'Perforations' by Hoskin & ClarkAll music was improvised, written, arranged, performed live by Hoskin & Clark with no overdubsNo pre-writing or pre-arranging of music was carried outHoskin played drums, guitar, bass, trumpet, loud hailerClark played guitar, bass, vocals, trumpet, sax, pedals, loud hailerRecorded 22-24 June 2016 at Faust Studios, PragueEngineered by Gasper of Slovenia and Paul GelusoMixed and mastered by Paul GelusoStudio Faust Dejvicka 48 - 160 00 Praha 6+042 603 573 911 | studio@faust.czwww.hoskinandclark.com | www.facebook.com/hoskinandclarkEternal thanks to Richard Mader and Paul Geluso and our families for making this record possibleMusic by Hoskin & Clark. Texts by Clark (except The Twins by Hoskin)Photography by ZISS Design : www.ziss.fr | Artwork by Red Hill : www.red-hill.netCopyright 2016 Publishing and Performance Hoskin & Clark. SACEM Ref: HCPERF2017/1The composers of the music are the authors of the musical work and are the first owners of the music copyrightThe song lyrics are protected separately by copyright as a literary work and are owned by the persons who wrote them.Perforations by Hoskin&Clark is licensed under a creative commons attribution-nocommercial-noderivatives 4.0 International License-3 days in a Prague basement Testing : I waltzed casually in to the Hoskin kitchen and proceededto make the plea. Paul Geluso, master engineer, had just made the papers.The New York Times was calling it the sound scandal ofthe century and he was a star witness.“Led Zeppelin Did Not Steal ‘Stairway to Heaven,’ Jury Says.”A classic David vs. Goliath.Allegations by band Spirit didn’t stick and Zep walked, thedefending champions of the riff that etched a million minds.I described Paul’s role and explained his need to get Hoskinto Prague within the month to record our debut album forfeatured release on No Compromise with esteemed musicalarts entrepreneur Richard Faust of Faust Records.Beat : We buy airline tickets, book the babysitters and fill twosuitcases with every imaginable noisemaker, effect, horn,cymbal and each metallic shiny object we plan to mic-upand hit. Weighted to the maximum gram permissible withoutovercharges, we unbolt our necks and fold our guitars, hitthe ground in Prague.Faust : An incorrigible spirit greets us with a warm laughrecognizing Hoskin’s incredible drummer’s cap. We are instantly at home.The place is ours, Richard gives us keys.We’re gobsmacked.Paul : You don’t always get to work with your best friends butthere we were with Paul Geluso.He sets us up in Hell, the basement studio with a lowceiling and a fantastic drum sound.We prep and record all day.Nothing : We head out of the studio, unsatisfied, sleep and find anincredible cafe the next morning before doing it again.We change the whole room, tighten up the gear andre-mic. We decide to record short sections - kind ofin-and-out pieces that we plan to segue into the longerformat work from the previous day. Something : This is a document of the moment - after nearly twoyears of rehearsal - getting it the way we felt right, ourcollective musical and personal histories on record. Enjoy!-Hoskin & Clark challenge the distinction that is made in conventional musical practices between musical and non-musical sound. They perform a range of musical styles and sound-based creative pieces that feature improvisation as a primary aspect. They feature acoustically and electronically generated sounds, and both traditional and unconventional musical instruments.They incorporate live machine sounds, non-musical vocal techniques, physically manipulated audio media, processed sound recordings, field recording, computer-generated noise, and other randomly produced electronic signals such as distortion, feedback, static, hiss and hum in addition to their multi-guitar, bass and drum line-up. There is some emphasis on high volume levels and lengthy, continuous pieces. More generally their improvisations exploit extended technique, cacophony and indeterminacy, and in many instances unconventional use of melody, harmony, rhythm and pulse.