Thanks to Frans de Waard for his kind words in vital weekly about the tac
lathe / CDR release and the Jacob DeRaadt CDR: below are the highlights, and
the full review (and rest of the issue) can be read here.
tac 7” lathe and CDR:
“TAC’s music is also something different. The CDR, for instance, is one endless
stream of sound, a collage of field recordings, some very closely made and
others from far away. Also, there is a lot of object abuse here, tossing about
objects (and I have no idea what they are). Because there are no individual
pieces, it all becomes an endless stream of sound, in which there is,
deliberately, no head and tail and something you get sucked into. The two
shorter pieces on the lathe cut are different. Here, TAC works with a more
compositional approach of metal rods dragged across a surface, along with some
highly obscured on one side and a deep bass drone opening on the other side,
gradually moving towards something that works with individual sounds of contact
microphone abuse but with that bass drone lingering in the backside. 7″ and CDR
are definitely two different sides of TAC.
Jacob DeRaadt’s Universal Hotel CDR
“‘Universal Hotel’ is the second release for which he uses his own name and
primarily uses field recordings taken from the places he used to live in. […] Each
of the seven pieces has a minimalist look at these locations. In each piece, he
uses various recordings from that place and lets the various sounds work
together to find a dialogue between them, albeit a minimal one. I have no idea
if there is some kind of manipulation other than mixing a few sounds, but it
all sounds great.”
