Alek Novak - Pod Vodom
Gintas K - Resonances
Mike Hovancsek - Texture Studies
Joseph of Kirezi - Session and Live in Tokyo
Seirios Savvaidis - Mesourania/Wendy's Wedding
Hibushibire - Official Live Bootleg No. 7
Vibration of Words: Jazz Poetry from Hungary
Keiko Higuchi x Manuel Knapp: Summoning Ancient Spirits
Kris Vanderstraeten & Frederik Leroux: Live at The Audioplant
My Cat Is An Alien & Nad Spiro - La Casa Encendida
Miminokoto – Koenji 07/02/2016 (Plunk's Plan, reissue of out of print sloow tape)
Majutsu No Niwa – Ecstatic Crystallization (Musik Atlach, reissue of out of print sloow tape)
Wendingen 1918 - Recherche Dans Le Rêve
Ilta Hämärä - Velloa 7" (Meeuw Muzak)
"Timo Van Luijk and Bart De Paepe in troubled water" says the label press: Ilta Hämärä, the duo of Bart De Paepe (Sylvester Anfang II, Bokrijk, Charles Vögele) and Timo van Luijk (Af Ursin, Elodie, La Poupee Vivante). An imaginary source that combines Bart’s hazy psychedelic antics and Timo’s subtle and abstract sound manipulations in otherworldly spheres of cosmic dimensions
BART DE PAEPE ~ MELKADER
Original Artwork by Bart de Paepe
Numbered edition of 25 ex.
**numbered edition of 40 copies** "Little by little, the mass turned like a slimy and forceful nausea, a kind of immense influx of vegetable and thundering blood. And the small fibers trembling at the edge of my mental eye, broke off with a vertiginous speed of the tense mass of the wind. And all the space trembled like a sex organ which the globe of the burning sky was battering." Wendingen 1918 is dedicated to the Dutch Architectural Magazine ‘Wendingen’ from 1918 and the Work and Life of Antonin Artaud.
Raymond Dijkstra is an autodidact Artist from Indonesian / Dutch / English / Belgian / Portuguese descent. He has developed a highly personal acoustic-experimental and expressionist style, using his body as a tool for ‘automatic writing’. His explorations in this area are carefully documented by his own imprint Le Souffleur, especially in the series “Catalogue du Bruit”. Since about 2009 he also started working on a different, more ‘musical’ type of music, hereby incorporating electronic sources and a more eleborate use of effects. Since 2003 he’s been combining most of his limited publications with original exclusive handmade artworks of himself. Bart de Paepe is a Belgian Musician and Artist who has worked in many diverse directions, leading to an eclectic array of experimental and underground escavations of his innerworld. His solo music is portrayed by a compact electronic, yet psychedelic style. He’s the Art Direcor for the labels Sloow Tapes and Sloowax and has collaborated with Louise Landes Levi, Timo van Luijk and members of Embryo. Frédérique Bruyas is a Native French Reciter of (mainly) French Literature. Approaching the texts almost as an actor, she’s showcasing her superb sensitivity for atmosphere and her excellent ability to translate written word in spoken word with great respect to the original texts. The texts used on Tremblaient à la lisière de mon œil mental are part of L’Ombilic des Limbes by Antonin Artaud, a text written in 1918 during his stay in a mental asylum and published only a decade later.
Artwork Description: Cover tied with rope; Innercover with wooden Dowel designed by Raymond Dijkstra. Original Artwork by Bart de Paepe, Raymond Dijkstra. Each copy is different.
Wendingen 1918 – La Décorporisation De La Réalité (Des astres d'or)
Various: Au-delà (Meakusma)
Au-delà is a collaborative record by La Scie Dorée and Meakusma. It features eight pieces of music by La Scie Dorée affiliates. For the 2018 Meakusma Festival, La Scie Dorée and Meakusma set up a collaboration that brought performances by Timo Van Luijk, Steven Stapleton, Christophe Heemann, Daniel Denis, Bart De Paepe, Kris Vanderstraeten & daniel duchamP to the festival in Eupen, Belgium. This was followed up with a night organized in the province of Limburg in Belgium featuring performances by Frederik Croene and Timo Van Luijk, Tom James Scott, Ecka Mordecai and Andrew Chalk.
Timo Van Luijk founded La Scie Dorée in 2000 to release his solo work as Af Ursin and the various collaborative projects he is involved in. Af Ursin opens Au-delà with a piece escaping straightforward definition, setting the tone for the album. The general focus of Au-delà is on musical space and the at times gentle yet always focused upset of musical and emotional signifiers. Tracks by legendary artists such as Michael Ranta, Steven Stapleton and Christophe Heemann together with work by relatively young or obscure performers and new projects such as Circaea, Raymond Dijkstra, Bart de Paepe and Vincent Epplay all delve into the niche that is free improvisation, frankly defining inward and outward space and movement and thus questioning the purpose of the niche itself.
Au-delà features a music that borders and transcends the genres of free improv, ambient, industrial and avant-garde composition. Its intention lays firmly in surpassing the general idea that experimental and improvised music is intended for the initiated only. Its subtle stance on musical beauty only adds to that intention. The collaboration between La Scie Dorée and Meakusma benefited greatly from the support of the Flemish Community and Ostbelgien.
1. Af Ursin - Voyance
2. Michael Ranta - Save Alchi (excerpt)
3. Circaea - Anemones
4. Raymond Dijkstra - L'enveloppement Cotonneux du Bruit...
5. Christoph Heeman - Die Züge
6. Nurse With Wound & James Worse - The Creptile Lickbug
7. Bart De Paepe - De Vaag
8. Jac Berrocal & Vincent Epplay - Svavius
Bart De Paepe - mellow my mind: a sloow tapes discography
Malcolm Ritchie - Encounter with the Great Mother. Ayahuasca in the Andes
orders & contact: sloowtapes at g mail dot com
Wednesday, February 22, 2023
Sloow Tapes - CS 54
Serbian dystopian bedroom psychedelia from the one man band Alek Novak that fits these gnarly times very well. Poetic lyrics (so i've been told, I don't speak Serbian) over a psychedelic rock/noise sauce makes perfect listening while walking through shady corners of Belgrade, tasting the last drops of your bottle rakia. 70 copies.
Sloow Tapes - CS 44
Gintas K, once part of the first Lithuanian industrial band Modus but since over two decades he dedicates himself to electronic music, more specific granular synths and live electronics where he takes fractions of notes and moulds the sounds through speeding/slowing down and other obscure alchemical processes into new abstract configurations of space debris with remnants of drones, hums and bleeps. 70 copies.
Resonances, the first of these, ‘was recorded live, using computer, midi keyboard & controller on Autumn 2021’ and has been released by Sloow Tapes in an edition of 70 copies. It spins slow-swirling vortices around hovering hums and low-humming drones over the course of its ten, comparatively short (only a couple extend beyond four minutes), ponderous tracks. It’s perhaps one of his more varied works, both sonically and atmospherically – and Resonances really does explore atmospheres and cavernous swampy echoes. (Aural Aggravation)
Gintas Kraptavičius was once a member of the industrial band Modus, and afterimages of their music can often be heard in the cold, metallic nature of his solo work. Resonances comes from a live session where he used a computer, a midi keyboard, and a controller. He modulates sounds, slows down and speeds up the layers, and sinks into sound waves and musical constellations. At the same time, he keeps an eye on structures – the compositions are relatively short, apart from two which reach eight minutes. Overpowering drones rumble from one side, a mass of noise and interweaving atmospheric layers from the other – an impressively constructed mesh of sonic sketches. (The Quietus)
Gintas K has been on these pages a lot of times. I must admit that, despite not knowing Sloow Tapes all too well, I am a bit surprised to see his work. I always think of him as a serious operator of laptop music, which seems not to be the home at Sloow Tapes. He creates ten pieces of music using his computer, midi keyboard and controller, but as this is a cassette (the label has no Bandcamp), I found it hard to tell where a track starts and stops. This cassette could very well contain one track per side. Oddly, perhaps, there is also an element of free play in Gintas K's music. Other than what I think is his stricter approach to composing, these pieces arrive in a free-flowing modus. Sounds drop in, quite uneventful, but are just 'there' and change in form, may grow, or reduce or simply, as unexpectedly disappear again. Yet there is never silence because there are many sounds, each fighting for our attention. It never becomes chaotic, as Gintas K manages to control the proceedings, which he does quite well. A certain psychedelic, ambient quality is part of this music, and I can see why Sloow Tapes found this to be an interesting addition to their catalogue. (Vital Weekly)
Sloow Tapes - CS 90
Late night atmospheric soundtracks for two short movies. 'Aea' is an acoustic improvisation with tons of illustrious instruments and contributions on shamisen and shakuhachi by Lydia Schneider and slide guitar by Mohonbeena Soumalaya Mukherjee. 'Antroposcene' is a meditation of floating electronics on our disastrous pollution of the world. Mike Hovancsek is a former member of Pointless Orchestra and collaborated with Egyptian composer Halim El-Dabh (who composed some of the earliest tape music in 1944). 70 copies.
He has releases on Pointless Music (and he was a member of the Pointless Orchestra) as early as 1991, and Infinite Number Of Sounds Recording Company, and yet this is his seventh release only. The four lengthy pieces receive some liner notes in which he mentions that he plays all the instruments but doesn't specify these. There are some guest players, such as Lydia Schneider on the shakuhachi and shamisen and Mohonbeena Soumalaya Mukherjee on slide guitar. The first side is all acoustic, and the second is electronic. What ties these sides together is Hovancsek's rather free approach to sound. On the electronic side, with two versions of a piece called 'Anthroposcene', the music is all about modular synthesizers, resembling all things living on this planet but under attack by humans. The sound changes constantly and sounds like a swarm of bees (or ants, but is that a swarm?) and a great piece. The two pieces, on the other side, are quite different. While also constructed freely, from many recordings stuck together, especially in the title piece, the music has a relatively reflective mood and the most in 'Aea - Espiral'. There is a raga-like drone machine, and on top, we hear what seems to be the processed sounds of the wind instruments. With the slide guitar, this free-style, hippie-like element gets more confirmation in the title piece. Maybe a bit too much on the incense side for my taste, but there is a fine touch of experimentalism to each piece, which saved it in the end. (Vital Weekly)
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