2xlp

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  • earth – hex; or printing in the infernal method – southern lord

    ·

    $55.00 Add to cart

    CLEAR VINYL
    2xlp

    used

    great shape, very clean played very little.

    Limited to 500 copies.

    Produced, recorded & mixed from March to May 2005 at Aleph studios (Seattle, Washington, USA).

    Track D is exclusive for the vinyl edition.

    Tracks listed sequentially on jacket.


  • the velvet underground ‎– sweet sister ray – no label

    ·
    out of stock

    2xlp
    First LP in black vinyl, second LP in black-marbled red vinyl.

    Limited edition to 300 copies. Comes in a blank, white sleeve with sticker, every copy has a handmade spray-painted finish in black color


  • christina carter – lace heart – root strata

    $16.00 Add to cart

    Reissue of the 2006 CDr released on Christina’s own Many Breaths imprint.
    Three sides of music & an etching of one of Christina’s drawings on the fourth side.
    Red vinyl with maroon splatter.
    Edition of 500.

    Recorded at the Magic Blueroom, Northampton, MA, September 2005.


  • 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


  • felicia atkinson – visions / voices – umor rex records

    out of stock

    Light Green Vinyl, 2xlp

    Ah, the canyons of the mind… how they echo and rumble. Here we have eight of them, some resembling long, exhausted songs, haunted by the sounds of small accidents and deep tremors; others are more abstract than that, no windy voice, no stretched out melody, just eerie soundscapes that evoke many things, all of them drowned. Felicia Atkinson can conjure up some mighty spacious ghost towns. Visions / Voices gathers three years of work, previously released as very limited run cassettes and cd-rs, now mastered by James Plotkin and published under the Umor Rex banner. Its cobwebbed attic contains an odd collection of subtly deranged and detuned musical instruments; a piano, a Celtic harp, some guitars, keyboards, electronics, and a female voice deeply lost in the woods… each of these elements sound like a morbidly sensitive tangle of strings, dust, raw nerves and ectoplasm. It all somehow feels both intimate and cryptic, like a most intimate crypt, yeah, or the x-ray of a blue open sky. After going out on a trip with this album, you might feel like saying “I’ve been to the land of Solitude. It is a sky made of gauze, crowded with ghosts.”


  • luciano cilio – dell’universo assente – die schachtel

    out of stock

    The critically-acclaimed Dell’universo Assente is finally made available again in a stunning CD edition. The complete works composed by legendary Neapolitan composer and musician Luciano Cilio are now digitally restored and include a striking set of piano-based unedited pieces transcribed and played by the composer Girolamo De Simone, curator of the edition and acclaimed interpreter, who is also the man responsible for the rediscovery of the work of Luciano Cilio. Dell’ Universo Assente, originally released by Die Schachtel in 2007 and sold out in a few months, represents a truly unique approach to music-making where each instrument and each sound are given ample time and space to develop. For the recording sessions leading to this remarkable work, Cilio took up a role as multi-instrumentalist, performing on piano, guitar, flute, bass and mandola, also joined by musicians coming from different experiences and areas, who supply strings, extra woodwind and percussion. Almost impossible to define, the all-acoustic music of Cilio occupies a space between the devotional music of Popol Vuh’s Florian Fricke and the deep spiritual places of what would later be called holy minimalism (without any of the religious intents of the aforementioned references), with a surprising anticipation of the crystalline sparseness of pieces like “Fur Alina” by Arvo Pärt, and a feeling of intense suspension of time that can be associated to some of the most intimate compositions of Ligeti or Feldman, yet maintaining a definite position outside the contemporary music of serial and academic inspiration. “These recordings sound as they feel — self-contained, introspective, and determined. You can feel in the music a sort of necessity that can be rarely found, as in Bill Fay’s Time of the Last Persecution, or in Nick Drake’s Pink Moon: this enormous weight that is bearing on its creators, the absolute need to exorcize it from their lives, a moment in time where you are invited to hear artists truly in contact with their existence. Luciano Cilio holds that moment in time, an authentic emotional testament, something to be cherished,” writes Jim O’Rourke in his inspiring liner-notes. Born in Naples in 1950, Luciano Cilio had joined his university studies in architecture and scenography to music, collaborating in the ’60s and ’70s with several non-conventional musicians (such as Alan Sorrenti and Shawn Phillips), developing surprising intuitions about the relationship between gesture, words and music. Sitar and guitar virtuoso, excellent pianist, Luciano Cilio was “essentially self-taught concerning music composition,” and focused his research on long, sustained sounds, on the sound in its primary and internal meaning, at the outset on the melodic, rhythmic and harmonic entities, to “re-enter the sound, hold it, hold it… and finally let it go.” His short yet intense career officially began in 1977 with the publication of a full-length album titled Dialoghi del presente (entirely included on this release along with extra tracks), composed between the end of the ’60s and early ’70s. The album, released in 1977, went almost unnoticed and was soon forgotten, and that influenced deeply the complex personality of the composer. Unexpectedly, in 1983, he committed suicide, leaving this unique gem as a testimony of a genius work.
    “Most records create an imagined world, a place between author and audience, a neutral ground where you are expected to meet; but on these special occasions, you can feel as if you are listening in on a private conversation, overheard discreetly, but clearly. This record is not just a collection of musical pictures, but a large canvas painted with the air it was made in, like a private room never to be visited again, but remembered vividly when something like the way light hits a room or the smell of damp cinders brings it all back with overwhelming vividness. Cilio holds that moment in time, an authentic emotional testament, something to be cherished.” –Jim O’Rourke



  • emeralds – allegory of allergies – weird forest

    out of stock

    About a month ago, as I watched Emeralds levitate a packed house at Brooklyn’s Glasslands, I couldn’t help but wax a bit misty-eyed, recalling the years we all spent orbiting the basements of the upper midwest with a cabal of like-minded fuckups. This opportunity to revisit “Allegory of Allergies” isn’t exactly helping me regain my composure, and for that, I’m profoundly grateful, insofar as time, distance, and a seriously killer record can put a pretty impressive sentimental gloss on virtually anything, from spacing out and driving two hours past the gig in a thunderstorm to blasting the Gods of Tundra c120 on a half-dead portable deck while scrambling to dodge a sketchy eviction threat. Those, apparently, were the days.

    In its formal aspect, “Allegory” shares much with the recent and justly lauded “What Happened,” though in nearly every other sense, they’re night and day. Where the extended vignettes of “What Happened” share a certain crystalline expansiveness and astral sheen, “Allegory” offers a crumbling labyrinth that’s at once humid and frigid, crammed to the gills with moss, lichen, cobwebs, brick dust, rotting boards, peeling paint, and narrow shafts of light. It’s a blurry and bleary vision, in which John Elliott, Steve Hauschildt, and Mark McGuire improvise on synths, guitar, voice, and tapes like three cats batting at an enormous calder mobile, a sound thoroughly native to the moldering interiors and indigenous dystopian/psychedelic culture of the American Rust Belt.

    Those approaching this work for the first time will have much around which to warp/wrap their heads. Emeralds are possessed of a slow-burning, Cluster-like sense of patience, an accompanying willingness to assume the appearance of burbling sideways in low gear while stealthily turning the universe on its edge, a rare mastery of perspective and scale, and an ability to make audible the slipperiness of the slope between harmony and timbre. Just as crucially, they manage to be ambitious and sprawling without compromising their aura of raw immediacy and handmadeness. It is precisely this sort of fried grace that secures Emeralds’ place in the history of vernacular experimental music and situates “Allegory of Allergies” squarely in its hallowed canon of epic double LPs. – Chris Madak

    Cover art by Mike Connelly. Inner photography by Shannon Neale.


  • emeralds – what happened- editions mego

    out of stock

    Edition of 300 copies on transparent yellow vinyl, in a gatefold sleeve.


    Editions Mego is chuffed to release these vintage synth-guitar improvisation jams recorded straight to tape, 2007-2008. Previously released as a CD by No Fun, this is now the definitive vinyl edition of this material, and serves as archival insight into the development of Emeralds’ sound over the last years. Mastered by James Plotkin. Cut at Dubplates & Mastering, Berlin.