.desrever ,onaip desivorpmi gnirutaeF
.tceffe gnisirprus evah nac ,sdrawkcab ti gniredisnoc neht ,sdrawrof gnihtemos gnioD
There comes a point where the easiest thing to do is simply play – and it can be joyful, sorrowful, frivolous, and dire. But while it is all of these things, there is something it is not – amelioration. I should practice.
Featuring clarinet.
Opposed Thumbs
by Charles Rice Goff III
1 Victims Of Prime Real Estate
2 Complexibles From Inflexibles
3 In It
4 The Burroughs Virus
5 Psalm
Process:
Goff produced the five recordings presented in “Opposed Thumbs” from unrehearsed improvisations recorded on the following dates:
“In It” – January 17, 2025
“Victims Of Prime Real Estate” – January 18, 2025
“The Burroughs Virus” – January 18, 2025
“Psalm” – January 18, 2025
“Complexibles From Inflexibles” – January 19, 2025
Goff edited out portions of each improvised recording and arranged them into the pieces offered here. All tracks were mixed with computer software except “In It,” which was mixed from a 4 -Track tape recording. No materials that did not originate from these five improvisations were added to the final mixes.
“Opposed Thumbs” is the first Taped Rugs Production to feature a Stylophone.
No artificial intelligence was employed in molding this presentation.
All performances, editing, production, cover art, etc. by Charles Rice Goff III.
Instrumentation:
Korg R3 Vocoder/Synthesizer
Micromoog Analog Synthesizer (original 1977)
Yamaha VSS-30 Sampler/Synthesizer
Stylophone
Aklot Electro-Acoustic Soprano Ukulele
Le Mega IR 1 Internet Radio
RukusFX Sound Generator
Merchsource Sound Generator
Diane The Mannequin Hand
Ibanez DM 1000 Digital Delay
Yamaha FX 500 Effects Unit
Boss RC 20X Loop Station Loop Duplicator
Tascam 424MKIII 4-Track Cassette Recorder
Software:
Cool Edit Pro II Multitrack Recorder
Audacity Multitrack Recorder
Several Plug-In Audio Sound Effects
The original version of Opposed Thumbs was released by Harsh Reality Music in February, 2025. The final two tracks presented here were mixed in April, 2025, and are added as bonus material. The Harsh Reality version is available at:
https://harshrealitymusic.bandcamp.com
Thoughts continue – meander. Though seemingly less directed, there is a form of order. Wandering is simply a form of searching for something you don’t yet know you’re looking for.
Featuring improvised piano.
Thogonal – or, how lines may independently proceed. Or, why angles vary regularly. Or, how contours crease liminal boundaries. Or, thogonal.
Featuring improvised piano.
Supposedly, (un)naturally, things are organized. Entropy strikes – coordination (de)creases. Branches span the structure-holding apertures. A larger picture emerges – formulaic, for some.
Featuring alto saxophone and reverb.
Powered by TAM, wich has no website because it’s policy
released March 25, 2025
The Anti-meanies played everything
Album cover art by Ejler Berry
Glitter, Litter, both transport
and serve their Purpose,
yet fall short.
Glisten, Listen, all that shines
is less than Precious,
in decline.
Glossy, Lossy, error rates
will pervade Substance,
not abate.
Featuring alto sax.
Japanese electronic and improvisational artist TaUYu DeShiI crafts an atmospheric soundscape inspired by a journey through Okinawa’s remote islands.
“MY MEMORY” was created mid-trip, the album blends ambient electronica with fluid improvisation, evoking a sense of movement and discovery.
Soft synth textures and organic sound elements mirror the islands’ mystique, capturing fleeting moments of travel. The music radiates exoticism, not as a concept but as a lived experience.
Fans of ambient and minimal electronic music will find this release immersive—an invitation to drift through sound, just as the artist drifted through the islands.
Some are keen to declare how things ought to be,
But often neglect that which they do not see.
It’s easy to care about nearby brethren,
And hard to accept that All are kin.
Featuring improvised clarinet and reverb.
Marc Lardon: bass clarinet and electronics
Andreas Glauser: Manipulated Generators, MOOG Sub Phatty
Mastering: Marc Lardon & Andreas Glauser
Artwork: Marc Lardon
All Tracks
Recorded at ML Studio Bad Ragaz
Recording: Marc Lardon
[UK]
It has been 20 years since Heitor Alves released under the alias Atom Size Elephant on MiMi Records.
Now he’s back with Undiagnosed, an album made up of two tracks that explore ambient, electronic, and improvised music.
The album, marked by ethereal textures and unpredictable rhythms, reflects the search for clarity in chaos. It is a fusion of structure and spontaneity, offering a reflection on the complexities of both human and sonic existence.
Undiagnosed is an intricate dialogue between technology and human intuition, offering a deep reflection on the complexities of existence. One example of this is the track “into the depths of loneliness,” which has a moment of near silence in the middle… allowing the listener time for personal introspection.
A truly interesting listening experience. A must listen!
Illusive sliver lures evils:
Rules rile, lives live –
Will lies sell?
Slier, wiser, sillier,
We vise ills – use wires – view silver –
Swell, swirl, rise,
Survive.
Featuring piano layered with strings.
Wondering what will, we.
Originate our own –
Understanding, until:
Later lives, listening,
Do drought – doubt – death.
Featuring piano.
Events occur – time passes. What happened still happened, yet enough stillness gives separation. Ideally, this detachment is partial – a boon of timely perspective, allowing appreciation of other things while retaining connection to that which was.
Featuring clarinet.
Hybrid Rain and Liquid Paper’s music is a unique blend of experimental and avant-garde styles. With James Hill’s expressive trumpet melodies and Hans Catstrup’s innovative soundscapes, the music explores unconventional sonic territories. It’s a journey through abstract textures and spontaneous compositions, merging organic and electronic elements for a truly distinctive auditory experience.
Released October 26, 2024 as free (cc) digital download and beautiful limited Digipak CD edition.
Hans Castrup – Electronics, tapes, field recordings, studio
James Hill – Trumpet
Carla Worgull – Digital processed voices on track 3
Martin Englert – Mastering at Elektromos Studios
Trumpet recordings at TCAB Studios by James Hill Recorded 2023.
Images by Hans Castrup
Artwork design by Ivo Petrov and Angel Draganov
download album / download flac / donate to zaman international*
release date: October 5, 2024.
Saxophone and objects: Raymond MacDonald
Saxophone and objects: Robert Burke
Double bass: Una MacGlone
Theremin and cello: Jessica Argo
Percussion: David Robertson
Piano: Maria Sappho
Recorded by Murray Collier on April 10th 2024 at La Chunky Studio Glasgow
Mixed and Mastered by Robert Burke
I remember from childhood; my favorite section of a river walk we’d do most Sunday afternoons. The path became stonier, it started twisting, the trees and undergrowth became taller and denser, enveloping the space. I loved the feeling that I was leaving the familiar. I would always imagine that the path itself could decide to change and then I could move to a different river, a new town.
Rob is coming from Australia to stay with me, and we make preparations to record together. Emails and phone calls ensue as I try to confirm where and when to record, and who is available. The dates, times, location and personnel evolve and change, and even on the day itself I am not quite sure exactly who will be there and what instruments will be played. As the day unfolds people come and go as their schedule permits. Surprise appearances are made, and the music ebbs and flows in response to the arrivals and departures and, of course, the banter.
My train was canceled so I find myself in Glasgow for an extra day. I need some clean clothes and more importantly some piano preparations… Off I go to the local friendly hardware man who is baffled by my explanation of looking for things for inside the piano. I find a lovely orange three piece suit in the charity shop. I spill coffee all down the front of said new suit and I dig about in the piano with clothes pegs and steel rods… grateful there are string players with some rosin to share.
Going out to work with my bass is moving down three flights of stairs, making tiny changes in angles, carefully carrying, left hand tracing the wall on the way down. We move together.
My experience of this collaboration feels like an extension of friendship. It began with Raymond through our ongoing musical and research collaborations, then extended to Maria, and more recently to Jessica and Una. I met David on the day of the project! The lead-up was centered around the idea of coming together to create something – improvisation is how we function, and that’s exactly how it unfolded. We improvised every step of the way, from planning to recording. The music we created was entirely improvised, with each of us bringing our shared belief that improvisation lies at the heart of our creative expression. We thrive on the chaos of getting the studio organized and then arriving. Excitement about what is possible. Creating new extensions and understandings of our relationship with one other. Total trust in the music, the process and each other. Is there any other way?
Out of the door, one of hundreds of ritual journeys walking towards the space, not knowing, never knowing exactly how it will be. The walk is time traveling, the space connects to all of the other improvisations, and creative connectivity. The people, the stream of music.
Searching over a bridge crossing the river, a tunnel over the trains, bike over the road, following a feeling and a burrito.
I returned to lachunky, or as I call it “my living room” for what must have been the 100th time. I am used to rehearsing and recording fixed repeatable protest songs for activism… but I was so excited as the room filled with string instruments, synthesisers, saxophones, hardware store contraptions, childrens toys, world instruments and multiple saxophones to play whatever arises – playing the theremin led me to weave my arm over, round and under other players, our limbs tangling like branches, the cables like vines…
From start to finish two constants keep our confidence and spirits high. The friendships that we all share, and our trust in the process of improvisation. The music is improvised, and any situation that arises becomes an emergent feature of our recording and gently folded into the music. We trust this process completely and implicitly. Our friendships not only mean we trust each other with our artistic vulnerabilities and give each other permission to be what we want and need to be in the moment, but our friendships also facilitate the music to flow from the joyful community we are part of. We look forward to and revel in the joy of being together in the music. Improvisation and community are what makes this encounter joyous and rewarding.
Crossing the road, through the tunnel, the cobbles are uneven. On the wall someone has graffitied ‘shaking voices raised together are loud and beautiful’
As I dash off to my new train I realize I have forgotten my purse… another missed train.
