my mind has been modulated. so, yeah, thanks for that.

Shoulda signed my girl holly Herndon tho 

Download Karen Gwyer's remix for free: http://bit.ly/SCLPTKGRMX

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©2014 Software Recording Co. // http://softwarelabel.net

Sculpture - Hackle Scam Populator (Karen Gwyer Remix)

Basscontroll - Forever Techno (Original Mix)[SAM-Master]

Gendikama

A I W A - Some Time Maybe

Peaking Lights - Birds Of Paradise (Maria Minerva's Ooh Aah Eh edit)

From the label 38's forthcoming 'Compilation 1.'

J. Albert - aiwtdipms

excerpt from an unlabeled live recording 2017

Mare Insularum

https://ultraeczema.bandcamp.com/album/dark-arc

Dan Melchior & Sigtryggur Berg Sigmarsson (Dark Arc A Side)

Night of the Toacas /50 tapes - Two recordings of an improvised night session in Nantes, November 11th 2018. 

Full tape on https://humbros.bandcamp.com/

Night of the Toacas - Babahi (Face A)

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

Sea Urchin - Natal Uranus, Il Corpo Sotto La Sabbia (Single Edit)
From Commend 005: Sea Urchin and Aki Goto's Shirotento Orchestra - Natal Uranus, il corpo sotto la sabbia / Birthdays

Learn more here: https://smarturl.it/cmmnd005


Mastered by Jack Callahan.
Artwork by Aki Goto. 
Design by Will Work For Good.

Sculpture - Hackle Scam Populator (Karen Gwyer Remix)

Software Recording Co.

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