Limited to 200 hand-numbered copies.
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Jimmy Billingham returns to Opal Tapes with Holo Earth, the first HOLOVR 12″. The two sides are comprised of blended suites covering Billingham’s past working with tapes and hardware into a future of more complex composition and convolving sample work. At times the record is sweet, drums bounce and bip with filigrees of synth whirling through like wind in a bottle. At other points the record empties and the lonely pulse of Venn Rain (Jimmy’s earlier project) is felt most strongly. Estranged and blue-lipped, the field recordings of alien environments litter the blur emerging. A haunting listen.
As much as Los Angeles gleams in the global mind as a gateway to dream fulfillment and televised wealth/fame amalgams, it’s equally a desert of disappointments. Hence the dead-end yoga cults, under-the-bridge tar dealers, valley burnouts, inland empire nightstalkers, and seas of destitute eastside lowlifes. It’s a vibe central to the vision of Afterhours’ languid, nocturnal music, which has evolved from sleekly moody synthesized sleepwalks to an unusually elegant hybridized trip-hop sub-species. Jammed signals sputter under broken minor key scales. Shuffling, crate-digger drum patterns give way to skeletal house rhythms (“Lovesick”), slow washes of shimmering texture (“Outcome”), and sampled, spectral jazz (“Night And Day”). Though crafted with electronic means, most of Lowlife’s six songs center around acoustic, physical sounds – reverbed piano, dusty snares, crisp percussive accents, soft-focus saxophone. Fragile conjurings of urban ambience, the poetry and pulse of isolation, Staying Up Late To Make Music To Stay Up Late To; the world of Afterhours spins through the dark, en route to dawn. Black vinyl LPs mastered by Eric Hanson in downtown skyline jackets designed by Maxfield Hegedus, plus a hand-numbered photocopied insert. Edition of 375.
Rolling like a stone (thus no moss, man), LA Vampires recontextualizes into a new collab EP, this time with SF-gone-NY lovers rocker Ital. Each song was pieced together from a rainbow of sources – screwed tape loops, multiple drum machines, layers of synth lines and phasings, analog samplers, live vocal remixing, etc – and the results are what you might expect: raw asymmetrical bangers blasting down dim concrete hallways streaked with chemical graffiti and bootleg club lights. Too gritty and blasted for dancing but too bangin’ to sit still, this is a real mutant zone, a white label 12” found in a sewer seething with dry ice and recorded through a wall. Wake up and weird out. Life’s too lame to play it straight. Black vinyl 12 inches in spineless no-hole Euro-style jackets with 90s videodromed art and layout by Spencer Longo. Edition of 600.
the 12″ in dedication to Alarmist, a post-animal band from portland OR from 2004-2005. They influenced the people that saw them play and took your carpet for a joy ride once or twice while you knew them. Nick B (drums) aka TUNNELS donates some tracks of psychedelic pop unlike other recordings under the same name. Recorded during the last few days of the band and after the break up. Eric C.(guitar) aka GHOST TO FALCO brings you 2 tracks one almost like a 1 minute western dirge the other more in the traditions of GHOST TO FALCO style recordings. James S.(vocals) aka ARGUMENTIX dabbles in the world of industrial beats and stories of a world left behind in 3034. Assisted on these recordings by Hando on sax. Eva aka INCA ORE(vocals) delivers a chopped and screwed version of some of her recordings mixed with clips of ALARMIST live shows she picked up from Friend Mansion a few years after the fact. On the first track of side crocodile you can hear the ode to ALARMIST by M.Remy (U.S. GIRLS) as she calls in to a radio interview the band was doing. Non of the 4 solo artist sound anything like what ALARMIST was doing and non of the solo projects sound a like. This is a great collection of eclectic music.
pressing of 300
12″ black vinyl
“This Forest” is the single side vinyl that italian noise honcho Kam Hassah (also headchief of the secondsleep records) done to the dokuro’s catalogue.
What Kam Hassah do with “this forest” is to move perfectly a dense stratas of sounds in a hypnagocic way, the rotary slow motion of drones, the layers of reverbarted voices, will bring you down under the moaning branches of this gloomy forest of sounds.
A spiral implosion will show you the dark side of your soul where no light can shine and then… under again, in the viscous undergrowth where the beasts crawl.
One track of pure bleak catharsis.
DK011 will be release in hand-numbered edition of 100 copies with silkscreen sleeves printed by Canedicoda.
Artwork done by Kam Hassah himself.
1-sided LP with etched B-side
Recorded live and edited in Bushwick, Brooklyn in 2005/2006.
Part of Melted Mailbox Series One, limited to 700 copies
out of stock
Limited to 250 copies 12″. Special full-color design by Keith Rankin. For fans of Can/Terry Riley/Krautrock/early electronic music. Blogged by Altered Zones, Decoder Magazine, 20jazzfunkgreats, etc., Giant Claw is multi-instrumentalist and visual artist Keith Rankin’s synth-exploration project, and the music is an homage to early electronic music and also a contemporaneous and visionary work. Keith co-runs Orange Milk Records. Altered Zones: “builds through the accumulation of synth motif upon synth motif, enticing a theatrical and fantastical experience nothing short of a Mega Man boss theme.”
Prison Tatt’s first liberation. The first release on vinyl by the acclaimed Brooklyn duo. Spine-shuddering drones and subtle melody; improvised electronics and horns that sound through-composed, but aren’t. Too often Grasshopper’s music is interpreted as composition, perhaps because of Josh and Jesse’s background in classical training. Their long-form creations amount to nothing less than the Irrlicht of contemporary noise/electronics (I said this of them long before I knew I’d be releasing their material.) This is a horrid dungeon, no question, but one where hope has not quite died, and pretty things, alluring demons in service to Jon Hassell or Miles Davis, occasionally flutter by the window bars. Almost out of print; 20 copies remaining for retail or wholesale distribution. These things look and sound great; mastered at Aardvark, pressed by Bill Smith, with silkscreened insert by Seizure Palace.