‘Patience’ is the new, experimental full length album from Tyler Holmes. ‘Patience’ because it’s been 5 years since their last record. ‘Patience’ because they, admittedly, have none and profess that it is their life’s work to learn some. ‘Patience’ is built on the bones of ‘The Southern Reach Trilogy’ by Jeff Vandermeer and ‘No.44, The Mysterious Stranger’ by Mark Twain. Themes of accepting our place in nature, the universe’s apathy at our existence, and its extreme care in allowing us to exist, violence and horror devoid of malice all factor into the serene, agonizing, brutal, destroyed landscapes of these 9 songs. Gentle, bucolic, acoustic arrangements grate against rusted metallic backdrops that barely contain the swirling and glitching vocal loops of a bottled specter suddenly shattered. Tyler Holmes’ work centers around a concept they coined, ‘Trapping The Ghost’, which speaks to capturing the human experience, mortality, and/or consciousness within artwork, devices, objects, and media, this record serves as such an artifact. After writing their last album, ‘Nightmare In Paradise’, Tyler Holmes moved to Los Angeles, experienced the death of a parent, and had their heart broken twice, but this record (and the next) direct focus elsewhere. The only ‘breakup song’ is ‘Commercial Success’ and it was one of the first composed for this collection. Anchored heavily by contorted, or manipulated vocals, the album is intentionally opaque and features few songs with intelligible lyrics. The song ‘Hazel’ directly references a character from the film Synecdoche, NY with the quote: ‘it’s a big decision how one prefers to die’ while ‘Singing Hate’ is a lark on Holmes’ late father’s conceit that ‘you’re either singing love or you’re singing hate’. Recording of the album was split between the rural seaside escape of Point Arena CA and the cement reverberant art space Human Resources in Los Angeles. To research this project Holmes gorged as much media as possible where the human form or essence is duplicated, replicated, captured, distilled, or manufactured; this is the synthesis, this is the document.

Album Credits / Artwork Credits:

Written, Produced, Mixed, Performed by Tyler Holmes Recorded by Josephine Shetty & Tyler Holmes at ‘This Will Take Time’ in Point Arena,CA ‘Human Resources’ in Los Angeles,CA Mastered by Jake Rodriguez Cello on ‘Singing Hate’ & ‘Commercial Success’ by Peekaboo Electric Guitar on ‘Singing Hate’ by Anya Good Original Sculptures by Helena Martinez Bravo Sculpture Photography by Lise Silva Gomez Photos & Design by Tyler Holmes Graphic Design & Layout by Paradise Khanmalek Ratskin Records 2025 RAT102

For Fans Of: Ethel Cain, Grouper, Holly Herndon, and Eartheater Other: (Xiu Xiu, Kelela, Radiohead, Cat Power, Portishead)

Existing somewhere between Diamanda Galas’s “the Litanies Of Satan”, 80s horror plunderphonic, and harsh noise cut up collage, RECTRIX uses the human body as her own personal catacomb to sculpt a shaking, menacing reverb chamber for her sonic terror evocations. Rhythmic pulsing tension, hypnotic pacing, curdling shrieks mauled by sub bass, The Bell That Never Stops Ringing is both relentlessly terrifying and acutely beautiful in its sonic and conceptual roadmap of horror. Throughout all ten tracks, RECTRIX maintains a creative tension that helps build suspense and anticipation throughout the near fifty minute journey through a bloodied, brutalized world in which the artist Pippi Zornoza is the sole creative and sonic architect. Blending elements of extreme metal, drone, industrial, plunderphonics/collage with harsh noise, TBTNSR offers a terrifying oeuvre of contemporary extreme music and art.

The Bell that Never Stops Ringing is a collection of RECTRIX songs from the 2012 - 2016 era of her career. This “lost album” (recorded over the course of 8 years and then deleted from a series of equipment failures), had been in purgatory and now being brought to light by Ratskin after over a decade in the unmaking.

Comprised almost entirely of samples from iconic horror films, the songs from these years mark a preoccupation with horror and what it means to be a body. Where pretensions and posturing of “evil” within the extreme genres of metal, power electronics abound, TBTNSR flips the tropes of what images and sounds are used to signify power, and who wields it, on its head — Making something that is genuinely horrifying, a haunting and a meditation the incessant toll of mortality.

RECTRIX began in 2009 as the solo sound and performance project of interdisciplinary artist Pippi Zornoza. A natural outgrowth of both Bonedust and Vvltvre (experimental metal bands Zornoza was a part of from 2004 - 2009), RECTRIX is an experiment in the limitations of traditional musical instruments in the performance of live music. RECTRIX performances often combine performative actions (being buried in dirt), handbuilt instruments (an ax that triggers midi signals when used) and constructed environments ( a 10 foot swinging pendulum), as a form of ritual theater. Her live performances can be simultaneously nightmarish and cathartic. The Bell that Never Stops Ringing scratches at the surface of this era, a document of a time where unfortunately “you just had to be there”.

Having pushed at the boundaries of underground music for a quarter century, Zornoza’s past projects include Bonedust, VVLTVRE, Worms in Women and Cattle, Throne of Blood, Sawzall, Nine Orifices and live percussion for the seminal Saskatchewan black metal/ black noise project Wold. Currently she is also one half of Harpy, a collaboration with sound, performance, and visual artist Gyna Bootleg.

A limited number of copies of The Bell That Never Stops Ringing will be accompanied by the Out of Both Mouths Songbook RECTRIX created in 2021.The Out of Both Mouths Songbook is hand screen printed and digitally printed zine with screen printed dust jacked and hand cut peep window. Original Edition of 75.

La Tonada de la Luna Llena written by Simón Díaz Saxophone - RRLEW on tracks 3 & 7 Vocals - Alison Nitkiewicz track 8 All songs by Pippi Zornoza Recorded by Josh Plotkin, Sean Halpin, and “self” in Providence, RI 2012 - 2019 Mastered by Lapke Audio Photo on front cover Sam Levin Photography on back & inside cover by Sean Campbell Drawing on cd by Otto Horvath Logo collab - Lux Lucidi