Riding high on the lazy waves of pink twilight, this journey sets off with an illuminated chorus of exotic northern sounds before inhaling a nasty smoke of dark feedback. 100 copies.
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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.”
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.
“Here You Leave Today is Southern California based Alex Twomey’s first full-length LP
as Mirror to Mirror, co-released by his own label Jugular Forest and the Cleveland
based Cylindrical Habitat Modules after a string of cassette releases for Arbor, Ekhein,
Gift Tapes, and Monorail Trespassing. Throughout the course of 7 enchanting
compositions for synthesizer Alex conveys a sense of thoughtful reflection. A melodious
personal journey exploring ones open connections to the people and surroundings they
encounter. Cotton candy for the ride home.”
Sanguine Futures opens with a slow crawl ; the burden of winter crawling across your back, reaching around your throat, grayed hands with frayed nails grip tight and pull you into an isolated realm of blissful purgatory. You’re only 2 and a half minutes in and creatures of crawling out of shadows and your breath is hanging heavy.
John Kolodij has crafted an auditory trip into territories that feel untouched, unmoved by a human hand, packed with ethereal and earthly blackness; a deep and dense wood, a coal-black night, tarry centers where you find the solitude of 100 year old weeping willows.
This is not an album crafted to simply listen and reflect, this is heavy slabs of flesh and blood, moaning, bending, warbling to life, groaning out and sucking you in. Shades of Scelsi and Penderecki collage and wind into spacious suites, built atop a foundation of heavy Köner-styled concrete. It’s beautiful, but there’s a lingering fear of the unknown, and you could lose your leg at your next step. It’s breathtaking and beautiful, but you’re always careful not to trip too far into these skeletal treescapes.
There’s deep, rusty veins running to the heart of Sanguine Futures, pumping a dark crimson fluid, driving the machine to keep humming. There’s a clicking film projector casting images onto a sheet of ice. We feel it, it’s thrust into the very energy that motivates us; a feeling of love, of life, of solace, of hope and pain and fear and joy and sorrow. This is a span of sounds and tones and textures, weaved together as a lifeforce. An album this isn’t, an entire affair, spanning our first to dying breaths. Heavy, spacious, frightening, and welcoming; all at once.
On Sanguine Futures, Kolodij was aided in arranging by Type Records’ John Twells, who also produced and mixed the record at Seventh Door Studios in Massachusetts. Trumpet by the renown Greg Kelley. James Plotkin mastered. Simon Fowler did the beautiful artwork.
Karen Novotny X was a short lived electronic project based in Hackney, East London and comprised three members; Cy Levene, Anna Bloom and Niko Nicolotti. Meeting and formulating ideas at the London School of Economics and the Slade School of Art around the dawn of 1978.
They resided in a number of East London squats and set up makeshift studios with borrowed equipment and Synthesisers purchased by Levene. A creative rush between the spring of 1978 and the summer of 1979, saw them recording a plethora of music primarily influenced by Disco, a number of key Italian composers, Throbbing Gristle, Krautrock and the industrial sounds coming out of Bloom’s hometown of Sheffield, not to mention an obsession for Donna Summer’s “I Feel Love”.
This intense 2 year period took it’s toll on this very close and guarded threesome and they soon found themselves heading off in three directions. Bloom back to her hometown of Sheffield whilst Niko was enlisted to the Italian Army. The tapes -which included last year’s quick sell out GPS 5 trk 7″ and cassette- have been coaxed from the reclusive Levene who now resides in Brussels; and leaves the KN X archives empty, with the release of this full length.
So what are we left with? Well Levene now looks back on this short, but eminently fruitful period claiming they were trying to make electronic / disco themed pop music in an attempt to get on to TV. While disco may have been at the heart of KN X, a very different beast lurks within. An often dark, unsettling narrative set to simple drum machines, synthesisers, sequences and the isolated, almost childlike vocals of Cy Levene and Anna Bloom puts this shortlived project into a whole new genre.
An LP -and series of recordings- that it’s creators imagined forever lost to the masses, now seems set to earn itself a key role as main hitter in the murky, yet increasingly researched world of mid to late 70s minimal synth. An extraordinary LP proudly released by The Great Pop Supplement, numbered to 500 white vinyl copies with hand stamped library inner bags and collage insert.
Black Unicorn is the solo synth project of Akron, Ohio based Curt Brown (Cane Swords, Rubber City Noise).
“Rediscovering Infinity” is a debut on wax and compiles 5 killer, evocative synth pieces, acting perfectly as an introduction to his work. 3 tunes here previously seeing the light of day on tiny run cassette and cdr releases, whilst the monumental title track (recorded especially for this project) is constructed as a 5 part movement that reinterprets an earlier theme as a story of cosmic awakening and redemption.
Black Unicorn’s music is both contemplative and exploratory- ranging from subtle drone to melodic outburst and is created on both analogue and digital synthesizers, sequencers and effects. Basic electronic building blocks are treated as analogous to alphabet characters- another way of telling a story that is both in harmony and supplement to the written word. Each piece on the LP has it’s own special insert that expands upon the music through textual fragments and icon- detailing both instrumentation and basic meaning. The larger insert features an illustration by Matt Horak, whose drawings are scattered throughout.
The second release on ‘Deep Distance’ -a synth / kraut themed side project to The Great Pop Supplement, and a wonderful album in beautiful black embossed sleeves released as a numbered edition of 250 copies on vinyl only.
Picture yourself in the drivers seat as your car wraps itself around a telephone poll. Then wake up after who knows how long in a hospital room, entangled in wires and tubes. This is the experience “Wet Engines” calls to mind… Wyatt Howland has been creating relentless, merciless harsh electronics for the better part of the last decade under the appropriately-chosen SKIN GRAFT moniker. After releasing “Dystrophy” with the prolific Hanson Records last year, we are pleased to announce the follow-up album. Originally released on cassette in 2010, the LP version has been completely remixed and remastered, with new tracks.
Limited to 100 copies, each record came with hand-screened cover art and a digital download card.
Imagine Yourself Here….is the inaugural release on Marcia Bassetts new label YEW. The cover is a parody advertisement taken from an ad for luxury condos in the heart of Williamsburg Brooklyn. The promise of authenticity and Bohemia turned into pricey real estate. Bassetts dense hypnotic soundscapes recontextualize this superficial advertising to create an otherwordly existence. Side a opens out from metronomic foreboding into the whispering night-processes, before breaking apart under mesmeric vocal laments and fractured rhythms of dark space. Side bs woven textures blend with languorous insistent variations exploring the inside-outside dialectic of perception. Edition of 300 in full color sleeves with insert.
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 11 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. Mark Dwinell and Sophie Lam: (Roland RS-09, Roland SH-1000, Roland RE-101, Yamaha CS-15, Crumar DS-2, Oberheim SEM, DSI Morpho, Moog LP, Farfisa Compact Combo), George Bennett (Roland TR-707, Alesis HR-16B). Cut at Dubplates & Mastering, March 2011.