2001 release, available again. "Berlin's Basic Channel Crew has been most influential in the field of minimal techno soundscapes. With the sub-labels Maurizio, Main Street Records, Burial Mix and Rhythm & Sound, Mark Ernestus and Moritz Von Oswald created platforms for different aspects of their own productions, and with Chain Reaction for productions from their musical environment. The present 12" is a teaser for the Rhythm & Sound compilation CD which contains most of the material released on the 12" singles on the Rhythm & Sound label so far."

Rhythm & Sound

Black Past is the musical solo vision of Cleveland based musician Gregory Boyd and "Pitch Black" is his debut statement and Dangerous Age 001.

Alternatively titled "A Soundtrack for a Deranged Motorcyclist", "Pitch Black" is a bleak narrative pulling no punches. Utilizing an array of drums, percussion, synthesizers, guitars, and other various sound making devices, Boyd creates a damaged repertoire of haunted motorik songs and ghosted void stasis. There is an intensity and mystery buried in these tracks that keep you hooked throughout and coming back for more as you peel back each hidden layer to find new messages and meanings not obvious upon your first encounter.

"Blown Out Mind" kicks the record off with it's repetitive, drum clatter on the fringes of disaster and in-the-red synth leads. The track snow balls and collapses into "Brain Trouble", a blitzing and disarming hypnotic grey cloud. "EG&S" (Mood Ring) will launch you into the heart of the "Pitch Black" concept while "A Dark Ride Into the Sun" rounds out the record with heavy analog riffing and dusty light waves. Bizzare fidelities resonate throughout which perplex with old school, truly D.I.Y., private basement session sound.

Dangerous Age

This split lp sees the man/wife duo of Grant and Rachel Evans performing under their own solo projects. In the past two years they have released a bunch of awesome tapes and cd-rs on their label “Hooker Vision”. They also record and perform as droneduo Quiet Evenings.
 
This record was created to celebrate the crystal anniversary of the couple. And indeed, on both sides Grant and Rachel create sounds which sound like the perfect marriage.
 
With stunningly beautiful collage artwork by Grant Evans.

Aguirre Records

New recordings from 2007-2010 by 85 year old French Composer Francis Dhomont. This LP is Dhomonts first appearance on vinyl since his 1982 record on INA-GRM Sous Le Regard D'un Soliel Noir. Birthdays explores High fidelity studio editing methods of concrete sound and vocal manipulation. Each record Screenprinted by hand with archival high gloss varnish. Stored in a PVC sleeve with sticker with program notes by Dhomont & Jean-Francois Denis.

beniffer editions

CONVERGENCE was formed in 1976 as an appendage to the Humber College Ensemble for Experimental Music. "Written" music for this ensemble was scarce and consequently improvisational sessions became more frequent. About this time, the Music Gallery had been expanding to allow many new groups the opportunity of performing. I then decided to take a core of the most interested students and give a concert at the Gallery. Our first few concerts had a somewhat haphazard and random mix of students, some of whom didn't quite get the notion of free improv. Eventually I decided on a quintet with the best of the student improvisers. I also felt that a quintet was ideal for this idiom. I never really concerned myself with what instruments they played, but rather the spirit and creativity they had toward rehearsing and performing. So CONVERGENCE'S instrumentation became trumpet, trombone, piano, and percussion (including home-made instruments and toy instruments). It remained that way until we disbanded around 1980. CONVERGENCE'S sound is a zone somewhere between The boundaries of avant-garde jazz and free-form contemporary classical music

beniffer editions

Decomposing synth crackle and zap from Indonesia's Duto Hardono. A sure-handed display of sound and space.

Recorded in real time using a Nakamichi CR-1 and a Nakamichi LX3 onto Cobalt Type II cassette. Edition of 50

rocket machine

The journey of S. Kidlat! Ocampo is a mysterious one with endless twists & turns, but with the result always swimming in neon and on the virgo tip. First we have BETAWAVE X and this eight piece songbook, "Ghetto Hymns for the Earthbound & Weary." The title couldn't be more fitting. Aspirations and public archiving make their move with funk-infused synth routes blazed on golden highways and leads that drip with sweetness and hope. Futurism is never far from the past and robotic vocals are simultaneously harmonic and clinical. It's in the groove that paths are traversed and the stars are brought into line. These are exaltations. Post Office Damaged Parcels Clerk, Totoy Monteiro, assents, "…this is some funky shit I ain't never heard before!"

MX7 for MYSTERYSEVEN is another vehicle entirely with Ocampo burning the candle from the other end, looking for new modes of public broadcast. Context is stripped down to the basics and reconfigured into machinistic daydreams. Academic in approach, "A Patient Transit" unfolds organically and uncovers heavy sonic truths. This is music that will integrate into your synapses, becoming a singularity within your fluid mind. It is living aural research. These simple ideas breed explosive results and each note, chosen with purpose, sings like an endless parade to the cosmos..

Your stars are my stars.

Digitalis limited

Paul and Maurey is the duo of Ashley Paul and Sakiko Mori. 'Satellite', is an extended album with new and unreleased material, based off the micro edition cassette released on Wagtail in late 2010 that sold out in an instant. This version reveals their expansive, open ended and dynamic approach, combining Ashley's intuitive writing and vocals, with their propulsive and multi-layered rhythms, clatter and dynamics from the ensemble sound. Both performing on a wide range of instruments - Sakiko on keyboards, percussion, harmonium and Ashley on guitar, green box, reeds and even tuba. these two play multiple instruments at once and often switching in the middle of songs.

Together they create a unique world of small scale/micro-sounds and non-musical gestures, somehow fitting this all within a song structure that really needs to be heard to be understood. In doing this, Paul & Maurey make something oddly beautiful out of the rawest material.

Rel Records

Here the listener will find a swirling, minimal slice of crytstalline new age texture. Purely electronic, throbbing and hypnotic, and a much calmer endeavor than some of Ryan's other projects; including the excellent Human Quena Orchestra. Packaged inside an over-sized clear plastic clam case, with finely detailed offset printing in black ink on white vellum, for a layered effect. Includes a three-panel insert, silver labels, and a clear hi-bias tape in an edition of 100 copies.

Black Horizons

Silent Land Time Machine's latest work I am no longer alone with myself and can only artificially recall the scary and beautiful feeling of solitude speaks in an oneiric and numinous tongue but is replete with durability and coherence – a rare and intriguing mixture. There exist only subtle threads of aesthetic continuity from the artist's debut &hope still (TIME-LAG Records), where guitar dominates in the main, with the music shifting its emphasis toward micro electronic assemblages – at times damaged, turbulent, and percussive, at others lulling, plaintive, and melodic – with naïve, organic, and lucidly processed string arrangements woven throughout. All this aesthetic revision is accomplished while increasing the breadth, accessibility, and emotional resonance of his sonic palette.

The texture of SLTM's EP is gentle-haze meets mechanical-grit, with lustrous swells, rapturous glitches, and clear but effaced tones guiding the listener through its ambitious harmonic and narrative arcs. The album's emotive thrust, as its Brobdingnagian title suggests, is a palpable sense of longing. This music cuts to the heart of the tension between the vast, chaotic, terrifying, and fragmentary terrain of the spirit that subsumes the artist-at-work and the striving of the individual to reconcile his identity with the memory of a unitary and authentic peace. All of this and more pours out of this music, which, time and again, constructs scaffolding from sped-up and slowed-down self-generated samples and colorful acoustic tones. There is a depth of narrative arrangement and keen sense of how sonic elements relate to one another here that opens up pathways of communication, dimensions of integration to and from the listener, and confirms this album's successes at translating the nuanced fluidity of dreams and hidden desires of the unconscious into potent orchestral miniatures.

This collection of "songs" is not without a childish playfulness, Scandinavian darkness, and a tact and groove that is as uplifting and memorable as it is heart-rending, bewildering, and esoteric. Bedtime listening, yes, but more than that, tunes to frolic to and yearn with through the dream that is waking life.

Indian Queen Records

cloistered with just a few of his favorite boxes, resident enigma/ hardware devotee, avalon kalin built us a house so fervent it borders on the theocratic.

7 tracks of sweeping polyrhythms and new age pads jump and float weightlessly to comprise ecstasy's first full length release of ambient jack.

Ecstasy Records

For this long awaited debut 12" from FINESSE, Susan and Avalon teamed up with Rafael Fauria of Miracles Club, and your friends at Ecstasy, to bring you a striking and memorable underground House offering.

Features the two jackin' Finesse tracks "Elevate" and "Believe" along with the dance floor ready "Lifted Mix" from Jason Kendig (Mr. International) that will send shivers down your spine, plus an expansive remix of "Believe" by our favorite West Coast morning star, C.L.A.W.S. (Bar25, liftyourheadup)

Ecstasy Records

Already Gone is the second full length album from West Coast dream-drone unit En, the duo of Maxwell August Croy and James Devane, following their well-received debut album The Absent Coast (released in 2010 on Root Strata, which Croy runs alongside Jefre Cantu-Ledesma). For their sophomore release, the pair have opened up their tonal palette considerably. While the comparisons that critics made of their first album to the work of Tim Hecker and Stars of the Lid still hold true, Already Gone finds Croy and Devane mining even richer sonic climes. Here, the duo pull back the curtain on some of their source material, a move that allows the diversity of their instrumentation to resonate. On The Sea Saw Swell, Croy's acoustic koto pings across the stereo spectrum as a looping guitar figure from Devane apparates from the haze of a beautiful, slowly shifting drone. The side-long closer Elysia is likely the duo's defining recording to date, an epic slow-burner that reaches heights both angelic and cacophonous. Ultimately, it is the harmonious marriage of the organic and the obscured that recurs throughout the album that proves its defining trait, and it is precisely what makes En stand out in the ever-growing field of contemporary drone/ambient musics.

students of decay

Big Blood is Caleb Mulkerin and Colleen Kinsella. The two have been making music together for around ten years. Today they live together and make "stuff" at home in South Portland, Maine, usually between the hours of 8pm and 3am, while their daughter is sleeping. Since November of 2006 they have released a steady stream of CDr and cassette albums mostly on their own label dontrustheruin, as well as releases on Phase! Recordings, Peasant Magik, L'animaux Tryst, and Cabin Floor Esoterica. In 2010 Big Blood released Dead Songs, (their most widely available album) on Time-Lag Records. Previous to Big Blood Colleen and Caleb were long time members of Cerberus Shoal and are total fixtures of the Portland, Maine musical landscape.

Micah Blue Smaldone is a singing guitar player, who lived and made music in the same South Portland home as Big Blood for 8 years before moving to the northern extremities of Maine. He has released four solo albums so far – Some Sweet Day (2004), Hither and Thither (2005), and Live in Belgium (2006) on North East Indie Records and The Red River (2008), on Immune Recordings. He is currently working on another. Micah has played in several New England bands and collaborated with folks like Death Vessel and Jack Rose.

Big Blood and Micah Blue Smaldone have previously worked together in the group Fire on Fire, who released a 5 song EP and an album on Young God Records titled The Orchard (2008). At the request of Immune Recordings, Big Blood and Micah have combined their efforts again to share this LP. Side A features two of Micah's new songs – "The Mule", charged with the tension between one's thoughts and feelings, and "Tell It To The Sun", a calm reflection on the perils of cynicism. Side B features 3 new pieces by Big Blood centering around the idea of family past, present, and future.

immune recordings

The Kansas post-hypnagogia psych enigma CVLTS create a strange distillation of improvisation, keyboards, loops and field recordings. Song length carpets of sound with the occasional attempt at dream pop.

CVLTS are the Kings of Haze and they will make all your dreams come true.

Aguirre Records

Thank the heavens! we have more spine scavenger vinyl! i'll be honest about two things: 1) aaron dilloway's "modern jester" 2lp is probably my favorite thing to come out, so far, in 2012. 2) spine scavenger has, generally, been my favorite stuff that dilloway has done. so with that in mind i am utterly thrilled that spine scavenger's "weighted ghost" album has been given the proper vinyl treatment.

it's no secret that dilloway is one of the best around. opening with some seriously demented synth growl, "weighted ghost" gets down to business in no time at all. stoically repetitive sequences build and build until the pressure in your skull reaches the breaking point. dilloway pushes past the point of no return, scowling all the way until each layer is sufficiently soaked in dirt and brine. this isn't pretty and it isn't meant to be. the flipside fakes you out in the beginning, but there is no breather; there is no let up. each successive runthrough gets higher and higher - the saw-waves colliding with each other until there's nothing left but ugly, jagged edges. it's almost too much. almost. and then, when you least expect it, the whole excursion gets buried underground by heavy, static bass filth. this is oppressive nature. the jig is up at the end, though, as the death-spiral sequences return and everything is turned to sonic black.

spine scavenger is no laughing matter. this is the stuff of legend ... the best kind of nightmares around.

Brad Rose

These tracks take the listeners on a post-ritual journey in the form of astral story telling. The listener is inserted into raw and mesmerizing, but obscured, strings accentuated by grainy electronics, which transport them on this late-night odyssey.

Sacred Phrases

Null II and Null III are the second and third part of Italian/Swiss composer Luigi Archetti's massive electronic work on the theme of "nothing" ("Null"), whose first part saw the light with the 2010 Die Schachtel "Null" edition in the ZeitComposers series (ZEITC 003CD). Within these pieces, Archetti's thick sound-drones border on the edge of tonality as their many layers develop with a sort of "geological" pace. The work is in fact intended as musical research on the "interior" of sound, obtained by large masses of sound punctuated by seemingly minimalistic details. The mastery of Luigi Archetti conducts the listener deeply inside the musical event, while at the same time introducing a model, just like the traces of a gold seam in rocks, which the listener can follow and frequently re-encounter over the 140 minutes in which the music unfolds. The result is a trance-inducing sense of slow-motion and even stillness, alternating with subtle changes often obtained only by tiny, almost "invisible" variables. Null is a vast and profound place where perception is confronted with a stream of slow-developing, sometime "still" sound. Null II and Null III will certainly appeal to fans of Eliane Radigue, Thomas Köner and long and sustained drone electronic music in general.

Die Schachtel

Die Schachtel presents an album by Switzerland-based composer, experimenter, guitarist and visual artist Luigi Archetti. Null is a monolithic, sinister and doomy drone masterpiece. Oscillating in filigree nuances, the modulation of a drone that seems to last an eternity alone indicates that the sense of real time has been canceled, while, at the same time, another acoustic track surfaces like a distant memory, only to disappear again. A universe of sound particles spreads out, in which the sounds provide no references to a possible location. What the ear might consider to be the crunching sound of snow crusts, the deep droning of ice breaking, the scraping of migrating glaciers is often merely an acoustic hallucination, while actually the sounds have been composed using the finest of sound particles, which Archetti's ear has taken from completely different sources, such as the hum of generators, or the white noise of a blank video tape being played, or drone sounds created with the E-bow, which he extracts from his electric guitar (often with scordatura tuning). An intermediate realm is created in which acoustic sedimentations are layered into a sound tapestry so dense, that it feels like there is almost no air left to breathe or to hear with anymore. But it also draws one in like an invitation to journey further into unexplored regions, a journey through timeless and spare acoustic events with a rivetingly hypnotic effect.

Die Schachtel

It's been a long time coming and it's great to finally announce the release of Eric Lanham's "The Sincere Interruption", his first long-playing record under his own name after performing for years under various solo guises such Carl Calm and Palmetto Moon Electronic Group and as one half of the Caboladies equation. Commissioned back in the summer of 2011, it was finally recorded in March 2012 and it's been well worth the wait. Lanham has crafted a very special set of improvised electronic compositions which rise above many of the contemporaries of his ilk. With an eye on both the origins of electronic music as well as the not so distant past, "The Sincere Interruption" was recorded in superb fidelity with great attention to sound placement and frequency variations. Elements of late 90's-early 00's Mille Plateaux/Warp styled disjointed rhythms are bent into surgically precise and meticulously pieced concrete/electronic form, crammed with information overload situations and infinite variables to one's listening perception. It's a challenge to hear the album the same way twice with the sheer amount of action and peculiarity happening over the duration.

While there are indeed busy moments throughout, tracks like "21:00" and "No Ordinates" display an attention to control and deep focus, relying on an idea which develops and evolves seamlessly in subtle variation while retaining a repetitive nature. An outstanding effort and a great addition to the ever evolving Spectrum Spools catalog.

spectrum spools

Recorded March 2012 at ELS
Mastered at CGB at D&M
Design by Robert Beaty

Spectrum Spools is pleased to release the debut album by veteran musician Toko Yasuda's PLVS VLTRA project. Toko has been working for years already in established pop acts such as Enon, Blonde Redhead and now touring with St. Vincent handling synthesizer duties for live events. In all her years of songcraft there have been sparse, if any solo output, until now.

"And now for something different..." as we say here at the Spectrum Spools headquarters.

"Parthenon" is a sugar-sweet album of catchy pop songs, crafted with expert precision and outstanding composition logic. Everything is locked in in a way that seems at once like clockwork, and also somehow very free. As if Alice Coltrane's "Universal Consciousness" was reimagined and sent into the future to be reimagined as an electronic pop record.. Most of the album's focus lies on the glowing, ethereal voice that is unmistakably exclusive to Yasuda. Swirling, fine tuned electronic washes and collaged clouds of ambiance swirl and hover around these mega catchy tunes giving them a fantastic depth which commands attention and repeat visits. Yasuda's songcraft here is in peak form as well, with ultra catchy hooks and addictive melodies that have been dialed in to perfection over the many years of making music. One of the most brilliant facets of "Parthenon" is the anti-genre omniverse vibe, where all borders and boundries set to confine music to a general one word descriptor are shattered. "Pop" is a word abused to catch-all, and like any great, well-thought album, "Parthenon" refuses to be pinned down. Here is your summer jam! Enjoy!

spectrum spools

Lovingly mastered and cut by Rashad Becker at Dubplates and Mastering.

Alexander Moskos is a seasoned Canadian avant-garde musician active in projects such as Alterity Problem with Joel Taylor and the legendary Thames, who had an incredible 7" release on American Tapes in late 2011. Drainolith, his solo guise, has been active since the mid noughties but has remained relatively under the radar with mysterious private press cassette and cd-r releases. In 2009 Moskos picked up a heavy U.S. tour regiment and caught the attention of U.S. underground heads with impressive live sets. It was around this time that Moskos began to dial in songs for his debut "Fighting!" lp, which we are eager to present.

It's important to keep listeners on their toes and Spectrum Spools is fully psyched to hit you with an album of delusional blues - littered with fractured synth, feedback and seriously cryptic personal content. One of our first releases with strong lyrical focus, Alex knocks it out of the park with his synthetic voice resonating like a wasted Robert Ashley on Ambien. The tracks rage with a one man "Twin infinitives" style, with guitar riffs so fucked that they make Neil Haggerty sound like Les Paul. Damaged, random, syn-drum triggers and MS-10 crackling go fully ballistic over dark and personal narratives. Despite the chaotic nature of the music, there is a defined and cohesive song structure to each track which makes everything more confusing but also highly enjoyable to listen to.

If you miss bands like Shadow Ring and Royal Trux, but wonder where the logical next step would be in their absence: step in this direction - we promise you'll be pleased.

spectrum spools

Mastered and Cut by Rashad Becker at D+M, Berlin.

… Occlusion is a loose framework for a multi-channel, freely improvised piece of LIVE ELECTRONIC MUSIC, performed without the aid or consent of pre-recorded or even pre-arranged materials of any kind. A given realization will last between 10 and 30 minutes ; time is elastic. Every effort has been made to avoid divisible rhythms (although mistakes are occasionally made) ... Still, I consider it a \"kind\" of Dance Music.
These two realizations, recorded a week apart at festivals in France and The Netherlands during February 2012, capture the piece (much like those on the Generators LP) in two entirely different iterations, in states of (A) a mildly inebriated bliss & (B) an arbitrarily triggered blind rage. Both recordings were made at 24-bit, 96khz through the absolute cheapest means available to the consumer to do so. They sound fantastic.
Occlusions is a companion piece to Generators in that they share the same tool-set ... however, it is the FREE JAZZ yang to Generator's MINIMALIST yin. It is not recommended to those seeking meter, melody, cleanliness, or a clearly outlined organizational sense.

editions mego

Franges du Signe (1974)

Franges du Signe, the third part of an electroacoustic triptych completed in 1973-1974, is the first major "purely acousmatic" work composed by Guy Reibel. Franges du Signe explores the mathematical idea of the limit by translating it musically, searching for unstable states of equilibrium. Thus, several conflicting tendencies or logics act upon the sounds. They overlap and fight, each one seeking to assert its trace on the phenomenon in progress, generating de facto an ambiguity that is unique to all phenomena that obey the "logic of the living".

Granulations-Sillages (1976)

Granulations-Sillages develops an idea glimpsed at in Franges du Signe: the existence of extreme times, at the edge of our faculties of perception, which only the electroacoustic music tools allow us to realise. Two natures of phenomena, opposed in all respects (the Granulations-Trails and the Tutti), alternate through seven movements that constitute the piece. The work is designed for six channels diffused in concert on a main stereo system facing the public and two auxiliary stereos (group of crossing speakers: front-back and left-right in the room).

Recollection GRM

Le Trièdre Fertile full version 1975-1976, with the participation of Bernard Dürr.

This trihedron, Schaeffer's last piece, echoes the physicists "reference trihedron" linked to the three fundamental measurements of sound: frequency, duration and intensity. The basic signs of traditional sol-fa that enable to transcribe pitches, rhythms and nuances also correspond to these three measurements. However, it is precisely outside or beyond these parameters that, all through his life, Schaeffer researched music. Hence, qualifying this trihedron as fertile, is the confession "of a late repentance" On the other hand, and against all odds, this piece was only composed from synthetic sounds, developed by Bernard Dürr. It is Pierre Schaeffer's only purely electronic music work. Here, the synthesizer is rather monitored by sensitivity than by computation principles, thus letting uncanny structures emerge..

Recollection GRM

No Press release available - all we can tell you is mysterious UK based outfit Sensate Focus have been called Edition Mego's House Music Dance Division...

Backspin Promotions

Suum Cuique is the alias used by Demdike Stare's Miles Whittaker to vent his purest analogue noise experiments. Giving a stoic nod to the hardware emissions of Mika Vainio or Maurizio Bianchi, and conducted with a meditative practice comparable with Eleh, his 2nd album 'Ascetic Ideals' is the sound of Miles' machines coaxed into revealing their bleakest secrets, often recorded straight from the mixing desk with no overdubs or edits. Aesthetically, it's closest to his Demdike Stare material, as opposed to his Pendle Coven or MLZ releases, and was – perhaps unsurprisingly – crafted in between sessions for the 'Elemental' album. But these tracks are far more stark, murky and extreme than anything in the Demdike cache. The sound veers between outright shock attacks like opener 'Strohtopf' to plangent techno malfunctions on 'Kuiper Analysis' and the shellshocked, Alberich-like sound sphere of 'Core Values', leading us blindfolded thru the infernal torture chambers of 'Proton Aesthetic' and the Carpenter-esque closing sequence 'Dionysus Decay'. Recommended for the headstrong, just make sure to play this double loud. .

Modern Love

'We Stay Together' is a brand new doublepack from Andy Stott, a companion piece of sorts to the radical inversions of the 'Passed Me By' EP released earlier this year. Its predecessor left many heads dazed upon impact – in the best possible sense – and these six tracks, produced in its wake, amp the pressure to throttling degrees. Entering the digital compression chamber of 'Submission' you become a willing participant, before the lights are cut and you're forced to adjust to the humid atmosphere and bruising, muscle-contracting darkroom throb of 'Posers'. Suitably initiated, the EP's fearless centrepiece 'Bad Wires' plunges into full on mud-party mode, dropping the tempo while intensifying the kinaesthetic funk with slow, clusterf*cked syncopation until you're drowning in synthesized oil and crushed-glass textures. Fully submerged by 'We Stay Together (Part One)' time becomes elasticated like worn VHS tape, calling to mind Jamal Moss and James Ferraro soundtracking a rave in a sodden, flooded sauna, before inescapably tumbling into the sheer black hole of 'Cherry Eye' and left to the slompy jack of 'Cracked'. Blatantly, we rate this record massively, and although it's not for everyone, those looking for a more visceral, intense form of dancefloor pressure would do very well to check in .

Modern Love

After a few short blasts a longer release from Merit. More time dedicated to the drenched stasis.

Soundholes

The calm before the desire for destruction. A new tomorrow. A cleansed palate. This releases is the first for Persimmons Pomegranate outside the confines of the exceptional Jugular Forest label. A beautiful rhythmic patterns gives way to a torrent of electrifying static, held together by the unrelenting hope for truth.

Soundholes

New release from the mind behind Together Tapes. A blast of loops all competing but never resulting in total clarity. Each individual strand demands your attention as they build to an intense creschendo of cacpohony! Daniel Rizer seems to utilise an array of sound sources and directs them all everywhere.

Soundholes

Private sounds from this duo based in Kansas. Been at it for 8 years, all they got was a ring. This cassette was recorded whilst living in Michigan and is another amazing example of the Michigan Underground Basement Sound. Broken instruments collide with analogue waves of tones. Probably something in the water...

Soundholes

Bleak and minimal (industrial) drone from Bjerga. Both sides of this release are taken from live sets recorded late in 2007 whilst in the UK. During a tour when he was meant to play the Glass House (RIP) but unfortunately did not happen. On the B-Side additional sound is provided by Elektrodiesel. Play this loud.

Soundholes

Mangled guitar + ??/?? that forces its way into something recognisable for about 2 seconds before being replaced by something that you just heard outside. Straight up weirdo recordings from the warped mind that brings you SCUMBAG tapes.

Soundholes

4 approaches to destroying time. ALISTAIR CROSBIE hits with a mammoth drone fuzz out. BM serve up a soup of slow moving industirial static. DIVINE COILS play it minimal squeezing the air out of your lungs. FAMILY BATTLE SNAKE destroy with a thug life side that pins you to the wall then leaves. NO EXPLANATION.

Soundholes

Lynn Fister returns to Hooker Vision with a massive followup to February's Bunny cassette. Where Bunny felt like a warm afternoon, Diadem or Halo? resembles a chilly evening and Lynn lets the mood build slowly over the course of twelve mesmerizingly infectious gems.

Hooker Vision