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Tapes / | \ (

by LBF aka La Boum Fatale

/
  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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      €7 EUR  or more

     

  • Tapes / | \ ( [violet edition]
    Cassette + Digital Album

    White cassette tape with 5 variant designs. Only 2 copies available per artwork.
    All tapes consists all 16 tracks from the 4 EPs. ONLY TEN TAPES IN TOTAL!

    Includes unlimited streaming of Tapes / | \ ( via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Sold Out

  • Tapes / | \ ( [peach edition]
    Cassette + Digital Album

    White cassette tape with 5 variant designs. Only 2 copies available per artwork.
    All tapes consists all 16 tracks from the 4 EPs. ONLY TEN TAPES IN TOTAL!

    Includes unlimited streaming of Tapes / | \ ( via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Sold Out

  • Tapes / | \ ( [magenta edition]
    Cassette + Digital Album

    White cassette tape with 5 variant designs. Only 2 copies available per artwork.
    All tapes consists all 16 tracks from the 4 EPs. ONLY TEN TAPES IN TOTAL!

    Includes unlimited streaming of Tapes / | \ ( via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Sold Out

  • Tapes / | \ ( [yellow edition]
    Cassette + Digital Album

    White cassette tape with 5 variant designs. Only 2 copies available per artwork.
    All tapes consists all 16 tracks from the 4 EPs. ONLY TEN TAPES IN TOTAL!

    Includes unlimited streaming of Tapes / | \ ( via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Sold Out

  • Tapes / | \ ( [azur edition]
    Cassette + Digital Album

    White cassette tape with 5 variant designs. Only 2 copies available per artwork.
    All tapes consists all 16 tracks from the 4 EPs. ONLY TEN TAPES IN TOTAL!

    Includes unlimited streaming of Tapes / | \ ( via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Sold Out

1.
/ 00:44
2.
// 02:52
3.
/// 04:00
4.
//// 04:52
5.
| 04:31
6.
|| 01:19
7.
||| 01:39
8.
|||| 00:59
9.
\ 01:05
10.
\\ 00:29
11.
\\\ 01:45
12.
\\\\ 03:42
13.
( 01:27
14.
(( 03:33
15.
((( 01:10
16.
(((( 01:59

about

A series of four experimental EPs, bundled on one tape cassette.

What is music? What can it do, does it do, does it want here? What makes noise music and music being relevant, becoming a feeling and indispensability? The connection between music and people always needs context, always needs the right moment. It rarely arises only in the blunt connection of stimulus and reaction. But what is context, what is the right moment, if music is simply always there, always all around? What is a valuable discovery, if anything new is simply dragged into the brain by an assembly line. Day after day, week after week. Your Daily Mixtapes here. A few unknowns there, a bit of distinction on top. Come on, don't argue, we know you like it.

Pop, Crust, Jazz, Noise, House, Neoclassical, Soul, UK drill - all of them already permeated by the same logic of distribution, exploitation, and relevance. While here and there a few stubborn gatekeepers may still claim residual significance, review after review. The algorithm has already neatly preselected it. And it endlessly shoots out new discoveries and themed lists, which in the best case even ignite briefly before they burn out again. And the modes of distribution punch through the ways of production."You can't record music once every three to four years and think that's going to be enough," says Spotify founder Daniel Ek. Onward, onward, content, content.

So much for context. Now here's the music. "Just write that it's his most personal work," producer and sound designer Antonio de Spirt gasps in a voice message, apparently recorded while jogging. "Or that it's just what you get when you want," he gasps, "constant output and fast audio content. Fire & Forget. And that it’s art. You just have to say it often enough, and becomes true." The "LBF Tapes" are all of that. Personal work. System criticism. Art assertion. A collection of happy and not-so-happy coincidences. One or two afternoons with sketches, sample packs and an all-smashing modular system. The direct path to the label. Divided opinions and unconditional will. Finally: a very good because very consistent joke.

But the four EPs summarized here - "/", "|", "\" and "(" - they are much more than just a very personal impertinence. De Spirt's "LBF Tapes" allows itself sixteen relentless zooms on moments that otherwise only become music in flowing combination. Isolated bass drums, pads, surfaces, bass chords, magnified, repeated, stretched and torn. Individual moments become surfaces, become soundscapes, become patterns and noises. Momentary beats arise and pass, a chord hangs in time, everything disturbs and tugs until it suddenly tips over into being meditative. And back again. "LBF Tapes" consistently skips through itself and finally asserts itself in the unexplored (so far, probably for good reason), but - excuse me - nevertheless very wicked field of tension between sound art and ambient, between atonal and insectoids, between structuralism and cheerful fart humor. And as mercilessly digital and cool as it all is, you can always hear the hand on the knob, the joy of the sound explosion, the very manual granular analysis. His most personal work, in fact.

Beyond all this, certainly very important references: Klara Lewis, Einstürzende Neubauten, SØS Gunver Ryberg, Mushihimesama Futari in Ultra Mode, Bohren & the Club of Gore, the language of the aliens in Denis Villeneuve's "Arrival", a call to a very large fax machine, a totally scratched Fennesz CD in the glove compartment, Merzbow on a package holiday, scrolling through the SFX list in Street Fighter II, a corrupted version of Richard MacDuff's "Anthem" software dubbing Daniel Ek's bank statements, the question "What is music? " at the beginning of the label's press release, music itself.

------------------------

Was ist Musik? Was kann sie, macht sie, will sie hier? Was macht Geräusch zu Musik und Musik zu Relevanz, zu Gefühl und Unverzichtbarkeit? Die Verbindung von Musik und Mensch braucht immer auch Kontext, braucht immer auch den richtigen Moment, entsteht selten nur in der stumpfen Verbindung von Reiz und Reaktion. Aber was ist schon Kontext, was der richtige Moment, wenn Musik einfach immer da ist? Was ist eine wertvolle Entdeckung, wenn das Neue einfach per Fließband ins Hirn geschleift wird, Tag für Tag, Woche für Woche, hier deine Daily Mixtapes, hier ein paar Unbekannte, hier ein bisschen Distinktion. Nur keine Widerrede, wir wissen doch, dass dir das gefällt.

Pop, Crust, Jazz, Noise, House, Neoklassik, Soul, UK Drill – alles längst durchzogen von der gleichen Distributions-, Verwertungs- und Relevanzlogik. Mögen hier und da noch ein paar störrische Gatekeeper Rezension für Rezension Restbedeutung behaupten, sortiert der Algorithmus längst sauber vor und ballert Neuentdeckungen und Themenlisten raus, die im besten Fall sogar kurz zünden, eh sie wieder verglühen. Und die Distributionsmechaniken schlagen längst auf die Produktionsseite durch. „You can’t record music once every three to four years and think that’s going to be enough“, so Spotify-Gründer Daniel Ek. Weiter, weiter, Content, Content.

Soweit der Kontext, hier nun die Musik. „Schreib einfach, dass es sein persönlichstes Werk ist“, keucht Produzent und Sound Designer Antonio de Spirt in einer offenbar beim Joggen aufgenommenen Sprachnachricht. „Oder dass es eben das ist, was du bekommst, wenn du“, er schnappt nach Luft, „ständigen Output und schnellen Audiocontent willst. Fire & Forget. Und dass es Kunst ist. Muss man nur oft genug sagen, dann stimmt es schon.“ Die „LBF Tapes“ sind all das. Persönliches Werk. Systemkritik. Kunstbehauptung. Eine Sammlung glücklicher und nicht ganz so glücklicher Zufälle. Einzwei Nachmittage mit Skizzen, Sample Packs und einem alles zeaschrotenden Modularsystem. Der direkte Weg zum Label. Geteilte Meinungen und unbedingter Wille. Schließlich: Ein sehr guter, weil konsequent durchgezogener Witz.

Aber vier hier zusammengefassten EPs – „/„, „|“, „\“ und „(“ – sind eben auch mehr als nur eine hochpersönliche Frechheit. De Spirts „LBF Tapes“ erlauben sich sechzehn unbarmherzige Zooms auf die Augenblicke, die sonst erst in fließender Kombination Musik werden. Einzelne Bassdrums, Pads, Flächen, Bassakkorde, vergrößert, wiederholt, gedehnt und zerrissen. Aus einzelnen Augenblicken werden Flächen, werden Soundscapes, werden Muster und Geräusche. Augenblickbeats entstehen und vergehen, ein Akkord hängt in der Zeit, alles stört und zerrt solange, bis es plötzlich ins Meditative kippt. Und wieder zurück. „LBF Tapes“ skippt konsequent durch sich selbst und behauptet sich schließlich im wahrscheinlich aus guten Gründen bislang unerforschten, aber – Verzeihung – doch sehr geilen Spannungsfeld zwischen Klangkunst und Ambient, zwischen Atonale und Insektoiden, zwischen Strukturalismus und fröhlichem Furzhumor. Und so gnadenlos digital und kühl das alles ist, so hört man doch immer auch die Hand am Regler, die Freude über die Soundexplosion, die sehr manuelle granulare Analyse. Sein persönlichstes Werk eben.

Über all das hinaus bestimmt sehr wichtige Referenzen: Klara Lewis, Einstürzende Neubauten, SØS Gunver Ryberg, Mushihimesama Futari im Ultra Mode, Bohren & der Club of Gore, die Sprache der Aliens in Denis Villeneuves „Arrival“, ein Anruf bei einem sehr großen Faxgerät, eine völlig zerkratzte Fennes-CD im Handschuhfach, Merzbow im Pauschalurlaub, durch die SFX-Liste bei Street Fighter II scrollen, eine korrupte Version von Richard MacDuffs „Anthem“-Software, die Daniel Eks Kontoauszüge vertont, die Frage „Was ist Musik?“ am Anfang eines Labelinfoschreibens, Musik an sich.

Text by Sebastian Cleemann <3

release dates
/ - August 6th, 2021
| - August 13th, 2021
\ - August 20th, 2021
( - August 27th, 2021

credits

released August 27, 2021

_PERFORMED & EDITED BY
ANTONIO DE SPIRT

_RECORDED ON A MODULAR SYSTEM USING :

BEFACO RAMPAGE,
MAKE NOISE MORPHAGENE,
MUTABLE INSTRuments BEADS
MAKE NOISE MIMEOPHONE

_CONTAINS SOUNDS FROM
RICHARD DEVINE’S REEL FOR THE
MORPHGENE

_ARTWORK BY
ALEXANDER TRATTLER

laboumfatale.com
alexandertrattler.com
sinnbus.bandcamp.com

license

all rights reserved

tags

about

La Boum Fatale Berlin, Germany

Since forever, Antonio de Spirt has been a multiplier, a collaborator, a social project almost as much as a musical one. Accordingly, his catalogue as La Boum Fatale is a testament to cooperation, creative exchange and musical friction.

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