Cut & Paste HHV Records 5 Items

The 6th installment of the world-renowned classic scratch tool series, Zarecord 3 7” takes the vocals from it's 12” parent-project and remixes them with portable turntable users in mind. Nmcp's avant-garde instrumental beats have long been a driving force behind the worldwide scratch scene, with their chest-rattling Polyvox basslines, stripped down elemental funk, and infectious drum patterns providing the framework for battles, performances and friendly meet-ups since the first Zalooper dropped back in 2013. The link between Nmcp and Cut & Paste Records was established through the shared passion for cutting records to disc on mastering lathes, and cutting sounds up on turntables. Since then, we've toured and performed together in the UK, Germany, Belarus and their native Russia, constantly researching ways to develop the vinyl record as a musical performance tool. Zarecord 1 and 2 brought raw attitude and fresh sound palettes with their skipless vocal samples, and re-imagined what a scratch record could offer by including full-length instrumentals instead of the more “traditional” sparse beat loops lifted from other records. With Zarecord 3, the concept is flipped once more with the Nmcp crew delving into their archives and supplying original parts of some of their classic beats in a pioneering format. Both sides of Zarecord 3 7” are packed with vocal samples, arranged in a way to make it easy to find the right sound, with longer sounds on the outside, and the loops packing more syllables as you progress to the center of the record. On the end of both sides there are 2 lock grooves – an infinite drum loop which can be used to cut with or simply as a break to practice to, and an infinite Shepherd Tone that seems to endlessly drop or rise in pitch. This record is dedicated to the memory of the artist who created the iconic imagery for the Zarecord series: 8D. The cover for Zarecord 3 was originally a painting by 8D, and we worked closely with him to adapt the piece into a record sleeve design carrying all the mystery and magic of the original. The Spot-Gloss finish makes the cover art jump right out and appears to change with the light.

Cut & Paste Records are proud to present this 12” of collossal electro from Swedish producer Joey FDH. Featuring two epic tracks on one side and DJ tools on the flip, the format provides heavyweight dancefloor fodder and original skratch sounds to land a knockout punch. Joey FDH caught our ear with her now-infamous “Beats For Skratching” series on Youtube – hard beats with inspired visuals which gave a much needed twist to the idea of scratch loopers as practice material for turntablists. Digging into her archives of Electro and experimental Beats leads to a seemingly endless supply of music which spans a whole range of tempos and approaches, while maintaining Joey's unique personality and attitude. It wasn't long before her beats were regular features in performances from label-regulars like Skratchlords and Jimmy Penguin, who also started providing mastering services on many of Joey's releases. “Disintegration” was created in 2017, and appeared on Joey's youtube channel accompanied by a dark animated video, and struck a nerve when she included it in her set at Community Skratch Games in Galway in 2018. The track was then nearly lost on dead hard drive, but was miraculously recovered which tipped the balance and Joey decided to send the track to be mixed and mastered by Michael Deva at Aldebaran in Italy to really give it a new lease of life. Meanwhile an updated music video concept was developed by Kano from Chile. Inspired by Põrgu (Hell), by Estonian animator Rein Raamat which in turn combined ideas from Eduard Viiralt''s older etched artworks from the early 1930s, there was already a strong theme of the darkest elements of human nature. Kano tells the story of the destruction of the Selk'nam people, which took place at the time of Viirault's haunting observations. Side A showcases two electro tracks, Disintegration and Junction 3, building from deep hellish landscapes and rising to high energy dancefloor destruction. Joey FDH's signature sound lends itself as much to intense DJ performance as it does to foundational setlist curation. For Side B Joey dug out samples and sound effects from her library that were edited into skipless loops for skratching by Symatic from Cut & Paste Records. Following a 4/4 pattern at a similar BPM to the Electro beats on Side A, the audio tools are suited to regular and ultrapitch turntables. The side ends with a locked-groove reprise of the Disintegration beat, which will itself disintegrate over time the longer it is played. Artwork by Joey FDH

Cover is close to NM.

To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the “Watch Devil Go” which interests us here. He told us a story which, according to him, sums up the personality of Thollot. A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn’t seen again for the three days. When he reappeared, he had already forgotten why he had left, The music of Jacques Thollot is in the image of its’ author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened.

Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track - that Madlib would one day end up hearing and sampling.

“Watch Devil Go” was in the right place in the Palm catalogue, which welcomed the cream of the French avant-garde in the 70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), ‘Europamerica’, until the end of the 70s.

In a career lasting half a century and centred on freedom Jacques Thollot played with the most important experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) and they all heard in him a pulsation coming from another world.'

Jérôme "Kalcha" Simonneau

Limited edition vinyl!

South American producer Redmist's name is synonymous with jazzy scratch loops and heavy basslines within the global scratch scene. As a follow up to his first release with Cut & Paste Records, Redmist's “Improvise Wisely” is now available formatted for 7inch, including some new lock-groove tones on each side.
Each side has mixture of Redmist's skip-proof vocal samples, as well as guitar, keys, brass, drums and bass, plus new lock grooves, different from the ones found on the 12”, adding to our growing library of lock-tones for pitch play. All samples are arranged at 83.33 BPM to work well with regular speed turntables and portable decks with a regular pitch range. Both the lock tones are played in the same key for ease of use when switching between them.
The drum loops on each side have been re-arranged as a mixture of 2 drum loops from the original record in skipless format. This arrangement allows for new funky drum combos, all in a skipless format.
Side A : 83.33 BPM Artist
Tracks 1-3: Vocal Skipless Samples
Tracks 4-6: Guitars
Track 7: Skipless Drums
Tracks: 8-9: Bass
Track 10: Tone
Side B : 83.33 BPM scratch samples
Tracks 1-3: Vocal Skipless Samples
Tracks 4-6: Keys and brass
Track 7: Skipless Drums
Tracks: 8-9: Bass
Track 10: Tone