Blue Tapes

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Hope no one minds me plugging my new label venture: http://bluetapes.co.uk/

 

created at: 2012-09-14

 

Who are you and what do you want?

We are Blue Tapes, a boutique tape label specialising in sound art and alternative process artwork. We release music from Canada, Japan, the United Kingdom, and the United States of America.

Why tapes? Isn’t it all a bit self-consciously retro?

No, tapes are not a dead format. They never went away. They’ve been the format of choice for distributing home-recorded or experimental music pretty much since the inception of that technology, and even the advent of peer-to-peer, cloud-based music services, and social networking hasn’t particularly eroded this - it’s only added more strings to our bow in terms of connecting with other human heads.

Tapes are a good format. Even audio purists like Autechre are insistent that - sonically - cassette tape is their favourite playback format. Even until recently, Autechre promos were issued on cassette tape rather than CD - wanting to sidestep lazy digital pirating was only one small part of the reason for this.

One thing you need to know about Blue Tapes. If something is good enough for Autechre, then it’s good enough for us.

Tapes are still the most economical way of producing physical music product, and the one that can be produced to a high standard in the lowest print run. This is liberating in a number of ways. Firstly, it releases us from any business-based demand of recouping, covering overheads, etc, which in turn prevents us from having to prioritise releasing musically that is “commercially viable”. If a particular piece of music is so niche that about only one person in the whole world other than us and the musician who invented it would ever get it, then it doesn’t appear commercially unviable for to release that. It’s cool by us. If we love it, we will produce it, we’ll add artwork and interesting packaging - and sometimes books, and large-format art you can hang on your wall, and other strange things - and we’ll put our heart and guts into trying to get it out there to people.

OK, but why not just release stuff on vinyl? Does anyone even have a tape player anymore?

OK, so for you heathens who don’t own a Walkman, we’ll chuck in a download code with each release. Something that any music fan should have worked out by 2012 - different formats are appropriate for different listening experiences. There isn’t necessarily any one better or best format. You can’t take tapes out running with you, or listening on the bus. Most mobile telephones do this job just fine. Richard Youngs recently correctly observed that vinyl was good living room music, for when you’ve got people round or for a glass of wine in the evening. I don’t think anyone ever really liked CDs.

Tapes are something even more different. The experience of listening to a tape is not at all like listening to a Spotify playlist. Tapes cannot be shuffled. Tracks cannot easily even be skipped. You are submitting yourself as a listener to music on tape in a way which you are not particularly used to anymore, because your control over the experience is limited and passive. You cannot author your own tracklists or create your own sequencing. Tumblr, Flickr, Soundcloud, This Is My Jam etc have trained us all to be maddeningly proficient archivers of content, but in this context your faculties as an editor have been diminished. On some level this somehow stops you from thinking too much about the music, and leaves you more susceptible to its twists and turns, it leads you down the internal logic of its soundworld and you either surf with it or switch it off and come back to it.

And that is the truly great part. Tape is the ONLY format where a recording can be played from halfway through a piece. Most tape players will flip the side over for you, so you can drop in and out of the music at any time, or it can loop forever. As listeners we are freed from the tyranny of the tracklisting and the linear music narrative. Any browsing of last.fm stats reveals all album-type releases to have the greatest number of listeners for track 1, second highest number of listeners for track 2, third highest for etc… if you’re in a band and you put your best track at the end of your album then you are fucked. In our world though, the listening experience becomes cyclical. Each note of music at the ‘end’ of the tape is listened to equally as much as the music at the ‘start’ of the tape.

In future releases we will experiment with this further by releasing actual tape loops: a truly continuous music. Infinite and indestructible. 

(Apart from by magnets.)

But vinyl, of course we love vinyl. Everybody loves vinyl. But vinyl is expensive. And can only be produced in mass quantity. Anyone releasing a very niche music on vinyl is taking a huge gamble - often doomed to just become an expensive vanity project. Tapes are utilitarian and bullshit-free. If you hate the music on your tape then you can record something else over the top if it.  By contrast, vinyl is positively bourgouis and decadent. 

Why do musicians even need a label anymore? When they can sell their own music direct through Bandcamp, iTunes, even Amazon…

They don’t. But then, they never did. Of all the reasons for wanting to start a label I think this is actually the one that’s hardest to answer. The function of Blue Tapeshere isn’t to act as a benefactor, a sort of kindly uncle who chucks money at musicians so he can adopt some of their glamour by association. If anything, it’s to be a collaborator. We’ve constructed so many annoying rules about how and what we release that by the time any actual sound has emerged out the other end of the process it’s practically generative.

Each Blue Tape will consist of one piece of music per tape (or one piece per side) and will come in artwork and packaging supplied by the label. The audio almost becomes soundtracks for still images.

Further down the line, we’re hoping to get all of the musicians actually collaborating with each other, in a kind of international house band, with Blue Tapes acting as the conduit or curator for this. This was something that 4AD did very well.

Of the current crop of traditional labels, only Southern’s excellent Latitudes series is doing anything similarly exciting (although again, trying to collect the full series will kick your wallet about the balls somewhat).

The two labels I have been most excited about in the past five years have both been tape labels: Stunned (RIP), whose every release you wanted to cling to your heart and never let go, and The Tapeworm, who are practically the Penguin Books of the tape scene.

So what do you actually sound like?

Really, we want stuff that inhabits its own soundworld. That isn’t too ‘genre’. Sound that sort of makes up its own rules. A lot of this stuff will probably be home-recorded. A lot of it will probably be instrumental. Apart from the releases that are spoken word. No pop songs.

But, of course, we love pop songs. Everyone loves pop songs. Pop songs were the ultimate art-form of the 20th Century, and there’s no reason to assume that the 21st Century is going to be any different so far. Pop music superseded all other art because of its hungry commercial appetite - it was capitalism as high art. Pop music existed to sell things, so it had to evolve to be fibre optic-fast, to continually outdo itself, to extinguish the competition with the cold and precise mechanics of the killing machine.

Pop songs are the source code around which all of our cultural life is programmed. They are a highly-advanced from of brainwashing. They permeate everything. You don’t have to hunt for pop: it hunts you.

Like I said, we love that shit. But if we want anything from this label it is to create a bit of a sanctuary from real life. Tiny tape-sized pockets of time and space that the rest of the world can’t get into.

THAT’S what we sound like. Forcefields.

But seriously, artists who we are currently in talks with releasing stuff from include the modern classical composer and librettist Missy Mazzoli, the avant-playwright and journalist kicking_k, a collaboration between San Franciscan sound artist Zachary James Watkins and Moroccan poet Abderrahim Elkhassar; minimalist electronic composers The Fractal SkullsCherry, and 51717, and the improv-doom group Kellar. Our first release (blue one) is The Grin Without The Cat or The Cat Without an Outline by Matt Collins of Toronto.

It’s all very exciting stuff.

Which is better: analogue or digital?

There are no betters in life, only differents! But everything about this label, from the processes used to create the artwork to the tiny-teethed grinding cogs in the cassettes we release is going to be steeped in the former. For some reason, the physics involved in the processes of sunlight burning through a chemical barrier to x-ray an image into paper or film, or how audio information can be remembered by magnetised ferric oxide is easier to grasp and more fun to think about than how a digital camera or MP3 works.

Also, what I like about tapes is they don’t just disappear into the vaults of your iTunes. Instead they turn up randomly in your sock drawer, or behind the sofa, like little lost amulets; staring at you accusingly. And you think YOU, fuck - you. Let me put you on and just forget about this cleaning the house business for five minutes.

 

 
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blue one:

Matt Collins – The Grin Without The Cat or The Cat Without An Outline

First release on the new blue tapes label

 

 

http://bluetapes.co.uk/product/matt-collins-the-grin-without-the-cat-or-the-cat-without-an-outline

 

We’re very proud to announce that the first release on the new blue tapes label is a solo release from former Ninja High School leader Matt Collins.

Toronto’s NHS were arguably the 00s most overlooked band. Their ferocious 2005 album, Young Adults Against Suicide (Tomlab)  - feted by Plan B, Pitchfork, Drowned In Sound, etc - is one of the greatest albums by bands who only ever released one album ever! Their self-styled “positive hardcore dance-rap” was a life-changing racket that, when screamed in your face by four faces backflipping around the venue, made for seriously one of the greatest live shows we’ve ever witnessed.

Matt’s The Grin Without The Cat or The Cat Without An Outline is a severe change of pace from that band’s ever-escalating levels of energy. Entirely instrumental, dense with almost Tangerine Dreamy textures, The Grin is an impressively sculpted piece of dreamsound. At some points on this release Matt sounds exactly like the kind of producer Björk should be ringing right now to supply a classic sequel to Vespertine.

Colours and shapes mood-shift across this C30. If things start getting too relaxing the ghosts of ambient rave are chased by away by sky-strafing synth jetstreams and psychotropic flamethrowers. If things start getting too abstract then Silver Apples drums shuffle in, ushering us towards a resolution.

Lacking none of the imagination of his early work, The Grin sees Matt source new power in haunting our spaces between waking and sleeping, summoning whole new feelings out of nothing but tones.

 

 
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Matt got some radio play on NTS Live's excellent Don't Trip show this week. Do have a listen if you haven't come across it before as it's a great show for anyone who likes experimental music: http://ntslive.co.uk/?author=162

 
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blue two:

Leedian - Light

 

 

http://bluetapes.co.uk/product/blue-two-leedian...

 

Leedian is Japanese sound artist Hitoshi Asaumi, and Light is his debut for blue tapes.

Despite opening with a head-cleaning Merzbow or Astro-esque squall, Light is not simply a noise release. As beats start to emerge from under the wreckage of zeros and ones you’re reminded of Autechre, and the way that duo use percussion as kind of aural stepping stones to guide the listener through a world oppressive with sound, where unfathomable shapes loom out at you from either side of the path: huge shark-sized blocks of sound that sniff at you inquiringly before slithering back into an ocean-deep distortion.

We don’t know how Hitoshi conjures these constructions, but, also like Sean and Rob, we suspect a lot of it is rendered in the human-to-machine interface of hardware, rather than more ethereal software or generative compositions. You can imagine Hitoshi striking in the beats and tones manually, building up an organic soundworld that is ultimately closer to free jazz than anything computational

Each piece of audio information glistens and shivers under examination. Each piece is an object composed of infinite surfaces, fluctuating constantly; almost phantasmal.

Light ends with a gentle tinkling of ivories, the twang of a double bass, and seventh chords pushing us out of this 30-minute reverie: a hallucination of jazz.

 

 
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blue three:

Cherry - Aanother Fractal

C20+C25+C25+download code

http://bluetapes.co.uk/product/blue-three-cherry

 

Cherry is Teruyuki Kurihara of Tokio, Japan, and this is his debut release for Blue Tapes.

We love Teru's elegant, minimal guitar-and-laptop compositions so much that we're putting out a colour-coded three-cassette box set of work from him. The blue tape consists of this epic, also known as '1969'. Best listened to on headphones with eyes closed, this is music that takes your head for a drive - somewhere dark with flashes of light. Slow. Tunnels. If Kraftwerk were less conceptual and more sensual, this is how they might sound.

The green tape opens with a flock of drunkenly slurring guitars - artificially treated to almost resemble seagulls - and progresses into a gorgeous Durutti Column lament. It's precious and precise. Later there are beats and haughty pizzicato strings slicing in at aggressive vectors. This is us doing pop music.

Orange tape is sometimes like robots learning how to speak in classical music. Sometimes it's soft sad techno

I fall asleep to these tapes every night and every night I dream of interesting times.

(This release is not available as part of our subscription series.)

Praise for Aanother Fractal:

"Sometimes tense, other times quite cool and delicate cinematic soundscapes. This is an album that had me taken back to the 90s and people like the FSOL, the early works of Leila, and those Planet Dog compilations featuring the slow-building, warm spacy sounds of artists such as Optic Eye and Knights of the Occasional Table. Very nice." - DuklaPragueAwayKit

 

 

 
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blue four 
Laurent Chambert/The Fractal Skulls 
C20+C25

http://bluetapes.co.uk/product/blue-four-lauren...

 

Laurent Chambert is a French visual artist and composer who has been creating beautiful and unusual art since 1990. His installations are playful, thought-provoking and visually-arresting. As a musician he has been involved in several acclaimed projects, the most recent of which is the electronic duo The Other Colors.

Laurent’s submission to Blue Tapes is When The Cat Is Away The Mice Will Play. In his solo work, Laurent combines field recordings with flickering patterns of electronic sound that are both grid-like and strangely euphoric. Like the brilliant Italian producer Lorenzo Senni/Stargate, some of his work almost feels like a stripped-down-to-the-bare-atoms reading of techno. At other times it feels pastoral and immersive. Always, Laurent’s music is intrinsically ‘plugged-in’ to his environment, whether it’s the bustling cityscapes of Paris described by When The Cat... or the wells of ambient silence in his improvisations recorded in the French countryside.

We’ve parcelled Chambert with a similar electronic sound artist, Chris Smith of High Wycombe, England. A studio engineer by day, Chris makes delicious minimal synth-structures under the name The Fractal Skulls. Influenced by the god-twins of John Cage+Steve Reich andCluster+Harmonia, the music of The Fractal Skulls is unashamedly pretty, full of clockwork-like analogue pulses and holy repetition.

 

Praise for blue four:

"The Fourth instalment from Blue Tapes' ongoing delvings into the melodious pairs two like minded auteurs to produce some pretty divine outcomes...

Laurent Chambert's side starts in a lock grooved hypnosis of jazzy mirror glints. Reich tonal charges, gently tempo shunted, cut back to sift through some achingly beautiful crystals of elastic duality. Piano pulses lightly dusted in ping ponged percussion, fading slowly into watery timber creaks of oars and rumbling weather. Chord recyclings follow chased by cymbal flares, finally bowing out on the self same arpeggio(ed) dazzle of dancing fingers that started the track.

Fractal Skulls continues the vibe with an ambient sun stroked horizon entitled 'Endless 23'... A loose glitter haze, full of spiral lit curls and sequenced zest. Overlays of drifting melodica on 'Reserve Army of Labour' pursuing in gentle repeater candies and polyrhythmic milks.

Mellow dew that's well worth your attention..." - Rotten Meats

 

 
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blue five:

LostPoet - Acapellas 4 The Culture

C20+download code hidden inside a hardcover book

http://bluetapes.co.uk/product/blue-five-lostpoet

 

 

Although just a couple of years ago, some academic critics were bemoaning the death of hip-hop, 2012 was a phenomenal year for the art-form: Kendrick Lamar, Killer Mike, Aesop Rock, Death Grips, El-P, Macklemore & Ryan Lewis, and Nas all blazed in with new classics.

As a label specialising in spoken word and sound art, Blue Tapes' contribution to the culture is to present Anaheim rapper LostPoet stripped of the relentless ear candy that is de rigueur for modern hip-hop - his flow fearless and uncluttered by beats, samples, and sound effects.

These acapellas aren't just stream-of-consciousness mixtape fluff. Acapellas 4 The Culture repositions MCing as the Zulu Nation's first pillar of hip-hop. Ripped out of otherwise completed tracks, this vocal study forms part of Blue Tapes' ongoing experiment in honing in on one element of sound, isolating it, and seeing how it survives out of context.*

In this instance, the deep voids of silence that fall in the tape where beats, samples, and FX would normally power the piece add a whole new layer of tension. With no verse/chorus guiderope or other musical pattern suggesting where vocal bars should drop in and out, voices loom unexpectedly out of the darkness. Presenting the vocal without extraneous audio information sharpens the listener's interpretive faculties. The mental images, shapes, and colours we all experience while listening to a piece of music, now swinging entirely on the way a word or line is delivered.

*see also our essays on pop lyrics and movie soundtracks, and forthcoming releases for solo cello and other instruments, as well as variations on spoken word art

Acapellas 4 The Culture comes packaged in a hardback book, with the tape stashed in a 'secret compartment' gouged into the papery flesh of the tome. The cover to each book has been augmented with a handmade cyanotype print - each completely unique and individual.

 

 
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blue six

Kellar

C62+C25+download code

http://bluetapes.co.uk/product/blue-six-kellar

 

Kellar are a two-piece free rock band from Brighton, comprising the rhythm section of drummer Andy Pyne (Thurston Moore, Shrag, Medicine & Duty) and bassist Dan Cross. They have a new album - Fulminant, their fourth in total since forming in 2011 - out now.

However, this release is not that album. This is a two-tape collection of pieces from the original three-piece line-up of the group, featuring founder member and guitarist/synthesizerist David McNamee. The gold tape consists of original improvisations by the trio - first take, no overdubs, no preparation - worked together in a manner that roughly approximates their chaotic live sets of the time (by turns incoherent and transcendent), while the metallic red tape features new reworkings of the trio's recordings by their contemporaries: Bobby Whirlwind, Rysic Cygo, Mild Horses, Eighth House, Negative Pegasus, Court of Hidden Faces.

Praise for Kellar:

“This sprawling LP is the definition of great improv noise rock. It’s a deliriously stunning debut from one of 2012′s best new bands.” - Noise For Zeros

“Kellar come up with a right racket that possesses that sense of elation and narrative into a psychedelic nothingness reminiscent of Skullflower or Spacemen 3.” - Terrorizer

“Beloved Dean of Magic is a dense electrical storm of sound, impenetrable and cryptic, opaque and impervious to structure. Noise reigns supreme… Kellar do not exist to provide relief, they aim to confuse and challenge the very nature of our perceptions of music.” - Mudkiss

“Blistering guitar noise oscillating within some aggressive rock riffage cycled through kaleidoscopic variations in a concrete wall of pounding metallic magma. Electronic emissions induce astral projections as you blast off to the furthest reaches of time into a swirling void and are torn into a sea of particulate matter. Play it loud!” - KFJC

“For those of you who do like it noisy and who like improv that flows between freefall and structure, then this should be for you. Kellar throw almost everything at the listener. It’s as though they are throwing down the challenge to see who wants to stick it out. 4/5” - Echoes & Dust

 
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Laurent Chambert has created a brand new video for a section of his epic track When The Cat is Away The Mice Will Play, from the critically-acclaimed split with Fractal Skulls on Blue Tapes! The hypnotic new video illustrates a separate section of the piece to Laurent's previous video. 

Both are excellent and you are heartily encouraged to post links on your blogs, websites, and social networking things.

blue four: Laurent Chambert/The Fractal Skulls

£4.99

C20+C25+nag champa incense


Laurent Chambert is a French visual artist and composer who has been creating beautiful and unusual art since 1990. His installations are playful, thought-provoking and visually-arresting. As a musician he has been involved in several acclaimed projects, the most recent of which is the electronic duo The Other Colors.

Laurent’s submission to Blue Tapes is When The Cat Is Away The Mice Will Play. In his solo work, Laurent combines field recordings with flickering patterns of electronic sound that are both grid-like and strangely euphoric. Like the brilliant Italian producer Lorenzo Senni/Stargate, some of his work almost feels like a stripped-down-to-the-bare-atoms reading of techno. At other times it feels pastoral and immersive. Always, Laurent’s music is intrinsically ‘plugged-in’ to his environment, whether it’s the bustling cityscapes of Paris described by When The Cat... or the wells of ambient silence in his improvisations recorded in the French countryside.

We’ve parcelled Chambert with a similar electronic sound artist, Chris Smith of High Wycombe, England. A studio engineer by day, Chris makes delicious minimal synth-structures under the name The Fractal Skulls. Influenced by the god-twins of John Cage+Steve Reich andCluster+Harmonia, the music of The Fractal Skulls is unashamedly pretty, full of clockwork analogue pulses and holy repetition.

Each purchase of blue four comes with a (blue) envelope containing a few sticks of nag champa, the psychoactive incense manufactured in Hindu and Buddhist monasteries that is used to enhance the meditative state.

 

Praise for blue four:

"The Fourth instalment from Blue Tapes' ongoing delvings into the melodious pairs two like minded auteurs to produce some pretty divine outcomes...

Laurent Chambert's side starts in a lock grooved hypnosis of jazzy mirror glints. Reich tonal charges, gently tempo shunted, cut back to sift through some achingly beautiful crystals of elastic duality. Piano pulses lightly dusted in ping ponged percussion, fading slowly into watery timber creaks of oars and rumbling weather. Chord recyclings follow chased by cymbal flares, finally bowing out on the self same arpeggio(ed) dazzle of dancing fingers that started the track.

Fractal Skulls continues the vibe with an ambient sun stroked horizon entitled 'Endless 23'... A loose glitter haze, full of spiral lit curls and sequenced zest. Overlays of drifting melodica on 'Reserve Army of Labour' pursuing in gentle repeater candies and polyrhythmic milks.

Mellow dew that's well worth your attention..." - Rotten Meats

 

 
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blue seven:

Kurosounds

C25+C25+download code

£4.99 from http://bluetapes.co.uk/product/blue-seven-kurosounds

created at: 2013-07-09

 

That awful cliche about musicians not being able to choose between their songs (even the bad ones!) because the songs are like their children - and picking a favourite would not just be wrong, it would be impossible - is proved scarily true once you start running a tape label.

Not that we can claim any ownership over the craftmanship in the seven releases so far, but we’re equally protective of each installment in the series.

That said...

Kurosounds’ release - two tapes, one featuring the tape-length composition Bleu Nuit - is all kinds of special for us. It inhabits the strange dreamy place where not-quite music and diegetic daysound blur into sound as pure as paintings.

This is the closest to the sound we heard in our heads when we started Blue Tapes as an endeavour, so Kurosounds to us sounds like home.

There are instruments here - acoustic guitar that sounds like it’s been deconstructed atom by atom (and then sewn back together), something that might be a kalimba or mbira, distant percussion and sounds that could be synths were it not for the fact that they seem to be breathing. But these manmade contraptions never dominate - they drift in and out with as much agency or urgency as any of the found sound snatches of conversation or other noise that populate this world.

Each element goes about its business, seemingly aware of the other shapes in the space it inhabits, but blissfully relieved of any pressure to interact with them.

 

 
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It's been quite a busy month in Blue Tapes world. Not only did we put out our first release in months - blue seven: Kurosounds - but we also brought Cherry over from his temporary hometown of Berlin to play a show in Brighton!
Sonic Blue One: a Blue Tapes sampler

created at: 2012-09-14

Our friends John and Margerita, hosts of NTS Live's excellent Don't Trip, invited us to do a guest mix for their radio show! As it's been a year since we first had the idea for the label, we decided to celebrate with a mix taking in our first seven releases in chronological order.
That mix is now available to download - for free! - from our Bandcamp: 
Kurosounds

 

created at: 2013-07-09

 

blue seven out now
C25+C25+download code

Kurosounds’ release - two tapes, one featuring the tape-length composition Bleu Nuit - is all kinds of special for us. It inhabits the strange dreamy place where not-quite music and diegetic daysound blur into sound as pure as paintings.

This is the closest to the sound we heard in our heads when we started Blue Tapes as an endeavour, so Kurosounds to us sounds like home.

There are instruments here - acoustic guitar that sounds like it’s been deconstructed atom by atom (and then sewn back together), something that might be a kalimba or mbira, distant percussion and sounds that could be synths were it not for the fact that they seem to be breathing. But these manmade contraptions never dominate - they drift in and out with as much agency or urgency as any of the found sound snatches of conversation or other noise that populate this world.

Each element goes about its business, seemingly aware of the other shapes in the space it inhabits, but blissfully relieved of any pressure to interact with them.

http://bluetapes.co.uk/product/blue-seven-kuros...


Cherry

 

created at: 2013-07-27
Cherry rocked the Wire magazine-associated The Outer Church night in Brighton! This was Teruyuki Kurihara's first visit to the UK, and it really was a superb performance - sounding sometimes like pulsating minimal techno chased and haunted by the rattling ghosts of a spectrally-reverbed surf guitar...? Video to come soon.

Laurent Chambert

Laurent's The Other Colors electro-pop project released a new video.

 

 
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BLUE EIGHT: KATIE GATELY

 

£7.99

created at: 2013-10-23

Pro-dubbed C30 with onbody printing + bonus 'b-side' download 
Comes in deluxe presentation case 
200 numbered copies only

buy at http://bluetapes.co.uk/product/blue-eight-katie...

It was after hearing Katie Gately's remix of Schemawound back in February - incredibly one of the first pieces of music that she had made - that we immediately began hassling her to do a tape for us.

The result is Pipes, a piece that is both concise and ambitious. A 22nd Century pop song made out of nothing but the massed tones of the human voice, so complex that it took six painstaking months to assemble, but dropkicks the seratonin-releasing pleasure centres of the brain like the most immediate and narcotic of pop hits.

Influenced by Arthur Russell and Gregorian chant, Pipes is a kind of future choral music. In its soundworld, synthesizers have been superseded by lungs, and soundscapes are no longer programmed, but can be projected into the air at the speed of thought.

If you loved Petra Haden's classic 2005 acapella reading of The Who Sell Out, but thought it would be loads better without all The Who bits, then you'll love this. If you love pop music, but hate dumb lyrics, then this is for you. If you've ever felt a surge of energy from the sound of another human singing - whether it's opera or death metal - then this is a substation. This electric is natural and now.

Disclaimer: NO INSTRUMENTS WERE USED IN THE MAKING OF THIS RECORDING.

Praise for Katie Gately:

"You can hear that escalation in Gately's work as you can in Parmegiani's 1990s-onwards work or in Oswald's Plexure and Grayfolded." - Simon Reynolds

"Fantastic bionic structures. Rhythms bob beneath, but are switched around intuitively and with a sense of fun... vocals are layered and stepped up and down in bold, jarring brushstrokes." - The Wire

"...the sound of deconstruction... hinting at pop only to take delight in crumbling from within. Countless timbres and textures jostle within her tracks, either crammed together in a sonic maelstrom, or separated by what feel like blasts of chilled air." - Resident Advisor

“With pure, ethereal vocals poured over an industrial and sluggish beat... sounds like Gately found the hidden door to the intersection of light and shadow, planting her flag solidly at its nexus.” - XLR8R

“On her self-titled debut EP, Katie Gately weaves silky pop vocals and field recordings processed beyond all recognition into cold, abrasive soundscapes.” - FACT Magazine

“Pop music that can’t sit still, is exploding with ideas. Sometimes it sounds overloaded with thoughts, which find literal expression in Katie’s dense Disco Inferno-like lattices of words. But then on other tracks her vocals pull back and space out, disassociating from the rhythms and finding unlikely companions in choirs of pitch-shifted and manipulated vocals – her voice made into marching, chirruping armies of munchkins, automatons, Substance D-stretched friend-apparitions.” - 20 Jazz Funk Greats

"'Pipes' is a vocals-only track, a wonderful piece of ethereal breathing and crystal Pop constructed in what sound like infinite layers of dazzling landscapes, her stunning voice invading each corner of the music." - The 405

"Leftfield Katie Gately creates a weird discordant form of avant-garde Pop that keeps us coming back for more. There’s something within its ever-changing skin that keeps us listening, keeps us guessing and keeps us attempting to unravel the songs and their bewildering construction." - Bowlegs

"Falling somewhere between the icy, high resolution electronic experiments of Holly Herndon and the sunkissed pop of Julia Holter, Gately’s self-titled debut sees her combine her own heavily treated vocals amidst an occasionally bewildering array of sample-based scrapes, cracks and drones that somehow shape themselves into an avant-garde form of pop music, manifesting itself as “Fractured vocalisations, bittersweet harmonies, freaked alien voices all living, breathing in deep fried motherboards of acute computer programming and field sound.” - Juno Plus

“Gately, laces the grinding, dragging like a brick on brick percussion with ethereal vocals crating something that we’re very much toting as a contender for the alternative summer afternoon, post fro-yo jam of the season” - Sonic Router

"Blue Tapes have already released some of the most intoxicating music of the year... there is no question this is the best release yet from the label. Pipes is a fourteen-minute masterpiece of sonic exploration and, if that phrase conjures up thoughts of cold, atonal experimentation then dismiss them immediately but this is anything but. Remarkably for a work made purely from tones of the human voice, it has a defiant and heady kick and a distinct and bewitching sense of harmony, albeit harmony of a kind you'll rarely find even hinted at in the mechanic industrial factory fodder of yer average pop song. Gately strips all that away to leave something pure and brilliant and the fourteen minutes we're left with is sublime, sparse and entirely enthralling throughout." - Unwashed Territories

"Best thing Blue Tapes have released so far - fabulous." - Sean Hocking, Dandelion Radio

"One of our favourite new electronic experimentalists..." - Seal On Psychedelics

 
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BLUE NINE: WHITNEY GEORGE

£19.99

created at: 2014-02-25

created at: 2014-02-25

created at: 2014-02-25

created at: 2014-02-25

created at: 2014-02-25

C10+C40+C27+C15+C40 in a handmade wooden chest

Available to buy from: http://bluetapes.co.uk/product/blue-nine-whitne... 

One wooden chest, five tapes, and more than two hours of music! Following up our most recent release by Katie Gately (the shortest release we've ever put out) is our longest ever release, this selection from the New York-based composer Whitney George. Fascinated by interdisciplinary working methods, Whit's music draws its primary influence fromclassic surrealism, Dante, 19th Century proto-magic realism, phobias, science, nature, silent cinema, and Edgar Allen Poe. Incredibly, her music also manages to sound like these things!

As well as being some of the most elegant, this may also be some of the most playful music we've ever released. Whitney is as hyper-literate in composition as she is in her cultural tastes, and her ability to use this knowledge for locating a musical voice for non-musical objects feels effortless and natural. All of these musical thoughts are dreamed into life, meanwhile, by The Curiosity Cabinet, a hand-picked chamber orchestra Whitney assembled specifically for her work. Whitney has been the recipient of several major awards and artist-in-residence honours for her meticulously crafted orchestral, chamber, and operatic pieces.

Currently studying for her doctorate, Whitney already has a quite staggering portfolio to her name and she is super-prodigious, to the extent that we had to keep moving this release back because she kept submitting new and ever more amazing pieces!

These are the tone poems, plays, and other curious creations that you will find in our box set:

Inferno: the Nine Circles of Suffering (for String Quartet) 
Le Lobster Phone: seven surrealist statements from the notebooks of Salvador Dali 
Stained Glass: for flute, violin, & percussion 
‘Illusion’ from ‘The Crimson Hand (prelude to the radio drama for orchestra and tape) 
The Crimson Hand (a radio drama for orchestra and voice actors) 

The Masochist’s Tango (for solo violin)

Here are some samples:


KATIE GATELY

created at: 2013-10-23

Katie has had a brilliant year, simultaneously releasing two of 2013's best releases - Pipes (our cassette) and an LP on Public Information. She's been cleaning up in several end of year polls, from The Quietus to Tabs Out, even taking second place in FACT Magazine's best of 2013 rundown.

We are only doing 200 copies of this release, and some are still available to buy here: http://bluetapes.co.uk/product/blue-eight-katie...
 
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BLUE BOOK ONE: DREAMHOUSE

 

£69.99

created at: 2014-02-25

created at: 2014-02-25

 

hardback 7"x7" photobook + hardback 7"x7" photobook + C30 + C30 + download code encased in a handmade wooden box

buy from http://bluetapes.co.uk/product/blue-book-one-dreamhouse

Dreamhouse consists of two high-quality photobooks and two tapes in a lovely wooden case. One book juxtaposes architectural details of men's bodies with architectural details of buildings and the other book juxtaposes architectural details of women's bodies with architectural details of buildings.

Porn, basically. For people who are sexually attracted to architecture.

Photographers featured in Dreamhouse are:

Adam Revington 
Alejandra Vaculi 
Alice LaComte 
Andrew Schroer 
Anton Novoselov 
ar_graff 
Artem Kolesnikov 
Avard Woolaver 
Barry Falk 
black opal 2005 
Blackstation 
Catherine Mendez 
Cedric Yon 
Chris Friel 
CM Goodenbury 
David Olsson 
Denis Cherim 
Delay Tactics 
Diane Powers 
Dimas Veodovato 
Douwe Dijkstra 
Ece Bal 
Eiko Weishaupt 
Gabriel Green 
Gary Poulton 
Heitor Magno 
Jacob Price 
Jan Zimmerman 
John Lamont 
Jonathan Kos-Read 
Juan D Quintero 
Kaometet 
Katie Bauer 
Kenny Lok 
Krystian Kujda 
Larrend Lacuesta 
Laurence Philomene Oliver 
Louise Butterworth 
Lena U 
Luca Norbiato 
Malte Wandel 
Maria Luisa Corapi 
Mariana Castro 
Marquitos Sanabria 
Maykel Lima 
Melanie K 
Michael Scholz 
Minno Ramirez Terron 
Miroslava Brooks 
Natalie Kirk 
orinoko42 
Patrick Warner 
Philippe Conquet 
Rebecca Risjdijk 
RS Nisio 
Silvia Grav 
Silvia Sani 
Sumyko 
Tim Schreier 
tekktoo 
Yves Castellano

The music contained on the tapes is a "soundtrack" of sorts. One tape is a mix of Blue Tapes artistsWhitney GeorgeGuzzlemug,Prayer and We are Bright & Broken. The other tape is a collage piece - called Sleeping in Houses - themed on architecture, memory and dreams, by Thank You, Merciless Onlookers.

(note: products in the 'blue book' series are not available as part of the tape subscription)

 

 

God Is In The TV review:

This is a book review. But Blue Book One: Dreamhouse is not a book. It is more like a blister-pack of coffee-table conversation pieces: a montage of photography, architecture and music entombed lovingly in a wooden box. It’s publication is an exciting one. Two books, two accompanying aural collages, and a challenge. Let’s start with the books.

Spread 7” by 7” on my desk, each page opens as a window to its opposite, mirroring images of the body with highly-textured photographs of buildings. The natural world sits on the left, from which faces and fauna draw us into a myriad of personal reflections; the urban landscape sits on the right. The juxtaposition is an obvious one – as obvious as the male-female split that separates books One and Two. But in the centre, formed in the space between like a strip of skyline between two skyscrapers, Dreamhouse draws its focus from the opposites’ point of interchange, and excels in doing so. The natural (the emotional, the sensual, the interior) is presented hand-in-hand with the designed (the powerful, the stationary, the lifeless); through this we can see each one in the light of the other. We see not just traces but unmistakable signifiers of personality in architecture: a perfect way to highlight the human personality as itself ‘designed’. Steel girders run opposite the structures of bone under skin. Through their natural counterparts, the buildings take on aspects of authority, androgyny, flair, spirituality… The photographs collide with each other, fuse with each other, fulfil and replace each other. A block of flats, the very image of immobility, is given movement by the introduction of light into its three-dimensional parameter; time provides the standstill with a story. Symmetry describes the careful selection of our clothes, our hair, our make-up: everything that aspires to the conscious image. Asymmetry catches the architecture off-guard, showing us the mutation, rupture and decay in nature and the man-made. The exterior, with a visual eloquence shared by all the photographers in the collection, gives us an insight into the interior and marries form and feeling in an unusual way. How do you feel at the foot of a skyscraper? Terror, at the immensity of its unregulated power (the Tower of Babel), or pride in its testament to the human achievement over the hostility of nature? Photographs of the body evoke similar questions: how do we respond to the perfections and imperfections of others, and what does that tell us about the way we view ourselves? The collection’s title, Dreamhouse (crossing the double-fantasy of our relationships with architecture and the subconscious), gives us a strong indication that the answers may be found, ultimately and for better or worse, in our imagination. The accompanying music, an ensemble of unorthodox instrumentation, technology, noise, and discomfort, provides us with a similar stimulus. The essence of minimalism running through much of the soundtrack does well to reflect the shrinking of music in the face of great architecture. The contemplative use of negative space turns us back towards the faces frozen as if in meditation on the left-hand page. The mixture of sounds, mostly defying conventional rhythm, supports an imaginary photomontage that, though lacking humour, responds well to the various themes of the photographs. The credit for the success of the collection as a whole, however, must lie with the photographers, whose composition can only be described as ecstatic.

Dreamhouse screams to us a simple fact: the world is urban. We are born into it; the city has become our natural environment. It is no wonder then that we should be a reflection of our architecture as much as our architecture should be a reflection of us. The urban environment is an extension of the natural world; it is a human gesture, an expression of our biological selves. The Dreamhouse photographs, capturing this aspect of modernity exquisitely, tell a story of which we are all a part. Its role is to place this story onto the coffee-table, and to open a discussion. The price of such a portfolio is, unsurprisingly, steep, and the publication may find itself spread mainly in the lobbies of photography studios and design firms, but regardless, the work makes a lasting impression. It is an archive of meaning in life, and as such, deserves the highest respect.

 
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BLUE TEN: EYESEA

 

£3.99

created at: 2014-02-25

Home-dubbed C30 - each tape with unique artwork

buy from: http://bluetapes.co.uk/product/blue-ten-eyesea

This is the third release in our series of vocal studies (followingKatie Gately and LostPoet), which examine what humans can do with their mouths, throats and lungs in the absence of other musical accompaniment.

But, even more excitingly, this is our first death metal tape.

Death metal is a much-favoured music in Blue Tapes world, even though that might not be immediately obvious from our previous releases.

Outside of throat singing (basically ancient, mystical proto-death metal) it is the most beautifully extreme use of the human voice - an invented language appropriate for demons to speak in.

Even without the quasi-occult connotations, DM vox are a brutal and particularly effective instrument, though not as blunt and crass as some may believe - there's a swarm of textures and tonal variations in even the most straightforward death growl.

For blue ten, we present gorgeous acapellas from the death metal band EyeSea.

 

 
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BLUE ELEVEN: PLAINS DRUID

 

£7.99

created at: 2014-04-26

C125 
Limited edition of 100 pro-dubbed tapes 
Each tape with unique artwork 

buy from: http://bluetapes.co.uk/product/blue-eleven-plains-druid

excerpt from blue eleven: Plains Druid - Super Real Islands B1 from xeroxboy on Vimeo.

Blue Tapes music has many uses and many forms. While some releases have been an almost-academic exercise in stripping out data to see how the results survive out of context, not everything we do is theoretical. Other times we don’t wan’t to think too much. Sometimes we don’t want to thinkat all.

blue eleven is more than two hours of sound on one bursting-at-the-seams cassette. It is the natural sequel to blue eight: Katie Gately in that we had no agenda for it other than to drown in it.

blue eleven, by synth mage Plains Druid, is the most immersive music we have released so far.

In truth it’s not even so much “music” as sustained aural narcotic - you can dip in and out of the two sides much as you may dip in and out of consciousness. It sounds REALLY good on headphones as you’re falling asleep - the odd beat or squirming-in-the-red flare of synth-distortion snagging a hook into your dreams and suddenly jerking you up through several layers of subconscious. When it does that, the hallucinations get super great.

“Super Real Islands” is Plains Druid’s title for this release. If the four compositions that make up this release are islands, then they’re under several leagues of not-water. They have the ability to rise and lower themselves at will and are mostly sentient aqueous flora.

Describing in that in visual terms isn’t easy! So we made a GIF.

blue eleven is not an endurance test. It’s swarming with sonic detail, so much of which is flittering and swooshing around the peripheral vision of your 3rd eye that trying to track each movement becomes irrelevant.

Instead, just plug yourself into this ecosystem and hit the mute button on your thinking brain.

Praise for Plains Druid

"Music for seeing through the pixels in your screen. When the laptop/tablet/monitor your eyes are slaved to disintegrates and reformulates into hypnagogic Magic Eye tableaux." - 20 Jazz Funk Greats

 

 
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BLUE TWELVE: TASHI DORJI

 

£7.99

created at: 2014-04-26

Pro-dubbed C40 
Limited edition of 200 copies

buy from: http://bluetapes.co.uk/product/blue-twelve-tashi-dorji

It doesn’t sound like a guitar.

But I know you like guitars, so don’t let that put you off.

It sounds less like an instrument, in fact, than many voices - swooping and surrounding the listener. Whispering lovely nonsense-poetry in one ear while its shadow quietly circles you and then shouts abominations in the other ear.

You know Forbidden Planet? Yeah, sort of like that. Not music so much as a real-time dialogue of different distinct voices, each with their own character.

Except it is a guitar. One guitar. All recorded live, improvised, with no edits or overdubs.

What’s more, this is Tashi Dorji’s first ever electric guitar release. His previous cassettes and download albums have stoked up feverish praise from fans. In a recent interview feature on Tashi in The Wire, Ben Chasny was so impressed with Tashi’s gorgeous acoustic improvisations that he formed a label - Hermit Hut - specifically to put out Tashi’s music.

Ben Chasny - one of the greatest guitarists of the 21st Century!

And it didn’t end there, guitar shamans from Sir Richard Bishop to Bill Orcutt have been lining up to pay their respects.

As to how well Tashi makes the transition from acoustic to electric - it sort of simultaneously sounds nothing and everything like his previous releases. Which means it is EXCITING. It’s no less communicative than that minimal coding of acoustic guitar data, but the sound now shimmers and flutters and fades in and out and crashes in tones of pure gold.

It could be the best thing this guitarist - already one of the very best of his generation - has recorded so far. Fuck. Imagine what he’s going to do next.

Praise for Tashi Dorji:

“I heard his music on Bandcamp and I kind of flipped out. I sent a link to Rick Bishop - he hates everything - and Rick was in to it, too. So I knew it wasn’t just me.” - Ben Chasny (Six Organs of Admittance/Comets on Fire/Current 93/founder of Hermit Hut records)

“…a style recalling the music of some of the most eminent guitar visionaries of the late 20th century; traces of the droning hive conjurings of Keith Rowe, the Zen-like paroxysms of Bill Orcutt, the impressionist stoner blues of Marisa Anderson, and even the fleet-fingered, wide interval runs of Lenny Breau can be heard within Dorji’s aleatoric improvisations.” - The Wire Magazine

“Tashi Dorji is one special human… his playing reminds us more of that beautiful, smashed-up sounding biwa playing on the Kwaidan soundtrack than it does Bill Orcutt… Tashi’s intuitive, heartfelt meditations constructed out of percussive, minimal guitar data are gorgeous in a way that Orcutt might not compute. There are magic fingers in all of it.” - 20 Jazz Funk Greats

“His ever-evolving pieces expand and contract with an intuitive balance. Rarely do guitarists emerge with such unique personality inherent immediately, and Dorji strikes an instant impression with his dynamic playing.” - Swingset Magazine

“Dorji is one of the most exciting new acoustic guitarists and improvisers to emerge in America in recent years… Dorji climbs and descends a hidden staircase of sound with his guitar strings. He shifts from gently chiming harmonics to a frantic tussle of notes so immaculately played and placed that they seem computer-generated and digitally edited… his pieces radiate the ecstasy of possibility: Every unexpected note becomes a discovery on the journey to some unknown end.” - Indy Week

“… a menagerie of different guitar explorations: broken fragments of bored plucks; sporadic noodling across the fretboard; patient smacks of steel. All of it very good and worth many listens.” - Tiny Mix Tapes

 
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BLUE MOVIE ONE: EUGENE S. ROBINSON AND .SWINEDRIVER.

£12.99

created at: 2014-11-11

buy from: http://bluetapes.co.uk/product/blue-movie-one-eugene-s-robinson-swinedriver

DVD and large format art print (515mm x 455mm) 
Limited edition of 50 copies 

'Blue Movies' is a new series curated by the tape label Blue Tapes. Each release will consist of one DVD encased in an aluminium tin and one large format art print. Each release will be strictly limited edition.

Blue Movies also marks the first time that Blue Tapes has looked to other artists for visual inspiration, having previously handled all artwork internally. The DVD and visual artists are not working in collaboration, and the art print should not be thought of as 'cover art' for the DVD - the juxtaposition is entirely the caprice of the label.

For blue movie one, the DVD contains a short film made by the knuckle-clenched king of spoken word - Eugene S. Robinson. You may be familiar with Eugene from his writing, which has encompassed the cult Fight: Everything You Ever Wanted to Know About Ass-Kicking but Were Afraid You’d Get Your Ass Kicked for Asking book, as well as plays, novels and assorted writings on sports and pornography. You may be familiar with him competing as a mixed martial arts fighter (he's ranked 35th in the world), or from his role as bandleader, fronting the groups Oxbow, Strangers by Starlight, Black Face and Love's Holiday.

Perhaps less well known is Eugene's spoken word work, which is moving, hilarious and brutal all at once. If you ever get the chance to go see him then you must - even as an Oxbow fan its by far my favourite of his creative outlets. But then, to use the cliche, Eugene Robinson could read the phonebook and it would be moving, hilarious and brutal.

His contribution is a short film encompassing a classic Eugene Robinson narrative. An excerpt of the audio track is on our Soundcloud.

The visual half of blue movie one is provided by the photographer Timothy Wilson, aka .sWineDriveR. His image is entitled Dolorosa in a Jar (lo res version attached), and will be presented as a large, high-quality art print.

blue movie one will be released in September. If you have any questions or would like to speak to the artists involved, please contact me. Subsequent instalments in the series are already in development and will be announced in due course.

Praise for Eugene S. Robinson:

"There are few spectacles like Eugene Robinson, more than six feet of black muscle standing downstage, thighs spread, brief-clad crotch thrusting forward, eyes rolling in holy fervor. The crowd steps back a few feet and eyes the exits." - Pitchfork

"Author, writer, singer, fighter, actor, father, Eugene S. Robinson is the inspirational everyman for those of us choosing to follow the loves of their life. He’s also a pretty good poster-boy for those for whom the notion of getting a full-time, square job makes their skin crawl and testicles and/or ovaries shrivel up and retreat into the adjacent nether regions." - Hellbound.ca

"Robinson relishes irony and self-aware theatrics; raconteur storytelling and inauthentic reminiscence is blended with genuine emotional resonance and eccentric posing." - Decoder Magazine

"Robinson’s moaning, keening spoken word weaved a hallucinogenic tale of betrayal and frustrated revenge. The confusion, the anxiety, the sheer neurosis of Robinson’s narrator got to the very heart of noir." - Tiny Mix Tapes

"Eugene Robinson is, among many other things, the American-man version of P.J. Harvey — where she's eccentric and howling about what's been done to her, he's menacing and howling about what he'll do to you." - SF Weekly

 
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BLUE THIRTEEN: THREES AND WILL & HUEREQUEQUE

 

£7.99

created at: 2014-11-25

buy from: http://bluetapes.co.uk/product/blue-thirteen-threes-and-will-huerequeque

 

C30 + download code 
Limited edition of 100 copies

 

Though our roster is scattered throughout the globe, blue thirteen marks the first activation of our Estonian sleeper cell. This two-man unit consists of Threes and Will and Huerequeque, who collaborate on three of the tracks on this C30, which additionally includes one solo track by each artist.

Noise rock sometimes sounds a little played out to our ears - maybe it's a side-effect to exposure from all the boutique guitar pedals we've been hoarding since 2011 - but there's been some same old-same old out there for a little bit. In truth, Blue Tapes was kind of formed in-part as an escape hatch from that stuff. The self-indulgence. The testosterone.

No more. These two Estonian artists have totally rewired our rock brain - their tones are impossible, their rhythms as necessary as waves. This might be the best the genre has got since IIIrd Gatekeeper-era Skullflower! It's highly individual and seemingly effortless, and the combination of both artists just doubles their (not inconsiderable) firepower.

This isn't just heavy for the sake of heavy - it feels like a new kind of psychedelia. One unreliant on wah-wah and noodlesome solos. It's psychedelic the way a brutalist car park is psychedelic.

praise for blue thirteen:

"While the weight of Blue Tapes’ near-flawless roster to date brings with it hefty anticipation beyond that of any other label, these two easily live up to this. Blue Thirteen is restlessly propelled through an ocean of turbulent fuzz by the pair responsible, taking in near-danceable drum patterns, doom-esque guitar squall, and waves of acidic psych-noodling, all shrouded under a coating of concrete-grey lo-fidelity. The colour-tinted psychedelic touches to Threes and Will & Huerequeque's noise thrust open the doors to the astral plane, like the pained ecstasy of an ancient Chinese torture victim, kept conscious by intravenously adminsistered opium. Unlucky for some? Not by any stretch of the imagination." - The Quietus

"Blues Tapes have been responsible for some of the most audaciously individualistic music to have found its way into my ears in recent years. They’re challenging in the way a bunch of thugs in a narrow alleyway are challenging rather than, say, the way a question on Pointless is. Blue Tapes don’t ask questions: they provide answers. Sometimes those answers are uncomfortable and sometimes they hurt, but they always take you by the throat and don’t permit you to give a moment’s thought to anything else for the length of time you’re experiencing them. This particular question comes from Estonia, and it’s got me in a headlock.

If last year’s extraordinary Katie Gately cassette was their most stunning release yet, their Blue Thirteen release is giving it a serious run for its money. Whereas Gately’s offering succeeded both because of and in spite of its sophistication, Threes & Will and Huerequeque are a totally different proposition, a sledgehammer attack, violent and abrasive yet utterly compelling.

The two bands bring you five venomous, pants-fouling brickbats of noise that will either delight you or, if you can’t appreciate their slabs of sound, make you pay for it. It’s not a release to appreciate the finer points of, because there aren’t any and often it’s better that way; yet, beneath the harsh surface drone are pearls of meticulous soundcraft, bloody and bashed though they are before they get to reach your eardrums." - Louder Than War

"What an extraordinary release. Blue Tapes continues to unleash the most astonishing stuff on the world. One of the releases of the year." - Mark Whitby, Dandelion Radio

"Here’s a track that could once and for all unite the solid state amp fetishists with the kraut-heads. Estonian droners Threes and Will & Huerequeque take the repetitive onslaught and bottomless tone of Earth’s approach, extract the palm-muted metal chug, and set it to an acid soaked, monotonous cantor. The oscillating low-end hum of feedback drifts like magma underneath tectonic crust of the track’s guitar squall. The images of its accompanying video seem especially relevant to this summer’s sense of global turbulence. The video shows polychrome-modified recycled footage ranging from World War II bombings to trench warfare and medieval combat. The cyclical progression of these images juxtaposed on the repeating structure of the song suggest a bleak reflection on the unending human tendency toward violence." - Ad Hoc

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