RELMIC STATUTE
Morning Tapes
CD
RELMIC STATUTE
Morning Tapes
MP3 Release
RELMIC STATUTE
Morning Tapes
FLAC Release
RELMIC STATUTE
Sitting Under The Lantern's Glow
CD
RELMIC STATUTE
Morning Tapes
CD
RELMIC STATUTE
Morning Tapes
MP3 Release
RELMIC STATUTE
Morning Tapes
FLAC Release
RELMIC STATUTE
Sitting Under The Lantern's Glow
CD
Following last month's release by the Tape loop Orchestra, Relmic Statute is the latest addition to the Cotton Goods label, and as ever, the standards of hand-made packaging continue to be raised by the label. This time around you have to negotiate your way through a card folder embossed with the label's logo before reaching a thicK cardboard casing which holds the now customary hand-numbered ID card and a cut-out page, snipped from some long-forgotten text. Once you're finally in, you discover that this latest edition (limited to 100 copies for the world) comes from Leeds-based artist David Horner, who records under the moniker Remic Statute, assembling lulling, grainy soundscapes based on the splicing of field recordings collected from cassettes and old 1/4-inch tape. The likes of 'Cupboard Music' take on a scrapbook-like, collaged approach to sound-sculpting, taking muffled tones, mini-torrents of hiss and lo-fi cracklings as a means of establishing an atmosphere of cosy, domestic calm. Although this sort of material tends to be evocative of a very homely, cocoon-like quality, elsewhere Horner ventures so far as his window, documenting the seemingly endless, trickling downpour of 'A Change In The Atmosphere' and 'The Leaves Of The Pel Thraine Cemetery'. On this latter recording the weather joins with a variety of more musical and manmade sounds; it serves as a great example of how Horner merges his own instrumental dabblings with incidental sounds, where both synthetic and natural timbres seem to mimic one another. In a slightly different strand of his work, Horner draws William Basinski-inspired worn-out loops from 'Flor-Ewue1932', droning in a suitably enigmatic, decaying fashion, going on to demonstrate another facet of his talent by the time he reaches pieces such as 'Small Song' and 'Tapeloop2' - both of which dig out clear-cut melodies, all channelled through the deteriorating, crumbled tape that adds so much rich character to these compositions. All we can say is, Hurry.
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