We need your help – please
"Stumbling into the Age of Loneliness I carry cloudy glass bottles to the edge of the Pacific. After 100 years in dirt beneath San Francisco they breathe fresh ocean air, fill with the energy of breaking waves. Microphones inside, ear to conch, I hear shadows: scurrying, wing flaps, chirps and chatters, whimpers and bellows. So many creatures, once emerged from the sea, now gone. How many vessels would the disappeared fill? What is the weight of a lost species? I make an offering of listening to help me carry all these ghosts we made." ⟶ Cheryl Leonard Life through the computer. We all have had to grapple with it over the past year, as we attempt to wring as much meaning, intimacy, experience and variety as we can from our shiny boxes of electronics. Concerts, plays, ballet, meetings, dates, dinners, coffees and conferences all became just a click away. Some of us cocooned ourselves in soundscapes lost, from old streams from noisy bars, to recordings of natural locations we could no longer get to. It was by turns revelatory, empty, full, sad and comforting. In Schism’s title track Cheryl E. Leonard treats us to her own imaginings of the world within her laptop; a pulsating, flickering, stuttering morass of coil pick up recordings, set amid the co-mingling of crickets, squirrels, birds, bats, and sounds played on natural-object instruments. She asks: “What does it mean when our mediating technologies have both the power to connect us to and distance us from the ecosystems we are part of?” Certainly this is a question which predates the pandemic, but it is one which we grapple with now with a set of new knowledges which speak to both the possibilities, and the shortcomings of a life lived digitally.In addition to her laptop recordings Leonard also turns to mics placed inside bottles to render the second piece on this release, Eremozoic. In the context this simple gesture takes on new resonances; a separation, enclosure, limitation which captures and reverberates particular tones, while missing others entirely. When I think of the computer in this era, I think of it like this, it exists as both echo chamber and conversation; alienation and hope. I think many of us have felt the last year, a little like life was lived inside a bottle. With this release Leonard reminds us of what we lost during the pandemic, but more profoundly what we might lose more permanently as we continue into the climate crisis.
- Kate Carr
Composed, performed, and recorded by Cheryl E. Leonard Mastered by Thomas Dimuzio at Gench Studios Liner Notes by Cheryl E. Leonard Words by Kate Carr Artwork and design by Juliána Chomová Stone composition and photography by Ester Sabik Risograph print by Kudla Press Photography by Zoltán Czakó Dedicated to Patty Chen-Wei Liu Released by mappa as MAP026 in 2021
Cheryl E. Leonard – Schism
Earlier this century Spencer Clark created a sound phantasy with Skaters and after that he pursued a new alchemy under various aliases (Charles Berlitz, Fourth World Magazine, Monopoly Child, Typhonian Highlife, etc.) and projects (like Egyptian Sports Network, Tarzana or The Temple Defectors). He’s back with a new album under a new name, Star Searchers, a futuristic eco-friendly record. It’s life on earth as you never heard it.
The story goes like this: Spencer Clark wanted to do a soundtrack for the yet to be made Avatar 2. And if you know Spencer’s work, you’ll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of Avatar. If you think about it a little bit, something like Avatar could have really come out from the mind of Spencer Clark. But it didn’t. So, he dwelled around the idea of that soundtrack, working on what is now known as Avatar Blue. The record we now release is a selection he made from the 2CD released last year on his own Pacific City Sound Visions.Like many of Spencer’s other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It’s never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That’s why they’re so rich and consequential in the realisation of music as a medium.Avatar Blue is music but also literature. And cinema. Star Searchers’ sound creates an absorbent sound about what’s happening in aquatic life. It goes beyond the perception of what we’ve seen or what we’ve known, it’s a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it. All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come.
Star Searchers – Avatar Blue (Avatar Green Tape Version)
Super limited tape. A narrative-musical work, a Babylonian library in which sound and word give shape to an evanescent sonic space with infinite historical, archaeological, science fiction and future references.
Etrusca 3D is a new band that merges two current Audio and visual artists from the 21st Century, Francesco Cavaliere and Spencer Clark. The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant.
Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D." There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body.
Pacific City, 2021
Etrusca 3D – Trickster Blade
XXTREMELY RARE, THINK KWIK!!
"In October 2018, the manager of ESP-Disk', Steve Holtje was invited by the 8th OCT-LOFT Jazz Festival to give a lecture titled 55 Years of Nurturing Avant-Garde and Outsider Music: ESP- DISK's Perpetual Revolution, in Shenzhen, China.
During this event, Tu Fei, the curator of the festival, as well as the co-owner of Old Heaven Books, reached an agreement with Steve on further co-operations.
For over half a century, ESP-DISK' has been publishing a massive amount of great records, among them are many free jazz masterpieces. And with great honor, the Old Heaven Books is authorized to produce and release this cassette boxset including 5 selected ESP DISK' classics, as a tribute to the label concept “The artists alone decide what you will hear on their ESP-Disk.”'
This cassette boxset include 5 ESP-DISK releases:
Albert Ayler- Spirits RejoiceRecorded Sept. 23, 1965 at Judson Hall, New York CityMarion Brown Quartet - Marion Brown QuartetRecorded in New York City in November 1965Sonny Simmons - Staying on the WatchRecorded in New York City on August 30, 1966Ronnie Boykins - The Will Come, Is Now© & ℗ 2009 ESP-Disk' Ltd./Syndicore Music (BMI)Sun Ra - Concert for the Comet KohoutekRecorded live at Town Hall, New York City, December 22, 1973.
Limited Edition to 300 CopiesReleased by ESP-DISK' & Old Heaven Books
ESP- DISK & OLD HEAVEN – ESP-DISK' Cassette Boxset
Unreleased material from the one and only Emil Beaulieau, rediscovered after more than 30 years in storage. An entirely chance online interaction with Frans de Waard (Vital Weekly, Korm Plastics, Kapotte Muziek) lead to adhuman acquiring a master tape of unreleased 'Private Performance' extracts recorded in 1988 by Ron Lessard. These tracks were originally submitted to Korm Plastics for inclusion in a series of 7" releases centered around ‘Musique Concrete Composers', but sadly the project was never completed and the recordings have been held in Frans’ archive ever since. Seemingly inspired by the discovery of this tape, Frans took to further digging, emerging with another cassette - an audio letter from Emil to 'Franz' sent sometime during the same era. If the 'Composer Series' material gives us Emil with his more serious, institutional hat on then the audio letter represents him at his most mischievous and wildly roughshod self. Nothing but Emil kicking back at home with his gear, croaking intermittent greetings, questions and the occasional jibe to Frans amidst a sea of jagged loops, twanged junk and destroyed noise. Raw, hilarious, unedited and joyous, the material was too good to remain private and forms the B side of Korm 88 at both Ron and Frans' suggestion. Korm 88 is not just a red-hot slice of classic Emil Beaulieau action - it is a document which reveals new context and insights into the early working practices of an artist who is rightly considered a living legend and pioneer of underground noise as we know it. Adhuman is very happy to release this document from a true personal favourite, inspiration and since 1988 (at least) AMERICA'S GREATEST LIVING NOISE ARTIST.
Music recorded by Ron Lessard, 1988 Cassettes provided by Frans de Waard 'Composer Series' cassette digitised by adhuman 'Audio Letter' cassette digitised by Frans de Waard
Emil Beaulieau – Korm 88
'This EP cassette was put together as a footnote to 'Cantus, Descant', a more raw and improvisational representation of the composition process in its early stages. These were actually the very first recordings I gathered when I began working on this record in August of 2017. A week or two before I moved from Canada to LA, I did several recording sessions at Pacific Spirit United Church in Vancouver and Chapelle Saint-Louis in Montréal on two beautiful Casavant organs from 1964 and 1916, respectively. 'Ruminant', from 'Cantus, Descant', comes from the Vancouver sessions and is "thematically" related to the 'Laurus I-III' material here. Nothing from the Montréal sessions actually ended up on the LPs, but I vividly remember recording the 'Accord of Voice I-II' series. I had just returned from six weeks in Europe and went in to do the first set of recordings the very next day at 7 am, before the church opened to the public, and my mind was kind of a mess. 'Accord of Voice I' was the first thing I worked on, it is the seedling of 'Cantus, Descant' even though it didn't make it to the album, and I still perform it for myself sometimes when I'm starting with any particular organ as a way of getting my head in the right place.'
Featuring the Casavant pipe organs of Pacific Spirit United Church in Vancouver, BC, Canada (ca. 1964) and Chapelle Saint-Louis in Montréal, QC, Canada (ca. 1916)
Recorded and performed August 2017 by Sarah Davachi
Late Music, 2020
Sarah Davachi – Laurus
"On the 1st of October 2020 I had a dream I was part of something. A late night open mic jam at an under-water jazz cellar, literally a flooded space underground. I set to recreate that experience Home Alone, with what sounds that looked like it. Evidence of those sessions is available online By November I had completed building a version of a machine for accessing the dream. The Dream Machine, however, solved nothing as a bigger parallel problem had simultaneously revealed it to me that such simulation could not replace, or entirely replicate, the corresponding shared experience of Real Life Dreaming. The time was to release what was possible to summon of the Dream Experience, and a CDr was hastily produced and given a limited-edition life of its own. What was supposed to be a relief-like revelation of one near-future utopia, the experience wavered "between unbridled relief and woefully unrealistic optimism" (NMM). On the 17th of December 2020 a Tallinn and Helsinki based online radio station made an entirely baseless and untrue announcement that in 2021, '2021' would receive a Second Life from the seminal Tampere record label Ikuisuus idaidaida.net/episodes/mental-alaska-2020-12-17 Therefore, rather than allowing for the shattering of the Dream Image of a better near-future, the premonition acted as a guide for the Dream Vision from an isolated experiment to a wider world of shared experience, hence hopefully somewhat fulfilling the Dream Prediction itself." - BE, Helsinki, 2021 Boom Edan is Tuukka Asplund.
Boom Edan – 2021
"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
Simultaneously casual and sincere, Deng Boyu’s latest output on cassette, Tractor Academy, is both a tongue-in-cheek teaser and a wildly romantic postscript to his upcoming solo LP. The eight songs here unveil the instinctual id beneath the electronic alter ego of Deng Boyu, known primarily as the ever-present drummer in China’s young and vibrant scene of free jazz and improvisation. This is one of a kind Northern Chinese IDM lit up by a whimsical touch of nostalgia. The sound textures – created by a toolkit comprised of a vibrator, a gong, and various metal objects – are distinctively dumb and dusty; the compositions are freewheeling in form, but heavily loaded with noise and personal history. It is a misfunctioning time capsule, what you'll get travelling back to a Disco dancehall of early ‘90s Inner Mongolia – where Deng Boyu first felt the thrill of the groove in his troubled adolescence – and doing a lavish Autechre dakou DJ set in it. So please sit back and relax, now that IDM has long lost its association with human intelligence, let’s hear Deng Boyu tell that old joke again. *You will find the first half of “Transmission Pt. 2” (Track 1) in Deng Boyu’s upcoming LP, Chimney Complex, to be released by Chinese label Badhead later this year.
Dusty Ballz is a London-based label that releases Chinese underground music on cassette tapes. The term originates in an old Soviet joke, which somehow still speaks to the situation today.
--- All music by Deng Boyu Woodcut by Tiemei Calligraphy by Zhao Sancai
Deng Boyu 邓博宇 – Tractor Academy 拖拉机学院
Six solo recordings from Aoi Tagami, Li Song and Xiang, three young chinese artists supported and mentored by Zhu Wenbo of Zoomin' Nights to highlight the thriving young experimental scene within China
--- Li Song, a native of Xi'an, now living in London, uses his laptop to make improvised music and was active in Beijing's experimental/improvised music scene from 2014-2018.
Tokyo-based Aoi Tagami explores songs through the use of her own voice and words. Since 2014 she has been giving performances in diverse locations, from outdoor settings to theatre spaces.
Xiang, sound worker, working with field recordings, electronics, improvisation/composition of objects/body, performance based on aural exploration. She lives in Chengdu.
Released: Zoomin' Night
Released: October 2020
Mastered by Xiang Designed by Liu Lu
Aoi Tagami, Li Song, Xiang – Voices from Green Pines
Anla Courtis: guitar, water, ebow S. Glass: voice, field recordings, tapes, objects, violin
--- Recorded, mixed, and edited at Yaguareté Studios, Buenos Aires and at No Spray 205, San Francisco
Anla Courtis & S. Glass – Other Secretive Vehicles
"Growing up means your mental models of the world are more likely to match observable results in the 'real world'. Or to say it differently: Growing up means, your plants are not dying anymore. I am not sure we have grown up quite yet, but maybe embarking on a 25 minute free form improvisation, with the tape rolling, relies just as much on what you know, as trusting the things you do not know yet. Just as much being in touch with the grown-up as the child in you and the partner that joins you on that journey." Daniel Stolle and Erno Taipale met in 2017 at an exhibition of old houses in Hämeenkyrö, Finland. Having similar thoughts about making music they decided to play together. Eventually it happened in autumn of 2020. Two sessions at Daniel's working room produced these improvisations. Opal Satellite's music is mostly calm and sparse, at times creepy, pastoral, kosmisch. It could work as a suitable soundtrack for a breezy summer night when the mist floats upon the moonlit lake surface. Or maybe it conjures your very own images, based on the observable world of the grown up or the free, imaginery of the child.
Opal Satellite – I
Co-released with Unread Records (USA). #272
--- Recorded mostly with Korg Minilogue XD in September-October 2020. S
ome additions & mixing & cassette mastering November 2020 - February 2021, Digital version mastering July 2021. Music & artwork by Jani Hirvonen. inspiration: Quantum physics, universe, cosmic vibrations / dimensions / frequencies, spirituality, the unknown...
UTON – Awakened Hyperspace
The Anaksimandros: Janne Laurila, Jan Anderzen, Markus Mäki, Arttu Partinen, Kevin Regan.
Limited edition of 80 copies * Including a hidden bonus track, which wasn't on the original cassette release. Originally released on Huutomerkki in 2000. --- Sleeve artwork and layout by Johannes Schebler
The Anaksimandros – Beyond the Valley of Apeiron
Objects at Hand is the result of an ongoing collaboration between Dirty Electronics (John Richards) and T M Shaw. Just before lockdown in 2020 Richards and Shaw finished a tour, Points of Failure, which involved building performance-installations in various venues across the UK. These environments, made up of DIY devices and found objects, were constructed in response to the performance spaces, and consisted of sound, light, smell, smoke and other sonic processes. Objects at Hand was recorded retrospectively in remote locations and then edited and mixed as a memory trace and document of the sounds, physical spaces and objects encountered on the tour. Action, uncontrollable instruments, unstable systems, performative failures, reimagined affordance of objects, playing with resource, improvising inside electronics, assembling and disassembling sound devices, architectural features are folded into this performance document. Richards and Shaw see their work as a form of ‘cybernetic wayfaring’, improvising with materials, feedback and new situations, as they continue, and repeat.
1. Praxis [4:34] - coil, circuits, feedback, motors, metal sink, tin can, transducer 2. Imposed_Adjacent [4:35]- rubbing motor, interjections, radical nails, tin can, voice, large glass vessel 3. Opus 25 [3:48] - sparkler, filtered noise/whistle, hacked speak n’ spell, vowels, tin can, Tesla coil 4. Thinking in Time [5:35] - boat, creeky platform, gated noise, thrupenny synth, spring reverb feedback 5. Temporary Needs [7:18] - disposable cameras, large capacitor discharge, circuits, AM radio, prepared speakers, spark gaps 6. newCorpus [1:59] - travel, flights, hotel, coil, Dictaphone, large speech corpus, pd patch (disorderly jukebox
Opal Tapes, 2021
Dirty Electronics & TM Shaw – Objects at Hand
T.D. is the personal sound project of Thomas DeAngelo, based in Philadelphia, USA. Sound collages, field recordings, improvisation, noise.
"Melk Extracts" track feat Jim Strong, Allen Mozek & Stew Skinner.
Recorded Between 2016-19, All recordings Thomas DeAngelo Mastered by Moras Marios
released May 15, 2021
T.D. – Standing Water
The first cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The first in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song.'It should be a noon of 1997, when I was in the 2nd grade of middle school, I saw the music video of the Beatles “I Want to Hold Your Hand”on MTV channel. A live performance, black and white. It was the first “thriller” The Beatles brought to me. The second “thriller” was in 1999, when I was in grade one of high school. The day before, I bought the so-called “white album” in a cracked cassette shop. That day I went to attend a kind of “little campus writer seminar” with my schoolmaster and a senior. On my way back home by bike, I began to listen to the double-cassettes. After this “thriller”, I talked with the senior who also loves rock music about grouping a band. But neither of us had learnt or even had any instrument. We just talked about it and thought we were in a band for quite a long time. In 2001, I was a restudy student in a boarding high school. On the Christmas Eve, I listened to John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” lying in the bed in my dorm, which was rebuilt from a shower room. I cried out. It should be count as a “thriller” brought by the Beatles, the third one. After that, it never happened again.' MAI mai April, 2016
卖卖 MAI MAI uses: Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones
Released: Zoomin' Night
Released June 1, 2016
卖卖 MAI MAI – MAI mai plays the Beatles vol.1
Another Beatles cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The second in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song
卖卖 MAI MAI plays:
Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones
Released: Zoomin' Night
Released: May 4, 2018 Recorded in Shanghai, spring 2018 Art work by Liu Lu
Limited to 100 copies
卖卖 MAI MAI – MAI mai plays the Beatles vol. 2