not not fun

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  • white poppy – natural phenomena – not not fun (Copy)

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    Limited European tour cassette edition of Crystal Dorval’s sophomore White Poppy full-length, Natural Phenomena. Same content as the LP but housed on pale pink pro-dubbed tapes with violet-imprinted shells. About 55 currently in stock. Here’s the NNF text from before: “Crystal Dorval from Vancouver, Canada has been making healing, distorted rug-gaze music from a coastal mindset all her own since 2011. Natural Phenomena is her second album, and it echoes 2013’s previous self-titled effort in its isolationist origins, as the record emerged slowly across a 9-month retreat alone on a farm on Vancouver Island: “Some days I would only add one tiny guitar line or keyboard texture and that would be it for the day… it was a long process.” However grueling and gradual the method, what accrued is gold – 10 of Dorval’s deepest dreamdives, starry ambient pools, and dissolved guitar designs, ghosted through a lens of grey-skied pop. Songs wax and wane across faded rainbows of guitar, sunrise keyboards, looped percussion, and vocal ocean-spray. Behind Dorval’s gauze of warm noise glows something pure and newer than new age: “My hope is that these positive feelings will be communicated sonically, or in essence, and will be enriching for listeners.” A high height for a climbing talent; White Poppy blooms on cliffs of light. Written and recorded by C. Dorval. Mixed and mastered by J. Arner. Artwork by C. Dorval.”

  • NASA – diamonds & wood – not not fun

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    Pro-dubbed and imprinted tapes in silver-misted cases with full-color wood grain/bejeweled artwork.
    Hand-numbered edition of 100.

  • skeppet – skeppet deluxe – not not fun

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    Multi-instrumentalists Andreas Malm and Henrik Wallin have been triangulating a particular schematic of minimalist mantric-psychedelic instrumental music since the mid-2000s, emphasizing texture, time, and trance states. But with the exception of 2014’s Phase 3 LP, most of the group’s recordings were released as limited cassettes or vinyl in Sweden, long out of print. Skeppet Deluxe collects an assortment of these formative tracks into an hour-long mystic suite of primitivist circular sprawl. Shaping guitar, synthesizer, and percussion into fractals of FX, the ethos of Doing Less, Longer leads across varied terrain: motorik vignette, sunbleached organ vamp, drum rumble, Sky Records cruise, wah dirge, dawnbringer pop, etc. Pieces span from five to fifteen minutes; depth of repetition determines duration. As a discographical cross-section, Skeppet Deluxe revels in a vision of rustic cosmic roads and vanishing horizon lines. Of distance as illusion, and motion as meaning. Recorded from 2006-2011 in Malmö, SE. Gold metallic tapes in J-cards designed by H. Wallin. Mastered by Alex Nagle in Philadelphia, PA.

  • bronze – in stone – not not fun

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    Few bands perplex like San Fran riddler trio Bronze but even fewer have managed to hatch and hone such an obliquely singular sound. The group’s third long-player, In Stone, twists and burns through eight new iterations of their classic oscillator-fusion psychedelia, inflected with shades of post-punk raga, skronk lurch, modal incantantion, deep space narcosis, lizard kingmanship, and home-wired industrial dementia. As an album, these recordings skew tenser, twitchier, a touch paranoiac, bloodshot tweakers stalking steep foggy streets. The alchemy of drummer Brian Hock, vocalist Rob Spector, and electronicist Miles Friction is always riveting in the live sphere but In Stone feels like more of a studio document, exploratory and expressionistic, full of ideas and psychic interplay. Bay Area burnout rendered as psychotropic sculptural waveforms. Confusion isn’t sex, it’s something stranger. Black tapes mastered by Ruud 66 with J-cards designed by the band. Vinyl edition on B.F.E. Records.

  • legendary hearts – music from the elevator – not not fun

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    Miasmic Melbourne new age prog duo Legendary Hearts (aka Andrew Cowie + Kieran Hegarty) first entered the public eye/ear in 2012 but their music has only grown more opaque with age. Music From The Elevator is their debut, originally released via the Dungeon Taxis label, and captures their chemistry in altered states of sprawl, symbiosis, and swoon. Six expressionistic oozes of infinity gauntlet guitar, slow-motion drum machines, and warped synthesizer, filtering in and out of focus, unfeeling neon seen through smoke or smog. Each piece reflects (and is named for) a different level of the structure, from the low-lidded fusion lurch of “Basement” up to skyline cosmosis vistas “Rooftop” and “Fire Exit.” Long-form, liquid, nebulous, and narcotic – Legendary Hearts walk a wavelength all their own, on their own. Remastered by Lawrence English in Brisbane, Australia. J-cards designed by Britt Brown.

  • sasha conda – bronco –

    $10.00 Add to cart

    Bronco Stephenson – a man devoid of self doubt or the capacity for deep thought, but exceedingly effective in more carnal procedures. Armed with a solid gold hand cannon, a long territorial strut and a fierce addiction to adrenaline, inhalants and psycho-inhibitors, Bronco carves a path through The Palace Interior – a hyper-terrarean ultra mall the size of a city. A mecca of consumeristic glee where half-jacked vape junkies crowd the halls of The Walgreen’s Health Services Stratum, and The Plasticmen survey every square inch of marketable real estate.

    BRONCO is a concept album conceived and executed by Sasha Conda (sounds) and Patrick Scott-Walsh (words). BRONCO is available in physical form, including the 24 page short story by PS Walsh, from Not Not Fun Records. A .pdf of the short story is included in digital downloads of the album, available through this bandcamp.

    All sounds recorded and mixed by S. Conda and mastered by Neil Weir. Art by Keith Rankin.

  • topaz rags – the crown center – not not fun

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    Edition of 345, various colors of in hand screened

  • severed+said – occlusions – not not fun

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    Jacksonville, Floridian John Touchton’s second release of ritualistic synthesizer music, Occlusions, is less soundtrack-ish than his last and hugely more sunken. The decision to blast his hardware through a trio of vintage amps before capturing it on the Tascam gives this set of songs a more physical aspect, thick throbs over signal buzz and low corridors of drum machinery. The pieces swerve from mechanical raga (“Black Shine Bright”) to tranced nightrides (“Death By Empire”) to Heathen Earth bass trenches (“Occluded”), but they share a processional heaviness and humid pulse. Six electronic stalker themes from under the shadow of dawn, the glow of gear the only light. Recorded in a warehouse in “the dark corners of Florida” in October, 2014 by Jeremiah Johnson; all instruments by John Touchton. Purple-imprinted silver metallic tapes in double-sided cathode-warp J-cards with images by Phantomphoton; layout and photography by Rebecca Rose. Edition of 100.