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BT064 - TIGER VILLAGE "In Stereo II" c51

Tim Thornton brings the left-footed swagger from the uneven dancefloors of Cleveland to Baked, following up a dizzying array of Rocky-numbered cassette zones strewn across both his Suite 309 imprint as well as the ever-dazzling Hausu Mountain. A direct follow up to 2015's 2xc90 "In Stereo", "In Stereo II" picks up with another heady collection of hardware improvisations recorded direct to cassette tape at his undisclosed technoid lair.

Here, Thornton summons his vast array of synths, MIDI controllers, and drum machines to do his bidding, leaving the listener hanging on for the ride, just as the nitrous begins to seep through the floorboards. Bobbing and weaving thru an obstacle course of animated textures, interlocking rhythms, and abstract zone-quadrants, Tim side-steps expectations on a dime (just as you start to get the hang of the disorientation), dissolving the grid and pivoting in a 4th dimensional game of Tron/chess whose sole constant compass guiding to geographic north only the man behind the curtain can see. He leads the machines down dizzying fractal alleyways, treading the lines of IDM and hiphop with infusions of free jazz rhythms, steamrolling the shit out of any bearings you might reach out to grasp on to along the way. Slap on that seasickness patch before boarding, it's a doozy.




Striking an equilibrium as balanced as the fabric of nature and mind, the waxing and waning of the cosmos and human realms, and the force that ensures a constant, dynamic harmony of all things, so too does this disarming offering from the Chicago pair of Forest Management's John Daniel and Trancient's Ryan Sullivan.

Forest Management's side drifts weightlessly between your ears, hovering mid-air; an ambient wash over the senses. A sherpa charting an aural expedition traversing the ethereal plane, John's mastery of poignant expansive drones is unparalleled, leaving an extraordinary track-record in its wake, unfolded across recent titles with No Rent, Unifactor, Lillerne, Constellation Tatsu and Mistake by the Lake, to name but a few.

Trancient's side immediately grounds you with the weight of his command of truly spellbinding grooves, effortlessly summoning a pair of deep pocket head-nodders which develop at an impeccably measured pace, enveloping the listener in the warmth of intertwining guitars and minimal synths melodies, a remarkable entrance for the debut of Ryan's Trancient project.



BT063 - TOASTED FOCUS "Concrete Beach" c32

Mike Nigro (mem. of Aviary & Primitive Fiction, and Oxtail Recordings Bossman) and Konrad Kamm (Glass Frog, mem. of Aviary & The Needs, and Crescent Tapes Proprietor) take you on a shuttle tour journeying through the cyber-Everglades of 2399, centuries after Trump had sold the landrights to the long-defunct Apple Defense Corporation, who used the land to begin its confidential work in experimental organic-hybrid technologies. This, of course, led to the catastrophic radiation leak of 2052 which quickly ushered in the great mass extinction.

The earth's once-chrome-laden surface has drifted far into disrepair, compounded by the ravages of time and neglect. The sky runs opaque with the thick soot of the hundred years of fallout and the waters shine with a prismatic hue from the run-off of the long-deserted factories. It is here the now-sentient nano-technologies begin their primeval journey from the murky waters as radiation levels subside to habitable, reclaiming the land and sparking a new Carboniferous Period.



BT069 - DEATH PONCHO "Original Motion Picture Soundtrack to CHOPPER" c25

(batch exclusive)

Back in the 20th century (long before the why-two-kays and nine-elevens), Kevin and I started a band in middle school; albeit, at that time it wasn't so much a band that wrote music and recorded demos, but more like a band that obsessively filled floppy disks with hundreds of near-identical documents which painstakingly outlined all the makings of a band, without any of the actual music-playing stuff that we felt typically bogged them down.

For two years, we stockpiled lyrics alongside endless paragraphs describing intended instrumentation and arrangement. Volumes and volumes of extensive addendums were dedicated to charting the guiding principles, along with exhaustive process-documents outlining the four different demos we'd undertake simultaneously for these theoretical songs. Every sound, emotion, and inflection was thoroughly annotated. What we lacked in jams, we made up for in pure ambitious vision, biting off far more than we could ever chew. As small-town brass players, we lacked the network and resources to refine them, so they were built 100% dynamically adaptive for whatever we could assemble. Hell, one tune was arranged for a marching band (which we hear is still played by the youngins of a neighboring school districts to this day).

Years later in high school, we eventually joined another band that actually wrote songs and played gigs, but always continued to refine these floppy-disk visions on the side. This release is narrowly based on the themes of one such track.

In the 20-someodd years since, Kevin and I still continue to sit down occasionally at a bunch of keyboards and make a day out of it; but nowadays, it's often without a reading assignment. The band name and instruments have changed a couple dozen times since, but the guiding hands have not.



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site last updated: 2017.11.24