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previous record label: twr tapes		there are 20 titles on type in stock. they are listed below.		next record label: u-sound archive

$18.01

new to stock as of
november 17th, 2011

threads:
electro-acoustic-composition
minimalism-drones
modern-psych
field-recordings

type (uk) #type 103 lp

william fowler collins “the resurrections unseen” long playing record

first breath (3:00)
the light in the barn (5:42)
premonition at dusk (3:30)
abattoir (10:00)
warm transport (7:05)
embracing our own annihilation 1 (5:40)
embracing our own annihilation 2 (10:10)
ghost choir (6:22)

november 2011 release ; ... quite lovely set of downtrodden drone music from new mexico’s william fowler collins that in no way even closely relates to black metal (someone had to say it) ...

that said, there’s a fair bit to latch on to within these grooves, from the brooding pitch-scale writing to the slightly grisly low-end feedback figures ... that this deviates greatly from the whole sparkling-sunshine vector of contemporary frozen sound makes it stand out (in my book at least ; it’s nice to hear so many degradation-oriented processes applied simultaneously to such ecclesiastic material, lends a certain earthen, dust-worn flair) ...

type press release...

“the resurrections unseen” by william fowler collins

a dank, haunted collection of dense, noise-laced black ambience from new mexico's william fowler collins.

there are dark forces at work deep in the deserts of new mexico. william fowler collins has been hard at work since his last full-length effort, but collaborations with gog and aaron turner (of isis) haven’t deterred him from crafting this pitch-black follow up. the ingredients won’t surprise fans of ‘perdition hill radio’, but on ‘the resurrections unseen’, collins further damages and buries his palette of sounds beyond all recognition. howling field recordings are trapped between walls of tape hiss while white noise and twisted guitar suffers through overdub after overdub leaving only the picked carcass of what once a discernable sound. much was made of its predecessor’s deconstruction of black metal, but ‘the resurrections unseen’ takes this to another level entirely.

the album is, for all intents and purposes, a black metal record – but any traces of blast beats, hoarse, blood-curdling vocals or shrill distorted guitar have been totally obliterated. what remains are bleak, windswept textures, spine chilling rituals and the kind of doom-laden ambience that’ll have you double-bolting your doors and checking your phone lines. this is not theatre though; collins never resorts to the typical horror tropes, instead opting to suggest fear with the most restrained hand. as rolling hiss emerges from a muddy puddle of dank sub bass it might take a few listens to pick out exactly what you’re hearing at all, but the terror is there from the very beginning. many artists attempt dark music, but few really succeed – collins has managed it by merely suggesting what our brains already know. a frightening thought indeed.

$25.01

new to stock as of
january 18th, 2012

threads:
beat-research
electro-acoustic-composition
minimalism-drones
machine-music

type (uk) #type 100 lp

porter ricks “biokinetics” double long playing record set

port gentil (12:26)
nautical dub (5:48)
biokinetics 1 (5:20)
biokinetics 2 (8:30)
port of call (9:11)
port of nuba (8:05)
nautical nuba (8:56)
nautical zone (12:06)

december 2011 release ; ... couldn’t pass up this one, a vinyl reissue of the cd-issue of the chain reaction #cr-03 (“port of transition b/w port of call”), #cr-09 (“port of nuba b/w nautical nuba”), & #cr-14 (“nautical dub (tidal mix) b/w port gentil”) 12”s ... sandwiched together in 1996 in re-worked form, along with a few exclusive tracks into an impenetrable metal-box that stands as one of the iconic mid-90’s statements of “outsider” techno ...

... largely informed by the same gaseous voids that thomas köner had been creating on his own over the prior half-decade (see :: “nunatak gongamur”, “teimo”, “permafrost”) the music here simply adds andy mellwig’s pervasive thump-tick & wobbly poly-rhythmic sensibilities (listen to the sound-sample for a great example of both of these things in action) ...

... at the time, this music sounded like time itself melting across a frozen arctic plain ; hasn’t lost an iota of its charm ... this new issue couldn’t have come at a better time, esp. as the current zeitgeist leads directly to its doorstep ...

type press release...

“biokinetics” by porter ricks

the holy grail of dub techno from thomas koner and andy mellwig.

techno isn’t a genre that has birthed many consistent albums, and the dub techno subgenre even less so, but one indisputable classic is porter ricks’ debut ‘biokinetics’. originally issued on the legendary basic channel sub-label chain reaction in 1996 following a trio of 12”s, ‘biokinetics’ was the first of the label’s album releases, and still stands as its crowning achievement. the duo was made up of dark ambient pioneer thomas köner and sound engineer andy mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses mark ernestus and moritz von oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early plastikman.

what separated ‘biokinetics’ from other albums at the time was its unwavering narrative – the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. maybe it is down to the silvery underwater concept that ties each track together – the bubbling pads, sub-aquatic basses and muffled kick drums. but as with any great album, it’s hard to exactly put your finger on what makes it a classic. simply put ‘biokinetics’ is one of the most important records in the genre, and it’s pleasure for us to make it available to the world once more.

$18.01

back in stock as of
november 30th, 2011

first in stock on
october 25th, 2011

threads:
electro-acoustic-composition
minimalism-drones
guitar-themed

best of 2011 !!!

type (uk) #type 097 lp

mike shiflet “sufferers” long playing record

(sufferers) (2:28)
sufferers (5:33)
axle grease (12:15)
blessed and oppressed (10:09)
no sanctuary (8:12)

october 2011 release ; incredible, gaseous set of mixed-medium electronic haze from mike shiflet :: a superb set of grimy, multi-faceted electro-acoustic constructs that skirt the divide between “ambience” & “noise” in his inimitable way ...

super well-done ; an auspicious start to mike’s type career (i’m eagerly awaiting the part ii of this ; due shortly) ...

type press release...

“sufferers” by mike shiflet

a grim offering of shimmering noise from ohio veteran mike shiflet.

ohio-based noise upsetter mike shiflet has amassed an enviable amount of releases in the last decade. tapes, vinyl, cdrs – you name it, he’s done it, but it’s taken until now for shiflet to weld together what he regards as his defining work. the first in a series of two ‘proper’ albums, ‘sufferers’ takes the listener to the very heart of shiflet’s sound – through the abrasive noise heard on his early releases all the way to the shimmering ambience that made up his breakthrough album ‘llanos’.

a deeply patient and rewarding record, shiflet uses his long-practiced skills to lay waste to a gaseous collection of source recordings, bringing a chattering, disturbing resonance to what sounds like whirring hospital equipment. it is always difficult to reframe us noise music without the punk, tape-destroyed aesthetic – but like kevin drumm before him shiflet manages to push his sound into high fidelity effortlessly. each frequency is picked meticulously for maximum effect, and trust me when i say that if you listen on headphones you are treated to an entirely different experience.

whether reducing the listener to an opium-fuelled coma on the shimmering ‘axle grease’, or treating us to the kind of intensity fennesz last exhibited on ‘endless summer’ with ‘blessed and opressed’ there is a sense that shiflet has an ineffable control over his plethora of techniques and ideas. a rare gem in a mire of half-hearted records, ‘sufferers’ grabs you by the throat and doesn’t let go until the final creak. and this is only the beginning…

$24.01

back in stock as of
november 30th, 2011

first in stock on
november 8th, 2011

threads:
electro-acoustic-composition
minimalism-drones
modern-composition

best of 2011 !!!

type (uk) #type 096 lp

indignant senility “consecration of the whipstain” double long playing record set

waking extirpation (15:16)
color absolution (17:12)
no one (elapsed) (15:45)
i work for the whip (15:06)

november 2011 release ; ... 2nd “proper” album from pat “dj yo-yo dieting” maher’s indignant senility, rife with creaking drones & a gorgeously rendered multi-fidelity approach (most sounds were re-broadcast through speakers & re-recorded with microphones ; this approach makes a huge difference in the overall “power” of the music, lending a sort of “all directions at once” claustrophobia that would have been lacking in a direct-board capture of the same approach) ...

... four lengthy sides (which play at 45rpm, btw) ; each concerned with a different momentum of crackling interference & barely trace-able background ghost-whisper ...

my favorite work of pat’s by a mile ; highly recommended !!!

type press release...

“consecration of the whipstain” by indignant senility

desecrated and haunted offerings from the pacific northwest's most splintered mind.

pat maher’s outsider sounds have emerged in many different forms; the syrup-laced rap remixes of dj yo-yo dieting, the ketamine house of diamond catalog and of course the wheezing industrial ambience of indignant senility. ‘consecration of the whipstain’ is maher’s second widely available album under the indignant senility moniker, and its long-form abstractions place him a step apart from his peers. where ‘plays wagner’ took a selection of thrift store charity records as source material, ‘consecration…’ works with a wider palette and sees maher roughly paste together clattering percussion, wretching environmental sounds, opium drones and much more to emerge with a sound that owes more to iannis xenakis and lustmord than to the contemporary set.

maher’s noise roots have always given him a rougher, more abstract edge than others in the genre, but this album finds his shadowy ambience chiseled into four pitch-perfect explorations of his very particular alternate timeline. recorded through amplifiers and microphones to give the music a chance to ‘breathe’, the fuzzy pictures slowly come to life and offer a shocking amount of depth and variety. at times it sounds like a decaying sound strip from a 30s suspense reel, with all the crackle and flicker you’d expect to come alongside that. maher’s sounds take us into places we might not want to go, but there’s no denying that once you’re there it’s hard to wrench yourself free.

$18.01

back in stock as of
november 30th, 2011

first in stock on
september 7th, 2011

threads:
electro-acoustic-composition
electro-acoustic-improvisation
experimental-instruments
guitar-themed
free-improvisation
modern-composition
minimalism-drones
modern-psych

best of 2011 !!!

type (uk) #type 094 lp

red horse “red horse” long playing record

untitled (1)
untitled (2)
untitled (3)
untitled (4)
untitled (5)

august 2011 release ; second album from eli keszler & steve pyne’s red horse, here making their type debut...

... gorgeously recorded down at foxboro’s mercenary audio (those of you with a penchant for boutique mics & preamps are assuredly already aware of the treasure-trove that fletcher’s been buidling up there for the past 20-odd years) this is the decidely “hi-fi” variant to the first record’s blown, home-recorded gristle ... in particular steve’s re-purposed speaker-array & assorted sound-sculpture-lineage constructs, placed up in the front of the mix, have some of the mystery surrounding them shed, instead acting as something of a “band of automatons” to which his gnarly, rectified guitar scream & eli’s drum-kit & computer-controlled shrapnel-arsenal are overlaid & embellished upon ...

... while bombast & tight, a-rhythmic complexities are the focus throughout, i’m hearing the b-side’s more spare ruminations as the new direction, reminding of euro-improv’s 70’s detour into similar sculptural & self-fashioned approaches (namely, hugh davies’ “shozyg” lp & the woolier end of michel waisivisz contributions to records like “saxophone special” ... listen to the sound-sample for an extended section that’s more moslang/guhl than lightning bolt) ...

... an incredible record(ing), showing these two at the top of their game(s) ... highly recommended !!!

type press release...

“red horse” by red horse

mechanical free sound artifacts for the disenfranchised generation.

red horse is the blistering free-post-everything project of drummer/multi-percussionist eli keszler and guitarist/mad-scientist steve pyne. while both musicians are active in a number of different projects, red horse catches them working with a distilled sense of focus and is for many their breakthrough project. ‘red horse’ (not to be confused with the similarly titled debut) is the duo’s second album, and follows the rush of critical acclaim for the first which saw thick-skinned musos wowed by their blistering combination of rhythm and dissonance. as you’d expect in a sequel, the budget is higher and the production more widescreen, and a far cry from the near lo-fi grind of its predecessor this new full-length is exposed to the miniscule detail. the production technique might scare some, but the crisp sound of keszler’s innovative drumming and pyne’s complex instrumental destruction has never sounded better or more fitting.

garnishing keszler’s well-worn patented hyperactive splatter-beats, pyne experiments with a veritable arsenal of home made equipment – from gargantuan electrified, automated string sculptures to confusing sequences of reclaimed speakers (taken from a very well known eastern-themed music box) wired together creating a wall of screaming feedback. in the wrong hands their sound could easily be stuffy and academic, but red horse inject their experiments with a punk spirit rarely heard in the avant garde. sure, the instruments are being handled by a couple of the best musicians in their field, but it hardly matters – this is the sound of beautiful cacophony, and like supersilent before them there’s something undeniably attractive about that concept. it’s not your average noise, rock, improv, jazz or experimental record – it’s all of the above and a great deal more. just make sure you listen loud, there’s a lot to hear.

$18.01

back in stock as of
november 30th, 2011

first in stock on
august 31st, 2010

threads:
guitar-themed
modern-psych
modern-composition
minimalism-drones
beat-research
analogue-synth

best of 2010 !!!

type (uk) #type 079 lp

geoff mullen “bongo closet” long playing record

bongo closet (1)
bongo closet (2)
bongo closet (3)
bongo closet (4)
bongo closet (5)
bongo closet (6)

august 2010 release ; awesome, luxury-oriented vinyl pressing of geoff’s crowning achievement !!!

to re-iterate ::

it’s amazing to think that geoff hasn’t released a proper full-length since 2007’s one-two punch of “armory radio” & (the criminally under-appreciated) “dog daze of summer” ... enter luke moldof’s razors & medicine with the hook up, an alliance that led to this fantastic set of gauzy yamaha cs-50 fizz & burbling, echo-drenched guitar pieces ; both in & of geoff’s and only geoff’s whole private universe / concept-sector ...

while the opening track wades in familiar waters (classic geoff ; misted, filtered-out chord-cycling with an evident click-pulse) the second sounds like geoff’s trying to channel the same sort of gonzo / out-there logic of ned folkerth & mike pierry’s “deadbeat at dawn” score (i know for a fact said is a big touchstone) ; 10 minutes of backwards bongos (turns out the title’s not a red herring) and squeaking ring-mod circuit-juice ... the third piece is arguably the album’s highlight with a lovely modal guitar pattern overlaid with myriad synth & effects-layers ; very dense & quite rewarding ...

the second side picks up with some dusted guitar-echo patterns & spry, bell-like twinkle before cascading into some rather popol-vuh-esque sound-freeze before bringing things full circle ; geoff’s at the top of his game here & we’re all the richer for it ...

... going from luke’s pro-dub to this dubplates & mastering -fussed-over edition reveals myriad detail ; getting lost in the rippling static & endless analog gaze has never been easier ... comes coated in a brand-new design-spec (set in the same crumbling new paltz / borscht-belt hotel as “the shining” for some nice extra-musical cues) ; highly recommended !!!

type press release...

“bongo closet” by geoff mullen

a gorgeous, hazy journey through the psyche of geoff mullen.

providence, rhode island operative geoff mullen has been working beneath the popular music radar for some time now, putting his name to a number of limited cassettes, cdrs and vinyl albums. it is hardly surprising that in that time he has developed something of a cult following in the new england scene, with live performances (solo and together with keith fullerton whitman) and his own rare youth label garnering him a loyal throng of rabid fans.

using the guitar, synthesizer and a selection of well-developed processes, mullen has come up with a unique sound difficult to pigeonhole. throughout the album the sounds feel so effortlessly unified that one can completely forget the individual instruments themselves. it is hard to believe that the synthesizer used (the legendary yamaha cs50) is the baby brother of the cs80, heard so distinctively piped into deckard’s electric dreams in blade runner. the distant, dusty tones and pulsating rhythms bring to mind instead memories of early popol vuh or something altogether more defiant. as a veteran guitarist, writing ‘bongo closet’ was mullen’s search for different ways of playing music, and these weathered, deeply personal songs are the result. rich with emotion and surprisingly detailed, there is the sense that the technology never informs the creative process. mullen is using his chosen instruments without a care for what they can and can’t do – they are tools in the creation of his music, never the other way around.

‘bongo closet’ is an intensely human listening experience. teeming with life and breathing as it coughs and splutters, there is an unavoidable attachment felt almost instantly as a listener. this is music that drags you in and simply refuses to let go.

$18.01

back in stock as of
november 30th, 2011

first in stock on
august 31st, 2010

threads:
modern-psych
minimalism-drones
beat-research
analogue-synth

type (uk) #type 073 lp

altar eagle “mechanical gardens” long playing record

battlegrounds (6:09)
honey (4:14)
you lost your neon haze (7:15)
b'nai b'rith girls (3:10)
monsters (3:24)
spy movie (5:07)
breakdown (5:36)
pour your dark heart out (4:28)
six foot arms (6:06)

august 2010 release ; debut “proper” full-length (feel like we’ve already had a few different tapes on digitalis) from the duo of brad & eden hemming rose ...

choppy, often asynchronous synth-pop with a nice, palpable thunk ...

type press release...

“mechanical gardens” by altar eagle

the debut album from shimmering pop darlings brad rose and eden hemming-rose.

brad rose (aka the north sea) is probably the last person you’d expect to see at the helm of a pop album. a folk record – maybe, a noise record – sure, but pop? probably not. yet that’s exactly what he and his wife eden hemming have done with ‘mechanical gardens’. the altar eagle sound might not come as much of a shock for those cassette collectors who have managed to source copies of the duo’s now rare debut eps, but for the rest of the world it should serve as a radical change in direction for one of experimental music’s most valuable sons.

the ear-splitting noise that enticed listeners on ‘bloodlines’ is all but forgotten as brad and eden pick through shimmering dream-pop and cold-wave electronics with the greatest of ease. the quality is assured within minutes of the gorgeous slowdive-esque opener ‘battlegrounds’. anchored by eden’s humming, ethereal vocal tones, the song is a glorious statement of intent and while the band go into clubbier directions on the second half, this song is a gateway to their sound.

possibly the biggest surprise on ‘mechanical gardens’ is the sound shift which occurs mid-way through the record, as the bubbling bliss of ‘b’nai b’rith girls’ gives way to the abrasive electro growl of ‘monsters’. influenced in part by eden’s long-time love affair with techno and brad’s recent obsession with synthesizers, the duo strike a perfect middle ground between crumbling experimentation and pop excess. this is rarely better explored than on ‘spy movie’, a track that somehow combines the supposedly warring sounds of juan atkins and early my bloody valentine.

on ‘mechanical gardens’ brad and eden have created an album that revels in its grab-bag of influences, but somehow they have managed to emerge with a sound that is totally singular. it’s pop music for sure, but uncynical, atypical and hugely enjoyable.

$14.51

back in stock as of
november 30th, 2011

first in stock on
august 31st, 2010

threads:
modern-psych
beat-research
minimalism-drones
analogue-synth

type (uk) #type 073 cd

altar eagle “mechanical gardens” compact disc

battlegrounds (6:09)
honey (4:14)
you lost your neon haze (7:15)
b'nai b'rith girls (3:10)
monsters (3:24)
spy movie (5:07)
breakdown (5:36)
pour your dark heart out (4:28)
six foot arms (6:06)

type press release...

$23.51

back in stock as of
november 30th, 2011

first in stock on
august 31st, 2010

threads:
electro-acoustic-composition
experimental-instruments
minimalism-drones

best of 2010 !!!

type (uk) #type 072 cd

thomas köner “nunatak • teimo • permafrost” triple compact disc set

köner’s sublime 90’s electro-acoustic trilogy finally available in one package !!!

nunatak

untitled (1) (3:24)
untitled (2) (6:05)
untitled (3) (4:30)
untitled (4) (5:24)
untitled (5) (6:05)
untitled (6) (3:31)
untitled (7) (4:59)
untitled (8) (3:30)
untitled (9) (3:27)
untitled (10) (3:14)
untitled (11) (4:04)

teimo

untitled (1) (3:54)
untitled (2) (10:08)
untitled (3) (5:15)
untitled (4) (3:13)
untitled (5) (4:45)
untitled (6) (4:28)
untitled (7) (4:25)
untitled (8) (3:46)

permafrost

untitled (1) (5:58)
untitled (2) (5:41)
untitled (3) (5:36)
untitled (4) (10:11)
untitled (5) (7:05)
untitled (6) (3:27)

august 2010 release ; extremely prescient issue of all three of thomas köner’s ground-breaking early 90s “gong” records, handsomely re-framed in shackleton-esque imagery ...

“teimo” was the first music i’d heard of köner’s (via the 1997 mille plateaux edition ... well, aside from the porter ricks output on chain reaction from the previous year) ; as such it’s the one that’s left the strongest impression ... but i’m surprised at how amazing both “nunatak” & “permafrost” have fared over the years ; the three together creating an epic rise / release that’s pretty much unparalleled in the world of long-form, drone-based music (only eliane radigue’s “adnos” & “trilogie de la mort” come to mind) ...

... to say this record was but an influence on my own “playthroughs” -era music would be a major understatement ; it’s pretty much the blueprint for much of what i’ve held dear over the past few decades ... of course it comes highly recommended !!!

ps. and i can’t believe i’ve even typing this, but given the music’s far-reaching fidelity-set & deep, rumbling sub-bass / low-end, i’m going to recommend that you experience this music on compact disc vs. the normally prescribed vinyl (even though type’s done a bang-up job with the lp versions ; dubplates & mastering, whisper-quiet pressings, the whole deal) ...

type press release...

“nunatak teimo permafrost” by thomas köner

thomas köner's epic tryptich, in one package for the first time.

german sound-sculptor thomas köner always imagined his first three albums ‘nunatak’, ‘teimo’ and ‘permafrost’ as a single unit – a tryptich, if you will. this deluxe cd edition collects the three records and packages them together for the first time ever.

$18.01

back in stock as of
november 30th, 2011

first in stock on
august 31st, 2010

threads:
electro-acoustic-composition
experimental-instruments
minimalism-drones

type (uk) #type 071 lp

thomas köner “permafrost” long playing record

untitled (1) (5:58)
untitled (2) (5:41)
untitled (3) (5:36)
untitled (4) (10:11)
untitled (5) (7:05)
untitled (6) (3:27)

july 2010 release ; vinyl issue of the final part of the trilogy, originally issued by barooni in 1993 ...

type press release...

“permafrost” by thomas köner

the shadowy final part of thomas köner's epic tryptich.

‘permafrost’, which was originally issued in 1993, marked the conclusion of thomas köner’s epic and influential trilogy which included ‘nunatak’ and ‘teimo’. darker and even more subdued and minimal than its predecessors, ‘permafrost’ is for many the pinnacle of köner’s early work. this was the album where he truly stripped the sound back to the bare essentials; gone were the hints of harmony found in ‘teimo’ and the discernable gong sounds of ‘nunatak’. all that remained were the deep, shadowy resonances, roomy ambience and gaseous drones that would become köner’s calling card in the ‘dark ambient’ genre.

listening to the record almost twenty years after its creation, the most shocking thing is how little it has aged. its sound is so absolutely other worldly – the creeping low-end rumbles, distant icy tonal blasts and croaking occidental winds – that it contextualizes the record with little else composed. sure there have been countless attempts at creating supposed alien soundtracks to one imagined movie or another, but rarely have others come close to expressing the truly haunting unknown as thomas köner did on ‘permafrost’.

the restraint köner shows is his true skill – there are few other records that use silence (or near silence) so effectively. the quiet.

$18.01

back in stock as of
november 30th, 2011

first in stock on
august 31st, 2010

threads:
electro-acoustic-composition
experimental-instruments
minimalism-drones

type (uk) #type 070 lp

thomas köner “teimo” long playing record

untitled (1) (3:54)
untitled (2) (10:08)
untitled (3) (5:15)
untitled (4) (3:13)
untitled (5) (4:45)
untitled (6) (4:28)
untitled (7) (4:25)
untitled (8) (3:46)

june 2010 release ; vinyl issue of the second in köner’s trilogy, originally issued in 1992 ...

type press release...

“teimo” by thomas köner

the gorgeous second album from dark ambient pioneer thomas köner

originally released in 1992, ‘teimo’ is probably the most ‘tuneful’ of thomas köner’s legendary triptych (nunatak, teimo and permafrost). i say that lightly of course, but the submerged drones he made his signature are tempered slightly on this album to give a hallowed, mournful edge which has been echoed on so much of today’s darker drone music. indeed at times throughout the cavernous album there are almost hints at something orchestral in the mires of reverb and dense clouds of harrowing sound. it is hard to believe that köner pieced this record together using the sound of gongs – close mic’ed to reveal their subtle overtones and resonance. at times the resulting sound is so gloriously alien and so synthetic that you would be forgiven for thinking it is a trick of synthesis, but the textures are indeed organic.

‘teimo’ is music which like its companion pieces inspires a rich, visual world; and if ‘nunatak’ suggested human ice exploration then this record is set somewhere deep, deep underwater. the low-end resonance which was later co-opted by so many drone and dark ambient practitioners places us on the sea bed, muffled and disorientated as sounds bubble and wash overheard. the distant sounds are almost dreamlike, yet through the water are cracks of light and solace in the powerful harmonic elements.

unlike so much ‘dark ambient’ music that appeared later köner’s music was notable for its absolute maturity. ‘teimo’ is not theatrical or comical, rather the darkness comes from the very particular sound-set and köner’s intense compositional skill. with a measured, economic hand (this album again is surprisingly brief given so many other in the genre hitting the hour mark) he has created a record that revels in distance and silence and is not afraid to show the occasional beauty of the underworld.

$14.51

back in stock as of
november 30th, 2011

first in stock on
december 5th, 2008

threads:
guitar-themed
electro-acoustic-composition
digital-musics
modern-psych
minimalism-drones

type (uk) #type 035 cd

koen holtkamp “field rituals” compact disc

half light (2:44)
sky flowers (14:09)
bee change (1:42)
bear bell (9:10)
walker (4:45)
you mean the world to me (2:41)
night swimmer (5:17)
haus und spirale im regen (15:09)

october 2008 release ; sparkling guitar / computer / field recording work from appestaartje’s (although i guess it now makes sense to say “mountains’” as said duo has signed to thrill jockey) koen holtkamp (with guest-spots from tape’s johan berthling & ben owen) ...

type press release...

koen holtkamp : field rituals

the debut album from mountains-man koen holtkamp. shimmering ambient bliss.

‚field rituals’ is the first solo album to come from koen holtkamp, an artist probably better known as one half of ambient duo mountains. based in brooklyn, koen created the album slowly and as a love letter of sorts, taking in delicate field recordings and using them like faded photos representing his distinct memories of the people and places he chanced upon. some may have heard the incredible ‚make haste’ which appeared on limited edition vinyl earlier in the year, but this was only a taste of what koen has to offer on ‚field rituals’.

taking cues from the classic ambience of brian eno and fusing it with the instrumental subtlety of sweden’s tape, koen has come up with an aural book on his subject matter. each track feels entwined in the next and feels like a part of something much bigger. sure we’ve heard field recordings, synthesizers and guitars before but rarely have these instruments been injected with such a lightness of touch and with such a delicate open ear. each listen reveals more, like peeling back layers of onion skin – take the album’s epic centrepiece ‚sky flowers’ for example, which blends slow-moving synthesizers with good-natured environmental recordings and shimmering strings. the result is explosive somehow, with the grandeur more usually exploited by arvo part being framed with a distant electronic ambience.

the slow-burning pace is probably the single most important facet and reveals an artist at ease with his musical choices, something unusual in a genre brimming with young hopefuls. a good comparison might be stars of the lid, but koen’s music is more organic and more humble somewhat than the ex-texan duo. in the end we are just proud that koen has allowed us a look into this most personal of works.

$14.51

back in stock as of
november 30th, 2011

first in stock on
october 1st, 2007

threads:
electro-acoustic-composition
digital-musics

type (uk) #type 030 cd

sylvain chauveau “s.” compact disc

composition 8 (6:11)
p. (2:30)
e/r (6:50)
n (1:55)
a_ (4:14)

type press release...

sylvain chauveau : s.

the latest mini-album from french composer sylvain chauveau sees a radical change in direction in which the luscious strings of his earlier releases are replaced with prepared guitar and crisp sculpted electronics.

since his 2000 debut ‘le livre noir du capitalisme’ (which is soon to be re-issued on type!) sylvain chauveau has been a pioneering figure in the world of modern classical/electronic music. this status has seen him inhabit the same creative space as max richter, jóhann jóhannsson and our very own ryan teague and now we are proud to welcome him to the type label and issue this brand new mini-album.

‘s.’ sees chauveau taking a daring new direction since his last record the breathtaking and lushly orchestrated set of depeche mode covers ‘down to the bone’, and moving away from the haunting strings and piano work of his best known works he has stepped into the world of minimal electro acoustics. the first track ‘composition 8’ probably best illustrates this move with its expertly processed prepared guitar drones, layered together to create a menacing piece of bass-heavy ambience and growling doom comparable to even experimental metal pioneers earth at their most esoteric. this piece is expertly balanced however against the second track, simply titled ‘p.’ which has chauveau again caressing the ivories, but using the notes (and the space between the notes) to dictate something far more minimal and far more realated to the brooding drone of ‘composition 8’.

elsewhere we hear chauveau’s take on glacial digital minimalism with the epic electronic piece ‘e/r’ and more delicate piano experimentations before we are brought to a satisfying and subtle close with the gritty, slow burning ambience of ‘a_’.

all in all this is possibly the most thoughtful and unusual selection of tracks chauveau has ever set his name to, and give them time and they are sure to reveal their immense depths.

$14.51

back in stock as of
november 30th, 2011

first in stock on
october 1st, 2007

threads:
minimalism-drones
digital-musics
modern-composition

type (uk) #type 029 cd

aaron martin / machinefabriek “cello recycling / cello drowning” compact disc

cello recycling (11:41)
cello drowning (10:11)

type press release...

aaron martin & machinefabriek : cello recycling/cello drowning

a blistering collaboration between two experimental music behemoths. jet engine drone and symphonic ambience combine in one of our most gorgeous explorations of the genre to date...

rutger zuydervelt, a man better known to the experimental music world as machinefabriek is somewhat prolific; a fact you might have gathered from his steady flow of super-limited edition 3” cdrs which seem to slip out relentlessly month after month. american multi-instrumentalist aaron martin is possibly less productive only having one full-length album to his name so far, but he is no less intriguing and between them the duo have come up with a project which is far more than the sum of its parts.

the ‘cello recycling’ project was originally commissioned for use in an art gallery; zuydervelt took cello improvisations from aaron martin and built them into the slow-burning post-ambient monster that is ‘cello recycling’. however here we see the original piece accompanied by aaron martin’s take on rutger’s work, where he ‘drowns’ the original piece in a bath of murky water taking into submerged directions it has never before drifted. the two pieces together are perfectly complimentary showing two sides to a tarnished coin – one giving us pent up emotion, fizzing and shuffling awkwardly until it explodes majestically, the other giving us peaceful reflection as seen through the eyes of a serial killer who has just completed his final gift to the world. an inventive and incredibly beautiful look at the cello as an instrument and noise making tool; this is an absolute must for fans of post-classical music, the droning beauty of stars of the lid or even the moody post rock of godspeed you! black emperor. moody, kinetic and hugely enjoyable stuff, this needs to be played loud and absorbed totally…

$14.51

back in stock as of
november 30th, 2011

first in stock on
october 1st, 2007

threads:
bedroom
digital-musics
modern-psych

type (uk) #type 028 cd

helios “ayres” compact disc

a rising wind (5:05)
woods and gives away (5:44)
signed i wish you well (4:58)
soft collared neck (3:24)
the obeisant vine (4:27)
in heaven (4:02)

type press release...

helios : ayres

the follow-up to last year's world beating 'eingya' is this six track mini album, where keith kenniff discovers his voice... simply breathtaking!

it hasn't been long since keith kenniff's gorgeous collection of gauzy, cinematic sound-poems 'eingya' slipped into the consciousness. in a short space of time the boston based multi-instrumentalist has become awash with acclaim and been invited to perform numerous live dates around europe, something which gave life and inspiration to this latest collection of work. those who managed to catch him on the most recent tour will already be aware that keith has just taken up his most breathtaking instrument yet - his voice, and 'ayres' is his first exploration of this new-found talent. 'eingya' managed with the simplest of means to show just how crushing keith's songwriting was, but here he pieces together five gorgeous 'songs' and one inspired cover with devastating results.

combining his many musical loves, keith manages somehow to bring in the warring elements of indie-pop, experimental electronics, folk and world music resulting in a sound which is distinctly his own; these might be songs in the traditional sense, but there's little traditional about the way they have been produced. decaying synthesizer sounds trip up over carefully strummed guitars and expertly carved percussion - take opening track 'a rising wind' which is maybe the most effortless display of keith's talents; this is a slow burning epic, beginning with the simplest of sound-palettes and growing into a jubilant dream-pop masterpiece. elsewhere, standout track 'the obeisant vine' blends the hazy nostalgic electronics of the brian eno with the songwriting heart of the innocence mission leaving you gasping for more. by the time the mini-album ends with a cover of 'in heaven', 'that' song from david lynch's seminal 'eraserhead', you realize you have spent half an hour in helios's world, and it's a world you'll want to escape to again and again.

$14.51

back in stock as of
november 30th, 2011

first in stock on
july 6th, 2007

threads:
modern-psych

type (uk) #type 024 cd

zelienople “his/hers” compact disc

family beast (6:53)
moss man (9:02)
parts are lost (9:27)
forced march (9:42)
sweet ali (8:56)

type press release...

zelienople : his/hers

the latest full length from chicago 3-piece zelienople. a sludgy exploration into psychedelic rock with occasional pauses for breath and smudged blues. sittin' on the porch and sending a sultry glance to the neighbours wife has finally been set to music...

zelienople (named after a borough in pennsylvania) is the moniker of chicago based musicians matt christensen (guitar/vocals), mike weis (percussion) and brian harding (guitar/clarinet) and between them, in a desolate suburban basement, they have come up with a record of pure psych-rock sludge. now on their fifth album, the band have struck upon their finest moment yet, honing their skills to create something singular and utterly unique. there is certainly no shortage of acts willing to throw down waves of experimental guitar noise and clattering percussion, but with the benefit of focus and experience, zelienople sound like something totally out of time and almost impossible to place.

residing in a hazy drunken world in-between slow-core pioneers low, psych-folk outsiders charalambides, japanese overlords boris and dead man era neil young 'his/hers' is a faded photograph of rock music past, yet still manages to keep a firm footing in the present. guitars echo like disappearing ghosts and vocals moan and wail mercilessly while percussion bubbles up in glorious waterlogged waves. 'his/hers' isn't a concept album, but it might as well be with five bravely sculpted tracks acting like chapters, taking you through a whole gamut of emotions, from pensive and lonely through to aggressive and impulsive and beyond.

fusing the warring factions of blues, noise, metal, folk and jazz the trio have made as breathtaking a psychedelic album as you're likely to find, and unlike so many others in the scene it never threatens to overwhelm you with meaningless academia or pretension. this is an album made for listening, for enjoying and sinking in to, an album that is made as an illicit treat for the discerning music fans among us. grab hold and step aboard, zelienople are just about ready to take you on a universal journey into the subconscious, and it's gonna be quite some ride.

$14.51

back in stock as of
november 30th, 2011

first in stock on
november 15th, 2007

threads:
modern-psych
digital-musics
guitar-themed

type (uk) #type 023 cd

skallander “skallander” compact disc

haala (1:06)
forgiven (4:01)
dismemberment (5:28)
flesh born constellation (8:37)
dusting the gallows (4:01)
ingrain (2:01)
misery (4:12)
future life (4:41)
time is only a revolution (3:51)
surviving in 45 below (4:14)

type press release...

skallander : skallander

a sun-bleached collection of twisted pop songs from guitarist matthew mitchell and bevan smith (aka signer) that is almost guaranteed to have you trapped in its hazy beauty for months to come!

skallander is probably a name you haven’t heard before, and with good reason. although the duo of bevan smith (better known as signer) and matthew mitchell have had two albums out already, scant few copies made it out of their home country of new zealand (where they have received almost universal praise) but now the oddly monikered pair are ready to have their sound lavished upon the world at large. mitchell and smith have been playing together since their teens in various bands, and mitchell’s well-trained finger-picking could be heard on signer’s recent tours so this third self-titled album feels like the two musicians have an almost spiritual link.

taking cues from the golden age of rock music, when songwriting was just as important as musicianship – ‘skallander’ is an album which should appeal to those of us desperate to hear great, memorable songs. utilising mitchell’s virtuoso instrumental skills and haunting vocals and pitting them against smith’s veteran mixing desk trickery, the result is an album which sounds both incredibly new and yet retains the classic structure of your favourite 70s lps. with nods to early pink floyd, neil young and more recently jose gonzales and kings of convenience this is a deep and beautiful record which revels in the enjoyment of music itself. we were always sure that there were people out there who were ready to sidestep the elitism and pretense of the modern underground music scene, and with skallander we’ve found exactly that. like an invitingly mysterious book, this album will have you trapped in its hazy beauty for many months to come; we can’t imagine a better forest to be lost in…

$14.51

back in stock as of
november 30th, 2011

first in stock on
october 31st, 2007

type (uk) #type 022 lp

letters letters “letters letters” long playing record

favourite hands (3:16)
we'll make our home (2:42)
everyone's afraid of fear (5:49)
between the seams (3:34)
dealer dealer (3:59)
iron mountain (2:35)
up to our waist (2:36)
in a way (4:39)
want to (3:47)
wishing well (3:55)
everything always (2:04)
(stingray) trapped in platinum (3:46)

type press release...

letters letters : letters letters

the debut album from the montreal/chicago trio of mitchell akiyama, tony boggs and jenna robertson. sleazy no-wave pop music produced with a noise aesthetic - it's neon coloured and very wrong indeed.

montreal has become something of a seething hotbed of musical talent of late, what with the arcade fire bubbling up as the critics favourite and wolf parade capturing the hearts and minds of bloggers everywhere, but beneath the surface there’s something more going on, something just that little bit more gritty. mitchell akiyama has been an active part of the music scene for some time now as a solo artist, label boss and collaborating with various other musicians, most notably tony boggs (as désormais) and jenna robertson (as avia gardner) but this is the first time the three musicians have put their heads together and created something which absolutely defies their earlier work. turning his electronic music and post-rock roots on their head mitchell instead decided to look to the early 80s with help from self-confessed riot grrrl jenna and accidental front-man tony and the trio began to piece together their take on leftfield pop music. with broken synthesizers, fizzled out drum machines and the usual armory of guitars and overdriven amplifiers they managed to figure out a perfect pop formula, taking the usual hooks and choruses and feeding them through a mire of grimy effects ending up with something flickering and desperately neon coloured. music for day-glo wrist bands and basement parties, this is a fresh take on the diy lo-fi scene, and even if the whole fanzine culture has broken down to make way for blogs and webzines it doesn’t mean we have to lose touch with the grittier side of life. bravely penetrating themes as diverse as sex, drugs, and the all important unicorn scene in blade runner there shouldn’t be any reason not to usher letters letters into your life immediately, just remember that it’s okay to embrace the noise…

$14.51

back in stock as of
november 30th, 2011

first in stock on
october 31st, 2007

type (uk) #type 022 cd

letters letters “letters letters” compact disc

favourite hands (3:16)
we'll make our home (2:42)
everyone's afraid of fear (5:49)
between the seams (3:34)
dealer dealer (3:59)
iron mountain (2:35)
up to our waist (2:36)
in a way (4:39)
want to (3:47)
wishing well (3:55)
everything always (2:04)
(stingray) trapped in platinum (3:46)

type press release...

$14.51

back in stock as of
november 30th, 2011

first in stock on
may 10th, 2007

threads:
modern-psych
folk

type (uk) #type 021 cd

the north sea “exquisite idols” compact disc

eternal birds
guiwenneth of the green grass
we conquered the golden age
take it from me brother moses
cover me with knives
children of the ashes
and then the solstice disappeared
feather-cloaked silver priestess

type press release...

the north sea : exquisite idols

the first 'proper' album from free-folk's international man of mystery brad rose. the tulsa resident managed to peel himself away from ugly betty re-runs for long enough to record eight skewed slices of sing-along outsider pop. get slightly drunk, and enjoy...

brad rose is easily one of the free-folk movements busiest exponents, splitting his time somehow between running the digitalis and foxglove labels, the foxydigitalis webzine and writing his own music under a variety of different monikers with a host of collaborators (ajilvsga, eastern fox squirrels, alligator crystal moth, corsican paintbrush, sea zombies).

through all this pain and suffering at the hands of a busy and now somewhat hip scene he has managed to put together a brand new album which elegantly follows a hugely acclaimed collaboration with uks rameses iii night of the ankou. however, whereas night of the ankou explored both acts occasional leanings towards ambience and drone, exquisite idols instead shows rose digging deep into the dusty vaults of his american heritage and drumming up an album dripping with blues, folk and free experimentation. this is folk music as played from a snow-drift in tulsa, in a mid-west wasteland or a forgotten forest drenched in moonlight, it is personal, secluded and almost lonely, but rose never allows the melancholy to take over.

from the jubilant opening crackles of eternal birds right up until the rockin stomp of feather-cloaked silver priestess there is the distinct feeling that although this might be labeled as free folk, theres a barn somewhere full of like-minded drunkards waiting eagerly to get dancing on them there hay-bails. just flip to the rip-roaring folk stomp of take it from me brother moses, take a swig of moonshine and let your feet do the talking.

exquisite idols is an album steeped in tradition yet its greatness comes from rose’s ability to absorb other cultures so easily there are traces of indian traditional music, greek music and more, all hidden within the cacophony of banjo, guitar and clanging percussion. this is what sets him apart from his contemporaries and makes his music so absorbing this might be the least sacred devotional music ever made.

previous record label:
twr tapes

...and that's everything on type in stock.
(why not take a look at the previous and next labels?)

next record label:
u-sound archive

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... this page was last updated on friday, february 3rd, 2012 @ 4:38 pm