This album was originally released on The Tapeworm as a cassette in an edition of 100 copies.
www.tapeworm.org.uk/ttw116.html
Now made available as a digital download by the artist.
credits
released September 28, 2019
“Left Behind” is a collection of studio-based works, improvisations and sound studies from 2006-2013. They were all intended for release but for one reason or another never made it out into the world.
A1: Church the Light of the World (2013)
A2: Sixty-four Sine Waves (D Aeolian) (2010)
A3: Sixty-four Sine Waves (C Major) (2010)
A4: Sixty-four Sine Waves (G Minor) (2010)
A5: Sound for Animation That Never Happened (2007)
B6: No Input Mixer Improvisation (2006)
B7: Warm Room (2012)
B8: Modified Portable CD Player (2011)
B9: WORM (2013)
“Church the Light of the World” (2013) – recorded and sound material found in London, Rotterdam, New York City, Orlando, Derry and Turin between 2009-2013. Indoor and outdoor fielding recordings, found tapes, found objects, found metal and broken cymbals, modular synthesizer and homemade electronic circuits and electronic test equipment.
“Sixty-four Sine Waves Studies: D Aeolian, C Major and G Minor” (2010) – recorded in Kentish Town, London, 2010. Max/MSP.
“Sound for Animation That Never Happened” (2007) – recorded in Archway, London, 2007. Doepfer modular synthesizer.
“No Input Mixer Improvisation” (2006) – recorded in Cricklewood, London, 2006. Mixer, effects pedals and contact mic.
“Warm Room” (2012) – recorded in New Cross, London, 2012. Voice: Frances Morgan. Doepfer modular synthesizer and SuperCollider.
“Modified Portable CD Player” (2011) – recorded in Kentish Town, London, 2011. Modified portable CD player.
“WORM” (2013) – recorded and mixed at WORM Studio in Rotterdam, Netherlands and New Cross, London, 2013. Analogue synthesizers: ARP 2500, ARP 2600, EMS VCS3, Serge Modular, Synton Syrinx, Roland SH-09 and Korg MS20.
supported by 5 fans who also own “Left Behind (The Tapeworm | 2019)”
An ascetic (though mighty) sound palette, works as a canvas for an unrivaled lecture about rhythm generation & composition in electronic music.
Straight from the outermost post and beyond the explored areas of this micro universe, from where Yves De Mey sends us back his findings.
Now I’m trying to remember what was I doing back in September that prevented me from grabbing this instantly. 𝖜𝖔𝖗𝖒 𝖒𝖊𝖆𝖑
Straddling the threshold between studio performance and digital technique; the NYC artist applies "fake jazz" principles to synthpop. Bandcamp New & Notable May 2, 2024
A collection of tracks from the singer and multi-disciplinary artist's 111 collaboration series, featuring KMRU, Laraaji, and others. Bandcamp New & Notable Apr 25, 2024
supported by 5 fans who also own “Left Behind (The Tapeworm | 2019)”
A voice far away sounds eerie but inviting, nearly always. Using the stripped down sonic palette of, largely, human voice, this release moves through varying dizzying melodies that morph more than they change. The audio presentation of the at once haunting and foreboding voices highlights the inhuman end of the human voice, while keeping the parts of the human voice we love to hear on a track in tact. The effect is goosebumps, eye closing and head swaying inducing. bkudler