ruby red tape features beautiful and mysterious artwork, like a hand holding a fuzzed out crystal ball, with a person’s hand holding what appears to be lotion on the inside, adding to the mystical, about-to-cast-a-spell feel. They open the tape with “Black Jacket Angel,” a fascinating track clocking in at more than seven minutes that puts equal importance on the sound in the song as the silence. [read more]
#154: Comfort Food “Waffle Frolic” (Already Dead)Chicago’s Comfort Food has been laying down their heavy jazz/rock/tribal/math jams for a few years now, but their latest tape for Already Dead, “Waffle Frolic,” is a whole new party power-up for your ears. Their previous tape, “Dr. Faizan’s Feel-Good Brain Pills,” displayed an admirable kind of gutbucket rock/jazz blend with some serious swagger in tunes like “Dem Grapes,” but look: ain’t no Frolic like a Waffle Frolic, ‘cause a Waffle Frolic don’t stop. [read more]
#163: Pay The Rent “Soft On Glass” (White Reeves Productions)Pay The Rent’s “Soft On Glass” is a liquefied bliss. A candied concoction of striking synths, lush as h*ck guitar, and drones. Drones that cascade down the pews of a very large, showy church. They move reservedly, like fog. Guitars bellow from the ornate rafters in outstretched waves, their origins cloaked. The stone queue of creepy, blood stained statues that line the walls sorta sway and throb along with the crystal clear keys. [read more]
#174: Moon Lagoon “How Do I Get Out Of Here” (5nakefork)The enticement game begins right out of the gate with Moon Lagoon throwing charms into your eyes via a handsomely designed silk screened Jcard, textured stickers on the shell, and the shell itself glitterfied in a way once reserved for homophobic presidential candidates. Thankfully, the audio end of “How Do I Get Out Of Here”, A C50 released on the in-n-out of hibernation imprint 5nakefork, hovers in an equally majestic zone. [read more]
#181: Used Condo “American Birthstone” (Suite 309)I popped “American Birthstone” by Used Condo, a Larry Wish joint, into the trusty deck knowing nothing about it. Not knowing whether Used Condo was short for used condominium or slang for used condom, I wasn’t even totally sure on the name. Still not I suppose. It was, however, clear by three or four minutes in that this was going to be a frustrating listen. [read more]
#189: Future Ape Tapes “1093” (Fall Break)This collection of mostly instrumental, heavily improvised compositions flows together as an organic, psychedelic whole, with occasional, abstract vocals lending to the atmosphere. much of the music is built from drum loops, synth drones and shimmering, echoing guitars, that when combined sound like dub music for a new age LSD spa. [read more]
#193: Chimess “Growth” (Cave)Listening to “Growth” by Chimess reminds me of sitting on bleachers watching eight, slow roasting innings, unshaded by the heavy embrace of a midsummer’s day heat. Gossamer tones lay a harmonious foundation for low rumblings, faint clicking, analog popping, bubbling, and other echoing, ethereal garnishes. “Growth” is bathed in a series of momentary contemplations, not unlike the somewhat paralyzed feeling of languidly drowning in a fire. [read more]
“1093”, the latest release by prolific Athens, GA experimental band Future Ape Tapes, and their first release on Fall Break Records, is easy on the ears but tough to wrap your head around. This collection of mostly instrumental, heavily improvised compositions flows together as an organic, psychedelic whole, with occasional, abstract vocals lending to the atmosphere. much of the music is built from drum loops, synth drones and shimmering, echoing guitars, that when combined sound like dub music for a new age LSD spa. these chill vibes are punctuated by climaxes and explosions of more discordant sounds; moans, field recordings, synth glitches and guitar shards.
On their bandcamp page, Future Ape Tapes explains that the idea behind their work is “de-evolution as progress”, a concept (and somewhat of a Devo reference) which makes sense the more you listen to this tape. These could be heard as traditional-type songs with space having crept in between all their cracks, entropy having set in; rhythms fracturing, melodies stretching and bending, riffs becoming caught in a loop like a broken record and defining their own beat. Psych rock songs as cities decades after abandonment by humans, the roots and limbs of plants forcing apart the concrete structures.
There are many layers to this music and this tape is worth repeated spins. Get one here. I also recommend digging a bit into Future Ape Tape’s extensive digital back catalog, a lot of which is free or name-your-price.
New Batch – Spring Break Tapes! 5.2.16 by Ian Franklin
I was supposed to listen and write some words on this batch from Spring Break Tapes! closer to when it was released back in March, but some unfortunate life events prevented any type of creative spirit and sucked all the energy out of me. These three sat on top of my deck staring at me for the last month and change, beckoning me to dig in, almost forcing me to listen. But, I resisted for whatever reasons.
Sometimes things don’t work out the way you want them to. Sometimes things royally fucking suck and it can feel crushing and impenetrable. The loss of a loved one, a personal failure, a dissolving friendship, a monumental weight on your mind, the impending disaster of things you can’t control. But the shadow is cast from the flame, and darkness is not the only reality.
Music has the power to heal and transform. Sometimes it may be the only light that shines, but all light moves with the greatest speed and with undoubting assurance. Returning to these three tapes from Avery Gabbiano, Amulets, and Head Dress has been an overwhelming and positive experience. Not only because they were weighing on my mind for a long time, but also because they’re so fucking good. Let’s dig a little deeper.
The continuous theme of cyclic movement and regeneration is present in all three releases though evident in different patterns and ways. They each develop in their own style while at the same time moving through equal fields of intention, whether it be through tidal movements, looping forms, or rhythmic presence. They mold together as wholly separate but connected sides of the same prism.
Avery Gabbiano “Oracles & Chambers”
Side A’s track, Sacred Incubation Chamber, begins immediately with an underwater deep sea dive into chambers unseen; elements of structure that only live in light-less environments. Bubbles of watery pops and resonance float around circular stabs of more fossilized synth arpeggiations. Not quite water and not quite electronics. There is a threshold that sits just below the shadowy depths. A slow and steady melodic current drifts through stronger waves of filter sweeps and undulations. The feeling of a surrounding weight mixes perfectly with the feeling of endless expanse. Heavily reverbed and delayed tones bounce and reflect in a glowing radiance while warm drones fill the stereo spectrum. Ancient systems flow through dynamic structures.
Oracle of Osaka picks up the current where the tide let out. Deep and glistening bass drone floats underneath flashes of synth that dances from ear to ear. Disconnected voices splash on the shores of memory leaving a thin layer which ultimately drifts back to the source. Long distance travels. The steady pattern of continuous synth creeps back to the front. There and back again; always present. Turning slightly aggressive, the storm of swelling patterns hint at the danger that is always present and sometimes unavoidable. Distinct though familiar, the sounds match perfectly to the j-cards multitude of deep-sea organism artifacts across it’s numerous panels. Mystifying while simultaneously comforting.
Amulets “Auras” The Coldest Time Was Always Midnight begins with distant field recordings of a passing train in the night. Or perhaps a fading tape loop pushed to it’s limits. Or maybe the slow undulating pulse of time itself. Creeping guitar haze penetrates the outer reaches and works its way towards covering everything in sight. The most gentle beginnings drift into an all encompassing presence, replaced continuously over again like ripples pooling out to the edges. A brilliant light which burns and fades though it leaves the mark of remembrance in it’s wake.
A Funeral By The Sea kicks off on the flip side with a strong and dense field of ambient hiss that slowly melts in to the porous edges that keep the structure together. Weathered and exposed guitar passages dance slowly back and forth. Pleasant feedback makes its presence felt but hardly seen. Looped fragments across multiple octaves fill out the massive structure and balance together with ease: slow and methodical bass, small flashes of upper register, pulsating drifts through the middle frame. A full body cast shaped and sculpted around a fading figure. Some of the most beautifully haunting sounds I’ve heard in a long, long time.
Head Dress “Rose” Prickly stabs of synth pierce the beginning of Salet, the first track of the A side. Staccato splashes that bounce and trail off into the farther reaches. They’re met with a deep and expounding call of bass rhythm and meditative vocal loops while a slow undercurrent melody runs through the middle. Fading from the view, the undercurrent swells and disappears into the growing blackness that surrounds. Lurching from the beyond comes “Black Cherry”, with its deep breaths of filtered bass tones. Small, fluttery modulations skip through the weighty pool like dragonflies over a underground canyon reservoir. Though they never linger to long before disappearing back into the night.
Darlow’s Enigma starts things off on the B side with flashy pops of synth rhythm, a 4-dimensional field that grows strength from all it absorbs. Resonant spikes pierce the outer layers; sharp edges dissolve and grow into new territory. A dance of structured yet unstable movement. Pieces of vocals once again enter the territory. Distorted and fleeting they dissolve into the ether of the pulse. From the beginning…the rise; to the inevitable end… the fall.
A word on the j-cards for these three releases: BONKERS. Straight up gorgeous fucking pieces of artwork from label head Joe McKay displayed over 6 panels, front and back. Each one fits the mood of their respective sounds perfectly and adds to the overall release in a way that is refreshing and exciting. You really just have to experience these for yourself. Stock is running low on these so do what you must and grip these babies NOW!
Stefan Christoff / Post Mortem – Tape Crash #12 split 3.21.16 by Ian Franklin
Unbeknownst to me, Old Bicycle Records based out of Piazzogna, Switzerland have been releasing some amazing music on cassette, CD, and LP since 2011 especially their Tape Crash series pairing artists from around the world together. #12 in that series is a split C48 between Stefan Christoff of Canada and Post Mortem from the Netherlands.
Stefan Christoff’s side is filled with emotional and sprawling textures of organ, guitar drones, and piano explorations. At times Terry Riley like, Christoff works with rhythmic counterpoint and revolving modes of melody and solos. “Fenetres Sonores” begins with swirling touches of delayed and reversed guitar patterns stacked on top of bass currents and rising synth drone. Christoff does an excellent job shifting form across the tracks and as a result they never feel bogged down by extended periods of exploration or stagnancy. “Silver Organ”’s bouncing synth rhythm hops along under the silver glass shine of stacked organ declaration. “Correspondance” is the most guitar heavy track; slightly distorted resonating solos punctuate the open air and drift along the canyons within. Then to finish it out, the side closer “Reve Populaire a Montreal”, beckons with waves of crescendoed piano flourishing climaxes. Deep mix of Ambient introspection and contemplation across this side that is simply beautiful to experience.
Post Mortem (Jan Kees Helms) “Waasland” kicks off the B side with a warm bath of ambient noise rising in intensity revealing a train like cadence, wind whipping by with the muffled clicks of tracks passing underneath. Looped fragments of distorted vocals punctuate the haze with bass-y mixtures of piano and noise lurking through crevices. As the dense layering of looped field recordings subsides, the piano shines through the spotlight, a slow and measured melody of hesitation. Creeping, heavy blasts of noise are reduced to the mechanical lilt of the train again, unable to escape the constant feeling of escaping. The continuous movement is juxtaposed against fragile piano creating it’s own rhythmic pulse. Distorted vocal chants slash across the stereo spectrum invading your ears. These too fade into the background, revolving back into the continuous loop of fragmented noise and breaths of haunting piano. Really, really solid use of mixing field recordings and acoustic instrumentation and a perfect balance to the melodic beauty of the A side.
Housed in a slick, dot-matrix printed Brad Pack, the white shell tapes have simple and minimal printing of the artists names on each side, and an insert listing track information and instrumentation which is always a welcome bonus. Edition of 100 and even though it came out last November this is still somehow available from the label so get gripping!
