‘Manually manipulating reels that feel like they’ve only recently been exhumed, the duo weave a dense tapestry as haunting and immersive as Delia Derbyshire and Brian Hodgson‘s Legend Of Hell House Soundtrack’ – The Wire, Nov 2016
Aural Ectoplasm: ☆☆☆☆ – Record Collector Magazine
The ultimate Hauntological artefact – Simon Reynolds
Uncanny, mesmerising, difficult & sublime – The Quietus
Concrète theatre … It’s glorious – FACTmag
QUATERMASSIVE! – Ghostbox
‘First coming to prominence with hugely-acclaimed 2012 LP The Ghosts Of Bush, Howlround have now expanded to a sextet (four machines, two people) and create recordings and performances entirely from manipulating natural acoustic sounds on vintage reel-to-reel tape machines, with additional reverb or electronic effects strictly forbidden – a process that has seen their work compared to William Basinski, Philip Jeck, Morton Feldman and even the sculptures of Rachel Whiteread’.
In an age where one can create all manner of electronic music with a simple swipe of a mouse, Howlround prove not only how much fun is to be had in making things complicated again, but conversely just how little effort is sometimes needed to create a genuinely uncanny and beguiling sound-world: the rough underbelly of our pristine, Pro-Tools universe. Since then, they have released four more LPs – 2013’s Secret Songs Of Savamala, recorded almost entirely in a flooded basement in wintry Serbia, 2014’s Torridon Gate, which was created using an ordinary suburban garden gate, 2015’s Tales From The Black Tangle and 2017’s A Creak In Time. They have also released tracks on numerous compilations and one side of a split album The Blow vol. 2.
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