Art gallery and performance space in Bradford (UK) hosting exhibitions, concerts, film screenings and other events.

Opal Tapes Showcase: Karen Gwyer / Wanda Group / Patricia / Holovr / Basic House



“Rather than making straight club music, Gwyer assimilates house and techno tropes into oozy, hypnotic slow burners, as in album opener ʻSugar Totsʼ. African beats herald the action, joined by molasses-thick synths and glassy bells that chime finely somewhere in the distance. Similarly, on ʻPikki Kokkuʼ, steamy, diaphanous whispers and minimal drum patterns overlay molten synths and subtle low end. Thereʼs little resolution here; instead we have an internal lambency thatʼs warm and satisfying….The result is an intimate and beautiful record” (Fact Magazine)


"[Wanda Group's] tracks are complex, intimate structures: webs of samples stripped of their original setting, closely examined, then messily smeared and reapplied into radically new shapes. The overall approach and final appearance is closer to papier-mache than any traditional style of production. Jar Moff seems a kindred spirit of sorts - and indeed they share a connection through Matthewdavid's LA-based Leaving Records, with Johnstone having previously released a more hip-hop orientated spate of work on the label as Dem Hunger. Both have worked visually, primarily through collage, and both share musical techniques that extend those approaches into a musical medium." (The Quietus)


"The six tracks of 'Body Issues' come off like a boosted 1991 or Huerco S, pushing malleable bass hits below swirling streaks of melody bursting with ferric quality. There's firm parallels to be made here with Anthony Naples, albeit with a noisier bent in 'Hissy Fit', whilst on 'Melting' juicy acid forms over a brittle jack track and the sweet-but-slamming 'Jospehine' and 'Plural' appear like some GHB fantasy flashback of a warehouse rave in New York's halcyon house daze." (Boomkat)


"A highlight of Opal Tapes' fifth batch is Holovr's debut mini-album, 'Lunar Lake'. It's a lo-fi and cinematic trip urged by rippling machine pulses and awash with gauzy chords and pads, and could easily be taken as a not-too-distant and rather mysterious cousin to 1991's 'High-Tech High-Life'. Our highlights have to be the extended part 'II', summoning soundscape visions for teary eyed cyborgs or the rugged, uptempo flux of 'V' with its rattling machine rhythms and lysergic synth melts reminding of everything from classic AFX to Marco Bernardi's 'Junkie Bastard'." (Boomkat)

“His surprisingly adept polymelodies feel almost accidental at first, but his shifting plates of sound bleed through all their porous layers. Every song has a stately melody at its heart, alternately battered and caged by the pitter-patter percussion. Think Eno doing a LIES record.” (Futureproofing)


"Juxtaposing arresting material that doesn’t seem like it could be made to work, Bishop bends and edits parts together with care that belies their aggression. The results feel very much alive; primal, but with the beginnings of emotional understanding. It’s a brilliant experience." (Fact Magazine)