released November 8, 2019
All tracks written and composed by Lori E Allen and Deborah Wale. Cello parts composed by Katie Spafford. Lori E Allen: vocals, samples, sequenced percussion, piano, synth, noise and arrangements. Deborah Wale: vocals, percussion, tube, synth, noise, scratching and spoken word. Katie Spafford: cello. Recorded and mixed by Andre T., April 2019. Mastered and cut by Jason Goz at Transition Mastering Studios, London, May 2019.
Artwork: Deborah Wale. Photography: Wolfgang Tillmans. Art direction and design: Don Wyrm. Executive producer for this album was the ineffable Restless Worm.
Cassette only – limited edition of 150 copies
Red edition available exclusively at Stellage.Store
Regular edition now on Bandcamp
A scrambled ABC of The Tapeworm, as mixed by Dale Cornish. Featuring, not in alphabetical order… A is for Laura Agnusdei, B is for Blood Music, C is for Dale Cornish, D is for The Dead Mauriacs, E is for Michael Esposito, F is for Le Forbici Di Manitù, G is for Stefan Goldmann, H is for Howlround, I is for Iceman Junglist Kru, J is for Jay Glass Dubs, K is for Kostis Kilymis, L is for Davide Luciani, M is for Achim Mohné, N is for NYZ, O is for OUT, P is for Marta de Pascalis, Q is for Quietitude, R is for Rishaug Marhaug, S is for Steinbrüchel, T is for Tears|Ov, U is for UnicaZürn, V is for Wouter Van Veldhoven, W is for Paul H Williams, X is for X-Ray Sally, Y is for Yol and Z is for Ziúr x Château Laut. Illustration by venoztks.
Cassette only – limited edition of 150 copies
SOLD OUT AT SOURCE
TTW#100 is A Can of Worms. On 29 September 2017 The Tapeworm celebrated its centennial edition with a concert, a cassette and apparel. The concert took place at London’s IKLECTIK Art Lab – for full disclosure, click here for juicy details.
The cassette itself is a C120 mixtape starring 36 of your favourite worms, each serving an exclusive, previously unreleased track for your pleasure:
Cassette only – limited edition of 75 copies
SOLD OUT AT SOURCE
Illustration – Deborah Wale
In the early 90s while studying at NYU she met and began vaguely collaborating and cavorting with DJ Fat Pants, the obscure genome from which “Madame Chaos” was conceived. “Madame Chaos” was a public access television show, cablecast on Manhattan Neighborhood Network and Brooklyn Community Access Television in New York City from 1995 to 2005. Allen was involved until she was kicked out and describes the show, as it was seen on TV, as being “a re-digested type of media vomit which should comprise one the major vital food groups for growing children.”
“Tears of the Material Vulture” is a new composition which builds itself specifically upon three samples from two early “Madame Chaos” cassette releases – “MC Sampler” and “Creeping Eskimo Chong” – both dating from 1995, and resurrected here in memory of those creepy times…
Bloxham Tapes BT29
The 29th release on Bloxham Tape is from sound artist and self-taught musician Lori E Allen, cellist and mixed media artist Katie Spafford and illustrator and prison psychotherapist Deborah Wale – improvising collective Tears|OV.
SEND IN THE CLOWNS…
‘Pluto’s Return’ is inescapably an album with Covid-19 in its DNA. Tears|OV’s incredible set at Iklektic in Waterloo was the last live performance Bloxham Tapes caught before stay-at-home orders were finally issued by the UK’s incompetent populist PM – Grim Reaper as Grimaldi. Coronavirus found unwilling hosts in some of the album’s participants. Conversations about the project unfolded over Zoom. Time was also put out of joint. A familiar story. But we are delighted to share this work with you now.
“As is/was undoubtedly the case for many creatives, the Covid 19 pandemic gave us a two-faced gift of fear and time,” says Deborah. “Our desperate human attempt to reason with nature and a lack of personal freedom leads to musings about such cliches as the human condition, politics and the influence of the solar system.”
SOUL CYCLE EMERGENCY CONTACT…
What were Tears|OV’s conclusions? “It’s so much easier to be told off by the stars then accept responsibility for our species’ splurge,” Deborah adds. “Let us lament that we don’t have the technology – or should I say luxury – of the machine revolution sent to destroy us in the classic maximum overdrive…. Humans here, humans here….. Instead we are to be slowly ripped to shreds by our own snot.”
Pass the tissues and immerse yourself in the astral and infernal world of Tears|OV.
Tears|OV: Lori E Allen, Deborah Wale, Katie Spafford with Tom Loffman and Emily Klimkiewicz
All tracks written and composed in the shadow of Pluto’s looming recrudesce
Design by Luke Drozd
Side A:
Dim Garden – Front Stretch Arps
Bacon Grease – I need you to see
Sara Ohm – Gary Gilmore’s Eyes (orig.The Adverts)
Jo Montgomerie – Forge
Betty White Noise – Mother Earth
Opal X – Neon
Havadine Stone – You are where you need to be
Nail Club – Latitude
Mama Matrix – Radio Esoterica edit
Side B:
LDSN – Food Faces; Evicshen – Worsted; The Clumsy Giantess – Aeolian Daytrip for all the people; Jen Kuttler – that Yuga where you kill your children so they don’t become monsters because of the internet; Silvia Cignoli – Come una voce lontana presto ascolto; Tears | OV – The Other; T I N A – Everything is a mess; Lutkie – Being Had; And Lace – Fabrik
Additional digital only track (not on original cassette): Opal X – Neon (Extended)
INDUSTRIAL COAST PRESENTS:
WOMEN INVENTED NOISE NOT INDUSTRIAL COAST
Originally released on cassette, physical copies are sold out completely (inc. all distro).
With agreement of all artists involved (thank you all!), we are offering up digital of the entire release, but only until Sunday 10 April. We will donate 100% of proceeds to femwork.org
Feminist Workshop (Ukraine) – “In our city — in Lviv — practically everyone we know defends the country and helps other people. The Feminist Workshop works with the feminist organizations across Ukraine, especially in hotspots, to support women of vulnerable groups and evacuate them to the western part of Ukraine”
Mastered at The Gorgon Head by ZZ
released April 5, 2022
ISSUE 435
ISSUE 431
ISSUE 430
ISSUE 74, by Bob Fisher