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limited to 50, used
limited to 75 copies
out of stock
In the wild. It’s true, we didn’t know what we were getting into. Somehow the lights are on and we got a couple strips to plug some gadgets onto. Thus, Soft Serve occurs. Introducing Nevada City’s very own frozen cold stew: Jeffry Astin (Xiphiidae, Digital Natives, etc.), Kaisha King (G Sweems), Justin Kryzanauskas (Gerda Taro) — time slows by, one way or another. We make dew. edition of 50. type II BASF cass.
out of stock
Expressive & depressed, lo-fi compositions.
limited to 50, type II
out of stock
Based in Los Angeles, Lee Noble is a musican and artist that creates provocative and generally shadowy work fused with materiality and wear. Un Look adheres to Lee’s aesthetic, feeling worn, maybe slightly musty. And yet, it offers some of his most glimmering and forward pop-structured songs yet. His voice feathers about in the dust. The drones are thick, the drums rattle and glass, guitars jangling in the hall. A phantom violinist. See through it, or don’t at all. Instead unsee.
phantom grey shell w/ zebra imprint
out of stock
c24 limited to 60 copies
Limited to 50.
Original cdr issue in large sized sleeve ( a little smaller than lp sleeve)
full colour artwork inside & out.
1 Medicine Tent Raga
2 Onna Is My Love….Mada & Mary My Faith
3 The Mountain Is The Freedom That Swallows Pride
4 Whispering Creek Raga Of French Mountain
5 Tar’s Beard Rag / The Ghosts That Dance Around Bloody Pond
edition of 50
out of stock
an archival tape with two of my favorite personal works which are historically and “geographically” linked. Ke Ala Ke Kua (2010. the sidelong title track from the sold out lp and cassette Ke Ala Ke Kua) and Spirits And Landscapes (2010. from the sold out collaborational lp and cassette with visual artist Ada Van Hoorebeke, Eternal Landscapes). both based on fieldrecordings, music and impressions, collected above Atoll Valley. both sides are a serenade towards one specific “landscape”. being the Kealakekua Bay, a heartbreakingly beautiful / multi-level bay on Big Island Hawai’i, b/w Spirits And Landscapes, an inspired / inspiring visual work by Ada Van Hoorebeke.
out of stock
Written/played/produced by Wayne Rogers at Twisted Village, December 1995-July 1996.
Silk-screened fold-over cover in NICEPACK bag.
out of stock
THE FIRST MONOPOLY CHILD RECORDING, CREATED LIVE IN HOLLAND IN DEN HAAG. PURE DRUM AND SOLO KEYBOARD VIBE RECORDED LIVE. TWO SIDES OF TWO THIRTY MINUTE DRUM CYCLES MEANT TO THROW THE BRAIN INTO HALLUCINATION. THE FIRST INSPIRATION OF MONOPOLY CHILDS REALITY…
recorded in the height of Robbie Basho’s creative career, “Visions of the Country” was originally released in 1978, and has been out of print for nearly 35 years. The album is comprised of technically superb instrumentation (6 & 12 string guitars and piano); majestic compositions; transcendent singing and whistling; and astonishing lyrical, emotional, and spiritual depths that defy description or comparison.
It is with a feeling of tremendous honor and joy that we offer this re-issue, which we hope will please existing Basho devotees, and create new acolytes, in equal measure. The feeling is akin to re-introducing an endangered species back into its native habitat, for this album is a precious, mighty, and wild thing. “Visions of the Country” should not stay couped up in expensive e-bay auctions and low quality vinyl-to-Mp3 rips, it needs to soar gloriously in high fidelity through our culture once more!
“Visions of the Country” is most simply a depiction of the expansive American West, and an ecstatic journey into Basho’s equally expansive imagination and mystical approach to creativity… In Basho’s own words: “My philosophy is quite simple: soul first, technique later, or ‘Better to drink wine from the hands than water from a pretty cup’; of course the ultimate is wine from a pretty cup. Amen.”
“Visions of the Country” is an shining example of what artistic heights can be attained when soul and technique meet on a deep level – in our opinion it is one of the finest albums ever recorded, wine from a very beautiful and magical cup indeed.
Rag Lore is Matthew Russell Boteilho (Poor Farm Editions Press, etc.). This collection of field recordings and 12 string guitar works was recorded and collected during his time in Cairo during the Summer/Winter of 2013. A seamless stream of street radio, disembodied voices and absolutely shimmering strings. Matthew’s guitar work at one moment sounds perfectly at home in the Egyptian desert and at others like he’s still in Virginia. A beautiful blend. Life in varying fidelities. Edition of 50 in chipboard boxes with pasted on art, two inserts (both featuring a photograph by the artist) and two pieces of papyrus.
first ever vinyl edition of this album, originally released in NZ as a tiny cdr edition on ALASTAIR GALBRAITH’s ‘next best way’ label in 2008, four years before the release of FELT. overall a more polarized and pleasantly tumultuous listen compared with the starkly beautiful FELT, but revealing just as much subtle grace. playing out as though occasionally whipped by a salty wind, with gusts of psychedelic noise rising here & there to engulf these fragile poetic songs, sending them infinitely outward. a more externalized & expansive listening experience then the inward stillness of FELT, and a perfect mirrored pair to the later. these songs will beam deep into your unconscious before you’ve even realized you remembered them. the sound here is decidedly 4-track home-fi, with a gauzy analog mist ever present & the sounds of the environment gently creeping in. a largely solo affair, but with considerable & highly distinctive contributions from ALASTAIR GALBRAITH, adding an electrified & disorienting edge. truly wonderful stuff here, with plenty of that unique new zealand magic. raw, pure, and completely unforgettable… packaged in a totally hand assembled fold-out art paper cover with screen printed text & pasted artwork, nicely matching the FELT covers. edition of 300 copies.
new vinyl edition of this amazing & instantly out of print album, originally released in NZ as a tiny 100 copy edition in 2012. while maxine’s earlier LACE album unfolds as a more externalized & psychedelic experience, here everything focuses inwards with an utterly beautiful, lulling, tidal tranquility. overflowing with warmth & humble magic, like watching dust dance in a beam of sunlight through an open window. a kind of intimate microcosmic observation of the everyday, stretching the tiniest joys & subtlest quirks of life into something truly poetic and timeless. the songwriting is deep & revelatory, yet totally raw & unforced. fully in the “now” but also completely part of the infinite, like it’s been pulled directly from the vague spaces between time & place themselves… stillness in motion… a sparse 4-track home-fi recording, with a gauzy analog mist ever present & the sounds of the environment gently creeping in. sublimely wonderful stuff here, with plenty of that unique new zealand magic. direct, pure & unforgettable, in the most lovely way… packaged in a totally hand assembled fold-out art paper cover with screen printed text & pasted artwork, nicely matching the LACE covers. edition of 300 copies.
out of stock
early synth tracks from øjeRum
branch tapes 22
type II chrome tapes
limited to 30 copies
artwork varies from copy to copy
j card & inserts include a poem & collage by øjeRum & picture & collage by branch tapes
Much thanks to øjeRum for inspiration & collaboration.
out of stock
field-recordings at taiwan (summer vacation 2015)
music recorded in the summer for summertime
first edition of 12 copies
type II chrome tapes
3 versions of cover art, 3 versions of the insert
branch tapes 23
Freedom Is Summer Dresses And Big Sunglasses recorded in Lisbon, Summer 2010.
Christmas Sun recorded at Jibóia’s House, Bobadela, 2009.
All other songs recorded in Aveiro, Spring 2011.
For the summer breeze and the winter warmth.
released August 7, 2013
Design by Whatever™
Frescos nº 2, Maio de 2016
A swing for sound
A série Frescos pretende embarcar dois mundos numa edição; por entre camadas e tons, o definir de uma concretização desdilui-se.
Na secura da forma o significado escorrerá.
The Frescos series pretends to embark two worlds in one edition; through textures and tones, the defining of a concretion dedilutes.
On the dryness of the form the meaning will drain.
A record about space, paired with Sofa Pits´ Space Junk
A record about space, paired with Distances´ The Fun
Space Junk is also the prelude for Vacuum Drive / Answering the Door, out later on Magical Garage Taste
out of stock
“Gold Fiction Loop Garden” is a collection of short loops recorded 2014-2015 live to two-track digital. Recorded using analog synthesizers, Mellotron, and multiple arrays of configured fx processes.
Loops channel the use of way stones with attempts at articulating presence at spiritual destinations. A vintage court garden in classic Softwoods fashion, and a pre-cursor to the “Annual Flowers In Color” release due out April 1st, 2016.
Recorded at the W. 95th Trap and Bird Town – Cleveland, Ohio.
“Painted Flowers Loop”, “Yellow Calcite II” and “Anterograde Stone Remedy” mastered by Giuseppe Tillieci at Ennislab in Rome, Italy 2015.
out of stock
“Annual Flowers In Color” is a collection of demos and unreleased works from 2011 to 2015. While activity in the Softwoods has been ongoing in the past few years, no real definitive album has surfaced since 2011’s “The Path Of Spectrolite”. “Annual Flowers In Color” serves as a compilation of sorts; a scrapbook documenting some of the fruitful experiments happening in private over the years. Various styles including tape collage, spoken word, concrete structure and classic Softwoods ambience put this collection as close to a definitive album as could be despite the varying eccentric trajectories.
Limited edition double cassette featuring additional material available at Spectrolite.net.
Recorded 2011-2015 in Cleveland – Ohio, Tokyo – Japan, and Albuquerque – New Mexico.
Mixed and mastered for cassette and digital by Blue O’Randa at the Gold Manor – Albuquerque, New Mexico, The Fowles Roadhouse, W. 95th Trap & Bird Town – Cleveland, Ohio.
out of stock
Bay Area duo glou glou return to Full Spectrum for their sophomore
release, fey flight founders. Comprised of Mills College alum Gretchen Jude and Arjun Mendiratta – a.k.a. subnaught – the duo has
become a quiet force on the Full Spectrum roster, pairing computers
and electronics with koto, violin and found objects to create their unique brand of improvisational ambience.
Following on from their 2014 debut, hymn her hum, this latest work
eschews the glitchy minimalism that defined their earlier sessions, opting instead for a more open sonic palette that is eminently human, yet utterly unfamiliar.
fey flight founders begins with glou glou’s human components front and center. Mendiratta’s violin takes the lead, with Jude’s wordless vocals creeping around the edges. A glistening mosaic falls into place, which the duo proceeds to digitally deconstruct. Gradually, the familiar is transformed into the otherworldly; acoustic resonance transposed to plastic worlds operating on their own alien biological logic.
The session comes up for air at the midway point, with Jude’s koto providing an anchoring point in our world. Like a cybernetic spring, however, the organic is once again subsumed and assimilated. Walls of pulsating drone and chirping sonics emerge from the silicon soup, giving way to cavernous sub-bass and splintered loops, which see the session through to its ultimate conclusion.
glou glou describes their music as ‘the birdsong of the future,’ and fey flight founders sees them coming a few steps closer to realizing that vision.
out of stock
The product of many years of solo performance and improvisational practice, STRATUM centers on Lindsay’s electric guitar, voice and signature bass clarinet, which she loops and processes via a battery of guitar pedals. Hers is a decidedly lo-fi approach to be sure, but the results are striking in their immediacy, settling into the shared zone that falls between noise, free music and ecstatic, everlasting drone.
The album opens unassumingly with the shamanic thrum of ORO before diving headlong into the abyss of ANYEN, layering and dilating Lindsay’s clarinet into a seasick blur. PITI and FE MAL – the album’s shortest selections – offer a moment of calm stability as they revolve in place like delicate sonic mobiles. The final thrust, however, puts the focus on Lindsay’s six-string, which she plays using a deconstructed musical vocabulary that is all her own.
Dibson T Hoffweiler is a man on the move. Before his stint in the Bay Area, Dibson was a fixture in the New York Anti-Folk scene of the turn of the century. His recent move to Sebastopol, a small rural town in Northern California, prompted this new album, which we are proud to feature as the latest installment for our Editions Littlefield sub-label.
As the careful reader might guess from the title, one half of Oakland to Sebastopol was recorded in Oakland, the other half in Sebastopol, each side front-loaded with an upper-harmonic-exploring “Enneagram Study.” Occasionally, rural soundscapes or roommates rummaging through the kitchen will weave their way through Hoffweiler’s pastoral finger-picking. Oakland to Sebastopol is emotionally charged and sentimental without giving in to overwrought saccharinity.
Hoffweiler’s guitar playing is agile and considered, his straight-forward song structures emphasize his technical skills without being overpowered by them. First the time on his solo guitar material, he is joined on select pieces by instrumentalists Sarah Stanley and Andrew Weathers providing simple adornment to the already lush sound.
On Oakland to Sebastopol, Hoffweiler captures the fleeting, intimate moments that give meaning to our rote, daily activities with a delicate touch and sensitivity not quite equalled among the current crop of young American Primitive revivalists.
released April 1, 2016
Dibson T Hoffweiler – guitar and compositions
Sarah Stanley – flute
Andrew Weathers – synthesizer
“Walking from MacArthur” improvised by DTH and SS
All Sebastopol tracks recorded at Laguna Farm by DTH, November-December 2015.
All Oakland tracks recorded at the Ridgeway House and Second Dream, Oakland, CA by DTW and AW
Mixed and Mastered by AW
Artwork by Gretchen Korsmo
Thank you, AW and SS.
the friends I live with at Laguna Farm and the friends I lived with at the Ridgeway House, whom I hope to live with once again.
Both sides of this tape are live improvisations recorded october 7th 2015 at Sint-Denijs-Westrem.
released April 21, 2016
Music by David Edren (synthesizers) and Glen Steenkiste (harmonium, synthesizer, shruti & electronic tambura).
Hot on the heels of Sacred Phrases’ re-press of 2014’s ambient classic ‘Treehut Visions,’ Guenter Schlienz is back with a new cassette of sublimely sprawling sounds. ‘Augenblicke’ continues the Stuttgart, Germany-based producer’s run of astral-minded naval-gazing with four new tracks of impossible serenity. Opening track “Blue Sky” paints a perfectly bucolic picture of the German countryside, accompanied by a barely noticeable breeze and consumed by boundless, naturalistic beauty. B-side opener “Treetops” coasts on an elevated plane of floating effervescence, taking in an aural panorama that pours well beyond comprehension. “The World Is Full of Noises” serves as a perfectly incidental miniature, surveying a series of field recordings and playing out like a charmed audio travelogue. Closing track “Wind on Water” succinctly returns to the pleasantly disembodied celestial realms, closing out ‘Augenblicke’ in a calmed, transcendental state.
Now available in its second edition, Guenter Schlienz’s ‘Treehut Visions’ serves as a poignant and sincere example of modern. synth-based kosmische musik. Recorded in Stuttgart, Germany using a DIY modular synthesizer in the Spring of 2013, Schlienz follows the tried and true templates sketched out by the likes of Cluster, Terry Riley, and other early modern electronic pioneers and rubbing shoulders with contemporaries like Panabrite, Eluvium, and other long-form revelers in exploratory sounds. “Games at the Creek” kicks things off with rustic curiosity, flowing through space like a sonic creek littered with stray bits and bubbling tones. “The Meadow at Summernights” floats with unencumbered bliss, collecting streaks of texture and glittering effects along its meandering path. “Sunday Morning Cake” closes out the A-side with an extended simmer of cool, flowing sound and genuine, nu-age navel gazing. On the B-side, “Treehut Visions” unfurls its sprawling vignette for a full half-hour of heaving synth chords and assuringly avian found sounds. It’s a modern classic of synthesizer music, available once again on cassette.
Limited edition of 100. Imprinted, green cassette with fold-out j-card and download card.