Providence, RI's (recently relocated from Nashville, TN) Container returns with another slab of alternate universe bent techno. Schofield's take on that over used genre is not only unique but utterly compelling, forming a modern and exciting new sound. While the classic Container sound is still in tact, this album offers a look into a previously closed door in the Container sound world.

"LP", like its predecessor "LP", is recorded in mono and its cuts right down the middle of your skull, and doesn't float around in imaginary room, these new tracks are immediate and heavy. Kicking off the delayed trip of "Dripping", a rhythmic bone akin to a rusty swing in a ghetto playground, morphs seamlessly into complex maze that is "Paralyzed". Closing the side is a real stomper head-cleaner of a track, the mighty "Acclimator".

Side B opens with "Perforate", a bass line straight from Mute-era D.A.F, which mutates into an elastic acid line, building into a full rhythm'n'noise spectacle. The disc closes proper with the mad rush for the bar that is the epic "Refract". LP is a rough and raw ride, adding very much needed gristle to pale face of the stagnant minimal scene.

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Recorded Labor Day Weekend 2012, Providence, RI

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.

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

It's been nearly two years since we've heard new music from Gary War and we are excited to announce the release of his inevitable breakthrough "Jared's Lot".

Through the years we have heard the developments from the D.I.Y. psychedelia of "New Raytheonport" to the more current electronic acid-prog tracks we heard from "Horribles Parade" and the most recent "Police Water" EP. "Jared's Lot" brings the years of laboring and hard work full circle, with every facet of the project dialed into perfection. These tight and intelligently arranged pieces are the most concise and mind-blowing set of songs presented yet and we're sure you'll have a hard time taking this off your turntable.

The album kicks off with the incredibly anthemic "Thousand Yard Stare", which asserts immediately that the album is very different than previous efforts, crafted with hind-sight in mind and glowing with ambition. We can hear the melancholy voice of a man lost in the cosmos with nothing to lose going for broke, it's all or nothing. Tracks like "Superlifer" and "Pleading for Annihilation" contain such a powerful energy and pack such a wallop that you won't possibly be able to stand still. There is a great juxtaposition however, with songs like "Advancements in Disgust" and "World After" experimenting with new styles of pop/rock structure and incorporation of odd rhythm and melody.

Gary has a masterful control of his machines, and you can tell that countless hours were spent making sure that the vision came direct and absolutely pure, from his mind to the record you will hold in your hands. Even though we have a more synthetic based set of tracks, it's apparent that these transmissions are messages that are based in our reality, evoking a boundless range of emotions throughout.

The hectic fidelity of Gary War's previous recordings have morphed into a unique production style which rewards with it's rich tone and multi-layered tiers of sound and melody. We are witnessing a huge leap forward in both sound and vision, respectively. Meanwhile, the alienated code hardly discernible to the listener and clever pop structure remains, and in top form, making this album a warmly received gift to the Spectrum Spools catalog.

"Fear that man who has nothing to lose.'

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Mastered by James Plotkin

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!

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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.

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

In 2010 Rachel Evans released "Seeping Through the Veil of the Unconscious", an expansive, magic trick of a cassette which captivated an unsuspecting American cassette underground and made dedicated fans instantly. Digitalis released fine editions of the "Seeping..." as well as the acclaimed follow-up "Luminaries and Synastries" on LP which packed an equally potent punch. Since then much anticipation has been created from her work with husband Grant Evans, including a split LP on Aguirre Records in late 2011 and various releases as duo Quiet Evenings

Evans has since been hard at work on an expansive, definitive 2xLP project, carefully arranging sounds to create immense, alchemical side-long tracks which push the boundries of the project into new territory. These incredible new highs are documented in a clear, spacious fidelity where cerebral sounds gently flow and wash through the stereo field creating a beautiful deep listening situation. Big changes in sound and scope are evident; a shift from the murky, mysterious haze of the older recordings into a highly addictive concentrate of airy tones and gem-like glow, each track forming a universal sky-map . There is, however, no loss of mystique. One of Evans most charming elements is her ability to create a divine magnetism, and to capture this very magic unfiltered, raw and uncomprimised. Very few have the capability to create this powerful energy and make is as accessible as Evans does.

This full-length definitive album is a high water mark in Motion Sickness of Time Travel discography. An album masterfully crafted with ambition, crystal clear vision and dedicated focus.

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Double compact disc edition

Animal Husbandry" is the result of absolute, genuine obsession: a devotional masterwork with song craft, exquisite production and aesthetics regarding the ultra-damaged times we live in all in perfect harmony. Burrowed away in private studio sessions over the course of a year, Human Teenager have emerged with a profound and colorful masterpiece.

Like Chrome before them, the effects of a carbon copy community of lemming rock groups were avoided and ignored, and the vision of creating a pure, singular work was achieved. Rarely does an album with complex structure and abstract tendencies sound so organically catchy as this. The duo spawn a brand new sound that ranges somewhere between Ilitch's "10 Suicides" to the work of the Cleaners from Venus. To be clear, however, it would be impossible to plaster genre descriptors onto an album with such enormous scope. Terms like "synth-pop", "rock and roll", "punk", et cetera, can all be applied on a surface level, but at the end of the day it's none of and all of these things at the same time, more or less. Few projects are able to create and exist in a personal universe that hits the nail right on the head the way "Animal Husbandry" does. From "Fourth Reich," the albums opening cut, it's very apparent that Human Teenager have created an album that will not be able to stop listening to with its wildly morphing vocals, strafing synthesizer arrangements, and prismatic guitar detail.

Police, The New World Order, YouTube, New York; it's all a drag, and Human Teenager captures the horrors of everyday life in "the future" and holds them hostage. Spectrum Spools is very pleased to present you with an instant classic.

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Mastered and Cut by Rashad Becker at Dubplates and Mastering Winter, 2011.

Franco Falsini is an Italian musician and producer perhaps best known for his work with his space/prog rock group Sensations' Fix, who released seminal albums in the 1970's. His music was primarily crafted with impressive guitar technique (proven to be way ahead of his time), various synthesizers, and unorthodox recording methods to churn out beautiful experimental psychedelic sound.

'Cold Nose' was his debut solo outing, originally released on Polydor in 1975 as a soundtrack to a film that has never been widely released and only seen by very few people. Falsini applied many experimental methods to his recording process, including a mechanism borrowed from the Bio-Electronic Meditation Society, which would monitor his brain activity in the studio. Only when his brain would produce Alpha/Theta waves would he begin to write and commit his music to tape. Composed in three suites of spiraling and kaleidoscopic proto-ambient, psychedelic rock, Falsini had created a masterpiece that today stands as one of the all-time treasures of the Italian Progressive music scene of the 1970's. Throughout the recording we are treated to gentle washes of EMS and Minimoog synthesizers laced with floating guitar line melodies that break out into sky-high guitar leads. 'Cold Nose' is a rare and gorgeous organic creation, glowing with colorful pulses and morphing algorithms.

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Spectrum Spools is pleased to present the first pressing of the album in over 30 years, remastered by Falsini to his specifications from the original tapes and cut to vinyl at Dubplates and Mastering, Berlin.
Original record jacket scans by Devon Dagworthy

We are beyond excited to present you with the highly anticipated vinyl debut of the Head Boggle project. The world has been waiting for this day to come, and finally a full-length long player has arrived.

Recorded at his apartment studio, "Headboggle" is the manifestation of Derek Gedalecia's acoustic/electronic research utilizing the "kitchen sink" in every sense of the idiom: Moogs, Harmonica, Banjo, Harpsichord, Irish Harp, EMS Synthi, Violin, Drums, Clavinet, Serge Modular, field recordings and more! What makes "Headboggle" so special is the careful arrangement of sound, with painstaking attention to composition and sound direction. Disorienting magic is a key trait of the Head Boggle sound, one which captivates and commands repeated inspection. Like any great focused album effort, there is a narrative arc - from the introductory "Flourescent Star" with it's dizzying, fractured crackle and bizarre piano float to the tension packed, information-overloaded squabble and squawks of the "Dream Diary" and "Europa Astrobiology Lander" tracks. "Head Boggle" is a dedicated and devotional effort - one with precision and prodigious vision.

Equal parts Francois Bayle and Tod Dockstader in the best possible way, it's still hard to pin such a multifaceted talent to any kind of descriptor. Derek has been honing his sound for years with loads of releases on almost every essential tape and CD-r label out there. Here we have his finest set of compositions yet in hi-fidelity, tight and tediously packed, forming his most concise release to date. The Head Boggle debut has raised the bar for classical electronic composition with the greats, a feat of rare occurrence.

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"Flux" is the 1981 debut solo outing of Robert Turman, an American multi-instrumentalist and avant-garde composer. Until recently, Turman was perhaps best known for his contributions to the ballistic NON project with Boyd Rice, as well as other obscured U.S. industrial acts such as Z.O. Voider. In the summer of 1981 Turman decided he would take a drastic turn from the noisy/electronic/industrial work of his compatriots, and began work on what is now the classic "Flux" cassette. "Flux" was originally self-released in extremely limited numbers. Weary of the noisescapes of old, he set out to create long-form minimalism utilizing kalimba, piano, "Mini-Pops Jr." drum machine, and tape loops to create a complex bed of interweaving micro-stasis'. The results of these new experiments were as beautiful as they were perplexing. A curious dusty fidelity carries these classic tracks across four sides of vinyl, including all of the original "Flux" content. These compositions glow with a sprawling, slow motion haze that's light years ahead of its time. "Flux" reveals wide spectrums of sound from melancholic kalimba and percussion patterns to slowed down, syrupy Exotica. Turman had complex ideas in his mind yet only the simple technologies of the day were at hand. Hear the click of the stopping and starting Tascam 3340 open-reel tape machine as one hand presses the "record" and "play" buttons and the other plays piano phrases. While there are similarities in style to Classical Minimalism, Turman's sound and vision is his own and is exclusive to his limited discography.

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All tracks by Daren Ho

Originally released on cassette in an edition of 100 by Root Strata as Root 91

POPULAR TAGS: Ambient, Analog, Baroque, Beautiful, Bizarre, Boring, Cold, "Daren Ho", Digital, Driphouse, Drone, Electronic, Electronica, Experimental, Floating, Harpsichord, "Library Electronics", Modular, Mysterious, Piano, Psychedelic, Puzzling, Satie, "Spectrum 008", "Spectrum Spools", Sterilized, Synthesizers, Ugly, Wendy Carlos, Wobbly, WTF, Zig-Zag

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If Jean Logarin did not exist, it would be necessary to invent him. Never mind your outsider composers; never mind your library music. Never mind your merely unreleased records. Jean Logarin's music, like some recent unearthings by Belgium's Ultra Eczema label, exists at a remove from publicity so complete that it was nearly not among us, and has never been before. Like any obscurity, its immediate appeal might be that this music could count as a more genuine artifact of its time than any more commercial product, by virtue in part of its being outside of history. Jean Logarin's music is definitely outside of history, but it is no artifact. It is so deeply consonant with the best contemporary electronic music that it is hard to believe it isn't brand new. But the biographical details, however elusive of our usual channels of verification, speak for themselves: Logarin studied under Andrew Rudin during the early 70's; his interest in electronic music further developed while working as a studio assistant for engineer Max Tanguy, an associate of famed krautrock producer, Conny Plank. Through Tanguy, Logarin met percussionist Hans Schule, an eccentric whose shady wealth bankrolled a series of recording sessions at Tanguy's studio. Together with Logarin's then-girlfriend, Llissa Zuckovich, Tanguy, Schule and Logarin proceeded to compose in the studio several hoursworth of finished pieces whose original purpose and intention have only become cloudier with time. There was no serious attempt made to release it, and only vague talk of attempting to sell it for commercial usage. The music on MAKES YOU FEEL is, then, from a historical perspective, purely a vanity project. A vanity project within a vanity project, even: None of the pieces were given titles by Logarin, and the name TEMPORAL MARAUDERS does not predate this release. The album was compiled, its presentation determined, by its own first fan. And here is where the story strains credulity, because it requires believing that Jean Logarin one day met, by chance, accordionist and composer Guerino Raglani, who even then was uncle to a young Joseph Raglani, today trafficking in romantic, kraut-tinged electronics under his own name. Two years ago, the elder Raglani passed onto his nephew a set of DAT transfers of his old tape reels, among which were (what have proven to be the only known) copies of Logarin's studio recordings. The younger Raglani, so the story goes, flipped out--became "nearly scared," in his own words--and demanded to know more. His uncle shed what light he could on how he came into possession of the tapes (a funny story in itself), but it took an extensive search to find any accessible trail to Logarin. While Jean and the rest of the erstwhile group were pleasant enough when located, and happy to lend their support to the belated discovery of their work, each was mostly surprised anyone would want to go to the trouble; particularly Logarin, who declined the invitation to be involved in the project beyond its approval, and encouraged Joseph to come up with the album's names and titles himself. So, the project became Raglani's, and it bears the impression of his own aesthetic stamp, drawing from a range of references he and Logarin discovered they had in common. And yet: a "vanity project within a vanity project"? What else is music to begin with? How can it be said to begin with any purpose, and whose is it to name? In any case, this is close to the limit of what can be said about MAKES YOU FEEL. One may search for further information about Jean Logarin beyond these and a few other bare facts, but only in vain; he does not wish to be known. But to anyone who supposes that music this enjoyable and exciting, however buried, would've already been found by now if it actually existed, I would suggest that it has arrived at just the right time to be heard. And to those who will inevitably question if Logarin himself is real, the only straight answer is that we have his music. How could he not be real? - Michael Ferrer.

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For the last few years, Chris Madak has been on a tangled and cryptic path toward the full realization of his Bee Mask alterego. Now, for the first time there seems to be light at the end of the tunnel - a chance for old plans to come to fruition and for new ideas to blossom into the unknown. "Elegy for Beach Friday" is a personal selection of highlights from a slew of limited cassette and CDr editions recorded between 2003 and 2010, reimagined, reedited, and remastered, offering both a cross-section for the uninitiated and a fresh enigma for the already-enchanted. The original documents will age on the shelves of those fortunate enough to have been the know, and for the rest of the world, we now have this double LP retrospective of Chris' favorite time-stopping microcosmic suites, woven together over four instantly classic sides of wax. Here, the full range of Bee Mask's sonic palette has been carefully compressed into a dazzling and infinitely dense time capsule of mind-altering Martian sound fields and psychedelic dimension bending, bridging the worlds of Nikola Tesla and Lamonte Young and giving us the ideal soundtrack for our collective walk down a dirt road into the gaseous cloud of our final days.

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"House" is the 2nd official full-length offering by Cleveland, Ohio duo MIST featuring Sam Goldberg (of Radio People) and John Elliott (Emeralds, Outer Space, Imaginary Softwoods etc) after 2009's self-titled debut effort on Amethyst Sunset.
A suite consisting of 7 complex, layered compositions shows new progression in composition and melody from the duo. From the lightning fast, bittersweet crescendo of "Twin Lanes" to the dramatic chord progressions of "I Can Still Hear Your Voice", "House" is a certain expansion in execution and construction. Tracks like "P.M." put a new take on the long-form Mist style with cryptic alien vocoder and humid pad sounds, while "Mist House" and "Dead Occasion" reveal new, complex territories that will most certainly please fans of the previous Mist recordings.

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"House" is the 2nd official full-length offering by Cleveland, Ohio duo MIST featuring Sam Goldberg (of Radio People) and John Elliott (Emeralds, Outer Space, Imaginary Softwoods etc) after 2009's self-titled debut effort on Amethyst Sunset.
A suite consisting of 7 complex, layered compositions shows new progression in composition and melody from the duo. From the lightning fast, bittersweet crescendo of "Twin Lanes" to the dramatic chord progressions of "I Can Still Hear Your Voice", "House" is a certain expansion in execution and construction. Tracks like "P.M." put a new take on the long-form Mist style with cryptic alien vocoder and humid pad sounds, while "Mist House" and "Dead Occasion" reveal new, complex territories that will most certainly please fans of the previous Mist recordings.

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FORMA (Mark Dwinell, Sophie Lam, & George Bennett) emerged on the NYC minimal synth scene in 2010 with a singular vision of cosmic Krautrock for a new age.
On their eponymous debut LP, the Brooklyn-based electronics trio merges the melodic flow and primitive rhythms of their motorik predecessors with the hypnotic drones of Minimalism, creating an intricate work both addicting and rewarding with repeat listens. Like many of the LP's eleven tracks, the churning and relentless FORMA237B draws its energy from a precarious equilibrium between structural rigidity and free improvisation, a dynamic at the heart of FORMA's universe.
With lush, distant soundscapes as interludes between these peaks, FORMA's inaugural full-length is a harmonious and expansive expression of the enduring power of Kosmische musik.

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Canzoni dal Laboratorio del Silenzio Cosmico" is an outstanding document in the long and complex Bee Mask discography, part of an astounding body of work that's been brewing since the mid-00's, and a carefully and meticulously composed album on par with the classics of the Lovely Music and INA-GRM catalogs.
Straying from the status quo of improvised "one take" synthesizer music flooding the underground electronic community today, Chris Madak has created an elaborate and captivating work, a soundtrack to an event shrouded in mystery and beauty, at once larger than life in it's grandeur and cryptic in its reserve.
Released as a limited edition cassette on Gift Tapes last year and now where it should be, on the longest-surviving phonographic format.

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Matthew Mullane is a Chicago multi-instrumentalist performing under the guise of Fabric.
Here we have a fine suite of compositions which embark on a voyage through darkness of night and the brightness of day. Washed out dark colors and static pulses sweep across your stereo painting a portrait of intense yearning and determination. Recorded over the course of a year, Matthew has constructed a multi dimensional organism of sound that has perplexing depth and astounding detail.
The album reveals new shapes and sizes with repeat listens and is truly a work which you can submerge yourself in to get lost. "Leaving the House" is an energetic workout with it's dense, ultraviolet fog and stream-like melodies.
Then there's the vignettes such as "Orange and Red" or "Containers", that branch out into unfamiliar territory in their own special ways synthesizing a journey far from home.
So far, Fabric releases have appeared in very small editions including a split with Sparkling Wide Pressure and a practically non-existent cassette on Fairchild Tapes. Spectrum Spools is proud to kick off the label by presenting the debut Fabric album.

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