The Hatcliffe House Tapes - The Complete Series 2001-2012
by The Hatcliffe House Tapes
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this and the rave tapes collection are / seem to me criminally overlooked projects that with the right label / marketing would be in boards of canada / autechre league, - both an absolute treasure trove of excellent real authentic sounding electronica, i cant believe it exists and that i missed it for so long to be honest.
Favorite track: Strange Figures.
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Downloads include:
Print your own artwork templates for CD and Cassette for each volume of the series.
PDF Booklet containing Track Guides, Interviews and Reviews.
Retro 3D High Res Posters.
Bonus Track: Hidden Codes (Crack the code within the track to unlock hidden content)Purchasable with gift card£35 GBP or more
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Compact Disc (CD) + Digital AlbumAll 12 Volumes of The Hatcliffe House Tapes Series on CD.
Including: Stickers, Retro 3D Mini Posters, 3D Glasses and
Secret Codes to unlock hidden content online.
Includes unlimited streaming of The Hatcliffe House Tapes - The Complete Series 2001-2012 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 10 daysedition of 10 8 remaining£70 GBP or more
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Full Digital Discography
Get all 34 Indifferent Space Recordings releases available on Bandcamp and save 75%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Computer Trax 2005 (CDX Mix), Acrelid - Saints Room Trax Vol.1 - Gateway, Acrelid - Deadstream 27, The Hatcliffe House Tapes - The Complete Series 2001-2012, Acrelid - Illegal Rave Tapes - The Complete Series 1999-2012, Acrelid - Illegal Rave Tapes Volume 10, Acrelid - Illegal Rave Tapes Volume 09, Acrelid - Illegal Rave Tapes Volume 08, and 26 more.
Purchasable with gift card£53.50 GBP or more (75% OFF)
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Full Series: 12 x Cassette Boxset
Cassette + Digital AlbumBoxset includes:
12 Multi-colour, colour coded cassettes in a rare double gatefold 12 pack cassette case.
Track Guide booklet including interviews from John Lee Richardson,
Craig Ray Tomlin and Rob Distant.
Equipment list, 3D Glasses, 3D Mini Posters, Hologram, Stickers and Secret Codes to unlock hidden content online.
*** Unfortunately this item will no longer be in stock due to the supplier not manufacturing the boxset cases anymore.***
Includes unlimited streaming of The Hatcliffe House Tapes - The Complete Series 2001-2012 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Sold Out
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about
The Complete Hatcliffe House Tapes Series all in one place.
The Hatcliffe House Tapes are a series of recording sessions
captured at
Lat: 53.618679 • Long: -0.215650 between the Years 2001-2012 AD.
''We made use of what we had and tried to make as interesting sounds from them as we could. Most of the recordings were improvised, coming from experiments with the equipment through an array of effects to modulate and twist the sounds so they sounded nothing like the original sound. Creating a sound pallet for me
to mix live over the top of either Craig or Rob, playing more conventional instruments, with effects over the master channel to help blend the overall sound together.
At first the recordings went straight onto cassette tape, before i got a
computer around 2003. The computer opened up so many possibilities for recording, especially multi tracking and editing. Although we always used the computer for recording after that point, i still to this day record the final mix back onto tape, then back onto the computer, to get that vintage feel you can only capture through recording onto tape. Everything was also run through a
Peavey Amp/Mixer which gave off a nice hiss and reverb too. It made the recorded sound more live and real, rather than polished and faked. Craig and Rob came from a band background and I was a synth and sound/visual production nerd...I still am. We were all into our own music styles, but met in middle when it came to post punk, new wave, krautrock and psychedelic music. We were bored of the music scene, especially the rock scene at the time and wanted
to do something new, taking influence from past masters like CAN/Joy
Division/Pink Floyd/Kraftwerk/Cabaret Voltaire/Tangerine Dream/BBC Radiophonic Workshop...the list goes on and on. I was also making alot of dance music at the same time too, that's how i started off in music production and i have never stopped, my next series will see/hear my solo electronic music recorded at Hatcliffe House during this same time period; under my Acrelid alias.
At the time i was a big fan of Labels like Warp/Rephlex/Ghostbox and alot of influence came from artists like Richard D. James, Broadcast, Boards of Canada, The Advisory Circle and Autechre. These were artists who were doing something very interesting with music at the time and helped push the art form forwards, in many cases taking a step back to move forward. It was discovering Krautrock, New Wave and Library music that really kick started things off with
me wanting to explore working with guitarists/bassist and drummers in a more conventional format, rather than recording solo electronic experiments by myself. This all started off when i was younger, i was given a cassette tape compilation called "2000 Girls and 1 Guitar" coming from a Rave background this opened me up to all sorts of Space/krautrock gems, the tape started with Can "Spoon Live" then moved onto Neu "Neuschnee" these two tracks alone blew my
mind. The cassette continued through a krautrock and new wave odyssey, with such greats like Faust/Kraftwerk/Cabaret Voltaire/Cluster/Stereolab etc...
making an appearance to my ears for the very first time. I thank Craig Bennett to this day for that tape as it took my music in totally different and new directions. The tape was so well put together as Mr Bennett is a master at compilation albums, each track seemed to roll into the other, seamlessly. This and my DJ background and love for mixtape culture, is why i decided when compiling The Hatcliffe House Tape recordings, to mix them together into volumes, finding tracks which fit a feel or genre, which roll into each other.
Hoping to recapture that feeling i had when listening to that tape for the first time, and with hope, new listeners can share that same experience with this series.
Another big influence was the Hauntology scene what was emerging at the time, through labels like Ghostbox and the work of Broadcast and Boards of Canada. This appeal for vintage electronica got me wondering down all sorts of strange library music avenues, a never ending treasure trove of forgotten sounds and sonic exploration, which i am still exploring to this day. The BBC Radiophonic Workshop got me re-interested in exploring and experimenting with the tape format, something which had seemed to of disappeared at the time with the rise of digital technology, but i am happy to see it re-emerging today.
I am a self taught musician and producer and in the days before i had
access to knowledge through the internet, i had to work stuff out for myself as i didn't know anyone into the same sort of stuff i.e. synths. I didn't get my first midi lead until 2005, i used to sync everything up manually and cut out the parts that went out of sync, syncing up layers on my CD decks, using a DVD player as a sampler. I had a CD burner, which i used to record layers on to,
The purchase of Ableton 5 was a massive help when syncing up audio layers. And made multi tracking/Editing and looping more possible, also i could add effects from Ableton straight onto the recording channel and effect things live whilst
recording. Craig and Rob used to come round to the flat regularly, Craig i have known since school and is one of my oldest friends and Rob i met through a mate who introduced us and throughout boredom we just started jamming, plug the guitar or bass in and jam along to a track i had set up at the time. This evolved over time as we became more involved in what we were making. I started
to acquire alot of borrowed equipment as people started to hear our
experiments and lent us the equipment they weren’t using at the time, on loan. So the spare room in my flat after my lodgers had moved out, turned into a studio, a drum kit in a flat was a bit cheeky, but i got away with it by recording loops and layers during the day while the other Tennant was at work, then mix the layers in ableton at night. Craig and Rob would come round for a session, record a load of stuff, then go home and i would be left to mix it all together as i pleased, unless like in many instances, we nailed it in one take. To be honest I used to record nearly everything into one layer up until a few years ago when i got an audio interface which allowed me to record multiple layers at once. This meant we had to get things right on that take, notes, audio levels and the mix or the whole recording would be ruined. So it had to be tight, which was a pain in the arse in the early days
before i figured out Midi and took alot of multiple takes to get right, but
it's very enjoyable for me listening back and wondering...how did i do that with what we had. I would of liked to have done a full equipment list on each track on the album artwork to show this process, but my memory failed me in too many instances, so i just stuck to a summary and full equipment
list at the end, for the listener to decipher. In all i recorded over
300 hours worth of music in my time between 2001-2012 at Hatcliffe House. This first Hatcliffe House Tapes series is a small fraction of that.
I would like to thank everyone who has ever visited Hatcliffe House, all my Family, Friends, Acquaintances, Musicians and Random People. Without you this music would have never of been possible and it helped shape who i am today.''
Thank you
John Lee Richardson
The Hatcliffe House Tapes are a series of recording sessions
captured at
Lat: 53.618679 • Long: -0.215650 between the Years 2001-2012 AD.
''We made use of what we had and tried to make as interesting sounds from them as we could. Most of the recordings were improvised, coming from experiments with the equipment through an array of effects to modulate and twist the sounds so they sounded nothing like the original sound. Creating a sound pallet for me
to mix live over the top of either Craig or Rob, playing more conventional instruments, with effects over the master channel to help blend the overall sound together.
At first the recordings went straight onto cassette tape, before i got a
computer around 2003. The computer opened up so many possibilities for recording, especially multi tracking and editing. Although we always used the computer for recording after that point, i still to this day record the final mix back onto tape, then back onto the computer, to get that vintage feel you can only capture through recording onto tape. Everything was also run through a
Peavey Amp/Mixer which gave off a nice hiss and reverb too. It made the recorded sound more live and real, rather than polished and faked. Craig and Rob came from a band background and I was a synth and sound/visual production nerd...I still am. We were all into our own music styles, but met in middle when it came to post punk, new wave, krautrock and psychedelic music. We were bored of the music scene, especially the rock scene at the time and wanted
to do something new, taking influence from past masters like CAN/Joy
Division/Pink Floyd/Kraftwerk/Cabaret Voltaire/Tangerine Dream/BBC Radiophonic Workshop...the list goes on and on. I was also making alot of dance music at the same time too, that's how i started off in music production and i have never stopped, my next series will see/hear my solo electronic music recorded at Hatcliffe House during this same time period; under my Acrelid alias.
At the time i was a big fan of Labels like Warp/Rephlex/Ghostbox and alot of influence came from artists like Richard D. James, Broadcast, Boards of Canada, The Advisory Circle and Autechre. These were artists who were doing something very interesting with music at the time and helped push the art form forwards, in many cases taking a step back to move forward. It was discovering Krautrock, New Wave and Library music that really kick started things off with
me wanting to explore working with guitarists/bassist and drummers in a more conventional format, rather than recording solo electronic experiments by myself. This all started off when i was younger, i was given a cassette tape compilation called "2000 Girls and 1 Guitar" coming from a Rave background this opened me up to all sorts of Space/krautrock gems, the tape started with Can "Spoon Live" then moved onto Neu "Neuschnee" these two tracks alone blew my
mind. The cassette continued through a krautrock and new wave odyssey, with such greats like Faust/Kraftwerk/Cabaret Voltaire/Cluster/Stereolab etc...
making an appearance to my ears for the very first time. I thank Craig Bennett to this day for that tape as it took my music in totally different and new directions. The tape was so well put together as Mr Bennett is a master at compilation albums, each track seemed to roll into the other, seamlessly. This and my DJ background and love for mixtape culture, is why i decided when compiling The Hatcliffe House Tape recordings, to mix them together into volumes, finding tracks which fit a feel or genre, which roll into each other.
Hoping to recapture that feeling i had when listening to that tape for the first time, and with hope, new listeners can share that same experience with this series.
Another big influence was the Hauntology scene what was emerging at the time, through labels like Ghostbox and the work of Broadcast and Boards of Canada. This appeal for vintage electronica got me wondering down all sorts of strange library music avenues, a never ending treasure trove of forgotten sounds and sonic exploration, which i am still exploring to this day. The BBC Radiophonic Workshop got me re-interested in exploring and experimenting with the tape format, something which had seemed to of disappeared at the time with the rise of digital technology, but i am happy to see it re-emerging today.
I am a self taught musician and producer and in the days before i had
access to knowledge through the internet, i had to work stuff out for myself as i didn't know anyone into the same sort of stuff i.e. synths. I didn't get my first midi lead until 2005, i used to sync everything up manually and cut out the parts that went out of sync, syncing up layers on my CD decks, using a DVD player as a sampler. I had a CD burner, which i used to record layers on to,
The purchase of Ableton 5 was a massive help when syncing up audio layers. And made multi tracking/Editing and looping more possible, also i could add effects from Ableton straight onto the recording channel and effect things live whilst
recording. Craig and Rob used to come round to the flat regularly, Craig i have known since school and is one of my oldest friends and Rob i met through a mate who introduced us and throughout boredom we just started jamming, plug the guitar or bass in and jam along to a track i had set up at the time. This evolved over time as we became more involved in what we were making. I started
to acquire alot of borrowed equipment as people started to hear our
experiments and lent us the equipment they weren’t using at the time, on loan. So the spare room in my flat after my lodgers had moved out, turned into a studio, a drum kit in a flat was a bit cheeky, but i got away with it by recording loops and layers during the day while the other Tennant was at work, then mix the layers in ableton at night. Craig and Rob would come round for a session, record a load of stuff, then go home and i would be left to mix it all together as i pleased, unless like in many instances, we nailed it in one take. To be honest I used to record nearly everything into one layer up until a few years ago when i got an audio interface which allowed me to record multiple layers at once. This meant we had to get things right on that take, notes, audio levels and the mix or the whole recording would be ruined. So it had to be tight, which was a pain in the arse in the early days
before i figured out Midi and took alot of multiple takes to get right, but
it's very enjoyable for me listening back and wondering...how did i do that with what we had. I would of liked to have done a full equipment list on each track on the album artwork to show this process, but my memory failed me in too many instances, so i just stuck to a summary and full equipment
list at the end, for the listener to decipher. In all i recorded over
300 hours worth of music in my time between 2001-2012 at Hatcliffe House. This first Hatcliffe House Tapes series is a small fraction of that.
I would like to thank everyone who has ever visited Hatcliffe House, all my Family, Friends, Acquaintances, Musicians and Random People. Without you this music would have never of been possible and it helped shape who i am today.''
Thank you
John Lee Richardson
credits
released November 18, 2019
Music Contributed By:
John Lee Richardson, Craig Tomlin, Rob Distant.
Recorded and Produced By John Lee Richardson at Hatcliffe House Circa 2001-2012
Complied and Mixed by John Lee Richardson 2015
Music Contributed By:
John Lee Richardson, Craig Tomlin, Rob Distant.
Recorded and Produced By John Lee Richardson at Hatcliffe House Circa 2001-2012
Complied and Mixed by John Lee Richardson 2015
license
all rights reserved
tags
about
Indifferent Space Recordings UK
Indifferent Space Recordings is a
DIY Label founded by
John Lee Richardson.
2012.
Masterminded as a base for John to organise and release his ever expanding archive of recorded material, some of which dates back to 1999. With his earliest experiments in music, coming at the age of 15.
The label is intended to be viewed and heared as a catalog of a lifes work in sound design. .....more or
... more
discography
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Dec 2022 -
Nov 2021 -
Nov 2019 -
Nov 2019
contact / help
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