Killer vinyl reissue of a long-gone highlight of the Wolf Eyes back catalogue, the Fuck The Old Miami CD-R that came out on Chondritic Sound in an edition of only 222 copies. Recorded live on May 3rd, 2003, this is the Wolf Eyes trio at their most unanchored, a juddering system of tectonic electronics, free jazz boo and claustrophobic, hand-torn wormholes. Comes with an etched B side courtesy of Nathan Young complete with reputedly playable grooves hand-cut around the etching on the group’s own home lathe. Limited.

First release in Rococo's "Me Gusta Me Gusta" series of subscription-only one-sided LPs comes from the Graveyards trio of John Olson (Wolf Eyes) on reeds, Hans Buetow on cello and Ben Hall on drums. Beautifully articulate post-fire music moves that cut huge swathes through tense, thick air. Another beauty, hand-numbered edition of only 200 copies.

Numbered edition of 300 copies one-sided LP featuring Graveyards in duo mode, with John Olson (Wolf Eyes) on saxophone and electronics and Ben Hall on drums. Comes with an etched B-side and a full colour mini poster, both featuring art by Olson. Very minimal shadowplay style with the slightest butterflies of bowed confusion cutting swathes through still, black silence before building to a primal, echo-heavy climax that sounds like a pair of mammoths dropped deep into a canyon. Recommended.

New collaboration LP from the trio of John Olson, Nate Young and Mike Connelly with Chris Goudreau aka Sickness. Goudreau takes original Wolf Eyes material and sculpts it into a massive, constantly shifting pulse-based piece that feels like an inspired plunderphonic take on the organic, evolving logic of their live shows. It starts off with a classic section of minimal, grinding electronics, given an otherworldly gliss of F/X by Goudreau that makes it dazzle like a primitive Heemann/Chalk creation before building into torrents of sheet metal melodies and squelching rhythms, with parallel sounds given enough electronic treatments to lend them a very hallucinatory, instantly dissolving feel. Indeed, it's one of Wolf Eyes most psychedelic sides, if your definition of psychedelia takes in Throbbing Gristle and CCCC as well as electricity and LSD. Recommended.

Limited to 600 copies 7" from the duo of John and Tovah Olson (Wolf Eyes et al) is one of their most straight-forwardly gorgeous approximations of the nowhere zone to date. Black and white sleeves with full colour inserts.

Massive new LP from Dilloway that follows-up on the apocalyptic brass blasts of Infinite Lucifer. This one works from a similar base, using 8-track loops and delay to generate endlessly sleazy cycles of Industrial rhythms, staggering smears of sandpaper drone and illuminated cascades of exploded tones. The basic mode is repeat-o minimalism but the actual sound is a whole universe removed from any of the 20th century experiments in sustained hypnosis. Rather, there are elements of Throbbing Gristle’s Discipline, the bastardised electronics of Tolerance, Nurse With Wound’s A Salt Marie Celeste and even the grid-soundings of Basic Channel. Either way it’s a fucking trip and another beauty from a singular modern sound artist.

Debut album from this Detroit synth-punk duo with some kinda historical connection to Wolf Eyes. Featuring K. Michael and Nate S., the group build from a base that would take the malevolent electro-threat of early Suicide and ply it with amphetamine-charged Cramps riffs, the kind of drum machine batteries most associated with Big Black and a claustrophobic, assaultive style that is somewhere between early Industrial rock and contemporary minimal synth stylings, with murky, convulsive songs that are somehow uniquely Detroit but that have tendons that stretch alla the way to both coasts, taking-in aspects of CBGBs-era NY scum and peroxide LA glam punk. A beauty.

New edition of 450 copies one-sided LP with a gorgeous full-colour sleeve by John Olson (Wolf Eyes). Here the duo of John and Tovah Olson move deeper into the kind of liminal, broke back electronics zone that defined their great run of collaborations with John Wiese, with creeped-out midnight soundtracks populated by shadowy nocturnal forms, firefly drones and a murky, drug-addled atmosphere. This feels like the beginning of a whole new phase for Dead Machines and it makes for a subtle but powerful trip.

Limited edition new solo album from Jason Finkbeiner of Rochester avant-garage monsters Pengo on John Olson's American Tapes imprint with paste-on B-side art, corrugated card sleeve and insert featuring a repro of a letter to Aaron Dilloway (Wolf Eyes) from Rochester Charles detailing various formative drum influences, including Al Bouchard of Blue Oyster Cult, Jim Fox of The James Gang, Mitch Mitchell from The Experience, Motorhead's Filthy Phil Taylor, fucking Phil Ehart from Kansas, et al. Sounds are based around sick, oscillating tape work that sounds like an elastic band and wah-wah pedal running a turntable that's playing a slowly melting copy of Yatha Sidhra's A Meditation Mass re-recorded by Chie Mukai and Matthew Valentine, the way you always wanted to hear it 'done'.

2006 Sub Pop album from the Wolf Eyes trio of John Olson, Nate Young and Mike Connelly, mixed by former member Aaron Dilloway, the official follow-up to Burned Mind. The preceding Human Animal 12" gives a good snapshot of the kind of blasted topography that the group map out here, with the first half of the album given over to the kind of eerie midnight stasis sound of the group circa River Slaughter albeit given a hi-fi upgrade and new depth of field via slow smokes of drone and viper-shots of electronics. The drum machine is at its most space-puncturing, firing repeat beats into cloaks of doom while Olson works serpentine sax patterns into steel helixes somewhere at the bottom of a ventilation shaft. One track features creeped-out spoken word narration, while over on the flip/later tracks the group move into full pit-pounding mode with assaultive nod-out rhythms and Nate's insane post-Iggy vocal shred moves foregrounded by a ton of metal. Exactingly programmed, this is the one to peak with. Highly recommended. Vinyl edition limited.

Split single that pairs a particularly dark track from Wolf Eyes that starts off with a mangled little girl vocal before the beats kick in for an alien vox/locomotive noise juggernaut. Massively fucked vocals/electronics from Prurient on the flip. Full colour covers with double-sided insert.

“Connelly & Oldzone Refusal Unit: Two complete gigs from the mid summer tour with Uneven Universe, Evenings & Hive Mind. All acoustic, no amps, no electricity, nothing. Horrible scrape, empty litter containers with glass, bottle caps, metal, reeds, acoustic clutter supreme. One set from Gabe's killer Toledo Den of Death, the other from the amazing GOOD STYLE shop in Madison. Killer tour, ended in the woods jammin THE CHIEFTANS x 2 45s on 3rpm. Summer simmer acoustic. Racket to rocket to uncharted ear trails. Color Covers.” – John Olson.

Massively extended long form string/drone/Industrial jams from Midwest free jazz outfit Graveyards that push beyond the whole screwed spectral/orchestral arc of their recent work into new zones of lonesome tone : “What is up with the mail these days? Sometimes you get the weirdest things. Are "Dog Missing" flyers illegal now? Seems like it, cause just the other Tuesday I lurched out to check the daily box to see if my new copies of DIRGE or EVIL MINDED shown up yet, and there was this lone LP resting there. Had a post it note stuck to it that read:
"PLEASE HELP: OUR CREATURE THING HAS VANISHED. WE SUSPECT THE WORST. WE CANNOT GIVE DETAILS ON THE THINGS/ANIMAL OR HAVE ANY PICTURES< BUT WE DO HAVE RECORDINGS OF IT IN "ACTION". PLEASE LISTEN TO THIS RECORD (at any speed) AND CALL 237 - 4568 IF YOU HAVE ANY INFORMATION ON OUR MISSING CREATURE. AND RETURN MY STAMPS- THANKS- YR NEIGHBORHOOD LOOSE ANIMAL CULTURE CENTER"
Shaking my head, thinking how I just got a killer local platter to add to the animal sounds/droll Yankee/ chooltch industry recordings sections and put the record on.
Well, it seems like they are never gonna find this thing cause it SOUNDS like a super shy version of that horrible creature in the twilight zone flick that tries to scare the passengers and eat the plane. But this "Thing" hangs out in empty hangers and lightly scrapes its torn and rotten fingernails across HUGE rusty industrial size fans at 3am in a creaking wet unlit corner. Who would want this in their house? Sounds from this animal are rare, seems like this LP has like three light rustlings and the THING is gonzo, moved on...just like a ghost trace of it... good luck to them.
After jamming the "MISSING CREATURE" lp on every speed my numark can handle, I IM chatted fellow animal sound lp vet DILLOWAY and told him about the new local style missing thing section, and he said energetically:
"Dude, you should quick like go around the neighborhood and grip all those lps and put em out, don’t get busted say it's...I dunno... GRAVEYARDS or something... "
FUCK!!! Killer idea. So here it is - all the LPs from District 176 Howard St./Frandor with NO INFO and a crude handmade painted sleeve like from the hairy mitts of the said MISSING ANIMAL itself. If you find this THING.... shit, record it and do a FOLLOW UP. And leave it in yr NEIGHBORS mailbox. UUUGGHHHHHHHH. Title taken from a super tuff blueprint question from my Blueprint Reading 112 class last fall. Edition of 100. Inzane handpainted recycled covers, each one uber-unique. MISSING!!! THING!!! RECORDED!!!” – John Olson. Recommended.

Compilation featuring unreleased tracks from Connelly & The Machines, Body Morph, Hive Mind, Dog Lady and Drainolith: “So the other day, me and my lab buddy supreme Scott were knee f'in deep in trying to find out if a huge craggly motor was delta or wye three phase connected, and needless to say, was NOT having luck. It was a one of them RAW bologna built motors that has wire numbers, but its pointless cause its all on its own weirdo system. Whatever. So as usual, we shot the shit.
"What’s up this weekend man?"
"Not much, got a killer afternoon gig at the spot on Sunday...."
"What’s a gig?"
"Ah.... I’m having some of my weirdo friends over to make ah.... music...."
"You make music?"
"Sure"
"Would you ever play a 'gig' for the troops?"
"We should get black to that motor...I think I know the lead wires now..."
"Well, I can’t come over, I gotta fix my tires on my hunting jeep, but you know what would rule Olson?"
"What’s that?"
"If you would press that jammer on wax, mix all the tracks together into one inzane mess and sent it to Smith out west to press...."
"Man, you might be on to something"
"Make it one long one-sider with a lock groove, I mean shit...that’s how I remember gigs anyway.... and just use a flyer for the cover!!!"
"My man!!!"
So I took Scott's advice. Took the killer matinee jam, got out the scalpel, mixed everything together seamless inzane style, book ended it with an EVIL Hive Mind loop and boosh!!!! Pressed gig memory!!!! So it's just like a gig, except you don’t have KNOX MITCHELL's dad dropping you off or Collino spilling brews everywhere or your secret recipe INZANE CHILLI remains burning up in the bottoms of an empty crock pot. Oddly, not a peep of crew-audience noise to be found. Dog Lady played acoustic string scrape, Dan Body jammed reed universe from the uneven side (and then BLASTED Disclose and Firmeza 10 in the jamm room), Drainolith is my main man Alex K from Montreal and kept it uber real with amazing synth scramble, live from yep, THE BASEMENT. Greh said he did a cover of THE SHINING but I’ve never seen that mini-series. Dead Machines and Connelly jammed magical pixie flutes, infected metal scrape and vocals from an eerie afternoon lagoon. Like an endless gig, ...you gotta SIT THRU THE WHOLE THING...in one inzane memory blurr surpreme.... Record ends with an EVIL Hive Mind lock groover, endless...party. ... forever.... Was a blast, more of this style to come. And BYOB!!! There are three party stores right in the hood, duh!!! 2pm SHARP!!!> Edition of 100 in handmade recycled sleeves, numbered.” – John Olson.

Compilation featuring unreleased tracks from Dwelling Unit, Madness, Influx, Immune Future Problems, First Responder and Cripple Crime’s Triangle: “Massive new comp of all short tracks of all sorts of styles. Weirdo flow, new blood, all heated and raw. Mysterious Island swamped and flanked in all sides by a tidal wave of consuming statics. More to come from each of these creatures, stirring and pacing in a sound cell waiting and plotting to bust out. Color covers, slip case.” – John Olson.

Hand-numbered ‘bootleg’ edition of only 30 copies reissue of what was originally released in a run of 32 copies on American Tapes in 2000. Universal Indians were the trio of John Olson (Wolf Eyes), Aaron Dilloway and Gretchen Gonzales, playing hardcore free jazz/psych from the early 90s. This disc collects a bunch of live jams where they are joined by Neil Campbell (Vibracathedral Orchestra/Astral Social Club et al), some of which are variously fucked with in post-production by Olson. It’s a fantastic collection, moving through violent hovering drone work ala Vibracathedral with junk percussion, wailing atonal foghorn jazz moves ala Borbetomagus and classic twonked string confusion. This still sounds great and only confirms what an amazing time the 1990s were for underground music. Highly recommended. 

Edition of 500 copies solo album from Twig Harper of Nautical Almanac in the mode of his classic Intuitive American Esoteric series. This is a massively psychedelic/continually unfolding series of tape works that move from moments of single string acoustic blues guitar through chattering voices, glitches, weird snatches of audio verite, what could almost be Industrial re-thinks of Suicide’s “Ghost Rider”, piano demolition ala Philip Corner… in many ways it makes me think of the place that John Fahey might have ended up if he had pushed through with the more extended experiments in concrete ragas that he was involved with near the end of his life, formulating  a particularly personal and future-visioned take on American Primitive that came from the sounds of his surroundings and the landscape itself and the way they operated within his own personal mythology. Few people can make tape work sound so musically expressive and, yeah, intuitively America as Harper and this is a real treat. “First proper CD release from Nautical Almanac’s Twig Harper. Twig was a big part in Hanson Records getting off the ground back in the mid-90's, so I'm very excited to release his debut solo glass mastered CD! Hot off the barefoot of his collaboration release with Daniel Higgs on Thrill Jockey... Twig Harper continues in the alternate universe tradition of his three volume Intuitive American Esoteric LP series, with 43 minutes psychedelic tape manipulations and droning synthesizer… electronic and organic sound mixed to brain warping perfection. Bell's, homemade electronics, synth, piano, strings, junk, horns and voice treated with tape for "full-on" musique concrete/sound poetry/electronic trance inducing confusion. Recommended for fans of Albert Hoffmann, Smegma, Pierre Henry, The Butthole Surfers, Maria Sabina, Dylan Nyoukis, Tobe Hooper, Criswell, Tod Dockstader, Sirhan Sirhan, The 13th Floor Elevators, Aliens, Humans, Jokes, and OBE's. 500 copies packaged in black poly jewelcases.” – Aaron Dilloway. 

A new solo Dilloway LP is always cause for celebration round these parts: Infinite Lucifer, Chain Shot and Rotting Nepal are still regular spins and it’s hard to think of anyone with such a peculiarly personal approach to the accumulated strata of degraded loops. This one comes in an edition of 500 copies with a fold-out sleeve and takes as its ‘theme’ satanic biker gangs and associated culture. It opens with one of Dilloway’s more pastoral and eerily evocative pieces, with the sound of wind through grass and music box/wind chime sounds that come on like The New Blockaders running on empty, before a lonely female voice hymns a post-apocalyptic landscape completely denuded of people and Dilloway ramps up the metal percussion. Fantastic. The second side expands on the atmosphere of implied amplifier violence before dropping to a hypnotic twilight zone where cosmo-keys and arcs of classical tone flit past in what sounds like the initiation soundtrack of Satan’s Slaves. So file it next to Infinite Lucifer for maximal light. Recommended!

Duo work from Mike Connelly of Wolf Eyes and Carlos Giffoni, fucked-up single speaker hypnotics with Giffoni's cycles of almost fluent tongue irradiated by a crust of hard circuits. Comes in cool shrunken video case packaging. Limited.

Dazzling disturbing/psychedelic loop/noise from Aaron Dilloway, with wild subliminals buried in an ululating mix of electronic confusion in the mode of classic Dillo sides like Infinite Lucifer: “Psychic driving was a psychiatric procedure in which patients were subjected to a continuously repeated audio message on a looped tape, in order to alter their behaviour. In psychic driving, patients were often exposed to hundreds of thousands of repetitions of a single statement over the course of their treatment. They were also concurrently administered muscular paralytic drugs such as curare in order to subdue them for the purposes of exposure to the looped message(s). The procedure was pioneered by Dr. D. Ewen Cameron, and utilised and funded by the U.S. CIA's MKULTRA program in Canada. The psychic driving procedure was a chronological precursor to Cameron's depatterning, the latter involving massive doses of electroconvulsive therapy (ECT) combined with similarly large doses of psychedelic drugs (such as L.S.D.). The intent was to break down the subject's personality — theoretically psychic driving could then be used with some efficacy in establishing a new personality.  In Cameron's depatterning, the ECT would often continue to be administered despite the manifestation of convulsive fits, which were consensually considered to be contraindications to normal and safe ECT procedure. Such biologically and psychologically devastating procedures, adopted internationally by the psychiatric establishment, were largely abolished by the time the CIA was brought before a Senate Hearing (1977) for its involvement and funding of Cameron's experimental activities — as part of the MKULTRA program.”

Second release in Rococo's "Me Gusta Me Gusta" series of subscription-only one-sided LPs presents as killer set of aural pugilism from Spencer Yeh of Burning Star Core and John Olson of Wolf Eyes/Graveyards et al. Hand-numbered edition of 200 copies. Moves from gunky, Dead Machines-style punk electronic wrassle through epic synth/goth peaks that sound like early Tangerine Dream re-scored for Nico performance by Brian Eno, John Cale and Yasunao Tone. Wild.

Stunning new solo album from Nate Young of Wolf Eyes: Stay Asleep represents the fullest realisation of the kinda experiments in electronic form that Nate took out on the road a few years back when he toured on the same bill with Aaron Dilloway. It was there that the initial seeds were set for what would fully flower in his duo with John Olson as Stare Case, incorporating clean, up-front vocals in a classic desperate man style. Instrumentally that tour also represented a musical detour and Stay Asleep represents the first full articulation of his new style. Releases under the Demons and Moon Pool & Dead Band banners have seen him explore heavy/cosmo-gothick synth drone but here he plays it much more minimally, using re-wired electronics to create a series of muted, elegantly wasted constructs that trade simple melodic motifs for an atmosphere that is thick with dread. Here he seems to be connecting more with European avant traditions, incorporating aspects of MEV, Dome, Asmus Tietchens and Heldon as well as 20^th century classical modes. There are stark piano lines that could almost have been lifted from Lou Reed’s Berlin illuminated by slithers of electricity, odd baroque synth zones and random stabs of interference that are as zonked as ZNR’s Barricade 3, even a hint of Belgium’s Univers Zero. Both John Olson and Aaron Dilloway guest on the album, with Olson adding some beautiful reed work that further bolsters the weird decadent atmosphere and Dilloway contributing a particularly delirious tape pile-up. But it’s Nate’s show all the way and it’s a stunner, one of the most personal, strikingly odd and rigorously conceived solo electronics albums of the post-Noise underground and an instant weirdo classic. Plays at 45rpm, with full-colour printed inner sleeves. Highly recommended!

Live recording of a pre-Basketcase group called Mr Asthma from sometime before 1999, re-worked and edited by Nate Young of Wolf Eyes in 2008. Their sound was more Industrial and junk yard than many of their contemporaries, applying blast furnace walls of feedback and F/X to the clank of metal on metal, hulking rhythms, bowed strings, loops and TG-styled head-hunting horns, all applied with a classic American Tapes-style feel for dislocated drone thunder.

New album from this solo synth/electronics project of Nate Young of Wolf Eyes. Two tracks, one an eerie duo performance from Young and Max Eisenberg recorded live in Detroit 2008, the second a trio set featuring Young, Eisenberg and Twig Harper of Nautical Almanac.

New jams from the duo of Nate Young (Stare Case/Wolf Eyes et al) and David Shettler. They call it ‘new British blues’ but the sound draws more on early Heldon’s combination of propulsive electro/rock dynamics and dark/kosmische synth damage. The drum machines have a lightness of touch that situates them in a parallel universe to Wolf Eyes’ pummelling beats, w/a trippy, psychedelic edge while the keys skirt infinite repeat patterns and nagging two/three note melodies before dissolving in chattering clouds of delay. Aspects of Nurse With Wound and Nord combine to knock the set sideways into an exploratory/surreal Industrial tributary. 

LP from Sonic Youth that makes a necessary survey of rare and hard to locate tracks from the recent past that includes bonus tracks and out-takes from Sonic Nurse, Experimental Jet Set, Trash And No Star, Murray Street and the Noho Furniture Sessions as well as stray single tracks etc. The sonics here focus more on the pursuit of extended horizons that best characterises the group's live shows and it ends with a totally mesmeric unedited version of sometime showstopper "The Diamond Sea". Comes in a full-colour gatefold sleeve with tons of liners and the best ever snap of Sonic Youth on the back.

Split 7” featuring a single electro-acoustic drone work from Campbell Kneale of Birchville Cat Motel’s new project - the kind of fluffy bell-tone/metal levitation previously the domain of Matthew Bower’s Sunroof! - while the flip features Thurston Moore and Andrew MacGregor (aka Gown) power-thinking their way through heavy feedback/rock moves.

Debut CD from this new guitar duo featuring Thurston Moore and Andrew from Gown. Tracks slowly spool from small sounds generated by the furthest reaches of the instrument - the crackle of jack sockets, strings clipped against pick-ups - through to the kind of slowly modulating chord barbs that launched a bunch of Sonic Youth songs circa Daydream Nation. Cover art by Bill Nace of Vampire Belt et al.

Torrential three way free jazz/rock pile-up that tracks all the way back to Thurston’s epochal Barefoot In The Head date with Sauter and Dietrich while instant-visioning the future via minimal, psychedelic interventions, classic Sonic Youth-sounding guitar clank and explosive sax/string bulldozing. Some of the playing here is straight-up gorgeous, with the way the group build luminous form from a bed of hovering guitars and Flaherty’s bold tenor sax form sounding like a classic late-Coltrane take on devotional hymn forms. Bill Nace (Vampire Belt/Northampton Wools et al) and Thurston’s guitars are often indistinguishable, with Nace’s up-close modified guitar style pulling Thurston into gravities of microtonal detail and subtle textural invention while Flaherty takes the lead and just bleeds all over the goddamn room. A fantastic set, way more than a mere jam, and one that feels sourced from deep inside the classic free jazz tradition. Recommended.

“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.

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. 

Double CD edition of a double cassette from Cleveland’s Skin Graft aka Wyatt Howland. Skin Graft have a particularly puzzling/beguiling take on basic noise tectonics, sometimes worrying a single sound source to rubber, sometimes exploding nothing but a patch lead into countless formal contortions. Cancerous is particularly minimal, with flat-lined metal tones that pulse with primitive electricity and almost Hive Mind-style nada braincell rot. 

Deluxe double-LP reissue of what was originally a triple cassette set limited to only 150 copies. Very intimate, beautifully constructed dream visions from John Elliott of Emeralds/Outer Space et al. Originally released under his own name due to the extremely personal nature of the sonics, this is a magical set and one of the deepest passes of the mystery zone from the Emeralds cultus to date. There are extended textural pieces that sound like hi-fi visionings of MB’s most miasmic electronics through sunrise-in-the-toneworld style arcing drones that have a great cosmo-liturgical feel. Epic, personal synth drone beamed direct from the source. Remastered by James Plotkin and cut at Berlin’s D&M with full-colour gatefold sleeves. 

Edition of only 250 copies on transparent orange vinyl with hand-sewn book and download code, already sold out at source: “An idea started at a summer party at Sam Goldberg's Cool Ranch house for a collaboration turned into a full-length album over the winter months in Cleveland and Akron, Ohio. Emeralds' Mark McGuire weaves his incredible guitar parts through synthesizers, loops, orchestral instruments, and singing assembled by Trouble Books' Keith Freund and Linda Lejsovka. Turned out just as awesome as we dreamed." – B&H. 

Limited cassette from the duo of visual artist Witchbeam and Mister Matthews, here joined by Lala Ryan who adds some high mass-style female vocal stylings to the A side’s vertical synth levitation while over on the flip there are heavy trio jams featuring John Elliott of Emeralds. Some kind of Typhonian theme is almost apparent but like much associated with Kenneth Grant, it’s pretty hard to put your finger on. 

Brand new album from Sam Goldberg’s always-fantastic Radio People project with one of their most gloriously technicolour productions. Hazel features a guest appearance from John Elliott of Emeralds/Outer Space et al and the feel is of America Endless w/a synth music that relocates European notions of continent and space to the American landmass, a music of eternal expansion, of constant evolution. Tracks build from simple drum machine hypnotics into great vistas of overlapping synthesized heavens as melodies cohere in flat-lined pulse-based beams of pure electricity. God knows there’s a lot of mediocre synth-action out there but once more Goldberg (and Elliott!) prove themselves to be way ahead of the game. Hand-numbered edition of 750 copies on virgin vinyl with a download code. 

“Wet Hair heads Shawn Reed and Ryan Garbes have been jamming sideways strains of long-lensed electricity music for years now, but their trajectories as visual artists arc back even farther. So after a small infinity of J-cards and zines and LP sleeves designs, it’s a real pleasure to finally be able to present a preferential suite of some of their finest (and, till now, unseen) compositions in a glossy, full-color, pro-printed 22-panel art volume, bookended by a brand new black vinyl 33 RPM single of joyously multi-hued keys/drums merry-go-rounding. “Radiant Lines,” a longtime live favorite. spirals a fuzzy circus organ riff around a splashy-crashy kit pummeling till it dissolves into burbling kaleidoscopic come-down bliss. The B, “Decay,” is more like their songs from the Naked On The Vague split 12”, a slow-motion Suicide-style sweetheart blues trance, buried vocals crooning in a gentle sea of woozy keyboard grooves. A nice warm-up for their upcoming De Stijl full-length and U.S. summer tour with Rene Hell. One-time pressing/printing of 500 copies.” – NNF.

Massively addictive euphoric motorik pop that marries an almost Minimal Man-style electro west coast feel with Sonic Boom’s Spectrum, Neu beats and iconoclastic lead keyboards that have all of the irrepressible mania of prime Klaus Dinger and that will have you grinning and drooling like nothing else this side of the second La Dusseldorf album. The fall-out from Raccoo-oo-oon has birthed a ton of great shit – Ryan Garbes solo album on Hello Sunshine is a particular stone – but this just might be the most ‘satisfying’ satellite to date, with Shawn Reed joined by Garbes and Matt Fenner for the perfect marriage of infinite amphetamine repetition and heavenly pop hits. Almost impossible to resist. Comes with an art book insert. Cool Velvets bootleg style sleeve as well. 

New issue of this excellent underground/H-Pop journal, perfectly bound 110 pages w/colour and b/w printing and bundled with a CD-R and a DVD-R. Articles by Daniel Lopatin (Oneohtrix Point Never), Cameron Stallones (Sun Araw), Michael McGregor interviews Velvet Davenport, Jesse Jarnow on Recording The Cosmos with Greg Davis, an interview with new age keyboard legend Iasos and more by Daniel Bachman, Nate Grace, Emilie Friedlander and Curtis Knapp. Artwork from Camilla Padgitt-Coles, Brenna Murphy, Christelle Gualdi, Christian “Megazord” Oldham, Daniel White, E*Rock, Hydrothermal Emerald, Jon Rafman, Julien Laugier, Massimiliano Bomba/Rawraw, Michelle Ceja, Productlaneevol, Push the Button, Stephanie Davidson, Yannick Val Gesto. The CD-R comes with tracks from La Big Vic, Airbird, Laurel Halo, Dent May, Ducktails, Buffalo Moon, Velvet Davenport, The Twerps, Young Prisms, Big Troubles, Alex Bleeker, Chuck Person, Zonotope ™, Sacred Harp and Dolphins into the Future while the DVD-R features video art from Amy Ruhl (excerpts from How Mata Hari Lost Her Head & Found Her Body, scored by Julian Lynch, Samantha Cromwell (live video of Speculator), Laurel Halo (video feedback piece), Ray Concepcion (live video of Julian Lynch), Christian “Megazord” Oldham (video for Dolphins into the Future), Maia Stern (live video of La Big Vic) and Ryan Hover (video remix of Candy Claws song). 

Great mini LP from this female psych duo, joined here by Bobb Bruno and Cameron Stallones (Sun Araw). Passage expands on the extended vocal oblivions of the classic Chains, with four long tracks (plays at 45rpm) that combine thudding, nod-out acid rock rhythms with wordless choirs of abandon and power vocals extrapolated from hypnagogic 1980s pop. Something in the achingly elongated guitar lines and orchestras of throat that is just supremely addictive, joining the dots between Father Yod and Brother Louie in ways you never dreamed possible. Pocahaunted are at the absolute peak of their powers right now. Highly recommended.