Open today: 10:00 - 17:00

By continuing your navigation on this website, you accept the use of cookies for statistical purposes.

Tears|Ov
A Hopeless Place

A Hopeless Place
A Hopeless PlaceA Hopeless Place

Artists

Tears|Ov

Catno

WHO#14

Formats

1x Vinyl LP Limited Edition

Country

UK

Release date

Nov 8, 2019

Tears|Ov - A Hopeless Place | The Wormhole (WHO#14)

Founded in 2015, Tears|Ov are sound artist/self-taught musician Lori E Allen, classically trained cellist/mixed media artist Katie Spafford and illustrator/prison psychotherapist Deborah Wale. The trio first collaborated on Lori E Allen’s ‘Tears of the Material Vulture’ cassette on The Tapeworm, a re-imagination of a brief collaboration with Madame Chaos of cut-up cablecasts, 1995-1996, on Manhattan Neighborhood Network and Television in New York City. That release served to resurrect a hibernating creative practice between the three friends.

Their writing process takes the form of structured improvisation. Allen will create a bed of loops, field recordings or a full framework. She then shares this base with Wale and Spafford who embellish or delete, the three building the pieces through long improvised sessions in London, playing late into the night. During these sessions, the feeling of a songs’ words or the emotional tone of a sound can spark sudden mood changes, altering the arc of the compositions. ‘Crucially the music is improvised – it is never the same twice. There are triggers and moments that signal moving to another part of the music, but the timings and lengths largely depend on our moods and interpretation on a given day/performance. Because of this, the album was recorded with ambient mics capturing multiple instruments. It wasn’t possible to record all the instruments separately as we respond to each others improvisation. Even if the changes are very minor, they really affect the emotion of each piece’ Spafford says.

Media: Mi
Sleeve: M

$25*

*Taxes included, shipping price excluded

A1

A Hopeless Place

3:18

A2

I Stand On The Cable

5:18

A3

All Else Is Bondage (For A.)

5:33

A4

Dancing Without

3:11

B1

Trapdoor Ant

4:35

B2

Overstimulated Arcade Rat

2:03

B3

Family Feudal

5:51

B4

A Hopeless Place

4:13

Other items you may like:

boomkat: ...Pop Negatif Wastad’s eponymous EP from 1989, including all of their self penned songs. This is the first release in a series of reissues from the height of the 80’s & 90’s Welsh music scene."Hailing from mid Wales, Pop Negatif Wastad emerged in the late 80’s as the sole collaboration between Esyllt Anwyl and Gareth Potter. Esyllt cut her teeth in the exceptionally bent no wave group Crisialau Plastig, while Gareth – an actor on the UK soap opera Eastenders – was in the midst of breaking away from his post-punk group Traddodiad Ofnus to form the mighty hip hop/acid techno outfit Tŷ Gwydr. With their backgrounds in experimental pop and the thumping beat of the nascent rave scene looming in the background, the duo took an unapologetic approach to music making with no regard to formulaic sound, gender roles, or expectation.Esyllt served as the mastermind behind the music (along with Gorwel Owen on production – Rhosneigr’s answer to Martin Hannett) while Gareth balanced the project with his dialed vocal style and ideological approach. They developed an emotionally driven and fearless collection of tunes, a charged version of synth pop that elaborated on their experience within the Welsh scene while combining influences from emergent sounds akin to what you’d hear on The Haçieda dance floor (where rumour has it, their Be Music/ Section 25 invoking track “Iawn” was played). Stabs, arpeggiated synths, harsh percussion, piano house leads, concertina melodies, warped samples, and dubbed out delay were quilted together to the chug of drum machines, creating a genre-bending landscape woven with vocals reminiscent of New Order and Joy Division (with the added bonus of being sung in the Welsh language)."
U-Trax: ...U-TRAX presents some hi-energy old school electro and bass from Los Angeles turntablist and producer Nuklear Prophet, who follows up his recent EP on U-TRAX with the full-length album Prophecies 11:21.Formed of an eclectic and energetic collection of gems mined from his overwhelming archive, the album takes in genres such as Electro, Hip Hop, Footwork, Juke, and beyond.
RWD-FWD: ...After teasing out a handful of Test Pressings at the end of last year, it is now time for the full drop of the G36 bomb on Hotline Recordings.It’s been a hot minute since the last release dropped on the Hotline, but we're back now with two ultra-gully, ultra-heavyweight dystopian steppers cuts from mysterious anarcho-dub-punks out of Japan – G36.Last seen on The Bug’s PRESSURE label, producing riddims for Nazamba and unleashing another deadly 12″ of their own – this is their most devastating pair of traxx yet…No Escape rings off natty Sleng Teng memories via Blade Runner futurism and 10tonne bassbin war cries… Black Mass is the lonesome street sweeper post nuclear war – no mercy, no survivors.Absolutely tough soundsystem gear, probably the loudest plate on the label yet -if you like the sounds of The Bug, Emptyset, Loefah, Iration Steppas, Aba Shanti-I, TNT Roots -Then this will feel good to you.
Editions Mego: ...NPVR is moniker taken on board by PITA AKA Peter Rehberg and Factory Floor’s Nik Void. 33 33 is their debut recording. Peter and Nik both share formidable reputations in the post industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavours over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise etc 33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private.
Editions Mego: ...Reflecting Ambarchi’s profound love of Brazilian music – an aspect of his omnivorous musical appetite not immediately apparent in his own work until now – Simian Angel features the remarkable percussive talents of the legendary Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista’s dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, ‘Palm Sugar Candy’, Baptista’s spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece’s final minutes leave Ambarchi’s guitar unaccompanied. While the rich, swirling harmonics of Ambarchi’s guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone we hear is quite new, coming across at times like an abstracted, splayed-out take on the 80s guitar-synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi’s playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance.