New Takuroku Releases

Source: Takuroku.

PAUL ABBOTT – DEORLAF Z (VERSION) FOR XT DEORLAF X LIVE

Seymour Wright and I had exchanged some ideas in advance of, to prepare for, our live performance for the launch of the XT ‘Deorlaf X’ OTOroku record, at Cafe OTO. I began to prepare some material based on our thoughts, and the Deorlaf X record. This congealed unexpectedly, into the 38 minutes which became this Deorlaf “Z” iteration. For the OTO event, the sounds were then reworked live (from Brussels), with Seymour’s material (live in London). I’d said this: “The ingredients were those initial ideas: ‘dub’ mutations, Deorlaf (Dalston) & XT histories (memory) plus mutated bifurcations:—thinking about (distanced, as we are/will be for the 14th [July, 2021]) joins, connections, transitions (edges, bridges, membranes, blocks) intense and continual communication (pouring in/out, simultaneously: time, density, speed) across real and imaged spaces. I used the Deorlaf [X] section (beeps) as one draped, initial frame, the rest was a continual pouring in/out; ultra(s) close/far/fast/slow/low frequency/high frequency.” – Paul Abbott

TETUZI AKIYAMA – THOU SHALT NOT HURRY

“When I think of home recording, I remember all kinds of experiments I did with cassette tapes in my teens. On bootlegs by Lou Reed and John Lennon they would push the record button of their reel-to-reel tape machines. I used to make demo tracks for albums with them in mind, playing the acoustic guitar in the kitchen or somewhere. It’s a good old, tasty sound. On the other hand, although I recently got some new recording equipment, I didn’t feel like making a demo with them because they were too gorgeous for me to use. The sound was too good. I also played around with a small old cassette recorder, but it also didn’t work. Instead, I was listening back to the live recording archives which I had left unattended for more than a decade, and found out that the sound quality and content of the live concert source in Brazil about 13 years ago was quite like a home recording (there’s the applause in the end, though). It’s a bit sloppy, but for this release, I proposed this material to Takuroku as a response to their kind offer.” – Tetuzi Akiyama