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Somewhere around five or six years ago, a lot of US underground noise makers traded in their boutique f/x pedals and started creating their vision of techno; Carlos Giffoni, Pete Swanson, Dominick Fernow etc. I always thought it was kinda weird how Gavin Russom went from the mirrorball and disco lights of DFA to remixing Giffoni’s ‘No Fun Acid’ in 2010.  Turns out his roots ...

Tape £6.99

Limited tape on Ecstatic. Edition of 50 copies with hand-made sleeves drawn by Gavin Russom.

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Lost Tape Archive by Gavin Russom (Paper Eyes)
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7/10 Ant Staff review, 08 December 2016

Somewhere around five or six years ago, a lot of US underground noise makers traded in their boutique f/x pedals and started creating their vision of techno; Carlos Giffoni, Pete Swanson, Dominick Fernow etc. I always thought it was kinda weird how Gavin Russom went from the mirrorball and disco lights of DFA to remixing Giffoni’s ‘No Fun Acid’ in 2010.  Turns out his roots were also in the noise scene -- but I actually had no idea until Ecstatic recently released the ‘Source Cognitive Drive - Transmissions 1996-1998’ compilation 2LP under his Paper Eyes Alias. Then the penny dropped.

So anyway he was releasing cassettes as Paper Eyes during the late 90’s, and now he’s doing it again. He’s even hand-drawn unique, cute little animal faces on each copy.

‘Lost Tape Archive’ Mops up some detritus from the archives, presented as a fictitious radio show on WROK hosted by the ultra smooth DJ/ presenter Johnny Stardust who introduces “records” and “live studio performances” by Paper Eyes, which are essentially a load of obnoxious, Japanese noise influenced racket/feedback/ sonic-scree/shrapnel with some occasional crude drum machine action. It’s a far more abrasive set of tracks than the previous compilation, with Russom dishing out a delicious mess of basement crud noise in good olde Wolf Eyes / Incapacitants / early Russell Haswell fashion. The interjections from DJ Stardust highlighting the fact he’s clearly having fun, tongue in cheek and fully aware of the ridiculousness of it all.

The live recording in Oberlin loses something of it’s power due to the recording quality but would have been pretty ear wrecking at the show and seems to have gone down well with the audience. The final recording, live in May 1997 is a grumbling, bowel churning cacophony of low end, dying machines and retarded vocal manipulations. Sounds like it’s probably a good snapshot of the late 90's Providence, Rhode Island noise underground back in the days.


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