Discounted (85% off) self-released discography!

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There’s way too much music on my Bandcamp page, therefore a clean out is necessary. I’m doing this for a couple of reasons: firstly, I’ve been self-releasing my own music for over ten years and I’ve reached a point now where I feel – in order to progress things career-wise – I should be making a considerable effort to release music on a label. I’ve had a couple of things released on labels in the past and the difference it makes to distribution and exposure is a no-brainer; so I’m bringing an end to self-releasing. Secondly, and as I mentioned before, there’s too much stuff on there and a lot of it (in my opinion) should be phased out. Thirdly – and perhaps most crucially – I’m in the early stages of planning a new album, therefore I feel a clean state across the board is necessary. My website and few other things have been recently overhauled, so in this respect a tidy out on the music front will certainly help me maintain some clear focus and direction. It’s time to move on!

I’ve made a list below of the releases that will be cut and those that will be retained. BEFORE I do this on MONDAY (APRIL 23) I’ll be offering the complete discography as a bundle at a ridiculously REDUCED DISCOUNT OF 85%. So basically you can obtain 23 RELEASES for a LOW LOW minimum price of just under FIVE BUCKS. I’m dead serious when I say this will be your last opportunity to obtain the stuff due for the chop. I’m not necessarily saying, ‘buy all my shit material’…it’s not shit in my opinion and there’s some personal favourites floating around in those editions. As I mentioned before: it’s just time to move on. So, consider this is an opportunity to nab 10+ years of work for peanuts. If you’re keen – do it. And thanks!

Follow this link and find the discog option: https://tristanlouthrobins.bandcamp.com/…/the-door-into-sum…

x TLR x

TO BE DELETED/WITHDRAWN:
Distance Music – EP (2017)
Sojourner – EP (2018)
Let It Go – EP (2018)
Hello, Stranger -EP (2018)
Maurilia Sound Studio Volumes 1-4 (2015-2017)
Sound Installation: Orbits (2016)
Sound Installation: Five Voices (2015)
ANNO – EP (2015)
Red Eyes – EP (2014)
Singles 2010-2014
Live Performance Vol.1 – Wheatsheaf (2014)
Hypericum – ALBUM (2012)
Live Performance Vol.2 – Dunedin, NZ (2010)
Otago Residue – EP (2011)
Parlour/Lamb and Frost – single (2010)
Before & After Sleep (compilation: 2008-2010)

TO BE RETAINED:
The Door Into Summer – ALBUM (2015)
The Gilded Engine – (compilation: 2010-2013)
Awry – EP (2017)
Sound Installation – Wentworth Visitation (2013)
Sound Installation – Pink Twine (2005)
Projections of Loss – EP (2010)
Fleurieu Sound Map Recordings (ARCHIVAL ONLY – NOT FOR SALE)

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Weekly Beats 2018: March compilation – Sojourner EP

Weekly Beats comes but only every two years and since 2012 I’ve committed myself to it as a willing participant. In short, it’s a project that involves its participants to write and record an original piece of music each week for the rest of the year. I’ve never made the full 52 weeks, but since its inception in 2012 I’ve thrown myself into it in order to kickstart some new ideas or nudge along curiosities.

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This month I decided to employ a piece of hardware that’s been a studio mainstay for as long as I’ve had anything resembling a studio: my beloved Tascam 424 Portastudio. I bought it in 1999 and made some of my first electro-acoustic experiments on it, way back when I was trying to emulate the weird and disjointed sound of records like Radiohead’s Kid A or Gastr De Sol’s Camofluer. The Portastudio’s tracking, fx sends and pitch settings made it possible to manipulate sounds and create interesting layers and textures. This was long before I could afford something like a laptop and the sofrtware that went with it.

And ultimately, when I eventually got my first laptop, the Portastudio was pushed aside in favour of the cool technological ease of digital audio interfaces.

So, its endeavours like Weekly Beats that can trigger a reinterest in dusting the old thing off once again and putting it to use once again. If anything, it’s great to have a piece of equipment on hand that provides a more tactile interface with sound – whether it be flipping a tape over, tweaking the EQs or creating an endless chain of auxilery effects.

This is where this month’s worth of material started; then, I got the idea of creating short tracks which evoked memories and impressions of places.

On this collection, the hiss, crackle and unpredictability of old 1970’s cassettes is inscribed with the woozy and gurgling tones of my Microkorg, or in the case of the latter track, an agogo played by a couple of prepared loudspeakers. Across the four tracks I’ve employed a digital delay and reverb FX send to add a bit of spaciousness, whilst the pitch features of Portastudio have been applied zealously.

Thanks for listening!

TLR, March 2018.

 

Let It Go EP: Weekly Beats – February 2018

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Weekly Beats comes but only every two years and since 2012 I’ve committed myself to it as a willing participant. In short, it’s a project that involves its participants to write and record an original piece of music each week for the rest of the year. I’ve never made the full 52 weeks, but since its inception in 2012 I’ve thrown myself into it in order to kickstart some new ideas or nudge along curiosities. 

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Let It Go takes its inspiration from two things: guitar and Jim O’Rourke. Since I’m using each month of this Weekly Beats year to explore a particular area of instrumentation/process, I thought it would be interesting to use the variety of guitars in my studio and see what would happen.

Both “Mouth Canyon” pieces anchor themselves around open/alternate tunings, fingerpicking and circular chord progressions in the style of country blues and folk. In this sense, O’Rourke’s Eureka and Bad Timing were obvious touchstones, but his earlier work with David Grubbs (Gastr Del Sol) and Grubbs own work informed the composition and arrangements strongly. They’re (to date) the most accessible tracks I think I’ve ever put on this Bandcamp page, and maybe that’s a good thing. Between the “Mouth Canyon” bookends are two more abstract pieces which again reference O’Rourke/Gastr, but listening back to them now I think they’re much closer in style to Daniel Lanois’ solo work. If you haven’t heard his 2016 release, “Goodbye To Language” I urge you to do so; it’s absolutely beautiful. 

Recorded at Studio Maurilia – February 2018.

All tracks composed and performed by TLR.

TLR: voice, guitars, reed organ, synthesisers, bass, mandolin, baritone ukelele, glockenspiel, percussion, electronics, programming.

Artwork is a collage of three stills from the Nicholas Roeg films, Bad Timing, Eureka and Insignificance.

Summer Dreams EP: Weekly Beats – January 2018

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Howdy folks! It’s been a bit quiet on this blog since I’ve essentially been on vacation and taking leave from writing/posting on here. I’m getting back into the swing of things though and I’ve got a few things planned in the coming months including a couple of new ‘long reads’ and a big website overhaul. The latter project has been taking up a considerable chunk of my time – it’s a big update!

In the meantime, here’s a brand new EP consisting of my first four weeks from Weekly Beats 2018. Details below.

Summer Dreams consists of the four tracks I produced during January 2018 as Adelaide experienced weird tropical weather interspersed with two characteristically Adelaidian heatwaves. Brutal heatwaves. Ah, climate change. 

Through the heat, rain, wind and storm activity, I composed these four pieces which explore elements of sound texture and density, whilst aiming to ensure degrees of space and contrast. My ongoing interest in customised percussion and field recordings (specifically spatial and locative properties) inform these pieces heavily. Then there’s the tried and true sound manipulations and iterative processes, which feature in virtually anything that I produce in the studio. 

Two 2017 editions: Distance Music / Awry

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Hello friends. As this strange year begins to wind down I wanted to post links to a couple of recently assembled editions which you can stream/download/purchase via Bandcamp and Soundcloud.

The first of these is entitled Distance Music and consists of three tracks which were recorded between February and April. The intersection of time and space and the localities of sound are themes which inform these works. The two main compositions, “Fleurieu Nodes” and “Overcast in Phuket” employ improvised performance and field recordings so as to evoke an impression of place. The other track, “Chang Song” is a shorter composition consisting of two beer bottle resonances (330 ml & 700 ml) superimposed against each other, which were recorded outside a villa on the island of Koh Lanta, Thailand.

The second of the editions, Awry is a suite of four compositions recorded last week in my studio. I had been on sick leave from work for this period and decided to use the spare time (when I felt fit enough) to continue to explore the improvised collage technique I had employed for the Distance Music material. Themes of personal reflection and lucid thought inform these tracks.

You can also listen to these tracks via Soundcloud:

Thanks for dropping by and I should have my (semi) traditional EOY/Xmas release prepared later in December.

TLR.

FLEURIEU: Nodes/Old Waters

Another new realease. “Nodes/Old Waters” is a meeting of sorts – a studio improvised amalgam of live instruments, Fleurieu field recordings and samples from old red_robin tracks. Listen/purchase below.

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