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first skin graft vinyl. From Cleveland, Ohio
8 tracks of abrasive, negatively charged scum electronics.
perfectly disgusting and abusive.
Hand Screen printed sleeves
second edition of 200
out of stock
evolution of wax, record is designed to continually generate remixes of itself, almost alive. first 12″ vinyl release on Tusco Embassy. lacquers cut at home by twig harper spring 2008.
hand screen printed sleeves
limited edition of 300
“this record plays differently every instance it is played. you must give back.” – t.h.
This new collaborative LP from Cam Deas and Adam Denton expands upon their previous release for Blackest Rainbow earlier this year. Still employing just electric guitars, the record consists of two side-long pieces which see the duo break away from barely tamed, throbbing feedback and move towards a more composed domain. Drawing from influences as far-reaching as La Monte Young, Basic Channel and Pan Sonic, the record results in instances of hypnotic drones as well as onslaughts of pulsating and over-arching beats which attempt to both immerse and assault the listener. First edition of 250 copies, pressed on heavyweight vinyl in pro-printed sleeves with artwork by TGK.
Tape Drift’s first excursion into vinyl presents this massive split LP from two duos, one from Chicago, one upstate New York. These groups have been honing their unique and personal brands of sound for years, and both approach the task in similar ways, drawing equally from noise, drone, psych, kraut, minimalism, and metal influences. Each band offers up their best recorded work yet here, raising the stakes another huge notch. The Locrian side demonstrates their phenomenal range, and beautifully adds to their well established oeuvre with new and complex elements. Century Plants make their first appearance on wax, and show how far they’ve progressed in a few short years, bringing two subtly dark tracks that build in intensity. A slow burner, this LP is the rare split that sounds like a unified whole, and the pairing makes perfect sense. Intense building waves of sound, dense drones, feedback, power electronics, noise, psychedelic guitars, swirling synths and vox are all in the mix in ways only these two bands could pull off. A dark, dense, and ominous record, Dissolvers is also deeply cloaked in mystery and spaciousness. Mastered by James Plotkin for maximum heavy spectral sound, this is a must own record for noise, drone, psych, and metal heads alike. With design by Terence Hannum of Locrian, and art by Scott Treleaven, the LP is packaged in a black jacket with silkscreened silver leaf ink, and a special double-sided color insert.
First vinyl outing for Peckham based Chora, compiling out of print tracks from cdr albums released between 07 & 08. All the tracks were conceived in Sheffield as a trio of Ben Morris, Rob Lye and Chris Boyd at the furniture makers workshop / Chora practise space, culled from long nights of jamming, eating house special fried rice and drinking wheat beer. The record displays the bands revolving approach to composing, improvising & recording, with sounds moving between shingled skeletal percussion & kitchen sink gamelan to electronic attack & ecstatic vocalisation.
Pressed on 180g black vinyl with pro-printed cover.
Anamnestic Tincture is a live album by virtuosic musical carpenter Paul
Metzger, culled from many hours of concert recordings. Side one comprises
Metzger’s public debut on his modified banjo, recorded in 2002 at a former
church-turned-underground art space in Minneapolis. One of his most
memorable compositions, “After Milo” later turned up as an untitled
improvisation on his CD for the Chairkickers label. Jumping ahead six years
(and several more banjo alterations later) to side two, the glittering
“Orans” gets a workout at a memorial show for the artist Matt Zaun. As an
acknowledgment of the occasion, Metzger also gave a one-time-only
performance — “Dark Green Water” — on another of his mutant instruments:
an acoustic guitar with the body drilled out to accommodate a cymbal set
into its face, and ten assorted strings of varying lengths laid over the
top, giving it a particularly metallic and dissonant sound.
out of stock
“Brand new split LP from fellow Manchester weirdos A Middle Sex and Gnod. Gnod follow on from some killer releases over the last couple of years, a split 7″ with Bong, a tape on Not Not Fun, and a collaborative LP with White Hills. The oddly titled 15 minute ‘Why Don’t You Smile Like The Other Children?’ opens with hazy strings and cosmically far out voices, this slow groove packs a multi-coloured burst of rhythmic psychedelic vibes. On the flip side, A Middle Sex takes up duties of doing something equally psychedelic, but in a completely different style. Their side is titled ‘Polytheism’, and is essentially made up of two tracks, the opener is a short, wild spaced-out cosmic synth piece, which is swiftly followed by their main 10 minute piece of layered drums and percussion, swirling electronics, distorted chanted vocals. Their side is all about the rhythm, and they really got that rhythm down. Edition of 500. Pressed on 140 gram virgin vinyl and house in super glossy pro-printed covers.”
the entirety of Origin’s musical material is comprised of the vibrating strings of Pitre’s ensemble of bowed “harmonic-guitars,” which are unconventionally strung electric guitars (utilizing multi-unisons) tuned to intervals corresponding with the Harmonic Series, a.k.a. Just Intonation. No effects processing (pre or post) was used in this recording. All effect-like qualities result from the multi-unison strings (phasing), sympathetic vibrations, combination/difference tones (of the chosen just tuning), and natural acoustic phenomena as such.
Edition of 300 LPs in full color jackets with coupon for DRM-free MP3s of the entire album.
out of stock
“Edition of 500. California Gothic set to the tidal rhythms of the Pacific and tuned into the metabolic pathways of the northwest coast. Porras (Barn Owl/Elm) has scripted a love poem to the mist, a prayer cast in ghostly reflected guitar and deep pools of distortion. The ominous opening of ‘Gray Dunes’ is a dense and impenetrable murk, a fear that eventually succumbs to distortion but then gives way to an endless open space of delay in its second half. Its trajectory is symbolic of the record as a whole, with many of the darker paths on Undercurrent leading to lush other worlds of delicate beauty, fragile guitar notes that emerge from the sea for a moment or two then fade back into the whole. ‘Calm’ and ‘Lands End’ are lovely spots of respite, clear beams of moonlight breaking through the clouds, a shot of light that ushers in the lone funerary come down of closer ‘Gaze’.”