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Mind-bending remixes from Kara-Lis Coverdale and Beatriz Ferreyra on 7" vinyl. Featuring beautiful artwork by Matthew Young.
Includes unlimited streaming of Tape Reworks Vol. 2 – Remixes by Kara-Lis Coverdale and Beatriz Ferreyra
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Tape Reworks, Vol. 2 is the fourth project by Langham Research Centre released on Nonclassical. Following the success of their Tape Works, Vol. 1 and subsequent Tape Reworks, Vol. 1 (which featured remixes by Jim O’Rourke and Group A), this EP presents two remixes of tracks from Tape Works, Vol. 2: ‘Movable Fields’, remixed by Kara-Lis Coverdale, and ‘Nachholbedürfnis’, remixed by Beatriz Ferreyra.
Kara-Lis Coverdale’s ‘Movable Fields’ is an icy soundscape, gently moving at a glacial pace, evoking the feel of a field recording from a strange planet. ‘Movable Fields’ draws from elements of two Tape Works Vol. 2 tracks, Accarezzo and Terminal Voltage Traces. Ferreyra’s remix of ‘Nachholbedürfnis’ is a dadaist cacophony of bleeps and lo-fi scratchy samples, darting chaotically throughout the track in true GRM fashion. The original album utilized recordings made in specific locations, particularly brutalist buildings, as an audio manifestation of modernism.
credits
released April 19, 2024
Credits
Music by Langham Research Centre
Remixed by Kara-Lis Coverdale and Beatriz Ferreyra
Artwork and design by Matthew Young
Mastering by Adaq Khan
Supported by the Hinrichsen Foundation
Beatriz Ferreyra:
A member of the original Groupe de Recherches Musicales (GRM), Beatriz Ferreyra moved from her native Argentina to study with Nadia Boulanger and Edgardo Cantón in Paris in 1962. Ferreyra contributed to Pierre Schaeffer’s book ‘Traité des Objets Musicaux’ (1966), collaborated on the realisation of Schaeffer’s ‘Solfège de l’Objet Sonore’ (1967), and went on to take composition lessons with Earl Brown and György Ligeti at Darmstadt. As an independent composer, Ferreyra has received major international commissions, also composing for film and ballet. In 2014 she was elected as an Honorary Member of the International Confederation of Electroacoustic Music.
Kara-Lis Coverdale:
Kara-Lis Coverdale (1986) is a composer and musician from Canada with Estonian heritage. Coverdale’s music is a temporal anomaly, weaving the hyper future with sacred histories, informed by her background as a church organist and music director from age 12 and her explorative and wide reaching career in expanding the vocabulary of electronic music. Coverdale’s works are multi-medial, exploring digital, electronic and acoustic languages with fluidity and ease, often accessing several realities at once to exhibit otherworldly vocabularies. This work is informed by education with the Royal Conservatory of Music since age 5, and a Masters in Music where she researched and wrote a thesis on timbrally encoded realities with Jay Hodgson. Her recorded works have consistently met critical acclaim; The Guardian heralds her as “one of the most exciting young composers in North America.” She has held residencies with GRM Paris, EMS Stockholm, FUGA Zaragoza and others, and presents installations and works all over the world including at The Barbican, MAC, Elbphilharmonic, Köln Philharmonic, and more. In addition to their solo work, Kara-Lis is a prolific collaborator, having recently completed commissions of new work with Contemporaneous Ensemble, The Amsterdam Cello Octet, Ludens Choir, Actress, Caterina Barbieri, and Lyra Pramuk, while engaged on concert tour with Big Thief, Floating Points, and Caribou.
Langham Research Centre
Langham Research Centre came together in 2003 with the purpose of using a studio as their instrument: a studio with microphones and also, crucially, several ¼” tape machines. From the start they were interested in manipulating sound on tape and on focusing on one sound source, or a small number of sounds. Their inspiration and enthusiasm are driven by the soundworlds produced by maverick composers working in the middle of the 20th century. Like an early music group’s use of historic instruments, LRC continue to work with obsolete equipment including tape recorders, gramophone cartridges and sine wave oscillators, to perform authentic versions of 20th century classic electronic repertoire by John Cage, Alvin Lucier and others.
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