spectrum spools

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  • donato dozzy & nuel ‎– the aquaplano sessions – spectrum spools

    out of stock

    Gatefold sleeve

    All music produced and mixed by Donato Scaramuzzi & Manuel Fogliata at Nautical One Studio in San Felice Cireco, Italy between 2007 and 2008
    Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, December 2013


  • head boggle – headboggle

    $14.00 Add to cart

    Spectrum Spools 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 its 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 François 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.


  • container – spectrum spools

    out of stock

    Recorded Labor Day Weekend 2012, Providence, RI

    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.


  • human teenager – animal husbandry

    $19.00 Add to cart

    “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.


  • container – lp – spectrum spools

    out of stock

    Container is a recent moniker of Nashville, Tennessee resident Ren Schofield, who has been actively shifting about the U.S. playing shows and releasing cassettes on his mysterious I Just Live Here imprint for a long while now. Known primarily for his God Willing project, a disjointed, confusing maze of crude oscillator, tape, and guitar, Ren has established himself as a staple in the East Coast underground. Here we have a new experiment in electronic beat-oriented music. This is no standard fare, however. It glows with a vision all its own, completely isolated and separate, making it difficult to place in the awkward world of the “genre.” The sounds are a thick stew, congealing new ideas and naive experiments into something in the ballpark of the new super-weird Wolfgang Voigt 12″s, abstract and minimal in nature with time-stopping tendencies . Take those 12″s and send them through the garbage can, tape loop, reel-to-reel experiments of Ake Hodell’s “220 Volt Buddha” or that weird track with a lawnmower by Charles Amirkhanian on the first Slowscan volume and we might be getting closer. This music, by being so unruly and defiant of any kind of trend, has created a fresh fusion we have not heard until now. “Application” introduces you to Container in the most suitable way. A confusing anti-rhythm accompanied by eerie, unidentifiable tones before a collapse of metallic drum sounds washes you out into the minimal, motorik “Protrusion.” The flip takes off with intense feedback squeal and more light speed rhythm, leading into “Overflow,” the album’s wildest, most textural piece. “Rattler” leaves the listener absolutely baffled and flipping the record over again to try to figure it all out as this record makes no sense to anybody but its creator. The experimental nature of this album alone warrants its vinyl release; however, the fine detail and unique structures will have you waiting for the next Container 12″. Mastered and cut at Dubplates & Mastering, Berlin, July 2011. Design and layout assistance by Mike Pollard.


  • bee mask – when we were eating unripe pears – spectrum spools

    $17.00 Add to cart

    That old saw about dancing and architecture notwithstanding, I am like most people who make records in that I do not especially relish the task of writing about them. (Better to focus on putting one’s pants on both legs at a time and using one’s Sèvres china every day, if you ask me.) That’s not to say that writing about records is a worthless or futile undertaking — far from it; however, as artists ideate in their media of choice, they implicitly challenge the assumption that the written word is the privileged medium of ideation — or at least they do so to the extent that their work succeeds. This truism aside, I seem to have drawn the proverbial short straw, and so it falls to me to tell you something useful about When We Were Eating Unripe Pears, a record which I recently completed, and which will be released shortly (perhaps by the time you read this, even) by Spectrum Spools.

    The seven pieces on this LP were developed over a period of about five years; Rain in Coffee is built on a Hyperborean Trenchtown-era demo, while Pinq Drinq — sorrel, for the record, and neither guava nor antacid as certain wags have already ventured — was reanimated directly from the cutting room floor, eleventh hour twenty-twelve. As a whole, they should probably be considered the proper “sequel” to Canzoni dal Laboratorio del Silenzio Cosmico, extending that record’s preoccupation with the dream interiors of post-1965 Fellini and synthesizing (pun very much NOT intended) it with Elegy for Beach Friday’s fascination with the lush and abject facets of advanced gastronomy and the embrace of the recursive, solipsistic, simultaneously expansive and claustrophobic universe of the sampler on Vaporware/Scanops.

    However, in direct contrast to each of those prior works, When We Were Eating Unripe Pears draws more deeply on formal ideas from the history of records than any Bee Mask release to date. Toward this end, most of its constituent tracks were hammered into their finished shapes “on the road” throughout 2011 and 2012. Those of you who heard me on tour in the United States, Canada, Australia, and Japan, and particularly at Voice of the Valley, the Bunker, and Labyrinth played a part in the process of shaping this material and so may well experience the shock of the familiar.

    When We Were Eating Unripe Pears was recorded in Cleveland and Philadelphia between 2007-2012. It was edited and mixed at Tranquility Base in Summer 2012, mastered and cut by Rashad Becker at Dubplates and Mastering, and pressed by Pallas Group. The first 300 copies are on translucent green vinyl. Mark Price did the photography and layout. Special thanks are also owed to Jason Anderson, Katherine Brady, Matt Carlson, John Elliott, Lawrence English, Daniel Lopatin, and Alex Moskos, without whose perspectives this would be a very different and much lesser beast.

    Chris Madak, Philadelphia, October 2012


  • max eilbacher – red anxiety tracers – sepctrum spools

    out of stock

    Max Eilbacher’s Red Anxiety Tracers is the debut album from the multi-talented Baltimore, Maryland stalwart. Eilbacher has performed with various projects such as Matmos, Horse Lords, and the mind-altering underground Needle Gun aktionist unit. Despite years of busy touring and recording, Red Anxiety Tracers is the first vinyl artifact from this young mastermind. Crafted over the course of a year, Tracers is a labyrinth of shapes and sounds which glide through a complex and arcane environment of found sounds and synthesis. An expertly-crafted maze of deja-vu, audio hallucinations, and dislocating atmospherics forms an audio obstacle course for the listener. Complex editing techniques and sound structures recall the works of J.D. Robb or Owl Records-era Tod Dockstader albeit with a radically fresh perspective and educated hindsight. Red Anxiety Tracers exhumes impeccable flow and careful attention to dynamic range, with its surgical placement of sound events challenging the deep listening abilities of its audience. Raw and manic tension overloads are cut with alien float and abstract aether transmissions with a constantly shifting palette of sounds spun from blasted modular electronics, vocoded terrestrial-speak, and glowing mellotron clouds. Eilbacher communicates a strange and beautiful dialect conceived through disciplined compositional structure and an intuitive improvisational style unparalleled in the current landscape. Red Anxiety Tracers breathes new life into modern electronic composition.


  • palm highway chase – escape from new york – spectrum spools

    $20.00 Add to cart

    Flashback to 2009, maybe late winter or something like that. The Road Chief comes back from his extended stay in Belgium all laced up with new jams from the underground. We’re blazing the trails of the NE Ohio streets and valleys and on his stereo he’s got this Palm, Escape from New York disc. I become immediately intrigued and bewildered — so many questions to ask. “Who is this?” “When was this made?” “HOW was it made?” Feeling pert, we moved forward to pursue a vinyl release for the now-deceased Wagon imprint, in high hopes we could deliver this platter immediately, being the non-stop jam that it is. Many emails, dead ends, events, tours, records, other releases, and projects later, the record seemed like it would never happen. We couldn’t get anything lined up, we didn’t have the time to get the ball rolling, and years had started passing by quickly. Flash forward to two months ago, loading up my iPod shuffle to take to work, and I see Escape from New York in the “tunez” folder. A few cups of coffee into work and jamming it at maximum volume, work became very productive all of a sudden — but I became so bothered by the mystery of this album that I had to go home and do some research. I tried some various contacts and shot a few emails without any expectation. Only days later I received word back from the Palm mastermind. He says “yes.” So here we are, four years later, and this album will finally be pressed. This record was downloaded over 5,000 times from the Palm Myspace and Bandcamp pages; and now it will finally become a tangible artifact. Escape from New York is an enigmatic blast of fully focused, high-speed pursuit tunes channeling the 1984 tropical shoreline highway. The imaginary soundtrack to the escape from your most intense predicament. The album exists in its own universe, completely belonging to the Highway Chase vision. Escape from New York was made in January of 2009, and it still slams just as hard. The album unfolds in a linear way where every track is essential to the whole — the album is the movie. “Street Stallion” kicks off the record proper, with a dead-serious synth lead, a seriously reverbed-out rainbow arcing sequence, and a kick drum that will fill your entire room up. This track sees reprise in the varied form of “Street Hawk” later on. Tracks like “Dark Movie Screens” and “Desert Driver” pound relentlessly hard and will have you all wrapped up in hypnotic drum machine patterns and overlapping melody with driving electro vibes, somewhat reminiscent of the legendary “Nature Makes a Mistake” track (that Running Back did a killer 12″ of) except completely off the hook, with the same forward-driving sense of rhythm and drive. Meanwhile, tracks like “Ghost Cars” and “Invisible Beach” keep the wheels turning with complex structures and polyrhythms that will have you asking yourself how something could possibly be so catchy. “Space Again,” closes the album, leaving you wanting to flip the record and hear more Palm jams. An honor, a pleasure, and a relief with some closure to this mystery to finally have this in a physical form.


  • quicksails – mayville dreams – spectrum spools

    $19.00 Add to cart

    Ben Billington is a Chicago staple and multi-instrumentalist crucial to the metro area experimental landscape. He can morph his styles seamlessly and is fluent in many musical languages, whether he’s playing in Moonrises, Circuit De Yeux (as a touring drummer), or in the legendary underground free-jazz unit Tiger Hatchery. Mayville is the sophomore LP following his Silver Balloons in Clusters LP on Under The Spire (while originally released as a cassette on Deception Island some time ago.) With Mayville Dream, it’s all Billington and the results are outstanding. Taking from his knowledge of songcraft, Billington has crafted a well-varied album of instrumental suites that are as eclectic as they are eccentric. Being primarily trained as a drummer, various kinds of percussion appear throughout, with many rhythmic angles that accent the intricate melodies and structures to make them truly unique. The opener “The Many Roads to Mayville” opens with a concrete flutter before doing a complete 180 into a total color storm of melody and syncopated percussion. “Institute’s Innards” flips the mood right away with its deep urgency and melodies that demand introspection. Tracks like “Bemus Has Wings to Fly” and “Closer to Towanda” display an ability to thickly layer pieces and parts to make a logical whole while displaying elements of early psychedelic rock and with the knowledge of early private sides in tow. Mayville Dream has a special impact because you hear Billington stretch himself out over every playing style he knows and beyond to create something that’s all his own.