tombed visions

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  • schoolhouse – soft focus – tombed visions

    out of stock

    School House is the lo-fi solo guise of Peter J Taylor, a British composer whose work primary focuses on multiple guitar compositions, focusing on extended techniques, custom tunings and adaptive notation to explore the harmonies of micro-tonal change in overtones. Stretching his ensemble pieces to include upwards of 26 axes, Taylor’s work has gained steady renown across Europe and comparisons to the likes of Rhys Chatham and Glenn Branca. On Soft Focus, Taylor boils the main components of his compositional concerns down to two long form solo excursions of gaseous bliss ambience. Written and recorded in a converted 14th century schoolhouse during the winter 2013, ‘Soft Focus’ displays subtle Reich-ian rhythmic patterns in large arching movements; sine tones and detailed field recordings undulating in and out of a focus in a constantly weaving and blossoming atmosphere. Using custom made stringed instrumentation designed by Taylor and master Luther Yuri Landman, the chamber like qualities of these electroacoustic experiments is gorgeously embellished by the natural reverb of the recording environment; a canvas on which half remember melodies and crystalline sonics meld and combine with equal tension and serenity.

  • aufklärung – zeit der aufklärung – tombed visions

    $9.00 Add to cart

    All tape releases come housed in a metallic black jewellery case, complete with a custom tracing paper Obi strip, gloss card insert, download code and zip lock bag. Professionally mastered and dubbed onto Low Ferric Noise C60 cassette. Includes a special ‘Opium’ scented incense stick for setting the acquired mood for aural ingestion. Edition of 50.

    Taking their name from the German term “Age of Enlightenment”, the duo Aufklärung tread a somnambulistic journey through pastoral beauty, slowburning psychedlia and caring introspection; a document of two close friends reconnecting. Recording in the winter of 2012, the duo decamped in an abandoned church in an isolated part of the Yorkshire countryside. Instead of the usual exchange of pleasantries, Lucy and Alex, barely saying a word to each other, instinctively turned on a Dictaphone and sat down to takes turns on guitar and the old piano sat by the graveyard. The result is four tantric improvisations that display an innate musical kinship, as if the melodies were pre-written and streaming through the ether, to be plucked and then examined by the pair, commenting on the phenomena in slow and considered conversation. There is a directness and a beautiful fragility to this recordings that completely resonates within the music. Although a mutual affection for La Monte Young and Popul Vuh can be perhaps detected, Johnson and Macarte’s travels are less structured and reflect the circumstances surrounding the recordings; the words come from the strings and the keys. Admittedly inspired by the 21.12.2012 phenomenon and its posit of new human consciousness and awareness, ‘Zeit Der Aufklärung’ speechless conversation could be seen as the awakening of this? Or as simple something serene to be beholden to.

  • i have eaten the city – secret paths – tombed visions

    out of stock

    Cassette comes house in a double sized case and custom vacuum form tray mount to keep the record secure. All tapes a pro dubbed on bright green shells and the 2 panel inlay has been printed on 300gsm recycled paper.

    Their first recorded album since 2007, ‘Secret Paths’ is I Have Eaten The City’s tour-de-force. This trio of multi-instrumentalists could easily be seen as a microcosm for the practices of Toronto’s wider experimental music scene, the breadth and fluidity of their experimentations throughout their discography showcasing an alarmingly diverse range influences and atmospheres, of which ‘Secret Paths’ is a clear apex. The astonishing opener ‘Eyot’ unfurls in wide-eyed panoramic colour, showcasing a radiant display of aquatic guitar textures, gorgeous flute work and pulsating drum machine clusters all suffused with electro-tropical humidity that bathes the listener warmth before boiling to its ominous close. Album centrepiece ‘Mannequin Gait’ careens like a slow late night drive through a sprawling metropolis, the pulsing groove the only thing keeping the flowering, neon melodies from collapsing in on themselves. It’s here that saxophonist Colin Fisher really shines; his keening melodies taking flight around Nick Storring’s deeply plucked cello groove and Brandon Valdivia’s throbbing and dexterous take on dub. Perhaps less obviously impressive than the telepathic interplay shown on these long-form journeys is subtlety and introspection of the trio on both ‘Ipê’ and closer ‘Mollusc’. The former’s ensemble of balafon, thumb piano and cello is both suggestive of various African and South East Asian idioms, yet skirts appropriation. Meanwhile, the latter evinces the trio’s interest in soft, spacious modern composition, with each player inhaling and exhaling a considered and haunted melody that feeds a continually blossoming whole.

    Easily the finest release on Tombed Visions so far, ‘Secret Paths’ takes a kaleidoscope of influences and reconfigures them on each of the five tracks that make up the record. It’s a strong statement from a criminally underrated band at the heights of their powers—all the more dumbfounding once you realise that all this music was improvised.

  • duke of zuke – apnoeic – tombed visions

    $9.00 Add to cart

    Apnoeic is the second EP from London-based composer and cineaste Clint Trofa. Whereas Trofa’s previous work had focused much more on a diverse pollination of sounds and instrumentation, ‘Apnoeic’ see a vast reduction in compositional tools; strictly using the electric guitar and a handful of effects pedals to create an eerie, cinematic tapestry of mood and atmosphere that is far more mature, direct and clear in its songwriting and characterised by a bruise-blue melancholy. The compositions that make up the record each originate from simple loops, flowering in a layering effect in which each note is perfectly placed to accentuate the mise-en-scene of the albums filmic character. Album centre-piece ‘The Trick Is To Breathe’ is exemplary of this, washing the listener with sparse arpeggios that slowly ascend into redemptive bowed strings. It should come as no surprise then that three of the tracks recently featured in the documentary ‘The Pedway: Elevating London’ which was screened to a sold out Barbican as part of the Architecture Film Season. Of all the recent works on the Tombed Visions label to centre their voice on the guitar, Trofa’s work is the most unashamedly honorific of the instrument, refusing to disguise or bury its qualities under mountains of effects. Instead, Trofa has opted to craft 5 individual scenes that flow together like an imaginary and hallucinatory short film, chiaroscuro in shade and most importantly narrated by his delicate ‘moonlight’ playing style which owes a debt as much to Ry Cooder as it does Loren Mazzacane Connors. The result is an album that is feels far more emotionally inclusive of the listener and utterly refreshing in its directness.

  • joseph lawrence quimby jr – wren / le chat est parti – tombed visions

    out of stock

    Joseph Lawrence Quimby makes his monumental return to Tombed Visions with a double album of richly constructed and awe inspiring sound worlds. Both Wren and Le Chat Est Parti act as perfect companion pieces that solidify Quimby as one of the premiere voices working within the experimental ambient scene and shows, in abundance, a detailed and skilful consolidation of found sounds, textural manipulation and magnificent song craft . Of both cassettes, Wren has the darker heart and is built round two long form pieces that each stretch over 20 minutes. Viande Secète dark excavations soon moves from disquieting sighs of morose song into a shuddering hauntological dread whereas a ‘Return to Latvia’ glacial pace simmers into a blinding organ sunrise. This overblown radiance of color is shown again in opener Mensonge, whose organ tones grow round airport field recordings and climb to a brilliantly redemptive end. Ariane is perhaps the most majestic of Wren’s songs, whose stirring strings coruscate proudly through a sculpted, mechanical rhythm and offers tribute to one of Quimby’s musical heroes Jóhann Jóhannsson. The balm of this beauty is counteracted with a further jaunt into disquiet on Les Migrateurs as creaks of cello, snatched hummed vocals and a swirling alien exhale build curiously into a tapestry of audio ephemera. Le Chat Est Parti focus is more explicitly geared toward repetition. Bins might be the hit of the record; a gorgeous, nodding mind massage that throbs with the pulse of dub techno and blooms with every loop like some maximalist dedication to Oval. References to Markus Popp continue on Toute La Ville and Saint-Quentin-en-Tourmont, pinging across the mix spritely, citrus colors of clipped guitar tones awash with the sounds of the sea. Sans Sommeil and Scenes De Rue are voiced by lilting pianos, warm as they are ghostly and have a pronounced chamber music feel in their sensitive control of echo and space. Although sharing nothing in character, 2 Years and 9 Years are the most distinctive pair of songs the record. 2 Years clipped percussion and chirps of birdsong roll hypnotically and acts somewhat as palate cleanser in it sparseness. 9 Years is the truest song on the record, Quimby’s mournful voice simply framed by acoustic guitar and trampled gravel found sound, spilling forth a confessional tale of self-destruction that is markedly direct and all the more affecting for it. The breadth of Quimby’s compositional skills are shown in all their wondrous variety throughout both cassettes, offering a stunning multi-dimensional experience for the listener to travel through with their ears, revealing further treasures with every journey. It is without doubt his most assured and confident work to date and in turn his most beautiful.