7″ vinyl only
Limited edition
Artwork and photography by Jon Wozencroft
Cut by Jason at Transition
Track list:
Side A: Despite the Water Supply Part 1 4:12
Side B: Despite the Water Supply Part 2 4:05
Monthly Archives: August 2008
TS07 – Jim O’Rourke “Despite the Water Supply”
Closure of Touch’s Local Post Office
In their wisdom, Post Office Ltd. have seen fit to close our local Post Office. For many years now, Touch has despatched goods using the Balham Sub Post Office in Balham High Road, London. They are throwing a party to say goodbye on 29th August 2008 at 1300 HRS.
Do come and help see them off and wish them all the best for the future. They have been fantastically supportive over the past 21 years+ and will be sorely missed.
Post Office Ltd. have behaved shockingly badly in their treatment of this Post Office, and the staff have our every sympathy. It has been a horrid time for them.
Bring a bottle to: Balham High Rd Sub P.O, 258, Balham High Rd, London, SW17 7AW
[You can read more about Post Office closures here and at Herry’s blog here]
Recovery
“Recovery” is a collector’s limited edition vinyl box set of 20 cover versions by 20 seminal electronic musicians and composers, issued by Fractured Recordings. Published as a numbered limited edition of 500, the box contains 10 double A-side 7″s, alongside unique cover designs by artist Graham Dolphin.
It is the result of an invitation, extended to a group of leading electronic artists, to create a cover version of a song from the past that holds a particular significance to them. The outcome is an extraordinary and unexpected series of tributes and appropriations of classic hits from the 70s, 80s and 90s, recorded by artists renowned for their inimitable style and seminal contribution to contemporary musical innovation.
Several Touch-related artists are included in this project: Fennesz, BJNilsen, Mika Vainio, Snd, Jóhann Jóhannsson, Ryoji Ikeda, People Like Us, and more…
“Recovery” is available to buy online at www.fracturedrecordings.com
TO:44 – Ryoji Ikeda “Matrix”
Double CD in gatefold wallet
2008 second edition, without postcards
Track list:
Matrix [For Rooms] (1999-2000)
1-01 0 0 0 0 0 0 0 0 0 1 (12:00)
1-02 0 0 0 0 0 0 0 0 1 0 (5:30)
1-03 0 0 0 0 0 0 0 1 0 0 (4:30)
1-04 0 0 0 0 0 0 1 0 0 0 (5:30)
1-05 0 0 0 0 0 1 0 0 0 0 (4:30)
1-06 0 0 0 0 1 0 0 0 0 0 (5:30)
1-07 0 0 0 1 0 0 0 0 0 0 (4:30)
1-08 0 0 1 0 0 0 0 0 0 0 (5:30)
1-09 0 1 0 0 0 0 0 0 0 0 (4:30)
1-10 1 0 0 0 0 0 0 0 0 0 (7:57)
.Matrix (1999-2000)
2-01 1 1 1 1 1 1 1 1 1 0 (3:02)
2-02 1 1 1 1 1 1 1 1 0 1 (2:24)
2-03 1 1 1 1 1 1 1 0 1 1 (1:00)
2-04 1 1 1 1 1 1 0 1 1 1 (1:27)
2-05 1 1 1 1 1 0 1 1 1 1 (3:34)
2-06 1 1 1 1 0 1 1 1 1 1 (2:42)
2-07 1 1 1 0 1 1 1 1 1 1 (4:55)
2-08 1 1 0 1 1 1 1 1 1 1 (5:22)
2-09 1 0 1 1 1 1 1 1 1 1 (0:59)
2-10 0 1 1 1 1 1 1 1 1 1 (5:32)
Matrix is the final element in a trilogy of CDs that began with +/- in 1996. When it was first released, +/- came like a bolt out of the white. Nobody had used digital recording processes to produce sound as pure, as intense and as exhilarating. Since releasing 0°C in 1998, Ryoji Ikeda has progressively refined and enhanced the distinctive sonic fields and microsounds that have strongly influenced post-digital composition, resisting the transitory cycle suggested by the term ‘Glitches’, creating compositions that probe deeply: our relationships to time and space, sound and light. Much of the time since 1998 has been spent touring with the Japanese performance group, Dumb Type, whose landmark show [OR] is shortly to be followed by a new presentation for which Ikeda has composed the sound, Memorandum. In January 2000, Ryoji Ikeda toured the UK with Zoviet*France. A closer connection to the 20 new recordings that make up Matrix can be found on the recent Touch 00 sampler, Matrix for an Anechoic Room, which came out in Spring 2000. That’s the only forewarning of what awaits you on putting the first CD into your player. The layers of sound that make up Matrix [for rooms] transform both the listener and the listening environment into another dimension. The dimensions change as you move about the space, or simply turn your head around the sound like surveying the angles of a building. Matrix has much in common with the work of La Monte Young, Tony Conrad, Alvin Lucier…, but poised closer to the imminent and auto-interactive virtual world we are promised, Ryoji Ikeda’s new work pushes the parameters of the drone to ask timely questions concerning our relationship to own perception, and to our existing living spaces.
The Guardian: “Click that dial!”
In today’s Guardian, Pascal Wyse and Alexis Petridis pick their favourite internet radio stations. Wyse writes: “Touch, an independent arts organisation that turned 25 last year, is home to artists such as Christian Fennesz, Biosphere and Chris Watson. Touch Radio features challenging and entertaining material, including field recordings, interviews and live performances. There are audio diaries from Chris Watson, where he illuminates his work as a wildlife sound recordist in the Galapagos Islands, taking in the Alcedo volcano. If you are truly tired of words by this stage, you will find an antidote in Touch Radio 10: The Bits Inbetween by Vicki Bennett, whose own show on WFMU, a glorious mashup, will leave you in a spin.
