james rushford / joe talia “manhunter” long playing record

• manhunter (1)
  
  
• manhunter (2)

chris corsano / bill orcutt “the raw and the cooked” long playing record

• the raw and the cooked (1)
  
  
• the raw and the cooked (2)
  

palilalia press release...

chris corsano & bill orcutt the raw and the cooked pal-011. palilalia records. chris corsano : drums. bill orcutt : guitar. recorded in brooklyn, philadelphia, northampton & baltimore, august & september 2012. thanks to jason meagher. photo by peter gannushkin.

idea fire company “postcards” long playing record

• air port i
  
• fiume
  
• vienna
  
• port lligat
  
• kronstadt
  
  
• tokyo
  
• st. helena
  
• oslo
  
• air port ii

swill radio press release...

idea fire company – postcards (swill radio 033) 2013 marks both the 25th anniversary of ifco and the 30th anniversary of swill radio, so what better way to start the celebrations than with a brand new ifco lp? postcards is a reworking of a cassette originally released by no basement is deep enough in 2011. re-ordered, remixed, remade, and remodeled postcards presents a more charming atmosphere than music from the impossible salon's (kye) stark melancholy. there is still plenty of piano and sad scenarios, but there are also flights of electronic fancy. eight imaginary impressionistic portraits of cities we have never been to. karla borecky and scott foust. deluxe edition. 220g vinyl. cover painting and artwork by karla; booklet with highly subjective text by me. postcards from a past that never existed. ifco march on and on.

idea fire company “days” seven inch single record

• the first days
  
  
• the last days

damien dubrovnik “first burning attraction” long playing record

• key of unesco
  
• pacha counterfeit
  
• the boys lay flat on their stomachs
  
  
• blue mussels
  
• necklace
  
• first burning attraction

keiji haino / jim o’rourke / oren ambarchi “now   while it’s still warm   let us pour in   all the mystery” long playing record

• once again i hear the beautiful vertigo? luring us to "do something, somehow"
  
• who would have thought this callous history would become my skin
  
• only the winding “why” expresses anything clearly
  
  
• a new radiance springing forth from inside the light
  
• even that still here and unwanted can you and i love it? just like us it was born here too
  
• now while it's still warm let us pour in all the mystery

black truffle press release...

following on from 2012's acclaimed imikizushi (bt 007cd/lp), now while it's still warm let us pour in all the mystery is the fourth release from the established power trio of keiji haino, jim o'rourke, and oren ambarchi, recorded in january 2012 at their yearly concert at superdeluxe, tokyo. while the trio's two previous double lp releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio's interactions, from holy minimalism to cave-man rock. the record begins with the trio joined by special guests charlemagne palestine and eiko ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to haino's angelic vocals. this 10-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from haino, is steeped in the same mysterious atmospherics as haino's great folk-drone project, nijumu. when haino turns to the flute on the lp's second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that haino has developed from traditional japanese aesthetics, o'rourke and ambarchi transform into the delicate and probing rhythm section of a classic '70s fusion side. when the trio returns to the crushing free-rock of their last two records, o'rourke's heavily effected bass rolling alongside ambarchi's tumbling rhythms as haino's guitar squeals and slashes above them, their performances display a new purposefulness and concision. now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs -- o'rourke and ambarchi instantly locking into solid riffs over which haino alternates between jarring no-wave chords, intense soloing and his signature vocalizations. when the trio slow down and stretch out, the rhythm section plods like an abstracted crazy horse on the brink of collapse, and haino elicits long, mournful solos reminiscent of the first classic fushitsusha double live lp. perhaps more accessible than the trio's previous recordings because of its range and concision, now while it's still warm... exudes the dark, alien quality of haino's greatest recordings and testifies to the strength of the musical bond that has developed between these three players. - francis plagne, jan 2013. limited edition lp in a lavish gatefold with a printed inner sleeve. design by stephen o'malley with high quality live shots by ujin matsuo and stunning artwork by shunichiro okada.

keiji haino / jim o’rourke / oren ambarchi “now   while it’s still warm   let us pour in   all the mystery” compact disc

• once again i hear the beautiful vertigo? luring us to "do something 6somehow" (9:52)
  
• who would have thought this callous history would become my skin (5:32)
  
• only the winding “why” expresses anything clearly (6:38)
  
• a new radiance springing forth from inside the light (9:12)
  
• even that still here and unwanted can you and i love it? just like us it was born here too (10:42)
  
• now while it's still warm let us pour in all the mystery (3:29)

black truffle press release...

following on from 2012's acclaimed imikizushi (bt 007cd/lp), now while it's still warm let us pour in all the mystery is the fourth release from the established power trio of keiji haino, jim o'rourke, and oren ambarchi, recorded in january 2012 at their yearly concert at superdeluxe, tokyo. while the trio's two previous double lp releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio's interactions, from holy minimalism to cave-man rock. the record begins with the trio joined by special guests charlemagne palestine and eiko ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to haino's angelic vocals. this 10-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from haino, is steeped in the same mysterious atmospherics as haino's great folk-drone project, nijumu. when haino turns to the flute on the lp's second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that haino has developed from traditional japanese aesthetics, o'rourke and ambarchi transform into the delicate and probing rhythm section of a classic '70s fusion side. when the trio returns to the crushing free-rock of their last two records, o'rourke's heavily effected bass rolling alongside ambarchi's tumbling rhythms as haino's guitar squeals and slashes above them, their performances display a new purposefulness and concision. now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs -- o'rourke and ambarchi instantly locking into solid riffs over which haino alternates between jarring no-wave chords, intense soloing and his signature vocalizations. when the trio slow down and stretch out, the rhythm section plods like an abstracted crazy horse on the brink of collapse, and haino elicits long, mournful solos reminiscent of the first classic fushitsusha double live lp. perhaps more accessible than the trio's previous recordings because of its range and concision, now while it's still warm... exudes the dark, alien quality of haino's greatest recordings and testifies to the strength of the musical bond that has developed between these three players. - francis plagne, jan 2013. released as a 6 panel digipak cd. design by stephen o'malley with high quality live shots by ujin matsuo and stunning artwork by shunichiro okada.

richard dawson “the magic bridge” double long playing record and compact disc set

• juniper berries float down the stream
  
• black dog in the sky
  
• wooden bag
  
  
• the bamburgh beast
  
• grandad's deathbed hallucinations
  
• cumberland rag
  
  
• we picked apples in a graveyard freshly mowed
  
• newcastle
  
  
• man has been struck down by hands unseen
  
• the magic bridge
  
  
• i am not your man
  
• wooden bag (version)
  
• the marsh

box press release...

richard dawson - the magic bridge (double 12" lp) following the cd release through pink triangle, box records are proud to present the phenomenal 'the magic bridge' album on double gatefold 12" vinyl. furthermore the vinyl will come with an exclusive cdr of three previously unreleased richard dawson tracks.

hans-joachim roedelius “offene türen” compact disc

• abenteuerliche begegnung (3:52)
  
• besucher im traum (4:03)
  
• mit offenem visier (3:31)
  
• von osten her (4:20)
  
• der sieger (2:11)
  
• auf der höhe (4:01)
  
• allemande (2:15)
  
• spiegelung (2:51)
  
• husche (2:43)
  
• stufe um stufe (3:08)
  
• zeremoniell (3:30)
  
• wende (4:11)

bureau b press release...

roedelius offene türen reissue (originally released 1982) cd release date: april 12, 2013 “offene türen” is a purely electronic album. without losing himself in their infinite tonal possibilities, roedelius delights in playing a selection of synthesizers. he even deploys an analogue rhythm machine now and then to discreet effect. roedelius takes great care to steer well clear of any cosmic fog or depersonalised abstractions. nothing of the sort can be heard, as he focusses intensely and exclusively on the relationships of rhythm, harmony and melody. roedelius conjures up their delicate timbres on synthesizer with the greatest of ease. the seasoned electronic musician would have found similar results beyond the reach of his good old farfisa organ. “offene türen” is an album of electronic chamber music and only someone with as sunny a disposition as roedelius could be its composer and performer. indeed, the unfettered roedelius knew no artistic barriers in the early 1980s, following a turbulent period of personal upheaval amidst the musical revolution going on around him. he began to open up a brand new musical world, venturing forth with typical humility, as quietly and steadfastly as ever. “offene türen” marks a kind of threshold which roedelius crosses in the moment of its inception: one foot in the glorious 1970s, the other already reaching into the uncharted future of the 1980s. roedelius did not surrender his musical identity in the process, nor did he modify his inimitable artistic handwriting. both had attained a level of complexity that perhaps he himself would have found surprising in earlier days. those who have listened carefully to roedelius both before and after “offene türen” will appreciate the album’s significance. but even leaving such historical reminiscences aside, this music is incredibly vibrant and beautiful. listening to it now is as great a pleasure as it was at the time of its creation. clearly, roedelius has always been an absolute master of timelessness. - asmus tietchens

daniel menche “marriage of metals” long playing record

• marriage of metals (1)
  
  
• marriage of metals (2)

alan licht “four years older” long playing record

• four years later (15:36)
  
  
• four years earlier (19:30)

ekkehard ehlers “betrieb” compact disc

• on (0:49)
  
• inside (3:50)
  
• open (4:31)
  
• slow (3:12)
  
• wide (4:35)
  
• faster (1:16)
  
• earlier (6:07)
  
• round (0:43)
  
• wider (2:25)
  
• later (3:43)
  
• down (6:24)
  
• deep (4:43)
  
• always (1:15)
  
• shut (2:58)

human ear music press release...

ekkehard ehlers' essential electronica opus sees a breathtakingly warm analog revival. before lo-fi tape hiss and filter murk became the preferred ways of fucking up your music, all we had to rely on was the glitch. the early 2000s were the swingin' glitch years, when clicking, skipping, beat-repeat and buffer-delay seeped into every ontological stratum of music-making. but it wasn't just flashy winks teased into indie pop-dance, facile quasiclassical crossover, and bookish sound art. glitch was a grand, sweeping sea-change in how people listened to recorded music. the idea that the act of editing was now elemental, unconcealed; that seems to be the legacy of experimental electronica's golden years. and at the heart of it all seemed to lie this curious little album by ekkehard ehlers, made of nothing more than mash-ups of two of the previous century's musical sea-changers, arnold schönberg and charles ives. a high concept, even for haughty times. not exactly the stuff of poetical dreams, right? but in the decade to follow, ehlers would become well-known for balancing the heart precariously upon the intellectual sword. in his follow-up to betrieb, the ekkehard ehlers plays series, the mere thought of cornelius cardew and albert ayler were brought to bear upon a new tradition that had yet to figure out how it felt about feeling. and as any proper first album should, betrieb could have no better stated this mission of pitting concept against intuition. to this day, betrieb continues to articulate the epistemology of its era, as much as it offers timeless auditory delights. hem's 24bit remaster represents a significant update to the original sound. the original masters were transferred to 1/2" tape, and then treated to a remarkable journey through hand-wound patch cables, bespoke acoustics and humming transistors. ehlers' music not only stands up to the analog treatment, it shines: clicks and pops have become fuzzy, glowing points of starlight, while once-foggy atmospherics have become layered, multidimensional skeins of strings and smoke. betrieb was once the thinking-man's feeling-music (or the feeling-man's thinking-music). but it is now, simply, a transportive listening experience: finally the monument it always aimed to be.

michael pisaro “tombstones” long playing record

• blues fall
  
• fool
  
• new orleans
  
• silent cloud
  
  
• tombstone
  
• a stranger
  
• stop
  
• a better way
  
• why?

human ear music press release...

michael pisaro — tombstones following alain badiou, we might say that an entirely secular resurrection occurs when an idea that appears to be dead is taken up with a new impulse, possibly for different ends. the tombstones take tiny fragments of old and not-so-old songs and put them into an experimental music situation, introducing them to a kind of chaos, where the arrangement of the written out material is up for grabs. in june of 2009 we took a group of musicians to studio paradiso in san francisco, made on-the-spot arrangements of the songs and recorded them, mostly in one or two takes. i selected performances with this question in mind: did the song happen? - michael pisaro this presents an exhilarating challenge in a culture already saturated by hallucination, paradox, and shadowplay. each “tombstone”, as these tracks are called, is literally a “sampled” bit of structure, tuning, lyricism, beat or phrasing; a mystery moment sourced from perhaps, the beatles, dj screw, bob dylan or ugk, to name a few. (the actual sources are a closely guarded secret, but in some cases not hard to guess.) pisaro distills the archetype of sampling into a fragment of intention, the groundwork of a sound, and ultimately, a cultural techne at once beyond the reach, and at the origin of the act of editing. or in other words, it’s the knowledge-seeker’s paradox in music: while it is not possible to know all there is in creation, it is quite possible to distill the elegant, simple processes at its heart. with this distillation, pisaro attempts to freeze one curious tension after another, in which the voice (or the archetype of the voice) is shaken out of a field of interferences, and made to speak as if in song. in the band, electronics are conspicuously absent (but not forbidden). two electric guitars (played by grier and pisaro) appear. otherwise, tombstones relies on a rather economical spread of acoustic instruments and percussion, some conventional, some not-so-conventional. the pulsating drones of harmonium (tashi wada, julia holter) and e-bow guitar anchor the field with unwavering strings (cassia streb, laura steenberge, laena myers-ionita) and flute (kelly coats) performed without a hint of vibrato. percussionist rob esler offers a surprising range of naturalistic (sometimes eerily synthesizer-like) performances that aim for halo more than punctuation. the effect will be familiar to those who frequently listen to like-minded music whose focus is on unmediated experience of the subtlest timbres. however, in tombstones’ zoomed-in context, a double-image is generated: a face in lucidity and a face in suspense. suspended, as it were, between exhilaration and anticipation, vocalists janet kim, julia holter, laura steenberge and lisa tolentino each approach their performances in unique ways.

michael pisaro “tombstones” compact disc

• blues fall (6:12)
  
• fool (4:42)
  
• new orleans (5:16)
  
• i didn't say anything (6:45)
  
• silent cloud (6:15)
  
• tombstone (3:11)
  
• a stranger (3:04)
  
• unmoon (5:40)
  
• stop (2:44)
  
• a better way (13:45)
  
• why? (0:05)

human ear music press release...

michael pisaro — tombstones following alain badiou, we might say that an entirely secular resurrection occurs when an idea that appears to be dead is taken up with a new impulse, possibly for different ends. the tombstones take tiny fragments of old and not-so-old songs and put them into an experimental music situation, introducing them to a kind of chaos, where the arrangement of the written out material is up for grabs. in june of 2009 we took a group of musicians to studio paradiso in san francisco, made on-the-spot arrangements of the songs and recorded them, mostly in one or two takes. i selected performances with this question in mind: did the song happen? - michael pisaro this presents an exhilarating challenge in a culture already saturated by hallucination, paradox, and shadowplay. each “tombstone”, as these tracks are called, is literally a “sampled” bit of structure, tuning, lyricism, beat or phrasing; a mystery moment sourced from perhaps, the beatles, dj screw, bob dylan or ugk, to name a few. (the actual sources are a closely guarded secret, but in some cases not hard to guess.) pisaro distills the archetype of sampling into a fragment of intention, the groundwork of a sound, and ultimately, a cultural techne at once beyond the reach, and at the origin of the act of editing. or in other words, it’s the knowledge-seeker’s paradox in music: while it is not possible to know all there is in creation, it is quite possible to distill the elegant, simple processes at its heart. with this distillation, pisaro attempts to freeze one curious tension after another, in which the voice (or the archetype of the voice) is shaken out of a field of interferences, and made to speak as if in song. in the band, electronics are conspicuously absent (but not forbidden). two electric guitars (played by grier and pisaro) appear. otherwise, tombstones relies on a rather economical spread of acoustic instruments and percussion, some conventional, some not-so-conventional. the pulsating drones of harmonium (tashi wada, julia holter) and e-bow guitar anchor the field with unwavering strings (cassia streb, laura steenberge, laena myers-ionita) and flute (kelly coats) performed without a hint of vibrato. percussionist rob esler offers a surprising range of naturalistic (sometimes eerily synthesizer-like) performances that aim for halo more than punctuation. the effect will be familiar to those who frequently listen to like-minded music whose focus is on unmediated experience of the subtlest timbres. however, in tombstones’ zoomed-in context, a double-image is generated: a face in lucidity and a face in suspense. suspended, as it were, between exhilaration and anticipation, vocalists janet kim, julia holter, laura steenberge and lisa tolentino each approach their performances in unique ways.

gravetemple “ambient/ruin” double long playing record set

• ambient/ruin (presented in 6 parts) [53:58]

ideologic organ press release...

soma015 / gravetemple ambient/ruin 2lp release date 29.04.2013 attila: chants & percussion & fuji sounds recorded on location in kamakura may 08. stephen: guitars & korg polysix recorded in paris & saalfelden june 08. matt: drums were recorded at 3 phase studios, melbourne by sam johnson march 06. oren: guitars, motorised cymbal, electronics, bells, tympani, atmos recorded at jerker house, melbourne & bjb, sydney 06-08. track iv live recordings: levontin 7, tel aviv by kostya gervis july 06. a/d editing & mix by oren june 08 at jerker house. mastered by joe talia at chinatown, melbourne november 012. cut by rashad becker at dubplates & mastering, berlin february 013. drawings by justin bartlett / vberkvlt. art direction & backline design: soma. gravetemple was formed in 2006 as a side-project of the band sunn o))) by oren ambarchi, stephen o'malley and attila csihar. the group formed initially to tour in israel summer 06, creating several recordings which eventually became "the holy down" album, which was released on southern lord recordings in 2007. at the time of the israel tour, the lebanon war started and was in action. in summer 08 the trio reformed together with the addition of australian drummer matt "skitz" sanders for a short european tour culminating at a headlining performance at supersonic festival in birmingham. in late 2009 the original trio reconvened for a special one-off concert at london's institute of contemporary arts. april 2013 marks the first set of live action since that period, and a new chapter in the ongoing system of the related network. "ambient/ruin" was created with the 2008 quartet, elements of tape collage, concrete, field recordings blend within a strong geographically diverse (parts were recorded in japan, australia, paris and israel) suite of heavy minimalist / maximalist music, black / death metal and drone. the culmination of these efforts become the music, literally, of sadistik exekution meeting phill niblock. gravetemple clearly adapted the aspects more abstract and experimental related to sunn o))) and has continued from that point, with continued ongoing focus on metaphysical construction of free music and will. the music became a geographically and metaphysically based effort. discography the holy down (southern lord, cd 2007) ambient/ruin (self released demo, cdr 2008) le vampire de paris (self released cd 2009) ambient/ruin (ideologic organ, 2lp 2013) "gravetemple is a sacred metaphor & psychedelic spiritual abstraction"

wold “freermasonry” double long playing record set

• opening
  
• sol
  
• free goat of leviticus
  
• annex axe
  
  
• dragon owl didacticism
  
• working tools for praxis
  
  
• dry love
  
• free eyes
  
• freermasonry
  
  
• concordant body

ideologic organ press release...

soma014 / wold freermasonry 2lp release date 29.04.2013 fortress crookedjaw: poetry, discourse, composition, bass, devices, synth, and vocals obey: guitar on sol and free eyes acrimonia: guitar, additional compositional work, and programming on annex axe recorded in regina, moose jaw, london, and providence produced, mixed, and mastered by wold visual art by s.f.j. nicholl concept by wold design by stephen f. o'malley freermasonry angle process has been severed, i wait with the goat’s secret. maul crushes skull on tiled ground. eigenheit; sky-eyed willful one, outside of them. statement from the wold communique sent out following the completion of freermasonry: lyrically freermasonry: consist of a series of poems and discourses. early on in freermasonry during sol, the mother allusion is referenced out of faust part two. it’s a small portion and short moment. faust does an invocation to the mothers, but the execution is as trickery through occult charlatanism and not truly believed ritual. goethe found passages about dark goddess figures known as mothers in the writings of plutarch. the metaphor is ambiguous, generally associated with creative dark force and will, but reared in a potent lie. i use it in correlation with screech owl as atheistic reactionary sentiment. of course there are many other aspects to freermasonry: - fortress crookedjaw this is all to say that freermasonry:— the obliterative sixth album from wold, the saskatchewan act led by the incredibly named fortress crookedjaw -- is ultimately enigmatic and entirely unknowable, an intersection of noise, metal, and electronics that doesn't yield to such plainclothes criticism. mean, dense and multivalent, with a lyrical conceit based on masonic symbolism and biblical scripture, it's the rare loud music that begs to be louder still if you're to have any chance of understanding it. freermasonry: is a case study in controlling the illusion of chaos, an elegantly constructed nightmare of sound where hearing one layer of serrated screams, static bursts, and feedback flares means you've missed some mass of activity somewhere else. weirdly seductive rhythms tumble beneath a laundromat of blown-out tones and crackling vocals, generally pulling your attention a dozen different ways. i've been listening to the album consistently for three months now, and somehow, i'm still surprised by what its 58 minutes sound like and accomplish. paradoxically disorienting and direct, freermasonry: is a constant tumult of surprising activity, more unforgiving than most everything in the noise, metal, and drone scenes, places where wold kind of fits. - grayson currin

paul metzger “tombeaux” long playing record

• of the passing
  
• beau soir
  
  
• sepulchre

pere ubu “live at the longhorn • april 1, 1978” double long playing record set

• heart of darkness
  
• modern dance
  
• cloud 149
  
• heaven
  
• real world
  
  
• street waves
  
• my dark ages
  
• laughing
  
• humor me
  
  
• over my head
  
• sentimental journey
  
• life stinks
  
• final solution

richard dawson “the magic bridge” compact disc

• juniper berries float down the stream (5:22)
  
• black dog in the sky (5:20)
  
• wooden bag (5:25)
  
• the bamburgh beast (3:36)
  
• grandad's deathbed hallucinations (7:06)
  
• cumberland rag (6:32)
  
• we picked apples in a graveyard freshly mowed (6:48)
  
• newcastle (8:52)
  
• man has been struck down by hands unseen (9:01)
  
• the magic bridge (5:05)

pink triangle press release...

richard dawson has been a much-loved musical spectacle in his native newcastle for many years now, a skewed troubadour who sings and plays guitar with a rare intensity and a very singular style. beguiled northern audiences have long awaited the arrival of recordings that capture dawson’s genius, and it has finally arrived with his album the magic bridge, a 10-song collection out now on cd (pink triangle) and double 12” vinyl (box records). dawson’s music is a collision of opposites, his hoarsely cracking voice suddenly rising to a magical soar that’s been compared to tim buckley, john martyn and richard youngs, while his battered acoustic guitar veers from stumble to sublime in a way that can recall sir richard bishop or captain beefheart. add this to his snaring way with words and dawson’s got you pinned – stories like the one relayed in black dog in the sky typify his by turns heartbreaking and hilarious self-deprecation and skill in painting a story with both words and guitar. the listener is drawn in carefully but irresistibly from the instrumental opener juniper berries float down the stream, which creeps in falteringly but grows and envelops before you realise it’s happened and you're gripped. by track 2 and the arrival of his skyward voice (not to mention its beautifully tender conclusion) and dawson has you under his spell.

quicksails “mayville dream” long playing record

• the many roads towards mayville
  
• institute's innards
  
• as high above the lightning
  
• only escape
  
• bemus has wings to fly
  
  
• closer to tonawanda
  
• night bats
  
• dancing by yourself
  
• a late realization

spectrum spools press release...

sp 027 / quicksails mayville dream lp release date 29.04.2013 ben billington is a resident 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 sophmore 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 every direction and experience his knowledge and 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. "institutes innards" flips the mood right away with its deep urgency and melodies that demand introspect. tracks like "bemus has wings to fly" and and "closer to tonawanda" 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. mastered by james plotkin cut at dubplates & mastering, berlin layout & design by sam kahn

geoff mullen “filtered water” long playing record

• filtered water (1)
  
  
• filtered water (2)

violetshaped “lp” double long playing record set

• state of temporary neuronal effervescence
  
• the lord won't forget
  
  
• out of any symmetry
  
• cx310
  
  
• spectral nightdrive
  
• delusory parasitosis
  
  
• down regulation
  
• anesthesia

violet poison press release...

violetshaped, a project formed by the mysterious dungeon-man violet poison and berlin-based shapednoise, present their debut lp available in limited edition on double transparent vinyl. some of the album tracks were previously remixed by vatican shadow and roly porter. the lp places the subject in a nocturnal car parking of houston, texas, 3am. a knife-drone runs together a tubular 80's thrilling sequence. then rides of malformed circuits and bleeps are sustained by unceasing thwacks that take us in an abandoned plant of vintage robotic models. machines can talk now. modern and experimental hybrid-techno that moves between cyberpunk, industrial, noise and ebm.

justin meyers “albuterol auteur” c21 cassette

• albuterol auteur
  
  
• drone (no stasis)

nna tapes press release...

nna058: justin meyers “albuterol auteur” c21 "albuterol auteur" is the latest collection of synth pieces from minneapolis-based sound and visual artist justin meyers. after multiple brilliant releases over the years, many of which on his own tone filth label, nna is excited to bring forth these new works created and performed on meyers' own home-built modular synthesizer system, the tf50. working from the ground up, meyers displays a natural talent in the pure manipulation of raw current and electricity to form deeply expressive and colorful environments of electronic sound. these minimal yet perpetually shifting compositions seem to be aqueous in structure, seamlessly drifting between tones and phases, carving out a unique melodic terrain along the way. the expedition is documented in immaculate fidelity, engrossing the listener in a distinctive warmth. an original voice in electronic music at the hands of highest caliber craftsmanship.

freddy ruppert “hangs a shadow” one-sided c36 cassette

• memory slothly
  
• mannerisms
  
• stanch
  
• droops
  
• stanch 2
  
• scant
  
• happens
  
• dessicator
  
• hangs a shadow

nna tapes press release...

nna057: freddy ruppert “hangs a shadow” c70 following up 2012's "wait" ep on nna, we're proud to present "hangs a shadow", the debut full-length from prague-via-los angeles musician freddy ruppert. these very personal recordings meditate on the loss of a loved one, and the inward struggle to retain honest memories of that person. ruppert strives to convey through sound what words fall short of explaining; frustrations with mortality, the limitations of the human organism, and it's inevitable battle with it's own consciousness. electro-acoustic and musique concréte influences are prevalent, harnessing the power of silence to bridge the emptiness between snippets of percussion, field & domestic recordings, raw electronics, and the manipulation of collected improvisations. a cinematic narrative emerges through immaculate processing, editing, and the poignant use of space to cut into the tension of intimacy. human voice, jagged sine waves, the movement of furniture, and fateful tones are all juxtaposed against themselves, breathing intense life into the mundane through complex sound work.

phork “entertainment” c43 cassette

• accelerationism
  
• skylight (interlude 1)
  
• undone
  
• wishing well / lifespan (interlude ii & iii)
  
• the clock
  
  
• development
  
• dead memo
  
• you worry they will worry
  
• spectator
  
• it’s you (exit)

nna tapes press release...

nna056: phork “entertainment” c43 los angeles-based producer neal reinalda offers us his latest "entertainment", the anticipated follow-up to last year's "discrepancies" cassette on nna. with this full-length, the people's higher order further refines it's sound, bringing forward new ideas and flavors into american techno. phork succeeds in injecting a warmth and humanity into a dance music framework that is wholly original, keeping a global influence in it's sampling studies, while receiving guidance from the worlds of noise, hip-hop, ambient, and sound art. reinalda's baltimore roots shine through in his informed conceptual framework, holding a mirror to daydreams of post-consumerism and dark ecology. mood and atmosphere are established through ultra-tight production and focused composition, pulsing with life even in the absence of rhythm. the result reaches new depths in contemporary electronic music, gaining power and magnitude through sonic texture, repetition, and the matrimony of inhuman and organic worlds. systems are questioned, interconnectedness is examined, and yet still nothing is as it seems.