Limited cassette, long OOP, from John Elliot of Emeralds. Lilypad is home to Elliot's harsher, more openly mind-flaying synth/electronic work and Bent Dimension seems to reflect on the malevolent organic power of prime Maurizio Bianchi, dissolved with flashes of distressed keyboards and bubbling F/X.

“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.

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. Long OOP!

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. 

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. 

Aces-up collaboration between Spencer Clark of The Skaters/Monopoly Child Star Searchers/Fourth World Magazine et al and Mark McGuire of Emeralds. Inner Tube presents a series of hallucinated soundtracks to straight-to-video surf movies as a virtual reification of the true teen sound of the boys of summer. Clark produces while playing keyboards, drums, vocals and samples while McGuire contributes guitar, bass, keyboards and drums but most of all this is a guitar record. McGuire’s tone and overall attack is radically different from his work with Emeralds, with Spencer’s production giving it a euphoric firecracker edge as he rips out endlessly wild solos that hang ten on wave after wave of fuzz. As with alla Spencer’s material there’s also a contrary melancholy aspect, the feel of summer ending and youth long since disappeared and a bunch of the tracks are dedicated to tragic teen sports stars like Catch Vicelli, Mark Richards and Michael Doames. The A side pretty much rips it up from start to finish with that amazing fuzztone lighting up the sky while the flip moves into a more muted/sunset vibe with aspects of the first few Neu records married to infinitely riffing keyboards and McGuire’s epic fuzz-saturated testimonials to endless yesterdays in the sun. Co-released between Spencer’s Pacific City imprint and McGuire’s Wagon label, the LP comes with a large full-colour poster of the duo that demands pride of place above the fireplace and a printed colour inner with classic daffy sleevenotes: “A guy from Hemet meets a young girl with a serious lust for Motorcross. He’s been dumped by his longtime High School Hottie, and she’s just fed up with her dull, toid-like insurance salesman boyfriend. The two train together all day, making jumps from dirt mounds and climbing up hills Wheeli style. At the end of the day they get to the top of the highest peak and watch the sun set...” More than exceeding what it set out to do, this is one of the most euphoric psychedelic guitar records of either of these guys’ careers and the ultimate realisation of Spencer Clark’s vision of the nightside of summertime. Totally addictive, impossibly affecting, simply cannot recommend this enough!