Three releases

The Gracious Depression, C42 released by Das Andere Selbst

How to Forget, C40 released by Tutore Burlato

At Home, a C20 by Girls on Tape (Jeff Surak and me) released by zeromoon

are now available.

1 tape -9.50€ worldwide shipping included


2 tapes – 16.50€ worldwide shipping included


3 tapes – 21.50€ worldwide shipping included


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C20: Girls on Tape – at Home, released by Zeromoon

Girls on Tape came into existence in the year 2012 during The Winter Tour by Jeff Surak and me. We entered the freezing heart of the European winter and brought warm sounds to our dear audience in small and big towns in France, Belgium and Germany. Our first performance as Girls on Tape must have happened in the former Bundesrepublik Deutschland, also known as West Germany. We went to the courtyard of Kraftwerk’s Kling Klang studio in Düsseldorf. See us here with guest girl Thilo Schölpen.

A full length Girls on Tape performance happened at Liebig 12.

A new visit by Jeff to Germany resulted in a duo performance at my favourite venue in Berlin: West Germany. Jeff came also to the Radio On studio to join Adrian Shephard and me during a Tape Review Show.

The C20 tape ‘at Home’ was compiled by Jeff from recordings made at West Germany and in the Radio On Studio.

Listen and judge for yourself.

Side A

Cipoe
talking to dolphins

Side B

machines are being turned over
to think

 


price of 9.50€ includes worldwide shipping

 

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C40 – How to Forget, released by Tutore Burlato

​The sounds on this tape ​stress the importance of forgetting.
​I​ used many ​e​very day objects, simple objects,
to record ​the source material​ directly on magnetic tape.
​These were objects that we encounter…bricks, wood, stairs.
The objects I chose had an extra historic layer;
they were made and used before the war,
in a part of Poland that belonged to the German Reich.
I mixed these sounds with music and speech from found tapes.
Those were relics of a (Polish) past t​hat ceased to exist.

On side 2 I added an encounter with life – real and imagined-
in the former jewish neighbourhood Podgórze in Kraków.
Obviously also that era came to an end.

To remember everything in detail is impossible;
it would hurt too much and make life unbearable.
That is why we tell stories.

How to Forget was released by Tutore Burlato.
Artwork and production by Ezio Piermattei.

Side 1

German Settlers
The Child Bride
Prosperity
The Queen’s Entrance
Empty Land

Side 2

Introduction
Wooden Chairs
How to Forget, part 1
How to Forget, part 2

 


price of 9.50€ includes worldwide shipping

 

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Three Reviews

Ryan Masteller wrote three reviews.

For staaltape I took care of Ben Roberts – Unit Audio. Ryan writes: “Let’s just say that UNIT AUDIO is freaking cornucopia of found sound, pieced together for maximum weirdness and instant likability. It starts strong and stays strong, continuing on its path toward greatness minute by warped-audio minute. Ever thought you’d hear somebody talk about musique concrète that way?”

While a big monster huricane was on its way to his home on the Atlantic coast of Miami, he found words for Midori Hirano/Kris Limbach – The Last Day on Earth, an other staaltape release: “…hope that someone will read this and seek out this tape before it’s too late, this tape that will then assist them in their passing into the great beyond, whatever comes after Earth. Heed this message in this bottle. Heed all messages in all bottles now, as everything’s an SOS and everything’s a warning.”

About my The Gracious Depression he writes: “Rinus is a master cassette editor, splicing together sound object after sound object until the result, while abstract in form, takes on a believable, living, evolving, and human texture. You can feel yourself living inside it.”

You might want to get one of these tapes some day. Or maybe you won’t. It doesn’t matter. Just keep on visiting concerts, buy tapes or vinyls or books or zines or even Cds from small labels. There is more happening in the margins than you can possibly imagine.

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Blacklisted

On 15. July I held a talk at Spektrum in Berlin in which I explained why it is a bad idea to perform at that very artist-unfriendly venue. Here is a résumé of the talk.

I arrived to sound art relatively late. It happened right at the start of the century. In the last century I dedicated all my time to writing. Zan Hoffman and Jeff Surak, two artists deeply involved in the sounds of noises (or the noises of sound) accepted my presence immediately. I was amazed how open-minded they were. Playing together with them, being a complete newby, went without hindrances or comments. It was a joyful excursion and one big pleasure.

It took some years, before I knew how to get my sound work out on stage.  I arrived late, so I needed to make a lot of experiences and encounters to get to know the marginal world of sound. I criss-crossed Western Europe, got hosted by a lot of people, slept at their apartments, sometimes in a hotel. I played jeux-de-boules in Bordeaux. In Porto we had drinks in the bar where, during the Salazar regime, the police seated on their horses entered to chase the demonstrating students. Everytime I landed in Bilbao we went to a loft and played for hours, thinking we were transmitting to ships passing in the deep of night. I met good people. They tried everything to make a good turn out. And everywhere I went, I got a good share of the door money, which covered for my expenses.

Living in Berlin I came to the conclusion that after so many encounters during which I was given a lot, it was time to return the favor. I started to organize shows myself. And I set up a lot of shows. I always sat at the door, making sure that everyone paid. I was more tensed than the artist. I felt terrible when there were only ten people or less in the audience. This meant I could only pay a handful of euros. But it felt so good if I could give 100 euro from the door. And it was ALL the door money that went to the artist.

I never exchanged emails on a personal level with the people who run Spektrum in Berlin. When I was invited by Robert Pepper of Pas Musique, I got a mail from Spektrum that directed me to their website. I had to fill in a form. A series of yes-answers took me to the final page. One of the yes answers was in relation to their condition regarding the door money. They would keep a minimum of 60 euro plus 35-45 euro for GEMA (The copyright police in Germany). After that they would take a 33% share. But maybe I do a miscalculation here, and the 60 euro minimum is not taken in account once the door money exceeds 225 euro. Entrance fee is 6-10 euro.

I considered not playing.(Because why drag a 20kg suitcase all the way from Krakow to Berlin and back again and spend extra time on setting up and packing again?)Knowing myself I would keep on talking about it. I decided to go, not play, but talk about it in the place itself.

In comes the guy who runs Spektrum. It is still early. There are four people sitting at the bar. They are the musicians after they did the soundcheck. Did the guy say hello; did he introduce himself? No. He walked straight to his place behind the bar. Now he was facing the people who were to play at his venue. Did he say hello? Did he introduce himself? Did he say anything at all? No.

Shortly before PAS Musique goes on he speaks his first words to me, still from his comfortable position behind the bar. I needed to pay the entrance because the show would start. I bent a little bit over to him and whispered that I was performing this evening.

I stood up. Three of my friends had just arrived. The guy who runs the place was making an attempt to have them pay. I told him they were my guests. I noticed how he froze for a tiny instance. And it was in this very instance that he showed his greed.

Robert got 80 euro. We were four performing. I took 20 euro. If places like this can spread their philosophy, it will become impossible for artists to go on tour. Some say that this place Spektrum is the new NK. That’s an insult. The only thing NK and Spektrum could have in common is that they both finished their activities.

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