Fringe Tones #16

01 LordBSinC – Harmonica + Harmonium – Medley
02 Jim Denley – 11 Minatures for prepared bass flute and dremel
03 Kara Lis Coverdale – Grafts
04 Soundcanon – Windfall
05 Deaf Center – A Scent
06 Dino Spiluttini – Endurance
07 Jen Cutler – Worth
08 Terry Riley – Persian Surgery Dervishes
09 The Fully Automatic Model – A New Dawn Chorus
10 Missing Organs – O, if not, the eagles will come and pull out his eyes…
11 Jose Manuel Paez Moincaleano – Strauchschit
12 DSIP – Haleine (Remix)
13 Deaf Center – Ashes
14 Pulse Emitter – warming rays
15 L.S.D – Mai
16 Xterminal – Muslims For White Supremacy
17 Simon Mason – e11-sep07a
18 Olivia Chaney – Waxwing
19 Barry Cullen – trimming component legs off a PCB
20 Capricorni Pneumatici – Cattura

Spool’s Out: Cassette Reviews / Kitty Wang

Tristan Bath has included a review of Kitty Wang’s debut release over at the Quietus‘ monthly cassette tape review section.



Okay, so the idea of a modular synth album made in a planned out process by two guys called Phil and Barry might not sound so exciting. But hear me out.

Kitty Wang is a duo comprising Barry Cullen, “noise enthusiast based in Belfast”, and Phil Porter, “an audio worker based in Munich”, and from the sounds of it they’re both pretty well versed in the technical aspects of playing oscillators and modulators. This music was somewhat more ‘designed’ than ‘composed’, the process designed under the influence of remixing as a means to make music.

The duo’s original modular jams were “cut and arranged into clocked patterns on a computer”, then broken into fragments which were played back through the modular system, then “clocked by pulses from the original arrangement”, then… Okay I’m losing you.

Essentially, the duo arranged and rearranged various improvisations methodically, and while the untrained ear won’t most likely pick out the minutiae of ‘what happened’, the result elevates the work beyond your average synth bro down. The synths cough and splutter at times, such as on the catchily titled ‘kw6b2(moments)v2.2’, death rattling atop a rinsed out lattice of droning modules and rhythmic whirrs puncturing through thing envelope veils. It may have all been made with plenty of premeditation, but Kitty Wang feels like the work of a ghost in the machine, spluttering computer music out in bizarre alien shapes, occasionally stepping into briefly droning chords or stomped out marches.”