The Tapeworm presents…



TTW#130 – Not Now – Within The Beyond

Cassette only – limited edition of 100 copies
Buy on Bandcamp

A1: Cage Glow
A2: Basilica
A3: P8 Sister
B1: Fleixh
B2: Dth@Wsh
B3: K Haut

An exploration into liberation written and produced by Not Now between Aqui and I reira 2019. Peter Hope: voice, SP75+DL4. Henri Sizaret: computer generated instrumentation. Mastering engineer: Kuvera B. Collage: D.M. Nagu.

Over three decades of pursuing an uncompromising path of innovative musical juxtaposing and singular vocal stylings, Peter Hope’s latest Not Now project pushes industrial techno into unchartered territories with the inspired collaborative input of electronic precisionist Henri Sizaret. In search of creative liberty the pair adopt spontaneous composition techniques in the construction of their other-worldly voodoo machinations, resulting in a wild ride through caustically sharp electronic mutations, intriguingly tarnished with the disturbed spirits of mangled blues and depersonalised dada vocal proclamations.

"To discover what lies beyond any planned form we must trust intuition, experience and the immediacy of improvisation. Whilst ever there is a safety net commitment to the moment cannot be complete. Keep the rules simple. Do not second guess. Only discard that which will poison. Embrace spontaneity and its unexpected inventions. If NOT NOW, when?”

Read an interview with Peter Hope at


Further. (UK):

Not Now is a duo of Richard H. Kirk collaborator and Sufferhead member Peter Hope (vocals / electronics) and Henri Sizaret (computer-generated electronics). The six tracks included on Within The Beyond are punishing, edgy, techno-inflected cuts, like music for the final club night of the apocalypse, most likely at Berghain.

On opening track ‘Cage Glow’, Hope’s chanted vocals are delivered with pure demonic menace, supported by an architecture of intense, thunderous beats that sound like they were fashioned from the sounds of the printing press pushing out the flyers for the aforementioned end-of-days all-nighter. ‘P8 Sister’ prowls forth on a seductive bassline, its refrain of “Go, primate” carrying a sinister, cryptic quality, while the erratic ‘Fleixh’ sounds like its remixing itself randomly through a broken algorithm, a brief flash of techstep rhythm providing some semblance of stability toward the end. Easy listening for speeding paranoiacs, the polar opposite to Jiyeon Kim’s piano meditations.


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