To round up this brief spurt of Snatch tape related posts, here is the Final release on said label. A trademark collage of found sounds,dialogue, and electronics that could have been made any time since 1979 to the distant future.
" Gobsmackingly
great surrealist clusterfuckery refashioned from vivisected fragments
sourced from the entirety of the Snatch tapes archive. Swarming
subterranean electronic malevolence bleeds into antiquated Hauntological
ghostings that are then sheared at right angles by a Cupol-like and
hermetically bleak species of minimal synthiness. An apex of queasy
delirium for your predilection." (Mutant sounds)
Phillip Sanderson explains:
"To
mark the 30th anniversary of the release of first Snatch Tape in 1979
we are pleased to announce the issuing of a final DIY cassette. Entitled
Carriage Return the work consists of two twenty minute sound collages
assembled from the thirty years of accumulated reel-to-reel tapes,
cassettes, mini disks, CDRs in the Snatch Tapes archive.
Focussing
on music and voice-overs originally recorded for various film and video
projects Carriage Return weaves a fragmented narration concerning ghost
sightings, car crashes, ley lines and hidden bends in and around Blue
Bell Hill in Kent, England. Mixed with the spoken word is prepared
piano, VCS3 synth, circuit bent Casio, shortwave radio, pots and pans
and the usual melodic cacophony we have come to expect from Snatch
Tapes.
Snatch
Tapes is well know for its pioneering DIY approach and this final tape
is a true Do It Yourself release in that listeners are supplied with all
the files needed to make up their own cassette. Provided are two 20
minute MP3 files (one for each side of the tape) and full sleeve and
label artwork ready to print off at home. All you need is a cassette
deck, a blank C46 tape and a pair of scissors (or scalpel for a cleaner
cut).
Listeners
may of course use the mp3 files on their iPods on the understanding
that after a thirty-day trial period they should either transfer the
files to cassette or erase them."
All the necessary files for your Carriage Return are here. Note: right click to download as:
ZIP File for the music click HERE!
Cassette Cover, 2.9mb
Cassette labels
"The sound of Snatch tapes in general was, for me, the
typical sound of the DIY generation circa 1980.Much twiddling with
improvised equipment, overdubbing cassette to cassette, and formless
electronics. This was a world where verses were forgotten,and chorus was
a misplace word; – what does it mean anyway? Singing, you can forget
about that and make do with some self-conscious mumbling, ‘cus this is
music owned by the people. Songs and singing were for the old order,
this was something new? These were people like us!"
(J.Zchivago, Die or DIY? 1, jan 2012)
Its all best said in the words of the great man himself, the modest and self-effacing Hero of DIY, Mr Sanderson:
“Punk unleashed in its wake a wave of Do It Yourself (DIY)
creativity. Recording and releasing records was no longer under the sole
control of the record industry. Now anyone could (to paraphrase
Sniffin’ Glue) learn three chords, form a
band, and if they could
grub together a few hundred quid put out a single. Thousands did just
that and with John Peel willing to play many of the records on his late
night Radio 1 show and Rough Trade in Notting Hill happy to distribute them a whole new DIY scene began to flourish.
Punk though was about brevity; the kind of soloing associated with
progressive bands like Yes was anathema and short and sharp was the
preferred cut. Quirky and playful as many of the bands played on John
Peel were they stuck pretty tightly to the o
rthodoxies of the traditional verse/chorus song structure and the classic line up of guitar, bass
and drums. Punk was a breath of fresh air after the years of
self-indulgent excess but in its way it was also quietly conventional.
Here and there in the cracks an on the margins another tendency was
taking form that of DIY electronic and experimental music. Influenced by
a
range of sources including Kraftwerk, Eno, the
Radiophonic Workshop and Throbbing Gristle young men up and down the UK
began fiddling with old tape machines, oscillators, and radios; plugging
the output into the input of any piece of circuitry they could lay
their hand on just to see what might happen.
The blips, bloops and cacophonous sonorities pro
duced by such
antics didn’t sit well with most of the new independent labels and the
few hundred quid needed to put out a record oneself was often a few
hundred quid more than most DIY experimenters had (not
surprising as many were still at school or college) and so people began
looking for another medium on which to release their musical excursions.
The answer turned out to be the humble cassette tape.
Cassettes had been around since the1960s and had with vinyl been a
form of mainstream music distribution since the 1970s. The cassette
though wa
s always considered sonically and aesthetically inferior to vinyl. Despite all studio recordings
being made on tape (albeit it 1/4 inch or multi-track tape running at
much higher speeds) a cassette tape was considered by many to be a cheap
copy of the real thing. That you could record tapes at home yourself
somehow distanced them from the authority of a record cut and pressed in
a factory. However by the mid 1970s the quality of cassette machines
had improved enormously and though they would never rival the frequency
range of vinyl they offered a good quality sound recording and playback
medium.
Prior to punk, bands had used cassette to make ‘demo’ tapes that they
would then hawk round the major record labels in a bid to get a
recording deal. Few though considered their tapes to be the finished
item; they were rough drafts waiting for the major studio magic to be
performed on them so they could be turned into shiny records.
For those on the musical margins the perceived d
isadvantages of
the cassette arguably made it a natural medium. Using cassettes meant
there were minimal mastering or printing costs (the tape cover being
often as not a photocopied or hand made collage). One could duplicate a
handful of cassettes at home or if there was more demand nip round to
somewhere like Better Badges, which had a high, speed machine and make
50 copies. Tapes could be easily sent in jiffy bags through the post. A
tape could be recorded at the weekend and then be winging its way around
the country by Wednesday of the following week.
Word of mouth was all-important and a small network of people
swapping or selling tapes soon emerged. With the exception of Rough
Trade, most record shops refused to stock DIY cassettes and so
distribution was almost exclusively by post. Picking up on the
burgeoning scene the main music papers, NME and Sounds began to run
cassette friendly features, namely Garageland and DIY Corner, which
added a further spur to ac
tivity. A number of cassette labels appeared including Deleted Records, Fuck Off Records, and of course
Snatch Tapes. Most labels though were run from a bedroom or squat and
so somewhat lampooned the very idea of the corporate branded company.
Radio silence however was maintained, as DIY tapes were never considered
‘proper’ releases and as such denied airplay even, on the John Peel
show.
So would the cassette fundamentally alter the me
chanics of the
music industry? For a short wishful thinking utopian period in 1980 it
looked like a possibility that the tape might just tilt the balance of
power in favour of both the musician and the listener. Cassettes though
would be a victim of their own success. Soon there were so many releases
each week that Garageland and DIY Corner could have been expanded to
fill several pages in each music paper. Given the reliance on major
label advertising this was never going to happen. Cassettes were an
alternative economy that didn’t ultimately suit labels, record shops or
the music press.
In the UK the DIY cassette peaked sometime in 1982 and slowly slipped
(or should that be seeped) back into the margins from whence it had
come. During the next decade the tape though became an established
format for industrial music. Just as industrial pioneers Throbbing
Gristle were going their separate ways in 1981 a number of young arti
sts began putting out their own industrial music cassettes.
By the late 1990s it was to be another DIY revolution that would
rekindle interest in the cassette. Forgotten except by the keenest of
aficionados most DIY tapes were by now lost or sitting unloved in old
shoe boxes in attics. The Internet though allowed people to set up
discussion forums, blogs and websites in which information could be
easily shared across the globe about these obscure recordings. Gradually
a number of recordings b
egan to be re-issued on both
vinyl and CD. The label, which has undertaken the most comprehensive
re-issue programme, is Vinyl on Demand (VOD). VOD also has an online
gallery with a large selection of cassette covers and artwork from the
period. A number of blogs such as Mutant Sounds, No Longer Forgotten Music,Thing on the Doorstep,
and Die Or D.I.Y? continue(d) to unearth and digitize old tapes indeed not
since the early 1980s has so much tape music been readily available.”
ZIP File for the music click HERE!
Cassette Cover, 2.9mb
Cassette labels
