We are delighted to announce the release
of the Collision/Detection box set –
collecting together 9 EPs from a whole host of incredible artists, creating
exclusively for the Collision/Detection project. The box set will be in shops on Monday 10th June, but you can pre-order it below.
The limited first edition of 200 comes in a letter pressed package, with a bonus
download album of exclusive additional tracks, and the original sound clips
used to create each EP.
EPs come from Psychological Strategy
Board (Jonny Mugwump and Time Attendant), West Norwood Cassette Library, The
Lord, Hong Kong in the 60s, BLK TAG, Kemper Norton, The Doomed Bird of
Providence, Isnaj Dui and Sone Institute.
PRE-ORDER THE BOX SET NOW – ONLY 200 AVAILABLE OF THE
FIRST EDITION
RELEASED
MONDAY 11TH JUNE 2013 (DISTRIBUTED BY CARGO)
All
pre-orders will be sent out before the release date.
Collision/Detection is the second
experimental audio project from Long
Division with Remainders (LDWR) which sees invited artists submit audio
clips into a central pot, which is then distributed around the group for them
to do with as they see fit, resulting in a series of digital EPs released
across 2012 and 2013.
Letter press
package by Red Plate Press (redplatepress.tumblr.com)
The wondrous sonic experimentalist that is Sone Institute presents
Collision/Detection v9 aka DeathBeat.
Sone Institute is the home of Roman Bezdyk, mercurial curator of
two out there albums, Curious Memories
(2010) and A Model Life (2012), and a
collaboration with Dollboy, The Sum and
The Difference. His Collision/Detection EP is the soundtrack to 1983 horror
classic DeathBeat. Hell has a new beat.
It is called death...
DeathBeat
(1983) Film
Synopsis.
Where Sex,
horror and vinyl collide on turntables of blood and bodily fluids.
"You
know you are dying for it... and you will baby"
“I call her Sister Sledge, Sister Sledge
hammer" as the cold
steel
pulverized her wretched smiling, sluttish face.
“...Blood
spewed from the soft opening like milk from a mesmerized baby’s mouth.”
Hell has
a new beat. It is called death...
The year is 1983 and DeathBeat, New
York’s finest nightclub is celebrating its 1st birthday.
What could go wrong?
Housed in the beautiful Gothic
Smoking Dog building. Once home to the
experimental asylum for sexually deranged and monstrously violent patients way
back in 1953.
Today also happens to be the 30th
anniversary of the 78 patient’s horrific termination by its very own deranged
medical director - mercilessly hacked to pieces one by one while under the
influence of the drug Kajja. The dead souls of the patients now pray in their
fear sodden death chambers never to be woken to the rotten earthly pleasure
that brought them here in the first place. Or, to the sick flesh pursuits of
their hell flamed desires.
Kajja’s main side effect is to
induce a relentless throbbing pulse wave of 69 beats per minute (bpm) in
patient’s / users skulls, due to a psychic irregularity and sonic displacement
of 69 bpm. Induced by DJ Beak's double groove sensual pleasure DJ set, tonight
hell will manifest itself in DeathBeat Discothèque.
They have returned for one final
dance.
Why and how they have returned,
earth dare not comprehend.
For what?
The revellers can only scream inside their
putrid, vile brains and beg for their pointless, Godless lives to be
extinguished.
1. DeathBeat 1 (Main title sequence)
Hope and
affluence reign in the club of distinction. Money, sex and power are the new
Gods. Man is his own master- the supreme being of all. DJ Beak reigns untouched
with his blend of double groove frottage scratch technique.
2. Unguarded Circle of Flesh (Decapitated head sequence)
The first set of heads and
mutilated genitals are discovered rotating at 45 rpm on the gold plated
Technics 1210's, but the beat goes on...
3. Flesh Dance (In a state of perpetual arousal)
Chased by institutionalized
reincarnations of lascivious inpatients, they attempt to fornicate with the big
hair styled and shoulder-padded patrons of the club. Unfortunately their idea
of climax always ends in death...
4. DeathBeat 2 (Film end title sequence)
The Club lights continue to flash.
A muffled beat relentlessly throbs. A lone female’s voice sobs. Trembling like
a demented gerbil in the corner of the dance floor. The camera pans across the
dance floor which drips in blood, seminal fluids, tears, half eaten brains and
fear induced piss.
Standing somewhere between neo-impressionism and electronica,
Isnaj Dui (real name Katie English) conveys a minimal yet capturing sound using
electronically manipulated flutes and homemade instruments. She writes of the
Collision/Detection EP:
When trying to
find a starting point for the EP I found that some of the given samples fitted
into quite definite blocks – gloomy, glitchy, plastic, tonal etc. I initially
tried dividing them up, envisaging four tracks based on the general feel of the
samples used.
Then my computer
broke. So I started again.
Having divided
the samples up once again, albeit slightly differently, I assembled a rough
base for each of the tracks, adding flute, bass flute, dulcimer and electronics
to echo or contrast the samples.Some
lent themselves easily to the addition of melodic motifs, others were more
based on the layering of sounds or rhythms.Many of the samples have been left relatively untouched, save some
cutting and splicing.
Cited as a distinct voice, taking the flute away from its pastoral
image whilst maintaining its unique mellow sound, English has released several
critically acclaimed albums including 2010's Protective Displacement (Rural
Colours) and Unstable Equilibrium (Home Normal, 2009). She has appeared at
venues such as the National Portrait Gallery and Union Chapel in London and has
received extensive play on Radio 3's Late Junction and BBC 6 Music.
As a classically trained flautist, English has also studied
electroacoustic music, alternative tunings and Balinese gamelan. Working
without laptop processing, English uses the pure tones of concert and bass
flutes alongside homemade dulcimers and electronics to create immersive yet
restrained textures that weave in and out of each other.
As well as her solo work, Katie plays in littlebow, The Doomed
Bird of Providence and has collaborated live and on record with Orla Wren,
Hybernation and The Owl Service amongst others.
'Absolutely gorgeous music and a big recommendation for followers
of [Home Normal] and good music everywhere.' – Boomkat
'...an oft-beautiful exercise in sensuous tone-painting that, in
seemingly effortless manner, not only distinguishes itself from the competition
but establishes Isnaj Dui as a distinctive artistic voice.' – Textura
'Deeply inspiring music from a very, very special place' – Nils
Frahm
The 7th EP in the Collection/Detection series comes from The Doomed Bird of Providence, released on 28th Jan 2013 (download from all the usual places).
With
The Doomed Bird of Providence's EP the process of making the songs
required a fairly radical adjustment of the supplied sounds provided for
the project. The main intention was to supply a range of songs to
accompany short visual pieces. For this reason the band's foray into
LDWR had a twofold intention; the band were creating short soundtracks
as well as incorporating and manipulating the bank of LDWR sounds across
the four songs.
The four songs soundtrack four films (either short films or excerpts)...
1. In the Terror of the Moment
This
piece was written to accompany the climatic scene towards the end of
the 1927 film adaption of Marcus Clarke's 'For the Term of His Natural
Life'. It involves a ship sinking on stormy seas and the two main
characters anticipating watery graves.
2. Safety at Sea
Written
for part of a 20 minute 'safety at sea' documentary involved
lightships, lighthouses and model boats often replacing real ones for
the more dramatic scenes. It is possibly the most jolly piece of music
ever released by the band.
3. Seabound
Written to accompany
Donna Kendrigan's 1997 animation 'Seabound'. The animation involves is a
sort of high seas Brothers Quay incorporating a drunken seaman,
prosthetic limbs and a captured mermaid.
4. The Wounded Platelayer
A
piece to accompany part of what is left of Australia's first ever
feature 'The Story of the Kelly Gang' (1906). Most of this film has been
destroyed, the rest suffering nitrate damage which has left only
distorted fragments of the Kelly Gang's capture.
The Doomed Bird
of Providence’s debut album, Will Ever Pray, was released in 2011 to
critical acclaim, followed by the single The Bell of the Jardines. 2013
will see their follow up to Will Ever Pray and a new live set up on tour
across the UK.
Front & Follow presents a series of interpretations of Sone Institute’s album A Model Life, featuring remixes from Dollboy, Kemper Norton, The Doomed Bird of Providence and Nick Rundall. A Model Life brings Roman Bezdyk’s unique and ambitious style out to play again with the follow-up to 2010’s Curious Memories.
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