Threnody for Elementary Satellite 1 (Спу́тник-1)

Accompanied by Sputnik 1’s mournful beeps, two quarter-speed tape loops – taken from a vinyl copy of the 1981 The Music of Cosmos soundtrack – trace a slow elliptical orbit around the record’s run-out groove…

Piece composed for the third edition of Gwaith Sŵn‘s Sonic Darts radio show, first broadcast on 7 September 2015 on Resonance104.4fm. The theme for the show was space and science fiction.

CD​-​R Archives Vol. 2: NSB 3 (2005) by New Star Broadcast

New Star Broadcast were a duo, consisting of Ian Clementson on Fender Jazz Bass and myself (Stephen Christopher Stamper) on Propellerhead’s Reason, who managed a couple of demo CD-Rs between 2004 and 2005.

After Ian left, I took the scraps of ideas left lying around and finished up these three tracks, indulging my Suicide fetish on “Theme From New Star Broadcast”, my Primal Scream fetish on “Disco” and my Beastie Boys fetish on “Death From Above”…


All tracks re-made and re-modelled by Stephen Christopher Stamper.

CD​-​R Archives Vol. 1: Demo CD (2001) by Unseen

My second “beat tape“, this time a CD-R from 2001!

The tracks were put together using a copy of Digidesign’s Pro Tools Free on a strawberry-coloured Apple iMac G3, with occasional input from a Roland MC-303 Groovebox and a Boss SP-202 Dr. Sample.

All tracks re-made and re-modelled by Stephen Christopher Stamper.

Cassette Archives Vol. 1: 8 bit (1996) by Dj Slippy

My very first “beat tape” from 1996!

All tracks were put together using OctaMED Professional (v4.00) on a Commodore Amiga 600, with all sampling done via a Technosound Turbo II sampling cartridge.

“Mastered” direct to TDK D60 cassette.

“all songs constructed, edited & mixed by s. stamper”

God Bless You

I composed this piece for the second edition of Gwaith Sŵn’s Sonic Darts radio show, broadcast on 3 July 2015 on Resonance104.4fm. As the theme for the show was one based around conspiracy theories, I began this piece with a recording of a rather deranged American Christian shortwave radio broadcast that I had picked up in the middle of a Finnish forest. But rather than highlight the insane ramblings of the preacher, who claimed that the end of the world was indeed nigh, I was instead drawn to the desperate and fearful phone calls of the listeners…


Another (unexpected) review for Echoic from the Hypnagogue website:

Begin with a 20-year old box of cassette tapes that capture your old band’s rehearsals. Digitize them, and in doing so accidentally route them through “a jumble of digital filters and delays,” making the sounds overlap and layer. Consider that moment as your stepping-off point for a musical exploration of the mind’s short-term, echoic memory. Result: Echoic, 42 minutes of misty drones that, outside of the opening moments of the first track, bear no resemblance to their source materials. Very little memory of the original is left after Stephen Christopher Stamper is done manipulating the sounds. Instead, we are given a collection of hypnotic structures with a minimalist amount of shift and churn. In places they become large, dense things that take over your head by filling it with big amounts of sound. The first track, “There,” balances on the edge in this, but stays just to the passive side of aggressive. On the other hand, “Out,” the closing track, grows continuously into an overwhelming storm of near-white noise. In other places, as on “Original,” the sounds are sparse and ghostly. On that track, Stamper gives voices from the original tapes more presence, but keeps them just far enough out of aural focus to make you feel a little like you’re eavesdropping. “Bark” finds a half-buried rhythm to work into its ambient flow, but it’s so nicely downplayed it almost becomes subliminal. I like this track, but something in the way its elements come together causes there to be some borderline awkward sound drops, like rough tape edits, mostly late in the piece. It may be on purpose but it’s just enough of a bump to take me out of an otherwise deep ride.

Drone enthusiasts are going to find a lot to like on Echoic. It has a distinct dynamic, shifting constantly and patiently, and Stamper gets down to some very small detail work to add texture. As a background listen, the whispering quality of the sounds goes a long way toward quieting a space. It’s one of those works that will subtly get your attention in new places each time you listen. Loop this in headphones if you’re in the mood for a brain massage—well, until you get to that last track, which will most certainly wake you from your drone-fed reverie. This is well worth diving into and letting it flow.

Available from A Companion of Owls.