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THF Drenching: Gate-Holder For Tape

Album Description

CURATOR:

WFMU

Released:October 1st, 2006

GENRE:

Musique Concrete

Length:00:44:43

Label:Fenland Hi-Brow Recordings

Producer: THF Drenching

Engineer: THF Drenching

GATE HOLDER FOR TAPE IS DIVIDED INTO 8 SECTIONS:

(00:00–02:08) prologue

(02:08–09:13) a mild oath

(09:13–16:04) some gate sequences

(16:04–23:37) Qualcast for Straw / a picture of health

(23:37–26:17) shit polonaise

(26:17–35:23) quartet / that old man flamethrower / aria for Grachan Moncur III

(35:23–39:08) blues for Olmert

(39:08–44:43) posthorse of thought

THERE'S KIDS ALL OVER THE PLACE, SLEEPING AND SHIT, PLUS RELATIVES AND EVERYTHING AROUND, SOMETIMES. AS WITH EVERY OTHER SOCIO-ECONOMIC FACTOR IN THIS RAPIDLY-CHANGING AND MAGARET-BECKETT-STRADDLED COSMOS, IT IMPACTS ON MODERN ALBUM-MAKING. OVERSTAND WHAT I'M SAYING? SO UNDER THESE DIFFICULT PRESSURES, THE IDEA ARISES, RIGHT, OF DOING A PRIVATE ALBUM, WITH NO ACCOUNTANCY-LIKE COMPUTATION, NO DIGITAL, NO GLITTER, NO MAKE-UP, JUST SMASHING LYRICS, AND UNUSUALLY QUIET TO RECORD LATE AT NIGHT. IN THE SHORT, MIDDLE AND LONG TERM THIS MEANS A MASS OF PAUSE-BUTTON EDITS EXECUTED ON TWO SONY TCM400DVS, A PANASONIC FM25 AND NATHAN BLUNT'S BUSTED SONY TCM818 WE KNOW SO WELL FROM "TAPE TEAM J19" SPREAD OVER TWO C90S AND PLAYED BACK SIMULTANEOUSLY LIKE A TWO-TRACK STEREO RECORDING ON A BUSTED BUSH STEREO UNIT, BLAZING LIKE BIGGIE PASSED US A SEMI IN HERE. CONTRA R STEWART, THIS LAST CUT IS THE DEEPEST. FUCK ELECTRONICA, MAN.

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Gate-Holder For Tape

01. Gate Holder For Tape (44:43)

UPLOADED:10/21/2009

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COMMENTS:1

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Gate-Holder For Tape by THF Drenching is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License.

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thfdrenching on 10/22/09 at 07:43AM

ORIGINAL LINER-NOTES:

Gate Holder For Tape can be characterized by an uncompromising
dedication to instability and fragmentation, making unstable fragments
out of it. The perception is transparently transferred to the end of the tool. The received wisdom of performance practice is continually questioned and reasserted, often with intentionally unpredictable results. Without exception, I constantly introduce a decoupling of component
performance techniques every day. Fracture is prioritized in timbral,
structural, and rhythmic strata in such a way that resulting aural units are
themselves only the byproducts or collisions of independent (and often
cyclic) musical processes. The ideal album becomes, then, both the locus
of processual sediment and concurrently the cause of significant
deterritorialization on the part of performer and listener alike, a process
rolling out across several branches, nationwide, as of now. The
synthesized drone is as deep and warm as a featherbed, and the deeppitched
melody curls around itself in sinuous microtones but with unexpected syncopations... Throughout it there are beautiful, pure [resonating] bells ringing quietly at reassuring intervals. Deny this.

T.H.F. Drenching, Proof of Concept Workstream Leader, October 2006.