I remember reading an article about Deerhunter’s Bradford Cox doing some early tape loop recordings on a rooftop somewhere. I don’t remember very many of the details, and I also completely misidentified the concept of “tape loops” when approaching the recording of Kamrar material, which starts with a cassette tape player, passes through an enormous string of effect pedals, and ends with a loop pedal, with the source material being pulled almost entirely from used new age, instrumental, and self-help cassette tapes, thrifted from junk stores around the Midwest.
The result is a kind of improvisational DJ set, wherein meditative tones, world music, and inspirational speakers are juxtaposed into a wall of layered tones, untethered by time, melody, or rhythm. Glullings is the sound of forfeited musical history bubbling up beneath its own timeline, like magnetic tape melting in a fire, the sparks rising in patterns before disappearing into a night sky the color of the tape in which they rose from.
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