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Every Contact Leaves A Trace label feature revisited (Henry Collins / Helen White / Marvin Tate, Joseph Clayton Mills)

Helen White - Solar Wind Chime

So. I did some reviews of the first batch of Every Contact Leaves A Trace releases, which were fine indeed. And here we are, just two short years on, in a world that looks slightly different. And yet, on plod sound-art micro-labels, furrowing obstinate fields. I say that in a fashion that might sound derisory, but if I know one thing about ECLAT label-head Seth Cooke, it’s that he’s bloody-minded.

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Fort Process 2016

welcome to Fort Process 2016Newhaven Fort, East Sussex 3 September 2016

It sounded like bedlam from the car park, quickly replaced by some deranged Frenchman chucking stuff around the parade ground, his shouts and clattering, laptop-captured from the fortifications and spurted back in jabbering cut-ups. Welcome to Fort Process part deux, spun off in blaring megaphone, smashed metal, Dada antics that flew close to injuring the onlookers.

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KK Null & Kawabata Makoto / MXLX / Kepla / Rosen / Morris Meets the Bikers (live at The Island)

Bristol 6 June 2015

Henry Collins’ — formerly known as ShitmatMorris Meets the Bikers (after the ZX Spectrum arcade game?) were up first. They were having so much fun that they were oblivious to the fact that only five people were actually watching, which was a shame for they were really bonkers.

Morris Meets the Bikers live in Bristol 2015Billed as a DJ set, this was more a performance than just spinning tunes. A magical mystery tour with everything basking in a semi/hardly recognisable state, crunched and filter-foddered into slip discs and rumba-chucked grittiness, literally all over the shop: one minute black metal groans, the next balladry whimpers mangled by noisy concertinas and throbbing bass.

That 2001 theme tune sounding like battery acid had been poured over it, the

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Every Contact Leaves a Trace label feature (Seth Cooke/Henry Collins/Ignacio Agrimbau/Dominic Lash and Will Montgomery)

Four releases from a shiny new label devoted to something like sound-art, but not as asceptic and dry as that genre has a habit of implying. Hopefully, label head Seth Cooke is already known to Freq readers, but if not his is a formidable CV – sometime Freq writer, engine, petrol and tillerman for Bang The Bore, previously one of spazzy rock’s finest drummers (Hunting Lodge), an improviser of God knows how many outfits, episodic A Bander, contemporary composition performer (mostly on the Wandelweiser side of things), conceptual sound-art tickler and probably a raft of things I’ve forgotten.

Before I start cooking the meat of the corpus, it’s worth pointing out that the label, thus far at least, is pretty concept-heavy. Concept is often a perilous matter – sound-art/experimental/whatever tends to rest atop well-articulated concepts but if there’s not much attention paid to whether or not it’s worth following through

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