Mixtape 2

by Andrew Tuttle

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The second in Brisbane, Australia based avant-country musician Andrew Tuttle's second archival series (the first being 2015's 'Mixtape 1', a collection of pre-album collage pieces), 'Mixtape 2' collects a selection of 'Fantasy League' and 'Slowcation' era compilation contributions, album outtakes and radio commissions together for the first time.

'Mixtape 2' is an audio companion to Tuttle's two studio albums Fantasy League (Someone Good/Room40, 2016) and Slowcation (A Guide To Saints/Room40, 2015), with whirring electronics and shimmering melodies of fragmented acoustic guitar coming to the fore. With these heavily edited adaptations and improvisations, shorn of the liberal lashings of banjo throughout both studio albums, 'Mixtape 2' provides an alternate insight into Tuttle's recording methodology from 2014-2016.

credits

released June 2, 2017

1. Wave Activate is a previously unreleased audio portmanteau of 'Activation' from Fantasy League (2016) and 'Wave Triplet' from Slowcation (2015).

2. 177 originally appeared as a digital single in 2015, released by Heligator Records.

3. Hard Drive Emeritus originally appeared on the 'Eclosion' digital compilation released by Duskdarter Records. An excerpt was also featured in John Moody's 2015 short film 'The Cerebral City'.

4. Glider originally appeared on the 'Venation' digital compilation released by Duskdarter Records.

5. 20150718 is a previously unreleased track from the Fantasy League era recordings.

6. Transitory Adaptations is a 'mixtape' companion to Fantasy League, threading together improvisations recorded, edited and mixed by Tuttle whilst touring Europe in April 2016, prior to a residency at Elektronmusikstudion EMS in Stockholm. An alternate version of Transitory Adaptations was broadcast on Resonance Extra's 'Out From Under' program in May 2016.

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Andrew Tuttle Brisbane, Australia

Andrew Tuttle, based in Brisbane, Australia; creates an instrumental sonic convergence of acoustic and electronic tones performed on instrumentation including banjo, acoustic guitar, synthesiser and computer.

Tuttle’s recordings and performances encompass blurred boundaries between composition and improvisation; incorporating elements of abstract folk music and shimmering processed electronics.
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