Behind The Door

(Blossoming Noise - BN063) CD $10.50 (Out-of-stock)

Six love songs including a cover of Suicide’s “Cheree.” When love is more painful than deaf. Edition of 200.


Ecstasy Of The Angels

(Opposite) Used CD $6.00

Talk about a power trio. Dustbreeders’ Michel Henritzi creates bleak, fractured landscapes with snare drum, wood and metal junk, turntable and feedback. Cult favorite Masayoshi Urabe adds uneasy atmosphere with alto sax and guitar. Junko’s vocals bring almost indescribable dread to the mix. From 2009


Fear Of Music / Berlin, With Love

(l’Esprit de l’Escalier - LELE01) 7-inch $15.00

The stamina-defying screamer of Japanese noise and longtime vocalist for Hijo Kaidan joins wrecker of civilization and one-third of The Dustbreeders for two sides of very pleasant unpleasantness. Henritzi’s improvised guitar-playing is the real surprise here, with its curiously cinema-conscious restraint, hovering around the perplexing intersection of an imaginary Giallo scored by Morricone and the calm brunch entertainment at a grim eastern European café. Quite a deviation from the “glorious, unholy racket” of his vinyl-noise trio. Junko, meanwhile, colors the foreground with her trademark bird-getting-strangled-by-a-dentist-on-a-chalkboard vocals (say whatever you want, comedian, she’s heard it all before) but here shrieks with almost zero adornment, to the point where she achieves an unusual variation on repetitive minimalism. The sublime tension between the two players forms a rarely heard, abject desperation that seems impossible to satisfy. Edition of 100.


Moi Non Plus / Shibari

(AnarchoFreaks) 7-inch $15.00

Guitar and voice, recorded during the same sessions as Fear Of Music / Berlin, With Love. Screen-printed cover. Red vinyl. Edition of 200. TEDIUM HOUSE BEST OF 2013


Weather Report

(Backwards - BW11) LP $21.00

An oneiric yet political soundpiece in two long movements of cosmic improvisation that serves as the soundtrack of an ecological disaster, specifcally the earthquake, tsunami, and nuclear plant destruction in Fukushima 2011. Ghostly shapes and tones haunt the first side, where Massolin’s dreamy organ and heavenly electronics are blessed by Fukuoka’s elegiac violin lines, evolving into an improvised blues for flamenco-like guitar, percussion and abstract electronics, building up tension until Henritzi’s lapsteel joins with waves of ectoplasmic electricity, and finally exploding into a blast of cathartic free noise. The piece starts vibrating on the flip, where Massolin’s electric bass pushes the whole thing into full-on shoegaze mode, with Henritzi combining long, doomy drones and Fukuoka playing the most emotional violin ragas you’ll hear on an improvised studio album. Edition of 250