Cassettes

please tell me you will also be releasing a record called 2 x 12"!?!

not just yet, but there will be an accompanying 12" with different tracks :D

that forthcoming mordant music/ekoplekz tape sounds sick

thanks! it looks like the original 2xC45 project has now grown into a 2xC60, which kinda knackers the title concept (assuming you're a cabaret voltaire fan and get the reference in the first place!). might have to come up with a new title...:slanted:

no they don't! and besides, that probably has as much to do with your speakers than anything else.
all i can say for sure is that, to my ears, my cassettes fuck over my wife's ipod nano in the car stereo every time
 

Mr. Tea

Let's Talk About Ceps
all i can say for sure is that, to my ears, my cassettes fuck over my wife's ipod nano in the car stereo every time

Ah, well there you go - I'm no iPod expert but it's probably fair to assume the Nano doesn't have the world's greatest pre-amp, right?

However I do remember hi-quality tapes, made on a good stereo, sounding pretty damn decent on a Sony walkman in the late '90s. Especially with those nice earphones that stick right into your ears and SUPERBASS(tm) BASS BOOST WITH XTRA BASS turned on. :cool:
 

Dr Awesome

Techsteppin'
My new car has a cassette player.
This in itself is nothing extra ordinary, except when you consider that it's a Volkswagen Pasat made in 2002.

Someone, somewhere, ordered a new car in 2002 and couldn't be bothered specifying anything other than a cassette player. This is odd because it has other options that aren't base model (Air-Con, well... at least I think it isn't standard);

Anyway, I must get round to getting a semi-decent head unit - the knockoff iTrip I use sounds god awful.
 

gumdrops

Well-known member
my vw polo from the early 00s has the same setup. no cd player. no dab. just tapes. which actually suits me fine. plus everything just tends to sound better in the car anyway. esp grime/funky/dubstep etc.
 

Littlefoot

Well-known member
I do a cassette label called Coffee Beat with a friend, we put out post punk/garage punk/lofi type stuff

Sounds better for that kinda music than an mp3 for sure.

Cassettes are wicked little things when used properly, I've also done some mastering for people to cassette recently.
 

Littlefoot

Well-known member
Is it really true that cassettes aren't manufactured anymore? There are still places offering duplication and empty cassettes, there are even major labels releasing cassettes for children, and there are enough places on the world where cassettes are still a very common format. I can't imagine that that this is all old stock. I guess cassettes are still manufactured, they're just not sold on the (west european/north american) consumer market.

There's a cassette release of my music planned for next year, the reason for choosing the format are mainly that there's not much choice if you want to do a really small run DIY style (<100) for a reasonable price and don't want to do a digital/cdr release. Plus the haptic and sonic characteristics of a cassette go well with the themes and sound of the music.


No it's not true, they are still being manufactured, I don't know where this myth has come from?:eek:
 

version

Well-known member
Cassette Culture’ is an in-depth tome and 46-track comp of top shelf tape obscurities charting the scene evolution between the early ‘80s and the emergence of the internet in the mid ’90s, with 2hrs of music spanning choice cuts by Muslimgauze, Beequeen, Storm Bugs, R Stevie Moore and many, many more

Authored and compiled by Jerry Kranitz - a pivotal node of tape culture’s rhizome of cottage industry comrades - the book and 2CD spell out a unique and enduringly influential phase of late 20th century culture that emerged in the fall-out of punk and and tailed off when everyone starting “surfing” the net and buying CDs in the ‘90s. Maybe it’s fair to say this scene, or an echo of it, has necessarily flourished again in recent years, making this whole collection pretty indispensable for anyone interested in the idealistically democratic and networked roots of contemporary underground culture.

Taking a “social history/analytical approach” to his subject in the book, Kranitz offers a topically apt perspective on the scene of experimental artists who, through trading, collaboration and self-distribution effectively established a network that would foreshadow the internet’s early idealism and structures. The stylistic breadth of the music on offer, from mouth-watering early house/synth pop by Jeff Central to the cyber-industrial fantasy of 10-Speed Guillotine, stunning dark ambient by Brume and an unmissable Linn workout by Muslimgauze, is a strong reflection of how the culture fostered artistic freedom away from the mainstream and found strength in diversity and the scenius of the hivemind.

Seriously you’re spoilt for choice on the 2CD, which includes multiple Bryn Jones (Muslimgauze.EG. Oblique Graph) and the sun-bleached jangle of ‘Puttin’ Up The Groceries’ by Ariel Pink mentor R Stevie Moore, thru to hellishly good industrial clang and drive from F-i and Storm Bugs, burnt out DIY scrabble by Vittore Baroni, V/Vm-like croons by Monochrome Bleu, and the roiling darkwave techno freakishness of Markus Schwill, whose ‘The Advantage of Tape Music’ epitomises the run of c.1990-’92 zingers that really set this comp in the vital category.
 

john eden

male pale and stale
The author of that book is interviewed by Nigel Ayers of Nocturnal Emissions here:

 
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