Dunza – Star Client

Dunza is actually the man himself James Jackson Toth [aka Wooden Wand also a prime part of One Eleven Heavy].

The songs you hear on “Star Client” started out as regular songs of his but he made these special versions and came to love them so much, he deleted the originals. Having rinsed this album non-stop for two months, I think he was totally justified. I don’t have any idea how many times I’ve played it now and I’m not stopping.

So, Dunza is unlike anything he’s ever done….a strong strain of dub……some ground up Berlin-school kosmische…..the unmistakable aroma of JJT himself. Yes, he’s there singing and playing the dub of it all stretches it all out into deepest space.

Cover art by Sarah Coppen: https://www.instagram.com/artbydesertmoon/

Star Client is the perfect summer album and the ultimate wake and bake album.

Limited edition of 100 yellow cassettes.
Second edition of 50 clear yellow cassettes.

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Review from The Quietus

In 2019, James Toth retired his Wooden Wand alias, preferring to concentrate on playing in One Eleven Heavy. That band was soon put on ice too, if temporarily. Its members are based in different countries, so there wasn’t much prospect of sneaking in the odd rehearsal between the loosening and tightening of infection-quelling restrictions. During that time, one of Toth’s tactics to avoid “going berserk” was to create this new project, Dunza. After completing four songs with which he was fairly satisfied, he then set about remixing each piece. Toth found he preferred the adapted versions to such an extent that he impulsively deleted the originals. Had he gone berserk after all? Listening to the cuts that remain in existence, he seems to have made a fruitful choice. Pretty far removed from Toth’s more singer-songwriter fare, Star Client is a slow-paced and hazy portion of homebrewed dub-psych. It sounds as though the opener, ‘Disowned’, retains the largest amount of its initial form, vocals-wise at least. Even so, Toth has fucked its formula without preciousness. It’s an approach similar to the last few records by those crazy kids from Low, here used to warmer and less solemn effect. The middle cuts had my hips swaying and eyelids drooping in a similar manner to my first exposure to On Patrol by Sun Araw. Although it concludes this particular collection, the shorter ‘Another Life’ almost feels like a suspenseful intro, feasibly indicating that the work of Toth’s latest alter-ego is not yet done(za).

David Colohan – Small Movies, Ellie, Small Moves + Night, North Paterson

We decided to revive an old bargain tradition: taking two albums and putting one on each side of a cassette. We only just managed to get away with it (95 minutes is the maximum length most duplication companies will work to, beyond that could compromise the product). Both albums are vast soundtracks to imaginary vistas with healthy doses of Popol Vuh, Vangelis and Harmonia.

When you buy the tape from our Bandcamp, you get an immediate download for one of the albums and you’ll be asked if you’d like a code sending for the other album. I’m just wired that way.

Hopefully shipping by April 9th.

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Jake Blanchard – Bryophytes

A shimmering fog of globally infused psychedelia, a demented whirl in the fog of all oceans, this album is just exploded with strange color, just like tape art (also by Jake)

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The Lamp – False Memory

The first album by The Lamp was a limited edition of less than 15 and in accordance with the artist’s wishes, all masters were permanently deleted. For the follow up album, a download has been permitted but it will only be available while the tape is on sale. Once the tape has sold out, the album will be hidden. It will still be available to re-download for those who bought it, but it will no longer be on sale.

The first album was simply a DJ set that got out of hand and accidentally became something else, but this is the first deliberate album. Side one a strange, scratchy ritual with weird rumbles and mumbles. Side two a stretched out synth symphony. Both tracks apparently have concepts behind them but the artist declines to share them.

Artwork shown here is what was used for the download version. Physical copies were not photographed in line with the artists wishes. Download and cassette both now withdrawn from sale as originally outlined.

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Shiroishi & Meek – Throw Away Your Books, Rally In The Streets

As the title suggest, an incendiary collaboration between NZ electronic innovator Noel Meek and fire-spitting American sax player Patrick Shiroishi. Like Cluster backing Evan Parker on the call to social justice. Righteous sonic fire like you never heard before.

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Nick Mitchell Maioto – Pino Carrasco

ONE ELEVEN HEAVY PRESENTS

Just like the Makoto album we put out recently, here is another artist caught in the lockdown and something exciting and unexpected happening, Nick’s ideas for the 3rd 111H album met the landscape of his relocated home of Spain and took a few surprise turns in his imagination. Sure, there’s that good time classic rock feel of the cream of 111H but look at the map, look how Africa and Spain almost touch like God and Adam’s fingertips in Michelangelo’s “The Creation of Adam”? Something swept North over the Straits of Gibraltar and touched this record in a way the planned Nashville sessions couldn’t possibly have.Don’t take my word for it, though, listen to James Jackson Toth:

Oh, sure, it’s an outstanding record, one that will silence any doubts anyone might still have about this former psychedelic noisenik’s ability to write and perform rousing, classic-sounding rock and roll songs.

But, see, I’ve been hearing the sketches of these songs for almost an entire year. Because they were originally intended to be recorded for the third One Eleven Heavy album, to be made in Nashville this summer, Nick emailed these tunes to the band members to solicit our feedback and ideas. But then the COVID-19 pandemic hit, and our transatlantic quintet (average bandmember commute: around 2500 miles) had to postpone our recording plans.

By now I’d listened to Nick’s demos a dozen times. I figured out a few cool guitar parts to play to accompany his, learned his arrangements by heart. I was wondering, with excitement, how we were going to pull off some of those crazy time changes and deep layers of percussion. So when Nick told me he was planning to release these songs on a solo album, I knew that I’d probably never get to sing the sweet harmonies on the breezy and exuberant “If I Were A Sawmill,” or get to chug along with the propulsive, crackling “City of Grit,” or jam on the heavy-lidded Doors-meets-Canned Heat choogle of “Ode To What.” In my mind, I’d already claimed these songs for One Eleven Heavy.

Maybe One Eleven Heavy will get to perform some of these tunes live at some point; I dunno. Nick will probably write twelve more just as good or better by the time the five of us finally reconvene to record our third album. But it won’t be these songs; songs that I have grown, over a short period of time, to know intimately, songs I have driven around listening to and singing along with, songs that set an intimidatingly high bar for my own contributions (as yet unwritten) to the One Eleven Heavy record-that-wasn’t. I don’t mind telling you that when Nick sings, on opener “If I Were A Sawmill,” “let’s get on the road tonight,” I get a little lump in my throat. Will we ever get to do this again?

Listen to Pino Carrasco if you must. My prediction is that it’ll be your favorite record of the year. It’s mine, too. But, you know, to hell with this guy. To hell with this insane, impetuous, mischievous, stubborn, charming, gentleman guitar wizard, and a pox on this beautiful and inspiring music that should have been One Eleven Heavy music.

The next time Nick and I have to share a bunk bed in some godforsaken “band hostel”—and I hope very much that we do—I’m totally gonna wait till he falls asleep and then hack his Twitter account and follow a bunch of Christian pop punk bands. Then I’m gonna draw a caricature of the Kool Aid Man on his face.That’ll teach him to make solo albums, the bastard.-James Toth, July 2020- 

Also, to celebrate we made 30 eco-friendly, fair-trade, high quality Belle Canvas t-shirts. Available bundled with the LP or just with a download of the album.

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Tote bag and a mix CD

and a sticker

Back in 2011 I made a mix CD to give away to advance ticket holders for Suzuki Junzo’s first ever Hebden Bridge visit (his first UK tour, London and Hebden Bridge). It was designed to open local ears to the sort of acts I was planning on bringing to the small town. I wrote a little intro and got my boss at the time, a keen thespian, to recite in an empty office and recorded it on my phone.

There was a great response to the CD, fast forward 9 years later and my friend Jonathan Dennis in California who I mailed a copy of it to back then reminds me he still has it and kindly does a rip for me as I no longer had one. It was like a sonic postcard from the past but everything was mixed from mp3s, some quite low res.

So, seen as how it was the a special anniversary year, I remade it using lossless formats. The same songs, better quality and mixed slightly differently. I hate nostalgia but this was just too seductive. After all, it is the 15th birthday of Was Ist Das? so there. I threw it in as a freebie with the tote bag.

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The Lamp – Sentimental Journey

So, I wanted to make a DJ set where I mixed ambient drone music with vocals from some of my fave music that wouldn’t normally get associated with ambient drone. Then I began to think about what if I dubbed something ambient and spectral onto some old cassettes containing dubs of old country LPs that belonged to someone who had left this world? Would we get that phenomenon tapers dreaded the most, ghosts of the old recording coming through?

So what was initially planned as a DJ set evolved more into an entirely sample based album, the mix of drones songs instead replaced with time stretched samples plus some pertinent blends and the aforementioned acapellas. Then dubbed to ten aged tapes.

The sleeves have been customized in different ways: some have collages, some have been painted over, some have unique fake tracklists. Each has its own unique insert.So every copy looks and sounds different.

However, it seemed the tapes, despite their age, were of very high quality and no sound leaked through. So then different masters were made for each tape. Some tapes were allowed to keep their original content for a few seconds. Each one has different levels. Different lengths.

As it seemed like we were playing with sound and time, a further, final idea arrived. I would delete all the masters. No downloads, no repress, no listening again. My only experience of it will be my memories.

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Kawabata Makoto – The Infinity That Wasn’t

To me, there’s always been a world of difference between Kawabata Makoto’s solo work and his group work with Acid Mothers Temple. His solo works have always been minimalist, spiritual, energy accumulating and inward looking, whereas AMT is wild party music, a cosmic outgoing, a burst of great energy. His solo work is avant garde classical folk music whereas AMT are a rock n roll band from the end of the universe.

Then this landed in my inbox and burned that rule down. On “Infinity That Wasn’t” Makoto has become a band, multi tracking his own drums, keys, guitars and electronics. It goes far beyond any convention. The epic opener ending up furious guitar shreds dueling over hypnotic organ riffs like Can replaced Irmin with Philip Glass.

released July 3, 2020

Kawabata Makoto : acoustic & electric guitars, drums, hand clapper, drift box, electric organ

all music by Kawabata Makoto
recorded at Acid Mothers Temple, May – June 2020
produced, engineered and mixed by Kawabata Makoto
mastered by Andrew Liles
cover art by Sarah Coppen at Desert Moon Art

Special edition comes with t-shirt

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United Bible Studies – Three Barrows Round

We’ve had the pleasure of working with David Colohan on three of his solo releases so it’s a real pleasure to have him back with us a 4th time and this time as part of ever fluid United Bible Studies collective for a new cassette release.

Taking inspiration (and field recordings) from a visit to an old roman cemetery, this captures them at their most atmospheric. The band cite MR James’ classic tale “A View From A Hill” but for some reason “Red Shift” by Alan Garner is what plays in my mind as I listen to this. I guess both tales are about a strange coming together of past and present.

That’s precisely what happens on Side A of the tape. All the tracks on Side B are assembled together into one piece like a DJ set directed by psychogeography rather than beats. Side B [tracks 2 to 11 of your free download that comes with you pre-order] are the actual individual tracks.

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