{"title":"Cassettes","description":null,"products":[{"product_id":"haunt","title":"haunt","description":"\u003cp\u003e‘haunt’ is an album about grief written and performed by a murphy in his homeland of South Wales.\u003c\/p\u003e\n\u003cp\u003eThe record begins with what sounds like the click of a tape recorder. Maybe it’s the creak of a stool on hardwood floor, or a window pane cracking as the wind cools outside. Either way, this is an intimate affair.\u003c\/p\u003e\n\u003cp\u003eMaybe it’s the changing of the seasons in Glasgow, the loss of my Grandfather or the sun still nodding down at me as I leave work in the evenings now, but I’ve found myself longing for the quiet moments in music. Most recently my discoveries have been groups like the Horse, the often quietly beautiful hush of Kiran Leonard, the old favourites of Low and Sparklehorse and Vashti Bunyan and early Bon Iver.\u003c\/p\u003e\n\u003cp\u003ea murphy – whose real name is Andrew James Murphy – has spent the past few years releasing music using the moniker ‘amateur theatre group’, but haunt represents a debut effort under this new name. Recorded and produced at home in South Wales, haunt is a collection of 8 mostly short songs, coming in at just over 20 minutes.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“I was struggling to work out what was next for me when I started writing what became haunt as a bit of an a-side,”\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eMurphy says about creating the album.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e“In brief, I essentially realised I was coming to the point in my life where I had lived as long without my dad as when he was alive, so this small collection of music became all about grief and its more or less never-ending cycle.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFittingly, I’m reading Hood by Emma Donoghue, which follows the story of a woman in Dublin grappling with the loss of her partner of 13 years and the various forms of grief that come with losing someone who is part of your make-up. haunt is about grief too – the loss of Andrew’s father and the ways in which grief quietly spills into everything. For me, when I lost my Grandfather, I found it difficult to comprehend the feeling of losing someone who was physically part of me: my DNA, my genes. The red hair I had when I was a newborn that although eventually turned brown, ‘reminded everyone of my Grandad’, says my Mum.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Oh, my twisted spine, A plaster cast of yours, Same blood, more alive.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSonically, the songs are made up of fragments of mostly vocals and nylon stringed guitar. Occasionally, a horn or something brass breaks through the surface and for a moment there’s light piercing through the mist. 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Curated by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDJ Mitmitta\u003c\/strong\u003e, the compilation gathers a “lovely bunch” of mostly instrumental cuts from various groups working in the 1980s and early ’90s, all of them leaning on Casio keyboards, drum‑machines and cheap synthesized timbres to stretch a mood across the standard 60‑minute tape. Some of these tracks began life as filler - end‑of‑album jams laid down to round out running time - yet heard together they reveal a parallel universe of minimal, hypnotic ethio‑electronics that was hiding in plain sight on the B‑sides and fade‑outs of the cassette era.\u003c\/p\u003e\n\u003cp\u003eThe focus is squarely on groove and atmosphere rather than virtuoso display. Simple pentatonic keyboard lines snake over rigid drum‑machine patterns; bass figures loop with small variations until they become a kind of trance; cheap synth brass and organ sounds approximate the colours of traditional ensembles in an unmistakably 80s palette. What might have been background in its original context moves to the foreground here, letting the listener hear how these bands translated classic Ethiopian modal language into a bare‑bones, garage‑electronic idiom. There’s a homespun futurism to it all: you can feel the constraints of the machines and the tape, but also the pleasure of musicians pushing those limits just enough to make the dancefloor—or the living room—sway.\u003c\/p\u003e\n\u003cp\u003eMitmitta’s selection highlights a cast of names that deserve to be said out loud. Among the players whose tapes are tapped here are ይስሃቅ ባንጃው (\u003cstrong\u003eYishak Banjaw\u003c\/strong\u003e), ዘሪሁን ወዳጆ (\u003cstrong\u003eZerihun Wdajo\u003c\/strong\u003e), እልፍነሽ ቀኖ (\u003cstrong\u003eElfenesh Kano\u003c\/strong\u003e), ቴዎድሮስ መኮንን (\u003cstrong\u003eTewodros Mekonnen\u003c\/strong\u003e), ወሰንየለህ መብራቱ (\u003cstrong\u003eWesneylehe Meberatu\u003c\/strong\u003e), ስፈልግ አያሌው (\u003cstrong\u003eSeflege Ayalew\u003c\/strong\u003e) and ታደሰ ላቀው (\u003cstrong\u003eTadsse Lakew\u003c\/strong\u003e) - artists better known, if at all, for vocal releases, but whose bands clearly relished the chance to stretch out when the mic was off. Here, their anonymous interludes become the main feature, revealing shared aesthetic threads: unhurried tempos, gently melancholic melodies, a fondness for repetition that never quite tips into monotony.\u003c\/p\u003e\n\u003cp\u003eThe physical edition underlines the project’s tactile, cassette‑culture roots. Cover art comes from Skinny Digital, given grain and texture through risoprinting by If By Magic in Helsinki, Finland, while each copy is dubbed onto recycled tapes by Jouni “Kasettijeesus” Kontulainen. That choice isn’t just a retro affectation; it echoes the very conditions that produced the music in the first place, when blank cassettes were precious, nothing was wasted, and “extra” minutes became a playground for minimal synth experiments in an Ethiopian idiom. Spooling through these tracks now, you hear not only a treasure‑trove of lo‑fi ethio grooves, but the sound of time itself stretching and fraying on magnetic tape - a small, crackling portal back to another listening culture.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Ultraaani","offers":[{"title":"Cassette Tape","offer_id":53232736829782,"sku":"MRM-04892","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/7d8d1f5eaeb0241846d64029b70dbe88.png?v=1776960549"},{"product_id":"third-window","title":"THE CHOP - Third Window","description":"\u003cp\u003eGlasgow's THE CHOP return with a new mini-album called 'Third Window' on legendary Vancouver cassette imprint Lost Sound Tapes, following up their debut album 'It's The Chop' from Summer 2025 (via Wrong Speed records).\u003cbr\u003e\u003cbr\u003eThe husband and wife duo art-pop of Gemma Fleet and Andrew Doig (both also of local band Dancer) present 6 new songs written and recorded at home over the brutal Glasgow winter of 2025\/2026 - a project fashioned almost automatically, in light of and in response to a diagnosis Doig received for SCDS (a rare hearing and balance disorder) around the same time.\u003cbr\u003e\u003cbr\u003eWith his involvement in music suddenly thrown into question, the two focused an emotional urgency into the compositions - 'Ok Kid' being the stand out and testament to those confusing days - and they have fashioned a vibrant and human collection of music around the ordeal (The 'Third Window' of the title referring to the dis-orienting sensory effect the condition creates).\u003cbr\u003e\u003cbr\u003eMixed by Toby Burroughs (Pozi) there is a bigger and broader update to The Chop sound. Still rooted in a kitchen sink sensibility, but this time with broader melodic strokes, as keyboards ebb and flow around a bass and drum machine nucleus with Fleet\u003cspan\u003e conducting her unmistakable vocalisms over these pulsing and erratic backdrops.\u003cbr\u003e\u003cbr\u003eThis time she recounts life as a Second World War Deserter ('Deserter 1940') and revisits slightly sinister 90's era party island destinations ('Club 18-30') amongst other subjects of interest.\u003cbr\u003e\u003cbr\u003eThere is heightened minimalism at times and and an expanded aural palette at others. 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Perhaps it makes sense, then, that these songs were carefully crafted between shifts at the ice cream shop in the humid Glasgow heat. When you live in a city filled with rain, the glimmers of sunshine really do feel like small moments to soak up entirely. Open the windows, open the doors, let the light in.\u003c\/p\u003e\n\u003cp\u003eThere’s a quiet beauty in the way Still Life Painter relates the mundane in life: cycling through the city in the rain, drawing the curtains, listening to birdsong, hearing an owl in the middle of the night. Smith wrote and produced the album, playing all the instruments himself – with the exception of drums, played by \u003cstrong\u003eCallum Little\u003c\/strong\u003e. These were recorded at Little’s practice space in the moments of silence between the sludgy growls of a metal band rehearsing in the room next door. 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