rudolf eb.er “meditation on a broomstick” compact disc

• fehlstartprinzip (2:26)
  
• angsthysterie (in lepido... scherzhaft / spasshaft) (1:44)
  
• shamanoid (4:12)
  
• geisterstimme (0:25)
  
• pechschwarzer schwefelgeruch... (pleakswart swaelreuk) (3:21)
  
• oralsadistische stimmübung mit vögel (2:09)
  
• für aggressionstrieb und grifforgan (0:37)
  
• spieltherapie mit um den hals geknoteter (darm-) saite (1:40)
  
• schnabelartige ausdrucksformen (initiation und verwandlung) (für kham-naar) (1:26)
  
• regnende kröten (1:06)
  
• pink 1 (tiermenschliche doppelnatur) (1:00)
  
• für stehpult und leiter (0:27)
  
• pink 2 (tiermenschliche doppelnatur) (0:27)
  
• sommer (1:08)
  
• mordsmusik (4:52)
  
• jenseitige wahrnehmungen (psychodrama, zürich) (1:39)
  
• triebziel (2:14)wash your brains (baum sein) (3:40)
  
• animist hum papa (0:52)
  
• psychopompos (und kaori yakushinji) (2:30)
  
• hellhören bei schläfenlappen-epilepsie (simulation mittels transzerebraler magnetstimulation) (2:41)
  
• übergangsritus, vogelwaschung (0:23)
  
• hirnstamm / hirnstomp (2:10)
  
• mehrstimmige wahnaktivität 1 (0:53)
  
• organlust - brutwulst (2:12)
  
• mehrstimmige wahnaktivität 2 (1:00)
  
• ich-zerfall (5:55)
  
• quelle (6:23)

tochnit aleph press release...

rudolf eb.er meditation on a broomstick tochnit aleph ta100 first proper studio album by rudolf eb.er / r&g since '23 brutal-humouroid dramas' (ta052) from 2005. psycho-active audio-art composed and mixed 2010-2011 by rudolf eb.er in osaka. cd in 6-panel fullcolour digipak. edition of 500 copies.

casual encounter “s/t” c24 cassette

• grand beliefs - intro
  
• disguised
  
• space
  
• inabox
  
  
• turning point
  
• slip the seven
  
• one piece
  
• grand beliefs - outro

nihilist press release...

casual encounter s/t [nihil74] cassette (2011) the foreboding pulse of a drum machine dripping with reverberated goodness makes way for an array of analog synthesizers to comprise beautifully bleak songs by this chicago duo. equally necessary ethereal guitar work and unique whispery vocal stylings round out the enchantingly dismal sound of casual encounter. this being the debut release by c.e. cassette edition of 100 pro-duped chrome tapes.

alex barnett / fielded “split” long playing record

• alex barnett - antarctica
  
• alex barnett - the hunted
  
  
• fielded - the key
  
• fielded - the mark, my good master
  
• fielded - horse

nihilist press release...

alex barnett / fielded split [nihil73] lp (2011) alex barnett presents two new pieces delving further into synthesizer soundtrack territory. creating subtle and sinister soundscapes eerie enough to turn any situation into a potential death scene. fielded (lindsay powell, also of ga'an / festival) follows up her brilliant terrageist lp here with a few sparkling gems almost too precious to behold. foundations of synthesizers are laid to waste by the pounding anthemic drum machine battle beats while powell's patented multi-layered and processed vocals command with definitive power. stupefyingly essential release! first edition of 200 copies on black vinyl.

thurston moore / graham moore “split” long playing record

• thurston moore - mature, lonely + out of control
  
  
• graham moore - alternative hairstyles

hubble “hubble drums” long playing record

• nude ghost (10:33)
  
• hubble's hubble (10:40)
  
  
• glass napkin (20:18)

northern spy press release...

artist: hubble title: hubble drums catalog number: ns 015 format: lp street date: november 8th, 2011 planned since hubble’s first live performance in september of 2010, hubble drums is an inspired record of new guitar music. equal parts shred-fi, cyber-dread and fried psychedelia, hubble drums marks ben greenberg (of zs and pygmy shrews) ’s first full-length recording and debut for northern spy.  recorded at python patrol and lovingly mastered at bonati mastering, the cd and 150g lp features original artwork by michael yaniro and ben greenberg. “hubble’s hubble” serves as the soundtrack for a video of nasa sanctioned cosmic imagery captured by the actual hubble telescope. possibly the most minimal track, ben produces sheets of sound that circle through 3 channels, panning left to center to right, creating an aural environment that reflects the space and movement of deep space.  “nude ghost” is based off the first tapping riff that ben wrote when creating music for solo guitar. the glacially emerging beat mixed into the track came from two days of hazed studio jamming with joe williams (white williams), jon leland (janka nabay, skeletons) and matt papich (ecstatic sunshine). ”glass napkin” highlights ben’s mastery of both guitar tone and hypnotic rhythmic patterns, as well as his energetic patience in the face of a void of his own devising.

hubble “hubble drums” compact disc

• nude ghost (10:33)
  
• glass napkin (20:18)
  
• hubble's hubble (10:40)

northern spy press release...

artist: hubble title: hubble drums catalog number: ns 015 format: cd street date: november 8th, 2011 planned since hubble’s first live performance in september of 2010, hubble drums is an inspired record of new guitar music. equal parts shred-fi, cyber-dread and fried psychedelia, hubble drums marks ben greenberg (of zs and pygmy shrews) ’s first full-length recording and debut for northern spy.  recorded at python patrol and lovingly mastered at bonati mastering, the cd and 150g lp features original artwork by michael yaniro and ben greenberg. “hubble’s hubble” serves as the soundtrack for a video of nasa sanctioned cosmic imagery captured by the actual hubble telescope. possibly the most minimal track, ben produces sheets of sound that circle through 3 channels, panning left to center to right, creating an aural environment that reflects the space and movement of deep space.  “nude ghost” is based off the first tapping riff that ben wrote when creating music for solo guitar. the glacially emerging beat mixed into the track came from two days of hazed studio jamming with joe williams (white williams), jon leland (janka nabay, skeletons) and matt papich (ecstatic sunshine). ”glass napkin” highlights ben’s mastery of both guitar tone and hypnotic rhythmic patterns, as well as his energetic patience in the face of a void of his own devising.

neptune “silent partner” long playing record

• #35 (1:43)
  
• cash mattress (8:03)
  
• triple your money (5:23)
  
• canine species (4:28)
  
  
• collection plate (7:02)
  
• #36 (3:11)
  
• rest from breathing (7:43)
  
• #37 (1:11)

northern spy press release...

artist: neptune title: silent partner catalog number: ns 013 format: lp street date: october 11th, 2011 there’s probably not much to say about punk’s continued existence. like jazz or sitcoms or party politics, it just carries on eating and breathing and shitting and propogating. it’s only interesting when someone comes along trying to advance the form. like “arrested development” or dennis kucinich, they’re usually forgotten. this would all be relevant if neptune were a punk band, which we’re not at all sure is the case. they create a sense of undermining the status quo, which is pretty punk, but then they screw things up by undermining the punk status quo. they’re not really a guitar band, although they do play guitars of a sort, handcrafted by boston sculptor and founder jason sidney sanford. but they’ve also covered the go go’s, which isn’t punk, not really. recorded at machines with magnets, the same studio employed by battles, the psychic paramount, and the skull defekts, “silent partner” pushes neptune up to two dozen releases over 15 years, and finds them continuing to push their electrified, rhythmic sound while staying true to what has always made them evocative. they’re too musical to be a noise band, and yet the noises they make are never quite recognizable. having lost drummer daniel paul boucher in 2009, sanford and mark william pearson made the counter-intuitive decision to focus on making an album heavy on drums. with kevin emil micka (animal hospital) and farhad alexander ebrahimi (big bear), they envisioned a new sort of drum thing for neptune and devised a new arsenal of instruments – not least of which is a feedback machine devised out of a prototyped yoga ball. there’s also amplified bicycle spokes and drum-triggered oscillators. and yet, it’s a tightly controlled sonic environment. the eight-minute “cash mattress” might be a display of sonic creation, but when they come around to the simple rock of “canine spaces” the sound is familiar, even if the sounds comprising it aren’t. neptune is not dealing in willful avant-gardism. they are creating out of necessity. they’re crafting new rock where the old one won’t do. excitement’s at play. featured artists: jason sidney sanford: vocals, low-end guitar, railroad spike, bicycle crank arm, spoke protectors, spring, whistle, electronic noise generator, aluminum bowls and plates mark william pearson: oscillator organ, baritone guitar, amplified toms, drums, percussion, suitcase, aluminum bowls and plates kevin emil micka: drums, percussion, drum-triggered electronics, vocals, oscillators, radio, aluminum bowls and plates farhad alexander ebrahimi: drums, amplified drums, percussion, amplified bell, voltage-controlled oscillators, vocals, triggered electonics, feedback membrane, aluminum discs and bowls

neptune “silent partner” compact disc

• #35 (1:47)
  
• cash mattress (8:07)
  
• triple your money (5:27)
  
• canine species (4:32)
  
• collection plate (7:07)
  
• #36 (3:16)
  
• rest from breathing (7:47)
  
• #37 (1:24)

northern spy press release...

artist: neptune title: silent partner catalog number: ns 013 format: cd street date: october 11th, 2011 there’s probably not much to say about punk’s continued existence. like jazz or sitcoms or party politics, it just carries on eating and breathing and shitting and propogating. it’s only interesting when someone comes along trying to advance the form. like “arrested development” or dennis kucinich, they’re usually forgotten. this would all be relevant if neptune were a punk band, which we’re not at all sure is the case. they create a sense of undermining the status quo, which is pretty punk, but then they screw things up by undermining the punk status quo. they’re not really a guitar band, although they do play guitars of a sort, handcrafted by boston sculptor and founder jason sidney sanford. but they’ve also covered the go go’s, which isn’t punk, not really. recorded at machines with magnets, the same studio employed by battles, the psychic paramount, and the skull defekts, “silent partner” pushes neptune up to two dozen releases over 15 years, and finds them continuing to push their electrified, rhythmic sound while staying true to what has always made them evocative. they’re too musical to be a noise band, and yet the noises they make are never quite recognizable. having lost drummer daniel paul boucher in 2009, sanford and mark william pearson made the counter-intuitive decision to focus on making an album heavy on drums. with kevin emil micka (animal hospital) and farhad alexander ebrahimi (big bear), they envisioned a new sort of drum thing for neptune and devised a new arsenal of instruments – not least of which is a feedback machine devised out of a prototyped yoga ball. there’s also amplified bicycle spokes and drum-triggered oscillators. and yet, it’s a tightly controlled sonic environment. the eight-minute “cash mattress” might be a display of sonic creation, but when they come around to the simple rock of “canine spaces” the sound is familiar, even if the sounds comprising it aren’t. neptune is not dealing in willful avant-gardism. they are creating out of necessity. they’re crafting new rock where the old one won’t do. excitement’s at play. featured artists: jason sidney sanford: vocals, low-end guitar, railroad spike, bicycle crank arm, spoke protectors, spring, whistle, electronic noise generator, aluminum bowls and plates mark william pearson: oscillator organ, baritone guitar, amplified toms, drums, percussion, suitcase, aluminum bowls and plates kevin emil micka: drums, percussion, drum-triggered electronics, vocals, oscillators, radio, aluminum bowls and plates farhad alexander ebrahimi: drums, amplified drums, percussion, amplified bell, voltage-controlled oscillators, vocals, triggered electonics, feedback membrane, aluminum discs and bowls

haunted house “blue ghost blues” long playing record

• millie's not afraid (9:43)
  
• blue ghost blues (11:06)
  
  
• grip my hand (3:53)
  
• thomas paine (11:03)
  
• hard roads (3:08)

northern spy press release...

artist: haunted house title: blue ghost blues catalog number: ns 012 format: lp street date: september 13th, 2011 the blues has grown up a lot in the last ten years, since guitarist andrew burnes left new york for georgia, bringing a de facto end to the powerful abstract blues of haunted house. in the time since, a new generation — sometimes referred to as freak folk or new weird america and spearheaded by tom carter*, jack rose and ben chasny — has followed in the footsteps of loren connors, john fahey and a handful of others who have long maintained that the blues is something more than 12 bars and a backbeat. after the demise of haunted house, connors continued preaching the gospel, often with his wife — the enigmatic singer suzanne langille — to anyone who would listen, playing a slow, distorted, reverb-drenched blues as slowly the world began to come around. then, in the summer of 2010, the stars aligned just so: burnes was in town for a few days, percussionist neel murgai was available, and the brooklyn’s issue project room was booking matinee concerts in their courtyard. the band had only existed for a brief two years and had been absent for a decade, but they picked up right where they left off with only a brief soundcheck as rehearsal. another matter of months, and they were in the studio, recording at long last the follow-up to their 1999 erstwhile release up in flames. looking back, maybe it isn’t that the blues has grown up. maybe it has reverted to its youth. after all, john lee hooker, son house and mississippi fred mcdowell weren’t beholden to any 12-bar fixity. nor was lonnie johnson, whose song “haunted house” gave the band its name. they all played it how they felt it. it wasn’t until the 1960s and the british blues revival (its champion, ironically perhaps, being connors’ beloved eric clapton) that the blues was codified into its current formula. haunted house is an unusual band. with indian hand percussion and no bass, they don’t look like a blues band — and maybe they’re not. but they play it how they feel it. what more could you ask for? * check carter and marc orleans’ northern spy release eleven twenty-nine. featured artists: loren connors: guitar andrew burnes: guitar suzanne langille: vocals neel murgai: daf kurt gottschalk: producer m p landis: artwork

haunted house “blue ghost blues” compact disc

• millie's not afraid (9:57)
  
• blue ghost blues (12:29)
  
• grip my hand (3:42)
  
• thomas paine (9:13)
  
• hard roads (3:06)

northern spy press release...

artist: haunted house title: blue ghost blues catalog number: ns 012 format: cd street date: september 13th, 2011 the blues has grown up a lot in the last ten years, since guitarist andrew burnes left new york for georgia, bringing a de facto end to the powerful abstract blues of haunted house. in the time since, a new generation — sometimes referred to as freak folk or new weird america and spearheaded by tom carter*, jack rose and ben chasny — has followed in the footsteps of loren connors, john fahey and a handful of others who have long maintained that the blues is something more than 12 bars and a backbeat. after the demise of haunted house, connors continued preaching the gospel, often with his wife — the enigmatic singer suzanne langille — to anyone who would listen, playing a slow, distorted, reverb-drenched blues as slowly the world began to come around. then, in the summer of 2010, the stars aligned just so: burnes was in town for a few days, percussionist neel murgai was available, and the brooklyn’s issue project room was booking matinee concerts in their courtyard. the band had only existed for a brief two years and had been absent for a decade, but they picked up right where they left off with only a brief soundcheck as rehearsal. another matter of months, and they were in the studio, recording at long last the follow-up to their 1999 erstwhile release up in flames. looking back, maybe it isn’t that the blues has grown up. maybe it has reverted to its youth. after all, john lee hooker, son house and mississippi fred mcdowell weren’t beholden to any 12-bar fixity. nor was lonnie johnson, whose song “haunted house” gave the band its name. they all played it how they felt it. it wasn’t until the 1960s and the british blues revival (its champion, ironically perhaps, being connors’ beloved eric clapton) that the blues was codified into its current formula. haunted house is an unusual band. with indian hand percussion and no bass, they don’t look like a blues band — and maybe they’re not. but they play it how they feel it. what more could you ask for? * check carter and marc orleans’ northern spy release eleven twenty-nine. featured artists: loren connors: guitar andrew burnes: guitar suzanne langille: vocals neel murgai: daf kurt gottschalk: producer m p landis: artwork

dan melchior / das menace “catbirds & cardinals” long playing record

• summer in siberia (2:50)
  
• the forest of tin (2:54)
  
• squalor on sunday (5:20)
  
• catbird (3:03)
  
• deep fried circuits (3:40)
  
  
• i saw the ghost of peter cook (2:35)
  
• poison pete's holiday (2:40)
  
• english shame (2:15)
  
• crow radio #2 (4:06)
  
• drama queens on prozac (2:28)
  
• gnomes on the runway (5:25)

northern spy press release...

artist: dan melchior und das menace title: catbirds & cardinals catalog number: ns 011 format: lp street date: september 13th, 2011  catbirds and cardinals is the latest psychedelic album lobbed in to new world shores from dan melchior und das menace. coming down slow with a clear vision, it’s a sure hit. since the late 90s, shepperton, england native dan melchior has consistently delivered an avant-pop that is off-kilter and literate, with a sense of menace and a stronger sense of play. he’s a new jesus of cool, riding just about the underground like the antipodean chris knox. the sound of catbirds and cardinals is clean, lo-fi, deeply-engaging, and guaranteed to pull in new legions of fans. it’s a clever garage pop set that will lick your pate clean. on catbirds and cardinals, dan melchior und das menace successfully meld a hodge podge of disparate elements into a cohesive whole, bringing to mind veteran uk and us underground bands like the swell maps, andrew klimek, chrome and alternative television more than they do old blues men or the tweedy garage rock conservatives of dan’s past. catbirds and cardinals is probably the most overtly ‘poppy’ das menace release, with songs like ‘poison pete’s holiday’ and ‘english shame’ lodging in the cranium like carpet warehouse jingles. the recordings retain the overdriven quality melchior is known for but push the envelope sonically into some unexpected places, with the dream like synths of ‘crow radio number 1 showing a marked departure from the overall guitar grime.

dan melchior / das menace “catbirds & cardinals” compact disc

• summer in siberia (2:50)
  
• the forest of tin (2:54)
  
• squalor on sunday (5:20)
  
• catbird (3:03)
  
• deep fried circuits (3:40)
  
• i saw the ghost of peter cook (2:35)
  
• poison pete's holiday (2:40)
  
• english shame (2:15)
  
• crow radio #2 (4:06)
  
• drama queens on prozac (2:28)
  
• gnomes on the runway (5:25)

northern spy press release...

artist: dan melchior und das menace title: catbirds & cardinals catalog number: ns 011 format: cd street date: september 13th, 2011  catbirds and cardinals is the latest psychedelic album lobbed in to new world shores from dan melchior und das menace. coming down slow with a clear vision, it’s a sure hit. since the late 90s, shepperton, england native dan melchior has consistently delivered an avant-pop that is off-kilter and literate, with a sense of menace and a stronger sense of play. he’s a new jesus of cool, riding just about the underground like the antipodean chris knox. the sound of catbirds and cardinals is clean, lo-fi, deeply-engaging, and guaranteed to pull in new legions of fans. it’s a clever garage pop set that will lick your pate clean. on catbirds and cardinals, dan melchior und das menace successfully meld a hodge podge of disparate elements into a cohesive whole, bringing to mind veteran uk and us underground bands like the swell maps, andrew klimek, chrome and alternative television more than they do old blues men or the tweedy garage rock conservatives of dan’s past. catbirds and cardinals is probably the most overtly ‘poppy’ das menace release, with songs like ‘poison pete’s holiday’ and ‘english shame’ lodging in the cranium like carpet warehouse jingles. the recordings retain the overdriven quality melchior is known for but push the envelope sonically into some unexpected places, with the dream like synths of ‘crow radio number 1 showing a marked departure from the overall guitar grime.

seziki tetrasheaf / quiet evenings “split” long playing record

• seziki tetrasheaf - let’s do carpet beach (17:26)
  
  
• quiet evenings - gold coast (17:30)

billy gomberg “only the sun for our” c40 cassette

• heights
  
• well
  
• separates
  
• drag
  
  
• dress
  
• idle
  
• special
  
• off

students of decay press release...

sod94 billy gomberg “only the sun for our” c40 glacial excursions culled from synthesizer, piano and field recordings by brooklyn based multi-instrumentalist billy gomberg. wisps of melancholic melody adrift on murky waters. a beguiling collection that truly rewards repeat listens.

aquarelle “sung in broken symmetry” long playing record

• with verticals (10:37)
  
• a strange sweet woe (7:50)
  
  
• origin (10:30)
  
• the blue light was my baby (7:27)

fossils / darksmith “million year spree” long playing record

• fossils - wider knowledge of man i-iii
  
• fossils - snared on broadway
  
  
• darksmith - anything that makes a man happy
  
• darksmith - operating chair & voice / out with the evening trash

moniek darge “sounds of sacred places” compact disc

• turkish square (9:12)
  
• abbey sounds (12:23)
  
• rain (7:08)
  
• solstice sun (10:29)
  
• three sunbeams (5:49)

kye press release...

moniek darge 'sounds of sacred places' cd (kye 13) new 2011 edition of this cornerstone sound art collection, originally published in 1987 on lp by igloo. in most ethnic cultures, sacred places serve an important social function. the qualities, typical of these places, explain to western people the magic magnetism of these "holy grounds". during our international logos duo concert tours we have had the opportunity to visit quite a few of these places. uluru, the "shadowgiving mountain" of the aborigines, better known under its western name of ayers rock (australia), impressed us more than any other. the presence of water and an enormous monolith in the midst of the vast desert plain is given as an explanation for its magical appeal. but to the aborigines, each little place of the rock contains tracks of their ancestors, the "dreamtime people", who live in this mountain and speak to them in the sounds of the winds howling through the crevasses and rockholes. uluru is also the dwelling-place of the "world serpent", the most powerful totem shared by the surrounding tribes. sounds of sacred places attempts to transform the listener into a living witness of the sounds of similar places, not far away in any specific ethnic culture, but in flanders. (moniek darge, 1987). sounds of sacred places arrives in a high gloss 4-panel digipak with accompanying 16 page booklet of photos and notes. remastered from the original tapes by moniek darge at the logos foundation, gent. edition of 500.

jim haynes “the decline effect” double long playing record set

• ashes
  
  
• terminal
  
  
• half-life
  
  
• cold

the helen scarsdale agency press release...

jim haynes the decline effect the helen scarsdale agency : hms 021 : 2lp release date : september 20, 2011 parapsychology introduced the notion of the decline effect as a statistical phenomenon of diminishing results whilst investigating extra-sensory perception and psychokinesis. where initial findings might substantiate proof of such abilities, further studies would almost always demonstrate the contrary. as such, this ontological disappearing act stands in allegorical parallel to the entropic art of jim haynes and frames his 2011 opus of the corroded drone and a compacted disintegration of sound.  this san francisco bay area artist has long defined his work through the pithy phrase: "i rust things." the decline effect continues his investigations with electroacoustic decay through four bodies of evidence left behind from ephemeral aktions, shipwrecked electronics, re-engineered field recordings, and transmissions from the ether. haynes composes through all of these sources through a patient suturing of sympathetic elements, whether they be textural, tonal, visceral, heavenly, sodden, or monolithic. here, embers foretelling a nuclear winter gently waft upon industrial chorales amassed from an army of fidgeting motors; the sulfur-laden hiss from volcanic vents erupts from an organic thrum into boiling crescendos of environmental noise; geiger counter palpitations stream along a leaden sea of modulated radio noise; a warm explosion of sun-bleached distortion caresses the evanescent halos from an undulating mesmerism inexplicably not sourced from a guitar and / or digital patch authored by christian fennesz. haynes' broken minimalism orbits somewhere near the work joe colley, g*park, nurse with wound, and bj nilsen.  the 2lp of the decline effect is strictly limited to 350 copies, comes in a handsome gatefold sleeve. zener cards not included.

bj nilsen / stilluppsteypa “big shadow montana” long playing record

• big shadow montana (1)
  
• big shadow montana (2)
  
  
• big shadow montana (3)
  
• big shadow montana (4)

coppertone “kill and release” seven inch single record

• tyranness (2:41)
  
• clandestiny (2:59)
  
  
• vows (2:13)
  
• rott (2:46)
  
• all is one (1:08)

nna tapes press release...

nna034: coppertone "kill and release" 7" ep coppertone is los angeles' sasha wiseman, a one-woman pop damager specializing in cold, beat-driven anthems swathed in quietly intimidating atmospherics. "kill and release" offers bodily transport into a world that's as surreal and synthetic as it is strangely familiar – something like the dream sequence of a horror film. a woman armed with a net, a knife, keyboards, and lust. limited edition pressing of 300 copies.

innercity “s/t” seven inch single record

• dada les apocalypses (7:42)
  
  
• the pyramids in northeast belgium (6:03)

nna tapes press release...

nna033: innercity 7" ep open the gates to the mystifying world of belgian electronic producer hans dens' innercity project. truly alien, truly futuristic rhythmic mantras and techno miscalculations. dens' unique minimal beat style, combining elements of electronic, kraut, and new age weirdness, creates an otherworldly entity that transcends our earthly boundaries. limited edition pressing of 300 copies.

bromp treb / horaflora “split” seven inch single record

• horaflora - glibbertone
  
  
• bromp treb - readinessmax

yeay! tapes press release...

horaflora / bromp treb split 7" (yeay! 032 ) | 05/11 | 6mins / 45rpm 7" single. laser cut, rubber stamped covers a gnarly single of bi-coastal busted beats from the bay area's best electroacoustic speaker-fryer horaflora going toe to toe against western mass's tape-twisting percussion-plopper bromp treb. two bangin' dancefloor failures on one sick slab. so hot it smells like smoke (most likely cos the covers are laser-cut paper) graphics & package design by sightlab. edition of 300. that's right, i said 'gnarly' - so please grip hard.

decimus “decimus #3” long playing record

• decimus #3 (1)
  
  
• decimus #3 (2)

kelippah press release...

d e c i m u s "3" (kelippah records) lp record edition limited to 300 copies sivan, dawn of the word come children! a transmission  from kochav for yaakov and esau to bear equally in the formation of the sod dark psychedelia formulated by pat murano (no neck blues band, malkuth, k-salvatore & key of shame) designed to alternately disorient and elate by synthetic means. fourth in a series of 12 lps dedicated to the zodiac of decimus magnus ausonious hand painted and stenciled edition of 300 lps released by kelippah records. multis terribilis timeto multos

greg davis “states (4)” cassette

• states (part 7)
  
  
• states (part 8)

los discos enfantasmes press release...

greg davis - states (4) (lde 016) c-21:30 normal tape, white shell. home-dubbed, one at a time, on nad and marrantz tape decks, in real time. professionally printed j-card with front die-cut. edition of 120.  'states' is my name for a series of explorations and studies of modular synthesizer music. this series is meant to document the evolution and journey with this particular instrument (which is ever changing) the condition of matter with respect to structure, form, constitution, phase, or the like the pieces are generally constructed by spending a lot of time setting up complex, multi-voice patches on the synthesizer and working with it for hours / days to sculpt the sound into an interesting space. then i normally record the patch for a length of time, usually without much interaction during the recording. i tend to gravitate towards autonomous systems that are interesting enough as they are (this is an aspect of modular synthesizers that is very fascinating to me). after various patches are recorded, then i work with the materials as sound objects (or states) and put together the compositions through editing / mixing / layering, etc…each of the larger 'states' pieces is composed of many smaller parts of many hours of recordings. the condition of a person or thing, as with respect to circumstances or attributes states (4) was particularly focused on working and building patches around two sequencers in my system. these were the core of all of the patches and everything grew out of that center. (except for the first and last part of the cassette which were earlier computer controlled oscillator experiments). i was also interested in further focusing in on more rhythmic patches (no matter how off kilter or polyrhythmic they may be). i think this was a natural outgrowth of working with the two sequencers. this cassette has the most simplistic compositional structure so far of the whole series. it is simply 5 patches per side separated by sine tone beeps (which is a descending overtone series on g). there were four 'states' releases on cassettes on four different record labels over the last year. this is the last one for a little while. i felt that this was a good place to pause the series while i work on other music projects and dig deeper into the modular synthesizer to discover an even more personal music. a particular condition of mind or feeling

concern “living wage” c20 cassette

• day sleep (i & ii)
  
  
• leases

digitalis limited press release...

ltd220: concern "living wage" c20 the 'living wage' ep was recorded over a few mornings following 12 hour graveyard shifts as a taxi driver, in a very weary and warm state of mind while adjusting to a new sleep schedule. each piece was recorded live and manipulated using spring reverb, 1/4" and cassette tape, with a piano as the sound source on the a side, and a lap steel guitar on the b side. it is intended as a window into my own tattered and crude processes of of tape manipulation, as well as the feeling of soon-to-sleep in full summer light, and a bridge between more fleshed-out and composed full-length albums. edition of 125. chrome tapes.