karl fousek

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  • sculpture / karl fousek / d hansen / glia – four way split #1 – phinery tapes

    out of stock

    “Danish label Phinery is no stranger to otherworldly electronic music. Their newest release Four Way Split #1 features Sculpture, Karl Fousek, D Hansen, and GLIA. This release marks the first new music from Sculpture since their LP Membrane Pop on Software. “State Translation” and “Fashion Talk” are embedded with frayed, fractured vocal samples that comb over effervescent synth textures. Sculpture creates a sonic tapestry of transient percussive jitters that rattle to the deep reaches of the cortex. While there is an abundance of scattered bits of chewed up frequencies akin to previous Sculpture releases, there is a certain somber cloud of ambiance that permeates its way into this record, most notably on the track “En-Orb,” an odyssey into a dream-like atmosphere. Sculpture’s spastic rhythms are submerged beneath a thick gelatinous stew of synthesizers, sizzling in a cauldron amongst the vapors of a freak chemical reaction. ”


    Considering they only began operations in 2014, Phinery Tapes have wasted no time in building up a powerful arsenal of spools from fringe activists in the realm of experimental sonics. Somewhere in the region of 30 cassettes have so far surfaced from the Danish label featuring artists such as Head Dress, Ondness and Brandon Hurtado. Now the label is commencing operations on a series of releases under the Four Way Split banner, and the first move will feature Sculpture, GLIA, Karl Fousek and D Hansen.

    Sculpture are fresh from appearing on Daniel Lopatin’s Software label with the Membrane Pop LP, while GLIA has been commonly found moonlighting on Shells Rattle and his own svbfvs imprint. Karl Fousek was previously found on Phinery’s third release as well as popping up on Adhesive-Sounds and Dionysian Tapes, while we’ve been reporting recently on Devon Hansen’s more beat-orientated movements as Stefan Jós recently.

    Ahead of the release of Four Way Split #1 next week, we are pleased to get the first airing of the suite of tracks Hansen has contributed to the release. In contrast to the Stefan Jós material, under his own name Hansen is more concerned with layering up field recordings from various locales to create eerily evocative sound worlds, in line with his other work on Where To Now?

    released July 20, 2015

    Mastered by Karl Fousek

  • danny clay & karl fousek – klang – phinery tapes

    out of stock

    This release can be summed up in just one word:


    organ (n.)
    fusion of late Old English organe, and Old French orgene (12c.), both meaning “musical instrument,” both from Latin organa, plural of organum “a musical instrument,” from Greek organon “implement, tool for making or doing; musical instrument; organ of sense, organ of the body,” literally “that with which one works,” from PIE *werg-ano-, from root *werg- “to do” (cognates: Greek ergon “work,” orgia “religious performances;” Armenian gorc “work;” Avestan vareza “work, activity;” Gothic waurkjan, Old English wyrcan “to work,” Old English weorc “deed, action, something done;” Old Norse yrka “work, take effect”).

    Applied vaguely in late Old English to musical instruments; sense narrowed by late 14c. to the musical instrument now known by that name (involving pipes supplied with wind by a bellows and worked by means of keys), though Augustine (c.400) knew this as a specific sense of Latin organa. The meaning “body part adapted to a certain function” is attested from late 14c., from a Medieval Latin sense of Latin organum. Organist is first recorded 1590s; organ-grinder is attested from 1806.

    synthesis (n.)
    1610s, “deductive reasoning,” from Latin synthesis “collection, set, suit of clothes, composition (of a medication),” from Greek synthesis “composition, a putting together,” from syntithenai “put together, combine,” from syn- “together” (see syn-) + tithenai “put, place” (see theme). From 1733 as “a combination of parts into a whole.” Earlier borrowed in Middle English as sintecis (mid-15c.). Plural syntheses.

    released 18 May 2015

    Danny Clay: Pipe Organ
    Karl Fousek: Analog modular Synthesizer, tape delay

    Recorded August – October 2014
    in San Francisco and Montreal

    Arranged and mixed by Danny Clay
    Mastered by Karl Fousek

    Artwork by Eric Sanchez

  • karl fousek – codicil – adhesive sounds

    out of stock

    Toronto’s Adhesive Sounds launched earlier this year as a cassette imprint focusing mostly on Montreal and Toronto’s vibrant experimental scene, and since there’s no shortage of interesting music bubbling up from the scene, the imprint is already eight tapes deep into its catalog with no sign of slowing down that pace. The label’s most recent offering brings us Karl Fousek‘s Codicil EP, a 20-minute suite of heady, blippy synth studies utilizing the newcomer’s simplified setup, described by Fousek as including only “minimal modular synth + tape delay setup.” It appears as though Codicil is Fousek’s second release, following his Relative Position of Figures debut on Phinery from this past May, but the sounds here hit with the sonic maturity of the modern modular greats. Opening track “A1″ is a light-hearted take on near-Reich-ian tone permutations, chopped and phased for your listening pleasure. “A2″ and “A3″ resemble the warm but clinical patchwork orchestrated by Keith Fullerton Whitman at his most “playful,” while “B1″ and “B2″ are more fluid and almost rhythmic, as though Paul Dickow’s Strategy guise wasn’t interested in flooding the dancefloor. Pick up a copy of Codicil directly from Adhesive Sounds now before copies run out.—Decoder