New York synth duo Infinity Window have been crafting their game for well over a year without much documentation. Comprised of Dan Lopatin (Oneohtrix Point Never) and Taylor Richardson (Prehistoric Blackout), this LP shows them at the pinnacle of self-realization. Equally influenced by John Carpenter and the Taj Mahal Travelers, they create traveling music; music that has the power to transport and overwhelm the listener with vibes outside of those presently available to them. The A Side consists of two tracks, both clouded in a heavy haze of fog, dark and heavy though their clarity exists underneath the shroud. The B Side’s lone track “Skull Theft” is the full circle realization of the first two tracks: a light is illuminated and the fog begins to clear. Mastered by Keith Fullerton Whitman. In an edition of 500 LPs with full color pro-printed cardboard sleeves and printed labels with art by Robert Beatty (Hair Police / Burning Star Core)
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It’s been nearly two years since we’ve heard new music from Gary War and we are excited to announce the release of his inevitable breakthrough “Jared’s Lot”.
Through the years we have heard the developments from the D.I.Y. psychedelia of “New Raytheonport” to the more current electronic acid-prog tracks we heard from “Horribles Parade” and the most recent “Police Water” EP. “Jared’s Lot” brings the years of laboring and hard work full circle, with every facet of the project dialed into perfection. These tight and intelligently arranged pieces are the most concise and mind-blowing set of songs presented yet and we’re sure you’ll have a hard time taking this off your turntable.
The album kicks off with the incredibly anthemic “Thousand Yard Stare”, which asserts immediately that the album is very different than previous efforts, crafted with hind-sight in mind and glowing with ambition. We can hear the melancholy voice of a man lost in the cosmos with nothing to lose going for broke, it’s all or nothing. Tracks like “Superlifer” and “Pleading for Annihilation” contain such a powerful energy and pack such a wallop that you won’t possibly be able to stand still. There is a great juxtaposition however, with songs like “Advancements in Disgust” and “World After” experimenting with new styles of pop/rock structure and incorporation of odd rhythm and melody.
Gary has a masterful control of his machines, and you can tell that countless hours were spent making sure that the vision came direct and absolutely pure, from his mind to the record you will hold in your hands. Even though we have a more synthetic based set of tracks, it’s apparent that these transmissions are messages that are based in our reality, evoking a boundless range of emotions throughout.
The hectic fidelity of Gary War’s previous recordings have morphed into a unique production style which rewards with it’s rich tone and multi-layered tiers of sound and melody. We are witnessing a huge leap forward in both sound and vision, respectively. Meanwhile, the alienated code hardly discernible to the listener and clever pop structure remains, and in top form, making this album a warmly received gift to the Spectrum Spools catalog.
“Fear that man who has nothing to lose.”
Black Past is the musical solo vision of Cleveland based musician Gregory Boyd and “Pitch Black” is his debut statement and Dangerous Age 001.
Alternatively titled “A Soundtrack for a Deranged Motorcyclist”, “Pitch Black” is a bleak narrative pulling no punches. Utilizing an array of drums, percussion, synthesizers, guitars, and other various sound making devices, Boyd creates a damaged repertoire of haunted motorik songs and ghosted void stasis. There is an intensity and mystery buried in these tracks that keep you hooked throughout and coming back for more as you peel back each hidden layer to find new messages and meanings not obvious upon your first encounter.
“Blown Out Mind” kicks the record off with it’s repetitive drum clatter on the fringes of disaster and in-the-red synth leads. The track snow balls and collapses into “Brain Trouble”, a blitzing and disarming hypnotic grey cloud. “EG&S” (Mood Ring) will launch you into the heart of the “Pitch Black” concept while “A Dark Ride Into the Sun” rounds out the record with heavy analog riffing and dusty light waves. Bizzare fidelities resonate throughout which perplex with old school, truly D.I.Y., private basement session sound.
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After many years as half of the highly influential Skaters with James Ferraro, 2 solo albums on Olde English Spelling Bee (Black Joker and Monopoly Child Star Searchers) and countless tapes and cd’s, Spencer Clark has taken it to the next level. Layers of cosmic and alien sounds inhabit their own world and act as metaphors you can access subconsciously or explicitly. Clearer and more lucid than previous releases of his, this is a singular record of inner space exploration that operates completely outside the retro kraut-new age-synth trend so prevalent right now. Being more hi-fi than his past recordings,Spencer says “I have made an Alien Space Fusion Music that is an Aural Symbol for the pre-birth outer space-self’s new Arrival.” In this new zone, Spencer channels a more personal and spacious side of his vision, combining the rhythmic side of Monopoly Child with the abstractions of his Vodka Soap project. 12 full color pages of art, text and photos in the full size lp format. This marks the first lp release on Clark’s Pacific City Sound Visions label. It stands as his biggest statement yet and will surprise and please. A beautiful record. Now it’s yours to explore.
“Here You Leave Today is Southern California based Alex Twomey’s first full-length LP
as Mirror to Mirror, co-released by his own label Jugular Forest and the Cleveland
based Cylindrical Habitat Modules after a string of cassette releases for Arbor, Ekhein,
Gift Tapes, and Monorail Trespassing. Throughout the course of 7 enchanting
compositions for synthesizer Alex conveys a sense of thoughtful reflection. A melodious
personal journey exploring ones open connections to the people and surroundings they
encounter. Cotton candy for the ride home.”
Sanguine Futures opens with a slow crawl ; the burden of winter crawling across your back, reaching around your throat, grayed hands with frayed nails grip tight and pull you into an isolated realm of blissful purgatory. You’re only 2 and a half minutes in and creatures of crawling out of shadows and your breath is hanging heavy.
John Kolodij has crafted an auditory trip into territories that feel untouched, unmoved by a human hand, packed with ethereal and earthly blackness; a deep and dense wood, a coal-black night, tarry centers where you find the solitude of 100 year old weeping willows.
This is not an album crafted to simply listen and reflect, this is heavy slabs of flesh and blood, moaning, bending, warbling to life, groaning out and sucking you in. Shades of Scelsi and Penderecki collage and wind into spacious suites, built atop a foundation of heavy Köner-styled concrete. It’s beautiful, but there’s a lingering fear of the unknown, and you could lose your leg at your next step. It’s breathtaking and beautiful, but you’re always careful not to trip too far into these skeletal treescapes.
There’s deep, rusty veins running to the heart of Sanguine Futures, pumping a dark crimson fluid, driving the machine to keep humming. There’s a clicking film projector casting images onto a sheet of ice. We feel it, it’s thrust into the very energy that motivates us; a feeling of love, of life, of solace, of hope and pain and fear and joy and sorrow. This is a span of sounds and tones and textures, weaved together as a lifeforce. An album this isn’t, an entire affair, spanning our first to dying breaths. Heavy, spacious, frightening, and welcoming; all at once.
On Sanguine Futures, Kolodij was aided in arranging by Type Records’ John Twells, who also produced and mixed the record at Seventh Door Studios in Massachusetts. Trumpet by the renown Greg Kelley. James Plotkin mastered. Simon Fowler did the beautiful artwork.
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music by bill doob
Inspired School of Astral Music
-Masted by Timothy Stollenwerk at Stereophonic
-Limited Edition of 147
-Screen printed covers on heavy cardstock.
-Includes essay on the Cybergenetic Fugue State and the meaning of 10:10.
Co-released by Sonic Meditations and Psychic Sounds, this record is a meditation on Internet Consciousness, the Cybergenetic Fugue State (CFS) and Numerical Synchronicity as memory recovery in the digital age. Musically, it has been compared to Brian Eno, Tangerine Dream and Popol Vuh. I don’t disagree yet I think it exists in its own musical realm. The four compositions are brooding dreams of memory and nostalgia.
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from Kansas City, “Umberto” is the killer solo project from Matt Hill, following previous releases alongside Justin Wright in Expo 70 and one of two essential new GPS releases for April, “Welcome to the Chillzone” is unleashed as a limited edition vinyl only press of 500.
previously released as a 150 copy cassette-only release on Solid Melts last Summer, The GPS gives it the supersound 45 treatment on 12″ wax and dresses it up in a sweet new fright night sleeve, creating a debut full UK release in the process…
the 12 moves away slightly from Matt’s previously lauded full lengths for Not Not Fun and Permanent; “Prophecy of The Black Widow” and “From the Grave…” both of which lent heavy on killer Giallo/Goblin-esque soundtrack work, “Chillzone” as its title would imply, is a more stripped down, eerily ambient, totally icy late night listen.
two equal sides of 10’03” (providing a looped kinda feel for its initial cassette release) with side 2 ending as side 1 begins. to flip onto Side 2 as 1 ends is a must. stunningly chilling synth work recalling in equal measure John Carpenter VHS horror, Klaus Schulze and in places, Popol Vuh.
an incredible record not expected to hang around long…
Karen Novotny X was a short lived electronic project based in Hackney, East London and comprised three members; Cy Levene, Anna Bloom and Niko Nicolotti. Meeting and formulating ideas at the London School of Economics and the Slade School of Art around the dawn of 1978.
They resided in a number of East London squats and set up makeshift studios with borrowed equipment and Synthesisers purchased by Levene. A creative rush between the spring of 1978 and the summer of 1979, saw them recording a plethora of music primarily influenced by Disco, a number of key Italian composers, Throbbing Gristle, Krautrock and the industrial sounds coming out of Bloom’s hometown of Sheffield, not to mention an obsession for Donna Summer’s “I Feel Love”.
This intense 2 year period took it’s toll on this very close and guarded threesome and they soon found themselves heading off in three directions. Bloom back to her hometown of Sheffield whilst Niko was enlisted to the Italian Army. The tapes -which included last year’s quick sell out GPS 5 trk 7″ and cassette- have been coaxed from the reclusive Levene who now resides in Brussels; and leaves the KN X archives empty, with the release of this full length.
So what are we left with? Well Levene now looks back on this short, but eminently fruitful period claiming they were trying to make electronic / disco themed pop music in an attempt to get on to TV. While disco may have been at the heart of KN X, a very different beast lurks within. An often dark, unsettling narrative set to simple drum machines, synthesisers, sequences and the isolated, almost childlike vocals of Cy Levene and Anna Bloom puts this shortlived project into a whole new genre.
An LP -and series of recordings- that it’s creators imagined forever lost to the masses, now seems set to earn itself a key role as main hitter in the murky, yet increasingly researched world of mid to late 70s minimal synth. An extraordinary LP proudly released by The Great Pop Supplement, numbered to 500 white vinyl copies with hand stamped library inner bags and collage insert.
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Cloudland Canyon debut in the UK with a killer 3 trk 12″ EP “Aureliua” for The Great Pop Supplement; following acclaimed previous releases for Holy Mountain, Kranky and Not Not Fun.
The epic 13 minute ebb and flow / build and pulse of the title track “Aureliua” is incredible. Like some Drone-Dream collision, where it’s intense peak recalls perhaps the mighty “Suicide” by Spacemen 3, yet channelled further towards the cosmos! So it comes as no surprise that mastering duties (across the whole EP) were performed by Sonic Boom; who also adds bass swells to B side opener “Closer” which starts like some outtake from later Sky era Cluster only to re-invent itself later in as the meatiest of beats kicks in.
A fabulous record that is pressed in an edition of 500 copies, all on ‘Sea Foam Green’ vinyl no less…