Nick Storring in The Quietus


Nick Storring’s tape, Exaptations, was covered in a recap of a broadcast by Spools Out on London’s Resonance FM.

Read it here, or see below.

Purchase the tape here.

Spools Out’s Tristan Bath said :

Toronto composer and cellist Nick Storring is clearly such a rare and exceptional talent as both a composer and instrumentalist. He’s previously featured in this column as a member of utterly stellar psychedelic jam group I Have Eaten The City, and as half of a far out there cello duo called The Knot, while he’s already released plenty of work under his own name too, including Exaptations’ clear predecessor Endless Conjecture out on Orange Milk records. As the title seemed to hint at, Endless Conjecture saw Storring layering aural chunk after aural chunk atop each other, utilising a vast array of instruments to make wandering, confusing, and periodically intensely pretty soundscapes. The two sidelong pieces on Exaptations were originally composed and recorded for a dance piece in 2013-2014, and quote but a handful of the instruments he apparently plays: found objects, vibraphone, glockenspiel, balafon, chimes, hand bells, toy pianos, thumb pianos, voice/whistling, electric and acoustic cellos, and a load more. The music makes unsteady progress from sound to sound, and it’s never quite clear just how meticulously composed the pieces are, but it renders the two pieces thoroughly unknowable and engaging listens. Chunks of banged vibraphones and chimes give way to flutes and synth washes. Angular rhythm snippets flow into intricate swarms of lush majesty played on some dozen instruments at once. The second side houses much more awkward and strange hissy noise, with many long layers of droning synthetic tones and less of a focus on kaleidoscopically stacked acoustic instruments. Ultimately though, both sides are massively rewarding as both deep or shallow listens – however, precisely how the hell one would dance to it remains a mystery.

New releases: Chris Strickland and Nick Storring

NTR041 NTR042 Nick Chris Mid-Summer 2016 TAKE TWO-0

Summer releases now available !

Chris Strickland —
Excruciating Circumstances in the Kingdom of Ends

Montréal-based composer Chris Strickland searches not for minimalism, but to minimize: technique, narrative, emotion. All recorded live either at CKUT or Espace Project, both located in Montréal, the compositions on Excruciating Circumstances in the Kingdom of Ends reside on a different expressive axis, fingering the raw edges of his sonic ingredients. Field recordings with the flat haze of surveillance footage or the feeling of gazing from afar are interwoven with wobbly but painstaking drone notes, rarely with more than a handful in a single sequence. Unsentimental and even obstinate, there are hard cuts between sections, and—most intriguingly—a playing technique free of both emotional vibrato and focused flatness. Played notes are shaky but not hesitant. Governed pace-wise by strategies of “deliberate uncertainty,” Strickland’s compositions proceed at a walking pace, moved through like green spaces of remote urbanity.

– Professionally duplicated edition of 100 on Chrome tape stock
– Letterpress printed by John Fitzgerald at Fitzgerald Letterpress, New Orleans, LA
– Mastered by Branic Howard at Cloud City, Portland
– Artwork by E. Lindorff-Ellery
– Edition of 100

Purchase this release and stream its audio via Bandcamp, here:

Also, back in January, we released a short download-only piece by Chris, “In the Neck of Time”, which was originally part of The Wire: Adventures In Modern Music‘s “Below The Radar” compilation #21. This is a free/pay-what-you-like release. It can be acquired here:


Nick Storring —

On the long-awaited “Exaptations”, Toronto-based composer Nick Storring presents two highly textural, side-long pieces. On “Field Lines”, originally composed for Yvonne NG Peck Wan‘s dance piece, “Magnetic Fields”, a certain fragmented, uncertain openness is conveyed: a series of brief, dreamlike clearings are vignetted by pregnant silences or various levels of waking or sleeping states. Storring plays with a variety of tonal instruments that swell and tumble along while being nipped at by expressive percussion. Organic clusters develop within event-based sequences, stretching attention across multiple timbres and rhythms. On “Yield Criteria”, shifting drones move about like independent layers of ice on a lake in the dead of winter, slowing crumbling, sliding, and cracking in perfect harmony. Storring has written for dance and other interdisciplinary settings, and here he brings the delicate resourcefulness of a skilled accompanist, as well as a narrative sense that belatedly, profoundly blossoms.

– Professionally duplicated edition of 100 on Cobalt tape stock
– Letterpress printed by John Fitzgerald at Fitzgerald Letterpress, New Orleans
– Artwork by E. Lindorff-Ellery
– Edition of 100

Purchase this release and stream its audio via Bandcamp, here:

Forthcoming releases include Seth Cooke‘s instantiation of Stefan Thut‘s “Aussen Raum” and Portland percussionist Matt Hannafin performing works of John Cage, including One4, Variations III, and 0’00”.

Spring Sale 2016: 30% off


Spring Sale at Notice Recordings:

Enter “springsale” at checkout for 30% off:

Cassette tapes available from:
Rafael Toral, Chik White, Jack Harris & Samuel Rodgers, among others.

Downloads of sold-out releases available from:
Coppice, Anne Guthrie, Ben Owen, Jon Mueller, Prants (Bhob Rainey & Chris Cooper), Loren Chasse, Ryan Jewell, Joda Clément, among others.

Look for new releases very soon from Nick Storring, Chris Strickland, Jason Brogan/Taylan Susam (performed by Greg Stuart and Sam Sfirri), Seth Cooke/Stefan Thut, among others.

Thank you !

Spring cleaning

photo 1_2Did a little spring cleaning and came across some back stock of “sold-out” releases.

We now have available:

Joda Clément – I hope you like the universe (11 copies) $5

Haptic – Excess of Vision: Unreleased Recordings, 2005-2014 (1 copy) (*Alternative artwork.* Not pearlescent paper. It is red ink on solid white. Kind of an unofficial version. Probably will be worth thousands one day.) $5

Ryan Jewell – Radio: Vol. 2 (3 copies) $5

56K – Generations Lost (4 copies) $4

Windmill • Waterwheel – Waterwheel • Windmill (1 copy) (Kiln/Fibreforms side project, recorded in 1997. Interesting release.) $4

Email us if you want any:
noticerecordings at gmail dot com

Profile of our printer, John Fitzgerald, in New Orleans

Any analogue printing aficionados may find this interesting:
A very thorough profile by Boxcar Press about our printer, John Fitzgerald of Fitzgerald Letterpress, in New Orleans. We’ve been clients of his for a number of years.


Thanks, John ! And thanks to Ben Owen, over at Middle Press and Winds Measure Recordings, for sending this our way.

2015 recap

(Please ignore the formatting errors. We’ve had it up to our eyeballs with WordPress, and given up a bit until we get a proper website. Cheers.)


Coward – Wearing Thin (Idiopathic Records)
Keith Rowe – Live at Fairchild Chapel (Idiopathic Records)
Seth Cooke and Dominic Lash – Canary (Hideous Replica)

Coppice ‎– Cores / Eruct (Category of Manifestation)
Otomo Yoshihide ‎– Guitar Solo 2015 LEFT (Doubtmusic)

Tetuzi Akiyama / Jason Kahn / Toshimaru Nakamura – Between Two (Meenna)
Jeph Jerman / Tim Barnes – Matterings (Erstwhile)
Graham Lambkin / Michael Pisaro – Schwarze Riesenfalter (Erstwhile)
Greg Stuart & Ryoko Akama – Kotoba Koukan (Lengua De Lava / Crisis)
Oren Ambarchi‎ – Live Knots (Pan)
Mark Fell / Rhodri Davies / Okkyung Lee – A Pattern For Becoming (The Tapeworm)
Jason Lescalleet Bandcamp
Joseph Yonker ‎– Interior (Self-released)
Jefre Cantu-Ledesma – A Year With 13 Moons (Mexican Summer)
Sister Grotto / Braeyden Jae – Born To Lose / Born To Leave (Anitquated Future)

Olli Aarni – Peite (Baro)
Áine O’DwyerMusic For Church Cleaners Vol. I & II (MIE Music)

Julia Holter – Have You In My Wilderness (Domino)
Jessica Pratt – Jessica Pratt [reissue] (Birth Records)
Mount Eerie – Sauna (P.W. Elverum & Sun, Ltd.)
Ibeyi – Ibeyi (XL Recordings)
Purity Ring – Another Eternity (4AD)
Carly Rae Jepsen – E*MO*TION (Schoolboy Interscope)
Blondes – Rein (RVNG Intl.)
Anthony Naples – Body Pill (Text Records)
Audion‎ – Dem Howl (Kompakt)
FKA twigs – M3LL155X (Young Turks)
Nick Höppner – Folk (Ostgut Ton)
Container – LP (Spectrum Spools)
Nicolas Jaar – Nymphs II (Other People)
Nicolas Jaar – Nymphs III (Other People)
Nicolas Jaar – Pomegranates (Other People)
J.G. Biberkopf – Ecologies (Knives)
Oneohtrix Point Never – “Sticky Drama” video
Roscoe Mitchell performing solo at The Creative Music Guild’s Improvisation Summit of Portland, June 2015
– Wishing that the rest of Grimes’ Art Angels was as good as the “demo” of “REALiTi“.
– Been listening to a lot of Nanci Griffith, which has been nice.
– Looking forward to discovering two missed 2015 John Cage CDs: performed by Nicholas Isherwood on BIS Records; and performed by Kim Kashkashian, Sarah Rothenberg, Steven Schick, the Houston Chamber Choir, conducted by Robert Simpson, on ECM.


Triangulating repetition and a little boredom: a reflection on listening in 2015

Musically, 2015 was not a diverse year for me. I bought very few new albums, and flitted between a handful of obsessions with the greats. But although I didn’t hear much new music, circumstances caused me to hear certain music over and over; this year was the most repetitive year I’ve ever had.

I’m often captive in listening situations, driving back and forth between New Orleans and Chicago for work. I drive a van with a noise floor in the ballpark of an old clothes dryer, with a pair of pathetic speakers that, by 2014, had more or less disintegrated. Listening to music wasn’t exactly pleasurable or even intelligible, so I just turned my bass all the way down to avoid flatulent low-frequency vibrations and tried not to crank the volume too much. Then I stopped listening to music in the van altogether. I would drive hours at a time with only the engine, at moments finding it extremely musical, but understandably not all that dynamic; it didn’t hold my attention, the engine noise.

Sometimes in the van, the drone of cylinders and mental stasis would become too much, and to keep from going insane, I’d have to throw something on. Interstate 55 is reasonably covered by public radio affiliates, but is otherwise not blessed with anything listenable, except in Memphis. Since giving up on van listening, I only kept a random stack of orphan CDs in the glovebox – Miles Davis’ In A Silent Way, and a couple Frank Zappa albums, Weasels Ripped My Flesh and Over-nite Sensation. And these, eventually, I was listening to constantly, more or less on repeat.

All of these albums I knew well, having owned all of them since high school. But listening to a song like “Montana” on repeat while driving through the weirdly foreboding farmlands of central Illinois or mixed pine forests of north Mississippi, can induce a kind of ecstasy. You begin circling the song from all sides, looking forward to certain moments, letting your attention drop at certain other ones. At the same time, your mind forms mental loops that blur where you are in the song, at that moment, with other input: a certain moment might suddenly trigger an image of another day, another set of scenery, or a previous thought that in turn triggers the image of another moment in the song, and suddenly consciousness has too many layers and everything is confused.

Otherwise, though, I spend most of my time in projection booths. Again: not a particularly good listening environment, with fan and monitor noise, frequent tasks that aren’t quite menial enough, and that peculiar vigilant solitude that I imagine people feel when spending long periods at sea.

The only musical window would come between shows, when I put on walk-in music as the house filled up. This always came from my laptop, and on that lean machine is a pitifully small amount of music, most of which I obtain through a generous vinyl-buying friend who texts me photos of download codes. There are also a few new releases from the Austin-based Holodeck label, which are consistently stellar. And these I played over and over.

When I was in a projection booth with Internet access, I faced massive option anxiety – so many streaming options that I couldn’t even remember label names, let alone artists or albums. So I kept returning to Nicolas Jaar’s fantastic BBC mix, which was not only brilliantly composed, but also quite long – no need to remember to loop a playlist or whatever. Set and forget and enjoy.

So these three entities – Marie Davidson, BOAN, and Nicolas Jaar – became the music that thousands of filmgoers heard at hundreds of screenings at dozens of venues around the U.S., and I was always up in the booth, hearing it over and over through tinny monitors. It became comforting: the routine of hitting play as the doors opened, turning down the monitor, not hearing certain passages, the volume spiking in the monitor, misheard lyrics and imagined polyrhythms.

There’s a unique type of memory triggered by repetition, comfortingly familiar, not quite déjà vu but just as unsettling, and weirdly numbing. But Jaar’s encyclopedic mix was new for all those other people hearing it as they settled into their seats, and so I stuck with it, like a Dazed and Confused-era Matthew McConaughy with his high school girls.

Another less creepy filmic reference might be Groundhog Day, with the one person perceiving repetition and everyone else perceiving that same thing as new. Pre-show or a long drive are supposed to be the same every time. People walk into a movie theater and hear music. You drive a long distance and then reach your destination without wrecking. And yet each time the event happens, it’s slightly different; even if nothing out of the ordinary occurs, it’s never identical to any other time. But the recording is always the same, always mapping the same mental input onto a subtly different surface. Instead of the clean directness of a listener hearing a new recording, repetitive listening is a triangulation between one thing that’s constant and two things that aren’t quite so, with the subtly shifting distances vexing the brain.

I admit this is far from the best listening situation. But I finally replaced those car speakers and even added an auxiliary plug, so perhaps 2016 will be a different story.

The Sodden Floor


A lot of folks have been asking about Loren Chasse’s The Sodden Floor. We’re sold out of it, but it is currently available at Squidco, here.

Alternatively, you can download it from our Bandcamp website, here, for $4.00.

Rafael Toral and Loren Chasse – Autumn releases

NTR038 NTR039 promo email image card thing

This will be it for us in 2015. We have lots planned for 2016, so please stay tuned!
Next up is Chris Strickland and Nick Storring. We’re going to keep the “Autumn Discount” Bandcamp sale active, which is 20% off. That means most cassettes run from $5.20 to $4.40, and all downloads are only $3.20. Enter code “autumndiscount” at checkout.

Autumn 2015:

NTR038 scan 200

( Notice #038 ) — Rafael Toral — “ Space Collective 2 Live

Space Collective 2 Live commemorates Portuguese musician Rafael Toral’s first U.S. tour in several years. Since the 1990s, Toral has been primarily known for his guitar
work, but has since been working on the Space Program project, within which he has probed visceral and personal components of electronic music performance, and how they relate to the performer’s experience, not to the resultant product.

These recordings, taken from a live set at All Tomorrow’s Parties in 2010, find Toral performing with drummer Alfonso Simões, developing sparse, deep textures with triggers and modular oddities. Smartly paced and absolutely blistering at times, this set touches on a variety of surprising tones: flute-like expressions, spacey warbles, and intricately patterned arpeggios that dissolve into drone sections with confrontational sonic palettes.

– Professionally duplicated edition of 100 on Cobalt tape stock
– Letterpress printed by John Fitzgerald at Fitzgerald Letterpress, New Orleans
– Artwork by E. Lindorff-Ellery
– Edition of 100

Purchase this release and stream its audio via Bandcamp, here.
Larger artwork can be seen here.

NTR038 scan 200

( Notice #039 ) — Loren Chasse — “ The Sodden Floor

Portland, Ore. musician and naturalist Loren Chasse has a long and varied history within the more organic and textural branches of drone and sound art. Comprising pregnant field recordings, tense drone whispers, and wispy layers of texture, The Sodden Floor’s dark superimpositions drift between momentary dread and almost childlike abstraction. They seem composed with an eye on cinema: sounds drift into focus and then cut or pan away; the resulting shifts constitute a dreamlike presence only sustainable within an ephemeral world, one documented with a half-awake awareness — leaving or coming — but always accepting the flittering yet immovable mise-en-scène aesthetic of non-existence.

– Professionally duplicated edition of 100 on Cobalt tape stock
– Letterpress printed by John Fitzgerald at Fitzgerald Letterpress, New Orleans
– Artwork by E. Lindorff-Ellery
– Edition of 100

Purchase this release and stream its audio via Bandcamp, here.
Larger artwork can be seen here.

Best wishes from Portland and New Orleans, and happy Halloween

Japanese distribution

For those in Japan, please visit these sites for ordering some of our more recent catalogue. This includes sold out titles such as Joda Clément, Seth Cluett, and Prants (Bhob Rainey & Chris Cooper).


Also, a reminder that we still have our Autumn Sale up on our Bandcamp site. 20% all orders, physical and digital.


Autumn Sale

Screen Shot 2015-10-10 at 2.46.03 PM
Our Autumn Sale is back ! Due to the delightful rain today in the Pacific Northwest, we decided to resurrect this sale, as so much of the music on Notice is just perfect for days like these. So, enter “autumndiscount” at checkout on our Bandcamp website for 20% off. This means all downloads of sold out tapes from the likes of Haptic, Anne Guthrie, Ryan Jewell, Coppice, and Talk West are all $3.20, and physical items range in price from $5.20 to $4.40. We also lowered the price on a number of almost-sold-out releases.

See here.