Welcome to Long Division with Remainders (LDWR), a collaborative experimental music project formed in the long cold spring of 2006, by husband and wife duo Helen and Justin. LDWR1: 14 Versions of the Same EP ran in 2009/10. In 2012, we have begun LDWR2: Collision/Detection.

Collision/Detection Box Set - OUT NOW

The Collision/Detection box set is out now – collecting together 9 EPs from a whole host of incredible artists, created exclusively for the Collision/Detection project. 

The limited first edition of 200 comes in a letter pressed package, with a bonus download album of exclusive additional tracks, and the original sound clips used to create each EP.
EPs come from Psychological Strategy Board (Jonny Mugwump and Time Attendant), West Norwood Cassette Library, The Lord, Hong Kong in the 60s, BLK TAG, Kemper Norton, The Doomed Bird of Providence, Isnaj Dui and Sone Institute.



Collision/Detection is the second experimental audio project from Long Division with Remainders (LDWR) which sees invited artists submit audio clips into a central pot, which is then distributed around the group for them to do with as they see fit, resulting in a series of digital EPs released across 2012 and 2013.

Letter press package by Red Plate Press (redplatepress.tumblr.com)

EP and cover artwork by Paul Loudon (www.pauloudon.com)

Sone Institute - Collision/Detection v9 aka DeathBeat

Released: 14.04.13

The wondrous sonic experimentalist that is Sone Institute presents Collision/Detection v9 aka DeathBeat.

Sone Institute is the home of Roman Bezdyk, mercurial curator of two out there albums, Curious Memories (2010) and A Model Life (2012), and a collaboration with Dollboy, The Sum and The Difference. His Collision/Detection EP is the soundtrack to 1983 horror classic DeathBeat.  Hell has a new beat. It is called death...

(1983) Film Synopsis.

Where Sex, horror and vinyl collide on turntables of blood and bodily fluids.

"You know you are dying for it... and you will baby"

“I call her Sister Sledge, Sister Sledge hammer" as the cold
steel pulverized her wretched smiling, sluttish face.

“...Blood spewed from the soft opening like milk from a mesmerized baby’s mouth.”

Hell has a new beat. It is called death...

The year is 1983 and DeathBeat, New York’s finest nightclub is celebrating its 1st birthday.

What could go wrong?

Housed in the beautiful Gothic Smoking Dog building.  Once home to the experimental asylum for sexually deranged and monstrously violent patients way back in 1953.

Today also happens to be the 30th anniversary of the 78 patient’s horrific termination by its very own deranged medical director - mercilessly hacked to pieces one by one while under the influence of the drug Kajja. The dead souls of the patients now pray in their fear sodden death chambers never to be woken to the rotten earthly pleasure that brought them here in the first place. Or, to the sick flesh pursuits of their hell flamed desires.

Kajja’s main side effect is to induce a relentless throbbing pulse wave of 69 beats per minute (bpm) in patient’s / users skulls, due to a psychic irregularity and sonic displacement of 69 bpm. Induced by DJ Beak's double groove sensual pleasure DJ set, tonight hell will manifest itself in DeathBeat Discothèque.

They have returned for one final dance.

Why and how they have returned, earth dare not comprehend.

For what?

The revellers can only scream inside their putrid, vile brains and beg for their pointless, Godless lives to be extinguished.

1. DeathBeat 1 (Main title sequence)
Hope and affluence reign in the club of distinction. Money, sex and power are the new Gods. Man is his own master- the supreme being of all. DJ Beak reigns untouched with his blend of double groove frottage scratch technique.

2. Unguarded Circle of Flesh (Decapitated head sequence)
The first set of heads and mutilated genitals are discovered rotating at 45 rpm on the gold plated Technics 1210's, but the beat goes on...

3. Flesh Dance (In a state of perpetual arousal)
Chased by institutionalized reincarnations of lascivious inpatients, they attempt to fornicate with the big hair styled and shoulder-padded patrons of the club. Unfortunately their idea of climax always ends in death...

4. DeathBeat 2 (Film end title sequence)
The Club lights continue to flash. A muffled beat relentlessly throbs. A lone female’s voice sobs. Trembling like a demented gerbil in the corner of the dance floor. The camera pans across the dance floor which drips in blood, seminal fluids, tears, half eaten brains and fear induced piss.

The revolution will be digitalized.

Let the process begin!

The End.

Isnaj Dui - Collision/Detection v8

Released: Monday 11th March

Standing somewhere between neo-impressionism and electronica, Isnaj Dui (real name Katie English) conveys a minimal yet capturing sound using electronically manipulated flutes and homemade instruments. She writes of the Collision/Detection EP:

When trying to find a starting point for the EP I found that some of the given samples fitted into quite definite blocks – gloomy, glitchy, plastic, tonal etc. I initially tried dividing them up, envisaging four tracks based on the general feel of the samples used.
Then my computer broke. So I started again.

Having divided the samples up once again, albeit slightly differently, I assembled a rough base for each of the tracks, adding flute, bass flute, dulcimer and electronics to echo or contrast the samples.  Some lent themselves easily to the addition of melodic motifs, others were more based on the layering of sounds or rhythms.  Many of the samples have been left relatively untouched, save some cutting and splicing.

Cited as a distinct voice, taking the flute away from its pastoral image whilst maintaining its unique mellow sound, English has released several critically acclaimed albums including 2010's Protective Displacement (Rural Colours) and Unstable Equilibrium (Home Normal, 2009). She has appeared at venues such as the National Portrait Gallery and Union Chapel in London and has received extensive play on Radio 3's Late Junction and BBC 6 Music.

As a classically trained flautist, English has also studied electroacoustic music, alternative tunings and Balinese gamelan. Working without laptop processing, English uses the pure tones of concert and bass flutes alongside homemade dulcimers and electronics to create immersive yet restrained textures that weave in and out of each other.

As well as her solo work, Katie plays in littlebow, The Doomed Bird of Providence and has collaborated live and on record with Orla Wren, Hybernation and The Owl Service amongst others.

'Absolutely gorgeous music and a big recommendation for followers of [Home Normal] and good music everywhere.' – Boomkat

'...an oft-beautiful exercise in sensuous tone-painting that, in seemingly effortless manner, not only distinguishes itself from the competition but establishes Isnaj Dui as a distinctive artistic voice.' – Textura

'Deeply inspiring music from a very, very special place' – Nils Frahm

v6 by Kemper Norton

The EPs keep coming in the Collision/Detection series, with v6 by Kemper Norton out on Monday 19th November.

Hear the track 'Him' below:

And this is what Joe Stannard (The Outer Church/Mojo/Wire/NME) has to say about it:

“When it comes to Brighton’s Kemper Norton... where to start? Having followed his progress through a series of remarkable releases and live shows, I can state with confidence that there are few artists whose appreciation of the British folk tradition is so keenly matched by their faith in its ability to evolve. With each release, each live performance, Kemper has demonstrated increased confidence and adventurousness. His contribution to Front & Follow's consistently impressive Collision/Detection series represents yet another advance, aided in no small part by the introduction of his own vocals into the mix alongside electronics and live instrumentation. Close-miked and intimate, Kemper's tones serve to amplify the already pervasive uncanny qualities of the music. Some may detect the influence of Coil, Fovea Hex, even Autechre - the fact of the matter is that Kemper’s music is utterly unique. If that sounds fanciful in an age when some would have us believe the well has run dry... just listen. And believe.” – Joe Stannard (The Outer Church, The Wire, Mojo, NME)

About Collision/Detection v6 AKA ‘Rough Music’:

A large part of this EP is formed from the community tradition of “Rough Music”, where a village, town or district would attempt to drive away a known cheating merchant or violent husband through a barrage of singing and use of found instruments, but the final words go to his female partner.

‘Him’ (trk 1) is an unattributed lyric from a piece of ‘rough music’ from England in the nineteenth century. It features the use of the instruments of hell as an aid to community vengeance. It is uncertain how vigilant, effective and morally consistent such actions were. ‘Her’ (trk 4) is an adapted version of the traditional folk ballad ‘Go from my window’. The repeated instructions to the unwanted lover indicate his persistence….The Devil’s in the man. A spectral presence in the performing and recording of this project, and all our other work, was Dorcus. The vengeful spirit of this abandoned Cornish woman is said to haunt the mines of St Agnes where she committed suicide, and this EP is dedicated to her.

About Kemper Norton

Rising from the moribund Cornish slurtronic folk scene, Kemper Norton began life through a campaign to redefine South West Water as a range of personal and psychogeographical experiences , rather than a corporate financial brand name. The legendary Radio 3 show Mixing It gave it some valuable airplay and publicity by playing early track “Average domestic usage” but ultimately the campaign failed.

Previous work has been based around themes such as the mythopoetic men’s movement, the A23 and library closures,  as well as an ongoing series of free releases named Unrequited, which gives a loving home to songs and tracks that just don’t fit in. His forthcoming album, ‘Carn’, explores two specific locations in Cornwall and Sussex with deep personal and folkloric significance and further explores ideas of community and the uncanny. Kemper Norton is a regular performer and collaborator of The Outer Church: Brighton’s foremost audiovisual celebration on the uncanny, including alongside Pye Corner Audio, Old Apparatus and Bass Clef.

BLK TAG EP out now

The latest EP in the Collision/Detection series is out now, to download from all the usual places (including Boomkat, Amazon, iTunes etc). Some very kind words from Sounds XP and samples below...

"Abandon hope listeners, for this CD drags your ears off to the deepest, darkest parts of the woods and commits unspeakable acts upon them ... Possibly the best in the Collision/Detection experiment so far, this fifth entry is a hauntingly sick EP, perfect listening for the inevitable encroaching darkness of autumn."

- Sounds XP


v5 by BLK TAG

Our 5th EP in the Collision/Detection series is released on Monday 1st October.  V5 comes from BLK TAG, bringing together Washington DC artists JS Adams (BLK w/BEAR) and Chris Videll (TAG CLOUD), with additional assistance from cellist Doug Poplin (BLK w/BEAR; Bach Sinfonia) and guitarist Mark Ophidian (Animals With Machinery; Crippled Black Phoenix). 

BLK TAG write:

These are a few of our favourite things: Audiodisc Recording Blanks; Dead Media; Peter Hammill; György Ligeti; Aimable Pluchard; Henry Rollins; 10cc; Throbbing Gristle; and Wir(e).

"(Henry) Rollins prepared for shows by stalking around in a small pair of black shorts and squeezing an eight ball for upwards of an hour before each (Black Flag) performance..." - www.tattoojohnny.com

"The record's cover art said it all. A man with his back to the wall baring his fists. In front of him another man fending him off with a chair. I felt like the guy with his fists up every day of my life." - Henry Rollins, Get in the Van (2.13.61 Publications; 1994)