The Kylie Golden Remixtape: Press Release

Kylie Minogue released her new album Golden also on audio cassette. She announced the cassette release in a video. Kylie inserts the cassette into her Walkman, presses play, waits and gets excited.

What happens next is that the Kylie Minogue management approaches or doesn’t approach staaltape. They ask, or don’t ask to make a remixtape.

Staaltape is Staalplaat’s cassette label. Staalplaat, active since 1981, is a well-established name among the practitioners and fans of a non-established genre. Electronic beats listed staaltape as one of the ten cassette labels, that keep the tape alive in Germany. Staaltape didn’t only help to keep the tape alive worldwide. Hundreds and hundreds of small labels around the globe helped the cassette tape to a renaissance.

The Kylie management wanted to pay respect to the underground cassette movement. They did or did not ask staaltape to take care of a remix of Kylie’s album Golden. Staaltape proposed a remix of the sounds on the video. The management did or did not agree, on the condition that they would choose half of the musicians. The artist’s names had to remain unknown.

Staaltape agreed.

This means that Jack White did or did not give a track to Volume one. It means that Daft Punk did or did not make a track for Volume two. It also means that artists that you have never heard of did or did not make a remix for the two volumes.

Once you have listened to the remixes you will acknowledge that this all doesn’t really matter.

And the tape looks good too.

The Kylie Golden Remixtape was entirely produced at home, with postcards, Plovdiv the typewriter, a pack of sky-blue writing paper, spray paint, scissors, glue and silk paper, and of course a Yamaha 4track recorder and a Marantz CP430.

Early shoppers can fill their cart here

 

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Midori Hirano/Kris Limbach – The Last Day on Earth, reviewed by Ryan Masteller

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.

Midori Hirano/Kris Limbach – The Last Day on Earth, reviewed by Ed Pinsent

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

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Ben Roberts – Unit Audio, reviewed by Ed Pinsent

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.

NEW: dj ShluchT – eine nervtötende Geräumigkeit

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.

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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.

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