free piece of tape
Free Piece Of Tape CD | granny05
Release date: June 2010
Edition number: 500
Granny Record’s 5th release is the self titled album by Athens duo, Free Piece Of Tape. The album’s structure is based on nine compositions. Although they have been recorded through deifferent periods of time, the result ends up homeomorphus and coherent. The strucuture of the compositions is based in its bigger part on improvisational forms that evolve and change over in real time.
The characteristic sound of Free Piece Of Tape derives form the coexistance of self-made musical devices along with analogue instruments, contact mics, and various sapmles, all of them moving around electroacoustic compositional forms and creating solid and multilayered compositions.
- min volume
- max volume
noise-below by Nicholas Malevitsis
this has been out since june actually, on the homegrown thessaloniki label called granny records [more about the label soon].
Free Piece of Tape have been performing for a few years now, and have had their share of handmade tour-merch cdr editions, as well as a purposefully-out-of-character acoustic recording on kukuruku. Here we get a distillation of sorts, with the band offering 8 pieces that range from measured drones and electronics, to a thick stew of manipulated electro-acoustic treatments.
Their music thrives on the face-off between Axiotis’ synth, effect + mixing-board treatments and Theodosis’ impressive arsenal of handmade or repurposed percussion and spring-based instruments. On this album their sounds are at their most restrained and honed-down, though their vision on what they’re capable of is wider than it’s ever been. A most welcome addition to their catalogue, and a good place to measure one’s strengths.
Loop Magazine by Guillermo Escudero
Free Piece Of Tape is a duo from Athens formed in 2001 who works with improvisations and real time composition using analog and electroacoustic instruments and some of them self-built.
Eight tracks combining improv, drone, cut-ups, waves of analog synth and their invented instruments that sound like violin and guitar produce an amalgam of amazing layers.
On “No input” unfolds a percussion session with metal objects which are amplified. “Battery” shows up the sound of bowed instrument while sharp noises emerge. “Dubud” is a track quite different from the others since a bass pulses a dub rhythm.
“Burning school” is an improvisation gem piece interweaving voices, a guitar sound like, undercurrent percussion and an organ sound like that flirts with the Krautrock genre.
Foxy Digitalis by Paul SImpson
Improv electro-acoustics from a Greek duo. The liner notes and press release are pretty vague about what’s going on here; the tracks were recorded live between 2005 and 2008, and appear to have been recorded using self-made devices, analogue instruments, contact mics and samples. Opener “Attach The K” has a constant flickering sound that suggests a rhythm, but all the buzzing, droning and feedback that surrounds the flickering seems to be independent of any sort of rhythm. “Sun-Ba,” on the other hand, centers around a tapping beat, and works samples of the band’s previous recordings into a droning rhythmic collage. “Crimson Rose” threads metallic feedback through a calm melody and distant sounding percussion. Probably the most cohesive statement is “Dubud,” which begings with echoed static and high-pitched oscillations, then adds fractured bursts of dub rhythm, which seem to be edited offbeat on purpose to trip up anyone who thinks they’re going to be in for a smooth groove. This abstract rhythm gets looped and mutilated, along with some feedback that may or may not be a distorted melodica. I’m sure most reggae purists would cringe in horror upon hearing this piece, but to me it sounds like a fascinating step outside the boundaries, taking familiar ideas and experimenting with them to create something new.