The Trilogy Tapes Electronic & Dance 39 Items

Snoopy is hard to follow up. The same brilliant musicality is lavished on Orange — a combination of unmistakably original, skittering drum programming, startlingly fresh instrumental interjections, creepily invocatory voices, and dubwise treatments — giddily imbued with the dark arts of ritual and seance. But Orange is more gripping, focussed and urgent, more intense and ambitious. Next level.

Its first quarter presents a trio of forays in suspense.
Bassline squares up like an epic psych-funk grinder, with a moody guitar line traversed by ticking drum patterns and faint electric crackle. In no time the guitar is staggering and stammering under the duress of echo and distortion, and over-run with percussive electronics and the first of the voices massing in the music’s head. The mood has quickly become more trepidatious. We're deeper underground; it’s gloomier, wetter.
Shred propulsively ratchets up the tension and menace. Glazily tentative xylophone is played against slashing, nervy cello. The voices are more strangulated and sick now. Flutes and chimes evoke the same kind of beautiful, contaminated efflorescence which is pictured on the LP’s front cover.
Voice Of The Spider makes easier progress across this cavernous, shadowy, dripping terrain, with funky pads and Nasty, eighties, No Wave electric bass; woozy chimes, non-plussed keys, singing-in-tongues.

Pink Mist marks an arrival, or unbottling, with annunciatory church-organ and choral voices from the off, and a newly relaxed, head-nodding kosmische rhythm.

Mandarin is a short, beat-less and voice-free interlude for piano and bass. It's reflective and nostalgic, ambivalent and inconclusive, with a lovely snatch of melody. A bridge half-way.

Would You Like A Vampire is a triumphant, mesmerizing go at New Folk, with strummed acoustic guitar, descant song, and jazzily restless drum programming (including a tasty bass-bin trembler). Amazingly, Conrad Standish is joined at the mic by none other than Bridget St John. Together they sing 'Earth is Paradise’ so repeatedly and tremulously — and the song is cut off so abruptly at the end — it seems as if the verb is teetering on the past tense, and hymn fading into valediction and catastrophe.

Similarly Storm Rips Banana Tree begins idyllically enough, with a CS-&-Kreme-style raga… before something like an immense, obliterative drill starts up. Harpsichord and organ — by James Rushford — and flutes, and clapping, distant chanting and insectile percussion steadily leaven the dread, till finally all that is left is lapping water.
It’s an epic, deeply immersive, compelling, thought-provoking, twenty-minute finale… the coup de grâce.

Artist-turned-writer-turned-DJ-turned-producer-turned-chef Kiki Kudo, following up releases on Good Morning Tapes, Workshop and Incienso with two kitchen wave rollers for TTT.

"Geo Rip is John Jones (Dope Body, Nerftoss) with Aaron Leitko and Mike Petillo (Protect-U). Broken samples and electronics improvised live to tape. Their first time on vinyl, following an 'insane' cassette on TTT in 2019 and releases on their own Washington, D.C. based U-Udios label."

Written and produced by Odd Lust Mixed by TJ Hertz Mastered by Beau Thomas

Metasplice return an absorbingly elusive, minimalist shadow of their former, noisy selves with ‘Mirvariates’ for Will Bankhead’s The Trilogy Tapes

Following a slight hiatus and a canny rethink of their sound, Metasplice’s first new studio album in five years, Mirivates defines the Philadelphian duo’s acute inversion from noisy roil to shimmering lower case sounds across seven tracks embracing negative space as a vital new part of their music.

Gauging by the skinny, barely-there aesthetics of Marinates, one would be forgiven for thinking that Metasplice only submitted the scrubbed stems of the album to TTT. However, closer listening reveals a series of oblique, abstract electro-acoustic ecosystems that bristle with virulent energy, perhaps emulating the varied ambiences of a space station (“Mir”?), the coded inner dialogues of stressed out machinery, or the sound of the Internet of Things plotting their take-over of humanity in encrypted electro-magnetic chatter.

Over the course of seven tracks they pay special attention to volume dynamics and texture, with fathomless abstract shapes looming from the darkness in persistently reorienting and amorphous style, as the imagined “walls” of each piece seem to dissolve and establish new dimensions within each cut, from the tentatively perilous explorations of ‘Cirrension’, to the free jazz-like squabble of ‘Teleric’, thru the clipped gamelan resonances of ‘Vase Weight Re-Route’, and the Xth Reeflexion-liek fuss of ‘Aridtaq’, and up to the parting, side-long denouement of ‘Speculen’, where a melodic spirit seems to be seductively struggling thru their finely graded textures and airborne sediments.

It’s all effectively and undoubtedly a radical break with past Metasplice releases, reeling away from the ‘floor to somewhere much more abstract and difficult to properly fathom with words. It’s best to just treat these recordings like seashells scavenged from the liminal shores of perception, awaiting your close ear inspection and interpretation.

Gunnar Wendel (Kassem Mosse): "[it] was recorded over the course of five days in summer in an apartment with no AC in New York with random instruments found inside the apartment (a moog radioshack synth & two zildjian cymbals)."

Bogdan Drazic's two debut EPs for Giallo Disco, a pair of monumentally aggressive EBM/techo deviations, were good enough to capture the attention of Will Bankhead's TTT stable, propelling the artist onto a new stage, with a new set of listeners. In fairness, Bankhead has picked some pretty 'out-there' material from Drazic, with the opening "Nang Nubia" being a marvellously twisted whirlpool of techno and metallic power-core, followed by the quirky mechanics of "Goa, Goa, Gone". For the flip, Bogdan delivers "Jack Dat Wabbit", a more bass-heavy stomper with a supremely off-kilter groove under its hood, whereas "Trip This Joint" waves its heavy folds of bass over a broken, disJOINTed medley of beats. Lush. TTT-approved.

Dolo Percussion is an alias of Max D; last seen marauding over on Future Times and L.I.E.S

he Trilogy Tapes get the best out of J. Albert in the Envy Turned Curiosity EP with four deadly cuts of coiled, Afro-cubed breaks and gloomy synth pads.

Picks of the bunch are the beautifully brooding hybrids of B-More, Dark Garage and UK Broken Beats with cinematic strings on Money Between Friends and the haunted swang of Envy Turned Curiosity, while Deepstate Riddim goes rude and rugged on a dubbed out breakbeat flex and Designer Life recalls the meditative blue pressure of Parris.

DJ Nobu & NHK yx Koyxen go head to head as MTv on this crushing, mid-tempo techno release for TTT!

Check out this new killer EP by Dutch producer Ekman aka Roel Dijcks!! TIP!!

Only one copy per customer!

Our man from the bumpin’ city knocks back some bleep before trumping his FXHEs with two sides of rough, get-loose house like we like it. Warmly recommended. Hell yeah.

Russia’s Paval Milyakov, aka Buttechno, tends to his screwier, inquisitive side for TTT with a gauzy batch of ambient, folk and house experiments, swerving between the lines of his records for Japan’s City-2 St. Giga, Collapsing Market and his Gosha Rubchinskiy AW16 soundtrack, to the dankest parts of his bedroom-baked club sound.

This is music for hanging out on cold, concrete corners in your most flammable trackies, taking in pastoral electro-folk meditation Gosha Medvedeva, his Pole-esque Slow Dub, and the skinny, bone-pinching swing of K4 on the one hand, before decorating those skeletal structures with more fleshly samples of Russia pop in the low key seduction of Poleva, and something like a roadside house rave played on empty vodka bottles, oil drums and cardboard boxes in the Brinkmann-like Metallo, and a nervily grubbing, spooked-out house ace named Super Siziy King.

Only 1 copy per customer!

The Trilogy Tapes presents the next mesmerizing 3-track “Apakapa EP” by Harmonious Thelonious. Don’t sleep on this hypnotic stand out release inspired by oriental instrumental excursions. TIP!!

Trilogy Tapes present the new release “Entendrillar Transprism“ by Bass Clef.

Although Anthony Naples has a long and successful partnership with The Trilogy Tapes, “Slice of Life” is actually his first outing on the celebrated imprint for two years. Interestingly, it sees him move away from the dusty, off-kilter sound that he's most famous for, towards something altogether cleaner and more melodious. A-side "Lekker" is astonishingly positive, with sparkling electronic lead lines, starry synth solos, and electro polyrhythms all catching the ear. Epic flipside "Momentos Magicos" is almost as unashamedly loved-up. It's a four-to-the-floor roller, propelled forwards by a combination of darting, electrofunk style synth bass, cascading electronics, and cheery melody lines. Like the A-side, it feels pleasingly timeless.

None other than Blawan on his lonesome ownsome — after collaborations with Pariah as Karenn, and Surgeon as Trade — returning to the blood-drenched scene of his heinous Why They Hide Their Bodies. New name, new sound; heavier and slower than his Ternesc output. The title track is the banger. Acid techno — deliberate, widescreen and ominous.

The NY duo land on TTT with four chapters of toxic, virus-ridden techno-house amalgamations for the bravest of heart. Taking the boundaries of the genre to their very limit and further - another instalment of wacked-out electronics from the London institution.

"Palestre is a study of higher-dimensional spaces and altered states of consciousness. It explores parallel dimensions and temporal anomalies from a perspective that blends mythology, modern physics, Adhd, transcendental music and club culture.

Sciogli Assurdi was recorded between art galleries, clubs, squats, and folkloric festivities in 2018."