Thursday, December 01, 2016

Run The Jewels: "Legend Has It"

So, 2016 actually brought us something good before its end: New single from Run The Jewels!  Check out "Legend Has It:"

Preorder link is here.

From RTJ: 

For our Jewel Runners,

Holy Shit. We can't believe we get to finally write this to you...
RTJ3 IS READY!!!! After a straight year of work the next chapter in this madness is done. We'll spare you too much talk but we will say this: thank you so much for making RUN THE JEWELS the most amazing experience either of us have had in our careers. We hope you feel the love and time we put in to this record and can't wait to share it with you and see you out on the road. Whether you buy it, download it for free, steal it from your annoying cousin or hear it at a show, just know that we are eternally grateful for the love you've shown us. Thank you thank you thank you thank you.


Jaime and Mike


New Single “Legend Has It” Drops Today!

A note about our new album cover:

On their 3rd offering, Run The Jewels have turned their iconic “pistol & fist” imagery (conceived by El-P & drawn by Nick Gazin) 3D, rendering the original album cover concept as sculptures of the hands cast in metal, chromed and gold-plated. The resulting statues were beautifully photographed & brought to life by frequent collaborator Tim Saccenti, and grace the new album cover. RTJ has this to say about the artwork:

"For us, the RTJ1 hands were about ‘taking what’s yours’ - your world, your life, your attitude. The RTJ2 hands were wrapped in bandages, signifying injury and healing, which for us represented the growth in ideas and tone of that album. For RTJ3 the bandages are off, the chain is gone and the hands have been transformed into gold. For us this represents the idea that there is nothing to take that exists outside of yourself. You are the jewel.”


1. Down (feat. Joi Gilliam)

2. Talk To Me

3. Legend Has It

4. Call Ticketron

5. Hey Kids (Bumaye) (feat. Danny Brown)

6. Stay Gold

7. Don't Get Captured

8. Thieves! (Screamed the Ghost) (feat. Tunde Adebimpe)

9. 2100 (feat. BOOTS)

10. Panther Like a Panther (Miracle Mix) (feat. Trina)

11. Everybody Stay Calm

12. Oh Mama

13. Thursday in the Danger Room (feat. Kamasi Washington

14. Report to the Shareholders/Kill Your Masters

Letters From A Tapehead

Monday, November 28, 2016

Singles: David Rosen, Earthen Sea, Serafim Tsotsonis, Peter Broderick

David Rosen: "Devil" (via Wally Madson/Soundcloud)

Earthen Sea: "About That Time" (via Rarely Unable/Kranky/Soundcloud)

Serafim Tsotsonis: "Imaginary Fields" (via Terrorbird Media/Hush Hush Records/Soundcloud)

Peter Broderick: "It's a Storm When I Sleep" (via Julian T. Schoen/Erased Tapes/Soundcloud

Letters From A Tapehead

Sunday, November 27, 2016

I'm Almost 40 and Completely Irrelevant (Oh Well...)

In a little less than a month, I’ll be turning 40 years-old.

As this has been a year of relative silence from me, (as my day-to-day responsibilities have grown and the endurance with which I can pursue my passions, namely Letters From A Tapehead, have become nil), I’ve been faced with an inbox brimming with evidence that I may have reached some level of irrelevance, that my experience, understanding, and ideas regarding music may be outdated. It seems the natural conclusion when you’re well past the point of no return, unable to bargain with your record collection or penchant for late nights at any number of venues for a few more years of connection. I’ve been pondering what it means to be faced with the likelihood of meaninglessness in music's modern age; to be someone for whom music is no longer meant to target or embrace; to be a near-obsessive record fanatic sometimes confused by the so-called cream of pop's current crop. And, now, I get to be one of those guys: the aged and superior grump completely disinterested in anything now and new.

It’s not because I want to be here. It’s because I AM HERE.

So, assuming the position of elder attempting to stay in tune with an otherwise young demo in the midst of moving forward, I wonder if the role of critic is necessary these days. And, when I ask that, it’s because I wonder if music matters as much as it used to. Does that thing you download, the sound file that sometimes doesn’t even require purchase, or a stereo, that shapeless thing taking up memory on your laptop or smart device, have significance? Or, is it all just noise?

Without trying to come off like the aged and superior grump I’d mentioned earlier, and hopefully not to the level of archetypal Babyboomer solipsism and narcissism, I do take comfort with when I found music, a time when it all seemed as confounding and worrisome as it did exciting and dangerous.  I saw an age when a song lyric from a Prince song could inspire a group of senators’ wives to vilify artists for using their First Amendment rights. I remember N.W.A. garnering media and FBI attention for bluntly criticizing the police force. I heard “Cop Killer,” a song that not only inspired the ire of then-sitting President of the United States, George H.W. Bush, but had subsequently been deleted from Ice-T’s Body Count album because the controversy was that heavy. I got to see Madonna kiss the feet of a Black Saint and dance in a field of burning crosses for “Like A Prayer,” committing a degree of blasphemy through art which I would consider a bolder move than wearing a meat dress to an award show. 2 Live Crew were put on trial for obscenity for the lyrical content of their album, As Nasty As They Wanna Be, the lead single, “Me So Horny,” I remember being played at dances when I was in 7th grade. The single was censored, but the message was still loud and clear. And there were men on television, falsely moral and greedy men, preaching the Lord’s gospel, decrying rock and metal as corrupting forces whose messages of Satanic devotion were baked into records and only audible if you played them backwards.

(For the record, every metalhead I knew growing up as a teenager in the late 80s/early 90s either became a musician or an overly impassioned music geek with an enviable record collection. Metalheads keep the culture and economy alive.)

As the retrospective critiques and anniversary pieces regarding albums-now-deemed-classics work to analyze and reconsider what were significant documents of an era, I do think about whether or not it’s understood what records meant. And maybe that uncertainty is something that comes with the ease and immediacy of downloadable music having been one whose access into music was gained by forking over untold sums of money, dubbing and trading cassettes, and scanning the pages of any rock rag I could find.  It's possible that the methods are the same, only the tools have evolved.  

I’m aware of how unfair it is to pit myself and my experiences against a generation whose consumption of music changed with technology. And I would be remiss if I didn’t acknowledge the fact that the unfortunate deaths of both David Bowie and Prince were felt by music fans both old and new. I continue every year to enjoy good music from artists that challenge convention. If it’s possible for a relevant artist like Kendrick Lamar to come up with something as brilliant as To Pimp A Butterfly, an album whose social ambiguity, abrasive language and musical density equals that of Ice Cube’s Death Certificate or Public Enemy’s Fear of a Black Planet, then I don’t question art’s want of importance.

I do, however, question sometimes audiences’ abilities to listen and contextualize. And this isn’t a jab at millennials. It wasn’t millennials who leaned on reality TV to come up with the next President of the United States. It was a collective populace whose understanding of the world now requires bumper-sticker length summation and slogans easy enough to “share if you agree.” I realize that I’m generalizing, but I feel we’re witnessing a time when cultural critique and philosophy, much of which you could find in popular music, is in absentia. And when songs require less depth, mediocrity can be mistaken for more than it is, consequences of a lowered bar. Maybe for some Beyoncé’s Lemonade made enough of a statement to stand as 2016’s popular voice of dissent.  Not sure if it did for me.

As someone who has tried, maybe not always successfully, to strive against generational dismissiveness, I don’t want to come off as the finger-wagging, “get off my lawn,” asshole so certain of my own importance and status with the world that I’m willing to lambaste and categorize all young people as overly-sensitive pussies. I won’t deny that thicker skins are in need for many of us. I do think we’ve lost our ability to identify satire from speech with intent to hate or offend, mandated obedience from true patriotism, critique and analysis from insult or unnecessary cruelty. We can barely tell the difference between news and propaganda. With art, we get nuance. With art, we learn to think and view life through a lens that perhaps becomes askew once exposed to something different. And, I’m hoping that music can continue to provide that platform even while public assembly and demonstration both seem to be alive and well.

So, I’m almost 40 and completely irrelevant. But, I’m still listening. If you’d like to continue reading what I have to say, I’m more than happy to keeping going.  I'll try harder in 2017.

Letters From A Tapehead

Tuesday, October 11, 2016

How the Promotion of a Niche Format Makes for a Good Excuse to Shop In Comfort (or, Cassette Store Day, 2016)

Cassette Store Day is probably unnecessary.  I won't pretend there's any real need to promote cassettes in the download era, even if the format's cool factor has heightened over the last five or more years.  I'm one who still enjoys listening to certain albums via tape deck, aware that, for indie circles, (and not "indie" as genre, but indie as independent), cassettes provide artists and labels the means to retain the purity of the physical format cheaply.  Plus, there's always the potential to create something that looks cool.

I met up with my friend, Chris, Saturday morning outside of Repo Records, a rather dreary day on still-sleepy South Street.  Repo was the only spot in Philadelphia, (or Pennsylvania for that matter), participating in the aforementioned Cassette Store Day, which is another event prompting labels to kick out special releases and encouraging stores to stock them for the sake of increased foot traffic and earnings potential.

Rad, 1986
The store opened at 11:00 AM and the two of us walked in, no lines to wait in or crowd to wade through.  A modest selection of cassettes was on display by the front register, a small card with "Happy Cassette Store Day" written on it.  It didn't really take long to peruse the selection.

This year's list of CSD releases had been posted on the event's website, so there were a few things I was looking for, namely the J Dilla Welcome 2 Detroit / The Shining and DJ Shadow's new album, The Mountain Will FallNorthern Spy Records put out some releases I was interested in checking out and I would've liked to have been able to pick up any of the block of Seasons Of Mist releases from Christian Death, Gorguts, and Dillinger Escape Plan, (metal on cassette is basically how I enjoyed the genre till I decided to go digital).

O.G. Sunny Day
What we did find were 80s film soundtracks, (Rad and Ferris Bueller's Day Off), Prince reissues, and some live recordings.  There was also a cassette reissue of the Ramones' first album and the Amerigo Gazaway Fela Kuti/De La Soul mashup, Fela Soul, which, now that I think about, probably should've been on my list.  Sunny Day Real Estate's Diary was also available, but I still have my Sub Pop-issued cassette of that album from 1994.

I wound up grabbing a live concert cassette from Can, Live at the Koln Sporthalle, 3 February 1972.  I also grabbed Organix, the first album by The Roots.
Ultimately, Cassette Store Day provided an excuse to head out and hit a record store.  As the event hasn't yet been co-opted by the industry majors, (not that this event will ever breed the unfortunate level of opportunism that Record Store Day has), it made for a comfortable day of casual crate digging.

Letters From A Tapehead

Thursday, September 22, 2016

What's (Re)New?: TAD's God’s Balls, Salt Lick, & 8-Way Santa

In the early 90s, following Nirvana's rise to fame, the Sub Pop label had enjoyed some notoriety as Seattle's premium Alt-farm for the record industry majors, many of whom were clamoring for the next flannel adorned malcontent with a shitty guitar and an impassioned yell.  Having essentially birthed Seattle's rock scene via Green River, (whose members would later form other seminal acts such as Mudhoney, Mother Love Bone, and Pearl Jam), Sub Pop was also the label that offered Nirvana and Soundgarden their earliest opportunities as recording artists, a move that eventually led both bands to worldwide acclaim.  As regional devotees, Sub Pop curated and, consequently, informed what would be called the "Seattle Sound."

With that said, TAD, whose muddy distorto-rumblings were certainly demonstrative of the scene's penchant for aural grit, I feel gets overlooked.  Started by guitarist/vocalist Tad Doyle in the late 80s, TAD was among the earliest of Sub Pop's then-budding roster.  As all things "grunge" and Seattle garnered more and more attention, TAD responded with having a video banned from MTV ("Wood Goblins," which is featured in the band's 1990 EP, Salt Lick) and acquiring a lawsuit due to the original cover art for their 1991 release, 8-Way Santa, (which you can find here.)  

Sub Pop has seen fit to reissue the three albums TAD recorded for the label, 1989's God's Balls, Salt Lick, and 8-Way Santa, as deluxe editions built out with a heavy amount of extras.  The reissues will be out November 4th and all the below info has been provided by Sub Pop along with a link for pre-order.  There's also a bonus compilation of tracks available for free if you purchase the albums on vinyl directly from Sub Pop.  A tracklist for the bonus material can be found below. 

Read about the albums and check out some videos:

Deluxe editions of God’s Balls, Salt Lick, and 8-Way Santa,
TAD’s classic early discography, will be released worldwide on Sub Pop November 4th

All painstakingly remastered from the original tapes by Jack Endino

With new images from Charles Peterson, full liner notes, and gatefold jackets

Bonus material includes rare, unreleased, and alternate recordings

“Stumbling Man” (from
Salt Lick) [link here]
“Wood Goblins” (from
8-Way Santa) [link here]

The long-unavailable, classic discography of beloved and iconic Seattle band, TAD -- God’s Balls (1989), Salt Lick (1990), 8-Way Santa (1991), and assorted singles from the band’s 1988-1992 run -- finally receive the deluxe reissue treatment. Producer & engineer Jack Endino (who produced God's Balls, TAD's first full-length) has remastered all of the recordings from the original tapes. God's Balls, Salt Lick and 8-Way Santa will be available on November 4th worldwide on Sub Pop.

These deluxe editions of God's Balls, Salt Lick, and 8-Way Santa feature new images from celebrated photographer Charles Peterson, bonus tracks, and expansive liner notes from the band and Jack Endino. The bonus material associated with each release will be included on the CD and digital formats. And each of the gatefold vinyl LPs will include that album’s bonus material as part of its free, associated download. All of the bonus material, from all three of these monumental heavy rock/punk albums will be collected on an additional bonus LP available for free with purchase of all three (3) albums on vinyl from the Sub Pop Mega Mart [preorder here] and also from select independent retailers.

More on TAD from Tad Doyle [read here].

God’s Balls (1989)
God’s Balls, TAD’s punishing, noise-drenched debut album, was recorded with Jack Endino at Reciprocal Recording in Seattle in 1988 and released early the following year. In addition to their usual arsenal of guitars, bass, and drums, the band employed a variety of unusual instruments – an empty gas tank from a car, a hacksaw, a large brass tube from a microwave transmitter, CB radio mics, a cello bow used on cymbals to emulate guitar feedback – to thunderous effect, adding a Neubauten-esque clang to the band’s rock riffs. After releasing God’s Balls, TAD flew to Europe with Nirvana for both bands’ first European tour. The now-legendary, month-long tour took the bands to the UK, Ireland, France, Belgium, Switzerland, Germany, Austria, Czechoslovakia, Hungary, Italy, Denmark and Sweden.

This reissue of God’s Balls features bonus tracks from TAD’s 1988 debut 7”, plus the previously unreleased “Tuna Car” from the 7” session. God’s Balls has been out of print on LP/CD for many years, and this is its first digital release.

1. Behemoth
2. Pork Chop
3. Helot
4. Tuna Car
5. Sex God Missy (Lumberjack Mix)
6. Cyanide Bath
7. Boiler Room
8. Satan’s Chainsaw
9. Hollow Man
10. Nipple Belt
11. Ritual Device - (from “Daisy” 7” single) **
12. Daisy - (from “Daisy” 7” single) **
13. Tuna Car (Unreleased) **

** w/ CD / Digital / LP Download Card only

Salt Lick (1990)
After their 1989 debut album, God’s Balls, TAD continued to write and record, releasing a string of singles and the Salt Lick EP between 1989 and 1990. Salt Lick features the single “Wood Goblins,” the video for which MTV banned because it was, to the delicate eyes of MTV programmers, “too ugly.” The sounds of Salt Lick are, indeed, wonderfully ugly, thanks in part to the involvement of noise-rock technician Steve Albini (Big Black, Shellac, Nirvana, The Jesus Lizard), who recorded the EP. The band continued to release singles and gain momentum in the press. As TAD himself puts it: “Lyrically we had a lot of subject matter that was meant to be tongue-in-cheek from the beginning but that was presented by both Sub Pop and us as true-to-life. The press took it all seriously and began to feed on and ravenously devour the mythology we created.”

This reissue of Salt Lick includes tracks from the “Wood Goblins” single, a split 7” with Pussy Galore, and the “Loser” 7”. This material has been out of print on vinyl/CD for many years, and this is its first digital release.

1. Axe to Grind
2. High on the Hog
3. Wood Goblins
4. Hibernation
5. Glue Machine
6. Potlatch
7. Loser (from “Loser” 7” single) **
8. Cooking With Gas (from “Wood Goblins” 12” & “Loser” 7” single) **
9. Habit Necessity (from “Dope Guns N Fucking in the Streets” 7” single on Amphetamine Reptile) **
10. Damaged (from Pussy Galore split 7” single) **

** w/ CD / Digital / LP Download Card only

8-Way Santa (1991)
In 1991, after tens of thousands of miles on the road in support of God’s Balls and Salt Lick, and a run of powerful EPs/singles, TAD released their second full-length album, 8-Way Santa. Recorded at Smart Studios in Madison, WI with Butch Vig, whose work with Killdozer the band admired, 8-Way Santa finds TAD pushing their sound in new directions. Not a band to rest on its laurels, TAD began to add melodic touches to their sound, as evidenced by the lead single, “Jinx.” 8-Way Santa was the last record with the original TAD lineup, and their last album for Sub Pop before jumping to a major label.

This reissue of 8-Way Santa includes tracks from the “Jinx” single, a 1990 EP, and a handful of unreleased album demos recorded by Jack Endino. This material has been out of print on vinyl/CD for many years, and this is the first digital release for the bonus content.

1. Jinx
2. Giant Killer
3. Wired God
4. Delinquent
5. Hedge Hog
6. Flame Tavern
7. Trash Truck
8. Stumblin’ Man
9. Jack
10. Candi
11. 3-D Witch Hunt
12. Cranes Café
13. Plague Years
14. Pig Iron (from Jinx 7” single) **
15. Nuts ‘N’ Bolts (Unreleased) **
16. Delinquent (8-Way Santa Jack Endino demos) **
17. Giant Killer (8-Way Santa Jack Endino demos) **
18. Wired God (8-Way Santa Jack Endino demos) **
19. 3D Witch Hunt (8-Way Santa Jack Endino demos) **
20. Eddie Hook (from U.S. “Jack” CD & all German “Jack” releases -- 7”, 12” & CD -- and from 8-Way Santa Butch Vig sessions) **

** w/ CD / Digital / LP Download Card only

Bonus LP Compilation Tracklist:
(Available free with purchase of all three albums on vinyl from the Sub Pop Mega Mart [preorder here] and from select independent retailers)
A1. Ritual Device (from “Daisy” 7” single)
A2. Daisy (from “Daisy” 7” single)
A3. Tuna Car (Unreleased)
A4. Loser (from “Loser” 7” single)
A5. Cooking With Gas (from “Loser” 7” single)
A6. Habit Necessity - (from “Dope Guns N Fucking in the Streets” 7” single on Amphetamine Reptile)
A7. Damaged (from Pussy Galore split 7” single)
B1. Pig Iron (from “Jinx” 7” single)
B2. Nuts 'N' Bolts (Unreleased)
B3. Delinquent (8-Way Santa Jack Endino demos)
B4. Giant Killer (8-Way Santa Jack Endino demos)
B5. Wired God (8-Way Santa Jack Endino demos)
B6. 3-D Witch Hunt (8-Way Santa Jack Endino demos)
B7. Eddie Hook (from U.S. “Jack” CD & all German “Jack” releases -- 7”, 12” & CD -- and from 8-Way Santa Butch Vig sessions)

Letters From A Tapehead

Monday, September 19, 2016

KEXP Celebrates Nirvana's Nevermind...

Something for us old heads nostalgic for an era when music was still an experience people shared...

Info courtesy of KEXP.  

KEXP Celebrates 25th Anniversary of Nirvana’s Nevermind

Listeners Invited To Share Stories at (412) 4-GRUNGE

Week of Special Programming Begins Monday, September 19
Seattle – September 19, 2016 In 1988, Kurt Cobain drove to KCMU (now KEXP) to drop off Nirvana’s first single, “Love Buzz”. Anxious to hear it, Kurt tuned in to his car radio all day, finally pulling off to a pay phone to request it himself. He then listened as Nirvana was played on air for the first time. Less than a year later 90.3 was also the first station to play Nirvana’s debut album, Bleach. Three years later, Kurt and Nirvana returned to the station in person to premier the band’s second album, Nevermind. As this classic observes its silver anniversary this month, KEXP celebrates with a week of special programming—and we invite everyone to participate.

Beginning Monday, September 19, KEXP’s daytime shows will feature new and archival interviews with artists and experts connected to
Nevermind, including Charles R. Cross (author of Heavier Than Heaven: A Biography of Kurt Cobain), Marco Collins, Damien Jurado, and from the EMP Museum Oral Histories Archive bassist Krist Novoselic, producers Butch Vig and Jack Endino, Bruce Pavitt (Sub Pop Records), Alice Cooper, and more.

Kurt Cobain was the last rock star… That stardust you only see a few times in rock history. You can’t manufacture it,” said Charles R. Cross in his exclusive interview with KEXP.

Nirvana fans are encouraged to share their personal Nirvana stories by leaving a message at (412) 4-GRUNGE (412-447-8643). KEXP will edit the best listener memories into short segments that will air during daytime programming the week of Monday, September 19.

On Friday, September 23, KEXP kicks off its Fall Fundraising Drive with twelve hours of music from 1991, including classics by My Bloody Valentine, R.E.M., Massive Attack, A Tribe Called Quest, and Primal Scream. The week culminates on Saturday, September 24, at 6:00 p.m. with a special edition of Audioasis dedicated to the legacy of

KEXP’s ties to Nirvana pre-date
Nevermind. Sub Pop co-founder, Jonathan Poneman, was a KCMU DJ and the original host of Audioasis. In fall 1991, he convinced afternoon DJ Riz Rollins to debut Nevermind and discuss it on-air with the band members. Later, Rollins was the DJ at the notorious Seattle album release party that ended in a food fight and Nirvana being kicked out of the venue.

We are proud of our role championing emerging bands. This station was the first to take a chance on Nirvana when we played “Love Buzz,” the first song by Nirvana heard on the radio,” said KEXP Morning Show host John Richards. “We then had the band up and were the first to play what would become one of the most important albums ever made, Nevermind.”

For more information, check KEXP’s Nirvana event page.

ABOUT KEXP KEXP is one of the most influential listener-supported music radio stations in the country. More than 200,000 listeners from around the world tune in to the station each week over the air and online. On KEXP's YouTube channel, videos of exclusive in-studio performances garner more than 1.7 million views per week. KEXP produces over 500 live performances each year. For more information, please visit

Letters From A Tapehead

Tuesday, September 13, 2016

Conrad Schnitzler & Schneider TM: "Doozer"

If reading or hearing the name Conrad Schnitzler garners sudden and inescapable interest, it's likely that you'll want to check out the Con-Struct series.  Schnitzler was a founding member of Kluster, (before they were renamed Cluster), co-owner of the Zodiak Free Arts Lab, (which was a haven for the artistic and experimentally minded people of Berlin in the late 60s), and an early member of Tangerine Dream.  The man was directly responsible for the facilitation of a very prolific and creatively rich period of musical exploration, a period that he himself contributed to in various functions as either collaborator or composer.

With all that said, the Con-Struct series was conceived by Jens Strüver, half of the electronic group, Borngräber & Strüver.  After gaining access to an extensive sound archive that Schnitzler had built, Strüver proposed that new music be developed utilizing this archive and that musicians of a similar ilk helm each installment in the series.  For this new release, Schneider TM was handed the keys.  You can check out the track "Doozer" below. 

You can also sample album snippets from the Schneider TM release. These were provided by Bureau-B.

Information on the release was provided by Sean Newsham at mutante-inc.

Who is Conrad Schnitzler?
Conrad Schnitzler (1937–2011), composer and concept artist, is one of the most important representatives of Germany’s electronic music avant-garde. A student of Joseph Beuys, he founded Berlin’s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums.

Who is Schneider TM?
Schneider TM has been involved in various musical fields since the late 1980s. Between 1989 and 1997 he played and sang in indie/noise rock and pop bands like Locust Fudge and Hip Young Things, before focussing more on electronic music from 1997 onwards, starting up his project Schneider TM. In 1999 Dresselhaus formed the duo Angel together with Ilpo Väisänen.

What is the concept of the Con-Struct series?
Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When Jens Strüver, the producer of the Con-Struct series, was granted access to this audio library at the outset of the 2010 decade, he came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound.

A few words from Schneider TM on his con-structions? 
I am very happy and honored to be invited to do an album for the Con-Struct series and wanted to do something special and genuine in this posthumous collaboration with Conrad Schnitzler. I wanted to get as close to his spirit as possible, so I created a musical situation as if we were actually collaborating together in the same room, with Conrad playing his pre-recorded sound-files or modular system and me dubbing and processing it live on the fly… almost as if it was a live-concert situation.

Next to many other aspects of Schnitzler’s vast oeuvre, I am fond of the noisy, polyharmonic, polyrhythmic and sometimes quite humorous minimalism of his music, as well as his way of using chance, which often leads to magical and raw beauty. There are no other sounds on this record except for ones created by Schnitzler, sent through my system and processed live. During the sessions I had the feeling of being in a conversation with him. And when I met his widow, Gisela Schnitzler, she told me that they still talk every evening, more than five years after his death, and that he’s still around for sure. So, Conrad, thanks a lot for this experience!

Letters From A Tapehead

Thursday, September 08, 2016

Daughter Of A Tapehead: Faith No More

Faith No More
We Care A Lot (Deluxe Band Edition)
Koolarrow Records
Released: 8.19.16
Originally released: 1985 via Mordam Records

* This is probably very true.

Letters From A Tapehead

Wednesday, September 07, 2016

No Ripcord: Bangladeafy

Nefarious Industries
Released: 8.26.16

Letters From A Tapehead


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