Beyond happy to welcome Petridisch to the superpolar Taïps artist roster. Besides his musical output, Thor is known for running the fish prints label and his involvement in Ilya S’s I Heart Noise ihrtn.net (until 2020). Both are an intrinsic part of the Boston underground. I sincerely hope that you will be as captivated by Petridisch’s (anti-)etudes as much as I am. Contemporary classical? Minimal music? Maybe, but certainly the Petridisch way:
Etudes Vol. 1 (C-20), a red transparent C-20 EP featuring six tracks, is yours for 6.50 €. Please also do read Petridisch’s extensive and very interesting liner notes.
Today’s other (pre-)release of the day is five Bubble criteria’s VI. It is, or better: has become a side project of bleed Air, i.e. me, the label guy. VI could actually have been a bleed Air album, but it somehow drifted away from the usually more experimental (vintage) electronic approach during the recording process … and features some rather longform tracks built with experimental guitar and bass (mainly the Fender Jaguar Baritone VI – hence the title), sparse analogue electronics, tape effects and spoken word in various forms, thanks to the always amazing Chip Perkins and a first appearance in this regard by my pal (and better half, probably) Robin Barnick. Even Modelbau’s there, kindly letting me use one of his recordings for ‘Aether Aleatorica‘, in terms of sales and listens our most successful albums so far.
VI, a beautiful fosfo orange, transparent C-31 album is yours for 7.50 € + postage.
Enough said – I hope you will enjoy this, and to do so without committing to anything, both digital releases will be ‘name your price’ for the first two weeks after full release on 2 Sept.
Both cassettes will also be available as a reduced price bundle – later today!
This compilation released in conjunction with 773773773.
bleed Air says:
Moreover, Llwch and I had this – admittedly absurd – thought:
How about – in theory – if people bought four blank C60 cassettes, dubbed them and printed the J-Cards themselves? So just in case someone should have this in mind, print-ready J-Card files + simple instructions are part of the download.
superpolar Taïps is very happy to welcome Hualun to the cassingle series. While they modestly call themselves ‘a rock band from China since 2004’, their oeuvre offers so much more.
Multiple influences from Krautrock, Minimal and Experimental form the mesmerising soundscapes you can listen to on this cassette single, but also on their other releases.
Hualun was a vital part of the early years of the “Wuhan punk” scene and the explosive Chinese “post rock” wave.
Since then, Hualun have been exploring new ways of developing their music, focusing on creating mesmerising and immersive soundscapes, and diversifying their music, as it can be experienced in the soundtrack for the independent film ‘An Elephant Sitting Still‘ nd the impromptu project “wʌndərlænd” in 2018 and 2019.
Last year, Hualun created an original score to the Yung Chang documentary Wuhan Wuhan and launched a new episode of their “Scene” series.
Known as a group of musicians who rely on their intuition, they are at the forefront of experimenting with sound and exploring the source of natural growth with their music.
“Two pieces of music inspired by the many cloud formations and skylines I’ve seen from my home in West Yorkshire. Everything I see here is almost in slow motion and the birds seem to be carrying a great weight as they fly.”
Yorkshire, UK based composer Thomas Ragsdale produces under his own name, but also as Ffion and Sulk Rooms.
His music is formed by extensive experience as a music producer for TV, advertising and film – including groundbreaking BBC documentaries such as Adam Curtis’ acclaimed ‘HyperNormalisation’, where his track ‘Warning Mass’ was featured extensively alongside the likes of Brian Eno, Burial and Aphex Twin.
Not to forget: Thomas also runs the tape label Soundtracking The Void together with Ashleigh Ragsdale, releasing such fine acts as The Incidental Crack, Pola, Andy Fosberry and many more.
With ‘Lights …’ and the (cassingle and download exclusive) B side ‘Flightless’ he treats the SPT community with two timeless, cinematic instrumental pieces.
“On the 4th volume of Learning by Listening, Köln-based bleed Air guides us on a strange, sinister survey of primary source audio documents detailing abstruse scientific postulations emerging from contemporary occult branches of Christianity. Suitable for everyone from seminary students to secular amateur scientists, this cassette sees the unorthodox theories set against rich, eerie tape loop drones, sly, laconic guitars and proggy Giallo jaunts conjuring hazy, unsettling surroundings beyond the fuzzy fringes of reality. Topics range from vertebrate anatomy to phonemical history and, while factually inaccurate and indeed frightening, this impressionistic overview provides a mesmerizing and informative introduction to an inscrutable world of anti-information.
bleed Air holds a senior leadership position at the Köln tape label superpolar Taïps and is accompanied on drums by Rose T.”
Learning by Listening is an educational, instructive cassette series designed to bring the information of the world into your home, and your brain. Read more and & listen
Time as physical quantity, the nature of time as defined by general relativity, the resulting model of spacetime (German: Raumzeit) and ripples therein caused by gravitational waves. Time dilation, time offset, time measurement. Present, future, past.
An attempt to approach the complex subject of time and spacetime sonically, using devices that allow time manipulation (somewhat): Analogue tape recorders, effect pedals with ‘time’ knobs.
All instruments were recorded to and with (mostly half broken) tape machines on looped reel to reel or endless cassette tapes. On some tracks, these machines were also used as tape echos, mostly by exploiting their saturation, warm overdrive and noise capabilities.
Instruments and sound sources and tools used: Field recordings (Star City Tserkov’ Spasa Preobrazheniya church bells; Mbira, Kalimba, Acoustic Guitar, electric bass guitar, cello bows, human voice, found reel to reel audio that came with used tape recorders I bought), synthesizers.
In a way, this album concludes, albeit in a somewhat noisier, abstract and sometimes deafening way, what I started with the ‘Ogehiko/Yahiko’ cassingle.
CARLOS PEREA MILLA has been creating improvised ambient experiments under the moniker MELQUÍADES since 2016, using tapes, electronics, guitars, harps, field recordings and other sounds. His first two solo albums, ‘Keep A Seed’ and ‘Imaginary Soundscapes / A Map’ were released on CANIGOU RECORDS, the cassette label he has been running from London, Buenos Aires and Málaga. He also co-runs the concert series Bedroom Gigs with Catrin Vincent.
tactile / distante’ was recorded in October and November 2020 in Málaga, right after the change of seasons and right at the start of a new life chapter. This new work is heavily inspired by instrumental and folk music, and artists like Lake Mary, Karen Dalton, John Fahey, Nathan Salsburg, Wall Matthews and Mat Eric Hart.
It’s less abstract and more tangible, but it stays experimental: each part was recorded separately into a tape recorder whilst listening to a metronome, then sent to another tape machine, then into Ableton where the two songs were pieced together, editing the speed and pitch variations caused by the tape. And it has drums for the first time – a lot of drums. ‘tactile /’ features a recording from a conversation I had with Calum Perrin about modes of listening.
Chorchill revisits his 2020 album Nachtfisch (for Cologne fellow label Strategic Tape Reserve) and gives two tracks the post-minimalism treatment.
RUHRPOTT DIVER is a remix and sequel of and to FLOODED RUHRPOTT, while MODERN TAVLA (remix of BLEEDING INTO FALL) sheds some light on the backgammon playing habits of mythical Ruhrpott figure Apel Okuyan on who the NACHTFISCH album is centered around.
Chorchill is an electronic music project by Matthias Cingoez on MIDI, synthesizer, sounds, acoustic bass and aerophone. Minimalistic and melodic pieces influenced by the softer side of Krautrock and film music.
Following the long sold-out ‘Blessing of the Hand-Sanitizer’ cassingle, superpolar Taïps is very happy to present the first full-length release by prolific and versatile artist Simon Proffitt, here under his Carnedd Aur moniker.
Here’s Simon’s take on ‘Beetles’:
“After a few years of exploring drones / tones / field recordings (as Cahn Ingold Prelog), fictional ritual trance (as The Master Musicians of Dyffryn Moor) and the outer limits of acoustic instrumentation (as Simon Proffitt), the Carnedd Aur project came about as an answer to the question of whether I was capable of writing electronic pop music.
It turns out that I am not – at least, not yet – but what arose instead was actually far more satisfying. Armed with just a MicroKORG, bought years earlier for a one-off gig in a swimming pool and then not used since, I set about trying to make shorter pieces with a focus on rhythm and melody of the kind that my parents (harsh critics of my other work) might not actually like, but might at least understand as music.
Carnedd Aur translates into English as Gold Cairn, a sort of Welsh-language take on Cahn Ingold Prelog.
I’ve long been fascinated by evocative common names for species (mushrooms, moths etc), and especially so in the case of beetles – these names add a layer of mystery and magic to creatures that are well known from a distance but fascinating and alien when viewed close up. It seems to me that there’s a definite link between shuffling drum machine rhythms and busily meandering insects, between shimmering synth pads and shiny, multi-coloured wing-cases.”
Emerging Industries Of Wuppertal’s Cassingle debut. Recorded by a sales intern of fellow Cologne Strategic Tape Reserve, who occasionally produces music for a nearby industrial association to use during meetings and celebrations.
To quote the artist “Dip your toes into the sparkling pixel pond and listen to more synthetic octopus noise …” and add, from my side, “by the visiting the release page embedded below or TTNM’s lovely Youtube channel.”
Oops. A maxi cassingle. Phirnis aka Kai Ginkel’s super dark, noisy and haunty tracks are awesome, but impossible to squeeze into two minutes and thirty seconds. So for once I break the otherwise strict rule. Further info on the BC release page …
“‘Carapace’ and ‘Oneiric Amplitude’ (Side B, bonus track) are tracks composed entirely from my voice. Here, I’m exploring themes of the subconscious, namely the dream state and its ability to communicate vital shifts within our healing before our conscious mind becomes aware of them”, says Megan Mitchell.
She composes unsettling, ethereal music under the alias Cruel Diagonals. A jazz and classically trained vocalist, Mitchell performs and creates in numerous capacities.
Cruel Diagonals is an outlet for destructive sample processing, vocal exploration, and a palette for inter-media contemplations and applications. Influenced by early experimental filmmakers such as Maya Deren and Kenneth Anger, Cruel Diagonals has been described in cinematic terms, evoking moods and montages of an eerie, surrealist timbre. Warped field recordings and layered vocals incite a beckoning to a phantasmagorical, metallic-tinged state of existence.