“Fuck do I ever have some explaining to do! Hot Air Balloon Ride is the cult-favorite duo of Emeralds synth ripper John Elliott (aka Lilypad) and Thursday Club electronics wizard Ryan Kuehn. This release documents an epic and utterly wasted gig that went down about a month back at Cleveland's Language Foundry, when our usual gaggle of stony customers undertook a voyage into the black heart of rust belt half-gentrification, and - unflinchingly, I might add - consumed its beers en masse. I seem to recall that in the midst of the Ride's setup, a consensus was reached to listen to the remainder of this epic Indians/Yankees jam and somehow the radio was running through Ryan's gear for a pretty heavy count of extra innings. This tape picks up like a looooong way into the process, fyi. Also, John wants me to write something in the description about how we saw a seriously fucking large spider that night while burning in an alley, but I'm not really sure what that has to do with anything. Flatteningly loud, at times even classically harsh black hole w/ radioactive gold leaf monosynth detail and shit-eating/knuckle-dragging posi vibes in equal measure. The fucking 1990s. If you think they kicked any kind of ass whatsoever, you weren't there, pal. This tape is a phenomenal wrench to the craw of any/all kollektor skum who claim to have Cleveland filth more than like 40-45% sussed. Hand-numbered edition of 100.” – DI.

All-new limited volume of forlorn, laminal string drone and phantom landscape construction from this close associate of Emeralds et al. Already sold out at source.

“Wyatt Howland's Skin Graft project (Cleveland, OH) is hands-down creating some of the most abrasive and disgusting electronics I’ve ever heard. Nothing like it. Filth. Damned is especially wonderful due to its extremely short sides and his ability to do so much with 5 minutes at a time. Tapes, electronics, and gut-wrenching electronics don’t waste a second of this release. One of the best SK's I’ve heard! Originally released in a private edition back in march with another limited FW release with xeroxed art for his short midwest tour. Just had to give it a more "official" release. Nice color prints, in an edition of 100 copies.” – CT.

Massive two cassette set from the duo of John Elliott (Emeralds) and Jeff Hatfield (Field Of Hats/Fragments) with Industrial strength electronics that cross austere tonal orbits with the sound of alien shortwave . "So, there’s this site in the New Mexico desert where they apparently store the worst kind of radioactive waste there is, the mindbending half-life of which is such that it’s moved the US government to commission a series of massive granite obelisks, intended - no matter what might intervene between now and 14010 AD - to communicate in no uncertain terms 'You’re fucked!' Per Julia Bryan-Wilson, wrote on the topic in October last year: ‘Each will be inscribed with messages in seven languages about the poisonous waste underneath; they are meant to withstand any climate changes, as well as the likely evolution of the written word over the next ten centuries. Room has been left on the surface of each tower for future viewers to translate the warning into their own language and chisel it into the rock, with the anticipation that it will become a sort of Rosetta stone. …on the right, an image from a textbook on human ethology showing the ‘universal’ facial registration of disgust or nausea.’ The phonographic equivalent of these tablets, 'Lightyear Demonstrations' is a collection of four massive pieces the cumulative effect of which forms some sort of Library of Babel of generative synth churn and sputter, like you just brought your own case of shitty beers, a couple stiff doses, some rusted-out lawn chairs, and a busted sequencer (John has requested that I note that so many releases promise a broken sequencer, while this one actually delivers. I’ve seen it, and it is indeed pretty mangled, so there you have it...) to some celestial casino. There are no clocks and endless reflective surfaces at every point of entry as DI mainstays and veteran Cleveland jammers John Elliott of Emeralds and Jeff Hatfield of Fragments lock into deep memory loss territory and fry dual Moog burble and splatter for two hours without interruption. Essential for devotees of any of Elliott and Hatfield’s numerous other endeavors, the work of like-minded precursors from Conrad Schnitzler to C.C.C.C., and the general possibility of records that sound like timestretched bong hits. 2xC60, hand-numbered edition of 200." - Deception Island.

Much-anticipated new album from the Emeralds trio – Mark McGuire, Steve Hauschildt and John Elliott. This feels like another giant step for the group, moving beyond the endlessly rippling flat-lined drones of their earlier work to a more complex and melodically advanced synthesis of analog and digital environments and processed guitar. The arc of the music moves from the kind of hazy, child-like constructs of the early Harmonia albums through the gothic Kosmiche of Klaus Schulze’s Black Dance while factoring in influences from 80s dream-pop and modern drone practitioners like Andrew Chalk and the whole Ora cultus. Mego have been describing this as Emerald’s pop album, and in a way it is, but when the monolithic title track kicks in it feels more about hymns than hooks. Gatefold sleeve.  Official release date May 24^th.

Edition of 100 copies cassette from this new duo project featuring John Elliott of Emeralds and George Viebranz of Pimlo. Malevolent waves of thundering far-off electronics over the sound of pure electricity. 

Split CD, hand-numbered edition of 100 copies, with six tracks of degraded violent mixer/effects sound from Wyatt Howland’s Skin Graft and four shots of hypnotic low-level electronics from George Viebranz of Pimlo, who plays alongside John Elliott of Emeralds in Revelation Blitz. 

Edition of 1000 copies double LP in a heavy gatefold sleeve  that bundles two out of print solo cassettes from Mark McGuire of Emeralds. 60+ minutes of sub-aqueous tones, wildly psychedelic keyboard incantations, sublime guitar oblivions and endless synth bliss in the mode of Kraftwerk/Harmonia. “Trying to put the last 15 years of music into context, you’d be hard pressed to get anyone to agree on a single thing. If anything, this period has been a collective convergence of all things cool-sounding: naïve experimentalism, academic composition, art-rock synthesis, electronic nihilism/flagellation, and, well, everything else. Mark McGuire could muddy anyones interpretation of the contemporary canon with his buddies in the triadic mega-unit, Emeralds, his collaborative outings in Sun Watcher and Skyramps (with Daniel “Oneohtrix Point Never” Lopatin), and his prolific, yet well-executed, solo work. ”Have you heard his shredability, incomprehensible astral traveling and meditative neutron stasis on any of those solo jams, the dude must be ancient!?” Truth is, Mark Mcguire is a youngin’, not a refugee of the ’70s. Nor is he mining unfamiliar ter ritory; he produces something old and familiar, yet it sounds so fresh and necessary for today. Originally released as limited edition cassettes and masterfully cleaned up for this definitive release by James Plotkin, Tidings/Amethyst Wavesfinds McGuire packing 60+ minutes with trance-inducing, melodic guitar intricacies, an occasional wall-of-squall reminiscent of Mizutani riding a thunder horse, and filaments of a drifting stratosphere where organic synthed-out solos are nestled in tight. With this release, Mark McGuire has hatched a true American Euro-vision utilizing major shifts in the ‘music as language’ paradigm. No joke, this is where Wyld Stallyns is heading in the year 2398 A.G. and Tidings/Amethyst Waves is as essential as anything in the Emeralds catalog.” – WF. Recommended.