Batch 0008 by New Tendencies on SM-LL

Over the last six month’s I’ve had the pleasure of working closely with @pokk to put together this full length release for his label, SM-LL.

It’s being released on pre-order limited edition 12" clear vinyl and download as part of their Batch series, maybe @pokk can say more about what the series is all about.

This album began as a set of sound experiments as I was building pieces of my Serge system. With each new modules or panel, I spent time trying to understand its possibilities, limits, and edges. From these experiments I learned techniques for “patch programming”, using the patching of the instrument to specify what each component is meant to do in that specific context. I wanted to play with the raw electronic sound of the Serge but still make pieces that hold together as compositions and are unique from one another.

For this collection of pieces, I used patching as the sole means of sequencing and composing the music.

I started with a series of short and really sparse raw experiments just exploring the patches, recording everything I did. Then I emailed them to @pokk who provided some of the most thoughtful input and feedback on what are some really abstract sounds, including sending me links to recordings that it reminded him of. These really became reference points of developing the music, along with my usual big influences from Panasonic and that 90’s minimal scene.

I think I’ve posted this picture elsewhere, here’s the system used on these recordings:

I also used OTO Bim and Bam as the main effects, but a little bit of other stuff including Bugbrand PTDelay and COFilter.

I hope people find something in this, I really enjoyed making it and am grateful/excited to have it on SM-LL.


That’s a good question. Maybe there’s a way we can do a group order to save on shipping and I can ship them to North America from here? Or download :wink:

Maybe @pokk has a suggestion.

I’ve been very intrigued by what kinds of sounds you might be making with that system as you’ve been building it. Preordered and looking forward to hearing the full album. :v:

1 Like

Can’t wait to listen. Thanks for sharing!

1 Like

Love the SM-LL stuff and I’m very keen to get the download on this. The sample sounds great

1 Like

It looks like if I increase the order size on Bancamp the shipping gets a lot cheaper, but then we’d have to ship them around North America, so it might only end up saving about $5 for shipping on each order.

I did ask Martin, but not sure if there’s any other option since it’s being cut in the UK.

So it looks like either a group buy for USA people, or download only are the best options if shipping is too much.

If you’re in the Toronto area (I think a number of people here are?) then you can come see me play the Serge live at the release show for this album.

Handlebar (in Kensington)
Jan 31, 8pm.
With naw and Invisible Out

I’m also going to try to record the show, at least audio. So if anyone’s interested in hearing a raw performance on the Serge system I’ll post that here in a couple of weeks.


I’d be really interested in seeing/hearing the performance!


Hey all, I see some chat about postage to the US, sorry to only pick this up now, I’ve been out of Lines forum a bit (mainly work taking over my life).

I always trying to find ways to make things more accessible both in cost and in music, but yes, postage is a tricky one and I totally agree @sellanraa it is absurd.

It currently costs about £8.50 standard internal post to US for a single 12" plus we have a bit extra (55p) for the thick mailers we use. The mailers we use you can slide in 2 copies ok, and the postage works out ok I think about £11, however, once you go to 3 or more copies the main issue is it going over 1kg and the price ramps quite a bit, which isn’t reflected in the Bandcamp pricing, which is + £2 for each addition. It simply doesn’t work that way. However, I think at that point we would just bite the bullet and look at a different internal postage service or something. It’s not happened yet as presumably because the records are quite expensive anyway.

It’s a very small run for the Batch releases as individually cut, so although we have international distribution (SRD) and although we have the option, we don’t run the Batch releases through this for a few reasons, one being shrink wrap reasons, another being the pure cost of moving stuff around and also it would still run the risk of returns, but the main reason is we have these releases for those who support us directly. Once they have sold out we don’t cut in clear vinyl ever again, we move to black or not at all. However, Andrea’s LP is pressed and running through SRD and that is available internationally, Forced Exposure being one stockist:

We basically feel if the demand for a Batch record or Default is such that we can get a small run of records pressed then we consider it, but at the moment it’s just an expense and process that arguably does us more damage than good.

We’d say the hand cut 12" for the Batch is just on those occasions you really want something special on a physical format, then there is that option and it’s a bit more pricy than your normal record but then it will be. Alternatively, the digital is what helps us loads more financially, as often this offset the costs of physical stuff and paying people.

If anyone has any suggestions I’m very open to them and obviously more than happy to chat more or answer any questions. I am pretty transparent so ask away.

Also, I have to say, thanks for all the support and love on here, it really does feel strange to hear people supporting what we do but very pleased that you do. And thanks for listening to Matt’s release, it really is a great release and @emenel is great to work with.


so so stoked on this album. absolutely gorgeous.

  • really love the movements of Signals and Swelter – were these single takes / patches or multi-tracked?
  • I was struck by how minimally arranged yet rhythmically complex Not Insulated is. fantastic aesthetic across the entire album.
  • I’d love to learn more about the medium this was recorded to (i.e., was it digital with clever saturation?). The more sharp sounds of Serge are nicely rounded a bit.

ooooo, any recommendations?

any specific lessons learned? I have begun building a small arsenal of R*S versions and would love to hear your takeaways.

great and lovely work, matt!


Thanks, Dan!

These are all single takes with limited editing. There are a couple where when listening back @pokk and I wanted to extend some parts so we did some light editing, but it was all recorded “live” in my home studio.

It was recorded direct to digital multi-track (Apogee Element), anywhere from 2 - 12 tracks simultaneously depending on the piece.

I often take the tracks and run them back through outboard gear and re-record them, including Oto Machines BIM and BAM, a 60’s dbx163, and some various early digital effects. That helps with the “round” and saturated sound on some tracks. I also sometimes track through those devices if I know that’s what I’m going to want. And the whole mix gets put through some light compression either using Softube plugins or one of my outboard compressors (i.e. Valley-People Dynamite).

There are a few works that I listened to a lot while working on this.

  • Yoshio Machida’s “Music from the Synthi”
  • Panasonic, Vakio
  • All the other SM-LL releases, most recently the Andrea Taeggi album

The main thing is to never underestimate the power of the SSG and DUSG. You could have a whole system with just two or three of each of those. I use the Smooth section of the SSG as both a filter and VCA frequently on this. As well as cycling it and using it as a bass drum through the DUSG or Audio Mixer VCA. The VCFQ is also an amazing percussion module, the trigger input and cv on the q can create a wide variety of chirps, clicks, and pings - all the way down to deep drums.

Hope enjoy the r*s stuff, that’s most of what I have as well. Happy to talk about it more any time.

Really glad you enjoy the album!


Hey Dan

Pleased you are enjoying the release and thanks for supporting the label as well. It really makes a difference.

It was a real pleasure working with @emenel and hearing the development of the album from early sketches to what we have now, and the discussions around different versions and finally playing with mastering and track ordering was made very rewarding when the music is like this, but more importantly the artist is willing to work in such a way. So it’s even more rewarding when someone is so pleased with the work we put in and is supporting us. So big thanks to you and also obviously @emenel for being up for going on that journey with us.


Loving this! Nice work @emenel and @pokk. Just through the first listen and looking forward to getting to know it over the next few days


Hey @yoyosandshoes

Thanks again.

Ah I just realised what your username is, I wasn’t pronouncing it right in my head. I have a friend who was big into Yoyos. Nice.

Pleased the release sounds as good your end as it does mine. I typically don’t listen to the Batch releases again after release date until the vinyl comes through the post and the have a little listening celebration, so I will look forward to that. It’s becoming a silly ritual hehe. :nerd_face:

Enjoy the second time through.


1 Like

Vinyl orders are arriving, I got my copies today. Really excited to see how beautiful these are.

17 Likes, 1 Comments - New Tendencies (@newtendenciesnoise) on Instagram: “So excited to get my new album, Batch 0008, on clear and black vinyl.  You can get one too, link to…”


Received mine! Absolutely love it!

1 Like

Back on Jan 31 I played a release show here in Toronto with two other local musicians, Invisible Out and Naw.

There’s a local documentarian, Joe Strutt, who runs a website called Mechanical Forest Sound. He’s recorded almost every show in Toronto over the last 10+ years. He was there to document the evening, and I just finished cleaning up and mixing the live recording of my set.

I’ve added it to my Bandcamp for free, or to Soundcloud if you prefer. It’s a little different than the album, but was done in the same process and spirit. I used the same setup live as I did for the record, Serge, OTO Bim and Bam, mixer, and Hinton SwitchMix.