Death Revisited
Regis, Klara Lewis, Penelope Trappes and Peder Mannerfelt rework Malcolm Pardon's 2021 solo album "Hello Death" into moody ambience and reverberating choral soundscapes, with two additional recordings (on the tape only) bulking the set out into a full length mission.
Klara Lewis gifts us with the highlight of the tape here, falling into that category of work that re-imagines rather than re-decorates, deploying a sort of ghosting that mimics the effect of taking a cheap D90 tape and using it hundreds of times, until you can hear trace echoes of older recordings swilling in hiss in the background - a sort of dreamlike layering of time. Anyway, it’s a total, total stunner.
Regis offers a surprisingly widescreen adaptation that revels in Pardon's woozy synths, driving into a grimy back alley and enhancing the atmospherics with creepy environmental sounds and harmonic synth tones. Not sure if we’ve heard Regis in this mode before; where you’d imagine he’d inject industrial texture, he instead opts for blissed harmony.
Peder goes more modernist with stretched mentasms and tense strings shifting the sweetness of the original into menacing dissonance, while Penelope Trappes opts for a sort of dreampop drama, her smudged coos elevating, elavating - spine tingling style.
The two bonus pieces were recorded last summer and return us to Pardon’s original mode of piano and synth, but here funnelled into isolationist zones, reducing the work to little more than a glowering bassnote and fizzing synths that sound something like Dean Hurley on a downer, before repetitive piano motifs lock us in a whirl of tension.
View more
Edition of 70 tapes, includes a download dropped to your account of the four remixes.. The tape includes two bonus tracks.
Out of Stock
Regis, Klara Lewis, Penelope Trappes and Peder Mannerfelt rework Malcolm Pardon's 2021 solo album "Hello Death" into moody ambience and reverberating choral soundscapes, with two additional recordings (on the tape only) bulking the set out into a full length mission.
Klara Lewis gifts us with the highlight of the tape here, falling into that category of work that re-imagines rather than re-decorates, deploying a sort of ghosting that mimics the effect of taking a cheap D90 tape and using it hundreds of times, until you can hear trace echoes of older recordings swilling in hiss in the background - a sort of dreamlike layering of time. Anyway, it’s a total, total stunner.
Regis offers a surprisingly widescreen adaptation that revels in Pardon's woozy synths, driving into a grimy back alley and enhancing the atmospherics with creepy environmental sounds and harmonic synth tones. Not sure if we’ve heard Regis in this mode before; where you’d imagine he’d inject industrial texture, he instead opts for blissed harmony.
Peder goes more modernist with stretched mentasms and tense strings shifting the sweetness of the original into menacing dissonance, while Penelope Trappes opts for a sort of dreampop drama, her smudged coos elevating, elavating - spine tingling style.
The two bonus pieces were recorded last summer and return us to Pardon’s original mode of piano and synth, but here funnelled into isolationist zones, reducing the work to little more than a glowering bassnote and fizzing synths that sound something like Dean Hurley on a downer, before repetitive piano motifs lock us in a whirl of tension.