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.
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.
ORDER THE BOX SET NOW – ONLY 200 AVAILABLE OF THE
FIRST EDITION
IN ALL GOOD RECORDS SHOPS & DIGITAL STORES (DISTRIBUTED BY CARGO & STATE51)
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)
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...
DeathBeat
(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.
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
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.
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."
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).
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)
LDWR is a project of the Watson Marriage Experiment (2006-), along with Front & Follow and some other stuff.
Our new project is 'Collision/Detection' - info will seep out from here over the next few months. It will see artists old and new come together create a new series of experimental releases. All the main details will show up HERE.
In 2009/10, we ran '14 Versions of the Same EP', in which basic electronic fumblings were sent to anyone interested, and are then added to, remixed and released as EPs, then a 4 CD box set. More info HERE.