The Thomas Family are Daniel and David Thomas (no relation). A combination of David’s solo sketches, made using a modular synthesiser, and Daniel’s field recordings, taken in Hong Kong, formed the basis for the sessions that became these Variations. Dub Variations is a product of Summer and Winter of 2012. H.K photographs by Daniel ThomasArtwork and design by Crow Versus Crowreleased October 13, 2014

First-baked tape works of one Sophie Sleigh-Johnson.A collection of tele-vision canticles and psychic reportage from the bleary shores of Southend, featuring hotly anticipated fragments from the unearthed transcript of Leonard Rossiter’s lost Mystery Play.As Rogation Ceremonies became obligatory again, the main technical problem was Bishop Ooze tracing time on damp walls: so, might these same tracks yet index the whereabouts of Mr. Prance, DJ?And lo, from the rumblings of this grim chorale, you’ll get your fair share of the Reel Artikel, as much an inflammatory Kelp Pit Synod as the apostate’s mandate to walk in Big News.Holsten?

'House Sparrow Settle Back' is a document of two successive nights of collaborative improvisation between Natalia Beylis and Embla Quickbeam, recorded live at The Magic City, Todmorden on Saturday 4th May 2019; and Beylis and Neil Campbell, recorded the previous evening at CHUNK project space in Leeds. Utilising and processing various found tapes, field recordings and synth, the collaborative pairings weave two glistening threads of kitchen sink psychedelia, all shimmering silver evening light, warbled bird song, tape loop stretch, green moss scent, static hiss, morning hum, ritual, reflection, refraction, ferric slip, whirling wind, skittering clatter, metallic scrape, essential throb, golden flux… Such monumental themes as existential concern, environmental stability, ecological cohabitation, the role of the Individual and the Collective, and spiritual transcendence are spun from the complex layering and deft manipulation of the humblest of sound sources. Settle SparrowEmbla Quickbeam & Natalia BeylisLive at The Magic City, Todmorden, Saturday 4th May 2019 House BackNeil Campbell & Natalia BeylisLive at Chunk, Leeds, Friday 3rd May 2019 Thanks to Theo Gowans & to everyone at The Magic City, Todmorden Artwork and design by Crow Versus Crow

Crow Versus Crow is honoured to present 'The Waste Land', the fourth body of sonic exploration from Brutalust, the Huddersfield, West Yorkshire-based duo of Maria Sappho and Colin Frank. /////////////////We made noise that day, and this was what was most important. Putting forth sound with intermittent interjections. A heap of broken images///////////////// These seven pieces are composed primarily for piano and percussion, accompanied by musical saw, theremin, synthesizers, and voice, and layered with distortion and live electronic manipulations.Bricolage, in essence, layers of references to high Modernist poetry, masterful works of contemporary solo piano, and esoteric philosophies, shift within expansive juxtapositions of harsh discordance, delicate contrapuntal melody, structured rhythmic pattern, and open, wild improvisation, to form tactile, textural whorls of episodic flux. From deconstructing Russian composer Galina Ustvolskaya’s '6th Piano Sonata', to mangling doctrines that prize verifiable statements and ego-motivated pleasure, 'The Waste Land' articulates ideas of struggle with saturation, order, and clarity. /////////////////long after time had ceased to be noticed… we shared what we had found and then lost///////////////// All music composed and performed by Brutalust.Colin Frank - Percussion, Electronics.Maria Sappho - Piano, Saw, Theremin, Synth, Voice, Electronics.Recorded in Phipps Hall, Huddersfield, in March 2022.Recorded, Mixed and Mastered by Colin Frank. Artwork, Layout and Design by Andrew Wild.

Crow Versus Crow is delighted to present for your aural-spiritual consumption ‘Elvis Died and Everyone Is…’, from high-priest of vox-mung dicta-jaxx, Posset. Two threads of ‘vocals’ and ‘tape’ seem to run through much Posset’s work, each often abstracted to pure texture, to pure concrete, each overlapping and blurring the others’ boundaries. Elvis Died and Everyone Is… further pushes these threads, weaving absurdist skit, deep croak throat drone, sludged free verse, layers of clipped skittering utterances, and writhing whorls of golden dicta scree into a fevered patchwork of dreamy hiss and fluttering treble. “For fans of losing your train of thought in an important conversation, de-tuned longwave radio stations, fake Electronic Voice Phenomena, half-formed words dissolving on the tongue, lethargy, being too hot and itchy in an unfamiliar building, the intimate electric breath of damaged heater, overheard conversations on the bus, that faint tinkle, a relaxed confusion, nostalgic plimsoll squeak, getting lost in Leicester town centre, the wet crinkle of someone else’s leather jacket, watching the shopping channel with the sound off, cumin scented smoke, letting the wind take your breath away, not realising how long you’ve been staring into space, finding an old letter from an old friend, shopping list poems, dreams of drowning, DJ Screw mixtapes left out in the sun. Thanks for listening.” All recorded in and around Newcastle-upon-Tyne 2021 using dictaphones, tape recorders and crappy phone apps. Thanks to Fritz Welch for the vintage desk-top dictation machine you hear right at the start. Thanks to Andy at Crow Versus Crow for his endless patience and support. Sounds: PossetArtwork and Design: Crow Versus Crow

AFinding My Feet / Who Put This Amp Here? / If Only This Phonebox Could Talk / Imprisoned / Up And Down / If You Put This Tape Against Your Ear You Can Hear The Ocean / What The Fuck Was He Thinking? BTribute To La Monte Young And Marian Zazeela's OCEANS (Recorded On Location At Cushenden Beach, Northern Ireland. Featuring Natalia Beylis, Willie Stewart And Ailbhe Nic Oireachtaigh) / Back To Work / Push The Button / Keep It Running / 25 Paintings / Phonecall From A Friend / A Little Thing / For Ailbhe -------------------------------------------------------------------- Sophie Cooper’s, 'The Curfew Tower Recordings' consists of two collages produced from recordings of various musical pieces, actions and field recordings taken during the artists week-long IMPOSE||LIFT residency, part of The Penthouse’s 18 month curatorial programme (thepenthousenq.com), at Bill Drummond’s, The Curfew Tower, Northern Ireland. The work presented here documents Cooper’s questioning of the potential for dialogue between trombone and voice within the song-writing process. These sketches document an intuitive exploration through improvisation. Cooper’s tribute to La Monte Young and Marian Zazeela’s Oceans is a wholly apt reference point in relation to The Curfew Tower Recordings, as the influence of Minimalist pioneers, along with the early electronic experiments of Daphne Oram, for example, can be heard through the undulating, shimmering abstractions that blur the lines between Cooper’s layers of effected trombone and vocals. Interspersed through these explorations are recordings of Cooper’s Dial-a-Bone project - personalised trombone improvisations, performed in response to random callers’ requests… from within a public phone box. All recordings taken during the IMPOSE||LIFT artist residency at The Curfew Tower, Cushendall, Northern Ireland, presented as part of The Penthouse NQ, Manchester's 2017/18 curatorial programme. Many thanks to Debbie Sharp and Roseanne Robertson for the opportunity. All music recorded, mixed and mastered by Sophie Cooper.

'A Jar Full' is the first set of recordings from improvising cellist Charlie Ulyatt and Dictaphone player Joe Posset. Charlie and Joe became aware of each other’s work via mentions in the excellent TQ fanzine. When Joe was offered a show in Charlie’s home town of Nottingham he asked Charlie along to play a one-off collaboration. 𝘐𝘮𝘱𝘳𝘰𝘷𝘪𝘴𝘪𝘯𝘨 𝘊𝘦𝘭𝘭𝘰 𝘷𝘦𝘳𝘴𝘶𝘴 𝘐𝘮𝘱𝘳𝘰𝘷𝘪𝘴𝘪𝘯𝘨 𝘋𝘪𝘤𝘵𝘢𝘱𝘩𝘰𝘯𝘦. 𝘞𝘩𝘢𝘵 𝘤𝘰𝘶𝘭𝘥 𝘱𝘰𝘴𝘴𝘪𝘣𝘭𝘺 𝘨𝘰 𝘸𝘳𝘰𝘯𝘨? Meeting for the first time a few hours before the show, with no previous rehearsal, practice or jam, things seemed to go rather well (𝘊𝘝𝘊 𝘌𝘥.: 𝘙𝘦𝘢𝘥: 𝘣𝘭𝘪𝘴𝘵𝘦𝘳𝘪𝘯𝘨𝘭𝘺 𝘦𝘹𝘤𝘦𝘭𝘭𝘦𝘯𝘵𝘭𝘺). It is this first ever show in Nottingham’s Angel pub that graces side two. With a side of live dicta/cello wonk in the bag, Charlie and Joe spent a few weeks sending sound files back and forth to improvise over. What you hear on side one are first-take improvisations over each other’s recordings. To keep things fresh we agreed to not listen in advance but simply set up the recorder, hit play and record the outcome. But what will you hear? 𝑇ℎ𝑒 𝑟𝑖𝑐ℎ 𝑡𝑜𝑛𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑐𝑒𝑙𝑙𝑜 𝑠𝑙𝑖𝑛𝑘𝑠 𝑜𝑢𝑡 𝑏𝑒𝑡𝑤𝑒𝑒𝑛 𝑔𝑜𝑏𝑏𝑦 ℎ𝑜𝑟𝑠𝑒ℎ𝑎𝑖𝑟 𝑓𝑟𝑖𝑐𝑡𝑖𝑜𝑛 𝑎𝑛𝑑 𝑡ℎ𝑢𝑚𝑏-𝑤𝑟𝑖𝑛𝑘𝑒𝑑 𝑓𝑓𝑤 𝑎𝑐𝑡𝑖𝑜𝑛, 𝑠𝑝𝑒𝑒𝑑𝑦-𝑗𝑢𝑚𝑝 𝑐𝑢𝑡𝑠 𝑜𝑓 𝑠𝑚𝑒𝑎𝑟𝑒𝑑 𝑡𝑎𝑝𝑒 𝑛𝑜𝑖𝑠𝑒 𝑤𝑟𝑒𝑠𝑡𝑙𝑒 𝑡ℎ𝑒 𝑔𝑟𝑖𝑠𝑡𝑙𝑒 𝑜𝑓 𝑓𝑎𝑡 𝑤𝑜𝑢𝑛𝑑 𝑠𝑡𝑟𝑖𝑛𝑔𝑠. 𝑆𝑒𝑛𝑠𝑜𝑟𝑦 𝑔𝑟𝑒𝑛𝑎𝑑𝑒𝑠 𝑒𝑥𝑝𝑙𝑜𝑑𝑒 𝑙𝑒𝑡𝑡𝑖𝑛𝑔 𝑜𝑢𝑡 𝑤𝑎𝑓𝑡𝑠 𝑜𝑓 𝑐𝑙𝑎𝑠𝑠𝑦 𝑟𝑜𝑠𝑖𝑛 𝑎𝑛𝑑 ℎ𝑜𝑡 𝑚𝑒𝑙𝑡𝑖𝑛𝑔 𝐵𝑎𝑘𝑒𝑙𝑖𝑡𝑒. 𝑇ℎ𝑜𝑢𝑔ℎ𝑡𝑠 𝑎𝑛𝑑 𝑖𝑚𝑎𝑔𝑒𝑠 𝑐𝑜𝑎𝑙𝑒𝑠𝑐𝑒 𝑖𝑛𝑡𝑜 𝑝𝑙𝑢𝑚𝑝 𝑤𝑜𝑏𝑏𝑙𝑖𝑛𝑔 𝑠ℎ𝑎𝑝𝑒𝑠 𝑢𝑛𝑡𝑖𝑙 𝑡ℎ𝑒𝑦 𝑎𝑟𝑒 𝑠𝑝𝑒𝑎𝑟𝑒𝑑 𝑤𝑖𝑡ℎ 𝑎 𝑠ℎ𝑎𝑟𝑝 𝑠𝑜𝑛𝑖𝑐 𝑗𝑎𝑏 𝑜𝑛𝑙𝑦 𝑡𝑜 𝑑𝑒𝑓𝑙𝑎𝑡𝑒 𝑤𝑖𝑡ℎ 𝑡ℎ𝑒 𝑑𝑖𝑔𝑛𝑖𝑡𝑦 𝑜𝑓 𝑎 𝑓𝑎𝑖𝑛𝑡𝑖𝑛𝑔 𝑑𝑜𝑤𝑎𝑔𝑒𝑟. 𝐶𝑒𝑙𝑙𝑜 𝑎𝑛𝑑 𝐷𝑖𝑐𝑡𝑎𝑝ℎ𝑜𝑛𝑒 𝑓𝑙𝑎𝑡𝑡𝑒𝑟 𝑒𝑎𝑐ℎ 𝑜𝑡ℎ𝑒𝑟 𝑤𝑖𝑡ℎ 𝑎𝑢𝑑𝑖𝑜-𝑐𝑜𝑚𝑝𝑙𝑖𝑚𝑒𝑛𝑡𝑠 𝑎𝑛𝑑 𝑐𝑒𝑟𝑡𝑎𝑖𝑛𝑙𝑦 𝑚𝑎𝑘𝑒 𝑎 ℎ𝑎𝑛𝑑𝑠𝑜𝑚𝑒 𝑝𝑎𝑖𝑟. 𝑇ℎ𝑒 𝑙𝑜𝑤 𝑡𝑜𝑛𝑒𝑠 𝑎𝑓𝑓𝑜𝑟𝑑𝑒𝑑 𝑏𝑦 𝑟𝑒𝑠𝑜𝑛𝑎𝑡𝑖𝑛𝑔 𝑤𝑜𝑜𝑑 𝑝𝑙𝑎𝑦 𝑜𝑓𝑓 𝑡ℎ𝑒 𝑓𝑟𝑎𝑔𝑖𝑙𝑒 𝑡𝑎𝑝𝑒 𝑚𝑎𝑔𝑛𝑒𝑡𝑖𝑐𝑠. 𝑇ℎ𝑒 𝑠𝑐𝑟𝑖𝑏𝑏𝑙𝑒-𝑠𝑐𝑟𝑎𝑏𝑏𝑙𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑏𝑜𝑤 𝑙𝑒𝑛𝑑𝑠 𝑡𝑒𝑥𝑡𝑢𝑟𝑒 𝑡𝑜 𝑡ℎ𝑒 𝑓𝑜𝑔𝑔𝑦 𝐷𝑖𝑐𝑡𝑎𝑝ℎ𝑜𝑛𝑖𝑥. 𝑇𝑤𝑜 𝑑𝑖𝑠𝑡𝑖𝑛𝑐𝑡 𝑣𝑜𝑖𝑐𝑒𝑠 𝑠𝑖𝑛𝑔𝑖𝑛𝑔 𝑖𝑛 𝑑𝑟𝑢𝑛𝑘𝑒𝑛 𝑢𝑛𝑖𝑠𝑜𝑛! Charlie Ulyatt: Cello & Baglama / Joe Posset: Dictaphones & Tape Thanks: Cannonbone’s Daniel Murray for putting on the show at The Angel, Andy TQ for putting us in touch with each other and Andy Crow for putting this damn tape out. You rule. Mastering props to Councillor Shaun Blezard Art and design by Crow Versus Crow

Whether wielding a Dictaphone, mobile phone or zither, Posset, BBBlood and Stuart Chalmers, three pillars of the No-Audience Underground, have honed their respective craft over a number of years and an even larger number of innovative and pioneering recordings, released through such esteemed DIY labels as Chocolate Monk, Strange Rules, Singing Knives, Beartown Records, KIKS/Girlfriend, Invisible City, Was Ist Das?... The list goes on! So, it is an absolute pleasure for Crow Versus Crow to be able to present, Delirium Cutlet Impaste; a three-track three-way split, with BBBlood, Posset and Stuart Chalmers each offering their own slab of rich, evocative, alchemical tape music. Delirium Cutlet Impaste is a record made from within the socio-political mindfuck that is the UK in 2017. …The prevalence of so-called ‘alt-right’ (read: fascist) politics; deepening social divisions; an increasingly retrospective, nostalgia-yearning for an England that couldn’t, shouldn’t and, almost certainly, never did exist; a building of cultural walls to the exclusion of various/any cultural 'others'… This is the climate within which this record has been made.Yet, this record isn’t a reactionary, condensable to a soundbite, statement piece. It is an open, complex maelstrom of layers of sounds and ideas …domesticity; poetics in the minutiae of the mundane; field recordings of European excursion; the sounds of various non-Western musics, processed and subsumed; the body as instrument, as conduit… This record reflects an open-armed engagement with a shifting, tumultuous, uncertain contemporary world. It is a raw, joyful expression of the creative process in, and in spite of, the environment from which it is born. Cover Design and Layout: Crow Versus CrowCollage: BBBlood / Posset / Stuart Chalmers / Crow Versus Crow

Crow Versus Crow is proud to present 'Moonmilk Roof', the debut release from free music collective, Three Eyed Makara – a revolving ensemble led by Natalia Beylis and Willie Stewart; both of whom are members of Woven Skull and Divil A' Bit. From within a forest set deep in the Irish countryside, Three Eyed Makara channel the sounds of mythical creatures battling in the stirred silt of the ocean floor; velvet antlers lock; tail fins flicker; pine scent; oak sap; heaving giants thrashing at the threshold, third eye blinking. In this recording, Three Eyed Makara is Willie (percussion) and Natalia (Mandobird, electronics), Ailbhe Nic Oireachtaigh (viola), Djuna Keen (saxophone). These tracks were recorded live by Three Eyed Makara in March 2017 in Cavan, Drumnadubber Wood & Boho. This particular cluster of Three Eyed Makara features: Ailbhe Nic Oireachtaigh - ViolaDjuna Keen - SaxophoneNatalia Beylis - Mandobird & ElectronicsWillie Stewart - Snare & Floortom & Gong Thanks to Michal and to all of the cavers. Artwork, Layout and Designby Crow Versus Crow