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Drone / Ambient
Outsider / Art Brut
Folk / Song
Contemporary composition crossed with experimental song and improvisation from 2012 onwards. Based out of Newcastle & Berlin.
"The Godfather of Wild Pop."
"'Trouble Number' is a major retrospective of four decades of peerless, visionary, and feral production from Gwilly Edmondez - the dad from Yeah You. This 90 minute package cherry picks from hundreds upon hundreds of hours of psychoanalysis through pop waste, performed by Gwilly upon himself since the founding of his '80s outfit Radioactive Sparrow. Bewildering and basically incomparable in its entirety, 'Trouble Number' mongrelises strains of hip-hop, black metal, folk, power balladry, more more more, with a properly prophetic, popwise soul. Pay your respects."
Gwilly Edmondez just grew as a character project in the mid-1980s, offshoot from the to’l-spon/non-com/pop-kak invention-pool that was/is Radioactive Sparrow, itself founded by a group of Bridgend (13-year-old/non-voter) elements in 1980. Gwilly is a solo/collaborative improvisation that started out making fake, unwritten rock, then progressed in the 1990s to real unaccompanied rock, before settling into a mode of practice defined by sampling, tapes and vocals. Over many years, Gwilly has struck up many material partnerships and misadventurist associations of, with the likes of James Joys, Val Persona, Faye MacCalman, Karl D’Silva, Tobias Illingworth, Laura Late-Girl, b-cátt, Odie Ji Ghast, THF Drenching, Tony Gage, Richard Bowers, People Like Us... But in the end none more so than Elvin Brandhi. ‘Gnarlage of Self’, the C30 album, was made on Newcastle’s hottest day in 2017, in an upstairs room in Heaton, recorded by Dario Lozano Thornton with Schoeps MK2/MK8 pair to Sonodore preamps in one take subsequently edited and disorganized by Dario. ‘Gwilly Edmondez: A Retrospective Mixtape Made Questionably & Unquestioningly by Himself’ started out as a kind of slapstick/slapdash best of... but quickly became its own entanglement of old stuff, new-but-unused stuff made for the C30, and bits of recent live sets. The first half, side one, tries to bungle blindly into the nature of supplication, confession and self-condemning introspection – find the self then kill it; side two starts on the other side of death inhaling wafts of cheap air freshener as a means to hallucinate a personal history that never could’ve happened anyway, before scrambling back through the rear end of personality only to be consigned to liturgical palliatives in a manner carried out by his countless forebears of the cloth. It could only end with “Walken’s Kiss”, a sardonically pronounced cliffhanger.
Music & Artwork by Gwilly Edmondez. Mix and Edits by Dario Lozano Thornton and Gwilly Edmondez.
Gwilly Edmondez – Trouble Number
'Ray' is Ashley Paul's bright, sensual return to Slip: a lifting, delighting suite of yearning winds, loose beats, and cocooning, humid bass coming together and falling apart as songs. The LP airs Paul's new trio, alongside bass clarinettist Yoni Silver and bassist Otto Willberg, who fatten out and shine light on her singularly intimate, multi-instrumental with mystery and grace. 2018's 'Lost In Shadows' wrote into the bewildering ecstasy of recent motherhood with a tingling resolve. On 'Ray' - recorded remotely during lockdown - Paul's deliciously hesitant songcraft is an outpouring and an anchor in freshly tumultuous times. Says Ashley: Over the past six months I've found myself needing music in a new way, a way of coping. I found again albums I had loved in the past, full of melody and humour, to cancel out the barrage of terrible news happening outside. I think this album is a reflection of that need. There is the playfulness of spending my days with our four year old, and the hours spent tending to plants in the garden and examining bugs, and also the pain of missing family and friends. It’s hard for me to fully comprehend the breadth of emotion I've felt recently but maybe this is a small window. The trio idea had been formulating in my head for months, and then lockdown happened. At first I was very disappointed and thought I'd be waiting forever to finally make it a reality, but time passed. I started working on a new album and could only hear it with these guys. We recorded remotely. I sent material in a variety of ways; written, aurally and verbal ideas/queues, sometimes with just a shell of a track and other times nearly completed. I wanted all our voices to be present, and to allow freedom in the parts for interpretation and improvisation. Maybe because we've all worked together in various situations and are friends, I’m not sure, but it came together naturally, magically and quickly.
Ashley Paul - voice, alto saxophone, clarinet, guitar, percussion Yoni Silver - bass clarinet Otto Willberg - double bass Mastered by Giuseppe Ielasi Painting by Gayle Paul Design by Ashley Paul
Slip Records, 2020
Ashley Paul – Ray
Eliza McCarthy plays 6 piano pieces by Mica Levi on ‘Slow Dark Green Murky Waterfall’. The pair’s collaboration has patiently cemented in the past three years, with McCarthy (winner of the 2013 British Contemporary Piano Competition) featuring on Levi’s Oscar-nominated score for Pablo Larrain’s ‘Jackie’. Eliza has performed Mica's work at the Barbican, St John’s Smith Square, and on a 7” both shared with cellist Oliver Coates on Foom in 2017. ‘Remain Calm’, Levi's 2016 collaboration with Coates, is the composer's previous outing on Slip.
The EP is bound by a sense of unreal poise: the elegant, blunt, low-lit, and gloopy seep into one another. The titles describe what the music is trying to emulate. Levi's idiosyncratic mix, and the care in McCarthy's playing, give ‘Slow Dark Green Murky Waterfall’ a sense of lived-in warmth.
Eliza McCarthy / piano
Music by Mica Levi. Additional Mixing by Sam Slater. Mastered by Giuseppe Ielasi. Artwork by Mica Levi and Eliza McCarthy.
Eliza McCarthy & Mica Levi – Slow Dark Green Murky Waterfall
"'Pleasure Island' is British composer Tim Parkinson’s disquieting and joyous Slip debut: play time in end times. Titled after the Disney adaptation of ‘Paese dei balocchi’ (or the Land of Toys) in Carlo Collodi’s ‘The Adventures of Pinocchio’ (1883), 'Pleasure Island' is a metaphysical playground of organic and digital cohabitation, its inhabitants pacified by toys and comforts. Alongside Dawn Bothwell, Suze Whaites, Laurie Tompkins, and Francesca Fargion, Parkinson exerts an uncannily emotional pull from an unlikely but potent alliance of ultra-minimal aesthetics, dead-beat drums, junk electronics, and mechanised mantras. Voices are hemmed in by electronic sound. People buffeted around by machines. Words surrounded by garlands of digital interference. Time repackaged as countdown.
Tim’s trash-opera ‘Time With People’ continues to be performed around the world, past champions of which include Object Collection, a.pe.ri.od.ic, Edges, and NEC, and he is a co-curator of London’s longstanding ‘Music We’d Like To Hear’ series. Despite decades of fiercely independent production, this is his only piece conceived of first and foremost as an album.
Tim Parkinson / keyboards, stylophones, drums, percussion, midi, electronics, sounds, vocals
Francesca Fargion / vocals on 'Happy Birthday'
Dawn Bothwell / vocals
Laurie Tompkins / vocals
Suze Whaites / vocals
Recorded in London Oct–Dec 2017 & Newcastle May 2018. Mastered by Giuseppe Ielasi. Artwork by Rick Pushinsky.
Tim Parkinson – Pleasure Island
"'Lost In Shadows' is American composer/performer Ashley Paul's bewitching Slip debut: an expansive, deeply personal excavation of recent motherhood, told through songs dissolving and re-crystallising at the threshold of free improvisation. At the LP's heart is Paul's mercurial multi-instrumental style, which renders the primal wails, clunks, and twangs of clarinet, saxophone, percussion, and guitar uncannily melodic, alchemised by frank, vulnerable vocals. The deft negotiation of the fragile and the coruscating evidenced on Paul's ‘Line The Clouds’ (2013) and ‘Heat Source’ (2014) has now reached a kind of hesitant sublime.
Recorded over 3 weeks at a FUGA residency in Zaragoza, Spain in December 2016, 'Lost In Shadows' documents a cathartic outpouring; the first time Paul had been able to write since the birth of her daughter 11 months earlier. The record is completely influenced by "many hours spent awake at night in a dream like state of half consciousness, darkness and solitude; an overwhelming feeling of loneliness and exhaustion made light by a profound new love", with Paul's solo playing bolstered by additional baritone saxophone, cello, tuba, and percussion. This ensemble set-up, which premiered much of this work at 2017's Counterflows festival, gives the LP a fresh sense of luxuriousness, bounce, and rich possibility.'"
Artwork by Gayle Paul. Mastered by Giuseppe Ielasi.
Ashley Paul – Lost in Shadows
'Ample Profanity' is composer Laurie Tompkins and cellist Oliver Coates' collaborative debut: coagulated gristle surfacing from a Beal, Brooklyn-brown, Ray V, Bangs, GAN, Rugs and Works acid bath. The EP collects 5 pieces composed by Laurie and then co-edited and performed with Olly. The former plays keys, tape player, and samples, the latter cello with effects. Both sing.
Here is grazed, contorted classicism, here post-binge hallucinations, here gunky funk.
"I met [Laurie] when I was 16, at school. I don’t know where along the way he’s found that he can make a piece out of flower pots and shouting, and it can be genuinely moving. With Laurie, there’s this thing with Netflix culture and tropes in the promotion of electronic dance music. Like, “you must all listen to footwork now” because they market that at you. Ample Profanity is all about awkward juxtapositions: bits of music from House Of Cards coupled with RP Boo. That’s the headspace he’s in and he’s trying to articulate these as cello rhythms. I find that really satisfying. It looks really spidery and architectural on the page. You’ve got to repeat it 17 times and then shout the next thing, so it’s absurdly difficult to play. To play it physically, the energy of playing it, that’s why I do it." - Oliver Coates, The Wire, September 2018.
Laurie Tompkins / vocals, keys, tape player, samples
Oliver Coates / vocals, cello, effects
--- Mastered by Giuseppe Ielasi. Artwork by Laurie Tompkins and Suze Whaites.
Laurie & Olly – Ample Profanity
"Yeah You's black-hearted return to Slip: poisonous, weaponised pop, spat out on the roam. Father-daughter Mykl Jaxn-Elvin Brandhi's defiantly other improvisations tangle up defouling sermons with ragged beats, gnashing bass, and ear-worm synths. Recorded in a black Renault Clio in Holland and Germany, and at Aurora, Budapest throughout early 2017, 'KRUTCH' is the 'You at a freshly terrifying apex, filtering the desperation of black metal through an unerring pop nous."
“The music and letting-go part of it is already sort of social suicide – and then on top of that I’m doing it with my dad.” – Elvin Brandhi interview with Tristan Bath for the Quietus
“...the best father/daughter duo sinceSerge and Charlotte...” – Boomkat
Artwork by Elvin Brandhi. Mastered by Stephen Bishop.
Yeah You – Krutch
'Merry Peers' is Brad Henkel & Yoshiko Klein’s mercurial, self-titled Slip debut: a vapour trail of lonesome, entwining half-song made tactile with a dubwise feel for space and bass. Using only trumpet, synth, a little voice and effects, Brad and Yoshiko channel sensual ambience, haptic glitch, and time-smudging melodic flights. Earthquake drones. A faint ringing in your ear. But a pervasive physicality, wryness and urgency underpins and unsettles 'Merry Peers'’ sumptuous surface. Hands and breath shape inhuman sounds, self-help slogans comfort desert winds, and the album’s stately passage is decisive, free of drift.
Recorded and Mixed by Dan Peter Sundland. Mastered by Joe Talia. Artwork by Brian Henkel.
Merry Peers – Merry Peers
Slip are proud to announce Sleep Spindles, the debut full-length of Dublin-born, London-based composer Paul McGuire. McGuire’s fastidious pieces wrench the fizzes, crackles, and hums of acoustic instruments into towering swarms of sound. Sleep Spindles collects three of his most focussed, guttural works to date. On ‘Tampered’, the minute squeaks of Céline Papion’s cello are gathered in solid hunks; the microtonal guitar drones of ‘Marshes’ are part seduction, part dread; and ‘Sleep Spindles’ gleans an earthy poise from the skins of a simple percussion set-up. Sleep Spindles makes the nanoscopic speak with exquisite force, and carves out a defiant zone between the luxurious washes of ambient maestros like Tim Hecker, and the more rarified noise compositions of Helmut Lachenmann.
Paul McGuire – Sleep Spindles
Competition makes a blue return to Slip with ‘Repetititive Music’: a sawn-off songbook of doting vocals and incisive, heart-ache instrumentals, carried with a soft swagger. Poised between insistence and tenderness, ‘Repetititive Music’ is an assured, dreamy successor to 2018’s ‘You turned into a painting’. As ever, there is Competition’s rare care and delight in the unadorned material of modern song. Chopped strings,keys, machines and speech are screwed with classical grace. A voice pines and frays as it circles. Beyond the cut and theloop something yearns and lingers.
Craig Pollard (aka Competition) is a quietly pivotal figure in Newcastle’s musical underground, curating events as one half of the Wild Pop collective and operating across the city’s artist-led communities. A collection of Craig’s writing - ‘Inside A Gleaming Feeling’ - is forthcoming on Glasgow press The Grass is Green in the Fields For You.
Artwork by Competition. Mastered by Phil Begg.
Competition – Repetitive Music
"'You Are Under Our Space Control' is firebrand US group Object Collection's inimitable Slip return: a utopian space-opera, a homing signal cast into an empty universe, a beacon for an aesthetically radical future. Drawing on space travel, transhumanism, astronautics and the resurrection of the dead, Kara Feely's texts rehearse a progressive politics through a total re-envisioning of everyday life. Travis Just's limber speech-song vocal parts are eerily and spasmodically FX'd, and navigate surprisingly glistening instrumentals - a headlong tangle and squelch of flexing 808s and metal objects, roboticised guitar, and unreal synthesis.
YAUOSC's bubbling force belies its diverse, unruly underpinnings. The opera’s musical backbone is a drum-machine transcription of John Cage's 1951 piano solo 'Music Of Changes', a landmark of indeterminacy; its title grabbed from Cy Roth's sci-fi romp 'Fire Maidens From Outer Space' (1951); its texts inspired by Sun Ra and the Russian Cosmists’ poetics and philosophies, and interviews from real (and imagined) space travellers and astronomers.
Object Collection charge these impulses with a burning, engrossing physicality. This is, above all, an LP of heaving, life-giving music, deep in the mess of futuristic fervour."
Mastered by Giuseppe Ielasi. Artwork by Frank Eickhoff.
Object Collection – You Are Under Our Space Control [SLP054]
"'111 angelic MIDI cascade' is Ralph Cumbers' exquisite Slip debut: a finely forged collection of joyous electronic music built to surge and heal. This is Cumbers' first deliberate Bass Clef album since 2012's 'Reeling Skullways' on Bristol institution Punch Drunk, and a forceful departure from the bubbling, rogue club 12"s since issued on The Trilogy Tapes, PAN, and Idle Hands.
Drums are almost entirely absent, making way for a braiding of soaring machine melodies, and taut harmonic threads. To be clear: this is no ambient record. No drifty clouds, no cocoons, no sonic platitudes.Recorded in Rotterdam in August 2018, amidst an immersion in the history of clairaudience, scrying, and natural philosophy, '111' is a leap into pinpoint mysticism, with Bass Clef as happy alchemist."
Written and Recorded by Bass Clef. Mastered by Stephen Bishop.
Bass Clef – 111 angelic MIDI cascade
"'brace, brace' is Julia Reidy’s soaring Slip return: a dread-tinged incantation unfurling from breath-down-the-neck field recordings, auto-murmured voice, synthetic hum, and irrepressible guitar kinetics.
Reidy’s signature 12-string playing - precise, burrowing, rhapsodic - dominates the LP's outer cuts, framing a plaintive electric centre. Blooms of arpeggiations and desolate strums re-inflect slow-moving pitch sequences; the music feels at once on fire and graceful, inevitable.Perhaps most surprising is how organic 'brace, brace'’s expanded palette feels. Reidy’s electronics are subtly eerie extensions, alien resonances of her playing, both embedding her instrument and making it somehow unreal. This strange smear of body and apparition is neatly nailed in Reidy’s sung-to-herself vocals, coaxed out and encroached upon by autotune
Succeeding recent issues of her work by Feeding Tube and Room 40’s A Guide To Saints, 'brace, brace' is a definitive statement from a blazing, restless talent.The LP tours with visuals from Suze Whaites. Whaites’projection environment is built from the coruscant light sources and surface reflections with which her video footage is made, creating mutable vistas at once microscopic and panoramic, domestic and sublime."
Mixed and recorded by Sam Slater. Mastered by Joe Talia. Artwork by Suze Whaites.
Julia Reidy – brace, brace
Dawning On is Australian, Berlin-based guitarist Julia Reidy’s Slip debut: a razor-sharp précis of pent-up, blazing melancholy on a lone 12-string guitar. Reidy’s playing is lucid and poised, teasing out elegant inflections from half-melodies, rugged strums, and curious tunings. Her compositions are lingering streams: barely-shackled attacks give way to introspective arpeggiations before resurging again, all spurred on by a yearning, nervous energy.
With the album’s single-track A-side clocking in at just under half-an-hour, this is by some measure Julia’s most comprehensive solo statement to date, and a luxurious listen which revels in the 12-string’s generous resonance. For our money, it’s up there with the finest work of her fellow Aussies The Necks, Anthony Pateras, and Jon Rose.
Julia Reidy – Dawning On
'Solo' [SLP016] is the Slip debut of Berlin-based composer Andreas Dzialocha: a collection of lilting electric bass melodies refracted through a tangled network of live computer processing. 'Solo'‘s ruptured nocturnes are intimate duets between instrument and machine, with Dzialocha eloquently responding to randomised pulsing reverbs, filters, and compressors, which snatch his delicate motifs into virtual space in real time. Andreas studied art history, musicology, and computer science, and is founder and director of Berlin-based Serenus Zeitblom Oktett, and upstart publishing platform BLATT 3000. 'Solo' interactive website: solo.andreasdzialocha.com
---Mastered by Hannes Fritsch. Artwork by Rian Treanor
Andreas Dzialocha – Solo
“’Got Gills?' [SLP015] is the exigent Slip debut of Manchester-based Otto Willberg, and a commanding introduction to the double bassist’s assertive, heady style. This unhinged collection of live acoustic takes (no amps, no overdubs) marries rasping grit and mesmeric repetition, and announces the arrival of a precocious instrumental talent.
Otto is a double bass player living in Manchester, interested in improvisation, experimental and contemporary music. He is a core component of caustic psych outfit Desmadrados Soldados De Ventura, and of Manchester's ever-blooming underground.”
Otto Willberg – Got Gills?
'PROSEGUR' is the obliterating Slip debut of North-Eastern security force Bad@Maths: pulped voices scrawled on wasted digital clatter.
The voices of Elvin Brandhi and Odie Ji Ghast have stamped themselves inexorably on the Slip catalogue - Ghast's swoops and blabbers and Brandhi's doosmday swaggers all over pairings with bassist Otto Willberg and pop-garbler Mykl Jaxn (as Yeah You) respectively.
As Bad@Maths, the duo's inimitable speaking-in-tongues practice lurches through electronic daggers and gunge. Elvin and Odie's roaming productions are a smash-and-grab on the furthest reaches of contemporary trap and grime, their voices re-animating 'net-culled spirits amongst whipslap beats. Modern mores, nasty drift.
Bad@Maths – PROSEGUR
WHATSAPPITE is the batty collaborative debut from Mancunian long-time sparring partners Otto Willberg and Odie Ji Ghast: a bewildering assemblage of feral double bass and vocal vignettes spliced with rabid interjections from a handpicked cast of eccentrics.
Willberg and Ghast’s cuts ditch polish, finesse and good taste in favour of animal propulsion, taking base, off-the-cuff melodies and rhythms on a skew-wiff joy ride.
Bolstered by brain farts from Gwilly Edmondez, Elvin Brandhi, THF Drenching, Rachel Margetts, Sam Andreae, Arshon, and Biz, WHATSAPPITE marries proper abandon with unabashed ears for a hook.
Artwork by Odie Ji Ghast. Mastered by Owen Roberts. Tapes dubbed by Otto Willberg.
Ode Ji Ghast & Otto Willberg – WHATSAPPITE