Enfant Magique
Le Temps Lent

The GTT series is a platform that hosts experimental projects & artists in sound art. It is dedicated to support sound as a genre of its own - beyond the boundaries of music theory and free of any expectation. Just art. WOLFFRIEND is a collaboration project between Mischa Wolff (Von Abseits) and Daniel Harrison (Imaginary Friend). The two met each other in Berlin and discovered their mutual interest in beats, rap and sound art. When they moved in with each other last February they spent their first two weeks together in the studio. It resulted in an adventurous sound story called ‘Computers’ that brings listeners into a dimension of their own.

Interplay by YlangYlangCatherine Debard has been active as YlangYlang since 2012, a creative staple in the Montreal music community. She’s worked frequently as a collaborator, but continues developing her unique interstitial solo recordings through a variety of labels and performance experiments. Inspired in part by the writing of Danish poet Inger Christensen, in Debard’s words Interplay explores “how we are shaped and shaping our experience at the same time” and “how free we can be within our own limitations.”Full of deceptive contradictions and some of Debard’s most mature orchestration, she describes it as the final instalment in a trilogy focused on relationships. After albums focused on the external world, this time she turns her attention more intensely on “the self.” It’s a fitting meditation, reflecting on how we adapt and survive as individuals in dark times. Interplay’s warming combination of synths, field recordings, and backing instrumentation weave together toward balance. Here the mixture of stern and soft, dark and light, is seamless.

“For Playful Manners” is a new label run by Raquel Rivera-Lys aka Adi from Colombia and Basic Moves head honcho Michiel Claus aka Walrus from Brussels. Dreamt up spontaneously during a shared afternoon of listening to music in Berlin, the label’s manners centre on the feelings of friendship and fun in music, though its feet are always itching for the dancefloor and its various scenarios, while its head is turned firmly towards the future. Crisp music is the message every time, with each split EP also thoughtfully balanced: male/female, machine/soul, robot/alien, flower/tree... The artwork takes the form of a puzzle, which has to be solved to discover the tracks and their makers. Let’s play!

Philipp Boss launches his Activo Records with a handful of collabs and a fistful of Eurodreams.

Inimate British pop for fans of Spike, The Cleaners From Venus, Felt, Durutti Column, Black Ark Studios and Aladdin. Charming lost tapes from the early ‘80s, treasured only by family members until now."Jim and I met at university in Liverpool in nineteen seventy-five and immediately began making music together. We both had rooms in the same big Victorian house in the centre of town and our evenings were spent hanging out in the nightclubs of Toxteth, like Dutch Eddie's where the DJ played Trinidadian music all night long.Liverpool has always been somewhere with its own distinctive culture, poetry, and music. In the nineteen seventies it was absolutely magical. The city was still bathed in the afterglow of the Beatles and there was a kind of creative anarchy about the place. There was this band called Death Kit who used to put on multi-media events with people in fancy dress and random bits of theatre. We'd turn up completely out of our heads and it felt like we were deconstructing ourselves as individuals.After we left college, Jim began living in Cambridge and I returned to London where I'd grown up, but our musical relationship continued. We knew people who were making commercial sounds and having success with them but that wasn't what we wanted to do. We performed occasionally, albeit very erratically, mostly as a duo but sometimes with other musicians.What we were really interested in was musical exploration. Jim built a studio in his back garden, bought some multi-track recording equipment, and began experimenting. We wanted to produce something that was just for ourselves. We were undoubtedly very naïve but naivety and innocence were hallmarks of that time.In my childhood, I'd been fascinated with the story of Aladdin. Now that fascination began to be reflected in the music we were making. Here was a story about a boy who transforms his world and enters the magical realm. That seemed to be exactly what was happening to me. For all sorts of reasons, I hadn't particularly enjoyed my childhood but now I had managed to step out of the everyday reality, to find a place where I belonged and where I had a kind of power.The name we used for the band came from a song recorded in 1949 by a singer called Mel Torme. There's a line in that song that goes, "Careless Hands don't care when dreams slip through." That seemed appropriate since dreams were part of the territory we were exploring.I had got married immediately after leaving college and by now I had a daughter who was afraid to go to sleep at night. She wanted me to be present in her dreams with her. That became the inspiration for a period during which Jim and I tried to recreate the shifting landscape of the night-time imagination.Unfortunately, the choice of name turned out to be horribly prophetic when in a freak accident Jim fell into a lake and was drowned. It seemed to me that for some time, he had not been paying enough attention to his own life. So I wasn't exactly surprised when I heard the news but I was completely devastated. After Jim's death, I put away his guitar and never played again. I went on to make a career as a novelist.Most of the recordings we produced were lost over the years. A bunch of master tapes was accidentally thrown into a dumpster and others were left in the attic of a house I lived in at some time during the nineteen nineties. This album has been pieced together from fragments that somehow survived the cull."- Brian Keaney November 2020