Red Night
by TVO
deadshotkeen
remotecore
Sean
Justin Watson
George Grella
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Production Unit
Still Game
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AJB
AirfiXX
E S A
John Eden
Sideboard of Dr.Caligari
Anatolian Weapons
Jamie Steere
DizSma
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Rob Hayler
Monkton Wylde
Mike Holland
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Alex Spiers
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Matt Wood
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Daniel Flanagan
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William Lee
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Chris K
morbrian
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Simon Magus, II
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Robert Forbes
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Vuoto Pneumatico Non Non
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Moritz Wahala
Ele
Brandon Bussolini
ANDY MCLAREN
The Curiosity Pipe
Oliver Laing
SubMerSive
CHWRNCH
ALASTAIR MCCAUGHTRIE
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max
Boris Klompus
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Kelvyn Williams
Matthias Grunwald
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Digital Album
Streaming + DownloadIncludes high-quality download in MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app.Purchasable with gift card -
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Red Night Cassette version
Cassette + Digital Album60 minute cassette with beautiful colour artwork. Each cassette comes with an insert postcard, 6 specially designed stamps for each of the cities, a page from the 'Cities Of The Red Night' book, and a Broken60 business card.
Includes unlimited streaming of Red Night via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Sold Out
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1. |
Many Lifetimes
02:06
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2. |
Tamaghis
09:31
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3. |
Ba'dan
07:14
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4. |
Yass-Waddah
05:06
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5. |
Waghdas
08:22
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6. |
De Gulpa
01:00
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7. |
Naufana
04:56
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8. |
De Vile
01:55
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9. |
Ghadis
05:15
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10. |
B-23
08:04
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11. |
Into Present Time
04:28
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12. |
Cassette Version Side A
28:46
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13. |
Cassette Version Side B
29:14
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about
From Arcadia to Libertatia...
William S. Burroughs' 'Cities of the Red Night' is the first in his final trilogy of novels. It lurches over time
and space with scant regard to vagaries of plot, sense, pacing; it evokes a lost time, from the distant past or
semi-possible futures; it feels preposterous and eerily quotidian at once.
Tamaghis... Ba'Dan... Yass-Waddah... Waghdas... Naufana... Ghaddis... The six cities of the Red Night.
'Red Night', Ruaridh Law aka TVO's sixth solo album, is wholly inspired by this work and the mood it
delineates. The queasy shifts and otherworldly logics are wholly Burroughsian, down to the cut and splice
assembly of the final work. It is also the first in a planned trilogy of albums. The work is fully improvised on
hardware and features minimal post-production to emphasise its inherent spirit of chance and indeterminacy.
A pilgrimage across these cities may take several lives. “Nothing is true. Everything is permitted.”
Opening with the kind of busy, fizzing scrying that punctuated his last album (the sprawling ode to
remembrance and loss 'We Can Remember It For You Wholesale') a mood of ritual drone is soon
established. There's a darkly magickal air to proceedings from the off. The project's brief germination,
conceived and recorded over four short days – in contrast to its epic forebear's six-month spindling – is
apparent in the immediate, guileless, direct sonic palette.
"Be just and if you can't be just, be arbitrary."
Industrial hum, analogue tweets, slow horrible techno and quaalude breakdowns. Pink noise choirs
preserved in aspic. Slapback delays frozen in the space between walls. Kismet. Poise. Minimalism.
Unease... and then voodoo. Echoing certain strains in the source work, Law channels ritual drumming in the
early stages of side two. This texture represents a real departure from previous work, reaching beyond his
attic studio, becoming not so much a world citizen as the alien observer of an odd new landscape.
Eventually old WSB himself appears, garish, meandering and knowing, regaling an imagined room with a
queer routine while sweetened sine waves lapse into detuned reverberations of themselves, square mutant
atavisms and sombre chord blocks. A final headlong leap into frantic melody lands in peaceful redemption of
sorts, at least in the only world-worn way Burroughs and Law know how to deliver it.
“I am getting so far out one day I won't come back at all.”
'Red Night' continues Law's obsession with time, memory and the occult. It's time you learned about them
too. You may come back. You may not.
William S. Burroughs' 'Cities of the Red Night' is the first in his final trilogy of novels. It lurches over time
and space with scant regard to vagaries of plot, sense, pacing; it evokes a lost time, from the distant past or
semi-possible futures; it feels preposterous and eerily quotidian at once.
Tamaghis... Ba'Dan... Yass-Waddah... Waghdas... Naufana... Ghaddis... The six cities of the Red Night.
'Red Night', Ruaridh Law aka TVO's sixth solo album, is wholly inspired by this work and the mood it
delineates. The queasy shifts and otherworldly logics are wholly Burroughsian, down to the cut and splice
assembly of the final work. It is also the first in a planned trilogy of albums. The work is fully improvised on
hardware and features minimal post-production to emphasise its inherent spirit of chance and indeterminacy.
A pilgrimage across these cities may take several lives. “Nothing is true. Everything is permitted.”
Opening with the kind of busy, fizzing scrying that punctuated his last album (the sprawling ode to
remembrance and loss 'We Can Remember It For You Wholesale') a mood of ritual drone is soon
established. There's a darkly magickal air to proceedings from the off. The project's brief germination,
conceived and recorded over four short days – in contrast to its epic forebear's six-month spindling – is
apparent in the immediate, guileless, direct sonic palette.
"Be just and if you can't be just, be arbitrary."
Industrial hum, analogue tweets, slow horrible techno and quaalude breakdowns. Pink noise choirs
preserved in aspic. Slapback delays frozen in the space between walls. Kismet. Poise. Minimalism.
Unease... and then voodoo. Echoing certain strains in the source work, Law channels ritual drumming in the
early stages of side two. This texture represents a real departure from previous work, reaching beyond his
attic studio, becoming not so much a world citizen as the alien observer of an odd new landscape.
Eventually old WSB himself appears, garish, meandering and knowing, regaling an imagined room with a
queer routine while sweetened sine waves lapse into detuned reverberations of themselves, square mutant
atavisms and sombre chord blocks. A final headlong leap into frantic melody lands in peaceful redemption of
sorts, at least in the only world-worn way Burroughs and Law know how to deliver it.
“I am getting so far out one day I won't come back at all.”
'Red Night' continues Law's obsession with time, memory and the occult. It's time you learned about them
too. You may come back. You may not.
credits
released June 2, 2012
license
all rights reserved
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