Sale, TapeEdition of 50 hand-numbered ferrik cassettes.. A spontaneous first meeting between two young artists resulting in forty minutes of experimental music covering a wide spectrum of drone sounds. From granular synthesis and walls of guitar distortion to Jerusalem’s filed recordings and dark soundscapes, this release continues Felt’s catalog in an unpredictably cool way. The idea for this project came during a conversation with the Italian musician/photographer Giovanni Lami (b.1978) about a possible release and I quickly brought to the table the idea of inviting Ryan along for a split release. Los Angeles based Ryan Connor (b.1979) under the alias ‘Sublamp’, who has been delivering top drone sounds since 2008, was then asked to join and this album came to life. It was really interesting for me to see those two artists interact as their music careers are surprisingly parallel but in the same time so distant. The tracks they created for this split provide a great opportunity for us to get some insight into their techniques and style, and to document those two promising artists at their artistic take-off. I would like to leave the invitation open for Ryan and Giovanni to come together again in a few years for the second part of this split; it will be really exciting to see how their sound has evolved. – Felt
Sale, TapeEdition of 50 hand-numbered ferrik cassettes… I would like to stress how great collaborating with an artist like Quinn has been. It took us months to complete this project and I haven’t met a better, more open or positive person to collaborate with. We would critique each others work, pushing the project in a totally new and unexpected direction within a 5 minute conversation, but in such a smooth, cooperative and positive way that it was hard to remember that there had ever been an argument in the first place. I believe these experiences are reflected throughout the project musically & visually. I discovered Software Wolf uploaded on a lonely Soundcloud profile with a couple of followers and two or three odd beat-driven songs. At first I was really confused. Who made these awesomely weird tunes? It took some effort, but after several messages and emails their creator was found. The album took some time to get compiled. Quinn and I tried our best to pay close attention to detail throughout the project. The idea of focusing the visual aspect of the release on Korea came a bit after we started the project. Quinn is located in Korea, for now, and both of us are really interested on the modern history of this troubled place. It made total sense to touch the subject somehow.
Sale, TapeLimited edition of 50 numbered copies that come with download insert cards… Coming from Toon, a small Japanese town which belongs to the Ehime province, Hitoshi Asaumi delivers very unexpected sounds when compared to contemporary beat culture. Leedian disguise has been around for two years now and listening through his work one can find it difficult to categorize his music. From extreme noise, he switches fast to melodic pop backed by organic beat, then quickly back to the extreme noise . There is an inevitable innocence deriving from his tracks, mainly with regards to their length. His music feels like an “arranged marriage” of the punk approach to composition with experimental electronic sounds. The result is rewarding and raw sounding. Jazz and electronic influences melting together in a chaotic doom-sounding noise. This album is a collection of his best moments making music as Leedian. While his sound texture remains constant throughout the album, differences in composition alter the mood deliberately from start to finish offering a deep insight into Leedian’s work
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