OSG #4: Tape Music – Participants

Daniel Adeyemi
My fascination with analogue tape began quite recently. It started when I stumbled upon some old Cassettes my mother had of church sermons. I started off screwing around with these, recording them into my laptop sampling bits of hiss and random ramblings about Jesus. I then bought a Tascam 244 cassette 4-track. With this I started physically cutting up the cassettes and making short loops and layiering them to make tracks. The thing I love about cassettes and tape is the physicality of it all. The fact I can cut a random bit of a cassette and manipulate that to be whatever. I think the workshop would be a great place to be around like-minded people. Somewhere where I can learn but also show.

Melanie Clifford
Melanie works in translation between film, sound, drawing, broadcast, material and site to think about psychological relationships to urban space: intimacy, distance, estrangement; the experience of being held in and between registers.
Her work includes constructing visual scores for variable sound interpretation, soliciting sensitivity to detail, to minor fluctuations and structural disintegrity. She also works directly with sound and its location: performing site-specific sound pieces and recording found sounds and her own slight interventions, to be edited, reconstructed and broadcast. She is particularly interested in the complex interaction of this work with existing, fluctuating environments; consequent unpredictability; collaboration and the irreducibility of individual perspective; connection and its absence.

Edmund Davie
Edmund Davie records music, often on cassette tapes.

Graham Dunning
Graham Dunning runs Open Sound Group and is an artist and musician. Previous installations have used reel-to-reel machines, found footage and tape looping. In recent live performances Graham has been live sampling from found tapes, via walkmans, to make improvised rhythmical and drone based music.

Emily Evans
I am an illustrator and have however not worked with tapes before. But I would very much apply to document the process if possible and look at what the other artists/musicians do and the processes they go through. I understand this may not be the aim of the workshop, but thought I  would  give it a go and apply anyway. I mainly do collage work so the concept of the musicians using the tape to create new audio visual things really interested me visually and it would be exciting to see and document people at the workshop creating new things.

Gary Fisher
Manchester based sound and visual artist and improviser working in a continuous process of experimentation and enquiry focused around instinctive or investigatory responses to sound, images, places, words, and objects. The overall practice includes various approaches and may be considered a constant ‘work in progress’. Central to this process is a fascination with exploring and amplifying the sounds of textures, surfaces and objects, testing the sound-making possibilities of objects and using found objects and sounds to create new works. This includes experimenting with various media and approaches combining analogue with newer digital technologies and alternative approaches to using conventional instruments and techniques.

Tom Giles
I run a small, non-commercial studio in Hackney Wick. I have put together what is a fairly modern studio, were it 1983. Tape is thus at the centre of the studio. Everything is recorded to an Otari MX5050 8 Track, and the Space Echo is used on virtually everything. I primarily use tape as a recording medium for sonic reasons, but do not particularly exploit its other potentialities and this is something I’d like to learn more about.

Henry Holmes
I am an avid user of tape – both cassette and 1/4″, performing live with a UHER 4000 Report Monitor with which I overlay loops running them through a couple of pedals. The sound of pretty much all of my solo music is affected by tape in some way: recording old keyboards onto dictaphones and or processing tape loops by way of partial destruction. This lends my music a cruddy vibe which is the kind I like!!
I recently completed a BA in Digital Music & Sound Arts at Brighton Uni. For my final project I created an 80 foot loop which ran around a corridor space, the sound of which repeated a section of Faure’s Requiem in D Minor. Prior to the installation this loop was affected by magnets to give the effect of a gradual fragmentation and disappearance of the sound.
Tape label website

Simon Reuben White
Simon Reuben White is a director of Elevator Gallery and also an artist and musician. A previous exhibition piece invited viewers to listen to cassettes from a found audio journal. Simon recently took part in a recording project at Kurt Schwitters’ Merzbarn using pre-recorded sounds to improvise direct from tape.

Mark Wagner
My first ever cassette tape was Jive Bunny and the master mixers. My first hands on use of tape other than passive listening came with ‘ye old tascam 4 track’. A tool which to this day i have yet to find a descent digital substitute for. I owned and recorded work with several 4 tracks from various brands, most of them found or given. I even purchased an analogue tape 8 track recorder of which the one digital function (the play button) broke.  I also recorded several demos with a handheld cassette recorded. It had a built in pitch shifter which was great for ‘fucking up’ back-of-the-bus style boombox sessions or making field recordings which could then be slowed down for instant effect. I ended up using it live with Italian artist Estasy who continues to use his in every single one of his sets.
More recently I teamed up with Sal Chyamolonskas who’s hands were peeling off due to an unknown allergy or condition. The idea was to help him fix up a few broken amplifiers and tape decks but it quickly turned into these long music sessions of noisey ambient made with all the broken gear. The broken 4 tracks and 8 track also made an appearance and tape was cut up and taped back together or just rubbed manually against the tape head. The sessions culminated in a remix of Slade’s ‘CUM ON FEEL THE NOIZE’ which was mashed up through broken gear then recorded onto a tape then onto another one and onto another one…. We made a tape and even gigged it. I seem to recall someone saying “how come you guys have so much gear but it sounds so shit”… Though i thought it sounded pretty great. About a year later -and again with Sal- we took on a new project which was making a noisey ambient of a similar nature using whatever the hell was around us at the time. It happened to feature prominent use of tape. That is cello-tape.. which i guess is analogue?
Video (Facebook)


About Graham Dunning

Artist working in sound, installation and performance; Improvising musician and drummer. Based in London. http://grahamdunning.com
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