How did Cries From The LTN begin?
Hat: A collision of buying some first synth gear and suddenly having lots of spare time on our hands during COVID lockdown
Haas: It was pretty unexciting. 2 frustrated non-musicians got some gear using money saved by not having to go to work during lockdown. and thought creating a random concept album was a great idea. Noone in Kings Heath was remotely interested but we called out the delays in the Camp Hill line 5 years early. And Stan the Butchers reign over the Kings Heath meat market
Why the name?
Hat: It was inspired by the local meltdown caused by the imposition of the Kings Heath Low Traffic Neighbourhood scheme during lockdown. We are pretty agnostic about the scheme itself, but the way it was imposed by BCC with minimal and disorganised consultation with residents provided us with a rich seam of content to use on our first concept album.
Haas: I’m pretty sure it was Hat’s idea. Seemed funny at the time. We would have rebranded Cries from LuTon if any of us had actually been there
Where are you based?
Hat: Kings Heath, Birmingham
Haas: Home of the shitly implemented LTN and brand shiny new railway station (1 per hour post 8pm)
What first drew you to making experimental music?
Hat: I love repetitive, hypnotic style music and so I started messing around with Synths to make sounds I like.
Haas: Apart from lack of talent or any musical skills. The best music is about feel and impact. doesn’t have to be experimental but relinquishing the constraint that anyone listens or cares is a start. Do we make experimental music? Not sure it’s by any intent.
What usually comes first—an idea, a sound, or a process?
Hat: Often starts with an idea that I can’t actually execute but by then I’ve landed on a sound I like and follow that thread.
Haas: Probably a process. As there are 3 of us with lots of other stuff going we usually lay down a concept to work around which varies from project to project. Then everything just kinds of shapes around that for good or bad!
Do you begin with a clear destination, or discover the music as you go?
Hat: Usually it ends up as a happy accident
Haas: As above. Discovery. We are also pretty democratic. No idea is a bad idea and we just work around things until we usually run out of time and have to go with what we’ve got
What role does improvisation play in your work?
Hat: Tbh I mainly work with samplers and sequencers so I keep exploring patterns of sounds to build up layers. I’m probably don’t do much improvisation
Haas: Depends on the project. We started off just going to a rehearsal studio for 3 hours with no ideas and just see what happened (check out Barry’s Fabrics). Sometimes we do have sympathy on the audience and try and do something more structured but that is usually someone starting with an idea and others working with it (and there is an element of improv even then). Bernt Haas is mostly improvisation. I spend ages setting up the sounds and then knock something out in 1 take. I hate layering stuff in DAWs (even more than video editing).
How do you know when a piece is finished?
Hat: I don’t!
Haas: It never is really. We just run out of time (or interest)
Which records have stayed with you over the years?
Hat: When I first started making music my goal was to make something even 10% as did as Tales Of Ephidra by Amorphous Andogynous. Every now and then I go back to that for inspiration
Haas: Ooh that’s a hard one. Changes all of the time but going for: The Birthday Party ‘Junkyard’, Cannibal Ox ‘The Cold Vein’ and Burning Star Core ‘Operator Dead, Post Abandoned’. And anything by the Fall pre-1987.
What have you been listening to recently?
Hat: I’m terrible at finding new music – there’s overwhelming choice these days. On holiday I’ve been exploring albums by Download, who were an offshoot from Skinny Puppy. I really like their sound
Haas: I’ve cut myself off streaming services and as I don’t drive as much as I used to I’m not listening to a lot of music. Just found a load of old files and bought an MP3 player so rediscovering a lot of things I haven’t heard for awhile. Throbbing Gristle (and Chris & Cosey), Fuck Buttons, Broadcast, The Heads (awesome Bristol psych), Deerhoof, old drum & bass (pretty random really)
Are there artists outside music who influence what you do?
Hat: My favourite film is Danny Boyle’s Sunshine – I love the epic sound and visuals. I quite sometimes try to imagine how some of our tracks would sound accompanying Kaneda’s death scene!
Haas: Probably doesn’t answer the question (art is pretty self indulgent and talking about it more so) but I find the interaction between individuals and their urban environment fascinating. I recommend ‘Estates’ by Lynsey Hanley and ‘Concretopia’ by John Grindrod
Do you think experimental music has become easier or harder to make in the digital age?
Hat: Easier I guess. There are so many easy to access tools
Haas: Obviously easier but harder to do it well as there are so many options it’s easy to miss the point. I think the best experimental music is when it can be enjoyed casually but has greater depth/insight should you wish to explore.
Is your music trying to communicate something, or simply exist as sound?
Hat: We generally have a theme of poking fun at overcomplicated, faceless bureaucracy.
Haas: From a CFTLTN perspective we are generally just trying to amuse ourselves (and hopefully at least one other person 😁). From a Bernt Haas perspective I try and explore themes of urbanism and how historical political decisions (often with good intent) impact us today and will continue to do so.
Do limitations help your creativity?
Hat: Definitely. I think the most creative stuff we have made is when we limited ourselves to a small amount of gear
Haas: My gear has unlimited potential but my talent and imagination are severely limited. So yes, I guess 😭
Has your relationship with music changed over time?
Hat: I’ve always loved music but with streaming services and unlimited access to music it’s sometimes difficult to know where to start with exploring new music. There’s more choice than ever but weirdly that can make it harder to really dive into a particular genre or artist because there’s too much choice!
Haas: Oh yes and not in a good way. Until probably 10 years ago I was constantly seeking out new music and thought I would forever. Then the ability to access all music that exists, and has ever existed, killed it for me. I’m sure there is great music being made but I don’t trust anyone to curate it for me and I just haven’t got the time to sort the wheat from the chaff. I used to subscribe to the Wire magazine, but every month there was unfamiliar music (and free CDs) and I just couldn’t make any connections (which is how I used to find new music back in the day, through record labels or common members or scenes). I’m becoming everything I hated by only listening to stuff from the past. I have also learned that so called “metal” is the genre where all of the best experimental music is being made (check out Oranssi Pazuzu from Finland, or Portal from Australia).
What do you think people misunderstand about experimental music?
Hat: Not to stop and think about what the artist is trying to achieve.
Haas: I don’t think they do. The vast majority don’t concern themselves with the matter and those that do are taking themselves too seriously. If it can’t be enjoyed (at some level) then don’t make it. And a 30 minute drone is entertaining in the right context, or being harangued by MC Ride!
Have you ever abandoned an idea because it felt too comfortable?
Hat: Yes. There’s plenty of more talented musicians than me out there so there’s no point in me trying to release anything too polished and mainstream.
Haas: My first piece of gear was a Maschine controller and software on a laptop and I realised how fucking easy it is to make 4 on the floor techno. If I do beats now (as Bernt Haas anyway) I try to use them as a texture rather than trying to enable anyone to tap their feet or dance to it. I’ve no problem with anyone else doing it, just not my thing
When you’re creating, who are you making the music for?
Hat: Me and the other two.
Haas: The imaginary cognoscenti. I also like the idea that when I’m long dead someone will discover my outputs in the digital dumpster and recognise my genius 😉
If someone remembers just one thing about your work in twenty years’ time, what would you hope it is?
Hat: If you can’t find music you like to listen to then have a go at creating it yourself.
Haas: Probably that we supported Sonic Boom (Spacemen 3) in a proper venue in Coventry with our own dressing room (no rider though!). Still can’t believe that happened (especially when we play to 3 people at a Centrala EMOM).
What’s one record everyone should hear at least once?
Hat: I’m going to go against the experimental grain here and recommend some pure electro-pop magic. You should try out Velocity: Design: Comfort by Sweet Trip. On a summer day is pretty much the perfect album.
Haas: ‘Hex Enduction Hour’ by the Fall. While reading the lyric sheet. Or maybe ‘Locust Abortion Technician’ by the Butthole Surfers (nothing like it, before or since)
What’s next?
Hat: We are organising an all-dayer in Digbeth in October 2026. Having played a number of live shows over the past couple of years we wanted to play at an event with a load of our favourite DIY artists in the same bill.
Haas: Buy less gear. Learn to use what I have better. I also think we need to record a follow up to the original ‘Cries from the LTN’ album. Its been 5 years now and due an update (PS my LTN in Station Road decommissioned itself about 2 years ago after the bollard was stolen so many times the council couldn’t be bothered to put in back). The LTN concept appears to be dead and buried in the new wave of populism. There’s got to be some good material there.
Is there anything you’ve been working on that you can tell us about?
Hat: I’ve got loads of half finished Buddahat solo tracks on my hard drive that I will eventually get to release as a solo album some time before end 2026.
Haas: New CFTLTN set for October Centrala show (17th?). Trying to work out what my new Recoder (Gamechanger Audio) pedal actually does! A guy called Sheff Poly has asked me to collaborate with him for some reason, which could be interesting.
Interview questions provided by Hidden Mantra.
Thanks for Cries For The Ltn for the interview. Cries from the LTN are: Bernt Haas, Buddahat and Noo.Stalgia
Listen to French Cigarettes: https://hidden-mantra.co.uk/strange-transmissions
Buy the album here: https://hidden-mantra.co.uk/product/cries-from-the-ltn-no-5g-in-grafton-flyford
Listen to the podcast here: https://www.mixcloud.com/hidden-mantra/cries-from-the-ltn-hidden-mantra-podcast-16082026/