Rinus van Alebeek – How to Forget

The sounds on this tape ​stress the importance of forgetting.
​I​ used many ​e​very day objects, simple objects,
to record ​the source material​ directly on magnetic tape.
​These were objects that we encounter…bricks, wood, stairs.
The objects I chose had an extra historic layer;
they were made and used before the war,
in a part of Poland that belonged to the German Reich.
I mixed these sounds with music and speech from found tapes.
Those were relics of a (Polish) past t​hat ceased to exist.

On side 2 I added an encounter with life – real and imagined-
in the former jewish neighbourhood Podgórze in Kraków.
Obviously also that era came to an end.

To remember everything in detail is impossible;
it would hurt too much and make life unbearable.
That is why we tell stories.

Sounds for Side 1 were mainly recorded in and around the Bishop’s Castle in Klein Peterwitz during the fierce winter of 2017
Sounds for Side 2 were recorded in Kraków in April and May 2017

Additional sounds on Side 1 come from tapes found in the streets of Wroclaw or at the Hala Targowa flea market in Kraków.

The Soundprojector wrote about this tape:
Rinus van Alebeek is usually noted here as curator of the unique releases on his own Staaltape label, which he is kind enough to send us, but he’s here today published on the Tutore Burlato label run by the equally unique fellow Ezio Piermatttei. How To Forget (TUTORE BURLATO 20) is probably one of the most personal and heartfelt releases Rinus has assembled; it has something to do with painful memories, of lost history, of leaving the past behind. He thinks it’s very important to forget things; to use his own expression, “to remember everything in detail is impossible; it would hurt too much and make life unbearable.”

To achieve this, he has deliberately visited parts of Poland that were occupied by the Germans during WWII, and explored buildings, objects, familiar things like bricks and stairways; it’s all part of a plan to connect to the past, to a way of life that has vanished. He goes even further on side two, making observations and impressions of a former Jewish neighbourhood in Krakow. He is focussed – some might say highly preoccupied – with an era that is past, and looks for traces of it in the physical ghosts and shells that remain. This is done with several sources – found tapes, spoken words, field recordings, music – and assembled using his highly intuitive collage method, which (to me) is much more effective than William Burroughs when it comes to allowing condensed blocks of the truth to leak out.

I especially like the way he claims to be dealing with the “real and imagined”; maybe he’s as much a novelist as he is a documentary sound artist, and he reserves the right to exercise his imaginative faculties. This is what gives How To Forget a certain compelling quality; it’s almost like a story, a sketchy radio play, where details are obliterated, characters only appear in a hazy, distant manner, and events are happening in the wrong order. Only Mark Vernon has come close to realising this kind of powerful narrative-essay-poem in sound. The story-telling is all part of van Alebeek’s strategy; for him, telling stories, making repeatable narratives, is what makes the unbearable past something we can live with. Profoundly sorrowful; an essential piece of work .

How to Forget was released by Tutore Burlato.
Artwork and production by Ezio Piermattei.

New C30 out now – Make Incest Great Again

This is the third release in the series of remixes. Previous releases were The Kylie Golden Remix Tape Volumes 1&2 and Dear Concerned Employees. The New Plastic People, Kylie Minogue, Sean Jason, Mrs Mangle, El Tonto Bing Bang, George George, kp and Kim Wild 93 made a remix of this collage and the text


The woman in the picture is Ivanka Trump.
The idea for this release has nothing to do with conspiracy

Not only political leaders,
but every human being should inspire and stimulate others
to do something good.
Authoritarian leaders create agitation.
An agitated mass of people is easy to manipulate.

Once a mass of people dominates the world we are living in,
qualities such as listening and patience disappear.
Dialogue will dispappear. Reason will disappear.
Even time, as a slowly evolving part of our life will disappear.

With authoritarian regimes and leaders a lot depends on image.
To me, authoritarian regimes and leaders inspire repulsion.

When I first created the collage of picture and slogan
I couldn’t look at it for a couple of days
without a feeling of physical disgust.
I asked for an advice and got the right answer.

Now I think, let repulsion be a tool,
and use it to create a work of art,
that helps to change the image of the authoritarian leaders.

The tapes (ferric) are dubbed at home, spraypainted and wrapped in gold.

Available through Bc or at the staaltape shop


Review in No-Wave: Hannya White

Andrew O’Keefe reviews Hannya White’s release ‘Who put the flowers in the garden’ and concludes that Hannya White offers a call to action; a koan instructing participation in the world. No matter how shadowed things are, we can still bring the everyday and the discarded generously under our gaze. Start with this innocuous little tape—who knows where it will take you.

Read the complete review here.  Andrew’s webzine offers also reviews of the latest films and interviews.

Hannya White’s tape can be ordered here.

Review in Snare Rush Zine: Hannya White’s C30

review by Snare Rush Zine  (Andrew Fletcher)

I was excited to receive the tracks for Hannya White’s debut tape, soon to be released by Staaltape in Berlin. Hannya the artist has intrigued me since I discovered her work on Radio-ON Berlin in 2019, and I have been keen to follow her progress since.

If you listen closely there are often field recordings layered into the substance of these tracks.  The background (or indeed foreground) layer of noise often associated with living in a city like London is laid bare. Barely susceptible whispering, bird song… this is a very personal sound collage with common themes of love, destruction and daily occurrence. Emotions are often placed front and centre, such as in the track “No Preview”.

Percussion and rhythm are an important feature of the 8 songs / situations presented here, weaved together across a neatly defined sound palette. There is deep bass (or is it extremely pitched down vocals?), neon lasers, arpeggio synths, strings and manipulated noises.  A blend of raw acoustic instrumentation (reminiscent of free jazz in places, drums and guitar), chopped and blended with queasy electronic processing. Whilst that sounds like a lot, it is all presented in a very minimalist sense in just 29 minutes. Elements are placed uneasily side by side as if sound-tracking a day in the life of a character from Twin Peaks. And that is damn fine by my ears.

For a debut release, this is a well defined creative art piece where the worlds of sound and vision merge. If you are listening to the tape or the digital copy then I also urge you to seek out the accompanying videos online that take this work to a whole new level.  Thank you for the chaos, the whistling, the humming and telling your dog to wait.


Get the tape at the staaltape shop

Hanny cover


Another February update – compilation of tracks from staaltape releases out now.

Released by ShanGORIL la Records in Singapore,

Keeping in mind the melodious approach of the label, I made a compilation of staaltape releases with a song structure. You can expect some earwurms on this compilation, and maybe the pop aspect will surprise you. The tracks on the tape were publsihed between 2010 and 2019.