DÉFICIT DES ANNÉES ANTÉRIEURES [DDAA]
"Déficit des Années antérieures"
(cassette. Illusion Production. 1987 / rec. 1979) [FR]
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Marc Masters — High Bias: The Distorted History of the Cassette Tape (University of North Carolina Press)
There’s a popular theory, advanced with varying degrees of seriousness, that the best kind of music is whatever was released when you were about 16. There’s also a fairly well-known Brian Eno quotation about the way we tend to romanticize forms of media just as they fall out of currency, eventually becoming loved even for their shortcomings. One of the biggest strengths of Marc Masters’ High Bias, a new history of the compact cassette (as it was originally known), is that it refuses both the personally biased special pleading of the former and the possibly distorting format nostalgia of the latter. Instead Masters brings together a fascinating technical history of the creation, limits, and virtues of the cassette tape, an overview of some of the areas where the medium has been most richly used and adopted, and a reflection on its continued vitality.
That last aspect, which is reflected on throughout High Bias and forms the focus of the book’s last chapter, is one example of the balance Masters manages to strike. It would be easy to fall into a kind of strenuous insistence on the most optimistic vision of the cassette’s future, to tell us that it could or should regain a level of prominence it hasn’t seen in decades. But to do so would require a… selective choice of data, and would probably fall into a kind of “protesting too much” register for many readers. Masters instead has the confidence and knowledge of the actual current (vital, but subcultural) role of cassette tapes to make the more modest but resonant point that the ‘cassette revival,’ such as it is, is already with us and shows no signs of going away. And he both puts this in its proper, inspiring context and makes a persuasive case for its importance because of the book’s continual emphasis on the democratizing and personalizing aspects of cassette tape as a medium.
The opening chapters, which include relatively brief looks at the context of recording technology prior to and at the time of the cassette’s introduction, set the stage well. Masters doesn’t shy away from acknowledging the social, marketing and profit motives impinging on the development and success of the medium (and the sometimes panicked response of the music industry to it, “home taping is killing music” and all), and points out how those aren’t totally separable from the explosion in personal expression that tapes allow. From there, High Bias branches out, looking at various places and times cassettes have helped or even allowed particular peoples, scenes or genres to be heard and spread in ways other media haven’t managed. From Deadheads to the early days of hiphop, Awesome Tapes From Africa to some of the more extremely personal examples that sometimes overlap with those covered in Michael Tau’s recent Extreme Music (reviewed on Dusted here), this slim volume doesn’t pretend to be exhaustive but does manage to illuminate enough different areas most readers may find themselves surprised by at least one of the many little pockets Masters looks into.
The second-last chapter, “The Tape Makers,” may be where High Bias hits many of its intended audience in an even more personal place. Here the book shifts slightly from people making music onto, or then distributed via, cassette, and instead delves into the personal mixtape. The balance between creation and curation is never that clearcut, of course, and the chapter doesn’t pretend it is. But whereas after the cassette we have burned CDs and playlists, before the team at Philips first brought the compact cassette to the world there was simply no mass-available form that offered the particular form of expression that a mixtape does. As with the rest of High Bias, here Masters uses a blend of interviews, secondary sources and direct experience to convey the unique role and impact of the cassette, both in its historical moment and persisting into the current day.
It’s not that the cassette tape is a “better” medium than vinyl, CD, DAT, or saved or streamed digital files (what would “better” even mean in anything other than a subjective sense?), and it’s not that High Bias, despite its doubly accurate title (both a desired quality in a cassette and an implicit acknowledgment that this a very pro-tapes book), tries to make that claim. But Masters clearly had in his sights a compelling portrait of the strengths of the format, and what makes it different from those other media, and here he convincingly portrays it as a special and worthy one. He’s even set up a, well, mixtape for the book on Bandcamp (linked at the beginning of this review), 12 tracks all sourced from current tape labels he discusses in the book. Notably, you can buy that mix on a cassette.
Ian Mathers
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it takes two ✌️
to make a [lofi] dream come true…
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#heady #kush #lofi #vibes #vaporwave #aesthetic #synth #effectspedal #synthesizer #boombap #synthwave #cratedigging #chillwave #sp404 #sp303 #op1 #stompbox #dreampop #shoegaze #lofihiphop #rad #retrowave #gear #ambient #pedalboard #pocketoperator #pedalsandeffects #lofiaesthetic #lofibeats #lofimusic
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Cassettes for sale!
Cassettes for Taiyo to Tetsu/thishatredisfuckingexhausting
I made tapes for the first album under the name taiyo to Tetsu “a collection of love songs that will never be heard” but for this release I renamed it to thishatredisfuckingexhausting as well as taiyo to Tetsu for thishatredisfuckingexhausting, you can view either name to be the artist name or the album name
10 for clear case comes with lyric sheet and other goodies, 5 for paper sleeve, can ship outside of the usa
to buy: dm on Instagram @thishatredisfuckingexhausting or @taiyo_to_ _ _tetsu(three dashes)
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Idea Fire Company, E.1027, Orl 20, Orila, 2013 [E1027 presents two complete IFCO live shows: one from Honest Jon’s Records in 2012, the other from Flywheel in 2013. The material consists of the premier live versions of three pieces the band has been working on with Matt Krefting]
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