back in stock as of
march 8th, 2013
first in stock on
october 31st, 2007
|touch sevens (uk) #ts 02 ep|
touch (uk) #ts 02 ep
chris watson “oceanus pacificus” seven inch single record
|touch sevens press release...|
touch # ts02
7" vinyl only - not available for digital download
limited edition of 1000
locked grooves on both sides...
artwork & photography by jon wozencroft | cut by jason @ transition
the voices and rhythms of the humboldt current around the galapagos islands recorded april 2006 using a pair of dolphin ear pro hydrophones onto a nagra ares-pll digital audio recorder.
chris watson, originally from sheffield but now resident in newcastle, england, is the world's leading wildlife sound recordist. after co-founding cabaret voltaire with richard kirk and stephen mallinder, he left in 1981 to work for tyne tees television and he also joined the hafler trio. he then left to become the sound archivist for the royal society for protection of birds. he is now working full time as a freelance sound recordist.
chris watson has released 3 solo albums for touch and 2 collaborations with swedish sound artist bjnilsen.
storm [touch # tone 27, 2006]
wind [ash # ash 6.5, 2001]
weather report [touch # to:47, 2003]
outside the circle of fire [touch # to:37, 1998]
stepping into the dark [touch # to:27, 1996]
kk null / chris watson / z'ev - number one [touch # tone 24, 2005]
star switch on - chris watson with aer / biosphere / fennesz / hazard / philip jeck / mika vainio [touch # tone 18, 2002]
|touch sevens series of 7" vinyl|
7" vinyl was the quintessential format for popular music. today, it is an undervalued and mostly promotional medium, used as a fetishistic signpost to a time of musical authenticity and a "healthy" popular culture. it might seem like another retrograde step to launch a vinyl series just as the download format threatens to dominate, and indeed there is an element of "the rear view mirror" ... the generation of touch artists who grew up with vinyl [and cassette] still feeling a strong emotional attachment to it. this series is more than that ... an overtly critical, non-digital statement is supported by treatments of audio work which cannot be applied to digital formats - the sonic texture, the use of a locked groove, the a & the b and the additional dimension of the visual counterpoint. as for the aspect of audience participation, we choose not to specify the rpm on the label, encouraging the listener to experiment with playback options and personal preferences. an attempt to make music that works at both speeds. the front cover might actually be the back cover ...