Hello you. Welcome to the latest massively overdue update from Fog Towers. First off, I’m very excited to announce that Howlround will be playing at the latest Delaware Road event this summer, this time staged at an active military complex in the vicinity of Stone Henge. I’ll be playing alongside Merkaba Macabre and the Psyché Tropes crew, but that’s just for starters – check out the line-up above! Could be Buried Treasure’s most spectacular event yet, which is no mean feat given the extraordinary showcase they put on at Kelvedon Hatch (‘Secret’) Nuclear Bunker back in 2017. It’s certainly a testament to BT boss and chief strategist Alan Gubby that The Delaware Road has gone from being the germ of a screenplay to a concept album and now an ever-increasing community of like-minded, mutually supportive artists. Although it’s not until August, I’m really excited for this already, even if it does involve the prospect of having to remember how a tent works. Further information and tickets can be found here, and to whet your appetite further Alan has put together a promotional mixtape featuring manifold delights from the artists involved, including a brand new and exclusive collaboration from Howlround and Makaba Macabre, hopefully the first of many. Strap on your ear goggles and tune in below:
Secondly, huge thanks to Neil Mason for a glowing review of new Howlround LP The Debatable Lands in the latest issue of Electronic Sound magazine. First time I’ve ever had anyone describing my work using words like ‘magic’ and ‘seriously wild’ – and hopefully not the last time either!
Another large thank you must also go to Neil Kulkarni for an equally flattering review of my ‘spooky reptilian tape clatters’ appearing this month in The Wire. As I can’t include an image of it here (my phone is dead, my flatmate is away and it’s raining outside), I’ll just quote you some of the highlights:
‘[Y]ou start to feel it’s the machine’s making the decisions, the closed input one-take recording narrowing the walls and increasing the sense of intransigent, intractable progress towards oblivion. […] If an environment is suggested it’s not the desolate moors of his Cumbrian surroundings – it’s more aquatic and threatening too – teeth bared in the depths, the snarling arguments of a shoal of Baltic Pike or Humbolt Squid […] Smart horror directors should be getting this on their soundtracks.’
Absolutely chuffed to bits with the responses to the album so far – not bad for a record made on a dining room table with nothing but some novelty reindeer candlesticks and the occasional interruptions of two dogs and a baby! Anyway, The Debatable Lands is available now on Touch as a gorgeous vinyl LP with six additional download tracks. Order your copy here.
Continuing with the gratitude distribution, thanks also to everyone who came down to my first two shows of the year at Iklectik and the University of Surrey last month, supporting UnicaZürn and Eleh respectively. Iklectik as ever gave us a warm welcome and a packed house, plus a re-tweaked soundsystem to play with that I’m reliably informed made the walls shake during Howlround’s performance. It was certainly a heavy, rather squelchy set, featuring mostly stellar performances from the quartet, although the ever-mischievous ‘Delia’ suddenly threw a wobbly five minutes before showtime and remaining largely inactive throughout the performance. By pure coincidence, longtime friend and occasional Howlround biographer Pete Woodhead has captured the very moment when Delia gave up the ghost in the above image. You may have noticed the face I’m pulling – it’s an expression I’ve used quite often in my dealings with that pesky UHER. Thankfully the show was pulled off with what I think was the requisite amount of aplomb – UnicaZürn were fantastic as ever and I’m very much looking forward to hearing their forthcoming album later this year.
Amazing to share a stage with Eleh at the Moog Symposium too – even if his equipment did completely dwarf my own! I’m told this magnificent synth he was using is one of only three like it in the world and is kept by the University Of Surrey for use by their students and visiting dignitaries. Which basically means that despite it being twenty times bigger than my own setup, nobody has to worry about getting it home on the train afterwards. Wonder if they’d let me move in?!
Unfortunately, after all this excitement I now have to report that Howlround has had to be placed in a state of temporary hibernation: Following some erratic behaviour at the aforementioned live shows, Delia and three of the UHER machines so crucial to performing live successfully have had to be sent away for a much-needed servicing; whilst usually-trustworthy Revox B77 ‘Wendy’ is displaying all the worrying hallmarks of a machine that has recently been a tiny bit on fire:
What’s that smell? Oh, crap, I think one of the machines is burning again… 🔥😱 pic.twitter.com/FH19LrEC3f
— Howlround (@Howlroundmusic) February 24, 2019
Curse those cheap capacitors! Needless to say I’m bracing myself for a repair bill of Earth-shattering magnitude. And while it’s true that I’ve often made my best work on a severely limited setup, it’s going to be especially tricky this time without two of my more reliable ‘workhorse’ machines to call upon. Such wounds of separation were then awarded an additional heaping of salt this week with the sudden death of my phone (and I must apologise to anyone who has been trying to call or text me and been chagrined at my lack of response). So not the best week, technologically speaking, but Howlround will surely rise again – I was going to insert some sort of clumsy Phoenix analogy on the end of this sentence, but given Wendy’s current condition I fear that would be tempting fate.
Moving on, a very different type of heat is being generated over over on the freshly minted London Sound Heritage blog, where I’ve written a few words on the twin subjects of pop music and microwave ovens; thanks to a rather special cassette discovered in the London Metropolitan Archives. I can’t remember if I’ve mentioned in these pages my current involvement in the Unlocking Our Sound Heritage project (a nationwide attempt to preserve historic ‘at risk’ recordings in collaboration with the British Library), but we’re aiming to digitise 5,000 individual recordings over the next three years, of which ‘NEW WAVE COOKERY FOR THE 90’S’ (caps very much theirs) is just one especially strange example. Distributed to youth clubs around the turn of that decade, the cassette involves a rather breathless quiz featuring fifty relentless questions on those twin lode-stars of any young person’s life: pop music and microwave cookery. The winners would then be set the challenge of having to ‘devise’ and serve a microwave meal for the multi-award-winning lyricist Tim Rice (allegedly) in the hope of bagging themselves an Atari ST and a MAGNIFICENT TROPHY (their caps again). Oh, how we chortled in the office at the thought of the man behind Joseph, Evita et al. being sat at a high table in front of a crowd of expectant teenagers*, napkin at the ready, gazing wearily down at each of the deeply-unappetising cellophane-wrapped atrocities placed in front of him; all the whilst having someone with a clipboard hissing in his ear, ‘Listen, ducky, you agreed to the money – start making yum-yum noises for these little swines or I’ll have you microwaved!’ Different times, of course. Why not head over to the blog and take the test yourself, to see if you’re as smart as your average 1980s youth? Surely we must all be cleverer these days with the internet at our disposal, right?
Having soundly beaten the 1980s, fast forward yourself some quarter of a century to the heady, innocent summer of 2015 (seems a long time ago these days, doesn’t it?), when I was to be found working on a new composition in collaboration with one Mr. Ray Carmen, then operating under the nom de plume abandoned playground. The resulting track, ‘OH’, was composed using Ray’s micro cassette field recordings of trains, chimes and his infant daughter Grace; and would go on to open Howlround’s Tales From The Black Tangle LP later that year.
Why am I mentioning all this now? Well, the temptation to distance myself from the state-of-affairs in 2019 notwithstanding, it’s because Ray has recently rebranded this solo project as The Ghost Lilies and included ‘OH” in a new compilation album entitled Over The Hill, alongside numerous other extracts from his lengthy back-catalogue, many of which are long out-of-print, And it’s free too! I’d advise you to head over and give the album a (metaphorical) spin – and to hasten you along, I thought I’d give the original ‘promoH’ video another airing. Made on my kitchen table with a budget of $0, please re-enjoy some tiny train action, oh grateful universe!
Ray’s other various activities (which at last count registered as ‘innumerable’) can be further traced via his website. And as for Grace, I believe she’s blossomed into one smart cookie and might actually be about to start a PHD or something. Kids these days…, it really is mind-blowing.
Speaking of old tracks coming back to haunt me, excited to announce a revised and expanded edition of A Year In The Country’s 2016 compilation The Quietened Village is now available for pre-order and will be officially released this week. Originally surfacing in 2016, it now boasts two new tracks by Field Lines Cartographer and my Cumbrian sparring partner The Heartwood Institute, an exclusive Howlround track and recently expanded sleevenotes, badges and stickers. Limited hand-made editions as ever, so don’t sleep on this one, especially if you missed out last time. Order your copy here, then spend some time poking around A Year In The Country’s blog, which never fails to be a stimulating read. And unlike this website, it’s updated regularly!
*I mean ‘full of expectation’, not ‘pregnant’. Just wanted to clarify.
Seven Inches For Cash – Exclusive New Howlround Single For Resonance FM Fundraiser – Three Copies Only!Posted: February 5, 2019
It’s that time once again when the world’s greatest radio station Resonance 104.4FM asks you to dip into your pockets and help to support its activities for another year. The award-winning station continues to broadcast unique and ear-opening content across London on FM and far, far away via ResonanceFM.com and it’s recently launched DAB platforms; with all programme-makers and the vast majority of staff giving their services entirely for free. But it’s an expensive business and each year Resonance faces a genuine struggle to make ends meet. That’s why their annual fundraiser, held every February is such a crucial part of the station’s calendar.
There’s a programme of fantastic events coming up over the next week or so as well as the usual Ebay auction, with lots of covetable items and experiences up for grabs. For my part, I’m very excited to present another brand new Howlround 7″, featuring two classic unreleased tracks from the vaults. Only three copies exist and you can visit their individual pages on the Resonance auction site here, here and here. The tracks will not be re-pressed or reissued anywhere else (which is actually a bit of a shame as they’re two of my favourites). A big thank you must go to Dan at Onecutvinyl.com, who once again has donated his time and services for free. Resonance salutes you, Dan!
Bidding ends 9pm February 10th, so don’t sleep on these if you want one. To whet your appetite and hopefully encourage a final flurry of bidding, the A-side will be played on the Dexter Bentley Pay As You Go Hello Goodbye Show this Saturday (as part of the fundraiser Dexter Bentley is auctioning off his airtime at the rate of £10 per minute – visit hellogoodbyeshow.com to find out more), but other than that brief airing, nobody apart from the lucky winners will ever hear these tracks. So please make your bids nice and high – they’re beautiful records and I think we can all agree it’s a thoroughly worthy cause. Visit fundraiser.resonance.fm to find out more and get involved.
Hello you. Busy weekend lined up for Howlround as the machines head out on the road for our first pair of live dates this year. First up is a Touch Presents… evening at Iklectik in Lambeth North, a welcome return to everyone’s favourite former Buddhist monastery in support of fellow signings UnicaZürn. We last played together at SuperNormal festival back in 2017 and I can vouch that their live shows are something of a spectacle!
The following day I’m heading to Guildford for the 2nd Moog Symposium, hosted by the University of Surrey’s Institute of Sound Recording and rescheduled from last year. The second day of a weekend of talks and performances in memory of Peter ‘Sleazy’ Christopherson, the day-long programme includes talks from David Stubbs, Richard Norris and David Ball of The Grid and culminates with live performances from Howlround and Important Records’ legend Eleh, an artist who needs absolutely no introduction. Rumour has it that a second release for Touch is in the pipeline, following 2010’s Location Momentum, but no details are present at the moment. Anyway, it’s an excellent line-up and should make for a most stimulating day. Further information and limited tickets are available here.
Grateful thanks must go to esteemed blog [The Present Continuous] for including Howlround in a recent lengthy article exploring modern trends in tape music, alongside such giants of the scene as Hainbach, Amulets and of course the great William Basinski. A fascinating primer on the subject and highly recommended reading. I’m most flattered to be included in such company, of course, although I must admit I had never realised that new Howlround album The Debatable Lands contained such things as ‘whimsical in-jokes’! That album is of course now available both online and from all good record shops, so feel free to order yourself a copy and see if you can spot them. Anyway, a doff of the cap to Mr. Daniel Williams for a fascinating read.
And finally, some brand new tape music can be heard adding additional atmosphere to the recent Radio 4 documentary In Tooth And Claw, presented by Charles Foster and produced by the great Michael Umney. It’s an investigation into human relationships with the natural world, particularly those of writers and poets, and explores the darkness that so often seems to dwell at the heart of such encounters. Charles teases out the threads of violence – human, animal and ecological – which run through so much nature writing and asks why we find solace and peace in places haunted by competition, destruction and death as the press release would have it – and the soundtrack incorporates field recordings from some of the locations they visit, sounds of wind and water threaded through the machines and subjected to a modicum of violence themselves. It’s a compelling listen, so click here to tune in.
Hello You. In all honesty, now is probably not the best time to be unveiling my freshly-minted 2018 Retrospective Mixtape, containing some of my very favourite music from the last 12 months. With 2019 now well underway and the majority of goodly folk returned to normality, this second week of January should really be a moment for us all to lift our collective noses to the skyline, bid the old year goodbye and stride purposefully into the future (though in our current climate you could be forgiven for striding purposefully into the nearest cave instead). Unfortunately this time I don’t have much choice as I’ve just spent the last fortnight in bed as sick as a dog, which caused seasonal productivity to take an almighty downward swing. I had hoped to have this mix finished in time for Christmas, but my immune system had some disagreeable festive plans of its own. With this in mind, I ask for you to join me in looking back over the year one last time before we all get on with our lives. Especially as this year’s mix is something of a whopper – a marathon 56 tracks! Pop on the kettle, draw up an armchair and cancel all plans for the next three hours and forty minutes:
A couple of minor disclaimers – it was mixed on a cheap pair of crappy headphones purchased in Brampton Post Office (my own pair having gone walkabout / been eaten by the dog) and as I’m still on my way home following my enforced convalescence in Cumbria, there might be a couple of discrepancies in the track info. All will be double-checked and corrected once I get back to Fog Towers. In the meantime, because Mixcloud seems to be a complete jerk about such things nowadays, here is the tracklisting in full:
People Like Us – Nothing
The Heartwood Institute – Broadcasting
Soundhog – Newtown Parkway
The Twelve Hour Foundation – Analogjam
Daphne & Celeste – Sunny Day
The Go! Team – Chico’s Radical Decade
Juniore – Magnifique
Christine & The Queens – Girlfriend
Daphne & Celeste – Alarms
Edan & Homeboy Sandman – Unwavering Mind
Sink Ya Teeth – I Do, I Do
Sculpture – Nite Flite
Graham Dunning – Way Too Much Time
Pascal Say – Allow The Light (Extract)
DJ Enfusion – Dubness
Dan Hayhurst – A Creak Retimed, Part IV
Simon James – Shanghai (Extract)
Ore – Silicate
Tune Yards – Hammer
Uwalmassa – Untitled 02 (Bumi Uthiri EP)
Ryoji Ikeda + Eklekto – Body Music (For Duo), Op.4 – III
Mohammed Reza Mortazavi – Birth Of A Whale
Uwalmassa – Untitled 01 (Bumi Uthiri EP)
The Hands – A Mind
Meat Beat Manifesto – In C, Part III
The Heartwood Institute – Sun Wheel
Concretism – New Governments For A New Nation
Spaceship – The Stones Speak Of Short Lives
Orbital feat. Professor Brian Cox – The End Is Nigh
Reed & Caroline – Before
The Radiophonic Workshop – Mind The Gap
X-Altera – Holotyd Neo-Optika
Proc Fiskal – Hoax Nos Trinit
Langham Research Centre – The Terminal Beach
Max Richter – Iconography (Knox-Om-Pax Remix)
Sproatly Smith – Ethelbert And Mary
Vic Mars – Dinedor Hill
David Colohan – On Stormy Point
Listening Centre – Clarion Of The Collapse
Proc Fiskal – Mourn Non Did
Langham Research Centre – Roadside Picnic
Moon Gangs – Sea Circles
Dolly Dolly – Soil
The Advisory Circle – Scuba
Merkaba Macabre – Iridescent (Extract)
Ipec Gorgun – Seneca
Tom White – A Creak Retimed, Part 1
Radionics Radio – Frequency Cluster
Chips For The Poor – Benylin Beep Beep (Extract)
Psychological Strategy Board – Stranded Here For All Eternity
Psychological Strategy Board – Out Of Formation (Out Of Duration)
James Murray – Falling Backwards
Anne Garner – Unhand
Daniel John Williams – Bells
Field Lines Cartographer – Coldbarrow
Yann Novak – Casting Ourselves Back Into The Past
Hands-down my favourite album of the year by a country mile was Daphne and Celeste Save The World by Daphne and Celeste with Max Tundra, just in case you’re of the small number of people that I haven’t already bored to death on the subject. Life-affirming, joyous dream-pop that I felt was rather cruelly slept on by press and mainstream broadcasters alike, in an age when so much music feels incredibly dull and homogenous (at least to this grumpy old cynic), this felt like a much-needed shot of mischief. The best pop was always the weirdest, surely? Plus ‘Alarms’ might actually be my favourite music video of all time, even beating that other Max Tundra effort from 2009 where he played battenburg cake as if it were a synthesiser. Order your copy of the album here.
Belated thanks to everyone who came to Winter Solstice Soundscapes at Carlisle’s Vinyl Cafe just before Christmas, to enjoy performances from The Heartwood Institute and Howlround, as well as to officially launch new Howlround LP The Debatable Lands in the shop that inspired it all. With mulled wine and festive nibbles provided by ever-affable host James, a striking new set from fellow performer Jonathan (watch for a new Heartwood Institute LP in 2019!) and Howlround’s machines on surprisingly exemplary form, it was a fantastic evening and a brilliant way to round off our most amazing year yet. With all machines functioning somewhere in the sweet spot around perfect-imperfection, the result was, to my ears, one of Howlround’s strongest sets of recent months; a surprisingly heavy workout that apparently reminded a couple of punks in the crowd of Cabaret Voltaire – a compliment I shall take with pleasure! My Christmas bug has meant that I haven’t had a moment to listen back to the recording yet, but I’ll be sure to put something online in the near future. Must also thank Warwick Bazaar for having me on DJ duties the previous evening, in support of a superb set by AHRKH, a fellow Cumbrian and member of GNOD that I met several years ago in Salford while on tour with William Baskinski and Kepla. Weirdly the subject of our sharing a home town never came up back then – it’s a small world indeed. Anyway, do check out his very fine body of solo work here. It really does make me very happy to see places like Vinyl Cafe and Warwick Bazaar springing up and flourishing in my old home town. I’d have been in much less of a hurry to leave if they’d been around back when I was a permanent resident. Long may they reign!
Oh, and what of 2019? Loads to look forward to, not least Howlround’s next live shows at the end of the month. But more on those later, for the moment I’m still fighting off the last ravages of the flu, so I’m off for a cup of tea and a nice sit down. Wishing you all the best for a sonically invigorating 2019!
Hello you. Just wanted to put in a plug for the last handful of Howlround live shows for 2018, before I mothball the tape machines and retire for a week at the parental hearth involving dog walking, London Transport Films and Knight Rider re-runs when nobody is looking (don’t judge me). The excitement starts this Tuesday 11th with a live set at Dalston’s Cafe Oto alongside mighty fellow tape manipulators Langham Research Centre. Both parties will be performing separately, before combining for a realisation of the 1955 John Cage composition “Speech for 5 Radios and Newsreader”. Cannot wait!
Just back from touring Japan and with two new releases in tow (in addition to Tape Works vol.1 which is one of my favourite albums of 2018), those Langham chaps are certainly experiencing a purple patch right now, so the stage is set for a very special evening indeed. Plus I might even have some shiny new Howlround vinyl for sale. Further details and tickets here.
Looking a little further ahead to December 22nd, I’ll be DJing at Warwick Bazaar in my hometown of Carlisle in support of a live set by AHRKH, a side project from GNOD’s A.P. Macarte incorporating Modular synths, field recordings and vocals, which could not be further up my street if it tried. It’s only my second ever DJ set in the land of my birth, the first being some 22 years ago when I played oldskool hardcore at a birthday party (using one of those weird old hi-fi turntables that has the stylus in the lid for reasons that baffled me then and now), before getting turfed off for refusing to play Celine Dion. I’m entirely confident that I shall be much more in my element for this second appearance, but feel compelled to include the caveat that my self-imposed ban on showboating French-Canadian divas is still very much in effect. Further details here.
The following day I’m heading to my joint-favourite record shop, Carlisle’s Vinyl Cafe for the second of their Winter Solstice Soundscapes event. Once again Howlround will go head-to-head with Lakeland ‘Hauntronica’ pioneer The Heartwood Institute, whose Secret Rites LP on Polytechnic Youth was another of my favourite longplayers of 2018. It’s a highly anticipated rematch following last year’s inaugural event, though I am hoping the machines behave a little better this year: Daphne in particular was rather stubborn and unyielding the last time around, despite all the whispered oaths I used in trying to convince her to behave – hopefully on the return visit she’ll prove a little more pliable. Sadly Simon will be sitting this one out altogether after spooling all over the floor at the recent Palace Electric show. Needless to say my new year’s resolution is to put all the machines in for a service…
And that’s almost it for the year, but I’ll be popping up on your feed once more in 2018 to drop my now-traditional, hotly-anticipated ‘Best Of Year’ mixtape, which I’ll be putting together sometime in the next week. As ever, it’s going to be a hard slog trying to include all of the fabulous releases that have come my way in the past twelve months, but it’s a challenge I always relish. In the meantime, please enjoy the above 2017 mix one more time. That was a pretty vintage year too…
teaser terror peek at the eerie eruptions emanating from a new Howlround happenings. Culled from an imminent chiller entitled ‘the debatable lands’ this is the unforgiving power electronics bleakness of (what we take to believe is called) ‘a melt saetr’. A scalding slice of isolationist harsh noise gouging that scowls, scars and skirts the defiant and damaged terrains of the likes of Sissy Spacek and Tayside Mental Health, happy pop this isn’t, sheer brutal bludgeoning it is. Approach with due care and trepanning deflecting headwear Mark Losing Today
Howlround are delighted to announce that sixth studio album The Debatable Lands (for studio read ‘Mum and Dad’s dining room table’) will be released at the end of the year and is now available to pre-order from Touch.Expertly cut by Jason at Transition and impeccably mastered by Stephan Mathieu, it’s a surprisingly abrasive four-track vinyl LP, but if you order it directly from the Touchshop, you get an additional six tracks, one of which ‘a-melt-saetr’ can be heard here. And that track has already gained the above review from Mark Losing Today, for which we’re much obliged!
Official PR blurb: In December 2017, Howlround (Robin the Fog) was invited to perform at “The Winter Solstice Soundscapes” event for the recently opened record store “Vinyl Café” in his home town of Carlisle, Cumbria. Inspired by the reception to his first ever performance in the great border city, he covered his parent’s dining room table with the same equipment, stretched loops of tape around his mum’s seasonal candlesticks when she wasn’t looking… and this LP is the result. The only equipment used on the album is two 1/4” reel-to-reel tape machines and one microphone. The sounds created are entirely at the discretion of the machines (much of them derived from ‘closed-input’ recordings) and all tracks were produced in a single take. There are no edits, no overdubs and no additional effects.
This marks a new, heavier direction for Howlround, a project better known for more ambient work. Described as ‘Tapeloop Techno’, thick knotty tangles of dense, pulsating bass are an echo of Robin’s early days making bad dance music, while the abrasive snarls of feedback swirling around these tracks point to his more recent embrace of indeterminacy and chance composition. Previous vinyl releases on Psyché Tropes, The Wormhole, A Year in the Country and Front & Follow as well as his own label The Fog Signals have shown a deep understanding of the possibilities of tape manipulation. On The Debatable Lands Howlround eschews the usual field recordings in favour of exploring the interior world of the machines themselves.
The album was officially unveiled last Friday on Resonance FM’s Bad Punk show, though in actual fact only one track from the LP was debuted, along with another from recently issued Psyché Tropes LP A Creak Retimed. The rest of the show was performed as a live session, with regular host Johny Brown and special guest Dolly Dolly reciting great works of poetry from the region with Howlround tape loops providing a live backdrop. Have a listen below if you missed it or would like to listen again:
Thanks to Johny and Dolly Dolly for another splendid performance – our first together since Gallery 46 in Whitechapel last August. Thanks must also go to engineer Matt and Inga Tillere for these fabulous photographs (as usual)! Further information can be found on the Bad Punk website. Tune in every Friday at 10pm, it’s always worth a listen!
I’ll be rolling out the tape machines for a live performance on Resonance FM’s Bad Punk show this Friday 30th November, alongside the ever-redoubtable Johny Brown and special guest Dolly Dolly. This auspicious occasion will occur in celebration of Howlround’s forthcoming 6th studio album The Debatable Lands, the release of which was finally announced officially by the Touch Twitter account last week. It’s going to be a Cumbrian Poets Special, as much of the LP was recorded in the region – to be more specific on my parent’s dining room table during the Christmas break between lengthy dog walks and re-runs of Knight Rider. More details to follow, but I’ll be debuting extracts from the album exclusively on the show – first time they’ve ever been heard outside of Brampton! It’s something of a departure from previous releases, but having been freshly mastered by the legendary Stephan Mathieu, the album is sounding fit and lean – and really quite abrasive in places!
I’m not sure how you manage to cram such an amount of energy into your recordings. You certainly know how to handle tape, and Ernie better wears a crash helmet ; )
— Stephan Mathieu (@stephanmathieu) November 25, 2018
Tune into Resonance 10pm Friday night on 104.4FM and DAB in London, plus worldwide via Resonancefm.com. Industrial strength tape loop action plus Cumbrian poetry from two of my very favourite raconteurs. It’s going to be heavy!