Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Purchasable with gift card
€8EUR or more
White 7" lathe-cut
Record/Vinyl + Digital Album
White 7″ lathe cut with screen-printed transparent sheets covers. Hand-numbered one time edition of 54 copies.
Due to limitation of the release we'd require to keep it available as ONE COPY PER PERSON. If your order includes more than one copy, it will be canceled and refunded. We're sorry about this, but it's important to have it available for as many individuals as possible instead of encouraging hoarding.
PLEASE READ BEFORE PLAYING THIS RECORD
Note that this lathe cut record was made one-at-a-time, in real time, by an actual person from plexiglass using an experimental process and 70 year old machines. It is not a pressed record and may have slightly more surface noise or an occasional light distortion in some frequencies, and will sound somewhat different than the original master. The volume will also be a little lower than a modern "post-loudness-war" record, so pump up the volume. It won't be audiophile, but it ought to be listenable and sound pretty good considering the circumstances of it's birth. It might also require tonearm and anti-skate adjustement in order to track correctly due to to hard plastic having slightly smaller grooves than a traditional record. If it sounds overly distorted, lift the needle and drop again, or gently nudge the needle to the side. Occasionally, the needle gets caught on the side of the groove or in between then grooves. Do not use an automatic start on your player! If the center hole is too tight for your spindle, gently use one arm of a pair of scissors to widen the hole. These records will NOT degrade or harm your needle or cartridge.
Includes unlimited streaming of Fecova
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
In 1981 Colin Potter gets together with some friends of his from the cassette underground and releases the "We Couldn’t Agree on a Title" compilation LP . A new label is born, Integrated Circuit Records, or ICR for short.
A few weeks ago, in September 2016, Colin Potter gets together with some friends of his, all distinguished musicians by now, to play some music at the anniversary concert for 35 years of the, by now historical, ICR. At the same time the compilation CDR "ICR Thirty Five - We Still Couldn’t Agree on a Title" is released as a special edition for the event. While Colin is having some difficulty in agreeing on a title with his colleagues, we can write something about Colin Potter himself.
In the early 70's, an EMS Synthi A briefcase (borrowed from York University where he was a student) helped him acquire the necessary expertise to go from acoustic guitar experimentations to electronic composition. Over the next few years some very basic equipment was acquired or built and experiments continued with guitars, primitive effects and noise generators and reel to reel and cassette tape machines.
A peculiar cassette circuit began to take shape, with Potter opening a studio, recording himself and other participants as well as having the role of tape duplicator for smaller cassette labels. ICR became a home for people who under the influence of the recent punk boom, early new wave sound, pop music, and especially drone-based Krautrock, began to create the new electronic music. Paul Kelday, Andrew Chalk, The Instant Automatons, David Jackman (Organum) and Bryn Jones (Muslimgauze) were some of them. It was during that period when Colin Potter was recording cassettes like "A Gain" and "Two Nights", musical labours that hinder my struggle to restrain myself from giving a fan description, by saying that besides their early lo-fi textures, they represent some of the most important electronic music I have ever known. Colin Potter, fully learning the capabilities of his studios, became a well-known sound engineer, working with many artists, including Steven Stapleton, whom he met in 1988. His relationship with him began whilst Potter was engineering Current 93’s re-working of the “Swastikas for Noddy” album. He worked with Stapleton for the first time on the "Creakiness / Firepool" LP, to be later credited as an official member of Nurse With Wound on the "Thunder Perfect Mind" LP. Potter remains a full member of NWW today, with a decisive contribution to Stapleton's vision, pouring a huge percentage of his drone/ambient aural personality into the sound of the band. Something which led to a Rock n Roll Station, to Salt Marie Celeste, to the live period of Nurse With Wound and its record footprints like the Cabbalism LP.
I cannot describe my joy when Colin Potter answered my timid question about whether he would like to have a release through Coherent States. And in the affirmative, no less. The two new tracks that make up "Fecova" didn't take long to take form. Recorded during the period 2015-16, they contain sounds and techniques that have been sporadically used by Colin Potter with a tendency toward experimentation. The "AVOCEF 1" (side Ι) starts minimally, with a rudimentary rhythm deep in the background, that takes over just before the composition collapses into noise, lending a dark techno touch to the feeling with which you're left. The "AVOCEF 2" (side ΙΙ), in a completely different logic, functions as a degenerated guitar counterweight. Composed using various effects and a pitch-bending pedal, it highlights an almost revolutionary guitar fusion, with a particularly disharmonious use of the instrument as a central axis for the track, with a cloudy ambience surrounding it. The two pieces of "Fecova" span a unique range of sound and we are so glad to be releasing them. Specifically, we are as glad as Colin Potter was himself on his second track of that LP compilation released on ICR back in 1981.
My NWW collection is growing slowly...only because I have to savour Mr. Stapleton's output over time; it becomes all-consuming otherwise, I find...it is so rich that veins have to be mined deeply and with care. John Cratchley