Cavern of Anti

https://cavernofanti-matter.bandcamp.com

Cavern of Anti-MatterCavern Of Anti-Matter are Tim Gane, Joe Dilworth and Holger Zapf. Featuring two members who have previously played in Stereolab, they have released records on Ghost Box, Deep Distance and their own Duophonic label. “Repaints the neon-lit underpasses of Kraftwerk and Neu!, while irregular, perverted, wavering synths recalls and elaborates on DAF and forgotten 80s electropop” – The GuardianIn Fabric OST, released 12 May 20201. High Street Spasm2. The Dress Perspective (demonstration)3. January-upon-Thames4. An Ambiguous Shopfloor Manoeuvre5. Cold Fabric (Transformation)6. Inside Luckmoore7. Mannequin Metric8. Queue Nightfall9. The Dress Perspective (Muzak)10. Elektro-Modulator 211. Taktron Delay12. Cold Fabric (Incantation)13. The Mediterranean-upon-Thames14. Winter Rhombic15. Clutch Assembly Tone16. ZinZan’s Avec Moi17. Speaks Machine18. Terminal Wigwag19. Night Fabric20. Staverton’s Loss21. Elektro-Agitator 222. Terminal Metric23. Metric 3624. The Retail Idea25. The Dress Perspective26. Cold Fabric (Descent)27. Coven Metric28. Taktron Decay29. An Ambiguous Shopfloor Manoeuvre (Spanish)30. Terminal Wigwag (Bananas)31. Perimeter Display32. Nocturne-upon-Thames33. Transmission Mounting Bolt34. EN-54 (Branch Circuit)35. Mannequin MassOriginal soundtrack to the Peter Strickland film In Fabric. Limited edition 3LP version available from the retailers listed here: https://duophonic.ffm.to/infabric.oem“I was a fan of Stereolab and so much of the music I fell in love with was because of their recommendations whenever they were interviewed. Using Steven Stapleton’s music in my first film indirectly came about from first hearing Nurse With Wound on the joint Crumb Duck release with Stereolab. Stereolab were a whole world, what with their championing of other bands through their Duophonic label. After meeting Tim and talking about film it made complete sense to ask him if he would do something. That was unusual in that I didn’t have any specific project in mind. Tim sent me some very long demos to help me write, he implicitly understood that longer tracks are more conducive to writing. Elements of some of those demos worked their way into In Fabric. It was a luxury to work that way, usually, musicians are only approached after writing”. - Peter Strickland

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