Ryan Masteller listens to the tape while the weather reports announce the arrival of a terrifying tornado. He eventually has to evacuate his house on the Florida coast, but he first writes, I’m just a ghoul willing these keys to type themselves with my mind (or my ectoplasm!) in the hope that someone will read this and seek out this tape before it’s too late, this tape that will then assist them in their passing into the great beyond, whatever comes after Earth.
Read the complete review.
Ed Pinsent finds content, meaning, and expression in the C30 by Midori and Kris. He enters a world of sounds and describes what he picks up or hears in the distance, beyond the horizon of what might be his last day on earth.
This one arrives in a melted plastic bottle, and the tape is wrapped up in smoked cellophane. The packaging is already warning us that the last day on earth has already happened, leaving a charred globe behind. Evidently this is one of the artefacts that survived. It might have been a nuclear blast, or a meteorite. If the former, this package reminds us of the sad remnants of the survivors of the Hiroshima atom bomb (melted milk bottles, for instance; these can be seen in the Hiroshima Peace Memorial Museum). -Ed Pinsent
Read full review.
It takes time. It takes so much time that the tape has sold out. But that is the beauty of it. Understanding arrives always later. First there was intuition. You missed the tape, or you have it, or you don’t care. All is good with me.
You might want to care for these words:
The tape is presented to us as “combinations that produce meanings above and beyond anything the individual parts may have had.” I think this is highly significant; it might indicate something about how we shape our culture, assigning meanings to individual fragments of experience. Maybe nothing really happens to us at all, unless we can turn it into stories or fictions of some kind. After all, every sociologist and his wife are always telling us we need narratives to “make sense of the world”, as they so patronisingly put it. What interests me about this tape by Ben Roberts is how we stand a chance of seeing that very same process in action. If he has done this, it’s a remarkable achievement.
Read the complete review here.
dj Shlucht’s release for staaltape is copied on a collection of sealed Türktapes. The dubbing was done at home. Shlucht prepared two master tapes for the 4track. Marantz CP430 copied the master.
I used the original covers. Every copy has a different aphorism by ShluchT.
The mix in this release was orginally made for Radio Cashmere. ShluchT had invited me for a short interview. I sat in the comfortable Cashmere lounge and listened. I liked what I heard. I also noted that ShluchT had developed an exceptional skill in mixing material, music that was given to him as a present or a reward for his help. I recognised the small fun fragments that give so much breathing space to a mix. I heard how he could avoid density, monotony and repetition.
This is ShluchT.
Now some words that you can skip. I write these words, because, being responsible for this label, I can not justify a release with this simple statement: I like it. Here I go.
It is okay, of course, to produce your own sounds, sometimes as part of an introspective process. With this release I want to open a new series. I feel that some djs whose work I have encountered take the creative process to a next level. The work overcomes the balance between failure and liberation. It is good, because it animates a space through sound. The dj disappears. His work doesn’t have a signature. Traces of moral judgement are absent; there is no reflection of a self. The work of dj ShluchT is about being without the moment.
This tape is a mixtape: recycled sounds for recycled cassettes.
Sent out today to reviewers these two packages. The (Polish) post office across the road still uses stamps, which makes for a beautiful finishing touch. Today’s choice was two big stamps showing a (Polish?) pope blessing the masses and a smaller stamp with a picture of orange flowers.
Any advice on who/where to send copies for review is most welcome.
Also, If you order your tape directly from me, you can expect this kind of packaging.
Of course the tapes are also available directly from Kris Limbach, Ben Roberts aka Eclectiktronik Live and from Guillaume Siffert at the Staalplaat shop in Berlin. Midøri Hiranø‘s personal copies have sold out.
address side of packet for The Sound Projector
Address side of Packet for Cassette Gods
Back side of packet for the Sound Projector
Back side of packet for Cassette Gods
Ben Roberts’ – Unit Audio is a C40 tape, recorded at original speed with a Marantz CP430 from a 4track master tape. The quality is chrome. Price is 7.00€.
Here’s the text that Ben and I wrote together.
Ben Roberts is a British expat living in Madrid. He has been fascinated by everything regarding magnetic tape since his youngest years. This resulted in building a huge archive of found tapes. As an artist Ben uses the tapes in installations and live shows. Sounds of different origins and ages are blended with (or hurled against) each other.
i. Found tapes recorded by strangers, and functioning or signifying in some bygone cultural context; surviving audio remnants of a time that doesn’t exist anymore.
ii. TV/Radio/music extracts: To introduce occasional fragments of externally-referenced meaning into the pieces.
iii. Mechanical or tape-sounds: Due to material ageing, breakdown or modification, the original functional identity of the sound is nearly or completely obscured.
The combinations produce meanings above and beyond anything the individual parts may have had. Narratives that put us in direct contact with historic events as they unfold in every day life.
In addition I say:
The precise use and choice of fragments, the delicacy and awareness in attitude towards the use of found material and most important of all, the artistic approach add a touch of ‘sehnsucht’, an almost mystic glow to the sound.
Unit Audio ignites your imagination. It makes you wander over paths that almost got covered by the forgetfulness of our times.
Audiozine #3 – Valerie Kuehne is reviewed by Ed Pinsent in The Sound Projector. He hears “evidence of a wild, peculiar talent.” Read the complete review here.
The second edition is now available at Staalplaat in Berlin (postal orders too), directly from the artist, or from yours sincerely (contact form at bottom of this post).
“I never had heard any other music of Valerie Kuehne, but she has a new follower!” says Johan Nederpel in Yeah, I know it sucks.
“She performs with great style,” says Frans De Waard in Vital Weekly #1032
“Sehr hoher Unterhaltungswert,” says DJ TDK aka Thomas Neumann in Hörerlebnis, Ausgabe 97 (physical copy)