Free Dive

Release date: 19.07.13

Pre-order's come early for those on the mailing list:

www.fluidaudio.co.uk/about/mailing-list/

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We instantly feel in love with the Squanto sound from way back in early 2012 when Ben sent over an early demo for what is now known as 'Every Night Draws the Same Crowd'. We knew this was going to be a very special album, and one that has been close to our heart...

The photographic prints that come with the album are taken from a trip to North Wales (Snowdonia National Park). This location was always in Dan's mind for the album... The beauty and mystery that encapsulates Snowdonia seemed the perfect fit for the Squanto sound so off we went in the van with camera in hand.

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Limited edition of 100 copies includes...

*Letter-pressed craft CD covers
*Large (220mm x 220mm) letter-pressed craft envelopes with song lyrics
*Letter-pressed print insert with hand written message on back (hand numbered)
*20 (huge 210mm x 210mm) printed images of Snowdonia National Park (printed on think 280gm luxury card)
*Archival numbered/typed photographic paper
*Pine cone from trip
*Lavender/scent
*Download code...
*All tagged/numbered

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Squanto is Ben Lovell from New York. Ben has been releasing his home-recorded experimental folk music on small-run CD-Rs and tapes since 2009, primarily on his own Lily Tapes & Discs, but also on other labels including Rok Lok Records, Diving Station, and now Fluid Audio.

This album was written and recorded 2011-2013 between bedrooms at school and at home, inspired and informed by long aimless walks through familiar neighborhoods in the dark, trying to pretend that eventually there would be something different behind the houses.

Music by Ben Lovell, drums on "To the Grid and Back" by Sean Kelly. Thanks to everyone in Rochester and LI and everywhere else for your friendship and support, and thanks to Dan for making this release possible.

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Packaging design: Dan Crossley
CD design: Ian Hazeldine
Audio mastering: James Plotkin

Squanto - Heave

* Bonus track taken from the album 'The Blizzard That Birthed Her' by Orla Wren ft. Aaron Martin & Isnaj Dui. This track will be made available as a free download for those that order the album through the mailing list in the next few days:

www.fluidaudio.bigcartel.com/mailing-list

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Release Date: 01.12.13

Offered as metaphor and delivered as analogy...

The Blizzard That Birthed Her is the continuing echo of this year’s Home Normal success, Book Of The Folded Forest. Birthed as two original Orla Wren tracks ‘Five Acre Ladder’ and ‘Mountains And Wishbones’ which were recorded in the same session, Tui then worked the cello, bass and vocals of Aaron Martin into two alternative versions of each track, making up the 4 tracks on the 10” vinyl for Facture.

He then offered the same to Isnaj Dui who contributed some flute for him to then create the two versions with her as guest. To complete the companion 8 track letter pressed CD version the two "reprise" versions were created by Tui utilizing parts from the other tracks.

Mastered precisely by James Plotkin, the project is released as a limited edition run of 300 copies designed by Daniel Crossley; 4 track 10” vinyl on reverse board heavy card with printed inner sleeves with designs by Montreal designer Urban9, download code, 8 track 4-panel letter pressed CDs with wrap-around letter pressed bands, 4 prints resting inside typed/numbered glassine photo bags, 2 x double sided large prints, pressed flowers, all resting inside large tagged/scented letter pressed envelopes with beautiful artwork again by Urban9.

To accompany the album an exclusive promo film was made for the track Five Acre Ladder (reprise) by Lumacell. And a very special exclusive bonus track The Cup Of Remembered Things is also included as a free download.

A returned honour of growth and loss, this album complements her predecessor as an expressive companion piece requiring little explanation.

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www.fac-ture.co.uk
www.orlawren.eu
www.aaronmartin.bandcamp.com
www.isnajdui.bandcamp.com

Orla Wren - The Cup Of Remembered Things (With Aaron Martin)

MAPS

DARE

DESIR

RISE

GLOW

tape loop improv #4

ECHO

WAYS

A two hour overview of the artists connected by the "indietronica" or "folktronica" descriptors – these terms rose to prominence in the mid-1990s as electronic artists began exploring acoustic arrangements and organic leaning sounds and samples, and traditional guitar-based bands experimented with sampling technology and electronic sounds.  
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/the-nts-guide-to/episodes/the-nts-guide-to-indietronica-18th-july-2025

NTS Guide to: Indietronica  180725

as night falls earlier each day

up above the clouds

tapeloop1

Roy Looper 3

Available end of September, 2013. Early pre-orders for those on the mailing list:

www.fac-ture.co.uk/Mailing-List

The audio process…

Light Folds by The Seaman and The Tattered Sail is a collaboration between Craig Tattersall (The Boats, The Remote Viewer, The Humble Bee, Cotton goods, Theodore and Hamblin, The Famous Boyfriend, etc.etc. and artist/designer) and Bill Seaman (SEA, Attsea, Otic.Info.Set, sp.op.cit, Spilly and the Drops, etc. and media artist exploring linear and interactive works). The work took place via the internet, sending differing files back and forth using Drop Box, wetransfer.com, and vast quantities of email. After about 2 years Tattersall and Seaman met face to face!

It started with a simple back and forth set of responses to a few audio files, building up loops and tracks. Over time it built up to over seven hours of music. We initially made a double CD of works but we kept abstracting and remixing and colliding things. Tattersall brought his distinct form of “dusting” which explored unique forms of noise, tape ambience, tape degradation, etc. Seaman often explored abstraction using Ableton Live, especially in terms of time / pitch manipulation, and exploring the combination of a multitude of Ableton plug-ins. Huge amounts of data were sent back and forth! Occasionally we went a bit mad with naming and keeping track of things… Usually a number of mixes for each initial work emerged out of the process. Sometimes the abstractions went quite far away from the original tracks. The double album on Vinyl came late in the game where a series of shorter versions and new abstractions were defined.

Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise).

Seaman was working primarily with Ableton Live and contributed Piano, vocal, text, fragment constructions and reconstructions, time abstractions, quartet samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles.

We worked with some excellent musicians in the construction of the samples…

Trumpet (sample recordings) – Robert Ellis-Geiger; Ciompi Quartet (sample recordings) – Eric Pritchard (violin), Hsiao-mei Ku (violin), Jonathan Bagg (violin and viola), Fred Raimi (cello); Clarinet drones (sample recordings) — David Beaudry; in Ableton Live (construction space), and Seaman used a Roland Edirol R-09HR Ver.3.0 for instrument and voice recordings.

The musical influences run the gamut from ambient, industrial, glitch, dance, pop, jazz, classical, experimental, noise art, etc. Seaman has called this alt.genre in the past… although it really defies a single musical label.

The working process was quite exciting to hear what each had done with the tracks as an ongoing process… The project is incredibly rich in its subtle exploration of psychoacoustic spaces and layerings, and it is vast… The works form a series of plateau-like spaces where time is explored and erased, and an atmosphere for reflection and association is presented. Duration was not worried about and many of the works are quite long. The entire project has been incredibly exciting and rewarding in that we each seemed to pull the best out of the other!

It is also worth noting that as an aside to creating within this album, there was a huge element of learning within the album.

Working with a new creative partner always begins with finding a commonality in working practices, then from this you can bring your individual approaches to working practices, it is in the dialogue whilst working through these passages that you learn from each other.

The artwork process…

Like most work undertaken there is a underlying aesthetic language that has been built up over years of arts practice, whether this be audio or visual production.

An aesthetic language seems to span audio and visual works that is to say that you use a language and approach to creation in the same way whether it be audio or visual work, so it seems obvious that visual artwork that is in creation at any given time will in some ways mirror audio creation at the same time.

So as we where in the thick of creating the audio I had started making some experimental pin hole lumen prints (a photographic technique where you work with photographic paper within direct sunlight).

These were simple images of dots created with holes in little metal boxes. They were interested in capturing light and time rather than a conventional image. So the images were created using one (pin) hole exposed for one hour, two (pin) holes for two hours and so on up to 12 holes/12 hours.

I was sharing these with Bill and as well as Bill liking the work/process it became apparent that they seemed to share an aesthetic with the audio we were working, looking at light, time, space.

So in conversation with Bill I started to take the photographs into digital forms, exploring how the ‘dust’ of the analogue process could be extrapolated through digital forms, and then of course taken back into the darkroom and analogue processes, exactly how we were working in the audio work.

From there, and through extensive email conversations the artwork developed into the body of work that comes with the release.

Like the artwork the titles also reflect the abstraction process. Needless to say – “Light Folds” can be understood from many different perspectives. – Craig Tattersall

The Seaman & The Tattered Sail - Light Folds (Preview)

tape loop improv #4

6000 HULLS

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