Bond Inlets

by Howard Stelzer

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29:06
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24:50

about

"it would be unforgivable to overlook 1998’s Bond Inlets, Stelzer’s crowning achievement; an album where he was able to pick the inherent limitations of consumer-grade tapes apart, laying out a foreboding work of rare emotional power." - j. Rodriguez, Tiny Mix Tapes

“Rich, immersive piece with drama and detail aplenty. Hear this!” – Brian Olewnick, Just Outside

“…a large expanded dread. Like walking into a cave, the further you go into Bond Inlets the more the darkness spreads and impenetrable it may seem. But there is a calm to this material that never moves into predictable explosions of noise. This is my favorite stuff by Stelzer yet!” – The Fader

“Stelzer knows and likes his noise, that much seems to be clear, but unlike so many noise makers around, his main effect is not the pure wall of noise, but rather a full wall of sound, with small events happening on all levels. A great work this one that shows a much more mature composer and one that has been constant refining his work over the last decade to cook up this master piece.” – Vital Weekly

“Stelzer’s drones come in waves, long and slow, while the other gestures are bitty, percussive and often shrill, and are given salient structural impetus by their silent framing. As a structural system, this has real depth, and it lends itself well to observation as one approaches it from different points of view… a haggard melancholy is all pervasive; in the fleeting half-melodies, the warm though foreboding bass drones, and the fetishistic hiss—all so many residues of a living whirlwind that devours the darkness.” – e/i Magazine

“For all the gloomy imagery that Bond Inlets produces in the mind, it’s not an overly somber affair. The sound is dark in hue, but Stelzer’s most sinister storms are offset by segments of an almost relaxing (though still bleak) sonic drift.” – Dusted Magazine

“Consisting of a single electro-acoustic composition (in two distinct parts), Bond Inlets works a wide variety of source-material; from distant field-events, super low-end rumbling, and various anti-music lineage crackle and thump; all recorded via Stelzer’s main instrumental palette – handheld cassette recorders (whose hysteresis/heterodyning fingerprints can be heard throughout…). The piece is a veritable study in creaking morass; on part with the venerable crackle of The New Blockaders, as dense as the best David Jackman / Organum materials and one of Howie’s finest recorded moments. highly recommended !!!” – Keith Fullerton Whitman, Mimaroglu Music Sales

credits

released November 1, 2008

Composed and recorded 2005 to 2007 at Intransitive - Cambridge, MA. Cassette tapes etc by HS, with a few moments of cello and electronics from Vic Rawlings. Photography and design by Mike Shiflet. Mastered by Ernst Karel. For my brother, Craig.

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about

Howard Stelzer Lowell, Massachusetts

Stelzer's music is assembled out of cassette tapes, tape machines, and a stubborn refusal to admit defeat. By day, he teaches middle school in Lowell MA, where he and his family live in a really big room behind a power plant. At night, he hunches over stacks of tapes and makes this stuff. No one knows why. ... more

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