NTR034 Joda scan 200 res

NTR034
Joda Clément
I hope you like the universe

Vancouver-based composer Joda Clément has been widely praised for qualities in his work that could be described as natural: unassuming complexity that elegantly reduces, and an indifference to overt emotional direction. I hope you like the universe brilliantly continues this path, as Clément blends field recordings, shifting synth textures, and instrumental performance. These pieces vividly suggest both exterior and interior environments and the boundaries between them, like peering through layers of windowpanes from inside a still room. Here, Clément’s work is both industrial and intriguingly human, hinting at people and actions that might create certain daytime and nighttime sound environments while resisting identification.

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

Purchase and listen to the release here.


NTR033 Prants scan_200 res

NTR033
Prants
Hot Shaker Meet Lead Donut

On Hot Shaker, Prants – the duo of Chris Cooper and Bhob Rainey – fan out beyond established positions as prankish, innovative improvisers. As ever, musical playfulness and seriousness coexist marvelously, but the fascinating atmosphere has mutated further beyond traditional instrumental performance. Squelchy synth madness, howling squeals, and minimal note-making are fastened onto recorded snippets and quietly drifting drones, built deceptively within the formality of collage. Embracing a structured impulsiveness, these pieces provide a jaggedly damaged new angle on the dynamic and textural extremes that have made the musicians’ work so engaging in the past.

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

Purchase and listen to this release here.



NTR032
Haptic
Excess of Vision: Unreleased Recordings, 2005-2014

Since the mid-aughts, Chicago trio Haptic (Adam Sonderberg, Joseph Clayton Mills, and Steven Hess—this time around featuring Salvatore Dellaria and The Necks’ Tony Buck) has delivered riveting, meticulously controlled live sets, as well as a handful of releases mainly on the Entr’acte label, all of which reflect the group’s unique attitudes toward collaboration and structure. This release features material sourced from a variety of past recordings; they are without form and yet architectural, and just as uniquely engaging as the group’s previous work.

From the perspective of Notice, Haptic’s mixture of the organic and the industrial has been profoundly influential, and could even be said to define a quintessential Chicago ethos channeled through dark ambience: roiling waves of density, structure, work, beauty, and oppression constantly overtaking each other. However, the final silence will always be present—and is expected—just like the spare, steady late-night call of a single circling black bird.

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

Streaming audio can be heard here.

Reviews:
Brian Olewnick / Just Outside
Frans de Waard / Vital Weekly
Bill Meyer / Dusted Magazine
Paul Margee / We Need No Swords

Purchase this release here.



NTR031
Ben Owen
Birds and Water, 4

The third entry in Ben Owen‘s Birds and Water series of recordings. As with Birds and Water, 1 (NTR018), these two sidelong electronic drones reflect Owen’s typically rigorous compositional choices. They display remarkably disparate, rich textures and are extremely immersive, especially when played loud and/or on headphones. Owen once again displays an ability to invite multiple levels of reaction to deceptively complex timbres, ranging from meditative to oppressive.

“The third release of recordings made on residency with The Experimental Television Center in Owego, NY during May 2010. The Birds and Water series is my main body of work created at ETC. The work and title is influenced from the birds that hovered as dusk approaches over the Susquehanna River, which borders the residency building, seen from the third floor windows.

The recordings are both sound and sound and image based pieces using David Jones’ image processing system. ETC expanded operations in 1974 with the first Jones Colorizer, and in 1975 with a set of keyers, a multi-input sync-able sequencer and a bank of oscillators, all designed and constructed by David Jones. Numerous patches and variations of each were recorded in extended durations. Both recordings are presented with edits only to their original duration.

Continued thanks to Hank Rudolph, Sherry and Ralph Hocking, Justin Lincoln, Giuseppe Ielasi, Denis Shapovalov, Evan Lindorff-Ellery and Travis Bird.”
Ben Owen,
November 2014

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

Streaming audio can be heard here.

Reviews:
Brian Olewnick / Just Outside
Frans de Waard / Vital Weekly
Guillaume Belhomme / Le Son du Grisli (See Travis Bird’s translation here.)
Infinite Grain (Miguel A. García)
Garrison Heck / Cassette Gods
Paul Margee / We Need No Swords

Purchase this release here.



NTR030
Chik White
Jaw Works  & Behind a Dead Tree on the Shore

Two sets of music by Chik White, an alias of Darcy Spidle, whose Nova Scotia-based Divorce Records has been slinging LPs of sonic bemusement since 1999. Jaw Works is made up of solo jaw harp performances, wringing mesmerizing detail from variations in rhythm and tempo, while achieving a wide variety of barely believable, almost synthesized-sounding timbres. Behind A Dead Tree On The Shore also features the jaw harp, albeit in concert with the North Atlantic Ocean, which inspired the more minimal, rhythmic pieces performed on the shore. Organic and personal, this is folk music created by a single person in his environment, using the most basic of musical tools.

- Professionally duplicated edition of 100 on Chrome tape stock
- Artwork by E. Lindorff-Ellery
- Pro-printed in Portland, OR

Streaming audio can be heard here.

Reviews:
Frans de Waard / Vital Weekly
Doru Mihail / The Cookshop
Pierre Cécile / Le son du grisli
Raymond Cummings / Cassette Gods
Paul Margee / We Need No Swords
Dwight Pavlovic / Decoder

Purchase this release here.



NTR029
Jack Harris & Samuel Rodgers
Primary / Unit 11

Samuel Rodgers (co-curator of Consumer Waste) pairs up with sound artist Jack Harris on two explorations of minimal performance and sound creation. Working in a semi-urban ambience—open windows, barking dogs, distant sirens—the duo suggest both a specific location and a generic one. Their previous work has explored tensions between analogue and digital processes; here, sounds remain mainly non-instrumental in source: amplified object manipulation, cable hum, and different types of feedback intrude upon room tone at various intervals, like heavy clusters of dry floating leaves settling on transparent pillows. These pieces blur definitions of action and performance, and call into contemplation the intention of sound-making and what defines its “success,” while repeatedly upending expectations about pace and content.

– Professionally duplicated edition of 100 on Chrome plus tape stock
– Artwork by E. Lindorff-Ellery
– Pro-printed in Portland, OR

Streaming audio can be heard here.

Reviews:
Brian Olewnick / Just Outside
Frans de Waard / Vital Weekly
Miguel Isaza / Infinite Grain
Paul Margee / We Need No Swords

Purchase this release here.



NTR028
Ryan Jewell
Radio: Vol. 2

Upon seeing Ryan Jewell’s patient, rigorous and riveting performance at Chicago’s very first Neon Marshmallow festival, we were fascinated by his meticulous sonic explorations falling somewhere in-between percussion, minimalism and electronic composition. Several years on, Jewell, still based in Columbus, OH, has continued to build an impressive resume as a co-conspirator with all sorts of people. Populated by acoustic textures, percussion-based sonic events, and unconventionally performed sounds, the assuredly paced solo pieces in Radio: Vol. 2 reveal Jewell as the yin to the noisier side of the Ohio scene.

- Professionally duplicated on Chrome tape stock
- Artwork by Virginia Lawrence and Evan Lindorff-Ellery
- Letterpress printed by John Fitzgerald at Fitzgerald Letterpress

More sound samples can be heard here.

Reviews:
Brian Olewnick (Just Outside)
Frans de Waard (Vital Weekly)
Adam Padavano (Cassette Gods)

Purchase this release here.


NTR027
Black William / Litüus
Fissures / κλίση

Litüus is from Chicago, IL; less is known of Black William. Somehow, on this split of hypnotically minimal synth pieces, that seems appropriate. Black William’s side takes a simple repeated figure and expands it (by hand) into an expansive buzzing drone. Litüus likewise programs a sequence that remains in constant change throughout the piece’s duration. Both sides combine programmed sequences with planned change, but also include a certain level of machine/human interaction. Certain parameters are predetermined; others altered by a human being. Both draw attention to structure, change and duration, resulting in a unique harmony between the organic and the industrial.

- Professionally duplicated on Chrome tape stock
- Artwork by Connor Camburn and Evan Lindorff-Ellery
- Letterpress printed by John Fitzgerald at Fitzgerald Letterpress

More sound samples can be heard here.

Reviews:
Frans de Waard (Vital Weekly)
Byron Coley (The Wire)
Cassette Gods

Purchase this release here.


NTR018
Ben Owen
Birds and Water, 1

Those with a certain taste will be familiar with Ben Owen’s subtle yet stunning design work with his Brooklyn-based Winds Measure Recordings imprint, which also releases his own carefully crafted music in both collaborative and solo form. These are two masterfully textured sidelong pieces exemplifying his attention to craft, process, and detail at the most painstaking levels, while still embracing the sonic imprecision of the cassette tape medium.

“These recordings were made on residency with The Experimental Television Center in Owego, NY during May 2010. This was my third and—unknown to me at the time—last residency, as the Center has now closed. While two of three residencies were in partial an audio/video collaboration with Justin Lincoln, the Birds and Water series is my main body of work created at ETC. The recordings are both sound and sound and image based pieces using David Jones’ image processing system. ETC expanded operations in 1974 with the first Jones Colorizer, and in 1975 with a set of keyers, a multi-input syncable sequencer and a bank of oscillators, all designed and constructed by David Jones. The analog system modules coupled with several external op amp generators are heard in these sessions. Numerous patches and variations of each were recorded in extended durations. Side A was recorded direct to cassette tape. Both recordings are presented in their unedited duration.

Thanks to Hank Rudolph, Sherry and Ralph Hocking, Justin Lincoln, Giuseppe Ielasi and Evan Lindorff-Ellery.”
– Ben Owen

- Professionally duplicated on Chrome tape stock
- Artwork by Evan Lindorff-Ellery, video stills by Ben Owen
- Silkscreen printed by Sonnenzimmer

Reviews :
Jesse Goin (Crow With No Mouth)

Brian Olewnick (Just Outside)

Frans de Waard (Vital Weekly)

BW Diedrich (Everything in Generalities)

Adrian Dziewanski (Scrapyard Forecast)

The Sound Projector

Purchase this release here.

Comments are closed.