What Those Ingredients Are

(Sijis) Used CD $4.00

Field recordings of San Francisco Bay Area from 2004 by Steve Polta


Bury Me Deep

(Troniks) Used CD $4.00 (Out-of-stock)

A rare album that assuredly sustains a distinct mood of dread throughout its entirety, with the 18-minute “The Dead Boy Would Not Go Away” most successfully enrapturing via minimalism and low-rumbling grime, and “The Earth Was Loose” including an orchestra of motorcycle rev-ups and crashes in the manner of sleazy teen exploitation flicks from the ’50s and ’60s. Bury Me Deep is a bit difficult to process upon the first listen, but coming back to it reveals an incredibly nuanced and pronounced craft, that requires patience and an appreciation for understated disquietude.


Current Amnesia / 2673

(Sunshine Disease) Used CDR $5.00

#12/25. Sealed



(Soleilmoon) Used CD $10.00

The group straddles the line between live improvisation and studio experimentation, shaping raw sounds into living pieces and gently dissecting the delicately structured songs into disruptive excursions evocative of moving shadows and swirling leaves. Acoustic instruments and vocals form a familiar reference point, but studio treatments take the music into psychedelic and cinematic realms. Wooden box. Insert. Edition of 450



(Destijl - IND068) CD $13.50 (Out-of-stock)

The first public appearance pairing Christian Henjes and Juergen Gleue (inspired by and with names derived from LSD-25, they would become CH-39 and JG-39) was in 1976, at the Dada Nova (a space occupied by Otto Mühl's AAO commune) in midtown Hannover, Germany. Dada Nova would be a space of enduring clash. From the subtlety of a shat-upon organ to the ejection from communal meetings by bodily force, the AAO displayed that the presence of the 39 Clocks was one of their constant grief. Known for pranksterism and the destruction of the clubs in which they performed, friction in every form continually followed the band. In 1979 they were thrown out of a show in Kassel at Dokumenta (their sounds had disturbed Joseph Beuys). They created an outrage (see the tune “Art Minus Idiots”) at the Filmtage Hannover with their avant-garde Super 8 movies made under the disguise of director Zachius Lipschitz. At a Hannover show at the Cafe Glocksee, they are rumored to have played the vacuum cleaner and a circular saw instead of guitars, and there was even a knife throwing incident in Bremen. Inspired, then, clearly, by protest in the broadest and most romantic sense (see the tune “Radical Student Mob In Satin Boots”), their sound was attuned to classic American punk and Nuggets, although this is not Bomp rock; the thrust of 39 Clocks purposed deconstruction and reassembly in the most modern sense. This collection was put together with the non-completeist in mind (originals of some of these records are as rare as Italian underwear), intending to display the general 39 Clocks vibe, but also some of their more curious wrinkles. And as the Clocks were always interested in where they were going and not where they'd been, the chronology here is strictly reversed. Diedrich Diedrichsen, who wrote the first review of the band in Spex, scribed liner notes.



(Erstwhile - ERST046) Used 2xCD $12.00

Keith Rowe, Oren Ambarchi, Christian Fennesz and Toshimaru Nakamura, each with extensive discographies and distinctive styles, formed the Four Gentlemen of the Guitar (4g) in 2004, and played a series of shows in Europe and Canada, three of which (from Vand'ouevre, Paris and Victoriaville) are contained on cloud. The widely differing aesthetics of the four musicians meld fluidly, forming hovering, delicate masses of sound. Sealed


Audio Super Predator

(Pure) Used CD $5.00 (Out-of-stock)

David Brownstead’s harsh noise project from the late 1990s delivers a wall of hellfire and damnation. Crushing, agonized, archetypical noise that never lets up.



(Nextbestway - NBWAY08) CD $10.00

Thirty-minute live recording from 2006, with Bruce Russell on Clavioline and guitar, and Alastair Galbraith on glass harmonica and violin.


Diaspora Brag

(Chocolate Monk - choc.566) CDR $8.00

“Him who was Wanda Group takes time off from flexing his guns and punching up at the twats,” explains our friend Corriander from Mutek PR,” To present more than 70 minutes of lurk-affirming tunes / no tunes. Four-foot-eight in heels, the grizzly man of Hudds (a dog’s hole) is the gift that keeps on seeping.” That same Hudds-based grizzly man chimes in, “I have become infatuated with this theory of the human clock system — each section or item inside and on your body having a built in time code; each particle, each piece of blood, having a tempo or a moving, self-regulated grasp on seconds; each lung being its own lung, and each bone or tongue being the king or queen of itself.” That all of Diaspora Bag was made on an iPhone 6 is of little consequence in the hands of a Hudds-based grizzly man who is naturally gifted at bending and crafting vibrations. Nevertheless. Edition of 60


Itsukushimi no Ame no naka de

(Musik Atlach - MA007) CD $16.50

Female accordion player based in Tokyo, whose noteworthy debut, Utsuho (Tzadik 2001), featured Haino Keiji as a guest musician. She crosses the border between pop and avant-garde with ease (a natural part of the territory when your instrument of choice is the accordion). Her hushed improv bears the beauty and nostalgia of folklore; within her delicate exotica are hidden fortitude and energy.


Merzbow / A Torture Mechanism

(Crucial Blast) Used Split CD $7.50 (Out-of-stock)

Merzbow’s “Unknown Tape 1994” is rather slow-paced wall noise, powerful enough to satisfy primal noise cravings. A Torture Mechanism’s roughly cut cassette noise is at times not unlike early Ramleh, with a solid bass end ridden with all sorts of meaty oscillating saw waves. 2001 reissue of Fistfight’s 1999 edition packaged in card a sleeve and held in an A5 sized pink paper folder with two info inserts and two thin clear plastic outer sheets.


Ghast / Abandoner

(At War With False Noise - ATWAR079) split CD $12.00 (Out-of-stock)

Ghast: tortured, slow black doom. Abandoner: sparse, post-industrial noise landscapes by members of Unearthy Trance.


Aida's Call

(Starlight Furniture Company - *9) CD $40.00 (Out-of-stock) (Out-of-print)

Wake up jazzbo, the free-train is leaving the station, and it won't be coming back. A limited edition of 500, once-in-a-lifetime, mysterious and previously cassette-only document of this 30-year old meeting between guitar-improv locomotive Bailey and Japanese heavyweights Yoshizawa (bass), Kondo (trumpet), and the legendary Abe (alto sax). A forty-minute improvisational rail splitting recorded live on May 3, 1978, during Bailey's tour of Japan, brought about via his meeting with Japanese "svengali" Aquirax Aida.


La Gueule Du Loup

(Fragment Factory - FRAG41) CD $12.75 (Out-of-stock)

This high-voltage electronic collaboration is a brutal jump in an ocean of noise steel. Modular synthesizers sing cruelly in the duo’s exploratory and abrasive free improv. La Gueule Du Loup arises rough from the manipulated modules and is propelled immediately into the atmosphere where it becomes virtual plasma. Elements, sounds, tones, micro-tones, and rhythms cohere in order and chaos. Edition of 300


Set Of Five

(New Albion - NA036) Used CD $10.00

Violinist David Abel, pianist Julie Steinberg, and percussionist William Winant’s 1990 view of Pacific Rim influences in modern classical composition. Henry Cowell’s title composition and Lou Harrison’s “Varied Trio” use exotic percussion and the-world-is-one inspiration, while John Cage’s “Noctourne” is not so explicit, and Somei Satoh’s “Toki No Mon” opens time to “not simply progress from past into future, but slowly describes a circle.” The five-part “Invocations to Vahakn” by Alan Hovhaness delves further through cultural icons to the ancient Armenian sun god.


Benny Does Jets

(Chocolate Monk - CHOC.369) CDR $8.00

A sound agitation hoedown between the Australian wonder scruff (all sweat, blood and beers performing on glass) and Zealand’s best-trimmed beard (four years running) on electronics and voice. Recorded live at the Tempe Jets rugby club at the edge of Sydney International Airport. Visceral electronic fart tones stomp a happy jig and attempt to crack that code you have floating in your skull. Numbered edition of 60


Carbon & Chairs

(Monotype - MONO046) CD $14.00

The second release by Vienna-based musicians and sound artists Andreas Trobollowitsch and Johannes Tröndle, who started collaborating in 2006 on sound composition, experimental radio plays, and manipulated field recordings. Beginning as an extension of their live electroacoustic duo Nörz, Carbon & Chairs pushes the instrumentation, structural complexity, and accessibility, which in turn convinced Trobollowitsch and Tröndle to christen themselves Acker Velvet, after the title of their previous Nörz album (Schraum 2009). The twelve tracks here are based on a series of improvisations, separately performed and recorded, and subsequently restructured and re-arranged on the computer. The results are dense and diverse, colorful and full of tension, settled somewhere between noise and harmony, collage and composition, experiment and pop. Viennese singer Werner Kitzmüller guests on one track.


The Rotten Opacity Of It All (All This Rot)

(Chocolate Monk - CHOC.280) CDR $7.00 (Out-of-stock)

Glasgow’s best-dressed hun Stuart Arnot and wee fireplug Susan Fitzpatrick continue the good fight for bizarre ear treats. Purposeful, primitive playing full of violin creaks and scrapes, which then morphs into seasick wooze. Vocals sputter, mumble and sing with Mogadon droop. Sprinkles of archaic tape manipulation. A musique brut take on a Harry Partch piece. Wallow in their inquisitive sound world.


You Have Not Learned To Play And Mock In The Psychic System

(Chocolate Monk - CHOC.341) CDR $7.00 (Out-of-stock)

Stuart Arnot and Susie Fitzpatrick stumble out good-foot-style with everyone’s favorite academic dunderhead Gwilly Edmondez for inspired avant jig, coming off at times like a more abstract John Gavanti or a peasant island take on Fatty Jubbo’s missing-in-action Ritualistic School Of Errors. This could be post-Brexit “Last of The Summer Wino” blues, as they trundle down the mind slide with a wheelbarrow full of string instruments, tapes, keyboards and other junk — sometimes arse over tit with plenty of yelps, gurgles and hollers, only to land upright again and blow your spinning skull with gentle creepy sway and yodel. Seriously munged magic. Edition of 60


Stranger On A Couch

(Central Control International) Used CD $5.00

Ninth solo album, from 2006, swinging through dark pop, atmospheric instrumentals, demented circus music, catchy pop spilling over with Hammond organ and acoustic strumming, slide guitar and a big harmonica hook, cinematic soul, martial drums, beautiful string synths and piano, funk and dub leanings.



(Sentient - SR02) CD $10.75 (Out-of-stock)

(Sentient - SR02) Used CD $7.00

Massive is an understatement. Absolutely monolithic down-tuned guitar assaults twist through almost mechanized, mind-bending rhythms while tortured vocals narrate how wretched life actually is, like a monstrous cyborg in the process of human extermination, all too aware of the atrocities it commits.


Boquetot / Paris / Port Jerome

(Groundfault - GF021) CD $12.00

Music produced by Eric Cordier (processing, contact microphone recordings), Jean-Luc Guionnet (long string recording devices, mixing), and Eric La Casa (condenser & contact microphone recordings, filtering, processing, mixing) at specific sites: a windy day on a highway exit ramp near a hemispherical tunnel made of sheets of corrugated iron, with amplified steel strings stretched between it and the recording van; a train station; and an emergency training day at a huge petroleum factory, near valves regulating steam pressure).


Viosphere + Selected Works 1984 – 1991

(Art Into Life - AIL007) CD $19.00 (Out-of-stock)

As a continuation of some of these ideas formulated during art and improvised violin experiments in the late 1970s, Hideaki Shimada started adding tapes, which led to the creation of the Agencement electronic project in 1985. Art into Life’s reissue of Viosphere (Pico 1991) adds three previously unissued tracks from the same period. Of particular interest is a heavily avant-garde performance for guitar, amplifier and autoharp from a 1988 studio session with Toukaseibunshi’s Hironari Iwata. With twelve-page booklet of period performance photographs and several 2011 visual works. Edition of 200.



(Musik Atlach - MA005) CD $16.50

Naomi Hoca's funereal, dark drones are based on old sacred songs. As a devotee of ancient religious music from the Renaissance and Middle Ages, she is affected by the work of mystics and tries to combine music from Christianity and the point of view of the pagan. Her sound consists of drone, quotation, sacred song and her vocalization, and is dedicated in condolence to forgotten casualties of war.


Memory & Hearing

(Hospital - HOS327) CD $13.50 (Out-of-stock)

Difficult collage noise requiring repeated listening.


Radio Guitar

(Ecstatic Peace) Used CD $6.00 (Out-of-stock)

Nine untitled tracks from 2001, with Ess on effects-saturated guitar and Ahwesh playing the short wave radio as if it’s a musical instrument. Partly planned, partly spontaneous musical compositions of dense and often melodic sounds and noise.


Live At Mark Moore Gallery

(Helicopter - HEL 95121) CD $10.50 (Out-of-stock)

Multi-channel and heavily dosed with subliminal messages, recorded June 21, 2014 in Culver City, California. The line-up includes: Don Bolles, Ted Byrnes, Dennis Duck, Ace Farren Ford, Michael Foster, Juan Gomez, Fredrik Nilsen, Joseph Hammer, Kevin Laffey, Jorge Martin, Rick Potts, Dani Tull, John Wiese, Vetza, and of course the master of skull-crushing himself, Mr. Joe Potts.
Listen to an excerpt here: https://soundcloud.com/meditations/airway-live-at-mark-moore-gallery-excerpt


The Lowest Form Of Music

(Helicopter) split 2xCD $16.00

Los Angeles Free Music Society titans and Japanese icons energetically tear through boundary-pushing movement, raucously combining free improv experiments and sonic daggers with feral roar and pounding percussion. Disc one features the legendary live performances by each group recorded at The Lowest Form of Music weekend in London, 2010. Disc two reissues the split record originally released on Harbinger Sound to celebrate the festival, featuring performances from 2009 by Airway in New York and Hijokaidan in Tokyo. Mastered by John Wiese, packaged in a six-panel digipak with liner notes by Takuya Sakaguchi in Japanese and English.



(Satsugai Enka) Used 3-inch CD $10.00

Lo-fi destroyed hardcore from 1994 by Seiichi Yamamoto (Boredoms, Omoide Hatoba) and Toyohito Yoshikawa (Boredoms, UFO or Die, Grind Orchestra). Fourteen tracks in under 15 minutes. In standard size CD jewelbox, with 8pp book of drawings. Includes obi


Delicate Instruction

(Pure) Used CD $5.00

Rather dark, slowly enveloping noise fields from 1996, manifested with synths, loops and radio sounds. Primitively made but with intensity.



(Magaibutsu) Used CD $10.00 (Out-of-stock)

Using a moniker that translates “red heaven,” Tsuyama Atsushi (Omoide Hatoba) and Yoshida Tatsuya (Ruins) embrace irresponsibility by using common objects like scissors, toothbrush, zipper, camera and plastic bottle as percussion, and brand names shouted over and over as the lyrics. Low cost, maximum sound effect, experimental convenience store punk recorded 1995. Paper bag cover with glue-on artwork.


False Positives

(Hand-Held Recordings - HHR02) CD + DVDr $11.50

Dark and brooding or mellifluously uplifting (take your pick), the third full-length album from Hiroshima-based, ex-pat Scotsman Paul Thomsen Kirk carries on from Unconfirmed Reports the recurrent, underlying theme of urban and cultural alienation in a media-saturated Japanese metropolitan environment. Whether skimming the surface or trawling the dank underbelly, Kirk examines the daily minutiae of life in a large, concrete-and-glass-and-steel Japanese city, in all its garish hues and faded glories. Accessing all areas, and dispelling some Japanese urban myths along the way, False Positives is a thoroughly enticing, mesmeric, 360-degree adventure. Limited edition DVDr contains six videos.


Short Fuse

(Alt.Vinyl - AV071) LP + CD $24.00

Paul Thomsen Kirk’s fifth full-length album navigates the last of the concrete, glass and steel of the large urban cityscapes of Japan and enters the de-populated rural villages and barren rice fields. Sound-tracked by pounding rhythms; disembodied electronics; roughly hewn, effected samples; whirling dervish dance-marathons; concussive percussion; and twisted snippets of lost conversations, the album is akin to listening to a multi-waveband radio tuned into post-Fukushima short wave transmissions replete with static-laden, disembodied newscasters lamenting forgotten faces and life-lines to the gone forever, the extinguished firmament of normality. CD contains entire album plus three non-vinyl bonus tracks. With inserts. 180-gram, colored vinyl. Edition of 250


Unconfirmed Reports

(Hand-Held Recordings - HHR001) CD + DVDr $12.00

The second full-length release from Hiroshima-based Scots musician, filmmaker, and photographer Paul Kirk (ex-Twisted Nerve, ex-Bigshot) is an in-depth, electronic-based, audio/visual travelogue of late autumn through to early spring. Dark, brooding, occasionally menacing, deeply seductive, Unconfirmed Reports carries on the urban alienation and social exclusion first heard on Akatombo’s Trace Elements, released by Colin Newman’s Swim label. By skimming the surface and trawling the dank underbelly, Kirk presents the daily minutiae of life in a large Japanese city in all its garish hues and faded glories. Mix engineered by Makoto Kubota (Les Rallizes Denudes). The DVDr contains three films with music from the album. Hand-numbered edition in oversized printed envelope, containing two photographic art-prints, two random newspaper cuttings.



(Blue Chopsticks) Used CD $9.00

Impressed by Akchoté mistreating his instrument in his characteristic, inimitable manner, the venerable composer regarded the Parisian guitarist’s solo set as “new, real-time concrete.” Auzet, who had previously performed the demanding percussion part in Ferrari’s Cellule 75, is another obvious choice for this trio, with Ferrari on piano – utterly at home and in-the-moment for this first encounter in 2003. This meticulously crafted assemblage of shifting sonic perspectives is “a play of depths, where individual attacks come abruptly and unpredictably to the fore. Its taut, edge-of-seat, aggressive interplay is deployed within the wondrous frame of Ferrari’s montage.”


The Prosperity Of Vice, The Misfortune Of Virtue

(I Release) Used CD $8.00

EMS synthesizer, Ishibashi theremin, tapes, and noise electronics. Composeed for the Theatre play Akutoku No Sakae/ Bitoku No Fuko by Romantica, and based on the Marquis De Sade’s Historie De Juliette Ou Les Prosperites Du Vice and Les Infortunes De La Vertu. From 1996


Uterus and Human

(Alchemy) CD $25.00 (Out-of-stock)


International Domestic

(Corpus Hermeticum) Used CD $5.00

In these duets by Akiyama with guitarist Greg Malcolm, no-input mixing board whiz Toshimaru Nakamura, and Bruce Russell on electronics and clavioline, you’ll hear “how aggressive and off-balance a music founded on restraint can get,” promises Paris Transatlantic. “Akiyama leaves vast spaces between his jagged twangs and clanks…, and does things to his guitar pickups with a steak knife that would have a sushi chef sweating. Nakamura’s work is more disjointed here too, and their fourteen-minute duet packs a few nasty surprises. The duet with Malcolm sounds more like what you’d expect to hear in Tokyo’s Off Site, but Russell … is more confrontational…. Their duet emerges out of a babble of audience noise … [and] exists in a permanent state of impending catastrophe, building a fantastic sense of tension that’s all too often lacking in Japanese-style micro-improv.”



(Rossbin) Used CD $5.00 (Out-of-stock)

Analog improv trio date led by Akiyama (on tape delayed electric guitar) with Kahn on modular synth and cymbal, and Kawasaki on dismantled Roland synthesizer.



(A Bruit Secret) Used CD $8.00

Prepared guitar played with a resonator. “Strings buzz…, as … the resonator triggering unsuspected responses from the paper clips, pens, and other objects inserted under the strings,” say All Music Guide. “The pieces sound both harsh and crystalline…; in the realm of reductionis / lowercase avant-garde music, this album comes as a strange proposition.”


Stoned Runes

(Akti) Used CD $8.00

Quiet, intimate and beautifully wandering document from 2008. Zonked folk improv played on acoustic guitars, recorded live at Ringoya in Tokyo. 2021 reissue.



(Young God) Used CD $3.00 (Out-of-stock)

“Opaque psych-folk weirdness [from 2005] with each of the Brooklyn band’s four principal members receiv[ing] a ‘bric-a-brac’ credit next to the more conventional listings for guitar, piano, melodica, glockenspiel, and percussion…. Unidentifiable noises have a way of splattering suddenly across the album’s plaintive acoustics…. melding … animalistic percussion, layered voices, pleading melody, and hints of electronic noisemaking to the lo-fi aesthetic….”


Love Is Simple

(Young God) Used CD + DVD $7.00 (Out-of-stock)

Chaos, rock action, tribal bongo-banging, sentimental sing-alongs and pop gems galore. From 2007. Sealed


Playback Device Confusion Volume One

(Mego) Used CD $3.00 (Out-of-stock)

Recorded live at Rhiz Records, Austria, 2002. Guests include Tiefpunk Crew, Schimpfluch-Gruppe International, Good Looking Communists, Costes, Fear Of God, K2, R. H.Y Yau, Raionbashi, Noize Punishment, Mouse, General Dub, Doormouse & Stuntrock, and Arsedestroyer. Shaped CD, packaged in a slimline jewelcase, with obi. Sealed


The Wet Black Poodle Transforms

(Singing Knives) CD $10.50

Recordings from November 2011 in Manchester and Sheffield of performances by legendary Flemish Fluxus artist, performer and filmmaker, with the Harappian Night Recordings mastermind and the percussionist from Part Wild Horses Mane on Both Sides. “Mich is in mind-bending form here,” observes our mole inside Volcanic Tongue, “Forsaking established ‘sound poetry’ modes for spontaneous body strategies, snores, bursts of song and screams, at points getting into an amazing Patty Waters-esque riff on ‘black,’ at others channeling the ferocious osmotic tongue of Blixa Bargeld circa “Negative Nein.” Ali and Nichols bolster the industrial ritual feel with metal tones, tonal skin sounds, weird moments of gamelan drone and sudden explosions of full bore improvisation that nod to the kinda volcanic interplay of the Music Improvisation Company or the large scale percussive constructs of Tony Oxley.” Edition of 150. TEDIUM HOUSE BEST OF 2013


De Speenzalvinge

(At War With False Noise - ATWAR081) CD $14.50 (Out-of-stock)

First full-length. Three tracks of brutal, driving blackened sludge doom.



(At War With False Noise - ATWAR029) CD $9.00 (Out-of-stock)

Reissue of demo from this Belgian primitive black metal / doom band. One haunting, brutally lo-fi track. Black-on-black silkscreened covers.


All-Star Game

(Eremite) Used CD $17.00

“There’s much to celebrate about these two discs, classic encounters of the energy chapter of free jazz -- in each case two saxophones and rhythm section blowing toward some apocalyptic possibility; no theme in sight, with power and conviction that have too often seemed drained from American free jazz. What happens in each case is an explosion of impassioned utterance, soul-searing work in the rituals first defined by Ayler, Coltrane, Sanders, and the Sun Ra reed section of which Marshall Allen was a member. These may not, in any sense, be regular bands, but they’re bands without a weak link, whether ego-centric, technical or conceptual. The All-Star Game features what is unquestionably the senior ensemble. It’s a marvelous meeting in which Allen and Jordan dance across the pulsing maze of multiplying rhythms set up by Drake an\d the two basses of Parker and Silva (another early presence). While Jordan unquestionably belongs in the All-Star Game, he is among the most under-rated of musicians, a fountain of torrid energy and exalted invention who is entirely worthy of this rhythm section.” From 2000. Clipped corner


Let New Life Rise In The Face Of Death

(Hasten & Korset - 045) Used CD $24.00

This CD reissue of Mattias Gustafsson’s haunted and solitary tape (Sprachloss Verlag 2011) includes two new compositions, one with Joachim Nordwall on analogue synths and effects. “Although the trademark oscillator, synth and feedback work of Altar of Flies still echoes in the tracks,” notes Peter Henning, “Let New Life Rise In The Face OF Death references classic avant-garde composition as much as it embraces the seedy grit of industrial and noise music…. [A] haunting blend of environmental and found sounds that seriously throws out a challenge to the established canon of Swedish concrète.” Edition of 300.



(Staubgold) Used CD $5.00

Analog electronics and guitar fused together, a subtle and compelling realignment of Eastern and Western minimalist traditions.


Highland Park

(Chocolate Monk - choc.230) CDR $9.00

Nine tracks ranging from tranquility to ghostly static and voice mazes. Records, record players, montage flexi discs, electrical interference, cassete tape hiss, shortwave, and field recordings. A rather addictive and mesmerizing piece of work with contributions from Gen Ken Montgomery, Damion Romero, Bob Bellerue, Das, and Howard Stelzer.



(Pure) Used CD $5.00 (Out-of-stock)

Loops of spliced flexi-discs — a monument to recycled sounds. Guests include Michael Johnson, Wm. Christman, Chemical Toybox, Damion Romero, PBK, and Crawl Unit.


From A Strange Place

(PSF) Used CD $15.00 (Out-of-stock)

As with many a concert by mature incarnations of AMM, a large portion of this 1995 live event in Japan is quiet, spare, and gestural. Pianist John Tilbury is in post-Feldman mode throughout, softly raining isolated, lovely figures while Eddie Prévost delicately, if atonally, bows cymbals and other metals, and quietly rustles objects over his drumheads. Keith Rowe’s muted rubbings and radio transmission are supremely attuned to the ruminations of his companions.


Paradieswärts Düül

(Captain Trip - CTCD017) Used CD $12.00 (Out-of-stock)

1995 reissue of their third album (Ohr 1971). Includes two bonus tracks "Eternal Flow" and "Paramechanical World," from their only seven-inch (Ohr 1970).


S.F.A.G. / S.F.A.G. De-Composed

(Old Europa Cafe - OECD134) 2xCD $9.00 (Out-of-stock)

The full-length work as heard in its original form on Broken Flag’s 1983 cassette, digitally remastered. The second disc contains three de-compositions by Nordic sympathizers using extracts of the original S.F.A.G. recordings.


La Hora Lobicán

(Lemuria) Used CD $16.00

The return of historically significant Basque singer-songwriter revered for his ability to capture in song, through cultural and political comment, the lights and shadows of the Spanish society of the 1970s. Sealed


The Tubular West

(Torpor Vigil Industries) CD $14.00 (Out-of-stock)

Avant garde pop with a modern composition vibe by Canadian multi-instrumentalist who plays everything from heckelphone to synth, stylophone to piano, oboe and English horn to, of course, wooden plank. Aided and abetted by bassist Andrea Agostinti; Ayako Okubo on piccolo and bass flute; Olivier Maurel on drums and vibraphone; his brother Léo on bass guitar, fiddle and, ahem, a box of bumblebees; and Steve Venright doing the real-time electronic modulation. Recommended if you like the song cycles of Van Dyke Parks, Club Foot Orchestra’s soundtrack to Metropolis, Andy Partridge’s recent collaborations. Includes twelve-page book.


Best of The Android Sisters

(EM) Used CD $45.00

2004 Japanese reissue of the PKD-inspired Songs of Electronic Despair (Vangaurd, 1984), which combines MIDI / Synclavier, genre-hopping, dual femme robot-disco vox, and social satire. Includes five previously unavailable tracks taken from various episodes of 1980s radio series “RUBY: The Galactic Gumshoe” plus 48-page book of facts, interviews, and lyrics in Japanese and English.


Litaniæ Mortuorum Discordantes

(The Epicurean - CURE11) CD $21.00

Soul-shredding funeral music built on dissonance, intended for church performance, triggering spiritual delight (aka dread, existential anxiety, feelings of death and decay). Anemone Tube and Post Scriptvm stage a linear, gradually unfolding “oratorio” which begins with layers of lush brass synths resounding a time and place enveloped in ancient mythical beauty. The pristine serenity, however, slowly deteriorates through the influx of anguish, social decay and profanity. Raw field recordings, throbbing electronics, metallic tremors, distant voices and chants portrait a life of numbness and confusion, where man — tormented by ignorance, ignoble desires and anger — has become a plaything of insane “Weltanschauungen” and the commercialization plague. Ka-ching.


How I Loved You

(Young God) Used CD $10.00 (Out-of-stock)

Far from M. Gira’s usual terrain of brute excess and into a zone of languid reverie, bittersweet longing, this 2001 album is “largely acoustic with a palette of oblique electronic washes and blurred sonic architectures applied for cavernous, orchestral atmosphere. Its elegance is seductive.” With Gira on vocals, guitars, and effects; Christoph Hahn on lap and electric guitars; Lawrence Mullins on percussion; Dana Shecter on bass and piano; Birgit-Cassis Staudt on accordion, piano, and Casio; and Thor Harris on dulcimer and piano, joined by Bliss Blood on vocals and Kid Congo Powers on electric guitar. Digipak. Sealed.


New Mother

(Young God) Used CD $8.00 (Out-of-stock)

“M. Gira continues with his intentional break from Swans. Anything but a softening of his art…, New Mother instead … experiment[s] even further, concentrating on acoustic guitar songs accompanied by a variety of musicians…. The general feel of the entire record draws on a juxtaposition of lush ’60s American and European pop orchestration (the use of a banjo inevitably recalls Brian Wilson and Van Dyke Parks) with often stark, ominous recordings and arrangements…, creating a marvelous.…” Digipak.


Sing Other People

(Young God) Used CD $8.00

Pitchfork calls this 2005 album “a gutsy record. It maintains the band’s lo-fi intimacy while expanding its breadth to include back-up singing and more voluminous instrumentation. Fans of Everything Is Good Here / Please Come Home, the Angels’ tumultuous 2003 stab at lysergic goth-folk, shouldn’t be faulted for thinking they’re hearing a different band altogether. Part of this metamorphosis can be attributed to the assistance of fellow Young God signees Akron/Family. ‘Lena’s Song’ stakes Michael Gira’s booming baritone against a glistening backdrop of nylon-string plucking, fretless bass, glockenspiel, and a chipper Beach Boys-esque vocal harmony. The song proves Angels of Light capable of clarity and levity…. ‘My Friend Thor’ is as subtle an act of self-immolation as a club to the head from its namesake: It starts acoustic, with a laconic Gira following the rigid outline of his strumming, before he’s blindsided by a burbling gamelan orchestra. The detour moves the song from the sound of stark isolation to a full-on fireside jamboree, replete with a veritable tabernacle-full of backup vocalists.” Digipak


We Are Him

(Young God) Used CD $6.00

On the sixth and “most engaging [of Michael Gira’s albums] as Angels of Light,” according to Pitchfork, “he’s backed by one of the most impressive guest lists of the year (Akron/Family providing the basic tracks, plus new friends or longtime collaborators Larkin Grimm, David Garland, and Bill Rieflin)…, [and has] rarely sounded this foreboding: Prodded by a scathing, raw violin drone and a daring chorus of sirens, it’s an escalating dirge for the collapse of society, full of floods, blood and mouths too stupid to scream. Beneath an electric guitar twitter, heavy drums and furious strings…, Gira hands down … imprecations.” Digipak edition from 2007



(Glistening Examples - GLEX1501) CDR $10.00

Six compositions from between 1996 and 2009, and the previously unreleased 20-minute “Feldweg” by one-time secret weapon for Caroliner, Fat Worm of Error, and Deerhoof. Tiny Mix Tapes is pretty sure Bidden can easily “satisfy your deep and abiding desire for your head space to get crackled,” while Bhob Rainey is equally reassuring: “No one [else] handles so many skittering, teeming particles with such (alien) bar room elegance.” Listen to “The Arduous Transmigration Of An Incongruous Plastic Child” here: https://soundcloud.com/glistening-labs/angst-hase-pfeffer-nase-the-arduous-transmigration-of-an-incongruous-plastic-child


Forma II

(Pan - PAN16) CD $12.00

Four electroacoustic pieces based largely on analogue synthesizer material and one long-form swarm-like composition for multiple overdubbed saxophones -– the duo’s first collaborative output, composed and recorded in Berlin between 2008 and 2010. Additional sounds range from metal foil floating on ultrasonic sound-beams to mechanical clickers recorded in the abandoned radar domes at Teufelsberg. The raw materials have been extensively processed and re-constructed using analogue tape and digital methods. The five pieces shift between sharply detailed blizzards of electronic interference to passages of delicate balance, between calm and turbulence, between stasis and rapid shape-shifting, between multiple virtual spaces and non-spaces.


Absolut Null Plunkt Live In Japan

(Important) Used CD $6.00

Stark pummeling fusion from 2003 by Zeni Geva founder KK Null and original Fushitsusha drummer Seijiro Murayama, combining elements of free jazz, heavy rock, industrial noise, glitch and free improv dynamics. Sealed.



(Auscultare Research) CD $10.50

The second collaboration by Karkowski and Xopher Davidson (Antimatter) slowly rattles one’s skeleton with gradually intensifying hums and buzzes and rumbles and drones and pulsations (and trots out plenty of onomatopoeia from ye olde noise almanac), until one’s bone marrow is more slippery than week-old cat piss pooled in a bean bag chair. Powerful and focused for 45 minutes. You can take it.


Complete Soundtrack for The Tropic of Nipples

(Off - 998) Used CD $10.00

A once-in-a-lifetime sickness: Guided By Voices chairman joins forces with Blue Oyster Cult lyricist and long-running noise outfits for oddball bubble-and-burn words and music. Features all twelve tracks from the out-of-print seven-inch version, plus eleven bonus cuts.



(Silent - SR9009) Used CD $8.00

The inexplicable, alien communiqué by David Myers, “Penetrating Black Ice,” uses rhythmically repeated and sustained feedback tones, vibrations, static and resonances to penetrate the subconscious. With the use of a sampler, various sound effects, and a guest appearance by AMK, Kim Cascone attempts something similar on four shorter tracks of cloudy, paranoid drone and ominous sound vapor.


Edit For Unconscious

(Auscultare Research) Used Split CD $3.00

“Arford’s ‘Drift Counter’ is a white wash of buzzer noise and open mic sizzle,” says Igloo Magazine. “At about 23 minutes the isolated energy of the mower-like sonics freeze the subconscious for a moment and stir-fry it back up again…. Drops of threatening noise taunt in Yau’s ‘Second Coming,’ like a griddling of some type of hovering being that gets caught in the radiant glow of drone. The track climaxes to a gas-like explosion which melts all in its course to the din of reverberation. Edit for Unconsciousness also includes Arford’s barely grounded ‘Headworms,’ originally released as part of a split mini-CD with the Haters. The piece has a molten core slow-roasting all in/outputs. Yau’s ‘Realia’ opens this recording with a quick cut-up-cum-slow-perk approach. Its mild side is nothing if not an eerie message from a force outside of our realm. Suddenly the plug is pulled and wavers out in slow motion. The drama invigorates and has the ability to give you the shakes.” From 2001


Ark Drane

(Chocolate Monk - choc.587) CDR $8.00

“Ark Drane’s debut is a collaboration between Karen Constance and Kristafer Abplanalp. ‘Hangnail Persistence’ dips the listener to a loping gate that fords up through the swales and circles round the midden, like if Brothers Quay whittled dub music out of wooden blocks forging a beat of wet earth stirred in memory dimly carried to bed at night on rainy days. ‘Laugh like Midwestern Wind Chimes’ is the resonating afterimage of finding yourself in an unfamiliar neighborhood liquor store asking for a six-pack of Peroni, only to be told that Peroni used to live down the block but has been locked up for ten years. ‘Monks on a Train’ produces the aural translation of the following Cormac McCarthy sentence: ‘Wasps pass through the laddered light of barn slats in a succession of strobic moments, between black and black, like fireflies in the serried upper gloom.’ Most of the source material to ‘Bloodline Stitches’ was reportedly recorded in a Kentucky hospital’s Cardiology Wing of an Intensive Care Unit, summer of 2021. From what this listener can discern, black husks of pupae swarm the purloined insurance agents rendering portraits of their noses, caked in enamel, framed in gold, with miniscule chains to fit under their clothes.” —Crozier Lathrop. Edition of 60


Eternal Life In New York City

(Phase! - PHR123) CD $9.00

Outsider songwriting through stripped playability on the verge of ’90s-era 4AD melancholy and Shadow Ring’s isolated ghost reverb. The mature epitome of decaying urban loneliness. Edition of 100. Become one with yourself and listen to “The Soulless Boy of Eden” here: https://soundcloud.com/phasemag/arklight-the-soulless-boy-of-eden


Sonic Experimentation

(Bizarre Audio Arts) Used CDR $6.00 (Out-of-stock)

1995 noise by Sabatto, Coronel and F. Torres using tapes, old records, machines, pipes. Stickered label.


Fitness Landscape

(Takashi Mobile) Used CD $5.00

Live and studio guitar / electronics from 2009 and 2010.



(Art Into Life - AIL002) 2xCD $26.00

Rusting metal junk, discarded as valueless trash, but when filled with blood, flesh, and bone, transformed into potent sources of energy, chunks of which rouse the savage souls, dragging us out of comfortable, everyday reality into an imaginary world — a choking, vacuum-like, hermetically sealed space where one loses touch with the senses as they are push toward freedom. Cover art is a classical, elegant portrait photo by Rupenus walked over and spat upon by Yamada. Package consists of a long box, containing a handmade objet card made of scrap metal (each unique in shape and design) and twelve-page booklet of artwork. Edition of 250. Listen to an excerpt from “Syntax Destruction 3” here: https://soundcloud.com/a_i_l/the-new-blockaders-artbreakhotel-syntax-destruction-3


Distori (Noah)

(Sondris) Used CD $5.00

Slawek Kwi’s late ’90s recordings of birds, amphibians, and insects in their natural environments, mixed with bits of a computer crash captured on tape and synthesized voice samples.


Vol 5: Th Ality Absfract

(Audioview) Used CD $7.00

This volume of Slavek Kwi’s project concentrates on pulsation and rhythm. All sounds used come from concrete sources (birds, animals, household objects, street sounds, etc.), except for a computer voice and the drum beats, which were taken from a sampler CD. The astonishing number of layers give these works unusual depth. There is a whole ecosystem living in this CD ready to engulf.


Water Regions Of The Southwest USA

(Wholly Other) Used CD $3.00

Long and layered bass-triggered synth pieces by Paul Guilford / Locasta of the Dave Dove Paul Duo form an oblique concept album related to the fact that there are no naturally occurring lakes in Texas. Sounds range from appropriately aquatic to ambient (if your idea of ambiance is a construction site).


Unity + Peace = Strength

(Hanson) Used CDR $30.00

One twenty-minute track from 1998 performed by James T Harper, Steve Kenney, Aaron Dilloway, Adris Hoyos, Andrew Wilkes-Krier, Dan Hosker, Andy Roach. Edition of 40.



(Krim Kram) 2xCD $18.00

Originally compiled as a two-cassette release by Archivio Diafònico in 2016, now reissued as a double CD for optimum playback at your next MRI scan, Samling documents the earlier, “noisier” years of Arv & Miljö, collecting all compilation appearances from the project’s inception in 2010 up to 2015. Gritty, claustrophobic sound that includes environmental recordings, primitive melodic synth tones, and fragile failing electronics.


Saint Catherine Torment

(Discus) Used CD $5.00

Martin Archer’s atmospheric and varied improvisation from 2005 orchestrated with piano samples which are by turns aggressively insistent and delicately shaded. Shades of Stockhausen and Galina Ustvolskaya.


Ash Castles On The Ghost Coast

(Wholly Other) Used CD $6.00 (Out-of-stock)

“The only full-length to emerge from the half-decade partnership between Galveston-based experimental musicians Shawn David McMillen and Heather Leigh Murray, Ash Castles on the Ghost Coast remains a highly listenable node on the Ptolemaic Terrascope-driven lo-fi psych scene of the mid-’90s,” explains All Music Guide. “Though McMillen would go on to make more guitar-oriented recordings for Tompkins Square and others, guitar is often only an instrument in the palette here. On ‘Ride Cactus Glide Cliff Explode,’ it acts as a source of detonation and disorientation, a layer of sound atop a percolating bed of noise. Elsewhere, it behaves almost normally — which is to say, it is strummed acoustically — on the vaguely folky ‘Dust of My Grave.’ But even there, the six strings drip into home-recorded reverb trails, instantly [placing it] on the global psychedelic timeline. The album has both vague inclinations toward prettiness [and] totally scorched noise jams…, unified by a distinct home-recorded sheen, the sound of creativity and youth.” Hand-painted inserts


World Turns On Its Hinge

(Tour de Garde) CD $12.00

The first full length CD from the black metal band of Dominick Fernow (Prurient) follows an acclaimed demo “Genital Tomb.” This incredible opus should please fans of Burzum, Satanic Warmaster, Katharsis or Akitsa.


Yet More Warnings / Object Permanence

(Chocolate Monk - choc.606) CDR $8.00

This South London duo improvises micro pseudo-music in order to cope with the chaos of overwhelming information and Tory governments. They organise Cliff-Edge, a regular show of “improv for end-times” at Hundred Years Gallery in Hoxton. The pieces presented here were recorded a week apart in November 2021, both with a Bastl Microgranny each. It is the sound of goon men gathering the electronic shrapnel of what was music and gluing it back together with all the huff and wheeze of spore-huffing delusionals. A no-let-up set of frothing pitter patter. Sonics which are ripe to dissipate the gloom. Do you want a shovel or a spoon? Edition of 60


Purposeful Lady Slow Afternoon

(Bôłt - BRPOP04) CD $14.00

Voices by Ergo Phizmiz and Lula, piano by Phizmiz, guitar by Maciej Cieślak, violin by Julia Ziętek, laptop by Alessandro Bosetti, turntable by DJ Lenar. Volume four in the label’s Populista series.


String Quartet Describing The Motions Of Large Real Bodies

(Alga Marghen) Used CD $8.00

Originally composed in 1972 — for an opera based on the text of “In Sara, Mencken, Christ and Beethoven There Were Men and Women” — when significant changes in electronic instrumentation were just beginning, and recorded at the Center for Contemporary Music, Oakland, California, that same year, Ashley’s twenty-minute piece calls for an electronic orchestra of forty-two sound-producing modules, where the string quartet makes intentional but unpremeditated streams and pulses like pitched clicks, which go directly to a set of four loudspeakers, but are also delayed electronically and sent to a series networks activated when original sounds and delayed sound coincide. One version of “How Can I Tell the Difference?” uses electronic orchestra sounds and other collages ingredients, such as reverberations and motorcycles sounds inside San Francisco’s underground labyrinth of concrete tunnels constructed by the military in the 1930s. On a second version from 1973, a solo string player opens and closes the sound gates to electronic reverberations and prerecorded sounds running continuously with the performance. With eight-page booklet of scores and liner notes by Ashley.


Ashtray Navigations / Universal Indians

(Betley Welcomes Careful Drivers) Used split CDR $12.00

“In the welter of home recording releases, it has to be said there is nobody quite like Phil Todd and his splendid Ashtray Navigations,” promises Sound Projector. “No other music sounds as chronically symptomatic of a week-long influenza fever, fraught with hallucinogenic visions of discomfort.... [S]tarting off with a whimpering puppy of a toy organ loop [the CD follows] the corridors of sound-leakage, ambient room recordings and noisy clutter with a suite of metal guitar solos…. Universal Indians … play very loud guitar and drums…, turgid and slow…, while the vocals are wrenched from the chest cavity of the singer as though he’s being given the Heimlich maneuver by a masked wrestler.”


Four More Raga Moods

(Ikuisuus) Used CD $4.00 (Out-of-stock)

Four more slow-glowing trance bombs that combine lucid, transparent guitar gliss with spectral folk, subliminal drones and guest appearances from Alex Neilson, Ben Reynolds, Mel Delaney, Chris Hladowski, Matt Cairns, Andy Jarvis and Pete Nolan of Magik Markers, et al. From 2006


Four Raga Moods

(Betley Welcomes Careful Drivers) Used CD $15.00 (Out-of-stock)

There are indeed four untitled tracks from 1997 here, the first of which clocks in at a monolithic 41 minutes. “Compared to other Ashtray indulgences from the same era, it’s downright minimal,” observes Outer Space Gamelan, “Based around what I’d approximate to be harmonium, guitar, cheap percussion, field recordings, effects pedals, violin.... The only two general constants are a hazy pool of tape buzz, static and a woozy hand-drum rhythm…. At times it sounds like Phil Todd is trying to communicate a greater whole through an impenetrable wall of static, like a busted Walkman picking up alien satellite feeds or a shortwave radio station occurring just beyond the limits of the dial.”


To Your Fucking Feather’d Wings

(Gold Soundz) Used CDR $4.00 (Out-of-stock)

“Great, epic, slow-burning, surreal drone rock,” swears Head Heritage. “One of Phil Todd’s best.”


You Cannot Tell Cigars By The Picture On The Box

(Celebrate Psi Phenomenon) Used CD $7.00 (Out-of-stock)

“Bedroom legends shower the parched earth with canonized filth and cheap-tape degradation,” sputters The Wire, “Setting a brand new bench mark in foggy-psychic-swuzz. Six extended tracks that run the gamut of ooze, sliming a cast of guest contributors along the way.”


Ed Askew

(ESP-Disk') Used CD $6.00

Ask The Unicorn from 1968 plus three tracks selected by Askew — “Accordion Man” from WYBC radio1970, “Green Song” from the early 1970s, and “A Soldier’s Song” from 2005.


Go Go Telescope

(EastWest Japan) Used CD $11.00 (Out-of-stock)

“Tantric tantrum dum-dum go-go music” is how KFJC tags this hard-to-find import disc. “As catchy as your favorite STD. Fashion king husband and helium queen wife dote over their child, the drum machine. Unlike their Stingy Banana releases, most lyrics here are in Japanese but the titles tell the story pretty well. Stupid, silly, and sexy with a banzai scream. This is mangled musical manga. Cartoon tunes that rawk!”


Phuket A La Bum Bum

(Bulb) Used CD $5.00

This is some fucked-up shit. While general roustabout Bob Limp thumps along in the background on a variety of acoustic, analog and digital instruments, Japanese comedienne Naoko Nozawa screeches in the foreground like a geisha with a foot caught in a bear trap. The arrangements are riffy, repetitive, and not afraid to use a slide whistle or a bit of hobo scatting. “Headache For Sisyphus” alternates a propulsive, quasi-tropical Casio beat and a creepy chorus of tiny voices. Echoes of Mr. Quintron, The Boredoms, that comedy bit Margaret Cho does about her mother, a heavily medicated Jon Spencer Blues Explosion, and all manner of deviant influences. Disturbing, distressing, but ultimately loads of fun. From 2002. Sealed


Spanking The Species

(Stingy Banana) Used CD $6.00

Bad-ass craziness from Japanese comedienne Naoko Nozawa as she squeaks, chirps and howls her way through twelve rockin’, noisy songs with the abandon of an insane seven year old.


Astral Social Club

(VHF - VHF100) CD $12.00

Selections, edits, radical re-works and remixes of tracks from Neil Campbell and Tirath Singh Nirmala’s instantly sold-out, limited edition CDRs. This dense mega-mix of continually peaking sound-flow, shimmering and throbbing in a truly psychedelic manner, works a tricky hybrid ground between contemporary UK teams like Sunroof! and Vibracathedral Orchestra, and the influence of Kompakt-style pulsating electronic techno.



(Chocolate Monk - choc.574) CDR $8.00

Blown-out fuzzed-out ragged sister to the shortly forthcoming pro-lounge Occultics CD / machine flicker, celestial scrota, no mind / make-out music for hermaphrodite Venusians floating through the zero gravity pleasure palaces of Alpha Centauri / Tangerine Fucking Dream, more like / feedback, the only good thing ever to happen to guitars / The Return of The Electric Mistress / there’s probably a tune buried under there somewhere / pennine exotica bionica erectronica (sciatica). Edition of 60


Adversity And Marginalization

(Chocolate Monk - choc.494) CDR $6.75 (Out-of-stock)

Let’s dream big for a moment, gonk: a silent Ray Harryhausen remake of that movie about roughnecks landing their rocketship on an asteroid heading for Earth so they can blow it up. And here’s the soundtrack. Hm, that was easier than anyone had a right to expect. So, yeah, Hiroshi Hasegawa — interstellar synth noise royalty, commander of the violent squad of loyalists protecting Sun Ra’s birth nugget on the surface of Prometheus, and your freak brother inside C.C.C.C. He’ll get you high, anoint you with a tap on the shoulder of his blight sabre, and take you for a terrifying joy ride in a glass coffin. Three long tracks, each turbulating through jagged disintegration and dense fields of toxic dust, well parallax’d fur judders, stir-fried collapsing howls, and jump cuts from acidic feedback into thick burning pools of all-contaminating rumble’n’screech that makes the GOMAD weight-builders from the ’90s lose consciousness. Edition of 60


Deep Wind

(Quasi Pop) Used CD $5.00

Intercontinental file-swapping is the means that yielded this collaboration between Japanese noise bigwig Hiroshi Hasegawa and Puerto Rico’s harsh noise / experimental electronic duo, released by a scrappy Ukrainian label. Both long tracks on Deep Wind are based by each artist on the other’s noise. This complex, sometimes brutal and disturbing journey beyond the margins of consciousness incorporates totally psychedelic sounds, extreme frequencies, and deep, pulsating drones. Oversized gatefold jacket.


Galactic Desert Song

(Light Room) CD $20.00 (Out-of-stock)

A hard-to-find, limited edition release by ex-C.C.C.C. analog synth master Hiroshi Hasegawa, described by one somber expert as “vast waves of space-age tones and sci-fi atmospheres,” hyped by another as “sounds to make your inner child curl up and die in a 80 mile pile of black Ernst vomit.”



(Auscultare Research - AUS16) CD $10.50

Digital synthesized contact microphone recordings of simple fountains pouring water into 40-gallon steel trash cans. An electronic whirlpool of water sounds (of course), meaty drones, and metallic roars by this heavy composer with Mills connections. For fans of Hafler Trio, Francisco Lopez, Aube.


Futile Phantoms

(Chocolate Monk - choc.597) CDR $8.00

Flout the floatation tank and the devouring of celestial orbs, lay down the pipe and lend your ears to the inimitable allure of sonic innovation of the two-headed nature. Atkins and Scott-Buccleuch seem to almost whisper out these transmissions of crisp psychedelic sound collage. Dictaphone scutter and vacillating tapes are folded into mellow drones and intoning loops deftly. Field recordings, electronic purr and gentle clatter infused with warm hiss. A sound paste that can be applied liberally to yr cracked case with rejuvenating effect. Edition of 60


Demonstro: 1982 - 1985

(Peripheral - PM5) CD $16.50

Twenty primordial tracks — rough outtakes and previously unreleased alternate versions — that burn with desperate intensity. Naked, savage and crudely abrasive, this era of Attrition was extremely minimal. A couple synth lines, some jarring percussion, Martin Bowes bellows, Julia Niblock rasps and wails. The pacing is manic, the production definitely shoe-string. No clever hooks, no catchy choruses. This is the bare bones skeleton of Attrition. The free-form electronic experimentation here predates their later refinements. Highlights include a demo of “Monkey in a Bin” and another take of “Mind Drop.”


Aube / Katsumi / Kosakai / Monde Bruits

(Japan Overseas) CD $20.00 (Out-of-stock)

From the late 1990s, when some Japanese noisemakers were taking a turn at ambience. This untitled comp sprawls toward the deeply droning side of the kosmische found on early Cluster and Klaus Schulze records.



(Noctovision - NCVCD11) CD $7.00 (Out-of-stock)

Four long tracks of drowsy noise ambiance from 2005 by MB (piano and feedback) and Akifumi Nakajima (electronics).



(Charnel Music) Used CD $10.00

Powerful machine-noise sounds from 1996 supplied by Cock ESP and de-composed by Aube. Letterpress jacket. Edition of 1000.


Lucky Crystal Wave / Exit Generator

(Chocolate Monk - Choc.549) CDR $8.00

Chocolate Monk’s favorite living violin sorceress Samara Lubelski teams up with Werner Nötzel of Metabolismus for heady violin and electronics whatthefuckery that comes off like a tripped-out sibling to Kosugi’s Catch Wave (yes, it’s that good). Douse your chakras in this sonic sauce and embrace the cosmic quease. Recorded summer 2021 at Sumsilobatem, Germany, with next level adjustments taking place at Uniform Recording with Jeff Zeigler and Bill Nace.


Rule Of Spirit

(Alchemy) Used CD $25.00

2004 reissue of the 1987 heavy psych album by Naoto Hayashi and company. Sealed with obi


Danse Manatee

(Catsup Plate) Used CD $18.00

The Animal Collective brings in a live electronics ringer for this stranger, darker 2001 follow-up to Spirit They’ve Gone Spirit They’ve Vanished (Animal 2000) -- a soundtrack to a meandering journey to nowhere in particular. Complex lattices of noise and streams of consciousness, the marriage of clanking drone to disembodied voice. Hand assembled “matchbox-style” CD slipcases with four-color silkscreened art.


Live At Penguin House

(An’Archives) Used CDR $10.00

Noise improv from 2007 with a degree of attention to detail worthy of classical ballet by Hijo Kaidan vocalist, Sekiri / Nihilist Spasm Band percussionist, Overhang Party founder on guitar and violin, and Dustbreeders’ guitarist. With red paper seal. Edition of 125


Good Cop, Bad Cop

(No-Fi) CD $15.00 (Out-of-stock)

This incredible document unites four legendary performers in some outstanding musical freedom, recorded at the Frakture Festival in Liverpool, 2003. Bailey and Otomo have famously sent shockwaves through international notions of improvisation over the years, while Bevan and Hession are rightly regarded as part of the very backbone of British free music. Sleeve designed by John Wiese.


Live At Lamar’s March 1999

(Shaking Ray) Used CD $10.00 (Out-of-stock)

“Free improvisation that goes in some surprising directions,” declares Gino Robair about this brief collaboration by the UK guitar legend and the Shaking Ray Levis released in 2002. “Prog elements implied!” Jazzword elaborates: “distorted oscillations,” “distended reverb washes,” “stuttering rhythm guitar chording,” “Bailey … using delay to transform himself into a flat-picking guitar army as Palmer lays on the organ chords,” “spinning massed drone,” “atmospheric rocket launching suggestions and burbling space tones,” “buzzing feedback, complementing similar wavering aural data from the keys, and completing the rhythmic thump.”


Pieces For Guitar

(Tzadik) Used CD $12.00

The earliest known solo recordings of this guitar innovator, dating from 1966 (possibly 1965), originally recorded for personal study during a transitional period. The only instances of Bailey performing his own written compositions reveal an influence of the music of Anton Webern on the variety of techniques he uses to formalize his unique approach to music in general and the guitar in particular. Sealed


I Fall Into You

(Basses Frequences - BF4) CD $12.00 (Out-of-stock)

Originally released by Public Eyesore, Basses Frequence’s reissue of Baker’s 2002 recording begins, according to Dusted, with DNA gently floating in a mitochondrial soup, and ends with an ambient texture piece that incorporates words from Milton's "Paradise Lost." The highlight of the disc by this Canadian guitarist, loopist, and lyricist is the mesmerizing two-guitar gamelan of "Symbiosis."


I Will Always And Forever Hold You In My Heart And Mind

(Small Doses - DOSE87) CD $9.00 (Out-of-stock)

CD reissue of Baker’s long out-of-print, highly regarded 2007 solo work. Fifty-one minutes of shimmering, pulsating drone broken into twelve parts that come together in seamless, wordless narrative. Packaged in a sleeve with insert and obi.



(Die Stadt - DS90) CD $22.50 (Out-of-stock)

Baker (ARC, Nadja) explores the deconstructive sonic possibilities of the electric guitar as a primary sound source (with help from bass guitar, drum machines, tape loops and vocals), creating music that ranges from experimental to post-rock to contemporary classical.



(Tedium House - BF10) Magazine + CD $11.00 (Out-of-stock)

With David Tholfsen (two stories told with shadow-puppets by the creative force and vocalist of U.S. Saucer), Melt Banana (interview with Tokyo’s amped-up grandchildren of Gertrude Stein), William Hooker (New York jazz percussion veteran tries to shed light on something -- don’t know what it was, but whatever, okay? -- as Ian Christe smiles politely), Couch (Scott Derr moderates a roundtable discussion with the Bulb Records flagship band, a trio whose numerous “issues” they will not or cannot discuss; includes a tour diary by Jodie McCann of Duotron), Prick Decay (incestuous brother-and-sister duo from Scotland reveal more than all), Alexander Ross (selected writings and drawings by New York artist), Vagtazo Halottkemek (Bruce Russell interviews Attila Grandpierre, world-class astrophysicist and leader of this band of Hungarian shamen; includes excerpts from Grandpierre’s Punk as a Rebirth of Shamanist Folk Music [The Magic Forces of Art at Work]), Macronympha (show-stopping interview with Joe Roemer and Rodger Stella, who discuss their prodigious drug intake, close encounters with transsexuals, mice-eating, terminally ill relatives, the Pope’s big pussy and baboon heart, and numerous other gut-churning topics), and Emil Beaulieau (creepy hate mail to the two-time mayor of Manchester, New Hampshire, and American’s favorite noisician).



(Tedium House - BF13) Magazine + CD $11.00

With Diesel Guitar (Japanese droneur interviewed by Satoru Higashiseto), Ilhan Mimaroglu (Columbia–Princeton post-pioneer and electronic composer interviewed by Scott Foust, with selected excerpts from Mimaroglu’s unpublished autobiography), Le Dernier Cri (French publishers of silkscreened comix and outsider art books, filmmakers, animators, interviewed by Eva Revox), Nautical Almanac (electronic-noise duo who traffic in improvised electronics created with homemade, hotwired and otherwise corrupted gear), Solid Eye (Los Angeles free-music kingpins and improv sound collagists, interviewed by Don Bolles), Universal Indians (Patrick Marley interviews this free-electronics trio from Michigan led by John Olson, who also designs and fabricates the hand-assembled packaging of his own prolific American Tapes label), Angst Hase Pfeffer Nase (free-electronics talk with CCC and fiction by Alesandro Moreshi III), William Winant (interview with the hardest working percussionist in new music, and principle architect behind Sonic Youth’s Goodbye 20th Century), irr. app. (ext.) (surreal autobiographical data, excerpts from the Errata in Excelsus newsletter, and Bosch-like illustrations by electronic deep theorist M.S. (H.) V. Waldron), A.Z. (Dante-esque comics by this former Scissor Girl and Bride of No No leader), Witcyst (collages and an interview, apparently, with beloved New Zealand noise freak), and Nigel Bunn (New Zealand filmmaker, animator, and electricity demon gives Barbara Manning a guided tour of his gadgetry wonderland).



(Tedium House - BF14) Magazine + CD $11.00

With Keiti Ota (prominent Japanese illustrator with a deliciously noir-ish nightmare vibe interviewed by Ukawa Naohiro), Trey Spruance (over-the-top cultural paranoia tracts and denunciations by this member of Mr. Bungle and Secret Chiefs 3), Peg Murray (Cooks ’n’ Chefs ’n’ Their Assistants comix by U.S. Saucer bassist), John Wiese (interview with type designer, member of Bastard Noise, solo noise artist, and curator of Helicopter’s MoonLanding seven-inch series), James Goode (interview with San Francisco-based Mills College postgrad, and a short essay on “phylogenetic music,” excerpted from his Mills thesis), Reynols (photo-autobiography by celebrated Argentinean oddballs who have collaborated with Pauline Oliveros, released recordings of blank tapes and 10,000 chickens, and splashed around the limited edition noise CDR cesspool), Panicsville (hostile interview by Tina Gladden with this Midwest noise artist, raconteur, sculptor whose chosen medium is roadkill sealed in clear plastic, cartoonist with a unique quasi-kaleidoscopic style, and designer of handmade CD jackets for the Nihilist label), Vote Robot (Canadian duo with hotwired reel-to-reel decks and an uncanny knack for creating erotic electro-lullabyes), Polar Goldie Cats (Los Angeles-based instrumental quartet interviewed by Carla Bozulich and Nels Cline), Jazzfinger (English low-decibel noise duo with a strong cinematic sensibility, interviewed by Neil Campbell), and Octavian Nemescu (translation of an essay by Romanian “new complexity” composer [contemporary of Dumitrescu and Anatol Vieru, known for heavily layered, polystructural works for various instrumental combination and tape], calling for a return to conceiving of music as an initiative, participatory event made of “energy ladders").



(Tedium House - BF15) Magazine + CD $0.01

DAMIAN BISCIGLIA, RIP. With Christine Shields (interview with the artist behind the surreal, dreamlike Blue Hole comic book, banjo-player for the Appalachia-influenced Grouse Mountain Skyride [also featuring Dame Darcy and Ian Christe] and Shady Creek Girls), Mal Sharpe (interview with author, jazz musician, and Man-on-the-Street interviewer most well known as half of much loved ’60s prankster duo Coyle and Sharpe), Ana-Maria Avram (translation of an interview by Costin Cazaban with Romanian acousmatic composer and Editions Modern recording artist whose uncompromising, demanding music gives heavyweights like Dumitrescu and Fernando Grillo a run for the money), Volcano the Bear (interview by Neil Campbell with this mind-expanding UK surrealist quartet whose music straddles “a strange, ambiguous line between comforting and terrifying … executed in such a manner that is purely hypnotic”), mad-cow.org (Brandan Kearny interviews Dr. Thomas Pringle, webmaster of this project of the Sperling Biomedical Foundation containing thousands of articles on mad cow and Creutzfeldt-Jakob disease, prions, bovine spongiform encephalopathy, scrapie, and numerous other crimes against nature that’ll drive us all to veganism), John Crouse (guest editorial and another previously unpublished text by this inspirational author, whose writing his publisher describes as “a non-stop torque conflating the distinctions of sky, people, forest, political costume store; a torque which enhances the writing’s own motions, nightmare, images in forward gear only as: 'historically: (actively) voiding reverse gear.… He makes his own vocabulary rushing forward at full tilt, the 'camel of wow'.' "), Rats With Wings (freeform essay and images by Australian noise artist Bill Burston), Volvox (interview with two members of this Australian band whose leader was brain-injured and comatose after a fall through a skylight; includes a chapter from his book Betrayed by the Senses), and Agog (interview with noise artist Damian Bisciglia who incorporates collage, improvisation, contact-mic-as-instrument and sources such as multitracked loops, shells, balloons, metal heater, springs, matchbox car; includes photos of his nightmarish creatures sculpted from various found materials, and Rohrshach-like comments and descriptions).



(Tedium House - BF16) Magazine + CD $11.00

With Oren Ambarchi (Bill Burston interviews the founder of the Australian Noise Users’ Society, who has made ultrarefined space-station scree with AMM’s Keith Rowe, Sachiko M, Otomo Yoshihide, out-of-control spazzassins Phlegm, The Menstruation Sisters, Robbie Avenaim, et al.), Leif Elggren (interview with Swedish electroacoustic musician, letter-writing prank­ster, dream theorist, national monarch of Elgaland-Vargaland, and conceptual artist whose work ranges from oblique performances to near-static installations), Robert Dayton (Earl Kuck interviews one of Canada’s most notorious extroverts [imagine Nard­wuar as a real human being] about comics and diaries in the self-published Bunyon and his hilarious karaoke duo Canned Hamm), Jason Kahn (interview with quiet percussionist in which onkyo is debunked, and his electronic duo with Toshi Naka­mura is discussed, as well as work with Arnold Dreyblatt, Universal Con­gress Of, and Sainkho Namtchylak), Parmentier (Dylan Nyoukis interviews hyper-relaxed New Zealand expats Rosy Parlane and Dion Workman about their bi-continental “work” as psychotropic electronic musicians; includes sidebar by Marcel Bear about a Parmentier-induced out-of-body experience), Halim El-Dabh (selected excerpts from Denise Seachrist’s biography of the Egyptian-born composer whose pioneering musique concrète predates that of Pierre Schaeffer, and is also noteworthy for an unusual Native American musical influence), Paul Winstanley (another New Zealander interviewed by Dylan Nyoukis, about his time in Texas performing electroacoustic improv/noise with Dave Dove Paul Duo, crashing Lone Star bohemian enclaves, and cruising with Pauline Oliveros’s mother), Lateral Agriculture Order (overview of mysterious, acronym-damaged Italian organization, including discography, particulars about performances, roster of artists (eighty different ones!) and other inexplicabilia).



(Tedium House - BF17) Magazine + CD $11.00

With Jason McLean (Canadian cartoonist talks with Robert Dayton about his hallucinatory style and techniques, and the effect on his work of education, interior decoration, comics, Fluxus and other abstruse art movements, and mental illness), Hetty Maclise (Angus’s wife and collaborator recounts how they met, her art editorship at The Oracle in the ’60s, homeopathic uses of LSD, and her life as an artist in Spain, Morocco, Mexico, San Francisco, and New York), Lara Allen (the exploits of a high school bad girl and the deprogramming subsequently inflicted upon her, problematic theatrical experiences, her series of consistently eerie paintings of old family photos, acting, and film­making), Jazzkammer (Lasse Marhaug chats with David Cotner about mainstream Hollywood flicks, cult films, the Nordic singles scene (both 45s and dating), Norwegian culture, Viking blood, and communication through music and abstract sound with John Hegre, Tore Bøe, Del, and Origami Republika), Astro (Hiroshi Hasegawa instructs Dylan Nyoukis in the ways of reaching “final paradise” and achieving “freedom from everything” via Moog synthesizer, field recordings and computers; he also discusses soundtrack work, collaborations with a who’s who of Japanese space noise huffers, and the shocking truth about C.C.C.C.), The Towne Dandies (Geoff Ellsworth’s homemade, props-heavy musical theater, the history of the band, paying the rent (which can involve processing ham), life under a microscope in a small town, and fledging jingle-writing venture Barefoot Hockey Goalie), Paul Dutton (Canadian soundsinger and author talks about his work with ’70s sound poets The Four Horsemen and free improv trio CCMC, literary efforts and visual poems, the nature of expression through sound, and various giants in the gibberish tradition, from Schwitters and the dadaists through Bob Cobbing), and Carla Bozulich (her Sound.-produced event at the Schindler House, self-described as “new music dressed up like a party meets a social event disguised as art,” reimagined as comics).



(Tedium House - BF18) Magazine + CD $11.00 (Out-of-stock)

With Nelson Gastaldi (lost and overlooked Argentinean psycho-spatial composer found and restored by South America’s premier avant sideshow barkers Reynols; topics include pure sound, ethnomusicology, paranormal occurences), Burning Star Core (autodidact C. Spencer Yeh tracks his development from adolescent pyromaniac to violin/electronics/voice icono­clast, with sidetrips as a writer of unreadable fiction, painter, documentarian, Cincinnati gallery brat, and live venue doyen), Joe Colley (easily fixated Crawl Unit noise mumbler issues subdued proclamations on field recordings, arcane electronic gadgets, public invisibility, charalatans and quacks), Monotract (Dylan Nyoukis gets schooled in Big Apple wisdom by this group of beach-blanket acidheads and New York City improv tour guides), David Lester (Mecca Normal guitarist’s surreal, interdisciplinary comics that combine choreography, quasi-clip art, collage, painting, text and typography), and Jim Leftwich (texts, images, collages and other hors de guerre by experimental writer, visual poet, xtant editor and Juxta publisher).


Black Babies

(Young God) Used CD $4.00

A UK-only EP from 2003, with six hushed and intimate lo-fi tracks otherwise unavailable plus two from Oh Me Oh My...The Way The Day Goes By The Sun Is Setting Dogs Are Dreaming Lovesongs Of The Christmas Spirit.


Niño Rojo

(Young God) Used CD $6.00

“A songwriter of guileless vision, Banhart’s unaffected aesthetic is etched in the ether of mysterious traditional and psychedelic folk musics from the British Isles and in an America that disappeared the first time in the 1930s with the Dust Bowl and for the second time in the grimness of mid-’70s determinism in the shadows of post-Vietnam shame and malaise. His songs don’t hearken back so much as remind us of what we no longer possess as a culture. His songs are spiritual, terminally unhip, with labyrinthine grown-up melodies and the keen unsullied wisdom of children.” Digipak. Sealed


Oh Me Oh My...The Way The Day Goes By The Sun Is Setting Dogs Are Dreaming Lovesongs Of The Christmas Spirit

(Young God) Used CD $4.00

“The first thing that strikes you about Devendra Banhart is his utterly unique and soft voice, which seems a mix of Nick Drake and Marc Bolan…. Originally recorded on shoddy and broken four-track recorders, the songs have a … roughness and audible hiss on nearly all of them…. Lyrically they are quite odd and occasionally nonsensical…. A lot of the songs appear to be not fully realized, but perhaps that’s the beauty of them.” From 2002


Rejoicing In The Hands

(Young God) Used CD $7.00

Unlike Banhart’s debut, his 2004 second album “was professionally recorded, and a few tracks feature … Angels of Light alums Thor Harris, Joe McGinty and Siobahn Duffy,” explains Pitchfork. “It’s far from slick, though, reeking of rustic, homemade charm.” With singing and writing both surpassing Oh Me Oh My, “his songs no longer veer into bizarro cadences or witchy vocal overdubs.” Rather than get pigeonholed as a “lo-fi eccentric…, the singer’s range of expression (and surprising delicacy) [gets] full justice.” Sealed


Bufo Alvarius

(Drunken Fish - DF15) Used CD $10.00 (Out-of-stock)

Their 1995 zoned-out stoner-psych debut album in service to an hallucinogenic toad. Fuzz-soaked weirdness clouds the loosened-up blues rock and coarse melodies. Includes the 29-minute non-LP track “Amen.”


International Dictaphone Relations

(Chocolate Monk - CHOC.364) split CDR $8.00 (Out-of-stock)

Two directions in contemporary Dictaphonix. Loops of slimy chaos from Argentina’s steaming tape underground, created in the same way birds swim and bees honk. Tight and vital, in-your-head meditations and reflections evoke heavy psych smoke and wild, wild painted eyes staring through the bushes. The essential tape control makes the listening passage easy, like swallowing soft lead pellets. Meanwhile that British lag serves a gentle riot of slow faze, cut-up speech patterns, and tape jaxx along with some seriously grievous organ wonk. Deceptively strong wrists whip an undertow of “cuh-vimp-curr...,” poking once again into the psychedelic domestic for inspiration. Numbered edition of 60


All Acoustics

(Quakebasket) Used CD $12.00

Two expansive free percussion improvisations performed July 18, 2001, between 9pm and 11pm with one foot in downtown New York avant-jazz and traditional indie rock.



(Celebrate Psi Phenomenon) Used CD $15.00

Withering screeeeech and grubby microtonal shudder in a near-Stalinist attempt for total mind control. A twenty-story Hoover gobbles the entire Northeast of the USA, pausing to empty the bag and replace smoldering fuse wire. Hard, harmful, full of choking dust.


We Make Nihilists Smile Again

(Phage - PT152) CD $12.00 (Out-of-stock)

Starting off, Barrikad's dark ambient collaboration with Kriminaaliset Metsanhaltijat clocks in at a modest nineteen minutes. Ominous soundscapes, sparse vocals, the clang of metal objects. With Fear Konstruktor, they produce synth warble with strange vocals. The final track is a straight-up harsh noise blast collaboration with Government Alpha. With eight-page book. Edition of 500.



(Transparency) Used CD $10.00

These sound artists / instrument inventors take cues from Russolo and Partch, amplifying coil springs, eyebolts, various pieces of wood, and other familiar materials using contact microphones. Their streams of sound move fluidly with a communicative style and a dramatic sense of presence and dynamic range: from effervescent burbling, animal-like whines and grunts, to gritty metallic drones that transform into forlorn hissing and ethereal soundscapes. Some passages are nearly silent, breathy, and tranquil.


Descent to Mimas

(Groundfault - GF018) CD $12.00

John Wiese has been instrumental in pushing the evolution of Eric Wood’s Man Is The Bastard side project toward the predatory galactic monster it is by combining its original caveman electronic roots with new atmospheric sounds. Using oscillators, mixer-feedback and other electronic grit, this is a fairly killer concept album about traveling to one of Saturn’s moons, drilling through the surface of the cold, cold rock, fatally stumbling upon a catacomb of alien millipedes, and drifting lifelessly inside space coffins.


Live At Babycastles

(Small Doses - DOSE124) CD $12.00 (Out-of-stock)

The very first performance of the Anthony Saunders / Eric Wood iteration of Bastard Noise, whose approach this time is fully electronic, devoid of any vocals or more traditional instrumentation. The near 40-minute performance starts at a slow, quiet boil, and builds progressively into an intense onslaught of oscillators, noise, and ambience. See the trailer here: http://youtu.be/DoIL4PR1368


Live In Japan

(Helicopter) Used CD $12.00

John Wiese and Eric Wood’s incredibly quiet and subtle sounds recorded August 2000 at Tokuzo in Nagoya and at JNR in Tokyo.



(Manufracture) Used CD $10.00

Eric Wood and John Wiese continue the brutality of previous efforts and belch forth textured and heavily layered noise-scapes torched with hand-made electronics, laptop computer, and death vocals.


Skull Wave

(Helicopter) Used CD $8.00

“From the dark environment, my chicken, so: not too many muscles this time, except the one that twists the brain up and down!” as Google Translate would have you know. “The nasty has been accommodated for some time…, generally enamored of rhythms or atmospheres with latent violence. As a result, this CD only contains a single piece of 46 minutes. Noisy, dark environment, guitar distortion songs, all amalgamated with the ceiling in the shape of a heavy cloud. Everything masterfully mastered by the master of skulls that is John Wiese” From 2002.


Spastic Colon / Bastard Noise

(Pinch A Loaf) Used Split CD $10.00 (Out-of-stock)

Carefully arranged late ’90s noise tracks from Bastard Noise, who make good use of low-end rumble and high-end screeching, and Spastic Colon, who toss around and spew unrecognizable samples in a droning stew of fantastic muck. One bonus non-LP track from each group, with Bizarre Uproar making a guest appearance on “Earned Extinction.” Embossed cardboard sleeve.


Split CD

(Kill Frank Lantini ) Used Split CD $5.00 (Out-of-stock)

Bastard Noise's caveman electronics, vocals, and atmospheric sounds versus The Slasher Film Festival Strategy's minimalist film-score inspiration (a solo project founded by Christopher Ashley in 1996).


Throne Is Melting

(Helicopter - H8) Used CD $8.00 (Out-of-stock)

Previously released bad-ass, ear-cracking scrape by Wiese, Wood, AFC’s Tara, Kenny Sanderson of Facialmess, and Erik Hoffman & Jorge Martin of Groundfault and Spastic Colon. The twenty-plus minute “Red Hurricane” is a highlight. Sealed.



(White Dog) Used CD $15.00

One forty-minute track of god-awful new age. Recorded late 1990s, reissued 2016.


Wave Train

(Alga Marghen - plana-B 5NMN.020) CD $25.00

1998 collection of groundbreaking experimental compositions dating from 1958 through 1968 by Austrian-born American composer, assisted by David Tudor (piano) on “Canons,” supported on percussion by Christoph Caskel. Prepared piano piece “Ricecar,” with its spacious and ambiguous narrative, is performed by Behrman himself, while the album’s otherworldly title track is a feedback-driven tapestry of drone performed live with Gordon Mumma. “Sounds For A Film By Bob Watts” feels incredibly modern, a template for microsound composers for years to come, joining environmental recordings with mimetic synthesizer sound designs, which seem to melt into the broader soundscape like weird, metallic insects.


Beins / Rowe

(Erstwhile - ERSTLIVE01) CD $14.40 (Out-of-stock)

The first volume in Erstwhile live series took place during the first night of outside shows in the Berlin half of AMPLIFY 2004: addition. This was their first set as a duo since the sessions which resulted in Grain (Zarek, 2001). “Rowe (credited with guitar, electronics) seems to be responsible for the buzzsaw-encountering-sheet-metal racket and fastforward/rewind activity,” Exclaim muses, “while Beins (percussion) contributes everything from tingling bells to rusty playground-equipment shrieks. The results are a terrific earcleanser of an album, a salutary blast of spleen and perversity…”



(Zarek) Used CD $5.00

The “first track is one of Rowe’s liveliest performances for several years,” asserts The Wire, while “the second track finds him in more customary static mode, with Beins sounding like he’s arc-welding as a distant thunderstorm subsides into an eerie metallic calm. Beins’s work is more about friction than percussion: his masterly use of polystyrene blocks and small stones to create sustained timbres seems to have no precedent, except perhaps AMM’s Eddie Prévost, of course. The final live track is a tour de force: at first Rowe seems content to lead from the rear, his radio emerging imperceptibly from behind a cloud of cymbals, before he gradually warms up and unleashes a volley of dazzling rattles and buzzes while Beins’s close-mic’d bass drum cranks up the tension.” From 2001


Stockholm Totentanz

(Artware) Used CD $7.00 (Out-of-stock)

Broad tapestry of diverse soundscapes, some with an industrial throb, others with slow, archaic dancing rhythms. Distant voices mutter incomprehensible prophecies. Two pieces commissioned by the Protestant Parish of Stockholm and first presented in 1996 at St. Gertrud Church on the occasion of a symposium on the Apocalypse.


Amplified Piano Duets

(Anarchymoon) Used LP (one-sided) + CDR $10.00

A lost journey to unknown planets, defective machinery, dead pilots at the controls, recorded December 2006, released in 2009, paste-on jacket


Felt, If Not Seen

(Phage - PT175) CD $10.50 (Out-of-stock)

A single fifty-seven-minute track of tension-building electronics and percussion, hovering in between apocalypse and rapture. For fans of ambient room-filling organic sounds. Recorded live in 2009, the music features drums, metal objects, slack-stringed de-tuned guitar, winds, and electronics. Edition of 500.



(Atavistic) Used CD $12.00 (Out-of-stock)

2003 reissue, originally released on FMP in 1973, with Brötzmann on clarinet, alto, tenor, baritone, bass saxophones; van Hove on celesta, piano; and Bennink on drums, khene, rhythm-box, selfmade clarinet, gachi, oe-oe, voice, tins, homemade junk, elong, dhung, kaffir piano, and dhung-dkar.


Music Of The Middle East

(Universe) Used CD $15.00

2001 reissue of Armenian oud virtuoso’s masterful mid-’60s fusion of ethno jazz and psychedelic rock.


Your Messiah Will Fail

(BloodLust! - B!143) CDR $12.00 (Out-of-stock)

Your Messiah Will Fail takes a far more confrontational approach than Bereft's "Tough Man" b/w "Religious Leaders" single, which had a darker, more death-industrial feel to it. Comparable to the high-fidelity assault of the recent Twodeadsluts Onegoodfuck 7-inch and the classic P.E. approach of Slogun -- all the while maintaining its own personality and style -- Bereft is now a venomous two-piece group, as Andrew Grant (aka The Vomit Arsonist) has joined Peter Lee to accost listeners with harsh-yet-nuanced electronic sounds and potent vocals that feature prominently in the mix. The songs were written prior to the 2008 US presidential election, about which Lee vented, particularly Barack Obama's exceedingly "star" or "godlike" status. Lee makes a vehement cry against the current two-party political system, and the ever-changing system of support that allows too many politicians to avoid responsibility for their actions.


The Private Language Problem New Electro-Acoustic Compositions 2001-2007

(Abstract On Black) Used CD $3.00 (Out-of-stock)

Performed on a variety of handmade and sculptural instruments, ranging from work that contains continuous washes of sound that fill large rooms to heady pans of pure electronic tones. With liner notes and track-by-track breakdown.



(Chocolate Monk) CDR $8.00

Intimate croak concrète from London based poet/musician Betteridge. Like a low key ear tonguing. Moist and at close quarters. “Pinkfoot’s fragments are cut from vocal improvisations done in the house while the baby slept — just a mic and a reel-to-reel tape emulator: there’s sound poetry, Ami Yoshida / Junko overidentification, some rattling on,” explains the artist. “Compression and EQ are instruments and also feature. I projected some of the snippets into different environments — it’s often good to drag withdrawn things outside — and populated others (my partner and daughter, my father-in-law, geese). Uncanny / on the cusp of too intimate / spectral but mucky — that’s the hope.” Edition of 60


s’Approcher s’Éloigner s’Absenter

(Erstwhile - ERSTLIVE009) CD $14.75 (Out-of-stock)

Recorded live September 2011 as part of Jon Abbey's Amplify 2011 festival at The Stone in Manhattan. The world premiere of this piece by German composer and Wandelweiser founder was performed by Ben Owen, Barry Chabala and Dominic Lash.



(Chocolate Monk - CHOC.387) CDR $8.00 (Out-of-stock)

Quit saving pennies for that Embryonic Cell Fusion device. Forget about annoying questions that swirl around inside your dome (What part of the ear hears? Why do you have that strange thirst?) because Ireland's Natalia Beylis has answers, all hidden within a wonderfully weird sound collage that’s more intoxicating than a handful of seed vomit. Keep your face and feet open. Stay Alert. Numbered edition of 60


She Came Through the Window to Stand by the Door

(Nyahh) CD $14.00

Two mesmerizing duets for cello and the William Telford organ at St Georges Church, built in 1846.



(Parkwood) Used CD + DVD $11.00

Soulful R&B with an electro edge by this up-and-coming singer who sang on a string of regional hits by obscure girl-group Destiny’s Child and collaborates on occasion with Andy Samberg. Sealed


Unprecize Music

(Chocolate Monk - choc.422) CDR $8.00

Tapes, voice and rudimentary household objects are the main instruments of this shadowy outfit hailing from the South of Brussels. The ghost is a key feature, acting as the specter for the vitalist poet and the overt Romantic. This collection of cuts made over the last three years explores, in the most literal sense, possible forms, through pure sinus waves, boring repetition and raw randomness. Each piece is a materialization of a neuroscientist’s view of reality. Action precedes cause, and cause is nothing but a narrative to justify action. Numbered edition of 60


A M.B. Iehn Tale

(Small Voices - SVR04012) CD $7.00 (Out-of-stock)

Eight decomposed tracks from 2005 with cold atmospheres and reverberating piano. Dissonance and soothing tones interplay constantly, so that it never gets too harsh nor too sugary sweet.


Aeternum Aevum

(Peripheral - PR013) CD $7.00 (Out-of-stock)

Two long, slowly whirling pieces of ambience dedicated to the Conrad Schnitzler. Edition of 250.



(Kubitsuri - S;E;X59-041CD) CD $7.00 (Out-of-stock)

Second CD reissue of the original cassette (Tegal 1983), considered a high-water mark of early industrial. Aktivitat went against the grain prevalent at the time; rather than pushing the boundaries of volume and pummeling rhythm (for example), the album goes for lo-fi murk, where dour restraint is the tool of depressive darkness.


Apokalypsis XXIII

(Nitkie - PATCHSIX) CD $7.00 (Out-of-stock)

Four long tracks inspired by verses from The Book of Revelation using synthesizer and loops. Chaotic but mild, MB’s final electronic music album. Gold-foil embossed jacket. Edition of 500


Archeo #1

(EEs’T) Used 5xCD $60.00

1998 boxset compiling Symphony For A Genocide, Menses, Neuro Habitat, Regel, and Mectpyo Bakterium with extensive inserts. Guts Of Darkness says, “Each disc has been enriched with bonus tracks, all from obscure and unobtainable compilations, rather unequal titles in terms of quality, even dispensable, except for … ‘Plutoniometrio’ and ‘Acido Prussico’.” Texts include articles written by MB (on the Come Organization, Throbbing Gristle, Conrad Schnitzler, etc), chronicles, interviews (Monte Cazazza, SPK) as well as unpublished or very rare artwork. Sealed



(Officina Fonografica Italiana - OFI001) CD $7.00 (Out-of-stock)

CD reissue of this historic work originally released on vinyl in 1984, a cornerstone of the MB discography. Conceived as a soundtrack for a movie by Bianchi himself, Armaghedon’s noisy, long, minimal dreamscapes include physical addictive sounds. The most intellectual, hallucinatory sequences of Phaedra, suggests SoundOhm, crossed with “the destructive, destructured sounds of Whitehouse and the sacred electronic music of Ramon Sender.”



(Stridulum - STR012) 3-inch CDR $5.50 (Out-of-stock)

“A martyered detumescence is restraining our average affliction in this cumuliform damnation,” proclaims the insert preface to this three-track EP from 2007. “And the indolent deconsecration of the egotistic aestheticism radicalizes our judicial barbarization against liquescent brains. This is the circumspect prevention of Atholgog.” Numbered edition of 100.


Blut Und Nebel

(Slaughter Productions - SPCD60) CD $7.00 (Out-of-stock)

Remixes and decompositions of early 1980s tracks from MBs first ten LPs that demonstrate il Maestros’ skills at dadaistic collage, free-form improvisation, abstract sound-sculpting, and noise employed like an electric guitar to produce solos of manic intensity.



(Simple Logic - SIMLOG036) CDR $6.00 (Out-of-stock)

Necrotic rhapsody for concrete segmentations and electronic tissues, originated and spread during the decay of the 2005. Edition of 100.



(Alone At Last - AAL3) CD $7.00 (Out-of-stock)

An hour-long excavation that brushes away thick layers debris and reveals ancient drones that emerge from the ether. Fragments of chants are agonized screams in the far distance, only in the closing minutes forcing their way through with any great clarity. Packaged in custom-made textured paper with three photos of miocenic basalts made by Siegmar Fricke in Maspalomas (Gran Canaria Island).


Computers S.P.A. / Com.SA

(At War With False Noise - ATWAR077) 2xCD $18.00 (Out-of-stock)

The second in At War’s series of CD reissues of early tapes by noise legend MB features very primitive use of synthesizer, tape loops and tape manipulation. Lo-fi, otherwordly. Edition of 500.


Das Platinzeitalter

(Incunabulum - INC002) CD $7.00 (Out-of-stock)

“Dark ambient” barely describes Das Platinzeitalter “These tracks are from the history of dust,” remarks Insound, “Ancient as the catacombs and spectral, like the last rays of hope…. [The] eerie calmness [is] as timeless and inevitable as the setting sun, as if this music has always been here…. This recording captures the never-ending decay of beauty at the point when it is realized that resistance is futile and the metamorphosis has begun.”


Der Abgrund

(Silentes Minimal Editions - SME0719) CD $7.00 (Out-of-stock)

“An opus of metasonic metamorphosis in seven movements,” says Rockerilla about this 2007 collaboration by MB and Sandro Kaiser. “[S]eductive [and] impenetrable under … blankets of granulous droning eclipses.”



(Klanggalerie - GG115) CD $7.00 (Out-of-stock)

Dark and droney album from 2006, considered by the label as a true sister to Neuro-Habitat or Symphony For A Genocide.


Escape To Bela-Zoar

(L.White - LW040) CD $7.00 (Out-of-stock)

Three long tracks full of curdling, pulsating drones, unsettling tonal washes, and strong, black undercurrents. Minimal, but penetrating, palpably bleak and grim. Based on Genesis 19:15-23. On a DVD amaray case


Final Signal

(CPS Private Releases - CPS0506) CD $7.00 (Out-of-stock)

Episodic fermentation submerged in mysticism, reverberating between isolationist industrial brutalities and more environmental traditions. Acoustic-noise foundation by MB, electronics by Sandro Kaiser, new frequencies from MB, more effects and loops by Kaiser.


Genologic Technocide

(Spatter - SPCD3) CD $7.00 (Out-of-stock)

Strong industrial noise opera by MB and Davide Femia. A rollercoaster of tension. Primordial.



(Kubitsuri - S;E;X59-033CD) CD $7.00 (Out-of-stock)

A flood of repeating harsh noise fills the space with a desolate landscape. Siegmar Fricke of Pharmakustik guests on electronics.


Industrial Murder / Menstrual Bleeding

(R.O.N.F. - CDO002) CD $7.00

An early work of Maurizio Bianchi recorded at Mectpyo Studio in 1981. Originally released by Banned Productions in 1992 on LP. CD packaged in five-color screen-printed arigato packs. Two tracks, fifty minutes. Edition of 300.



(Cold Current Productions - CCCD09) CD $7.00 (Out-of-stock)

Four tracks of minimal, cryptic and static neo-Futurism.



(Important - IMPRPEC322) CD $7.00 (Out-of-stock)

“Over a background of sputtering, noxious static, MB lays down seven- to nine-second blasts of a grimier, harsher sound” for forty-four minutes, marvels Dusted. “There is something trance-inducing [the] utterly relentless repetition, which also forces the brain to hear every varied facet of that blast.” Meanwhile, Lopez immerses the listener in digital silence, low bass presence, and “a multi-layered spray of bright, pixilated frequencies…, like a sped-up film of light playing off of clouds…, ranging from feather-light to medicine ball-heavy without ever lapsing into anything so mundane as a tune.”


M.I. Nheem Alysm

(Silentes Minimal Editions - SME0502) CD $7.00 (Out-of-stock)

Decompositive triad for reverberating piano and osmosized keyboards that dives into minimalist, hypnotic, and complex patterns.


Men’s True Hated

(Menstrual Recordings - LH01) CD $7.00 (Out-of-stock)

Dysmenorrhoeic dissonances for floating keyboards, diagnostic modulations and absorbent strings, discharged during the autumn of 2005. Handmade tri-fold cardboard sleeve with three pasted photos and handstamped MB logo. Numbered edition of 278



(Musica Di Un Certo Livello - MCL06) CD $7.00 (Out-of-stock)

In which the Italian noise legend gets his shoegaze on with an experimental post-rock boy band. String sections and bassy atmospherics swell in the background behind streaks of violin. Noise and electronics merge instead of obliterating. Nefelodhis has its unnerving elements, too: sustained. detuned piano and subtle tinkering portray skies darkening and storms getting ready to break.


Nervo / Hydra

(Kubitsuri - S;E;X59-034CD) CD $7.00 (Out-of-stock)

Originally released on cassette in 1981, Nervo / Hydra churns through “carcinogenic electronics … deadly, corrosive atmospheres… and electro-shock dronings” that crawl through cycling variations, according to our friends at Aquarius, “punctuated with frigid divebomb squeals and slabs of flickering melodies erupting from MB abused Korg synth.”


Niddah Emmhna

(Silentes Minimal Editions - SM0504) CD $7.00 (Out-of-stock)

Two long tracks from 2005 based on the book of Leviticus, chapter 15, verses 19-33, and dedicated to all the ransomed mankind. The thirty-eight-minute “Niddah” is a plasmatic symphony for electronic particles, erythrocyte frequencies and menarchal viola, while “Emmhna,” at a mere thirty- seven is a hemolytic decomposition for neurologic piano, coagulant clangs and leucocyte sonances.



(Kubitsuri - S;E;X59-036CD) CD $7.00 (Out-of-stock)

Nazi speech collage and violent corrosion noise decomposed in the early 1980s, originally titled Genocidio 20, and self-released on cassette in the 1980s, and then reissued on CDr by W.M.O./r in 2006.



(Silentes Minimal Editions - ME1254) CD $7.00 (Out-of-stock)

A colossal and epic post-ambient symphony in three movements, where echoes of string instruments, deep drones of indecipherable origin, layered synthetic waves, slowed-down and distorted masses challenge time with a para-immobility in constant turmoil, in an unpredictable, progressive and sometimes cyclic combination of statuesque forms whose physiognomy is often known and familiar, while at the same time elusive, disturbing, arcane and mysterious. Edition of 300



(FinalMuzik - FM08) CD $7.00 (Out-of-stock)

Two twenty-three minute untitled tracks originally released on LP by Mectpyo in 1982, plus “Acido Prussico” from the Neuengamme comp (Broken Flag 1982). Brutal noise stabs, cold and deranged machine-like loops, and dismal synth patterns with vague melodic hints collide and give birth to a monstrous wall of sound.



(Baskaru - KARU8) CD $7.00 (Out-of-stock)

Four tracks of systematic sonorous assemblage for electronic instruments, axiomatic waves and essential reverberations, developed between 2004 and 2006 by MB and Emanuela De Angelis. Quiet austere drones, in other words, made of processed textural loops layered into vast cyclic suites.



(Tegal) Used CD $13.00

Early ’80s remix of Symphony For a Genocide released in 1994, a “truncated” version of the material eventually released on Recursion’s SFAG 81 LP.



(Kubitsuri - S;E;X59-025CD) CD $7.00 (Out-of-stock)

Synth-processed field and location recordings, with misted-out chamber and choral music.



(Monochrome Vision - MV07) CD $7.00 (Out-of-stock)

Three long tracks that fuse industrial noise and musique concrete. Extra heavy mechanical aggression, clinical obsession and uncompromising psychic attack. Dedicated to Pierre Schaefer.


Teban Slide Art

(Menstrual Recordings - LH40) 3xCD $16.50 (Out-of-stock)

Disc one: both tracks from Triumph Of The Will LP (Come Organisation 1981), plus the previously unreleased thirty-one-minute “Ygolonhcet.” Disc two: all four tracks from Weltanschauung LP (Come Organisation 1982), plus “Zyklombie” from a 1990s bootleg reissue of the same LP, and “Plutoniumetrio” from Für Ilsa Koch (Come Organisation 1982). Disc three: two untitled tracks from a 1990s cassette issued by the Italian label Murder Release, plus “Examples Of Cannibalism” from a split cassette issued without permission (Come Organisation 1981). Insert includes essay by MB of early ’80s vintage. Packaged in a DVD case. Edition of 413


Technology 1 & 2

(At War With False Noise - ATWAR048) 2xCD $16.00 (Out-of-stock)

First in a series of early recordings by one of the noise originators. More ambient than some of his legendary work, with strange machine beeps and mechanical sounds.


The Epidemic Symphony No. 9

(Octpia - 08) CD $7.00 (Out-of-stock)

This “thoroughly amazing blur of noise, drone, acoustic tumult and electronics” by the Italian master, the Japanese sound artist who also records as Spiracle, and another obscure Japanese sound artist who has collaborated with The New Blockaders. “Precisely placed sounds,” according to our friends at Aquarius, “growl, rumble, vibrate, and bristle…. [T]he first lengthy track steadily builds up to a crashing crescendo that abruptly cuts to silence, the second track … return[s] to the Sacher Pelz techniques of varispeed tape and crushed turntable clatter…. [T]he finale … blurs … source material into an industrial chorale marked by a surprisingly elegant two-note melody.”


The Industrious Tubal-Cain

(TIBProd - TIBCD129) CD $7.00 (Out-of-stock)

Norwegian reissue of an album based on Genesis 4:22 (Sasha 2009), combining the old, harsh sound of M.B. with his newer, more experimental and often more minimal approach. In a slim DVD case with insert. Edition of 150


The Plain Truth

(Officina Fonografica Italiana - OFI007) CD $7.00 (Out-of-stock)

Two long tracks of layered synthesized sounds, originally released by Broken Flag in 1983, treated with vintage effects, departing from the aggression of earlier works into the realm of desolate, dark electronics, and claustrophobic, ghostly droning sequences with long, immersive synth lines.


The Valley Of Deep Shadow

(Menstrual Recordings - LH08) CD $7.00 (Out-of-stock)

Bleak sonic atmospheres based on the 23rd Psalm. Synthesizers that sound pale, cold and distant.



(Tourette - 013) CD $7.00 (Out-of-stock)

Six tracks from 2010. “Ortni” is reverb-battered drone, with layers of deep tremolo’d scrapes. “The Inflammatory Sesor” adds more compelling church-organ-like textures. A bit of the old MB shines through “Oigada,” where overtly flanged, rudimentary rhythms, and complex layering match with sci-fi beeps and tones in the background. “Ogral” pushes deep mournful tones into slow reverb, which swells in volume to reach a stride that is harsh but spare electronic noise. “Evarg,” with its decaying tape recordings of symphonic music, leans into the higher frequencies and pushes into grinding harsh noise territory. Music-tinged tones swirl up to the surface of “The Plain Elanif,” which is otherwise an industrial swamp.



(Sento) Used CD $20.00 (Out-of-stock)

Recorded at the Hammersmith Clarendon, London, during Big Black's final tour in the summer of 1987. Twelve blistering songs that crackle with lo-fi menace. Japanese edition. Sealed



(Obfuscated - OR19) CD $11.00 (Out-of-stock)

Six tracks of mystifying delights, sea shanties and cosmic drones.


Via St. Louis

(Drunken Fish) Used CD $5.00 (Out-of-stock)

A Charalambide and a Pelt guy stare into the white dot at the center of the sun for this cosmic gunfight at the four-track corral. Tense.


Bring Back Hanging

(Chocolate Monk - CHOC.356) CDR $8.00 (Out-of-stock)

In these dispatches from the UK’s No Audience underground, former A Band beardy weirdy and mathematical Doctor dork Karl M V Waugh shoots the shit with poet gonkette and Mumsnet terrorist Verity Spott. They attempt to put some grit in your oyster with recordings made in their Brexit bunker which are then given a crude lubing from swivel-eyed scruff bag THF Drenching. Burble and wheeze, baby. Numbered edition of 48


Birds Call Home Their Dead

(Celebrate Psi Phenomenon) Used CD $6.00 (Out-of-stock)

The thirty-minute title track on this 2007 disc comes on like "supercharged outerspace noise-rock ... that builds ... until the whole thing explodes into a full-on in-the-red space-rock free jam.... "Kissing Dragon" ... [with its] languid, high-end shimmer, layers of guitar, tangled melodies [and] deep reverberant swells [is] woven into a ... dreamlike raga...." The final track, "Her Anger Is Limitless," previously released as a tour CDR (Celebrate Psi Phemenon 2006), "sounds like a million guitars..., guys outside cutting down trees and tossing them in the wood chipper..., [a] futuristic synth battle, thousands of little bells and chimes, a roomful of amps turned on and buzzing with no instruments plugged into them...."


Gunpowder Temple of Heaven

(Pica Disk - PICA04) CD $14.50 (Out-of-stock)

Since the mid-’90s New Zealander Campbell Kneale has been a leading voice within his generation of NZ sound artists. The single 40-minute track here builds and unfolds in a manner that is heavenly for drone-noise enthusiasts. Bruce Russell of The Dead C notes that the “ ‘more is more’ strategy [often] backfires into murky sludge, where the increasing layers merely obscure each other. On the contrary, the more Birchville Cat Motel puts into a piece, the more you hear coming out.”


Siberian Earth Curve

(Drunken Fish) Used CD $5.00 (Out-of-stock)

Impeccably layered squalls of feedback, recorder, cymbals, and electronics by Campbell Neale.



(Celebrate Psi Phenomenon) Used CD $6.00 (Out-of-stock)

2003 collaboration by Campbell Neale and that one guy from the Dead C and A Handful of Dust. The former plays violin, turntables, space phone, bamboo rattle, amplified sugar bowl, milkshake mixer, turntables, contact mics, computer speakers, tapes, clarinet, recorder, transceiver mic, organ, and cheap synth, while the latter handles guitar, effects, tape loops, fire, pine cones, water, electric toothbrush, percussion, and oscillator.



(23five - 23F06) CD $12.00 (Out-of-stock)

Coarse streams of electrons flange and pulsate within caustic firestorms recorded without overdubs in real time by kick-ass Mills composer who’s been using computers and electronics since the ’70s. Plenty of cold wheezatronics and busy, subterranean computer hoot. Guest appearances by piano, percussion, and water manipulator Kenneth Atchley.


No Play Or Movement

(Copyright Police) CDR $10.00 (Out-of-stock)

COMING SOON. The debut release by a low-profile mix artist whose collages are intentionally rudimentary, made exclusively of loops from previously released or otherwise publicly available music by other musicians. The work by this anonymous DJ is simple and basic. There are no additional edits or effects. Edition of 20


Filthy Communions 2005/2009

(Turgid Animal) CD $13.00

Five live recordings from Helsinki and Rio De Janeiro. Total filth, complete noise, no bullshit (meaning no foolishness; actual bovine fecal matter is more than welcome, in all likelihood). Twelve-page booklet with pictures from the gigs and shit-smeared all over. Edition of 300.


Blind Dates

(Chocolate Monk - CHOC.294) CDR $7.00 (Out-of-stock)

Pretty much fresh off the bus. Cosmic true head vibes. Bjerga and Watson scrape and scratch in gleeful unison. Norwegian ALF cassette. The kind of Happy Birthday drop that only The Baron can get away with. Edition of 66.


Dig Your Own Hole

(Chocolate Monk - CHOC.275) CDR $8.00 (Out-of-stock)

Sound collages, gnarled-out microphone psych and the glorified magic of everyday rituals, filtered though shit-stained cassettes and over-cooked frequencies. One complete live recording from Oslo (including a section where a tower of chairs was pulled down from the stage) and a mobile phone recording of parts of a show at the Klinker Club in London.


Huffing The Semantic Smoke From The Deep Hum

(Chocolate Monk - choc.490) CDR $6.75

In the midst of it all, Sindre Bjerga escaped for a while through secret tunnel passages and met up with Tanto in his underground lab, where piles of tape machines oozed and buzzed, dozens simultaneously. He hooked up his stuff to the main frame, which made it overheat, creak, thump, and melt until the sounds were on fire and language combusted into a cloud of fog. Words and meaning went up in smoke and duo was cast into the big, deep hum of vapor. Edition of 60


Black Bikini

(Musik Atlach - MA014) CD $13.50

Pentti Dassum (aka amplified junk metalist Umpio) and Jonna Karanka (aka visual artist and improviser Kuupuu) locked themselves indoors for three days during the winter of 2013. The resultant arrangement of space debris and wriggling dark worms is built from tapes, loops, junkstruments, harassed guitar, bass, electronics, processing and manipulations.
Grab yourself a sniff here: https://soundcloud.com/musikatlach/sets/black-bikini-st


Beaches & Canyons

(DFA - 2125) 2xLP $25.00

(DFA - 2125) Used CD $10.00

Brooklyn sound manipulation specialists’ fluid, swelling and blissed-out frenzy of chaotic and orchestrated electronics, percussion, vocals and treated guitars.


Melancholy of a Pagan Bucolic Spirit

(Legion Blotan - BLOT005) CD $14.00

The third album. Two long tracks, over forty minutes of raw, melancholic black metal, closely attached to the land and nature.


The Rain Is The Weeping Of The Forefathers

(Legion Blotan) CD $10.50

A new phase of Black Howling’s inspired blend of melancholy and paganism. One song, nearly forty minutes of disgust, sorrow and hatred toward the modern world. Edition of 500.


A Purpose Not Necessary

(Dada Drumming - DD30) split CD $10.00

“Heavy, crunchy shit abounds” in The Black Leather Jesus’s “Shelter,” marvels The One True Dead Angel. It “steers toward processing combinations that threaten to spiral wildly out of control until the chop-shop layering technique carries the piece into a new direction… This is nasty, sinus-cleaning stuff that operates at two basic volumes, Really Fucking Loud and Even Louder….” “Yellow Silk Buddha” by Incapacitants is “a screeching metallic roar augmented by overloud junk noise and pounding, usually on found metal scraps and using contact mics….[T]his is an inspired pairing, and its cumulative effect is … pure noisehead nirvana at a volume capable of sterlizing mice…, if not killing them outright.”



(Phage - PT136) CD $12.00 (Out-of-stock)

CD reissue of an LP (Praxis Dr. Bearmann 1995) plus a ten-minute bonus track. Lots of metal noises, violent distortion, porno samples and an overall assault on the senses.



(Turgid Animal - TA371) CD $10.00 (Out-of-stock)

Join Kevin Novak, Richard Ramirez, Scott Houston, Vance Osborne and Sean Matzus on this journey into self-degradation and filthy, revenge-riddled noise violence. Step back in time to the slave auction. Hear the abuse.


The Defining Love (Top / Bottom Exchange)

(Shamanic Trance - STCD1) CD $15.00

Harsh junk noise from Richard Ramirez, Sean Matzus, Kevin Novak (T.E.F.), Scott Houston (Respirator), Robert Newsome, Vance Osborne and Thomas Mortigan. Also features a collaboration with Ascites. CD is housed in a black paper wallet packaged in seven-by-seven folded cover. Edition of 300.


Gerritt / The Black One

(The Witch Is Screaming ]) Used CDR $6.00

Two twenty-five-minute live sets recorded March, 20, 2004, in New Brunswick, NJ. Screen-printed cards. Numbered edition of 50


Choking On Grave Soil

(Troniks - TRO224) Used CD $5.00

Cinder block snakes pummeling through intricately woven nests, kneading maliciously at the middle. A silver haired piper Greh Holger (Hive Mind / Chondritic Sound) tries calling his snakes back home, stretches his vocal chords deep and wide but only whispers trickle out. Their scales push outward and gash the softness open leaving shards and soggy ash. Meat tears in waves of coarse, uneven static, swelling and expanding. Their buzzing rattles growing larger. The digging continues, getting further inside, spilling wildfire in the folds of flesh. The end is here. A blister-covered whistling tone thins itself into nothing and disappears. They are lost and so is he...



(Destijl - IND098) CD $12.00 (Out-of-stock)

(Destijl - IND098) LP $16.00 (Out-of-stock)

(Destijl - IND098) Used CD $8.00

It's always unfortunate to have to blow heavy painkillers on actual physical pain, but Earth was built on a foundation of broken bone; most of this, the seventh Black To Comm album, was composed under the influence. And like the 2009 silent flick of the same name by Singapore filmmaker Ho Tzu Nyen, for which this album is the soundtrack, it's about slowness and decay, states of unconsciousness, sleeping and waking up, dying and being reborn. Marc Richter translates the film's post-apocalyptic collage (based on paintings by Caravaggio, Delacroix, Rembrandt, and Géricault) by employing similar collage-based sampling techniques using loops made from vintage vinyl and shellac records, combined with startling vocal work by David Aird (Vindicatrix), Renate Nikolaus's array of instruments and noise devices, singing saws played by Christopher Kline, and Rutger Zuydervelt on singing bowls. Evocative of a mindset similar to Gifts-era Loren Connors and Scott Walker's Tilt. LP includes free download card.


One Day I Was So Sad That The Corners Of My Mouth Met and Everyone Thought I Was Whistling

(Sonaria) Used CD $15.00

2001 CD reissue of limited edition LP (Orgel Fesper 1981) containing two side-long tracks of extended dada reverie, the ne plus ultra of cut-up sound art put together by a then-teenaged future New Blockader, at the time possessed by a fevered desire to surpass the excesses of the United Dairies lunatic fringe. Sinister, madness-inducing, completely absurd, futile. Sealed.


Children’s Suite and Live at PBS

(Dual Plover) 7-inch + CD $15.50 (Out-of-stock)

Possibly the sickest release produced by a label that specializes in a sweet variety of ill. Contrary to expectation, Kevin Blechdom (Belctum From Blechdom, Erase Errata) transforms the Beatles classic “Twist and Shout” into a celebration of prenatal pleasure. The first 500 copies come with a bonus CD of La Bleckles recorded live at PBS FM during her 2006 tour of Australia. Nice ’n’ womby.


Stealing From Helpless Children / Look Up

(Ad Hoc - ADHOC16/17) Used 2xCD $10.00 (Out-of-stock)

This two-disc set compiles the entire recorded output of this band that came of age during the ascent of '80s DIY -- two full albums and bonus material collected from compilation appearances and the like. The first album reflects the irreverence of Residential / Zappa-esque rock and their own untamed personalities. One the second disc, their darker 1992 album, drum machines and lo-fi synthesizers dominate. Still fractured.


Music For Multiples

(Fresnl) Used CD $7.00 (Out-of-stock)

Sound experiments created by this Ralph Haxton / rhBand droneur, permeated by all things organic in design. Gorgeous tones via metal bowls, clarinet, contact microphones, saxophone, trumpet, PVC pipe, harmonium, piano.


Keynote Dialogues

(Monotype - MONO053) CD $14.00

The first solo album in twelve years by the Dutch master of the interface of voice, electronics, samples and sound synthesis. Blonk combines a childlike freedom in improvisation with a keen grasp of structure. Highlights include: "Buitenboordspuug" (a multi-track mouth piece that utilizes his "cheek synthesizer" technique); the title track, comprised of texts generated from the word "pukhterg" in his invented GeenKrimpian language; "Cimbrod King" (made of processed samples of a mockingbird's singing, and poetry containing anagrams of the names of birds); and a live scrambling version of the multi-track voice piece "Gramm."


Blood Folke

(Small Doses - DOSE107) CD $14.25 (Out-of-stock)

Dan Wieken’s doom-laden guitar riffs and unearthly vocals blend with Lauren Gaffney’s discordant viola. Both are rounded out with Bryan Pierson’s precise pounding to form a cohesive blend of doom, post-rock, and black metal.


Pentecostal Gymnast Trapped in Lime Jello

(Butte County Free Music Society - BUFMS52) CDR $8.00 (Out-of-stock)

This is some Big Gurn, Ethel: a warm and twitching box of meat long-awaited (by someone somewhere, maybe) as a requisite for the passage of Blood Stereo and Bren’t Lewiis to the next stage in their mud-worshiping pupation. The bulk of the album consists of fried and munched decimations of recordings from live events in sunny Caledonia-Upon-Entrail, miscellaneous unincorporated villages throughout the backwoods of Lower Scotland’s Britain Minor region, and a handful of West Coast pear orchards in what is now known as California. Spookily hovering objects gently clang against one another in arenas of witchy ambience. Lo-fi reproductions of crushing rumbles hiss through passages of spastic regurgitation. Voices and mouth-hole-sourced noise-type audio jiggle and whither between swirling montages of home-made fweent, bent found sound, loops, and tape-manipulated jiggery-pokery. The gorp-meisters also disrobe for “Conversation With Bicycle Horn,” a graphic score composed in the early 1980s by Richard Sterling Streeter, who hails the first-ever recording of his work thus: “Exactly as annoying and monotonous as intended.”


The Toadstool Millionaires

(Chocolate Monk - CHOC.384) CDR $8.00

The unholy union follows 2016’s Pentecostal Gymnast Trapped In Lime Jello with further stabs at hobbling the mind. A two-course pig-out of time-distorting tape collage mangle and beady-eyed space bending sound processing by Gnarlos, Lucian Tielens, Karen Constance, Dylan Nyoukis, The City Councilman, Tom Chimpson, Lilly McBilllly, Elkka Reign Nyoukis, The Two Winnies and Lindy Lettuce. One section sounds like a melon-headed child fondling a dried umbilical stump. Includes I’m A Toadstool Millionare badge.


Blutige Polize

(Chocolate Monk - CHOC213) CDR $7.50 (Out-of-stock)

This three-way split for audio vérité aficionados. Hjuler's down the pub with his mates, laughing, singing, listening to old Anal Probe comps. Baer plugs in her guitar and hollers long-ass hymns to hysteria. A bit of me-time and all is rosy. Blood Stereo unfolds the first part of their digestive tract concept triptych with the sounds of Nyoukis's bowels rumbling, moving along with stalker-friendly imported bird-calls, concluding with a post-prandial take on the opener.


Palatine Arches / Tape Hiss For Brainwash / The Gither

(Chocolate Monk - choc.224) CDR $9.00 (Out-of-stock)

Reissue of everything from Palatine Arches cassette (Beartown Records 2011), Tape Hiss For Brainwash cassette (Feeding Tube 2011) and the USA tour three-inch CD The Gither (Chocolate Monk 2011). Dumpster Diving describes the former as “Rabid short wave … elastic voices and rare rattletrap steel percussion…. [L]ittle naked people [pulled] out of the cinder[s] … shimmer and cry…. [P]hantasmagorical sound scheme. Absolutely freaky and very inspiring work.” About Tape Hiss, The Quietus says, “[E]verything feels born of mouth, spittle and groan. Even when [Constance and Nyoukis] move across the bows of great elegiac tones, there’s a meat-born Parkinson’s buzz of damage to it….”


Spools & Frolics

(Chocolate Monk - CHOC.370) 2xCDR $14.00 (Out-of-stock)

Hot guff from the previously released cassettes Into Aquatic Maze (Hanson 2011), The Creaking Thirst Alien Passenger 2013), and Hackit (Chocolate Monk 2016); tracks from the compilations Hip Hop Shop Sweepers (Be Saint 777), I Don't Think The Dirt Belongs to The Grass (Carbon 2006), George Ferguson McKeating (Belishill 2009), Songs About Dying (Pjorn 72 2011), and Fug Gum Volume 2 (Freakdom 2013); plus some random unreleased gunk. Each cover hand-collaged by Karen Constance, rubber-stamped, hand-numbered. With insert. Numbered edition of 50


Two Paths To An Outer Edge

(Chocolate Monk - choc.465) CDR $8.00 (Out-of-stock)

Recordings of A Bedside Traveller were stashed away for ten months before a well infused listening session took place in November. Constance and Nyoukis retreated to their respective creative hovels and constructed new tracks, mixing the original recordings with ones made at the year's end. Both sets of tracks where then mixed one night in December. The borders became blurred and now we have one 30- minute collage that travels further down the Alice hole of non music / dream mulch. Each cover is handmade and unique. Edition of 50 with insert.


Where There’s Raw Grace in Garbage

(Chocolate Monk - CHOC.363) CDR $8.00 (Out-of-stock)

While everything may seem terrible, Blood Stereo continue on their personal quest to become brain food mechanics. Their tape collage piece stitches together electronic chirps and blips with low tech keys: chair squeaks, manipulated mechanical groan, text recital by Mayuko Fujino; vocal drones; groggy horn bloot; field recordings; tones, tape loops and dissected voice by Elaine Kahn. High-scorers on The Hare psychopath test get to inflate their self-esteem. No reason you don’t deserve good grub, too. Numbered edition of 60



(BloodLust! - B!057) CD $12.00 (Out-of-stock)

CD re-release of the fourth full-length Bloodyminded album (Bloodlust 2006), comprised of fifteen feedback-drenched tracks set apart from current Bloodyminded by the more abstract, eccentric, and guttural vocals.


Plays Bloodyminded

(BloodLust! - B!095) CDR $10.50 (Out-of-stock)

CD edition of out-of-print cassette, first released in a numbered edition of 100 copies for the April 2007 Bloddyminded tour, then in a numbered edition of 25 copies for the Leaderless: Underground Cassette Culture Now exhibition at Printed Matter in New York City. Special conceptual recordings approved by Pierpaolo Zoppo himself.


Blue Sabbath Black Cheer / Pig Heart Transplant

(Phage - PT184) CD $9.75 (Out-of-stock)

Five bleak-as-fuck untitled tracks of dark oppressive atmosphere with a healthy dose of vocals and some well placed drumming.


Discordant Convergence

(Phage - PT197) CD $9.00 (Out-of-stock)

Four tracks of dark, brooding, atmospheric noise. Fifty-three minutes. Edition of 500.


Poppies & Cocks

(Chocolate Monk - CHOC249) CDR $9.00 (Out-of-stock)

Spittle from the underbelly of UK freakdom. Dictaphone choke and sputter stops, panic gasps and glossolalia gulpage, cracked-up breathing and cat purr, creaking and chirping spurts, deathbed wheeze and swollen throats, horse blow and smut panting by Fiona of The Hunter Gracchus Luke Poot.


Blues Control

(Holy Mountain) Used CD $8.00

A hazy, spaced world that exists between fuzzed distortion, jabbering electronics, and a lazy, stay-in-bed psychedelic glaze, with Leo Cho’s rhythmic keyboards pulsating below. Guitar player and manipulator of assorted junk-on-table Russ Waterhouse cuts through, whittles and lays waste. “It’s like the soundtrack to Rainbow Bridge” says Tobjörn Axelrod of Bus Rider, “If it were in the Caribbean.” From 2007


Kenny Rogers' Greatest Hit (Take 2)

(Toeblock) Used CD $5.00 (Out-of-stock)

“Making a saxophone honk, screech and generally giving the impression of Mother Goose meeting armageddon,” explains All Music Guide, Blurt squawks “their way through a noisy avant-garde netherworld between jazz and rock…. [Frontman] Ted Milton’s voice is … a grumbling, gurgling, bleating (if not bleeding) blurt of a sound, silenced only when his mouth is wrapped around a saxophone reed [which] would just as soon imitate fingernails down a chalkboard or elephants in heat as conform to the jazzy warmth the instrument might yield in other hands.”



(Absurd) Used CDR $3.00

Hums and vibrations cohere into a riddle of electrical static and occasional sudden movement,” notes E/I about this 2003 release by Martijn Tellinga. “The impression is of marshaled electro-acoustic improvisation…. [H]igh pitches and scuffles…, field recordings … the edited bounce of a table tennis ball…, sticky tape, disquieting vocal sounds…, traffic noise recorded in Morocco…. [A]n attractive balance between the lived, the meditative and the electronic.” Edition of 131


Unmanned Vehicle

(Chocolate Monk - CHOC.287) CDR $7.00 (Out-of-stock)

Cody Brant and Shane McDonell serve up a bowl of bubbling sound befuddle through overlaid tape loops jammed on wonked-out four-track players. Field recordings are mixed in with tapes of bowed guitars and cymbals, door creaks, electronics and other smooch, and although there is much happening on these recordings it is always afforded time and space so the loop worm can burrow deep into your lugs. Imagine Rock n Roll Jackie passing a Jazz Cigarette to Dilloway after his whitey decides he would like to have a bash at covering Brown Supper’s “Quarantine The Aliens.”



(Young God) Used CD $10.00 (Out-of-stock)

The Body Haters is the crude, arrhythmic and elemental evil sister of The Body Lovers, another instrumental project by Swans’ Michael Gira. Constructed entirely from raw field recordings and primitive cassette loops, 34:13 is a rude chunk of electronic concrète, simultaneously abstract and visceral. Edition of 2000.


Number One Of Three

(Atavistic) Used CD $6.00 (Out-of-stock)

Conceived and structured as one long piece divided into ten untitled parts, this 1998 album captures “the extreme intensity which defined Swans in a new fashion: it completely avoids lyrics in favor of instrumental flow, build, and atmosphere, from solo acoustic guitar to a full-on band attack, with instrumentation ranging from flugelhorn to hammered dulcimer to melodica, all carefully interwoven throughout.” Digipak


Hair Strings and Magnets

(Chocolate Monk - choc.537) CDR $7.00

A continuing viola-shaped entry under the Core of the Coalman category for the bureau of international mystery recordings of Chocolate Monks. Five pieces performed on solo viola with electronic things, and recorded in empty, disused, and leaking churches, warehouse spaces, and a dance studio, while Boehringer lived in Huddersfield from 2014 to 2020. Signals bowed, intercepted, and fed-back upon themselves until they become their own memories. Scores for tracks two and five are also available for anyone who wants to take a stab. Edition of 60


The Suspicious String Quartet Plays Tape Guts At The Core Of The Coalman

(Chocolate Monk - CHOC225) CDR $9.00 (Out-of-stock)

These tracks were laid down on one of those hot nights, and the tracks were burning, man, burning. Most were destroyed instantly, in fact, upon entry. Others were partly rescued and reconstituted using an advanced avant-garde dietary cloning process involving transparent magnets whose fields can be read like musical notation, but vertically. No longer needing to scratch cats with horse parts, Boehringer instead utilizes here a gravitational horsefield, altering tempos fluidly to outrun the ever-changing winds of fashion and rescue the princess, whose harmonic tongue might resist definition, but is never short on other types of suggestion.


Last Orders

(Mycophile) Used CD $6.50 (Out-of-stock)

Objects struck, rubbed, chafed, chivvied, bothered and caused by other means to resonate over the course of eight coherent soundscapes, each with its own distinctive feel and inner logic. Rather than draw attention to the materials, Bohman foregrounds their conventional musicality as an echo to what is being done by electronics musicians and avant garde classical ensembles in their respective avant gardes.


Music And Words

(Paradigm Discs) Used CD $12.00 (Out-of-stock)

The freest possible improv by this UK national treasure (whose soundmaking devices include disassembled violin, springs, lightbulbs, barbecue grill, wire record rack, wooden box with wires stretched across) presses more detail into every split second of a post-serial slipstream of variegated events than ought to be allowed. Bohman also tapes audio-letters containing commentaries on his daily life spoken in hilariously lugubrious tones (Christmas with the family, collage-making in the kitchen, receiving gifts of home-made Turkish delight, walks to the local pub, the state of public restrooms). DIY dada from the midst of suburban banality.



(Somnimage - SOMCD113) CD $12.00

Exquisite drones and soundscapes by French sound-sculptor Christian Renou and the duo of Mandy Matz (Theory Anesthetic) and Mykel Boyd — one by each and two collaborative tracks. Renous treats, assembles and mixes acoustic sounds, relying on dense, rapid-fire montages and electroacoustic ambience. Bokeh transforms and layers Boyd’s processed field recordings, and adds vocals and violin. Preview it here: http://somnimage.bandcamp.com/album/transmutations-by-brume-bokeh


Prelude To Hawaiian Radio

(Helicopter) CD $12.00

Recorded on a dark and lively night at Studio 1/4 in Los Angeles, Andy Bolus’s cadaverous murk combines with Joseph Hammer’s reel-to-reel jitters and John Wiese’s electronic jolts to veer from sonic claustrophobia to audio manipulation wipe-out across a thirteen track cocktail of stumbling hiss, voltage-impinged oscillations, and tangles of oozed-out blurt and whirling, chirping lurch. Featuring exquisite color artwork by Sayo Mitsuishi and liner notes by Seymour Glass of Bananafish.


Novum Castellum

(Turgid Animal - TA405) 3xCD $30.00

The first ever doom record on Turgid Animal reissues In And Around Newcastle, a live CDR box set (Fuckin' Amateurs, 2008) by these Northeast England masters. The live sets are essentially "bootleg" (albeit official) recordings and as such are not of the clearest quality. Includes the entire In And Around Newcastle recordings plus an extra disc of bonus live material. Limited to 300 copies. Packaged in DVD case.


Night & Daylight Yeibichei

(Indian House) Used CD $7.00

Ten songs from a nine-day Navajo ceremony performed in the winter to treat a patient afflicted with eye trouble, ear trouble, or paralysis of some part of the body. 1995 reissue of 1968 album


Asbestos Shake

(Agaric) Used CD $20.00

Bleak Bliss summarizes this collaborative recording by the New York sax-guitar monsters and the mad Swiss scientists of cracked everyday electronics as “a six-headed beast beyond the imagination of mere mortals.”


Barbed Wire Maggots

(Agaric - 1983) CD $12.00 (Out-of-stock)

Reissue of their essential 1983 album. Highly recommended by Hindu gnostics such as Byrey Colon, to wit: "Upper register bowel tingling never felt so good. Miller's guitar joins [Sauter and Dietrich's saxes] in the stratosphere, plugging raw current into metal bowls, sizzling like a wok full of stewardess jiz, just creating and distorting and worrying the fabric of the cosmos like some idiotic terrier-god from a lost part of the Upanishads."



(Agaric) Used CD $15.00

This 1995 reissue of Borbetomagus’s 1980 debut album contains the previously un-released “The Lost Concordat,” recovered from badly deteriorated master tapes of the session. “Heavy noise, deeply coiled feedback manipulation, hair-raising electronic squeal,” says Forced Exposure, “and the ultimate in air propulsion explosiveness.” With Brian Doherty on electronics. Sealed


Buncha Hair That Long

(Agaric) Used CD $20.00

This “collection of live recordings from 1991, says Pitchfork, “Is one of Borbetomagus’s most sonically-diverse releases, moving from heavy, growling noise to churning, electronic-sounding drone to a track called ‘In The Nursery that mixes trebly test-tone whine with moments of … near-silence. The album ends with a 16-minute ‘cover’ of the Beatles’ ‘Blue Jay Way’, recorded at CBGB…, [where] the trio [was] all plugged into a single bass amp, and the result is a sonic tidal wave that’s both terrifying and weirdly calm.”


Experience The Magic

(Agaric) Used CD $10.00

“With their acerbic wit and bloodthirsty attack, Borbetomagus are virtually unlike any other band anywhere. They make Peter Brötzmann seem warm and fuzzy,” according to All Music Guide. “This is [the kind of scary music … that makes you have nightmares about serial killers. But it’s also the kind of fun-house fare that makes you want to live free or die, to scream in ecstasy, and laugh with glee with the knowledge that the creative impulse is alive and terribly well and living in America, of all places. This is music beyond language because it is the roots of language itself: the impulse that attempts to express and organize that which is unspeakable.”


Live At Inroads

(PSF) Used CD $15.00

This 1992 reissue of Cluster Project’s 1983 cassette is one of the heaviest live documents of the original Borbetomagus big-band (Jim Sauter and Don Dietrich on saxophones, Donald Miller on guitar and Brian Doherty on live electronics). Nothing beats the glorious primal gush of these guys in flight, and Live At In-Roads remains the source of so much that came after, as well the first ever release by a western group on PSF.


Live In Tokyo

(Alchemy) Used CD $25.00 (Out-of-stock)

Recorded live at the La Mama, June 1996. Sealed


Songs Our Mother Taught Us

(Agaric) Used CD $10.00

“The three performances from London and Glasgow captured on this disc have no real reference points in even the free-est of jazz,” asserts All Music Guide about this 1999 album, “Rather, they sound like some huge machine sanding away at itself in an attempt to break free and lumber down the highway toward an uncertain destiny. Sauter, Dietrich and Miller play through so many pedals and distortion devices that it’s entirely impossible to discern which saxophonist is making which noise, and sometimes impossible to tell whether it’s a saxophone or a guitar one is hearing. But even as each man blows or strums or otherwise plays his guts out, seemingly entranced, space always remains for the other two to be clearly heard, commenting and amplifying (in every sense of that word) and turning what could be a storm into a genuine three-way creative interaction.”


Trente Belles Années

(Agaric - 1998) CD $15.00

Like worms through an hour glass, so are the days of our live recordings – such as Jim Sauter, Don Dietrich, and Donald Miller’s final concert of their 2009 tour of Europe. Performing at Instants Chavires in the land of la vache qui fond, the trio celebrates thirty goddamn years of impossibly loud and uncompromising screech, pioneering unique strategies such as bells together, extended, flexible mouthpieces, open mouth wah wah, and never ever conserving a single volt of energy. “You know that bit at the end of the Monterey concert where Hendrix sets his guitar on fire?” guitarist Donald Miller famously asked. “That’s what we do. For a whole hour.” With Borbetomagus, bigger is bigger, better is better. It’s not up for debate. TEDIUM HOUSE BEST OF 2013



(Agaric - 1984) CD $15.00

First-time CD reissue of the trio's classic early live recording. Capturing the sheer density of their shows being an impossible dream, along with the non-aural undertow that comes from immersion in the uncommon frequencies the trio tends to inhabit, Zurich establishes the band's ability to build something other than a tsunami of sound. Hellish, unrelenting firestorms of sound, for example.


Anal By Anal

(SSE Communications) Used CD $20.00 (Out-of-stock)

1993 reissue of their first single (Trans 1986), recorded one hot summer afternoon by Eye and Tabata (later of Zeni Geva). Three riff-dismantling old-school punk tracks set to sporadically edited drum samples, lifted from an instructional cassette by jazz drummer Ponta Murakami. Sealed


Soul Discharge

(Shimmy Disc) Used CD $15.00 (Out-of-stock)

Indexed as two tracks, the first being all ten tracks from the original album (Selfish 1989), the second being another forty-one-and-a-half minutes of early recordings from 1982 to 1987, some of which later appeared on Onanie Bomb Meets the Sex Pistols.


Super Roots

(Reprise) Used CD $4.00 (Out-of-stock)

Fourteen quick blasts that show the band at a warped apex, with emphasis on vocal experimentation, grunts, groans, and chants, documenting new work in a state of transition, raw and not fully shaped ideas, and chaotic sketches. Gloriously messy, totally nuts, utterly joyous.


Vision Creation Newsun

(WEA Japan) Used 2xCD $75.00

Spazmo-transonic rhythm: first came the idea, then came the action, and then it got hot. Vision Creation Newsun builds on the grooves of Super Are with additional funkiness and breaches in space-time. Includes T-shirt and sticker. Box plays a 40-second sample when the inside is exposed to light. Sealed



(Disk Union) Used CD $8.00 (Out-of-stock)

Crisply captured live recording from 1993. Unfettered, loose and immediate, yet so freakishly welded together at all times — whether stopping dead or accelerating with joyous abandon into cartoonish explosions of twitchy screeching and unhinged gibbering.



(Monotype - MONO051) CD $14.00

The Russian duo also known as Astma worked with Phillips in June 2009; the recordings combine the energy unleashed by Borisov and Nosova together with the more continuous sound world of Phillips and occasional rapid editing from him. Densely orchestrated electronics with a hypnotic, psychedelic feeling that embraces elements of weird free-form spoken word, minimalism, free jazz, noise, heavy acid, electroacoustic, dub and a variety of acoustic torture.



(Insofar Vapor Bulk) Used CD $10.00 (Out-of-stock)

Two masters of experimental electronic noise present a series of destroyed music of varying tapestries. In card folder.



(Monotype - MONO034) CD $12.75

(Monotype - MONO034) Used CD $8.50

Three new pieces somewhere between composition, song, literary essay, poem and unreligious mantra, without embracing any genre in particular. Bosetti translates intonations of speech into complex and seemingly orchestral scores where meaning, tone and noise melt together. Inspired by Arcimboldo's 16th Century paintings, which he calls "examples of hand made convolution and shadowing," he pours words into notes, notes into noise, and noise into meaning. Repetition, meditation, hallucination. Harpsichord, piano, guitar, soprano saxophone, field recordings. The core of the sinuous "Gloriously Repeating" is generated from a short fragment from the W.G. Sebald poem "After Nature." "Life Expectations" is constructed around the intricate emotional, rhythmic and melodic counterpoints of a casual conversation, where the sensitive interaction between voices becomes the matter. The text of the surreal and short “Dead Man” implies a ready-made pseudo-zen philosophy of resurrection derived from quotes of Iron Maiden lyrics.



(VHF) Used CD $5.00

“A dense set of layered studio recordings from 2002 where rainbows of color and textures — string drone, percussion, bleeps, and the unidentifiable — compete in a mix devoid of the traditional “lead with backing” schema. Many tracks have the kind of welcoming electronic bed seldom heard since the demise of Harmonia, with ring modulated fuzz bleeping away over a chugging but non-oppressive beat. Elsewhere, there’s Youngs’s Riley-style organ ping-pong, a little virtuoso kalimba, thick wads of analog synth.... You know where this is going.”


A Hundred Camels In The Courtyard

(Dom) Used 2xCD $17.00 (Out-of-stock)

Four tales of contemporary life in a land where cannabis, rather than alcohol, customarily provides a way out of the phenomenological world. Thus, in these stories, Salam uses suggestions supplied by smoking kif to rid himself of a possible enemy; He of the Assembly catches himself up in the mesh of his own kif-dream and begins to act it out in reality; Idir’s victory over Lahcen is the classical story of the kif-smoker’s ability to outwit the drinker; Driss the soldier, aided by kif, proves the existence of magic to his enlightened superior officer. For all of them, the kif pipe is the means to attaining a state of communication not only with others but above all with themselves. On this 1999 reissue, originally released in 1981 by Cadmus Editions, Bowles’s gravelly speech is the perfect medium in which to encounter these smoke-filled stories. At times, Moroccan music and chattering voices can be heard faintly in the background, a presumably unintended decoration that inevitably flavors the final mix.


Black Star At The Point Of Darkness

(Sub Rosa) Used CD $11.00 (Out-of-stock)

Recorded in Tangier, this album is a unique kaleidoscope of Paul Bowles’ talents. The writer, musician, musicologist and wanderer reads poems and short stories, and shares recordings of ritual Morrocan music. Jean-Luc Fafchamps performs what Bowles considered one of his most accomplished works, the Six Preludes for Piano.


Blondie - Thanks For Sharing

(Krim Kram) CD $12.75

You know Andy Heck Boyd: wanted to write but typing caused too much pain (tendonitis), and so began to experiment with tape recording after getting into it around early 2017. Has never performed live, but has exhibited paintings at galleries in Seattle, Maine, NYC. Coupla comics to his name. Yeah, that’s the guy. He goes out on the daily with a tape recorder all the time, sometimes switches it up with Super-8 or drawing or collage work. You know how it is. Some tracks here were made using an amp, SK-1 keyboard, and microphone, lyrics composed on the spot. On another, the blood of a woodpecker caught by a friend’s cat is the muse. For others, a short dead-end road and a hiking trail in the Red River Gorge area are the stages where Heck “recorded my thoughts and improvised ideas, I like to perform in a sense, embellish or exaggerate things I see and observe, and I like to analyze layers wherever I go, layers of things that require looking at one thing or area slowly for a little bit, in the supermarket that day I was looking around the produce section at people smiling and some gathered in small groups talking and stuff, and saw glittery, cheap USA flags adorned everywhere around the bread and donuts near the bakery.”


Munterated Merropity

(Chocolate Monk - choc.560) Magazine + CDR $13.50 (Out-of-stock)

Whether or not you believe that the gloved mouse is pulling the levers to our reality, Kentucky curveball Andy Heck Boyd is here to bring more confusion to the seed swap. Priscilla Presley is watching Pinocchio on mute, someone decided to eat all Paul McCartney’s food, the mouse died three days in a row, there is a neon slime face-sit, and so much more to decipher. Just be sure to take a right at the end of Spalding Lane. Energize! Energize! Energize! 36 pages, color. Includes Parking Lot three-inch CDr featuring The Frankenberrys and The Gay Zorros, six-by-four photograph, and one-inch badge. Numbered edition of 54


I’m Gonna Stop Killing

(DiCristina) Used CD $4.00

Two songs from Red Headed Stranger (one a duet with Willie Nelson), new explorations of music from that album, and seven unreleased live tunes, including original material from The Geraldine Fibbers and Scarnella, a Neil Young cover, a Marianne Faithful cover, and some world class improvisations. With Nels Cline, Devin Hoff, Carla Kihlstedt, Marka Hughes, Jenny Scheinman, Scott Amendola, Todd Sickafoose, Shahzad Ismaily, Ches Smith, and Dina Maccabee.


Instant Oblivion

(Dual Plover) CD $14.25 (Out-of-stock)

Sydney, Australia’s favorite chronically depressed, long-term unemployed, alcoholic, asthmatic, homosexual electronic music pioneer spent the waking half of two years concocting his third collection of solo works. If his previous Ruffini Corpuscle was a plumb designed to measure the depths of a luscious aural abyss, Instant Oblivan is the measurement discovered by its predecessor’s journey deep into exquisite musical epiphany. “Bradbury is a master sonic bricklayer,” concludes Mess + Noise, “who has the ins and outs of tension and release down pat.”


The Meta Mega

(Melon Expander - ME007) CD $13.50

In January 2007, seven-year-old Sienna Sol hosted a jam at her family's Three Kings Day party. Sienna and her friends explored the tickly extra-terrestrial voices of Old Mr. Grassi (an electronic instrument designed by Ciat-Lonbarde's Peter Blasser); an active six months followed during which Sienna and her nine-year-old friend Valentin partook of free jams on analog electronics, rock instruments, amplified bicycle, microphones, and surreal stream-of-consciousness storytelling that is image-inducing, playful, and at times, haunting. Experimenting with most of these instruments and organized-sound concepts for the first time, the duo's raw intuitive creativity surpasses the outer limits of what is usually heard in “children's music.”


Turn Your Shit Off

(Pegasus Farms) Used CDR $3.00

Free jazz from 2008 by Danny McClain (drums), Raglani (electronics), Chris Smentkowski (guitar), and Dave Stone (sax)



(Chitah! Chitah! Soundcrack) Used CDR $4.00

Recorded in 33 straight days in late 2000, using the World of Many Dans comic book as a recording reference and calendar where a different Dan was scheduled to music each of the 33 days, resulting in 33 varying pieces of music, which were then mixed together and/or trashed over the following three months and separated into three suites to be listened to at three varying sun/moon phases of the day and further split and assigned to three personalities: the morning suite by the Brain Pause (4am-12pm); the afternoon suite by (Distraction) (12pm-8pm); the evening suite by the Bran (Another plight of medic’s...) Pos (8pm-4am). Special guest Planetsize on “ingrown (morning suite).”


Symphony No. 2 – The Peak Of The Sacred

(Atavistic) Used CD $8.00

This magnificent, resonant, clangorous soundscape of almost imponderable density and length swell to maximum volume and maintains a high level of intensity for over an hour with little relaxation. The unpredictable but intended interplay of overtones and acoustics, evoked by Branca’s mallet guitarists and percussionists, adds considerably to the music’s power, sense of space, and cosmic scope. First edition from 1992 with gold sticker as front panel artwork


Drive Home With a Hammer

(Quasi Pop - QPOPCD036) CD $13.50 (Out-of-stock)

Early works previously released on Smalltown Supersound -- solo, as one half of Larmoyant duo, and in collaboration with Masami Akita, Bruce Russell, Jon Hegre, Kjetil D. Brandsdal, Maja Ratkje, Zbigniew Karkowski and others.


Don’t Call Me Dali, Darling!

(Chocolate Monk - CHOC.391) CDR $8.00

German avant madman and all ’round groovy art hack Stefan Brand sports nothing but his crumpled Y-fronts, energy and a message that needs to bust out for broadcast to the outside world. Such intimate insight into the artist in his natural habitat includes a selection of his infamous Thursday morning bedroom recordings done on his favorite Casio SK1 and the SA-21 tonebank unplugged, with vocal ramblings sung directly into the recorder and a splattering of rough toy samples. Numbered edition of 60



(Chocolate Monk - choc.512) CDR $8.00

Hey, boink, you want proof that Brexshit doesn’t have to totally sour the Kraut / Limey handhold? This wee document of whatthefuckery will put the rise in your mind dumplings. The mad man of Mainz, Mr. Stefan Brandstifter, supplies sporadic spurts made of toys, glossolalia, Casio, field recordings and stuck records which he documents on his cruddy yet well made German Dictaphone; Wigan walloper Ross Scott-Buccleuch mangles, chews, loops and assembles. Potential soul scurvy averted! Keep on the grass. Edition of 60


Fuck Piss

(Chocolate Monk) Magazine + CDR $12.00

In which the Moustache of Mainz (Brandstifter) collages together a 12-page full-colour zine from lost-and-found scraps sent to him from the Portland Peasant (Brant) while the roles are flipped when Brant collages together a short album of sonic nonsense from recordings sent to him from Brandstifter. As delightful as you would expect and with enough random strangeness to send Q-Anon nutters into a froth with their eyes smarting. One person’s detritus is a another fool’s symbolism. Numbered edition of 67


Backdoor Escape From Frog’s Gut

(Chocolate Monk - choc.507) CDR $7.50

Even though no Vietnamese pop music was harmed in the making of Backdoor Escape From Frog’s Gut, be careful not to choke on bones during your travels throughout the westernmost quadrant of The Stinking Empire, that wasteland of mass-comm eavesdropping, loop hypnosis, burgled field recordings, and fracture-scapes that’ll clamp down on your skull like a Gorilla Glue nutcracker. Chocolate Monk’s in-house Clint Eastwood, Jr. (Brant) and Joanne Worley gender reassignment disaster (Glass) have taken every possible precaution to ensure no one exits their hour-long clatter-and-clunk buffet with blood on their hankies. Still, gnaw judiciously, you lion-hearted gonk. Edition of 60


Don’t Bump Your Head!

(Chocolate Monk - CHOC.378) CDR $8.00 (Out-of-stock)

Chocolate Monk’s favorite gutter level archivist splices and dices field recordings sourced from the streets of Philadelphia. Discordant happenings regurgitated into hypno-vignettes. Surprising musical textures and patterns emerge. Numbered edition of 60


Drop-Off Center

(Chocolate Monk - CHOC.357) CDR $8.00 (Out-of-stock)

Twenty-four short tracks by this visual and sound collage artist, smeared into one continuous, delightful ear wallop, sometimes sounding like a Puzzle Punk riding aback a Pork Queen. Recorded while destroying all breakables during their removal from the abandoned house of a hoarder, and at the donation area of a recycling center. Numbered edition of 60


Scratch Music

(Chocolate Monk - choc.467) CDR $8.00

“Recorded while laying low in Las Vegas,” according to the man with the golden ears about his strange brew of musical noises and non-musical aural fritterings, “using homemade spring boards, hair buzzer, Fukuoku 9000, radio, cicada drones, two-stringed electric guitar, prepared lap steel guitar, found microcassettes, voice, field recordings and DJ mixer feedbacker.” Numbered edition of 50


Whether on the Ones

(Chocolate Monk - choc.584) CDR $8.00

Frantic yet focused sound collage work by two of The Stinking Republic's finest noise manglers. Many layers, peel to reveal. “In the winter of 2021 I started squatting at my friend’s art studio in Longview, Washington,” explain Brant. “Along the way I started an audio diary of the experiences I had in and around the thrift store. Quickly I became well acquainted with all the local miscreants and these characters also became part of the mix.” Kruger continues, “The collected source recordings for this project themselves ended up resembling a thrift shop: seemingly haphazard but treasure-filled for the patient digger. Collaging them resulted in 40 minutes of junk-drawer memory-shard channel-surfing.” Edition of 60


19 [Solo] Compositions, 1988

(New Albion) Used CD $8.00

Sixteen originals recorded live plus “You Go To My Head,” “Round Midnight,” and “Half Nelson.” Although free in spots, Braxton’s performances also have their own logic and are quite concise.


Composition N. 165 [For 18 Instruments]

(New Albion) Used CD $8.00

Performed by the University of Illinois Creative Music Orchestra, conducted by Anthony Braxton in 1992, who describes it thus: “There are static and mutable cloud formations that drift in and out of the canvas of the music…, yet there are target recognition states. This is a sequential event continuum that places equal emphasis on sound and space — the moments come ... the moments go.”


Composition N. 169 + (186 + 206 divided by 214)

(Leo) Used 2xCD $15.00

A string orchestra plus four saxophonists tackle this gloriously sprawling concerto. “There is a static quality to much of the piece,” notes All Music Guide, “Characterized by pulsating, thrusting strings. The timbre of the strings actually softens the blows, making this more listenable than some of the composer’s other assemblages…. [T]he fine work of the Slovenia Radio Orchestra, coupled with excellent soloing from Braxton and his saxophonist colleagues, gives this a serious, if somewhat difficult demeanor. There are the usual flashes of brilliance, the complex rhythmic patterns, and the repeating quarter tones…. [T]his is a substantial work … [of] considerable depth and originality.” From 2001


Composition N. 247

(Leo) Used CD $10.00

“A trio outing featuring saxophonist / clarinetist James Fei and bagpipe performer Matthew Welch,” notes All About Jazz. This “unlikely instrumentation mix” places “this extended composition … within [Braxton’s] Ghost Trance Music series, which he describes as a ‘melody that doesn’t end’.” From 2001


Knitting Factory (Piano / Quartet) 1994, Vol. 2

(Leo) Used 2xCD $9.00

The never-less-than-impressive Braxton “moves from swing to cool to bebop and back, all the while never letting go of his love for free jazz,” notes All Music Guide, essentially putting “every jazz influence that came his way during his musical upbringing in the boiler and distilling a powerful ersatz. The quartet’s renditions can be very faithful at times, very mainstream. These moments are propelled by Marty Erlich’s soulful saxophone … and Joe Fonda’s bass…. Then again, [Braxton’s] subversive language is never quiet for very long. Every tune moves in and out of focus…. A powerful jazz lesson from a master.”


Ninetet (Yoshi’s) 1997 – Compostion N. 207 / Compostion N. 208 Vol 1

(Leo) Used 2xCD $17.00 (Out-of-stock)

“Pounding pulses devoid of melody, a somewhat limited tonal palette, and lots of repeating phrases … add to the complexity and the opaqueness” of this live recording, notes All Music Guide. “Appreciating the theoretical underpinnings of the compositions … make it more approachable, and the glorious improvisations by Braxton and his colleagues mitigate the harshness of the whole…. [T]he solos and trio breakouts are nothing less than splendid…. [T]hese two performances are among his best for a small group.”


Solo (Koln) 1978

(Leo) Used CD $12.00

“Performing solely on alto sax, there is a searing lyricism and a surprisingly jazz-oriented underpinning to even the most abstract of Braxton’s improvisations,” according to All Music Guide. Released twenty-four years after they were recorded, the tracks here show “him in an energetic mood, and should satisfy those who appreciate his more radical side within the ‘mainstream’ of the jazz avant-garde. He barks, screeches (though only occasionally and in characteristically good taste), and shows some outstanding technical skills, including incredible speed. While he has recorded some of these compositions elsewhere…, Braxton is in peak form on this one and the results are uniformly excellent.”


I Managed to Get Out Through a Secret Door

(Eh?) Used CDR $4.00

“Two long pieces for prepared guitar, where Josh Ronsen, resembling an uncertain version of Hans Reichel, strings together disconnected and non-musical phrases, accompanied by Jason Pierce’s politely restrained cymbal brushing,” mentions our friend at Sound Projector. “ ‘Shoham’ showcases Ronsen’s solo live electronics work…, an extended bout of frowning and glowering translated into monolithic electric moans. He combines his electronics set-up with a turntable and guitar on ‘Art brings a tiny gleam…’, and again succeeds in erecting an inscrutable wall which asks more questions than it answers.”



(Leo - LR292) Used CD $5.00

Eclectic pianist Brennan translates himself onto a church organ for the purposes of an uncompromising culture clash somewhere between baroque music and jazz with trumpeter Kennel, whose playing is brilliant and bright, sharp and clear. This music of fanfares avoids strong dissonances in favor of harmonic nuance and the sound of a church celebration transported en masse into the twenty-first century. The uneasy parp of Marc Unternährer’s tuba on four tracks pushes into slightly edgier waters. Despite an aura of pleasing-enough sound, only close-up do the cleverly intertwined lines and deep, snooty weirdness of Pipelines really emerge.


A Real Nice Clambake

(Butte County Free Music Society - 35) CDR $8.00 (Out-of-stock)

Recorded at a confusing and ambiguous event in 1987 at Wooj, where pockets of inexplicable activity included the Bren’t Lewiis Ensemble applying their singular style of awkward to guitars, bass, Casio, wooden recorders, mandolins. Cassette players throughout the house were recording, while others played loops, telephone answering machine messages, and field recordings. Numerous television sets broadcast anything from The Brady Bunch to cornball noir, while radios broadcast The Isley Brothers, Crosby Stills & Nash, XTC, Paper Lace, Malcolm McLaren, and The Archies. Hours and hours of material was edited into four tracks totaling 51 minutes in length. The incidental, the involuntary, the unintended and the accidental take the lead on A Real Nice Clambake, which captures and repeats sneezes, coughs, burps, mumbles, grunts, moans, clicks, clacks, and clunks, the obnoxious zont of cables getting plugged in, tape hiss, bottles opening, keys and bottle openers rattling on tables, silverware scuttling on porcelain plates, and doors slamming. Mics are jostled and papers are shuffled, amid the spastic xylophone–windchime hybrid of coffee mugs getting stirred with strange vigor. The motor of one of the tape recorders wheezes so loudly that its own microphone picks up the sound. The group’s magical ineptitude perseveres through abrupt left turn after abrupt left turn, dizzying in their constancy, and through stretches of meandering guitar-playing, repetition, interruption, and the peculiar declarations of those present. Released to coincide with Bren't Lewiis's performance at Colour Out Of Space, November 2011. Includes an Industrial Expressionist collage made of hand-painted screen, fragment of found photograph, and defective scrap from commercial print shop.


At The North Pole, Easter Day, 1982

(What The ... - WHAT012) LP (one-sided) + 3in CDR $14.00

In comparison to the only other available 1980s recording of a complete live performance by the BLE (the side-long “Industrial Barbecue,” on the BUFMS boxset), At The North Pole, Easter Day, 1982 is starker and more minimal overall. Performing as a quintet at an open mic night in a student cafeteria, the group had played live only once prior and had yet to amass the collection of ubiquitous tape players and answering machines that accompanied most subsequent performances and recordings. The absence of overt forward progress in some parts gives the performance an incidental resemblance to those tense moments in grim power electronics just before the singer goes berserk, but then ridiculous verbal repetitions and Top 40 references come out of nowhere like nerdy Fluxus rehearsals in the middle of a New Orleans funeral. Other segments highlight the difference between aboriginal metal percussion and pots ’n’ pans getting banged together by people with a remarkably spastic sense of rhythm. Visually, Bren’t Lewiis were like a cross between the jackets of early Nurse With Wound albums and a bunch of hicks impersonating Spike Jones and His City Slickers. Television sets flickered throughout. Doug Roberts brought his bicycle onstage. Dressed in a labcoat and white wool-felt USAF boots, howling into his signature plastic lawn flamingo, Lucian Tielens stretched the limits of publicly acceptable intimate congress with inanimate objects. Tim Smyth wore a bunch of Christmas lights attached to a Civil Defense helmet. Amoeba Man had a garbage bag filled with helium balloons taped to his head and toilet paper wrapped around his face. As some sort of oblique Day-Glo homage to Carmen Miranda, Gnarlos wore a handmade upside-down sweatsuit. The amplified 21-foot aluminum sailboat mast, the undisputed star of the show, was so unwieldy that use of a special freight door was required just to get in and out of the building, and yet a single, lonely metallic “ploong!” was pretty much the limit of its sonic palette -- appropriate testament to the methodology of this absurdly inefficient group. Includes insert printed with glow-in-the-dark ink, and a reproduction of the flyer advertising the show. Edition of 129. All orders placed here include a 3-inch CDR of previously unreleased hoot, not available elsewhere.


Attract And Reproduce

(Butte County Free Music Society - BUFMS107) 3-inch CDR $4.25 (Out-of-stock)

Eighteen minutes of electro-squawk inspired by bot larvae gestating in a nutrient-rich aspic of rancid custard and leech waste. The fourth three-inch CDR in the Dumb Tangerine Dream series. Includes a swatch of Yale University sweatshirt courtesy of This Is Yvonne Lovejoy. Cover photo by Lacie Pound. Edition of 25


Being Happy All The Time Would Be Extremely Depressing

(Butte County Free Music Society - BUFMS77) CDR $8.00 (Out-of-stock)

Understated and skeletal arrangements, but still chock full of unsettling mixing and weirdos voicing peculiar narratives, sort of like a bizarre misreading of ASMR.


Borderline Dogfood

(Spleencoffin) CD $10.00

The BLE’s first full-length of 2023 is a table scrap pâté of junk percussion, recycled sounds, roasted tapes and electronics, surrealist soliloquies, and decontextualized lyrics squished through the meat grinder and smeared into a professionally replicated compact disc (not a CDR). After-hours sessions at Musiclandria in Sacramento in late 2021 – at the time freshly upgraded to a mammoth instrument lending library with a stream-ready live venue, a recording studio, and a community center — form the sponge-y foundation of much of Borderline Dogfood. Joining the irregulars were The Viper (a violinist who was a defiler of catgut par excellence back in the early 1980s iteration of Bren’t Lewiis, now resembling, as an added bonus, an Edward Gorey character come to life) and The Affable Chap (a recruit from the UK home office who hurled himself into the variety of gear and gizmos available at Musiclandria, especially items in the genus keyboards). With access to everything on the premises, from the synthesizers to the guitars, from the billiards table to the guts of a piano leaning against a wall, the Ensemble floods your delta with electronic doink, insectoid crackling, and brackish murmurs. They avoid becoming what John Whitson of Holy Mountain would describe as “a chance-oriented jam band” by framing everything between (and interrupting everything with) loops and fragments from field recordings and internet fails videos where behavior is modified by life crisis hormones and one deadly sin or another. If you wanted to call it “Olmec improv filtered through contemporary snartwave,” it’s unlikely anyone’d try to shove you down a flight of stairs. Mixed throughout are passages going back to 2017 from Lucian Tielens and the City Councilman’s weekly sessions at Fluxus Enigma in Fair Oaks, where anything can happen — grunt’n’moan montages, Theremin vs Stylophone battles, journeys to the dark evil soul of toys, contact mic endurance challenges, backing vocals by beautiful ol’ hounddogs with heads shaped like lightbulbs, objects rustling in a laundry basket... Shalimar Fox makes a rare appearance with a monologue about exerting the power of eminent domain on Pucci’s din-din. Meanwhile, a helium-dosed Lala Lu delivers her remarkable take on a bit o’ swill from the Disney canon, Tielens loses himself in the black forest that is the lyrics to “The Porpoise Song,” Gnarlos uses Pete Beck’s lyrics to the Dilwhip / Educated Mess / 28th Day track “Do You Know How It Feels” to conquer the baby monitor while standing in the parking lot, and then the slobber-drenched chewtoy is back in Lala Lu’s yap (metaphorically) for a Venus de Sunnyvale style reading of Misfits lyrics. The 17-minute “Emperor Guillotine Nukes A Lush Valley Using His Fingernail,” anchored by sessions at Hazel’s ’Lectric Washouse in Oakland, is especially grand, with Jimmy The Baptist’s worship of degraded guitar wheedle taking center stage, while psychological textician Tom Chimpson recites self-penned pre-hypnotic suggestions on “Executive Lullabyes Courtesy of Binky The Wonder Squid LLC.” Another standout is the complete soundtrack to the City-Councilman-edited 13-minute film “Lackey Demand Indicator,” which premiered at Wonder Valley Experimental Festival #14 in 29 Palms, California, in April 2022. Hand-screenprinted gatefold chipboard wallets. Includes download code. Edition of 100.


Bygone Baguette Mailboxes Of French Polynesia

(Butte County Free Music Society - BUFMS88) 3-inch CDR $4.00 (Out-of-stock)

A single 18-minute track of synth yarng and woon, electronics, and messed up turntablism. More pleasant than watching a puppy try to hump a seahorse’s face. Includes a wallpaper swatch courtesy of Michael Morley. Edition of 25


Cavoli Riscaldati

(Butte County Free Music Society - BUFMS63) CDR $8.00 (Out-of-stock)

The first of two warm-up prequels to the group’s upcoming reimagining of Live at Pompeii, “Squat And Elevate The Perforated Cylinder” sweeps swatches of ring modulator grit across expansive Herbertian wastelands like second-hand, moose-befouled flying carpets. Lucian Tielens and Gnarlos attack the fetid void by cacking together spritz mosaics sourced from an interstellar vinegar bath. The newest member of the group, Count Darkula draws on previous experiences within the cold hard swamp and fires off volleys of epic woont, diseased mastication struggles, and mechanical flutters. Picking up on the intrusion of turd-nourished car alarms (because Bren’t Lewiis always records with the windows open), The City Councilman counter-attacks with fractured yelps from bio-chimerical slaughterhouses and a black yoga move known as “upward oozing glue gun.” Fragments of his electric guitar fwa-garnk seep into the obstacle course from all corners, deflecting mushy roars as they deep-throat throbbing and discordant echo. The second one “Plummeting Blobs Of Unguent” is slightly more low key but every bit the exercise in weightless, animalistic flailing. Pre-recorded reel-to-reel tape yoink passes through layers and layers of distressed transmissions. The edges of unidentified blocks of congealed fluids crackle and crumble. Fur-choked warbles pulsate from the intestines of a lunatic grizzly sickened by the irresistible sweetness of blood berries and lead paint. The distant screeches of metallic fruitflies gnawing the mold off the sides of a dumpster become the sickening threat-assessment howls of cats with telephone abdomens. Bracketing the twin epics are: a sullen invocation by gargoyles forced to navigate insectoid percussion, the luminescent yawp of Babuna Virus, belligerent gurgitations, and acid reassurances; and Limphoma’s impromptu, heckle-based “My Down Booties Were Eaten By Pat’s Dog,” recorded live opening for The Tenses, ending the album in a mangle of stomped-upon slurry.


Chewing Scenery

(Butte County Free Music Society - BUFMS108) CDR $8.00 (Out-of-stock)

A slow-motion buckshot spray of Lost in Space bleeps and bloops spreads the group’s heat-sought rash across the canvas, as usual, throbbing and twinkling in a void seemingly sponsored by the Wubb Telescoop. But be on the lookout for collisions with gravity fields that pull the elements apart, leaving their piercing shrillness to jab at nothing within the corridors of your personal solitude. If that seems a little too Star Trek for your tastes, don’t worry: no one’s gonna mention the time you took ecstasy at the convention and thought one of the parking attendants was Nyota Uhura. Still, moog-adjacent yoib whizzes past like fresh junk, courtesy of The Library At Musiclandria in Sacramento, where much of Chewing Scenery was recorded in November and December 2021. The Affable Chap, on loan from the UK home office, makes his debut appearance in Bren’t Lewiis here, and returning champion The Viper was on board to scrape the cat gut — a real life saver since the fingernail-friendly chalkboard had been borrowed by another patron earlier that day. From sessions at Hazel’s ’Lectric Washouse, a re-christened Jimmy The Baptist wrings pure glory from the ether like a brand new solar panel so potent you’d be advised to mind the UV, while Tom Chimpson reads OCD laundry demands from the script for an abandoned prequel to Seven centered around the origin story of Kevin Spacey’s character. The customary disembodied voices, field recordings, household catastrophes, animals losing it, fails video soundtracks, edits both smoother and more jarring than Daddy-o’s morning anxiety dump abound, so don’t think this is nothing more than a fresh take on space rock no one was desperate enough to ask for. Lacie Pound pops up throughout, eavesdropping on neighbors, performing a bit of Blood Stereo karaoke, and investigating electronics-enhanced grooming procedures of the co-inhabitants of his place of dwell. Lala Lu maintains her in-house wild card monopoly, singing back up to avant Cleaver Babs Billingsley, citing Shakespeare, and musing about high school sports admins. An electric baby monitor flashes the creep-on-the-subway voice of Gnarlos reading a selection from Spike Milligan’s Puckoon (page 129, to be exact). Consider that Lucian Tielens’s cover art mosaic of post blizzard powder reads like an explosion at a fire extinguisher factory, and the hint is there for you to take.


Complete Implant Solution

(Butte County Free Music Society - BuFMS94) CDR $8.00 (Out-of-stock)

During innumerable hours isolated from each other and the world at large, and having undertaken a variety of new hobbies (such as breathing, binge-watching Ozark and Locked Up, and scraping skin off their shoulders), Bren’t Lewiis dives into this new go-crazy with their customary zeal and willful wrong-headedness. Each individual member of the group exploits assistance from consciousness-depriving substances in order to achieve isolation from him- or herself, an endeavor both effortless and far more difficult than it seems. If nothing else, the practice affords opportunity to consider that Tiffany’s version of “I Think We’re Alone Now” is actually about getting buried alive. Likewise, the despondent wail of Lee Moses in his 1971 cover version of “California Dreamin’ ” reminds us that mere gray skies and brown leaves are nothing to worry about compared to dodging pestilent spittle huffed by joggers as they prance maskless through the opaque silver morning air of West Coast fire season. Probably imminent are dead-frog hailstorms and a slurry of pig blood and bone marrow bubbling up from storm drains. Indeed, our current era may well be remembered by those who survive it as one that not only enshrined bad, vanity-based decisions but immortalized them — from face tattoos and psychedelic dentistry to any online comments section relating to public policy — an expectation hinted at by Karen Constance’s cover art depicting a rogue Moai apparently constructed in a DIY enthusiast’s garage using raw chicken, reclaimed wood, and a kilogram’r two of hijiki congealed in rubber cement. Under a rainbow of red roses, clad in a ballgown of purple roses, the monstrous head either spews celebratory streamers from its sourdough lips and tin pupils or else passively accepts the inevitable penetration of its body by aggressively parasitic space eels. Excerpts from numerous improvised sessions where life itself was squeezed into and out of guitar, synth, turntables, tape players, theremin, radio, thrift store cassettes, and laundry baskets filled with toys and objects have been sutured together tidier than the aftermath of a shopping mall massacre. Several tracks contain grafts courtesy of back-alley amputation of the more psychotic blobs from an old-timey promotional cassette starring Ronald McDonald, while others still attempt blood transfusions served in shot glasses by Stumpo (a duet for passing train and Black Sabbath, and a duet for seagulls and the spacy part of “Whole Lotta Love”). Smart discount shoppers will spot good deals on helium mice, Waylon Jennings versus carpentry, throat crackles, Lucy N’s signature gurn, the now-ubiquitous low-bit ambience of Zoom meetings, low drollery by early ’50s wise-gal Anna Russell, corrupted fife-and-drum loops strong-armed away from slack-jawed antebellum re-enactors, a hypnotism reading, screeching bigots, operatic warbles, and Inger Nilsson croaking the theme to Pippi Långstrump at 16rpm. So here it is, another pestilence-inspired, plague-mandated black hole in which the density of withholding surpasses the atomic structure of the source impulses of the refuseniks-in-chief. Cover by Karen Constance. Includes 16pp industrial expressionist collage.



(Butte County Free Music Society - BUFMS105) CDR $8.00 (Out-of-stock)

Finding unorthodox anchors that strangle the fatuous out of abject grimness is a squid-free squid game Bren’t Lewiis mastered long ago, and Consumption certainly reaffirms that. The album’s fifty-minutes of quacking at the moon was inspired largely by mandatory wellness sequestering at a Walgreens post-inoculation, and the attendant anxiety that the pharmacist might be required to rush out of the bullet-proof cubicle because Gnarlos can’t handle the side effects of another microchip in the bicep. On any other day, a disoriented stumble up and down aisles stocked with gleaming fruits of capitalism, so desperately packaged with hot colors and zazzy lettering and borderline-lascivious hype, might earn a person a request to vacate ASAP from a polite rent-a-cop. When nano-bots in the bloodstream are part of the equation, forget it, back to the factory with you, we’re gonna have your head changed to something more aesthetic. Those surveillance cameras are not here to protect the mouthwash. Anonymous chatter from field recordings is maddeningly constant, passages of repetitive electronic yoib hopscotch across cowering backdrops, there are more cut-ups and loops than a knife fight at a prison knitting circle, and the dynamics feel like flu symptoms. The first time The City Councilman heard the finished album, he said, “I tried to listen while I was grant-writing and found it so intense that I could not do both things at the same time.” Among the album’s final straws are Lucian Tielens reading pick-up lines found in an abandoned notebook at the public library (a truncated early mix of which was included on Cough Park’s Bandcamp-only mix EZ Street Cheeze), and Steve Marquis’s psychedelic heart attack on “Tumbling Down An Embankment With A Stomach Full Of Bowling Pins.” Absent-minded mumbling, concerns about post-op complications, the appropriated voices of self-help mutants colliding in surreal patchworks of entendre all lead to the inevitable: that Hastings Of Malawi no longer have to reimagine I Think You Should Leave as an old time radio drama.


Daughter Of The Boot

(Chocolate Monk - CHOC.352) CDR $6.00

On a gorgeous spring afternoon in the PacNW, there is no better way to spend it than inside a 420-square-foot windowless room rattling sleigh bells with your foot, dropping rubber balls onto a broken old bongo drum, spinning scratchy records backward by hand, and sputtering into a shenai steadily and slowly so that it sounds like you’re pushing a desk across the floor. Here is sixty-five minutes of spontaneous sound collage, bent improv, non-musical weirdness that resembles injured mammals on the verge of giving up, surprisingly delicate noise, and general quasi-cinematic clatter by LAFMS royalty The Tenses (aka Oblivia and Ju Suk Reet Meate of Smegma) and two of the many goons (Lucian Tielens and Gnarlos) from the BUFMS spazolopolis Bren’t Lewiis Ensemble, with field recordings contributed astrally by Silvia Kastel and Leroy Tick. The two pieces delivered here by these clunkmeisters -- recording together for the first time -- are rusty, crusty, dusty and musty epics in the tradition of groups such as Morphogenesis, Solid Eye, Taj Mahal Travellers, and early Zoviet-France. Cover art by Ace Farren Ford. Numbered edition of 80


Dreamhouse Prison Of The Pastel Mafia

(Butte County Free Music Society - BUFMS66) CDR $8.00

With as many lop-sided bleats per minute as L. Ron Hubbard’s third annual vivisection of one of Anton Lavey’s goats of Christmas past in the parking lot of Dismaland, The Bren’t Lewiis Ensemble’s cave noise conniptions get spinal-tapped by indelicate incursions of raw, untamed electronic thrusts and stabs. Toys, scratchy LPs of old Vietnamese showtunes, various nube-tubes, the forced laughter of a little person courtesy of Werner Herzog, and kitchen objects are some of the reassuring soundposts in this chiaroscuro dungeon, blinking between the cavernous scrape of dejected janitorial tasks, the feeble thuds of someone or something getting dragged across cobblestones caked with layer upon sickening layer of effluvia, and tiny metallic splats scurrying like immortal tapirs from one corner to the other. Disembodied voices speak not so much to communicate but to keep the creeping dread of the speaker at bay. The damaged soliloquy of the permanently distracted gets a thorough examination here, bolstered by the weirdly spirited yelps of the doomed and murmurs from a decomposing mule born under a wandering star. Throughout their patched-together network, spastic clunks engage in intimate congress with mechanical gasps, chokeholds, grunts, and the struggles of the restrained, rising and falling in parallel with irrational wheedle pulsations and hopeless density. Remote controlled drones buzz in and out of view, according to the trajectories of nonsensical flight-paths. Peculiar grinding from homemade spirit-breakers (known in the trade as aluminum maidens) morph from dispassionate sketches of abscess-befouled meadowlands to up-close chakra punctures and hi-sheen abscess pierce to collapsed thunder from failed Russian barge maneuvers. Includes industrial expressionist collage.


External Organs

(Butte County Free Music Society - BUFMS74) CDR $8.00

Simian incantations made of over-saturated squelch clangs and reptile-friendly textures that are smooth as a cheese grater to the back of the head. Hiding under asynchronous grinds and competitive echo sharpness, the five long tracks here seem to recede unnaturally, like reverse footage of a smoldering grease fire, or a predatory ballet choreographed for It Had Been An Ordinary Enough Day In Pueblo, Colorado. The ensemble feels cooked alive on External Organs, maintaining a rhythm throughout comparable to extras from Night Of The Living Dead bonking into a wall over and over again as if trying to memorize the bloodstains on the sheetrock.


F.A. Henderson's Casino Sordide

(Butte County Free Music Society - BUFMS61) CDR $8.00

Recorded in Portland, Oregon, under the influence of King Tubby, The Frogs, and shared fantasies about a 30th Century interpretation of Grey Gardens, the foundational spwahaohao of F.A. Henderson’s Casino Sordide could easily pass as the soundtrack for a demented, Justice-Schanfarber-hosted straight-to-public-access travelogue. The ingredients manifest includes: jumbush; damaged sitar; shamisen-type thing; kalimba seemingly custom-made for Richard Keel; suitcase zipper; messed-up log with big lead bolts, wire, and sounding gourd attached (like a Gambian ko that could double as a cudgel for a midget Viking); metal lid from tea canister; ScratchBox; air mattress pump; acoustic guitar; toy ukulele; flutish wind-instrument made of wood; Velcro; big exercise ball; bells; lychee-shaped keychain; metal ruler; plastic lid from a bottle of hot flash pills; homemade zither; cat toy; aloe vera gel; mild dyspepsia; and wood scraped with pushpins. These quiet, understated recordings are considerably gilded by overdubs of loops, tape manipulation, found noises, remote individual performances by farflung members of the group. Two mid-’80s tracks previously released on their debut cassette Make It Stop, along with new collage pieces, cast this album as the red-headed stepchild of Pork Queen’s Strang geeking the sort of quasi-shaman visions present on Buffy Saint-Marie’s Illuminations, covertly harassed by parasitic sociopaths, temple desecrators, and a language-impaired tribe locked in a basement long after the tornado has passed.


Fifth Dementia

(Butte County Free Music Society - BuFMS113) CDR $8.00

There’s nothing technically inaccurate about saying the Bren’t Lewiis Ensemble releases albums, though behind the scenes they are thought of as “escorted from the building.” A few just escape. Their second disc of 2023 arrives much like the contents of a piñata stuffed with Streptococcus pyogenes and exotic succulents. As the opening track shuffles into view wearing nothing but a bathrobe and slippers on the wrong feet makes clear, Fifth Dementia is glued together with preparations for the end. In the BLE’s vision of The Big Not-Any-More, the past wobbles toward oblivion and wipes its feet on the welcome mat, while the adhesives-slathered future rises up in an infinite tidal wave of impending collapse, leaving the present as a ventriloquist act called Lil Tired And Captain Defeated. On “Nearly Drowned by The Anti-Merm,” Lala Lu’s cut-up reading of the lyrics to Yoko Ono’s “What Did I Do?” — recorded as a memento mori for the late Tom Smith of To Live And Shave In L.A. — slithers between tossed scrape salads, snow-blowers, noxious Star Trek hippies, and an animatronics-damaged “A Mighty Fortress.” Tom Chimpson and Jimmy The Baptist stage their retirement-home magic show with the surreally tense “Sterno The Magnificent Spotted Bone Gambler,” seemingly for the benefit of an audience of sedative-abusing rabbits. It’s a beautifully perplexing mix of resinated guitar, epicurean wheedle that disfigures itself just above the horizon line, and disembodied clunks and clacks that ping the pong of all but the absolutely hairless. The 24-minute “Sous Vide Meat Glue Experiment” is the soundtrack to the Ensemble’s video of the same name that premiered in August 2021 as part of the UK TUSK Festival’s online concert series. To create this gargantuan cut-up, The City Councilman began by mashing together home-made footage of various recording sessions and boosts from the public and corporate domains, and then, without revealing the final sequence, shared the unassembled effects-heavy fragments with Lucian Tielens, Gnarlos, and their fellow mutants, who nevertheless assembled with pinpoint accuracy a nightmare-triggered quilt of voices (their own as well as those appropriated from thrift store cassettes, children’s records, and YouTube videos), electronics and noises plucked from years of recording sessions, sound effects records, vintage radio shows, and home-made documentation of strangers losing it on public transportation. Listen for the tinkle of cat toys on “Answer Correctly And I’ll Send You Wicker Furniture On Your Birthday” — that’s Lacie Pound saying no-no-no with tiny bells woven into his glorious winter beard, silhouetted against a Musiclandria sunrise featuring The Affable Chap on electronic sputters and The Viper on squawk fiddle. The album closes with “Looks / Isn’t Shoe Needle,” inspired in equal measure by ancient cave paintings of primitive-lobed skull jockeys and the inevitable all-consuming deep-fakes that await us all 24/7. This 57-minute cocktail (two parts premature geriatrics, one part second childhood, a splash of MK Ultra) radiates an age-inappropriate vibe on par with Dr. Zachary Smith taking over a quinceñera while dressed in an off-brand foam carrot suit.


Found On Road, Dead

(Butte County Free Music Society - 46) CDR $8.00

A single track, just over sixty minutes long — the companion piece to the quartet's LP Fix It Again, Tony, using the same material from the same session, completely different mix and edit. Covers are hand-cut from discarded rejects rescued at a print shop. Insert has small metallic medallion glued to it. Edition of 50.



(Butte County Free Music Society - BUFMS49) CDR $8.00 (Out-of-stock)

What The Red Dragonfly calls “the well-mapped out, but slightly unmeasured, off-kilter nature” of Bren’t Lewiis’s (ahem) music welcomes overmodulation, sound saturation, tape hiss, tape decay, tape damage, room noise, and many an audio defect aided and abetted by AM radio, cell phones, police scanners, weather-damaged microphones and speakers, and anything else that could impinge signal fidelity. Massive tape collages dejectedly shuffle through hopelessness and despair. Percussion-only pieces seem to be aiming for regal, yet achieve debasement. Slowed-down, amplified voices reinforce the feeling of beaten exhaustion. Tempos come from objects getting dragged clumsily across the floor and field recordings of children, machines, and workers. The same mound of objects, electric gizmos and detritus from Rapture Piles is here (as well as some of the same tape loops and answering machine microcassettes), along with new recordings of throat-clutchingly spastic electric guitar noise, claustrophobic violin, plainly declaimed words, reel-to-reel tape, and more decrepit toys. Scandalously repetitious, enthralled by the arbitrary, and peculiarly deadpan, Bren’t Lewiis does all three in a minute and a half and makes it seem like a month. Comes with a reproduction of one of the original 24 tickets to the never-performed theater piece. Edition of 50.


Hand Signals

(Krim Kram) CD $11.75

The debut release on this Ireland-based label is the first Mark-Knopfler-approved “real” CD by Bren’t Lewiis. Eleven disorienting tracks: heavily edited sound collage; Orchid-Spangiafora-style word play; malfunctioning, sputtering machines; instruments and objects that are blown, shaken, scraped, and generally sabotaged in various ways. You won’t know whether it’s intestines, brains, or macaroni salad. If the CIA had access to this kind of arsenal during MKUltra, who knows what kind of damage they could have inflicted.


Hard Molt

(Butte County Free Music Society - BUFMS58) CDR $8.00 (Out-of-stock)

On the duskiest and murkiest album so far by this group of noise hillbillies, looped excerpts from studio improvisations form the congealed muck where chunky ashes of cacophonous live recordings embed and dissolve like wilted arugula paste. The album’s opening and closing tracks tear off their own feathers and hurl themselves down an embankment, choreographed by Tom Timpson’s eBay-worthy 45s on the turntable. Corrupted technique is on fine display here — a cross between Aufgehoben with lobotomies, a tourist hotel band attempting to cover The Starfuckers, and the Christian folk trio Jandek once played accordion with during his days in the military. Defeated-sounding whine’n’wheeze is the order of the day, as are Nyoukis/Constance-influenced collisions of the preordained and the spontaneously erupting, in which cut-up, looped noises and purposeful soliloquies compete with one another and sickeningly abstracted content. Lucian Tielens, wielding guitar and antique potato masher, wreaks King Guillotine-like depuration upon the unclean. Among the dark guitar extrapolations, dense processing, no-instruments montages, field recordings, live performances, and zero tolerance for finesse, warmth, or stylishness, highlights include “Baked Alaska,’’ the score for immobilist filmmaker Melvin John Addington’s Vast Expanse Of Rock And Snow, performed live by Tielens and Gnarlos at Colour Out Of Space in 2011, using nothing but toys and objects purchased at 99p shops in Brighton, England; and a centrally located duet by Tielens on Fisher-Price turntable and Silvia Kastel on electronics and voice, burbling like a mudpit underneath a crimson haze with more grace than typically dared by BuFMS mutants. With three inserts, including flyer reproductions and an industrial expressionist collage. Edition of 100


Harvester Of Eyes

(Butte County Free Music Society - BUFMS57) CDR $8.00 (Out-of-stock)

A year in the making and largely informed by the Ensemble’s roots and experiences in the level of DIY broadcasting that SCTV once lovingly parodied, this 56-track bucket of stovies is Bren’t Lewiis’s most thorough homage yet to vox populi media: call-in AM radio, YouTube, public access TV, infomercial fails, obsolete instructionals, and amateur self-help cassettes that offer guidance of dubious utility. You get several meanings in the blink of an eye (to paraphrase Olivia Tremor Control) in this 69-minute rationality-flouting obstacle course. Assertions and their opposites contain veracity and patent untruth. Cyclical repetition meets the deliberately deployed and the gloriously arbitrary. Electric guitars and toy instruments and maniacal grunts careen across layers of grinding reel-to-reel noise and compromised cellphone transmissions. Looped fweeps and saturated hornk keep time throughout stretches of impromptu stress tests, insect percussion, anonymous background rumbles and rustles, pizza cutter schwing, and the crackle of scratchy old thrift store records. Sing-song chirps from skewed pop and cult memories meet hacked and damaged recordings of insufficient improv and anthropomorphized household objects. With two inserts. Edition of 100
All Tedium House orders of this item include the bonus three-inch CDR Translation Of The Dress, with twenty-two tracks in twenty minutes.


I Have No Idea What You’re Talking About

(Butte County Free Music Society - BUFMS75) CDR $8.00

Percussive noises are a constant menace on I Have No Idea What You’re Talking About, familiar in style and purpose to crank-addled crutzers with guinea worms freaking out about dive-bombing bats that aren’t really there. Off-kilter loops and crossfades seem derived from a Waza Ensembles competition held during a calamity on a construction barge. There are more roadblocks in this twitching, raw-fi mess than would be present if Scrantonicity covered Joeboy In Rotterdam, it was filtered through Ichiyanagi’s Extended Voices and then re-imagined by Edith Hillman Boxill as an instructional music therapy album. Includes inserts.


Intro To Owl Tranquilizers

(Coma Kultur - BUFMS89) CDR $8.00 (Out-of-stock)

An hour of janking and detritus decimation in which this noted Los-Angeles-based moogalator and unrepentant synthophile lures the Sammy Davi of freeform sound collage out of their hall of mirrors and ensnares them in a cactine swamp of prickly, modular screech. With silkscreened folder. Edition of 40. The Tedium House sucker edition includes complimentary Tootsie Pop


Keystone Cyclops

(Butte County Free Music Society - BuFMS95) CDR $8.00 (Out-of-stock)

Kinda-sorta but not really a concept album, noise opera or what-have-you, the final 2020 release by Bren’t Lewiis Ensemble is named after a one-eyed turkey from one of the many unreasonably vivid and detailed dreams that tiger-lily their way out of the subconscious of Gnarlos and make a grab for life on the material plane. While the album is free of all reference to Les Nessman, it instead jumps across time and space, logic and proportion, and intersects with scenes of obliquely rendered insurrection led by the titular character who, in addition to being that most ill-tempered of the class of land fowl known as “delicious,” also happens to be a superhero. His accomplishments in that role remain undetermined, as do whether they have any effect on anything, and if they do, whether it’s good or bad. No, it doesn’t make sense, just leave such hopes in a paper bag somewhere and move on. The group keeps things moving at a zippy pace, layering objects-only jam sessions, field recordings, guitar treatments, tape manipulation, and primitive electronic garnk that drops through the ceiling like a fat man stepping off the beams on the attic floor. You might actually omg aloud once immersed in this loop-saturated, collage-heavy snart-nado of dystopian pop culture and sci-fi, where Wanda Jackson, Lenny Bruce, Mr. French, and an ugly bag of mostly old hotdog water masquerading as a talk radio host enhance the spectrum. Not surprisingly, audio boosted from homemade internet videos, persistent voicemail scams, silverscreen classics, cornball commercials of yesteryear, old sound effects libraries, and thrift store cassettes abounds, while on the other hand, no one foresaw cover versions of Destroy All Monsters’ classic nihilist anthem, Edward Alderson’s delirious visions of revolt, and Jean-Jacques Rousseau’s gavotte-slash-inexplicably-affecting-lullabye-dirge (voiced with maximum creep factor by newest Ensemble inductee Commodore Slaiman and Jon The Baptist). Overall, it’s a screwball empire-toppling as heard through a cellphone infected by nano-parasites that are eating the transmission. Cover photo by Toni Smith.


Live At Pompeii

(Butte County Free Music Society - BUFMS60) CDR $8.00

Anyone whose mind was sawed in half by The Stallion’s liberties-hogging interpretation of The Wall released by In The Red stands a chance of not hating what The Bren’t Lewiis Ensemble does to the soundtrack to Pink Floyd’s legendary concert film (plus a couple tertiary Floyd-related pieces), finally joining us all in the noxious haze of daylight after a fitful four-year gestation. The hairless apes don’t come at it sideways so much as burrow through the dirt underneath and pop their heads out in various places like moles trying to ambush a housecat. Hands with no arms. Torso like a leftover chile relleno. Vulcan autoharp. Alpacas recovering from the effects of tainted codeine. A cameo by Darksmith of California. You know how it is. Edition of 50, the first 25 of which include a tardigrade air freshener, because prog rock.


Loose Meat

(Butte County Free Music Society) CDR $8.00 (Out-of-stock)

Over an hour of viscera untethered! A cephalic card-counting snuffler memorizing the dress-code for visitors published by the Commonwealth Of Virginia’s department of corrections. Cranksters rutting through the neighbors’ storage shed and trying to power a homemade UFO with an aquarium air filter. Miscegenation of texts by John Steinbeck and Led Zeppelin. Foul seepage and damaged percolations. Toys-and-turntable spasticity recorded live on KXLU. Heat massage grimness. Gelatinous conflagrations. Brittle geekiopathy. A spontaneous gurnathon recorded at the fire pit behind The Dome. Lily McBilly’s WTF mash-up of the go-go-boot morality ditty “Teenie Weenie Boppie” by France Gall and Play It Again Sam’s failed-pick-up-at-the-museum scene. The 21-minute “Boiling The Grackle That Killed Suzanne Pleshette,” a live recording from The Handbag Factory in Los Angeles that delivers twice the juddering oomph of sleep-deprived space cats overdosing on bovine tranques dreaming of a laser battle with a hot water heater.


Map of Something?

(Butte County Free Music Society - 51) CDR $8.00 (Out-of-stock)

Two long, trigger-word-dominated tracks composited from a grim live set at The Terminal in Oakland and a hotel room recording. Kitchen-based shenanigans, inbred instrumental passages, pre-recorded voices and sound effects, live noise, samples, loops, electronics, home-made devices, field recordings, and fractured readings derived from DVD liner notes and hospitality literature. Students of veterinary medicine will find much in common here with their study of digestive disorders of livestock. All feel-good grooves are dead on arrival, put out of their misery by the lethal anti-suave of this ensemble with a perpetually rustled hive mind. Edition of 50.



(Butte County Free Music Society - BUFMS86) CDR $8.00

Pointedly undignified improv is Bren’t Lewiis’s consistent tripping off point, the elements of which swap bacteria indiscriminately and form mutant heaps of questionable awareness. Fragments butchered from recording sessions — electronics, guitars, objects from kitchens and garages and toolsheds, turntables, loops, nonverbal vocalizations, and a variety of accidental and/or unintentional activities — spiced with nuggets plucked from the public domain (because any recipe with mayonnaise is not complete without raisins) are reconstituted with compositional prowess easiest described as unkempt; many of the tracks on Moose don’t fade out so much as wander at a leisurely pace toward silence. Highlights from the department of field recordings include the idiot neighbors playing their idiot drinking game, arguably gongable street musicians, and a time-lapse document of Warvette’s bullfight against the GPS in his pick-up truck. Gnarlos delivers the vocals on a cover of Peter Hammill’s “A Ritual Mask” with a level of passion rarely heard beyond a police scanner dispatch operator, while the reincarnation of Stentor himself, Lindy Lettuce, bellows and gurgles through a mash-up of words to the Christina Aguilera hit “Beautiful” and “The Light, The Sound, The Rhythm, The Noise” from Flipper’s second album. Lucian Tielens grins and bears it on a reading of execrable lyrics to an antique show-tune written to enhance the rich fantasy life of Coca-Cola salesmen. Thus, the end result is an album that’s one part stoned teenagers sloshing around the back of a station wagon taken off-road without permission, one part long-winded recollection of an erotic Tardigrade cosplay party, and one part endless loop of Linda McCartney’s synth solo on “Jet.” Artwork by Steve Marquis.


Noncanonical Gospels From The Cult Of The Immortal Tapir

(Butte County Free Music Society - BUFMS67) CDR $8.00

(Butte County Free Music Society - BUFMS67) CDR Deluxe Edition $30.00

Bren’t Lewiis’s after-hours guerilla performance at a Sacramento playhouse was the site of their latest maculate conception: desert-blind tales and sun-scorched allegories expunged from The Ongoing Dialogue during the greasy, soothing Council Of Nivea. Imagine an old-time radio broadcast of a pagan tent revival interrupted by shortwave transmissions from an isolated and weather-beaten theater where Swell Maps are stage-managing an all-nonmusical-interstitials Kubrick-inspired variety show. The bizarre compendium of revelations include a beastiary by an unreliable ornamental horticulturist, a sampler inventory of treats-centered Eucharist self-abasement, a postcard texticle, ersatz Beat poetry, idealized warrior vows, shattered testimonials from addled pitchmen, and faith-based texts about: limbless lizard infestation; inter-dimensional chonch worship; the personal toll of crimes against humanity; the banality of insane self-pity; pepper abuse; autobiographical cannibalism; hemoglobin-and-fur-based cocktails; false Elvis resurrection and messianic flim-flam orchestrated by the pastel mafia; compulsions of infectious diseases camp prisoners; the psychic struggles of a pilgrim getting telekinetically bombarded by epistles from spiteful, sentient mass transportation; interspecies organ transplant; and heavenly expectorant. The ramshackle performances and sound design display a pattern consistent with questionable Sudarium stains. Created using toys, tools, objects, instruments, and found voices, some details about audio events bleed through time and space while others fade into dust and ash. Artwork by Ace Farren-Ford. With two inserts and dried-tapir-blood tea. Includes three bonus tracks from Refreshing Hemorrhage. Co-released with Coherent States
Deluxe version in fur-covered jewelbox, hand-numbered edition of 35.


Occupy Infantry

(Butte County Free Music Society - BUFMS62) CDR $8.00 (Out-of-stock)

In abundance here are excerpts from a March 2016 appearance in the Creative Music Guild’s Outset Series at Turn Turn Turn in Portland, Oregon -- plastic egg stomps and solitary hockey ape by Gnarlos; ecto-synchronous screech from cassette players left under chairs and tables, pre-recorded by Babuna Virus, Lindy Lettuce, and The Viper; and Lucian Tielens in DJ Bruce Haack mode with his gigantic all-in-one toy console. Highlights from No Spray 205 sessions include a marvelous solo by Tielens on popcorn box, bent Memorial Day ragas with mammoth curls, and a cut-up of a clutzy failure’s stammering death spirals sourced from a found self-help cassette. But it’s the 26-minute storage closet recording “Erika’s Last Day” that is the centerpiece of the album. From Tom Timpson on the credit card machines to newest ensemble member Count Darkula raking a window to nowhere and working cardboard tubes like Paul Lynde dry heaving into a didgeridoo, the only other source for such extended anxiety and astonished dread would be a psychic battle between a levitating junior high school shop class and a home-ec class rolling around the kitchen blind-folded. One part guerilla confinement test, one part circular firing squad, the no-instruments track boasts the wince-inducing weeent of metal clothes hangers getting dragged across a metal dowel, old doors opening and closing, the hoarse scrape of porcelain mugs and bowls grinding on a nail sticking out of the wall, the brittle clink of jars and vases rotating against one another, and the insane helium whine of sticks making frantic scribbling gestures on cardboard boxes. Slats on doors of wooden cabinets and plastic hangers are clacked; boxes of nails and screws are shaken; cans of paint, vacuum cleaner tube, metal rods and anything else that could be held onto are dropped on the floor and kicked back and forth. So, yeah, it’s a very percussive odyssey, in the same sense that a hornet’s nest thwacked moments ago with a tennis racket could also be considered percussive. Using enhanced cross-pollination techniques such as running the water in the sink and molesting components of half-built mannequins, the group passes an important milestone in their self-imposed primal grunt therapy.


Out Patience

(Butte County Free Music Society - 33) CDR $8.00 (Out-of-stock)

Performed inside a darkened, cavernous student union on the evening of April 28, 1984, this after-hours guerrilla action corrupts the thirteenth text from Aus den Sieben Tagen in a barn where damaged minotaurs are stabled. Lucian Tielens, Tim Smyth and Gnarlos were in constant motion, re-positioning themselves throughout the building, possessed by plastic flamingo, goink visions, and the compulsion to insert their heads into buckets and howl. Four excerpts totaling eight minutes in length appear on Three Christs of Ypsilanti (Siltbreeze 2010), but this is the first and only time the recording of the complete, uninterrupted 47-minute session has been available. In addition to "hurled cafeteria cutlery, defective boomboxes and answering machines blaring prerecorded tape, the public piano, and a variety of unidentified flailing objects," brentstrumentation includes The Nube Tube (a corrugated hose from a hair dryer swung like a bullroarer), harmonica, metal remnants of antique armaments, hula hoop, socket wrench, aluminum bicycle crankset, toy guitars, toy pianos, bongos, glassware, marbles chucked off the balcony, the staircase, aluminum cans (kicked), pie tins (spun), metal coils, jewelry, Star Wars pinball machine, moans, gurns, chants, sneezes, whistles and insectoid heralds. Includes an Industrial Expressionist collage made of hand-painted screen, fragment of found photograph, and defective scrap from commercial print shop. Edition of 50.


Rapture Piles

(Butte County Free Music Society - 48) CDR $8.00

Another transmission from the pataphysical intersection of surrealist cabaret, show-tune bombast, enhanced dementia, and vintage Caedmon Records, recorded live in San Francisco, October 2012. No instruments were used in the rendering of the ensemble's emerald-colored darkness, jagged with alien corrosion and haze that befouls the synapses, just mounds of thrift store objects and yard-sale treasures. Highlights include a quintet for lettuce spinners, and covers of Rodgers and Hammerstein, Klaatu, Magazine, and A.M. Baggs. Freeform weirdness from beginning to end. Edition of 50.


Soiled Gas Mask

(Butte County Free Music Society - BUFMS84) CDR $8.00

“Sugar brings nice sweetness to the sauce” says an accented voice a few minutes into the group’s third album of 2019, one heavy on the fevered claustrophobia. Disturbing froth and gothic Mommie Dearest shame dissolve in a dark woont piece named after Alan Wagner’s legendary milk-bath poster (a Freakdom meme-of-the-year finalist). Joan Of Art — in surgery recovery mode, deluded and paranoid from the opioid painkillers — wanders out into traffic muttering the words to The Fall’s tale of sinister government agencies. Turntables and contact mics scrape layers of hardened parrot mucus for nearly twelve minutes in an epic examination of the difference between phlegm and sputum. There are two field recordings from The Dome in Scappoose, Oregon, made at the end of BLE’s August 2018 tour (one piece came about when The City Councilman’s phone was accidentally recording while stuffed into his pocket, and the other documents Gnarlos throwing balls of goat dung at a poster hung above the dumpster by the garage depicting President Shiklgruber cradling a baby dinosaur rescued from the twin towers on 9/11). Lucian Tielens dodges golfball-sized blobs of toxins and revelations that flicker across the bottom of an apocalyptic bucket, propelled only by grunting and orally expressed distress. A freeway execution narrated by a helicopter-bound ghoul. A jaunty celebration of urushiol. Cthulhu crèpe. Hemotoma. “The Funky Chicken” as fetishist’s instruction manual. So much dirty. So much unclean.


Stop Yelling At Me In Neon Braille

(Butte County Free Music Society) CDR $8.00 (Out-of-stock)

The first Bren’t Lewiis album of the New Year arrives on Inauguration Day, on purpose, even though there are no illusions that it will have any more of an impact on the nature of the nation’s venomous collective consciousness than the event it commemorates. Still, as part send-off, part retrospective obstacle to wound management, this screeching, undulating psychocosm is dominated by four shrill, seemingly interminable portraits of noxious invisibility. Dissonant synth pulsations; loops of unpleasant contact mic scrape; atmospheres that resonate less than the aftermath of a collapsed parking garage; incessant electric guitar fractures; keeko-bleeko theremin scribbles; lost transmissions of PBS documentaries that resurfaced in a desert trailer park; unnatural congress with the inanimate populace of that rich musical wonderland, the suburban garage — screamin’ babeh jazus, what building blocks! Accompanied by production values that are both supportive and antagonistic, Lucian Tielens reads an account of a husband and wife forced to slaughter a sea turtle as published in their autobiographical 117 Days Adrift. The group’s minister of psychological effrontery and textician scrambler-in-chief Tom Chimpson navigates a cactus labyrinth of construction site field recordings, mad radio, turntable aliens, and Jon the Baptist’s murble-possessed guitar. His matter-of-fact message — about insurance, maritime infestations, messianic origin stories, and fragments that seem to say “no idea, you tell me” — arrives more garbled than perjured testimony in a kangaroo court where Masons are getting persecuted. One of two very brief tracks, Lala Lu’s confessional / plea / accusation / state of the union opens the album. And then, functioning as an oasis at the midpoint, a short mashup where Kristin Anderson’s boat slip sonata field recording rests on top of the gleeful self-pleasuring of Nixon, the rhino-hound sculptor owned and operated by Glub Pasha and Stanley Zappa. Stop Yelling At Me In Neon Braille could be a rare MRI that ends up providing no useful diagnostic assistance; fortunately, an hour-plus of your time that drops an extra smidge of stress, discomfort, and claustrophobic panic into the skull is your idea of a prized resource. That’s what it says in your file, anyway. Cover art by Steve Marquis


Surrendering Hair to Lord Venkateswara Swamy

(Butte County Free Music Society - BUFMS115) CDR $10.00

Six long droneur manqué tracks get to the bottom of the mystical aspects behind time-lapsed refrigerator attrition, the brotherhood of forlorn balloon animal guys, and the difference between getting carved up in tandoori hell and having to scrape chicken-meat from under the fingernails. Throughout the group's low-key but tension-infused screech, looping theremin, synthesizer, guitar, and toy instruments roil to be heard in malignant EQ baths of malfunctioning peptide and degenerate serums of unknown origin. Anonymous voice montages are silhouetted against the fading light of gut health. Murky blobs in oblong landscapes suggest gastrointestinal dusk. It's a 60-minute kaleidoscope of doom expectorant, in which nausea becomes an abstract expression of the afterlife, basically, the opposite of a perky restoratif. Includes insert.


Taxidermy Frogs Copulating

(Butte County Free Music Society - BUFMS72) CDR $8.00

Over an hour of primordial muck extracted from the squishy lobes of these rurality-damaged urp-meisters. Bendier and more musk-slathered than a nudist farm trampoline, this Eros-preoccupied companion to the group’s upcoming Thanatos-exploiting The Inevitable Typo On Sheila Ostrich’s Tombstone applies electronic yeem to backward Marx Brothers opera, the voices of slimy novelty degenerates, and everything writhing on the tiles in between. Ample time on their first release of 2018 is allotted to reimagining several of fiction’s great lotharios -- Dwight Shrute, Ernst Blofeld, Mr. Magoo, and Rod McKuen -- as a cross between fascistic playboys and sex Nazis. Bug-eyed gurgles and clacks advance and recede with satyriasis-enriched determination worthy of a home-made installation of Rauschenberg’s Mud Muse. All buttons on the cookie machine are pushable: Moistened sputters, lascivious fwaps, cascades of dirty corn popping, weird grunting, perv huff, dejected shuffling of objects unaccustomed to the attention, and primitive electronic wub from toys and gizmos and manipulations. Salacious alien screeches serenade the reluctant, propelled by the percussive fiddle-faddle of incessant gorge harassment and creepy shoulder rubs. In master suites where violins get sawed in half by morning-after dental floss spat out of inflamed urethrae, Thundertubes and Stylophones grapple like surreal Greco-Roman tadpoles. BLE’s confusing, heavily mirrored demimonde, where everything and nothing is disturbing and inappropriate, allows the sound of children’s toys to infiltrate the needlessly elaborate hideouts of villains and make everyone uncomfortable on several levels. Keeps things spicy.


Thank You, L.A., It’s Been A Great Test

(Butte County Free Music Society - BuFMS00) CDR $8.00 (Out-of-stock)

Absolutely live recordings of “Waiting For The Dumpster,” “Elevators — How The Hell Do They Work?” “You Shoot Heroin, I’ll Wait Here In The Dark,” and “110-Degree Vulgar Tambourine Phantom.” Not as legendary as Springsteen defacing a billboard, but in the same intoxicating spirit. Thank You, L.A., It's Been A Great Test pumps the sump like no other album in Bren't Lewiis Ensemble's catalog, resembling a no-audience Fluxus document based on impossible actions never to be completed, crossed with an omelette made with eggs long after their sell-by date, stuffed with microscopic plankton and unpalatable, Pynchon-esque candy known as completist’s nightmare. Their lower-than-lowercase electroencephalography digs into a realm one might call post-reactionary, where meaning itself is a cosmic ugh, wasteful of time and space, sight and sound. Whenever one observes others gazing into an unmemorable void, it is never immediately clear if they’re dispassionate or dumbfounded, but given that they’re dissolving and the resultant grit is melting and the subsequent blobs are evaporating, and the atmosphere is an ur-destructive vacuum withholding all possibility of transcendence, it doesn’t matter. What madness it would be were this any different.


That’s My Deathbed

(Butte County Free Music Society - BuFMS96) 3-inch CDR $4.25

For the third installment of the group’s Dumb Tangerine Dream series, Lucian Tielens extracts from underneath a waterbed in a ’70s skin flick bendy slide guitar wheem (bejeweled with a tasteful quantity of froth, and devoid of exaggerations about length), while loops of cheap electronic burble peer in through the slats in the closet door, rise to the surface and collapse in a haze of lo-fi turntable-and-toys clack-off. Cover art by id m theft able. Includes upholstery swatch courtesy of Kristin Anderson. Edition of 25


The Armless Marvel

(Butte County Free Music Society - BUFMS59) CDR $8.00 (Out-of-stock)

This supplementary hit of the dark, bad acid that birthed Bren’t Lewiis’s Hard Molt (via elagabalusian section, according to the doula) wallows in a comparably jagged dead-end of monolithic schmutz. Skull-bending free improv waterlogged by tape manipulation, body-snatched sound collage, and gaseous disorientation; off-center guitar wobble impaled on spikes of fuzz; relatively meditative spaz-outs, household objects, tape noise, waves of fweemp; apocalyptic, maniacally saturated and self-engorged Echoplex; lascivious caliph vocals, the moist fwapping of a bicyle-powered chicken-plucking machine, field recordings, and disturbing phlegm loops; murky, impaired fidelity. More inscrutable than a murder at an old-fashioned smorgasbord. Includes industrial expressionist collage insert. Edition of 100


The Inevitable Typo On Sheila Ostrich’s Tombstone

(Butte County Free Music Society - BUFMS73) CDR $8.00

In Bren’t Lewiis Ensemble’s latest reportage from the front row of a nightmarish debacle no one would want to stage, Thanksgiving is a revolting feast of Pynchon-inspired cuisine on the front edge of an exploding dirigible, yoga mats double as coffin liners, heavenly choirs are replaced by glitchy, private-press inbreds howling themselves sick in vortices of serrated cubism, and people who don’t know they no longer exist are the only ones who cry “Mortality as home entertainment? This can’t be the future. Can it? Can it?” Harmonic disarray and sour electro-splat seep upward and outward like a disturbing organ meat experiment going horribly awry. Dense electronic processes mingle with field recordings of machines defective and dying of old age. Alarm klaxons and calls to arms do not overpower the soundscape so much as wanly ooze from some anemic sky sphincter worthy of an Arch Oboler thriller. The forty-minute “The Flesh Is Already Engulfing The Guns” crawls into view like a family of zombie executives exiting a fallout shelter. Nauseated screeches dry-heave at strings of metal scraping marrow-less bones into bite-sized chunks. Swarms of clinking locusts disperse above fields of plastic thrift-store detritus getting overrun from all angles by locomotives locked in emergency deceleration mode. Flightless birds elongate their synchronized death squawks and amplify their internal doom. Molecules of electronic corruption wheeze complaints to no one. Violins groan with the vigor of an old rocking chair where a corpse has been dumped. Unattended radios transmit useless advice. Drones and pulsations slowly fall apart and atomize, a mirror image of decay and putrid nothingness enveloping untethered astronauts. A portrait of the void, disembodied space globules and all. The ensemble's version of Lawrence Ferlinghetti’s poem “Assassination Raga” embalms all the stripes of the rainbow that is America’s creep-show optimism with congealed blood. That the album is released on the poet’s 99th birthday is not a coincidence.


The Thirteenth Century German Poet (And Who Can Forget Him)

(Butte County Free Music Society - BUFMS55) CDR $8.00 (Out-of-stock)

Rampant gaping immensity and pathologically polychromatic hoot from the BuFMS wing of Saint WTF’s Asylum. Micro-episodic tape pieces (with a head-spinning variety of appropriated voices, noises, electronics, music and sound effects) merge with field recordings, cut-ups, loops, improv, live performances, and a range of cover versions that includes a Korean plastic surgery infomercial, bona fide poetry, a book review, a YouTube waif, and Van Morrison. The group delivers pastoral yet alien meander à la The Way Out by The Books, spots of electro-creep worthy of Ruth White’s Flowers Of Evil, entertainment at a LAFMS barbecue, and a variety show extrapolated from the A.M. radios in the background of Firesign Theatre’s Everything You Know Is Wrong. A dazzling and peculiar assemblage. Edition of 50.


Three Christs of Ypsilanti

(Siltbreeze - SB131) LP + 3-inch CDR $15.00

The first post-BUFMS-boxset disgorgement of ramshackle outsider clatter and howl from one of California’s many rural nowheres exposes previously hidden, 25-year-old whack-off (à la Smegma and other bent LAFMS trippers, the UK’s A Band, 5 Starcle Men, Yximalloo, Gastric Female Reflex, Id M Theft Able, and the sort of visionaries currently promoted by labels such as Chocolate Monk and Beniffer Editions). The murky “Take It Out And Kill It” whirls around in conflicting directions in a manner one critic long ago described as “schizophrenic muzak.” “Dark Surprise,” a 1986 recording from the crossroads of DIY autism and darkened psychedelia, is previously unreleased (the first playback of the master tape didn’t happen until 2008). In contrast to the group’s usual embrace of any and all kitchen sinks in the immediate vicinity, this recording was made solely with electric guitars, voice and prerecorded audio frottage. Book-ending both sides are excerpts from an after-hours, no-audience, guerrilla action recorded in a multistory, split-level university student union, using hurled cafeteria cutlery, defective boomboxes and answering machines blaring prerecorded tape, the public piano, and a variety of unidentified flailing objects. “[As] secretive as a posse’ve Masons bidding in a goat auction … a weird , befuddlin storm comin’ outta the night … tryin’ to charm you into the muddy arms of the undertow.” –Roland Woodbe, Siltblog NOTE: Copies of this LP purchased here include a 3-inch CDR of previously unreleased bonus tracks.


Time Lady Rangoon

(Chocolate Monk - CHOC241) CDR $8.00 (Out-of-stock)

The second volume in Chocolate Monk’s Well Spliced Breath series of “sound-tape collage, text-sound, radiophonic, horspiel-type muck.” Above a hazy razzle dazzle of simultaneous background music and spoken word records typical of The Sidney Africa Safari (the KCSC radio show where the Bren’t Lewiis Ensemble were regular guests in the early 1980s), skull-crushed revelations about human anatomy and reproduction are expressed, interspliced with surreal texts, fractured word association and a climactic go-crazy. Peculiar sound effects and dusty music come and go amid an ancient Asian circus from the afterlife, a nonsense raga, spastic in-studio percussion, tape collage, loops and excerpts from damaged audio- and videotape, haphazard turntablism, and the unbridled yelps of milk-deprived semi-mechanical gargoyle pups. Edition of 60.


Toupée Made Of Weather

(Butte County Free Music Society - BuFMS98) CDR $8.00

Eventually the spring-breakers who survive their pandemic-era bacchanals are going to discover nostalgia, and Toupée Made Of Weather hereby provides many options for the inevitable retrospective anthology Befuddled Goobers of Shartwave with which all Jersey Shore wannabes worth their anti-viral cream will soundtrack their fevered reminiscences. In addition to sentences from thrift store cassettes, near constant field recordings of indecipherable voices in the background, collages of suburban VHS psychosis, and fragments of guitar and electronic flubba dubba from Fluxus Enigma and Hazel’s ’Lectric Washhouse sessions, lots of processed loops grabbed from various coordinates within the audiosphere are present — an instructive percussive vamp from Art Blakey here, disco hits by KC & The Sunshine Band and Kool & The Gang there, a little fortune-telling from Jan & Dean’s inexhaustible supply of face-palmistry, bluesman Jimmie Revard’s alien doink, weird shit by Steely Dan, yogurt-slathered sitar from a Carnaby-era Marianne Faithfull, and glitches sourced from a Paul Bowles album uploaded to Spotify (proof that the death of quality control is the noisician’s librarian card). “Dead Mackerel and a Bucket of Flaming Housepaint” is a demo submitted for consideration as the band playing in the foyer at the ceremony when guitarist Brian Ruryk earns his Lifetime Achievement Award. The Ensemble’s cover of a French black metal song relies on a phonetic mistranslation of the lyrics of the original by a wiseguy YouTube user and is also loaded with enough backstory to fill an escape pod (“you get 3-D pictures of space porn!”); in the hands of Bren’t Lewiis, it now reads like a dystopian travelogue penned by an incel from the future visiting the past to impregnate baby Hitler. Other highlights include their transformation of lyrics lifted from Daffy Duck and The Groovie Ghoulies into pathos-rich nightmares, Lala Lu’s baby-doll-off-her-meds multi-track soliloquy, and the deliciously anticlimactic finale when Stanley Zappa and Glub Pasha spend some time between two ferns.


Toxic Beard

(Butte County Free Music Society - BuFMS92) CDR $8.00 (Out-of-stock)

As with any improbable object that can’t help but be era-specific, especially during a time when the relentless strobe of an unpleasant glare makes the grime and pestilence smeared every place all the more opaque, when Civil War 2.0 often seems more imminent than not, when you have to wonder if you’ll get in trouble because your browser history shows that you were looking into getting a permit for a bow-and-arrow, Toxic Beard stews in disgust-suffused withdrawal. Many of the recordings feel remote, bordering on apathetic, a series of tosses-and-turns across the bow in the softness wars. A corny advertisement prattling fake bonhomie jive launches the album, and Lucian Tielens immediately annihilates it with “Blood Clot,” a solo turn on cornetto (as seen on episode number two of the Colour Out Of Space series Plague Time Television). For just over three minutes, he studiously avoids producing a single note in any key, opting instead for a tonal palette more common to slapping a disembodied lung left unattended on a stainless steel gurney in the hall. Tom Chimpson’s flat caroling dissects institutional text from the world of religious scolding on “Scuttlebutt Within Our Bubble.” Later in the album, on “Hoopo Koomkl Inheritance: Discuss,” he locates encrypted data worthy of espionage, as only a master textician and minister of psy-ops can, in toddler brainwashing narratives. It’s like The Conet Project produced by Up With People. New voices making themselves heard for the first time here will attract a decent audience on the steps of the gackolopolis, plentiful though the group’s stock-in-trade vocalizations barely more coherent than slurred vowels delivered supine on the floor may be. With Count Darkula as his missionary wingman, Vishnu Richelieu makes his first public appearance since The Date Fork Seeps The River (Nauscopy 2003) on “The Hardy Boys Meet Reverend Werewolf,” where he reads, in the style of a pro wrestling announcer, an apocalyptic email written by none other than Maurizio Bianchi himself. Lala Lu, the second of four new ensemble members making their debut on Toxic Beard, gets her diaphanous poet laureate on during the front end of “Reptile In Name Only” (with words penned by that president, our diarrhea nutsack sculpture), while Joan Of Art and Asskicker Bob jank the back end’s zarnt-scape with lyrics by noted pro-rape deer-piss salesman The Nuge. For the three-part suite by The Experimental Artists — an obscure Hayward-based trio of suburban creeps who directly catalyzed the formation of the group in the 1980s — they recruited Lacie Pound of Birmingham, England, to ensure the track pulsates underneath the gray matte non-sheen it deserves. The monolithic “Lateral Incisor At The Bottom Of A Swimming Pool” is more rickety and cartilage-deprived than a near-eight-minute track requires in order to survive, but Lily McBilly and our final noob Amferz commit to the plastic hysteria and zealous dealth-cult patriotism as if pitching an Annie Graham theme to Ari Aster. The thing shimmers hard with Hereditary-adjacent menace and otherworldly apparitia of pyromaniacal squirrels trying to set your feet on fire while you sleep. Consider yourself trigger-warned. Regular listeners do not need to be reminded of Bren’t Lewiis’s views regarding the interchangeability of features and defects. From the warble of kitchenware to the chatter of inane neighbors and ascended-master pretenders ostentatiously gasping for air, urban field recordings, elusive turntablist chirps and ping-ponging decontextualized voices, defective electronic fragments, faraway and backward everything, mumbles, clacks, grunts, loops, and cut-ups, this album rolls in the short’n’curlies on the floorboards of a schizophrenic harmhouse.


Tremendous Pace Of Melt

(Butte County Free Music Society - BUFMS91) 3-inch CDR $4.25 (Out-of-stock)

The second in the Dumb Tangerine Dream series delivers a single eighteen-minute track of spoon-bitten synth murb, irregular guitar noise pulsations, dry-rubbed crackles, clunks of indeterminate provenance, and a warped children’s record or two. Constructed of stellar foam and layers of drone-toasted loops, organized into abruptly shifting episodes that mimic a series of Julius seizures at subterranean laundromats, this amorphous-adjacent block of charred goo is sicker and sweeter than a midnight s’mores fail. Includes a burlap swatch courtesy of Yvonne Lovejoy. Front cover by Shalimar Fox. Edition of 25.


Unable To Suppress The Twitching

(Butte County Free Music Society - BUFMS) CDR $8.00 (Out-of-stock)

Exploring the intersectionality of spooky chamber music and the failures of profane janitors, unnecessary announcements from the futuristic lair of a James Bond villain, and bones of the southern skull. Guests include Dylan Nyoukis and Warvette. Studio material and live recordings from Pro Arts Gallery in Oakland and KXLU in Los Angeles


Worst Utopia Ever

(Butte County Free Music Society - BUFMS76) CDR $8.00 (Out-of-stock)

On their fifth full-length album this year, the Bren’t Lewiis Ensemble charges into a blood-snake melee like public-access heroes the Ill-Advised Mutants Of Wrestling. Psychedelic euphoria and dread-poisoned torpor grapple all over landscapes smeared with swirling scrape bubbles and the post-hypnotic wobble that cleanses residua from an overdose of personality suppressants. “Very smooth,” as one disembodied and uncertain and completely inaccurate voice describes hopefully, “And somewhat spooky.” Punctuated by phlegmy coughs and metallic chirps, phasing in and out of common-area ambiance, this slow-moving travelogue through between-station grinds, animalist crunch vistas, and long-form dissection of beige respiratory gack rises and falls inside an onslaught of sinister machine drones that flay and smother everything with placid steadiness. There are multiple screech havens embedded throughout Worst Utopia Ever, where ghosted rescue attempts suffocate under the hairy mud of cross-eyed tape manipulation, mushy expressway pile-ups, and out-of-control clang orgies.



(Jazzassin) Used CD $5.00

’90s improv power trio John Hegre on guitar and electronics, Jorgen Larsson on synth, and drummer Nils Are Dronen push the limits of noise, rock, and human endurance. Almost like a lo-fi collage. Edition of 500.


Insect Electronica from Southeast Asia

(Sublime Frequencies) Used CD $10.00 (Out-of-stock)

A tribute to swarms of male dragonflies of Southeast Asia that during mating join in choruses of high-pitched tones to court their mates — the ones that don't succeed in finding a mate eventually scream so loud their chests explode and they drop dead to the ground (kind of like emo-core bands). Recorded live and unprocessed by Tucker Martine in Laos, Thailand and Burma, Brokenhearted Dragonflies features field recordings of droning cicadas, dragonflies and other insects that create a tropical hallucination of strange symphonies and alien sounds. Liner notes by Hakim Bey.


Plays With Itself

(Hypnagogia) Used CD $40.00

2011 reissue of a “totally bonkers cut-up record, comparable to the notorious Bladder Flask experiment, though far more stupid and abrasive in its relentless onslaught. ‘Broken part 1’ is particularly effective in the way it passes on feelings of alienation and disconnectedness.” In pink clamshell case #29/100



(Elliptical Noise - alphaomega6568-70) 3xCD $33.00 (Out-of-stock)

Another side of the Opalio brothers’ musical universe: classical and acoustic guitar strings, Roberto’s “human” voice as a primordial instrument. The celestial harmony of their beloved Western Alps reigns over this triple-disc box set, hidden in the surroundings, like birds singing through the leafy branches of the trees outside the brothers' Alien Zone studio, the creaking of wooden floor, and the echoes inside the bodies of their acoustic guitars. Includes the Opalios’ In The Middle Of The Air / Glacier Sommeiller, Liquid Spring, and MCIAA’s Folclore Alieno.



(Melon Expander - ME008) CD $13.50 (Out-of-stock)

Selected from hundreds of hours of solo material and collaborations with Petra Haden (That Dog, Decemberists, Foo Fighters), Rick Potts (Solid Eye, Dinosaurs With Horns, LAFMS) and Leticia Castaneda, Bryan Eubanks, and Joe Foster (Seoul, Korea), Celadonia is the first substantial release of Brown's electronic and electro-acoustic music. Working primarily with magnetic tape, analog synthesizers, organ, contact microphones, various resonant objects and signal processors, these extended improvisations were recorded and sculpted into compositions between 2002 and 2006. At times the magnetic tape loop techniques employed seem to stem from seeds planted by pioneering tape manipulator and Zen-humorist Henry Jacobs, Terry Riley and his time-lag-accumulator method or the one-man Melon Expander house-band, Joseph Hammer. Fused with other electronic systems created to exist as sustainable yet pliable sound fields, these sprawling cinemas-for-the-ear embody anything from ghostly distant memories to funhouse mirror refraction to enveloping shimmering cyclones. Brown has also recorded and/or performed with Points of Friction, Paramecial Wedding, Joe Potts, Joseph Hammer, G.E. Stinson, Tom Recchion, Albert Ortega, Loachfillet, John Wiese / Sissy Spacek, Johannes Bergmark, Smegma, Ezra Buchla, Leticia Castaneda, Lionel Marchetti, Giussepe Ilasi, Jerome Noetinger, Barry Conley, Thomas Dimuzio, Kevin Shields, Los Cincos/ Syncopation, Martian Mellows and Gasp among many others.


Terminal Hz

(Groundfault) CD $12.00

32-minute five-movement slap-and-tickle by Japanese bombastic guitarist KK Null (Zeni Geva) and Australian guitarist David Brown (Dumb And The Ugly, Bucketrider). Terminal Hz leans on electronic-based improv, nosebleed textures, musique concrète, high-pitched tones, and sparse electric guitar. Not really soothing, not really noise either. Sort of like a cross between Derek Bailey and two spaceships having a near miss.


Brittle Feebling

(Humbler) CD $12.00

Brittle Feebling prickles and bleats, an abrasive delicacy. Fricative rasp and withheld breath seethe together in a discomfiting cuddle. Perfectly respectable instruments (oboe, English horn, trumpet, floor tom, and koto) born of classicisms both European and Nihongo are recast and glanced at askance, as the misbegotten miscreants of imperialisms they (also) are.


In Heaven

(Quasi Pop - QPOPCD062) CD $13.50 (Out-of-stock)

Dedicated to David Lynch’s Eraserhead, a cult film and soundtrack which had a profound impact on Christian Renou back in 1982, leading to an ongoing personal interest in musique concrete and electro-acoustic experiments. Edition of 300


Getting Away With Murder

(Eremite - MTE007) Used CD $10.00 (Out-of-stock)

“Two musicians recorded down in New York’s subway [in February 1995],” explains Ben Watson, “And, surprise, surprise, they’re playing excellent jazz. Bruno uses brushes on his busker’s pared-down kit: a glorious, intricate waterfall of beats. Tenorist Mateen leaps in like a salmon, flashy and wise…. Mateen’s meditative, Lowe-like intimacy is just what is required [for this 45-minute improv]. When the sax lays out for nine minutes, Bruno’s fluid ebullience comes to the fore. Mateen’s concluding flourish lets in some subway ambience — train-door slams and commuter chatter — and the results are haunting…. Byron Coley’s sleevenote is, as usual, a gas.”


The Shy Tuff Bunny Runs Away

(Transparency) Used CD $5.00 (Out-of-stock)

Instrumental electronica by the dude from Polar Goldie Cats and Best Coast. “Crunchy, noisy mad scientist soundtrack stuff,” says Aquarius, “With beats and … melodies amid abrasive spastic metallic outbursts. Very frenetic and constantly in flux.” Guest Nels Cline plays slide on one song.


Fuck De Boere (Dedicated to Johnn Dyani)

(Atavistic) Used CD $10.00 (Out-of-stock)

“Two of the most explosive, riveting pieces of music to come out of the European vaults — never before released, mastered from original radio master tapes — by larger groups led by the German saxophone legend, both recorded by Hessischer Rundfunk at the Frankfurt Jazz Festival, in 1968 and 1970. First is an unheard alternate version of Brötzmann’s groundbreaking Machine Gun, this time with a nine-piece group (same as the LP, adding tenor saxophonist Gerd Dudek), recorded three months before the BRO/FMP record was made. Then there’s a forty-minute masterpiece from 1970, with a large group featuring three tenors, three trombones, no bassist, Fred van Hove on organ, Derek Bailey on guitar, and Han Bennink and Sven-Ake Johansson on drums. It’s a monumental piece, featuring some of the most extreme Bailey on record (sounding at times like Masayumi Takayanaki from five years later), and tremendous interplay between Brötzmann, Evan Parker and Willem Breuker. Twelve-panel foldout booklet with liner notes and period photographs.


Machine Gun

(FMP) Used CD $30.00

“The marathon, lung-bursting howl of Peter Brötzmann’s Machine Gun, which the saxophonist self-released on his BRÖ imprint 50 years ago,” remarks Downbeat, “captures the anxiety of a generation grappling with the Vietnam War and civil unrest. The emotional and political complexity it was born from still resonates today…. It’s easy to explain the album’s singular energy as Brötzmann and company harness the era’s ambition of plotting a new path forward. But in the bandleader’s mind, ‘There is no contradiction between creation and destruction. I never thought music was a healing force of the universe. I didn’t agree with Mr. Ayler. But we wanted to change things; we needed a new start…. We were angry. We wanted to do something’…. Machine Gun’s 45-second intro forms one of jazz’s most distinctive mission statements. Evan Parker weaves around the horn section’s staccato blasts, before Han Bennink’s drums blast a nervy military march alongside Peter Kowald’s wildly rumbling bass. The brutality of the album’s remaining 36 minutes exceeds the number of commonly recognized synonyms for ‘violent’…. Ultimately, Machine Gun is the blues for a continent ravaged by a century of internecine warfare, unfathomable crimes against humanity and an uncertain future.” 1990 reissue.


More Nipples

(Atavistic) Used CD $12.00 (Out-of-stock)

This session from April 18, 1969, put British improvisers Evan Parker and Derek Bailey into a once-in-a-lifetime sextet with Brötzmann and Buschi Niebergall, and Dutch radicals Han Bennink and Fred van Hove. “The title track is 17 minutes of some of the most important music in the history of European free jazz,” Pitchfork assures us. “As it unfolds with duos and trios crystallizing from the splinters of the entire group’s nuclear mass, it’s … apparent how well these guys understood each other’s playing, to the point of being conscious of what the group performance sounded like as a whole…. Don’t let the fact that these are outtakes scare you away from this disc, because this stuff is essential to anyone interested in how Herr Brötzmann earned his status as one of the most devastating forces to ever touch a saxophone.”


For Adolphe Sax

(Atavistic) Used CD $10.00

The German tenor saxophonist’s first, recorded with bassist Peter Kowald and drummer Sven-Ake Johansson. This is intense, unrelenting free jazz with little in the way of clear structure or melody. Apart from a few brief moments of quiet during “Sanity,” this stuff just doesn’t quit, with Brötzmann’s consistently abrasive, high-pitched wailing leading the charge and the other two members stirring up a pretty good ruckus themselves (Kowald especially gets in a good string-sawing bass solo on “Morning Glory”).


The Oak Of The Golden Dreams

(New World Records - 80555) Used CD $15.00

1999 reissue of Budd’s staunch minimalist works (realized on the Buchla Electronic Music System at the California Institute of the Arts (then in Burbank) in 1970, originally released by Advance in 1971) and Maxfield’s four compositions that skitter from electronics to tape loops. The disc’s centerpiece is his 1961 “Piano Concert for David Tudor,” a twelve-minute exploration of a wired-up piano. Tiddlywinks pluck amplified strings and gyroscopes whir inside the instrument, releasing an array of sounds you never thought a piano was capable of creating.


Rural Trash

(Chocolate Monk - choc.581) CDR $8.00

This sound diarist and crafty composer’s assemblage of scraps and bits were recorded in Pennsyltucky, London, Reykjavik and elsewhere. Far from a shuffling Xerox of sound blame, a most “meaty” yet “crispy” audio document takes you from a poor stand-up comedy show to waterfall-adjacent whistling in Gufufoss, not to mention looped Britten head scratch and log book scribble. If that doesn’t float your fancy, how about an entire track assembled and featuring English avant sound old head Rod Summers? Migrate the bingo hall and bring your soup bowl. Edition of 60


Light Ships

(Freedom To Spend) Used CD $3.00

“William Sabiston and guitarist Jon Almaraz traffic in screechy, broken electro-acoustic noise, flirting with song structure and formless improvisation. Their ugly, spackled palette weds keening shards of guitar, prepared piano, and glockenspiel sounds with furry drum machine grime. A garish coupling that veers tantalizingly close to pretty melodies and sensuous textures without fully capitulating to coherence.”



(Shadoks) Used CD $10.00

2006 reissue of early 70s tracks by this underground Turkish psych band who mix heavy hard rock with the style of traditional Anatolian folk dances and songs. Sealed


Upcoming Events

(No Fun) Used CD $3.00

An unending spur of equal parts gorgeous and uncomfortably perplexing sound spread across fifteen tracks from 2008. Crackles of electronic fire, tremolo-infused waves of sustained guitar, broken music boxes and found sounds among all other sorts of unfounded wails of gargantuan melancholy drone, Burke and Dimuzio’s collaboration is a forceful, early industrial sound ruination combined with classic krautrock ambiance of the Tangerine Dream / Cluster ilk.


Life Less Lost

(Spirit of Orr) Used CD $5.00

Frenetic, impressively free-form and yet technical guitar-playing from 2003 by this Vermonster, matched with a typically modest vocal performance.


Myself Among Others

(Feather One's Nest) Used CDR $5.00 (Out-of-stock)

Collaborations with Kemialliset Ystävät, Willie Lane, Thurston Moore, Parrotprobe, Ron Schneiderman, Sound Of Pot, Ed Askew, Lau Nau, Ralph White, MV, Dan Brown, and Red Favorite. Nine tracks previously released, eight heard here for the first time. Cover is photocopy on red paper. Assembled with silver mylar tape. Hand-burned disc.


Inside The Shadow

(Hospital - HOS212) CD $13.50 (Out-of-stock)

Unlike the majority of C. Spencer Yeh’s electronic compositions, this reissue of an obscure tour-only recording from 2005 brings three textures to life with violin, chimes and bells. Yeh’s landscape-oriented, linear compositions surpass the limitations of most of his contemporaries’ synth-only exercises.


Let’s Play Wild Like Wildcats Do

(Hospital) Used CD $8.00

Full-on experimental electronics from 1995, with the first track “Mes Soldats Stupides (Demo)” gradually fracturing kraut / funk drums, horns, and white noise into a whirling mess of synthesized mayhem. “Clouds In My Coffee” is a darker piece of devastating, resonating analogue drone. Sealed


Mes Soldats Stupides ’96 -’04

(Cenotaph) 2xCD $13.50

Disc one features primarily vocal/electronics selections from the out-of-print White Swords in a Black Castle, Amelia, and Crystal Castles releases, along with a few choice tracks originally released on Chondritic Sound and Gods of Tundra. Disc two stretches back a bit further into the archives, with some live performances and unreleased tracks in the mix.


Volume One

(DroneDisco) CD $10.50

Five tracks totaling approximately fifty minutes by the time-defying duo of Matthew Bower (Skullflower, Ramleh, Sunroof!, Total) and Marcia Bassett (Double Leopards, GHQ, Zaimph) collaborating with C. Spencer Yeh, Robert Beatty, and Trevor Tremaine (the latter two of Hair Police, Eyes And Arms Of Smoke, Sick Hour). Originally released as a tour merch CDR, this edited and re-sequenced edition begins with an appropriate invocation and from there punches blindly through one stone cloud after another, coughs and gasps from exhaustion, stumbles and lies motionless. The ritual concludes with a moment of naked acoustic/instinctual spasm. Packaged in a black polycase with black-and-white inserts and a special randomly-selected one-inch button (five button variations in all). All different material from the companion volume HG/BxC II released by the Heavy Blossom label.


Dusted Machinery

(Monotype - MONO041) CD $13.50

“Whisper-soft soprano squeaks and gently coaxed feedback saxophone meld fluidly [and] seamlessly with the stripped-metal tones from Nakamura,” writes an Internet poet. “Butcher’s occasional crackles and sizzling flareups from his electronics derail … restrained inclinations in provocative ways.”


Induced Musical Spasticity

(Butte County Free Music Society - 25) 4xLP + CD $65.00 (Out-of-stock)

Induced Musical Spasticity commemorates the nascent pollination — in the musty shadows of the real ersatz Sherwood Forest, a couple hundred miles north of San Francisco — of the Buttecounty Free Music Society, an apocryphal institution that encouraged anything and nothing, in musical and amusical contexts, sometimes intentionally, sometimes because no one knew any better or cared. Highbrow concept tracks by The Marques (brothers Cole and Steve Marquis) and the dramaturgical Unlikely Modernists, along with Ambivalent Dosage’s pre-Vomit Launch nihilism, mutter and howl next to mad paisley destructo by Dilwhip and the quartet edition of 28th Day, Hypnagogic Jerk’s overmodulated roar, and sweet, YMG-influenced instrumentals by Hallucinatory Companion (aka Barbara Manning and Cole Marquis). Ripe dementia by Experimental Artists, Lawrence Crane and John Young, and Tops Inc. stops rational people in their tracks, while turntable experiments, tape yoink, and high-lonesome electro-twarnk by Rory Lyons, Ziplok, Sidney Afrika, The Conduits, Lucian Tielens, and Richard Streeter shuffle the consciousness. And then you’ve got primitard rock dunt by The Flamboyant Offals, Walking Jock, Dead Boy 3, and shockingly raw 28th Day material that predates most anyone’s idea of the original line-up of that influential band. Four episodes of Matt Mumper’s serial radio play Beor The Friendly Thing appear, in all its inscrutable, deadpan glory. The Bren’t Lewiis Ensemble pollutes the lion’s share of real estate with a side-long tape cut-up a la Faust Tapes called “Goat Embryo (Covered With Glue),” and their entire live set from the Industrial Barbecue. Also here are the spot-on country lament “Plastic Jesus”; the electronic damage of “Mid-Range Phase/Link 3"Dome”; the Smegma-influenced “Lightbulb Incident,” infamous for its live, on-air sodomy; a KCSC radio interview that includes the group’s first recordings; and a handful of previously unreleased tracks. Two-thirds of the material here was previously released (translation: a few dozen cassettes were dubbed one at time and passed through the hands of people in the same rural Northern California area code 25 years ago). All the relics in this boxset are likely unheard by anyone not specifically mentioned above.



(Capitol) Used CD $5.00 (Out-of-stock)

Upon its initial release in 1991, Rough Trade claimed that Piouhgd was pronounced “pee-owed” (as in the abbreviation for “pissed off”) and that it also meant “I told you” in the Navajo. This explanation, as well as the spelling, were fabricated by the label unbeknownst to the band; the album title was intended to be unpronounceable. Features “Hurdy Gurdy Man,” a single that found its way onto MTV.


The Hole Truth... And Nothing Butt!

(Trance Syndicate - TR35) Used CD $20.00 (Out-of-stock)

“Originally released as a bootleg by the shadowy Totonka outfit,” explains All Music Guide, “The Hole Truth [was legitimized] when Surfers’ drummer King Coffey simply took a copy and re-released it on his own label…. [The live material] sounds fairly good throughout…, [as does] an early 1983 studio demo [of] ‘Butthole Surfer,’ and three numbers from 1985 San Antonio date on the Independent Worm Saloon tour. As a ten-year snapshot of the band’s evolution from freakish punk weirdness into a more professional but no less insane band, it’s manna from heaven for the hardcore fan…. [T]he 1983 demo of ‘Something’, a slow stomp and throb with what almost sounds like a horn section coming from Leary’s deathdrone guitar work, sounds utterly unlike the Pioughd version. Haynes’ screeching makes everything even nuttier…. Other highlights include [a straightforward “Hurdy Gurdy Man,” an out-of-nowhere snippet of “Come Together,”] a ridiculous version of ‘Lady Sniff’ taped in San Francisco in 1986, and a 1987 interview on a New York college station featuring various insults about Oliver North and bizarre takes on ‘Kum Ba Yah’ and ‘The Wreck of the Edmund Fitzgerald’.” Sealed.


Turn it On Again - The Guitar Works of Timothy James Byrne

(Chocolate Monk - choc.482) CDR $6.50 (Out-of-stock)

This “Buckinghamshire-based musician, filmmaker, actor and photographer … has spent year upon year documenting life via a diverse array of mixed media in what would appear to be near total isolation,” explains Duncan Harrison. Byrne had been “creating and publishing multiple new works each day since at least late 2010, before stopping suddenly and without explanation in the summer of 2019. The result is an intimidatingly dense and difficult-to-comprehend archive filled with thousands of obscure artworks, the vast majority of which remain entirely undiscovered outside a tiny underground community of obsessive fans. Though he is best-described as a multi-instrumentalist and singer…, [this] selection of covers, improvisations, original numbers and outtakes focuse[s] on his work for acoustic and electric guitar. This … unauthorized, unoffical fan bootleg exist[s] primarily for documentary purposes and is to be understood as an abstract of Byrne’s wider body of work and artistic practice. With that said, this release represents perhaps the first and last instance of his work being made available outside his personal publishing efforts.” Edition of 50



(Krim Kram) CD $13.00

Solo percussion by this noted resident of the worlds of free improvisation, new music, electro-acoustic music, and noise, described by Decy as “subtle, generous, extremely dexterous and keeps showing up some new layer with each listen.”


Coma Box

(Alt.Vinyl - AV059BOX) LP + CD $60.00 (Out-of-stock)

This German post-industrial electronic innovator works with a curetronic modular system, a mopho, and Korg MS-20. Inspired by the awful and yet fascinating process of observing a close friend’s coma following a motorcycle crash, the album moves through initial hopes of recovery, followed by melancholic hopelessness as time passes. Contains LP, CD with bonus track, stacks of handmade inserts and photos. Outer black box with hand-punched metal plates showcasing the coma artwork. Edition of 50


Suave Siesta

(Purple Soil - PS2004) Used CD $3.00

Part reissue of an out-of-print Jazzassin release called Siesta, part new material in the same vein (Suave) by this Origami Republika head of state. Environmental collage, field recordings, minimally processed sounds, plenty of silence, and devices referred to as "analog laptops."


Castle Two

(Chocolate Monk - CHOC.382) CDR $8.00 (Out-of-stock)

Samantha Flowers’s sweet, slow, burning clump of strangeness. Eleven live spliffs created at night deep in the 836 Ashland swamp hole. Keyboard burbles and vocal waver bob alongside creepy tape jams, all recorded in between the floods sopping up sog in the process before the electronics fizz out. Pardon her hiss. Or as SF says, “Fragmented nonlinear renaissance crude nonesuch peasant sound tapestry.” Numbered edition of 60


Cosmic Coincedence Control

(Endorphine Factory) Used CD $40.00 (Out-of-stock)

Claustrophobic and imposing noise layered with heavy fuzz and set at a fairly slow pace from 1992, reaching a wall-of-sound intensity. Edition of 500


Loud Sounds Dopa – Live In USA

(Endorphine Factory) Used CD $20.00 (Out-of-stock)

There’s something to be said, says Unborn Whiskey, about how Mayuko Hino, Hiroshi Hasegawa and crew “close-mic collapsed stars” and allow us to “travel inside these dead lights and see colors as the truest reflections possible.” Hand-numbered sample/1000.


Love & Noise

(Endorphine Factory - EDP012) Used CD $25.00 (Out-of-stock)

“The colonizing whine of the infinitely tiny and reactionary,” says [Desperation + Noise], “… the pink fire expelled by ant synapses when they connect…, brushing harsh against its similar brothers…, and screaming … to no one in particular.” From 1996.



(Helicopter) CD $12.50 (Out-of-stock)

A vortex of psychedelic shimmer and swirling whiteout recorded live at Theatre POO on July 27, 1992 by trailblazing Japanese icons Mayuko Hino (electronics, voice), Hiroshi Hasegawa (synthesizer, voice), Fumio Kosakai (electronics, voice), and Ryuichi Nagakubo (bass). Originally released in 1992 on cassette by Endorphine Factory, remastered for CD by Hasegawa.


Abuse / Breathing Sewage

(BloodLust! - B!120) CDR $12.00 (Out-of-stock)

This release brings together hard-to-find tracks from the repugnant noise-era of Lexington, Kentucky's Cadaver In Drag, a shadowy period prior to their mutation into a filthy, free-sludge-doom-psychedelic behemoth (as heard on Raw Child [Animal Disguise 2007]). The first two tracks come from the Abuse CD (Husk Records 2005); “Breathing Sewage” (Animal Disguise 2005) is the A-Side of the ultra-limited, tour-only cassette of the same name. The sinuous and turbid connection between these three affiliated tracks comprises lurking danger, darkness, discomfort, dissonance, deviance, and dread. The fourth and final track is a collaboration between Cadaver In Drag and Mark Solotroff (Bloodyminded, The Fortieth Day, Anatomy of Habit, ex-Super Eight Loop, ex-Animal Law, ex-Intrinsic Action). They created a bass-heavy bedrock foundation, over which he delivers feedback-laced vocals.


Potential WW3

(Chocolate Monk - CHOC.371) CDR $8.00

Adam Cadell of Australia forcing Carter Thornton’s sounds through a wire into a small echo chamber hand-built from a fiddle. Numbered edition of 60


The Partial Obliteration of GMT

(Chocolate Monk - choc.444) CDR $6.25

Proof, as if any was needed, that working with Stefan Jaworzyn will drive ye bonkers. Some time ago, Mr. Tony Irving (of Ascension infamy) done a runner to the other side of our heating globe, rumored to have downed tools and taken a vow of silence in Oz backwaters. Next thing Chocolate Monk knew, a disc arrived with a scrawled note that read “In 1894, a mad French Anarchist attempted to blow up the Royal Greenwich Observatory to stop the enslavement of humanity by the regimentation of time. Since 2014 I have tried to finish the job from Brisbane with nowt but my drums and the fiest of a young fiddler.” It’s clock-smashing time. Numbered edition of 50


Sun Blindness Music

(Table Of The Elements - Re 75) CD $12.00 (Out-of-stock)

Home-recorded improvisations from 1965 through 1968, this is the first disc of three documenting Cale’s solo experiments and collaborations with other members of New York’s avant-garde underground (all previously unreleased until 2001). Without any real structure, the title track -- an incredibly extended improvisation consisting of just Cale and the Vox Continental organ -- explores minimalist sound dimensions, jams keys into place, locks into a series of drones, mounts pressure on the organ, clusters notes and creates a dissonant wash of noise. Resonant, booming drones escalate and disintegrate into silence as he prepares to wedge another cluster of keys in place. Raucous, guitar-driven “Summer Heat” is so awash with massive distortion that is sounds like pounding percussion more than guitar strumming, predating Branca’s guitar symphonies, Arnold Dreyblatt’s “sound of one string” experiments, and Metal Machine Music “The Second Fortress” manipulates the Vox in a series of high-pitched drones, and repetitious ambient textures.


Displacement Activity Terminal 2019

(Chocolate Monk - choc.466) CDR $8.00

Electronic plod and clang from an exclusive perv lair in West Yorksire, a secret location chosen as optimum for the recording of finely churned euphoric sonics. Numbered edition of 60


Enge Chaleur Telegraphique

(Chocolate Monk - choc.419) CDR $8.00 (Out-of-stock)

Two of Chocolate Monk’s favorite duffers got together for the label’s 25-year birthday bash at Cafe Oto for this long-distance psychic hook-up. These very old friends, one globetrotter involved in international espionage, the other a suburban West Yorkshire housewife, filled the venue with the sounds of far-flung places, piano, electronics, rambling, etc. Disorientation never felt or sounded so sweet. A Daktari for free sound adventurers. Numbered edition of 60


Frog Dreaming Skull

(Chocolate Monk - choc.433) CDR $8.00

Hurtling toward the horrors of their biological selves, these two aging Yorkshire-based freaks follow up In the Vicinity of the Reversing Pool with an altogether more organic, rolling affair. Chalmers ladles on his signature stuttering tape loops and even dusts off his old zither, while Campbell is in a definite Vibracathedral vibe zone on guitar, percussion, toy piano, violin, electronics and voice. A continuously evolving piece, from the opening strum and stroke that will get your chakra shimmering to a gurning sonic joy mess full stop. Listener, you must struggle with glorious reality! Edition of 60


From Valley to Valley

(Eremite) Used CD $7.00

Peter Brötzmann, percussionist Hamid Drake and bassist William Parker with Campbell subbing for Toshinoro Kondo on trumpet. “From the perspective of free-style jazz, it does not get much better than this” live recording from the Fire In The Valley Festival, 1998, according to All Music Guide. “Campbell is a big plus, his clipped phrases, bold gestures, and confidant lines a welcome addition to the group sound. As to be expected, Brötzmann electrifies with never-ending torching, while Parker and Drake flow in and out with mesmerizing solidity.”


Itinerant String Section

(Freedom From) Used CDR $5.00

More minimalistic than Astral Social Club, and a bit introverted.


Lump Of Stuff

(Chocolate Monk - CHOC.318) CDR $8.00 (Out-of-stock)

Back in 2008, one-time Nipple Erector and The Pogues’ most handsome got together in North London with Vibracathedral’s dad about town and former A Band swing king. Result: heavy, private jam blowout. The walls were hung with heavy rugs, the censer was filled to bursting, and the duo took off — Campbell on charged and elated guitar, Stacy handling commotion with whistle and clarinet. Their fried alien brew centers around a cloud of electronic rust that prevents nervous collapse and steals you away. Edition of 50.


Orange Emulsion Gush

(Chocolate Monk - choc.529) CDR $8.00

These two old heads were recently reunited when El Stickoid was granted a short break back to the Brexit Isles by his handlers after successfully sewing confusion in Tunisia. With his never-waning Protestant work ethic Campbell dragged our bedraggled Agent to Huddersfield’s Dai Hall on a Saturday afternoon in August for a short but savory jammer of sonic sourdough positivity. Praise the raise! “From a fine Calder nosebag we headed to the sandstone tones o’Hudd, Neil effusively introducing the jewelcase misery geyser, whose wares we browsed before hirsute sarnies and mauve sambuca coffee,” reports Foster, if the above seems to good to be true. “Vacated shop had space, signs of good goings on, hot beverage access. Deep, dark broom cupboard of bags of janglers, cables ’n’ footstomp extracted, and Neil applying suitable pluggings. Ebb ’n’ flow of harmonium lungs overstretched the retied strap and foot pedal duo down to one. Painted pedestals for swapping toys, alpini and no-lamb chanters, things fumbled out of parps to a scratchy throb, between mugs of tea. So long since I’d had a tinkle with anyone, but felt so good! I didn’t see it coming, but a gush of white emulsion appeared down my thighs as we deposited the clangers back in the broom cupboard. Glee turned to distress as we realized we’d tipped it into one of the few items not purchased in a Bradford poundshop, but teetering bows and floor rolls had a wind-down follow-up as we rubbed back the Superstition’s orange panels. ’Twas a guilty tale to confess at the well ventilated head of steam.” Edition of 50


Sol Powr

(Music Mundane) Used CD $5.00 (Out-of-stock)

A logical precursor to Astral Social Club, with its heavy focus on keyboard-driven electronic pulse flotation, originally released on LP (Lal Lal Lal 2002). This 2007 reissues also includes previously released, impossible-to-find bonus tracks “Rolling Exploding” and “Sky Full Of Love” from a lathe-cut seven-inch (Gold Soundz 2003) and “Fuzzjam / Dub,” which was available for download from TechNOH.


String Quartets, Loops, Garden Talk

([ no label ]) Used CDR $6.00

“Thirteen haunting episodes you’re not likely to forget in a hurry,” says Sound Projector. “The program alternates two strands of musical activity. There are brief, faintly hilarious pieces of speeded-up records sabotaged by Campbell’s intermittent electronic belches…, followed immediately by deeply resonant, scorching drone-fests … effected using violins, guitars and scraped percussion, all recorded in such ways as to massively distort the natural sounds and generate far too many conflicting frequencies.”


Their Crowning Achievement

(Chocolate Monk - choc.480) CDR $6.50 (Out-of-stock)

Stelzer got the ball rolling on this old-school transatlantic collab with the sounds of kids playing, bass guitar, and dozens upon dozens of layered cassette tapes played outdoors and in hallways — a pile of stuff from unrelated or subconsciously-related sources, basically, hung together by crossed fingers and willpower, to which Campbell, in the wilds of West Yorkshire, added electronics, guitar and percussion. The resulting near-hour-long piece is a Rorschach rumble that keeps your gravy wet for the forseeable. Edition of 60


Vatic Lamps

([ no label ]) Used CDR $14.00

Exquisite layered drone from three underground legends.


Campfire Songs

(Catsup Plate) Used CD $6.00

Though the sound is radically different from the digital processing and sound manipulation previously employed by The Animal Collective, the results are clearly of a piece with the percussive, almost incantatory feel of their earlier records. This was recorded on a screened-in porch in rural Maryland and the hum of the outdoors adds depth and presence impossible to achieve otherwise. The trio knits together threads of guitar strum and pluck; chanted, nearly wistful vocal harmonies; and often a pulsing rhythm that seems like it might break apart at any moment, and sometimes does. The melodies are simple and repetitive, recalling the early work of the Third Ear Band, ’70s German commune-music, and similar folk-psychedelic explorers. Edition of 1000 copies in handmade chipboard digipaks with offset printed decals and insert.


Delay 1968

(Restless) Used CD $6.00 (Out-of-stock)

Recorded 1968/1969 at Schloss Nörvenich. With Holger Czukay, Jaki Liebezeit, Michael Karoli, Irmin Schmidt, Malcolm Mooney.


Music (Live 1971-1977)

(Mute) Used 2xCD $10.00 (Out-of-stock)

With "Jynx," "Dizzy Dizzy," "Vernal Equinox," "Fizz," "Yoo Doo Right," "Cascade Waltz," "Colchester Finale," "Kata Kong," and "Spoon." Released 1999.


Soon Over Babaluma

(Restless) Used CD $6.00 (Out-of-stock)

1990 reissue. Recorded 1974. Holger Czukay, Irmin Schmidt, Jaki Liebezeit, Michael Karoli.



(Dr Jim's - 28) Used CD $7.00

David Brown (of Dumb & The Ugly, Signals, Skeleton, Ultratune) collides musique concrete and rock with Derek Bailey-esque guitar destruction, looped guitar twangs, repetitive percussive chimes, drones, samples, doom-laden power chords and out-of-nowhere noises.


The End Of Irony

(Dual Plover) LP + CD $15.00 (Out-of-stock)

Electronic breakcore disco by Jonathan Snipes and crew. Dual Plover's edition (aka the red edition) is similar to Deathbomb Arc's (aka the blue edition), but not identical. Fifteen tracks total, five of which are not on the blue edition, two are on vinyl for the first time, and three are drastically reworked.


Dust Sucker

(Milksafe - BF6003) Used CD $10.00 (Out-of-stock)

Nineteen-track collection of rare material, including twelve from Don Van Vliet’s own tape of the original Bat Chain Puller, with five live versions of Bat Chain Puller songs, a version of “Well Well Well” featuring Rockette Morton, and a live festival performance of “My Human Gets Me Blues.”



(Naturestrip) CD $14.25 (Out-of-stock)

Eugene Carchesio’s timeless work as a visual artist has unjustly eclipsed his extraordinary output as a soundmaker. Since the early ’80s, he has proliferated a sackful of barely released cassettes and CDRs under the D.N.E moniker, consisting of some of the most waywardly original and exploratory music made in Australia. Similarly, Leighton Craig’s work, usually documented in tiny editions on his own Kindling label, has been heard by relatively few ears, but those who listen are immediately struck by the sublime sensibility, the effortlessness, and the exquisitely detailed understatement of his music. Carchesio and Craig are core members of the freely improvising psych-primitive ensemble The Lost Domain, whose CDs on Pseudo Arcana, Broken Face and Digitalis have created a fairly hefty underground stir, yet as a duo, their music has never previously traveled further then the ears of a handful of close friends.


Four Principles On Ireland And Other Pieces (1974)

(Ampersand - ampere07) CD $10.00 (Out-of-stock)

2001 CD reissue of all of the piano music Cardew wrote in the early ’70s, originally released on LP by Cramps in 1975, when the Scratch Orchestra was questioning its relevance. “Red Flag Prelude” is a take-off on "O Tanenbaum” enriched with alternate chord progressions. “The Croppy Boy" utilizes a dirge form, rolling chords in the key of G Major, and laments a seventeen-year-old Irish boy (who happened to have close-cropped hair), hanged for his resistance. “Four Principles on Ireland” is a self-contained six-minute work with flights of virtuosity, even with Cardew’s always threadbare, clean musical language: un-Romantic, directness of gesture, nothing opaque or convoluted.


Oar of Panmuphle (First Begemot)

(Alethiometer - WHISTLE03) CD $12.00 (Out-of-stock)

The off-kilter collage-based compositions of sound designer Gregory Scharpen, who has worked with irr. app. (ext.) and Nurse With Wound, are slow-motion, carnivalesque incantations of ectoplasmic horror and gallows humor. Clattering machines glide into a murky cut-up of organ-grinding Victoriana muffled by reverb; disembodied whispers, slapstick sound effects, and mechanical howls bound maniacally alongside purloined rhythms; wind-up springs and the wooden percolation of noises set a perfectly spooky mood for mechanical toys coming to life. The odd and surreal Oar of Panmuphle drifts eerily among shapeless clouds of darkened thought, and haunted and semi-musical flourishes.



(Chocolate Monk - choc.516) CDR $8.00

The beloved “Beard of Bristol” Owen Chambers spent several weeks trying to unlearn guitar but found that a toxic knot once tied is hard to undo. His resolve failed him. Well, not totally. While his splendid guitar playing would remain intact he decided he could at least add a smear of “whatthefuckery” to his belt by spending the next week listening only to a handful of Glands Of External Secretions and Karen Constance recordings. He then set about making POTIONS!!!, a self-described “soup of sounds made from old Russian sci-fi films, lo-fi synth improvisations, dueling radios…, choral vocals,” and suchlike. It is better to travel well than to arrive. Artwork by Karen Constance. Edition of 60


The Cooking Stove Beast

(Subterranean) Used CD $20.00 (Out-of-stock)

Released in 2008 in oversized folder with splash of red paint. Include lyrics insert.


Beats For The Beast

(Free Porcupine Society) Used Split CD $5.00

All three members of Charalambides take a moment in 2004 to pursue passionate, simple beauty. The title track by Tom Carter is a “30-minute psychedelic dustbowl of slide guitar meanderings…, lush and impressive…,” explains Tiny Mix Tapes. Christina Carter and Heather Leigh Murray add textures and “touches of vocals to their mind-expanding cuatro.” Packaged in a silk-screened tri-fold sleeve with handmade obi.


The Knotted Constellation (Fourteen Rotted Coordinates)

(Monotype - MONO039) CD $12.75

(Monotype - MONO039) Used CD $10.00

Field recordings from around the world, surreal collage techniques and synthetic sounds derived from digital audio tools. With contributions by C. Spencer Yeh (Burning Star Core), Lithuanian sound artist Darius Ciuta and Berlin-based circuit bender Guido Henneböhl, among others.


Acid Rock Noise Cowboys... Just Playing The Blues

(Psychedelic Farm) Used CD $5.00

“This five-piece includes current and former members of notable bands from the local fringe,” notes Pittsburgh City Paper. “Macronympha, Young Men’s Department, Motorpsychos, Lord Bird Golden Cobra…. [These] … lo-fi studio and live recordings made in 2009 [challenge] notions of rock music while keeping within the basic idiom and instrumentation of a psych-rock band…. Mostly extended, aggressive guitar jams.”



(Sonig) Used CD $10.00

In 2008, following Jorinde Voigt’s concepts, composers Patric Catani and Chris Imler, developed the “lazy 8” of the infinity motif at Watermill-Center, NYC, a laboratory for performance, in the form of an acoustic “cluster.” The looped composition, formed of sixteen chapters, snakes around seven points realized using a multi-channel arrangement of six loudspeakers and thus describes the shape of a lemniscate through pure sound.


Radio Ghosts

(23five) CD $12.00 (Out-of-stock)

Catlin’s recorded output stands among the best that Glenn Branca, Keith Rowe, and Jim O’Rourke have mustered from their six strings hard wired into the histories of electroacoustics, minimalism, and post-punk experimentation. The Melbourne guitarist incessantly tinkers with the mechanics of his instrument, envisioning it as a mimetic sculptural object and as a pure sound generator. Through his experiments with alternative tunings, atypical string gauges, and Rube Goldberg contraptions of interconnected motors, speakers, and radios, he seeks rasping textures of strings vibrating against each other, acoustic phase patterns of two microtonally tuned strings, and the electrical purity of circuits feeding back upon themselves, essentially creating a polyglot drone symphony cast in smoldering monochrome. Radio Ghosts is devoid of Marshall stacks, Sunn amps, and stomp boxes; Catlin captures the acoustic phenomenon of the guitar’s transient vibrations and steers clear of any tricked out sonic demolition.


Chaos Of The Night – Live At KFJC

(Endorphine Factory - EDP010) Used CD $20.00

Massive 1994 noise jam with C.C.C.C.’s Hino playing a metal sheet, Cazazza on bass, Allegory Chapel’s Elden M. on sampler, and Jones on electric guitar. Huge, bass-cabinet-shredding eruptions. A deep noise battle loud and sublime. Sealed.


White Medal / Caïna

(Legion Blotan) CD $10.50 (Out-of-stock)

Two brand new tracks of dedicated Black Metal from England. The last ever recorded work of Caïna. First CD release for White Medal. Artwork by Si Clark. Edition of 500.


Will Over Worlds

(Legion Blotan) CD $10.50 (Out-of-stock)

Demos, miscellany and juvenilia from 2004 to 2007 by this English black metal monolith — the raw, rough and not-so-mild beginnings one of UKBM’s shining dark lights. Includes When We Are Grown, We Will Be Strong; The Cold Taste of Perdition (Drakkar 2006); The King Beneath (Drakkar 2006) ; unreleased tracks from a split that never saw the light of day. Edition of 500.


Ashcan Mind Dig

(Ear Noises?) CDR $8.00

This “heavy swath of deftly constructed scrape” explains Andy Brack, “from Cody ‘Lonely Mutant’ Brant and Shane ‘Still got a tré flip’ McDonell is a pristinely layered construction of sounds that have nowhere else to fit but with each other. This disc is like hanging out with all your weird fucking friends, except everybody’s on time and knows exactly when they need to fade out or turn up. Also one of the refreshing instances where you’re not wondering ‘Digi or analogue?’ between juul hits, ’cause this thing is smoother in ways that your average compression worshipper only dreams about, but at the same time jagged enough for all the table flippers in the realm. Really high-class noise, through and through, nothing that’s going to beat you over the head, but you’re not bored either. I’m tempted to call it effortless, but once you take a second to sip the soda and think about the fucking thing, you can’t deny that a shit ton of effort went into this. Total masterpiece from two masters.”


Loop Phantasy No. 4

(Chocolate Monk - CHOC.367) CDR $8.00 (Out-of-stock)

Mind altering tape-loops for clogged heads, mental chatter and drunken monkeys. Ingredients: junk cassette samples, synths and effects. May also contain small traces of Steve Reich, Sufi Trance, Terry Riley and Tom Recchion. Dosage: one or two listens until symptoms ease. Headphones recommended. Warning: do not listen when repairing rare antiques, entertaining family relatives or operating dental equipment. Numbered edition of 60


Ingathering of Exiles

(Groundfault) Used CD $3.00

Collaboration from 2003 by David Brownstead of 666 Volt Battery Noise, Vadim Gusis (composer of soundscapes, neo-folk, and ambient drones), and experimental multi-instrumentalist Krutogolov. Sealed


Internal Eternal

(Wholly Other) Used CD $5.00 (Out-of-stock)

“Subtle psychedelia imbued with reverberating guitar echoes and luscious drones, recorded on Christmas Eve 1995,” explains Brainwashed. “Faint voices can be heard in the background…, and subtle atmospherics lend to the album a haunting, hollow quality. What is new, however, is the Arabic feel…, as if you are standing in a deserted casbah, only to hear the music of the desert and the departed wash in over the distant dunes.”


La Pièce

(Potlatch) Used CD $8.00

Dynamic headphone music from 1999 by French electroacoustic duo and clarinetist who can get it on via noise electroacoustics or sound poetry. See-sawing violin sample glides through a quiet storm of bowed cymbals, tiny skittering sounds and gestural clarinet that generally offers up timbres rather than melodic lines.



(Monotype - MONO048) CD $14.00

“TSSTT matches the textures emanating from the electric-acoustic devices of … Gross [and] the tape recorder and short-wave sounds of musique concrète composer Marchetti,” says Jazzword, “With the acoustic contributions of clarinetist Charles and quarter-tone trumpeter Hautzinger…. Short-wave signals and computer-game-styled buzzing and explosions … reveal distinctive concussion-like impulses…. [A]lso audible are bugle-like triplets from Hautzinger and pseudo dog yelps from Charles’s clarinet…. [W]hile blurry loops and an undertow of tape-machine buzzing predominates on other tracks – along with unexpected gun-shot like pops – so do aleatory and contrapuntal acoustic squeak and peeps…. [A]ir-filled vibrations … gradually turn to harsher, narrower sine waves with tandem instrumental extensions…, escalating and burbling timbres from Gross’s … devices and flanged abrasions from Marchetti’s motor-driven Revox join with the horns’ multiphonic hisses and whistles.”


We Don’t

(Eremite) Used CD $10.00

“Moondoc is in powerhouse form” on this 2003 disc, notes Cadence, “Blowing hard but in control and shaping his sound even when playing free. The late Charles shows that he belongs in the pantheon of great modern drummers right beside Cyrille, Murray, Jones, Blackwell, and Shannon Jackson. The patterns he uses to set off Moondoc’s hellacious blasts and create a perpetual undercurrent of rhythm are remarkable…. This is exquisite stuff from two masters and very highly recommended.” Clipped corner.



(Die Stadt - DS99) CD $30.00 (Out-of-stock)

The first collaboration by these two renowned sound artists, which began during the production of Re-Post-Refabricated, a project where Chartier selected artists to rework and create new works from his 1998 CD Postfabricated for its reissue in 2003, and evolved into its present state after Tietchens continued to explore the source materials and suggested further formal collaboration. Include a limited edition bonus CD entitled Pre-Fabrication.


Air In The Sand

(Naturestrip - NS3004) CD $14.25 (Out-of-stock)

San Francisco sound artist Loren Chasse’s recording processes revolve around active participation within particular, unspecified environments into which he broadcasts drones, textures, and field recordings. Crickets gurgle within aqueous percolations and tectonic surf crashes against rock; rain vaporizes in a caustic sizzle as it hits electrical wires, compounded by the sharp crack of branches and the slow hiss of sand. Outside ongoing pastoral contributions to the polyphonic Jewelled Antler constellation, Chasse exposes something profoundly beautiful lurking in the shadows of the landscape.


Raga Desh

(India Archive Music) Used CD $5.00

Accompanied by Shafaat Ahmed Khan on table, Chaudhuri brings the “sweet, singing, ringing tone” of his Jaipur-Senia sitar-playing to this raga (Alap and Jor / vilambit and drut gasts in tintal) associated with the monsoon season, reflecting the joyful spirits as the rains bring relief from the hot, dry summer.


juicy output

(Chocolate Monk - choc.576) CDR $8.00

The life’s aspirations of Shang Ren — vocalist, audio programmer, electronic musician — no one’s gonna check her ID and ticket. Numbered edition of 50


Grey Ghost

(Box Kite - BK005) CD $10.00

Greg Freeman (Pell Mell) and Jeff Palmer (Granfaloon Bus) have been making "dub fodder" together since 1996. The duo creates organic atmospheres by crossing analog randomness with the digital control of Logic Audio. No less an authority than Germans have nothing but admiration for the results: "Checksum create a blueprint for the dub of the future: warmly and personally. Arrivals! 100% of hearing experience guarantees!" -- Gleis 22 Club "Sounds to a nocturnal walk by a San Francisco wrapped in nebulas. Somehow terribly, somehow fascinatingly." --Szene "Checksum filter the straight pure, reduced dub elements (emphasis bass and schlagzeug, plus a quantity resound and Krimskrams noises)." --DE:BUG


Black Witchery

(Troniks - TRO223) Used CD $5.00

The dark spell has been cast with this murky potion of macabre frequencies, derelict moans, satanic power and the hideous stench of occult slaughter. Reissues tracks previously released on three-inch CDRs by Chondritic Sound, Fargone Records, and Audiobot.


Misery Guts

(Phage - PT194) CD $9.00 (Out-of-stock)

Harsh noise as its finest, full of crunch and thick, layered distortion. Originally released on cassette (Since 1972, 2004).


White Gold

(Helicopter - H 74) CD $10.50 (Out-of-stock)

Insane harsh electronics. Ten-year anniversary reissue.


Be Somebody Else, It’s Fine

(Chocolate Monk - choc.513) CDR $8.00

They say repetition is the key to unlocking the lizard brain. Yup. Chlorine’s scabby fingers needle the lock, hinges and front piece. Feel the nimble fumbling in your head. Graeme Hopper scoops time into small piles and sets a direction like iron fillings clustering round a magic magnet. The multiple click-click of metallic pegs acts as a lubricant. I’m willing and ready. Surreptitiously-captured voices plough fever-drenched narratives. Make room for glottal beat-boxing, Lear-esque nonsense and hummed tunes to self. I smile at the shuffle of some rattling shells or the pale blue Farfisa mood. Some machine whirrs as an owl flutters wildly in the gears; then our poor feathery professor gets snaffled by a bigger (yet unseen) beast. I tidy out the shed, one ill-judged elbow starts a cascade of paint tins to bounce playfully off the shins and forehead. Edition of 60


Ultra Fluff

(Chocolate Monk - choc.477) CDR $7.00 (Out-of-stock)

In the late summer of 2019, Graeme Hopper and Joe Murray met up on Saturday afternoons to jam. After a few sessions, a pattern emerged. Chlorine’s deconstructed percussion / electronics set up and Posset’s Dictaphones, megaphone, and vocal jaxx started in a hectic, everything-playing-at-once ecstasy, an overload of sensory information with the emphasis on texture and rhythm. After some time, busy layers sloped off, colors became clearer, and the vigorous back-and-forth of frantic improvisation settled into a steady psychic pulse. These raw jams were further messed with, looped, sliced and taped back together. Expect lightning-quick “v- vas-h” and elongated “whumm.” Climb inside a seashell to appreciate the tight, creamy crenulations. Feel the air get sucked out the room by the electric pressure blowing out your speakers. This marriage of real live-room jam and abstracted studio-sweat is not unique. But the light hand on the tiller and hurling the moral compass into the frothing waves just might be. Edition of 60


Chop Shop Plays Emil Beaulieau — Red And Buried

(Pure) Used CD $5.00

Fourteen untitled tracks from 1995, pure industrial noise.



(23five) CD $12.00 (Out-of-stock)

New York-based sound artist Scott Konzelmann's activities have comprised installations featuring his speaker construction assemblages and sonic compositions since 1987. His sound and noise are intrinsically connected to his sculptural objects, which, forged from re-purposed junkyard fragments fitted with functional loudspeakers, compress and articulate particular frequencies into hissing static, jet-engine drones, and noxious rumbles. The original analog tapes of Oxide happened to become moisture-damaged, creating drop-outs, print-throughs, and ghostly noise shadows of Konzelmann's muscular drone music, and the tape itself also began to crumble during playback, in eerie parallel to both William Basinski's Disintegration Loops and Hafler Trio's Intoutof. TEDIUM HOUSE BEST OF 2008.


Upheaval Of The Soul

(Hospital - HOS329) CD $16.50 (Out-of-stock)

The second album of compelling black metal from France, combining the serpentine violence of early Deicide with the thunderous, tom-heavy drumming of early Mayhem. Salivating barks echo amid an engulfing atmosphere of crawling obscurity. Darkness upon the world.


Shiny Crystal Planet

(Alchemy - ARCD119) Used CD $20.00 (Out-of-stock)

A fusion of the psychedelic phrasing of Angel’in Heavy Syrup guitarist Fusao Toda and the spacey electronics of Masonna’s Maso Yamazaki, pumped full of pop fashion sense, the perfect soundtrack for an astro-modernist go-go lounge.


Hi No Tamaki

(Jigen Production - 015) CD $24.00

Mukai Chie, Tori Kudo, Nishimura Takuya and Takahashi Tsukasa combine folk, psych, and free improv in simplicity-embracing compositions. Led by the melodies of Mukai’s voice and erhu, the results are lyrical, compelling, and unconventional avant-elegance.


Patience Wears Thin

(Obfuscated - OR17) CDR $5.00 (Out-of-stock)

Stark sonic landscapes by Jay Howard, where exhausted wrecks decompose under the blazing desert sun. A sweet release from the grips of rusting decay that never comes. Professionally duplicated. Includes sticker and postcard.


Einem Luftigen Akustischen Kosmos Entgegen

(Rumpsti Pumpsti) Used CD $8.00

Recorded in the Lyrik-Kabinett München, June 1991. Both artists prepared a 60-minute tape and a detailed composition for live-presented sound poetry and speech operations that were unknown to each other. In addition, they left room for improvisation and the use of small percussion instruments (chinkas).


You’re Never Safe

(BloodLust!) CDR $14.00 (Out-of-stock)

Comprised of nine pieces -- including a cover of the delightfully indelicate Deathpile song, "Breaking A Doll" -- You're Never Safe blends power-electronics, death-industrial, and noise.


Highly Bred and Sweetly Tempered

(North East Indie) Used CD $4.00 (Out-of-stock)

“The band’s fifth album is baked from simple, sparingly implemented ingredients sometimes spiked with challenging timbres and, on occasion, indebted to the ramshackle sound of ancient acoustic blues,” says Pitchfork. “That scraped, crackly, hazy feel is appropriate for a band whose website sells cassettes recorded from dusty 78s on their hand-cranked 1924 Victrola and also made a name for themselves in sound installations and soundtracks. Those same 78s — field recordings, audio letters to loved ones and heirs, dramatic readings and the like — pop up on several of these songs, speaking out of the ether like wandering souls.” From 2004


Lovely Drone

(Gravelvoice) Used CDR $40.00 (Out-of-stock)

Quiet and cyclical music from 1998, a surreal lo-fi collage of drones, electronic noise, voices, and field recordings. Night Night Series Volume 1.


Banning + Center

(Experimental Music Research) Used CD $8.00

“Recorded live at Line Space Line in Los Angeles in January 2005, Banning + Center employs treatments, effects, distortions, and an ever-present sense of structure, purpose, and articulation. The dominant sound is abrasive, and during occasional passages of quiet reflection, a howl of feedback or over-amped chording is never far away, giving the entire album an unpredictability that makes it edge-of-the-seat listening.”


Buried on Bunker Hill

(Groundfault) CD $12.00

Guitarist Nels Cline and bassist Devin Sarno have been playing together for almost 10 years, and this is their first multitrack recording (their past collaborations have been live). With a focus on improvisation and texture, Buried on Bunker Hill rumbles thick, low and foggy, as Cline’s detuned and bent guitar mechanics gravitate, distort, meander and hover. For fans of Labradford, Flying Saucer Attack, and the like. Easily the best recording by a duo with chemistry to burn.


At The Mountains Of Paranoia

(Turgid Animal) CD $10.50

Eight songs of linear sonic devotion from Finnish industrial / power electronics expert. Edition of 500


Present Cracks

(Chocolate Monk - choc.539) CDR $6.75

Hot in the house, hot outside, hot sweaty hands poking things. Sounds of the Nottingham neighborhood of Matthew Hamblin and Lila Matsumoto of Food People. Cars barking like dogs. Voices of friends and voices from the TV. Flute, radio, tape, violin, guitar. Numbered edition of 50



(Chocolate Monk - choc.456) CDR $6.50 (Out-of-stock)

Recently observed at Supernormal festival applying salve to hungover Sunday brains, two-thirds of Food People beam in spoken word, spooling tapes, loops, violin, percussion, accordion, and wind instruments. Only the headstrong and foolish would refuse the soothing effect these intimate broadcasts bring. “Lila Matsumoto and Matthew Hamblin make sounds and words from cloth for layering or peddling piecemeal. A rouleau of songs, a bluster of raw sedge scuffed and hemmed. Or maybe a sylvan tableau in merit bone weave.” Don’t be a lunkhead. Edition of 60



(Heyday) Used CD $5.00

Recorded live at Castro Theater in 1991 as part of the Smithsonian Institute’s Exhibit of Degenerate Art, Club Foot scores Fritz Lang’s 1926 film about a technological future where workers toil with mind-numbing devotion to their machinery while the privileged few pursue their pleasures in palaces built in the sky. Compositions by Richard Marriott, Steve Kirk, Beth Custer, Sheldon Brown, Nik Phelps and Myles Boisen draw inspiration from Stravinsky, imperatives of West African folk idioms, swing, jazz, rock, blues and modernist atonality.


Mit Neuen Waffen

(Trash Ritual - TRASH052) CD $12.00 (Out-of-stock)

First recordings by Belgian industrial / experimental group, along with live documentation from Budapest, July 17, 1982, originally released on cassette (Club Moral 1983). Contains the early workings of future classics such as "Exces Kontrol," "Eating Limbs," "Lonely Weekends," etc. Connections here can be traced to V-Side, Minus Delta T, Gyuri Kozma and Janos Veto's Band. All material originally recorded onto a plain cassette deck and Sony walkman. Trash Ritual's first in as series of Club Moral archive reissues.


Excessive Size Punisher

(Fever Pitch - FP25) CD $5.00

A welcome embarrassment to the noise scene from 2000, with appearances by Misty Martinez, Rat Bastard and Weasel Walter). Thirty tracks.


Glass Sponge

(23five) Used CD $12.00

The textural flutters, squeaks, and mobile scrabblings of Loren Chasse (Jewelled Antler Collective, Thuja) and corrosion aficionado Jim Haynes bring minimalism back from the dead. Bell tones, ghostly feedback, and tuning fork resonations all spiral together into translucent drones.


Mud Wall

(Helen Scarsdale) Used CD $12.00 (Out-of-stock)

Audio speleologists Loren Chasse (Jewelled Antler, Thuja, Blithe Sons, Franciscan Hobbies) and Jim Haynes (The Wire) collaborate on their third album of “broken minimalism,” an exploration of sound possibilities originating from traditionally non-musical materials (copper, stone, glass, sand, shortwave radio, rust, wind, water and mud). Sifting through viscous electrical fields, slumbering vibrations, and aerosolized pricklings, the duo invokes an aggregate of sustained harmonics, continuously evolving sound forms, and broad gestures of textural details. Monumental physicality somewhere between the quiet expressionism of recent AMM and John Duncan’s psychological inquiries.


Wrack Light In Copper Ruin

(Seal Pool) CD + DVD $15.00

Jim Haynes and Loren Chasse collaborated with Keith Evans to create Coelacanth’s fourth and most complex record. Culled from two performances -- a five-hour recording session during Matmos’s 96 hours at the Yerba Buena Center for the Arts, and an audio/visual performance with Keith Evans -- Wrack Light in Copper Ruin is more delicate than Coelacanth’s previous recordings, inhabiting a space where artists such as Jonathan Coleclough, Andrew Chalk, Mirror, and MNortham can be found, yet it maintains the mysterious, oceanic nature its name implies. Their sound illustrates a constant evolution of decay, encroachment, and repossession of the border space between the natural and the man-made.


Museum of Dannys

(Tzadik - TZ7405) CD $10.00

Cult hero, kook, renegade, Cohen brings the best of his work spanning three decades to Tzadik’s Lunatic Fringe series. Said the label when Mueseum of Dannys was released in 1999, “Arrangements as creative as Joe Meek, lyrics as real as Dylan, hooks as catchy as Brian Wilson, Cohen’s unique blend of astral projection, bad tacos, suicide and Satan makes him the most original songwriter since Daniel Johnston.”


Love's Secret Domain

(Wax Trax) Used CD $15.00 (Out-of-stock)

Coil’s most dance-oriented and accessible release, weaving together acid house, lounge, flamenco, and didgeridoo rhythms. Corner of book is clipped.



(Zaabway - 2006) Used CD $5.00 (Out-of-stock)

After a decade of intensive, near-telepathic interplay and wide ranging expressive armory, on this live recording from 1991 at Art Court in Canada, “Flaherty’s alto warbles like an Evan Parker, preaches like an Ayler, or croons like a subdued Sanders, while Colbourne remains … sensitive and creative.”



(Zaabway - 2007) CD $10.00 (Out-of-stock)

“Quartet performance from 1989 (released 2001) with some really beautiful high-powered ache from Flaherty,” describes our friends at Volcanic Tongue, “Working almost Ornette-ish flights of blue spirit into the path of bassist Downs and drummer Colbourne. Guitarist Froc ... plays with a fairly clean tone and comes from relatively deep within the jazz guitar tradition but he rarely distracts from the flow of ideas making their way around Flaherty’s hot-wired brain.”



(Zaabway - 2004) Used CD $5.00 (Out-of-stock)

“Almost big-band scale free-jazz conceptions,” concludes Volcanic Tongue, “From a sextet led by these legendary drums/sax shooters and featuring James ‘Chumly' Hunt on trumpet and plastic castanets, Matt Moran on vibes and percussion, Mike Murray on guitar and long-term collaborator Richard Downs on bass. A pretty singular installment in this on-going saga, with the music existing in some kind of flux between all-valves-exploding high-energy gush and slightly more elaborately conceived big band geometries. A beauty, for sure."



(Zaabway - 2001) Used CD $5.00 (Out-of-stock)

Classic thunderous now-fi recording of this killing unit,” according to Volcanic Tongue, “Scything their way through mountains of hidebound mediocrity with huge gulps of liberated human spirit. From 1994, this one also features Richard Downs on baritone horn and bass and Mike Murray on guitar. Massive.”


Annihilate This Week

(Korm Plastics - KP3024) Used CD $12.00 (Out-of-stock)

On the ninth release in the Brombron series, Colley and Lescalleet find music in the natural process of decay amid the detritus of yard sale junk and old, broken equipment. These 2006 compositions seem weathered and eroded. Rather than aiming for excitement or dazzling expression, Colley and Lescalleet embrace the tedium of everyday life as something beautiful and compelling. This is music with a slow absorption rate and a high toxicity.


Desperate Attempts At Beauty

(Auscultare Research) CD $10.50 (Out-of-stock)

At times startling, at others mysterious, Desperate Attempts at Beauty is an audio exploration of the damaged, and an excavation of inaudible murmurs from hidden recesses. With a strong pedigree in low-key noise and sound, Joe Colley of Crawl Unit should know how to spook a listener with the methodical patience of a thriller villain. An alien journey through a vast, rumbling institution.


Waste of Songs

(Oral) CD $8.00 (Out-of-stock)

This tightly edited collage from 2006 jumps between brutal noise, field recording, psychoacoustic tonal interactions, states of mental duress and negative reactions to an environment, the sounds of broken or dying equipment, devices pushed to limits, spontaneous reactions coaxed from feedback and linked cheap electronics.


Midnight Winds

(Chocolate Monk) Used CDR $8.00 (Out-of-stock)

Meditative drone to solid noise from 2009


How To Build A Cabin

(Yik Yak - YIKYAK012) Used CD $5.00

With raw viola, haunting vocals, and noise guitar, Rob Fisk (Badgerlore, 7 Year Rabbit Cycle, ex-Deerhoof) sounds perfectly at home in the natural world between dusk and dawn. Packaged in a hand-sewn book of drawings.


Descending Order

(Chair Chair - hh420) CDR $8.00 (Out-of-stock)

Minimalist industrial from this process-obsessed duo who are so committed to understatement and simplicity, it seems almost spiteful. Loops of noise, synthetic screech, dumpster field recordings, and a general feeling of disembodiment make up the twelve tracks on their only non-cassette release aside from the CDR reissue of Repetition Is The Sincerest Form Of Repetition (BUFMS 2011). Recommended if you like Video Aventures, Craig Leon.


Repetition Is The Sincerest Form of Repetition

(Butte County Free Music Society - 37) CDR $8.00 (Out-of-stock)

Inspired by Non’s Pagan Muzak (more by the repeating form than by the content), Repetition Is The Sincerest Form of Repetition was created in the early 1980s by two agriculture students (now anti-GMO activists), and released on their own Chair Chair cassette label. Using a handful of sound effects records as their sole audio source, Canker and Chancre created loops on reel-to-reel tape and endless cassettes used for answering machines, which were then manipulated via cut-up, speed, direction, saturation and multitracking for their independently made submixes; those were then merged together for the final mixes with virtually no further changes, because, as Chancre explains, “We didn’t want it to sound composed, so much as manufactured, as if it was all just happening by itself.” At times maddeningly busy with the stock-in-trade of old sound effects records -- animals and machines -- smeared, repeating, overlapping, the album’s raw and relentless uneasiness is further enhanced by omnipresent crackles and infrequent but abrupt silences. Includes non-GMO pasta (raw), and one of two different reproductions of artwork from Captain Protein noodle packaging. Second edition of 37, in support of California Proposition 37.
“After strolling through [Repetition Is The Sincerest Form Of Repetition], the squeak of this ergot-tomato-therapeutic mesh still seems very far from me, its radio links out of reach of my rakes.” —Princecranoi, Reeds & Birches


Musculus Trapezius

(Pica Disk - PICA013) CD $14.00

An epic performance captured pristine, unfurling its massive limbs patiently and cannily over the course of seventy-plus minutes. Conrad mingles among trusted wood-and-steel sidekicks, engaged in both age-old conversations and inspired new inquisitions; Yeh bookends his passive/aggressive behavior on violin with spare piano incantations; Duchs acts as a ghostly anchor, casting formidable binding and deft velocity. Drones flow freely, but these reliable horizons fracture into surprising detours, tearing apart the instruments, the players involved, and the expectations of the music itself. From the abstract of the article "EMG Trapezius Muscle Activity Pattern in String Players:: Part I—Is There Variability in the Playing Technique?" authored by Anncristine Fjellman-Wiklund, Helena Grip, Jan Stefan Karlsson, and Gunnevi Sundelin, first published in the International Journal of Industrial Ergonomics (Volume 33, Issue 4, April 2004): "Work-related neck and shoulder disorders are a great problem for string musicians; a playing technique with more relaxed muscles and a greater variation in the muscle activity pattern, i.e., with shorter sequences at a varied number of amplitude levels... might prevent pain." Oops.


Outside The Dream Syndicate

(Table Of The Elements - Li) Used CD $10.00 (Out-of-stock)

1993 reissue of minimalist classic, recorded in 1972. With one previously unreleased bonus track.



(Chocolate Monk - choc.543) CDR $8.00

Who does what? Well, put these in your pantheist pipe and have a guess, dummy. Huff 1: The dreaded yet joyous satsuma nightmare. You have never heard of it, but you know it. That pulse and burp and craw that leads to the electric scuttle. In a movie, it is protein farmed from a peat bog with a dollop of silver acrylic paint. Wheeze. Omit the atmosphere. Huff 2: Set deep in a dank boot. Crumpled birds bent into figure eights in woozy frame. Cave people recorded straight to paper. A crooning lothario slipped a healthy dose of something good/bad. A pot of ooze poured upon any negations. A broken laser as your friend. Huff 3: Boomers straight to walkman give good song and life advice. Edition of 50


Bicker Sweet

(Chocolate Monk - CHOC.355) CDR $8.00 (Out-of-stock)

Mother and daughter Monk keep the crude and tripped-out tape jams super queasy with a healthy dollop of echo and delay. Loops and manipulation go from crinkled, hissing ear wobble to more in-the-red what-the-fuckery (à la Polly Shang Kuan Band). Numbered edition of 30.



(Chocolate Monk - CHOC.360) CDR $8.00 (Out-of-stock)

Blood Stereo’s better half lurches out of the Shed of Dread to present us peasants with a solo disc of tape and loop damage, recorded ten years apart (one half laid down in the shit basket that is 2017, the other during the rosy days of 2007 when the Doomsday clock was a comfy five minutes to midnight. Take a heavy sniff of this doink. Numbered edition of 50


Lalo Mendy

(Chocolate Monk) CDR $7.00

Cinematic molecules from another era, having seeped through fissures in the timeline, arrive on Lalo Mendy disguised as neurological pulsations and astrally projected trailers from a drive-in theater. Does this mean La Constance is here to willy Enter The Dragon and Cool Hand Luke samples all over your nilly? You deserve a slap for even asking, Bun-Bun. The repetitions here feel compulsive and hypnotic, yes, but also off-kilter and Just Not Right, away from which one is loathe to look. Areas rumble like boats traveling where they oughtn’t, shot through with the kazoo-like quack of bleeps and voice fragments and shadows of transmissions intercepted from intercoms at Business Goose HQ. A recurring tempo recalls quasi-synchronous swingsets rocking back and forth as enjoyed by the surreal children often depicted frolicking and assuming recognizably-Constance postures in her paintings and collages. It is also, however, a bit more complicated. Orders from the Supreme Honk simultaneously ooze over and whiz toward an all-femme Space Force, destabilizing civilians like us with Doppler Effect howls that leave us feeling pushed out of an airplane and descending through a hailstorm of whistling meat rocks. Destination: Unarius picnic overtaken by groundskeepers scooping up damaged mechanical heads with shovels. Edition of 50


Live At Colour Out Of Space 2009

(Chocolate Monk - choc.233) split CDR $9.00

Split release recorded live in Brighton 2009. Solid Eye’s gloved maestro of live tape manipulation conjures up amazing, smoked-out loop wobble. If you cut the guy, he would bleed Ferric Oxide. Constance and Wiese twist knobs and deliver spectral head scratch of marble-losing proportions. A sweet ear pickle all round.


Nothing To See, Hear

(Chocolate Monk - choc.474) CDR $6.00 (Out-of-stock)

Using the same set up, Little Sister presents a companion release to the Dylan Nyoukis disc of the same name, recorded inside Wino Lodge. Further dollops of loop damage which aim to disorient and frazzle in the nicest possible way. Numbered edition of 50


Old Scar For New Nose

(Chocolate Monk - choc.509) CDR $8.00

Processed surreal appeal from Wino Lodge’s hardest working dweller. The words are garbled, but the tapes and gadgets are in enough oscillation to keep your ass anodic. It’s hard to believe Miss Constance’s craft graft wasn’t always so strong but chance meetings at an early age set her on the path of prevalence: First meeting the Tartan Lads in Blackburn Chemists at the age of seven where “Scotland’s top performing duo” informed her “even a wee lassie can wear a skirt of many colors,” and then just a few years later a caged mynah bird in a Coldingham pub told her “the life of an artist is a fucktard’s waddle!” Numbered edition of 60


Positively Susan

(Chocolate Monk - choc.601) CDR $8.00

“The more I come to consume work by Karen Constance, the less I find it helpful to think of in terms such as ‘sound work’, ‘film work’ or ‘painting’. At this point I consider what she does as an ever-living, ever-growing ecosystem of audiovisual dream logic; one that may express itself in the shape of the above media yet exists in an essence far less tangible. Positively Susan is another prime instance of the great arc of images, motifs and obsessions that live via the now-buckling shelves of Constance’s zero-filler back catalogue. Such is the profundity of this gesture toward the abstract infinite that I can no longer tell whether I am listening to a reinterpreted, reanimated take on materials previously encountered in older jams / films or if this is an entirely virgin experience for my lugs and bonce. Maybe it’s both. Like getting to read a missing page from a beloved novel or finding out an action figure you’ve had for years has a gun you didn’t know about hidden in its arse. Fresh perches from which to angle your head whilst gazing at the aesthetic biosphere. But to concede to categorical thinking a moment; what am I actually talking about vis à vis the lived tasting experience of this disc? Pearls dropping from wet cave roofs, as seen from a static-y television? Shattered memories of hearing a piano glued purposely into the wrong shape? Spoken word tracts detailing dreams (probably) amidst deep larynx level non-verbal utterances? Sampled and stitched with a calm, delicate poise then gently warped and looped into heaving inhaling / exhaling living organs? Maybe so. But much like a decent plate of Chongqing Xiao Mian, the proof can only ever be in one’s own tasting. Whether you’ve had the prior pleasure of a toe’s dip in similar culinary waters or find yourself a first time diner, ready your mouth and heart for an earful of the most auditory numbing chilli oil to be found this side of Preston St.” —Mr Duncan Harrison


The Junk Merchant

(Chocolate Monk - choc.497) CDR $6.75 (Out-of-stock)

Further tape and electronic zoink broadcast from the unfettered mind of Covid Karen. Unlike the recent shorter tracks on Still Awake (Beartown) and Still Asleep (More Mars), here we get many sections meshed into one long collage that has that satisfying cut-up yet fluid feel to give you the burbles. If you get giddy on the cool hum of autumn then this click clacker is for you. Hand danglers should approach with caution. Edition of 60


Therapeutic Effects

(Chocolate Monk - choc.533) Magazine + CDR $13.25 (Out-of-stock)

Solo works and collaborations cooked up in both the audio and visual realms. The full-color stapled A5 booklet features paintings, collages and life pointers. The accompanying disc comes in a one-off hand-collaged cover and gives you a solo track from each Wino Lodge dweller and a spun-out hand hold. Remain prescribed to the outer edge. Includes stickers, badge. Numbered edition of 50


K2 / Constrain / Fenian

(Oxen - OXEN016) CD $10.50 (Out-of-stock)

One solo track by each artist, plus a fourth three-way collaboration. The fluid and propulsive “Sarrogate For Mass Murder” is impossible to mistake for any artist but K2, with its shuddering-soaked layers of frenzy. Constrain delivers blasts of harsh electronics and static assault textures on “Recognizable Mask.” Electronics meet glass smash on Fenian’s “Phenomenology,” where unrepentant harsh noise careens across multiple lanes of blacktop. The brain-bending collaboration track “Spreading Particles Go Smokey” overflows with petulant dissonance and repeated lightning strikes of shuddering rubble blasts. A pristine surge assault of cut-up harsh noise protocol.


Rapid Decline

(Angry Island) CD + cassette $13.50

Kevin McEleney and Matt Purse aggregate their respective harsh noise incarnations for five tracks of up-close Airbus-fuselage impact disintegration and junk-sprung mutilated harsh noise. The cassette is a split c20, with Constrain’s “The Other Side of Hell” on one side, and Fenian’s “The Last Remains of Papal Superstition” on the other.


Horn Of The Goat

(Freek) Used CD $12.00 (Out-of-stock)

Odd collaboration from 1995 by drummer Stuart Dennison, Philip Best on oscillators, guitarist Gary Mundy, Matthew Bower on loops, and Masami Akita on EMS synth. Space-age phazer noise, trumpets, ambience, yelping female, saccharine dreck melting into top-shelf screech.


Teenage Nuremburg

(Pure) Used CD $15.00

1995 CD collecting six tracks of pure noise by Phillip Best from 1982-83, long before noise music became a genre. Shortwave radio, primitive delay and distortion effects, ranting and incoherent vocals about National Socialism, John Lennon samples, field recordings of Best’s unimpressed schoolmates.


Division and Combination

(Phage - PT199) CD $9.00 (Out-of-stock)

Industrial synth beats, guitar-based atmosphere and noise collage. Six new tracks and five tracks previously released on comps (Lágrimas De Miedo Nº10 – Subduction [Fear Drop 2003]; (si'ke-del'ik) Volume One [Psychform 2004]; The Walls Are Whispering... Volume III [EE Tapes 2005]; Peacemakers Inc [Invasions Wreck Chords 2009]; and Spiral Organ Of Corti [SSSM 1995]). Edition of 500.


The Cleansing

(PacRec) Used CD $4.00

A storm of crushing dead electronics by Thomas Garrison. Four tracks from a three-inch CDR on Frozen Empire Media, plus one each from the Bitmapping comp (Objective Subjective), the Field Tapes comp (Hospital), and the Praying to Bleed seven-inch (LSDO).


Oto Live

(Chocolate Monk - choc.244) CDR $9.00 (Out-of-stock)

Ninni Morgia and Silvia Kastel get delirious in the premier London jive joint and showcase the sound of catatonic Italy with all the quiver of a love sick robot. Their sound is always a mix of wieldy, tactile, smart and sleazy. Plenty of vocals, aquatic synth bloot and six-stringed gutter wail. Do your big ham-hock of a face a favor and let them pervade.


Bladderbags and Interludes

(Vanilla) Used CD $15.00 (Out-of-stock)

1992 collection of thirty minutes of remixed, remastered noise from Knees and Bones (Psychout 1985) and Body Samples (Dossier 1985), plus thirty-five minutes of previously unreleased material.


Pretties For You

(Enigma Retro) Used CD $8.00 (Out-of-stock)

Remastered reissue of their debut album (Straight 1969).



(Wet Paint Music - 3001) CD $10.00

Seven bursts of careful yet flamboyant free improvisation from 2002. Trumpeter Kelley blasts fast, high-register, staccato lines in contrast to Flaherty’s alto and tenor playing, which is less frantic than on The Hated Music. Similar feel, though: intense splashes of bombast sit next to pensive passages, pushing and pulling, jumping moods quickly and logically.


The Hated Music

(Ecstatic Yod - E#1B) Used CD $10.00 (Out-of-stock)

Flaherty’s impassioned overblowing and legato style recall Noah Howard and early-70s Joe McPhee, and his chord outlines, sheets-of-sound-era Coltrane. The Hated Music is raucous but well-crafted: the visceral and incendiary duo captures the spirit of the wildest, most hectic, most flamboyant free improvisation without blowing themselves into monotony.


Die On Me

(Koch) Used CD $25.00

Beat poetry recorded between 1959 and 2001, set to orchestral, jazz, and electronic music by Hal Willner. Guests include Ginsberg, Marianne Faithfull, Orlovsky, Studs Terkel, Liza Richardson.


Bible and Machine Gun

(Tochnit Aleph) Used CD $8.00 (Out-of-stock)

A 2001 trash-culture reaction — typical of Costes’s inflammatory and bonkers provocations — to the conflict with Israel and Palestine, which he compares to the horror tales of World War II.


Enfant Criminel

(Radio Bongout - LWA002) CD $6.00

Thirteen songs from 2001 about the innocent cruelty of children by this hard-to-assimilate French genius. After decades of performance, artwork, and homemade recordings, Costes is best known in his homeland for the numerous obscenity cases brought against him. It's not easy being a psychotic terrorist chanteur.


Hung By The Dick

(Nihilist) Used CD $3.00

Blazing casios and techno beats, spastic singing, sensitive thoughts and utter madness. Dare to explore, dissect and analyze this hefty collection of mental disorders vomited up like poisonous bile from an insane primate, jumping up and down, feverishly masturbating and throwing feces, racism, scatology, homophophia, homoeroticism, Nazi sentiments, misogyny and violent, megalomaniacal attitudes at anyone within range. From 2002


Les Oxyures

(Costes Cassette) Used CD $5.00 (Out-of-stock)

Twenty-one songs from 1987 about the worms living in your body. One of the earliest works by this infamous French performance art legend who smears the scatology of G.G. Allin, the depravity of Whitehouse, and the transgressivism of Karen Finley, across the relentless devotion to craftsmanship of Rick Wakeman.


Livres Les Blanches Aux Bicots

(Costes Cassette) Used CD $5.00

Twenty-five love songs from 1989 by a confused and crazy homosexual racist.


Lung Farts

(Costes Cassette) Used CD $5.00 (Out-of-stock)

Extreme abstract noise from 1989 with perverse and degrading sexual and social deviations. So many selling points it’s difficult to know where to start: not at all funny; little to no musical merit; every track is excruciatingly long; screaming; strong French accent. You should be ashamed you don’t already have this. Just go away.



(Costes Cassette) Used CD $5.00

Twenty songs from 1990 dedicated to (or directed at, most likely) a young girl. Probably underage. Vulgar, profane, explicit, atonal, interminable – the very stuff that makes life worth living.


Terminator Moule

(Costes Cassette) Used CD $10.00

Twenty-nine songs about the vagina from 1992. He does not care for it. You think you know awful. You don’t know awful.


Glass Brothers 1993-1994

(Bulb - BLB041) Used CD $8.00

Four tracks from their first seven-inch (Bulb 1993), four tracks from Silver Owl LP (Bulb / Nightcap 1993), plus seven previously unreleased tracks. This influential group wasn’t “really noise per se,” explains Marlon Magas, “But we were influenced by noise and had noise in our music (same with the no wave angle), which arguably set the tone for the well-documented Ann Arbor noise explosion that would follow (Wolf Eyes, Nautical Almanac, et al).”



(Fringecore) Used CD $5.00

The stunning compendium of the multi-instrumentalist’s amassed knowledge released in 2000 on a Belgian label (later reissued on Young God). “Whether Coulter plays violins, saxophones, the didgeridoo, ukulele, or singing, Intervention sounds as if it were from another world, where musical languages are interchangeable and complimentary rather than codified and restrictive….” On “Kinsnow Orchestra,” the former member of The Pogues and Test Dept. plays jew’s harp, krar, and one-string fiddle, and is accompanied by a sheet-like soundscape by Palix, a double bass, and guitar. “There is an Indian raga feel to the piece, but it has no time signature; it’s all microtones strung together in rows. On ‘How Can I Love Thee?’ Coulter’s soprano saxophone accompanies an over-the-phone reading by Iain Morris of Elizabeth Barrett Browning’s poem of the same name. Its darker-than-night feel gives the impression of a suicide note being left on an answering machine. When Coulter does a vocal in the tradition of the Tuvans and Tibetans meeting in the Himalayas while using a plectra violin and a piano for sonic architecture, it doesn’t tower above you, it floats through your body, leaving a longing for the sacred with the taste of the profane on your skin…. ‘Harmonik’ … is a dance tune created and executed in just intonation with Ghedalia Tazartes on vocal and accordion, with overtones from the sawing of the violin in its high register, just behind its own drone and the accordion pulsing with the organic percussion the same series of chords over and over again. The effect is not just hypnotic. It’s entrancing.” Phil Minton, Marc Ribot, and Steve Naïve “appear on the album’s astonishing closer, ‘Polaroids,’ a composition of such dynamic and textural wealth and modal invention it appears to defy musical logic while sounding so far inside Western musical systems as to be inherent in their origins.”


Flokka Kur

(Musik Atlach - MA011) CD $15.00

Collaborative “Shamanic music in urban context” and “sounds for non-Euclidean geometry landscapes,” which start with the noisy, mystical drones of the Finnish Uton and continues with the Argentinean Courtis’s manipulations and extra noise. Thematically linked by flowers, mixed with Spanish and Finnish language.



(Earbook) CD $8.00 (Out-of-stock)

(Earbook) Used CD $5.75 (Out-of-stock)

Jump-cuts abound on the second postal collaboration by Reynols spokesmodel and one of the charming lads from Volcano The Bear, shifting the album through contrasting moods with cinematic élan. Touches of the anarchic and exotic, such as mbira, hazy Mexican-style trumpet, and Hawaiian guitar on “King Pancreas,” bring to mind Volcano The Bear, while melodic piano cells add a Cluster-like charm. The deeper and darker “Punk Butter,” with its layered, bowed drones that progress to a dissonant swell, concludes with thundering mallet-struck drums, impossible cymbals, and frantic slide work. Edition of 200.


Las Sales Fundentes

(Om Discos - OM25) 2xCD $20.00

Irrepressible spirit and infinite curiosity regarding the properties of sound animates Courtis’s double-CD, which compiles unreleased pieces and tracks previously issued by labels all over the world. Several are drone works that describe a gradual movement along a static horizontal plain, yet are ever changing; Courtis unleashes multiple frequencies which interact through the vertical laminates, revealing a microtonal world full of drama and incident.


Live At Kanadian

(Public Eyesore - PE110) CD $15.00

(Public Eyesore - PE110) Used CD $7.50

A guitar duet by Courtis and Yamamoto with tons of delays and plaintive keyboard tones that grow increasingly harsh, climaxing in a steel mill din. On their silence-punched duet, Yoshimi and Courtis pile shrieks on top of layers of effects, guitars, and synths. The headache-inducing sustained keyboards and guitar banging on Yamamoto and Yoshimi’s track conjures up 1980s hair metal. The twenty-six-minute trio is the boldest and most aggressive thing here: commanding Yoshimi vocals, fuzzed-out guitar grinds, spacious metallic rhythms.


Unstringed Guitars & Cymbals

(Blossoming Noise) Used CD $8.00 (Out-of-stock)

“Waterfalls of humming and squealing, carnival organs, windchimes, and blown-glass swan calls [flow out of the Reynols global ambassador’s] tortured axe,” notes Startling Moniker. “Making excellent use of a cymbal … he fashions layers of shimmering washes, a perfect environment for [the] rising and falling guitar clarion to inhabit. Sealed



(Tzadik) Used CD $12.00

All Music Guide describes the beguiling performance here of compositions from Zorn’s second Masada book as an “entrancing, ingenious, and by all means exotic [recording — a melding of] traditional klezmer, symphonic cadenzas, and free improvisation….” Jaroslaw Bester’s witchy bayan signals “from some far-off place to Oleg Dyyak’s hand drums, Wojciech Front’s double bass…, the small army of strings [by] violinist Jaroslaw Tyrala and the DAFO String Quartet…, the seemingly random guttural vocals of Jorgos Skolias…, [and] Ireneusz Socha’s minimal electronics….” Bester’s arrangements push “the klezmer genre to its limit and then past it, letting in a flood of other musical approaches and ideas.” Sealed


Craniostomy Vol. One

(Butte County Free Music Society - BUFMS64) CDR $8.00 (Out-of-stock)

The founder of Tape Op magazine and Vomit Launch recorded and self-released numerous cassette-only albums throughout the ’80s, mostly passed around to friends and fellow noise-makers, consigned at local record shops, and traded with like-minded travelers through the mail. One reviewer wrote, “The echoing sounds, pulsating tones, and other space age noise creations melodically swim through the compositions, occasionally colliding in dissonant tones that pout over the rhythm, sometimes created by a fuzzy bass or Schroederesque toy piano rambling.” Six previously unreleased tracks plus thirteen selections from a half dozen self-released cassettes, with Steve Valin of Ziplok on three tracks, and Matt Mumper on the full version of “Beor’s Theme.” Cover art by Karen Constance. Edition of 100


Craniostomy Vol. Two

(Butte County Free Music Society - BUFMS90) CDR $8.00

Collaged, layered, and rebuilt selections from solo cassettes Fast Moving Shadows (1983), Fragment (1984), and Sad Poetry of Departure (1985). In these two brand new mixes with a combined length of 43 minutes, Crane sticks to the more droney and repetitive parts of his original recordings rather than the song-oriented material. You won't hear electronic gargle this determined outside of a modular egg dream, no sir. This is a robust cruise through a downpour of crud-blurred shards and pulsating piles of free-rock membranes scraped off the eyeballs of zombies. All of it was originally tracked via a pair of home stereo cassette recorders, years before Crane had access to a multitrack. Using a 9v battery-powered Radio Shack mixer, he played one deck while adding another layer of instrumentation and recording both on the second deck. “If I’d had the ability to edit, multitrack, and add more effects at the time,” he says, “I certainly would have presented my recordings in this manner back in the ’80s.” Instrumentation was Steve Valin’s fake P-Bass, his Hawaiian lap steel guitar, fake Gibson SG electric guitar, Mattel Synsonics Drums, Maestro Echoplex, Casio PT-10, Casio VL-1, Texas Instruments SN76477 Complex Sound Generator, Roland synth, Pearl AD-08 analog delay pedal, Jaymar toy piano, Boss DM-2 analog delay pedal, Dunlop Cry Baby wah pedal, PAiA EK-5 analog delay kit, homemade triple oscillator box, homemade mono keyboard oscillator box, guts from a toy piano, homemade passive mixer, 8-track cartridge recorder (for distortion), two Radio Shack Realistic 33-1080 Electret Microphones, and samples from The Soul of Mbira LP, 1973. Cover art by Karen Constance


Crank Sturgeon / Truck Van Rental

(De Hondenkoekjesfabriek) Used split CDR $5.00 (Out-of-stock)

Non-stop freaky collage of weird noises. Timeless stuff! With 12pp booklet and color photocopy cover, homemade obi stapled in Ziplok bag.


Dulles Unt Huso

(Chocolate Monk) CDR $7.00

According to Crank Sturgeon himself (or itself (your call)): We recall the tactic: trundle off to visit the Scottish branch of our international cult, make a pile of recordings using a handy dandy Aiwa cassette recorder featuring the retractable mic, remix the sounds a couple months later on the pink boombox at BBF in Harpsie, Maine; then, finally, dash it off into the mail, maybe circa 1997, and wait a few decades for it to re-emerge from the lichen curds of memetic cardboard and bubblewrap. Edition of 60


Get Somewhere Without Words

(Yeah!) Used CD $5.00

Melody always comes first with Flavio and Fabrizio Steinbach’s rough and direct instrumentals in an old-school indie style, without sacrificing intensity and energy. With bassist Christiane “Tepe” Baur and guest Chris Cacavas.



(Naive Hören + Sehen) Used CD $3.00

German Brit-pop by Flavio and Fabrizio Steinbach and company.


Everyone Gets What They Deserve

(Crippled Intellect Productions) Used CD $5.00 (Out-of-stock)

Deep and dense industrial soundscapes with lo-fi electronics on one horizon and Hafler Trio-esque media collage cut-ups on the other.


Stop Listening

(Groundfault) Used CD $5.00 (Out-of-stock)

Avant-garde minimal drone meets totally entrancing noise. Joe Colley shapes a slowly evolving piece and punctuates it with strange pollutions.


Suburbia Volume 1

(Xblend) Used CD $3.00

Two 30-min tracks of lawnmower. With astroturf glued to outside otherwise standard jewelbox. From 2000


Urban Assault Vol 1

(Xblend) Used CD $3.00

Urban sound effects: dog barking, party, lawn mowing, waves crashing, car alarm, phone ringing, baby crying, plane taking off, train, chainsaw, car revving, Kango hammer.


Geronticus Eremita

(Chocolate Monk - choc.445) CDR $6.25 (Out-of-stock)

Mysterious south-coast outsider tape wonk that tries to convince you that our normal waking consciousness — rational consciousness as we call it — is but one special type of consciousness, whilst all about it, parted from it by the flimsiest of screens, lie potential forms of consciousness entirely different. It’s made of “PsyOps anti-hypnosis tapes Thomas stole. No idea where,” according to Andy Bolus. “Featuring a cyborg Mrs. Mills soundalike. Used for unbrainwashing or ‘brain dirtying’.” Numbered edition of 40



(Chocolate Monk - choc.487) CDR $6.75

Two simple kids who learned their passive-aggressive vernacular at the corner shop — not the same lingo, however — dreamt of a bigger bookcase, both with the wickedness of da’ sweet doing hee haw. Neither of them were on the Malibu beach party’s guestlist. Not Pernod-hound Olivier Di Placido abusing a p-petrol broken guitar. Not positive-stepper Renato Grieco, the handlecrackradio-surfer with at least twenty voices in his n-notebook. Together they stitch their spaghetti eyebrows to the crest of a playground nag, bake leftover viennoiserie and sshmptufflin’ down the block. Something’s bending there. It’s clicking. It is boingin’. Edition of 60



(Hand-Held Recordings - HHR03) CD $12.00

J. Anthony, G. Darden, and R. Donne (Labradford, Spokane, ex-Aix Em Klemm) journey through simmering electronic, wide-screen vistas to seismic, swelling and undulating soundscapes. From the shifting sands-like textures of “Yoke” (replete with deeply moving, melancholic cello sifting through the ether) and “Streaming Wisdom” to the ever-so-slightly somber tones of “Dead Bird,” Homegoing is a wondrously thought-provoking, uplifting aural adventure. A technicolor travelogue of things possibly lost, possibly not.
 Available previously as a free digital download with Swedish Child seven-inch, (Flingco Sound System 2010), Hand-Held’s first-time-on-CD reissue has two unreleased bonus tracks, including a Pan American remix. Edition of 500. TEDIUM HOUSE BEST OF 2013


Cave Rock

(ESP-Disk') Used CD $15.00 (Out-of-stock)

This was the first issue on CD, from 1993 by ZYX, made from an LP needle-drop with side B (tracks five through eight here) being incorrectly mastered at 45 rpm.


Plummet Sound

(Chocolate Monk - choc.493) CDR $6.75

One-time neighbors in that hotbed of commie anarchism / hipster hops known as Portland, Oregon, Cody Brant and Bob Desaulniers started Crude Mirage back in 2016, meeting up for live jams of tape muck and sputter in Desaulniers’s swanky shack. Brant upped sticks to Philly before finally landing in Dougie Jones country for his sins. In the meantime, cassette tapes were exchanged via the post and finally big fat WAVs got wizzed via web until this hard punch of cut-up crud came to pass. A stinking diamond of collage whattheactualfuckery. Edition of 60


A Personal Hell

(Small Doses - dose47) 7-inch + CDR $10.50 (Out-of-stock)

Rarely is harsh noise done as well as when Crumer's in charge: deliberate, personal, and soul-shredding. Metal drags, scrapes, bangs, and creaks - blowing microphones, speakers, and your mind. Edition of 300 on brown/green vinyl.


Ottoman Black

(Hospital - HOS215) CD $13.75 (Out-of-stock)

Fresh off a breakthrough Future With No Chance LP (RRRecords), Jason Crumer returns with an album of midnight drones and true noise. Using powerfully clear electronics as a base for declarative noise bursts, Crumer manipulates the sounds with a resounding animosity. His mean streak yields to an array of silences over the course of the album but nothing here is not painful here, especially the quiet; the peaks are almost a relief. "Betrayal After Betrayal" stands out with its conversational quality, both the screams and the muffles, the physicality, while "Where Were You" is an actionist-influenced piece of torture. Ottoman Black is a stern and unforgiving universe. TEDIUM HOUSE BEST OF 2008


Home-Made Authority

(Delayed) Used CD $15.00

“Band leader Perry Webb’s marginal everyday appearance and rotund midriff speak to lifestyle habits he may or may not be endorsing on ‘A Day at My Job,’ one of the more bracing and succinct tracks,” according to All Music Guide. “He blathers semi-coherently over guitarist Dan Workman‘s reverbed metal leads, which suggest Eddie Van Halen on nitrous. Webb is that rarest of lead vocalists who sing just as he speaks — in a slurred delivery that implies either a state of semi-drunkenness or mild brain damage. But as the bluntly articulated disgust on Home-Made Authority attests, Webb is no bungling half-wit, and he’s as fed-up as he ever was. With such unnerving titles as “Ten Orgasms a Day,” “Feeling/Die,” and “Tunnel of Blood,” the 16 songs here are not for the emotionally queasy or the easily offended. On the requisite hidden bonus track, Webb admonishes the weak-willed to find sympathy and understanding elsewhere: “Run away from your feelings / Run away from your problems / But don’t come here.” Throughout the droning diatribe, Webb sounds like a weary visitor from another dimension transmitting through a broken speaker phone. From a musical standpoint, Culturcide’s voracious appetite for disassembled noise and found sounds, not to mention its steadfast adherence to the punk ethos, is more pronounced than ever, as is the band’s erratic attention span. Wildly uneven and borderline unlistenable in spots, Authority tackles heavy metal, hardcore, keyed-up trucker country, white-trash psychedelia and more, contaminating the mix with random profanity and a sick undercurrent of self-parody.” From 1998


Dedicated To Soledad Miranda

(At War With False Noise - ATWAR043) split CD $14.00 (Out-of-stock)

One massive, long and heavy dense drone track from Skullflower man Culver, and two tracks from Seppuku, famed for their antagonistic live shows (an ultra-heavy doom track and a power electronics attack).


Sugar Tip

(BloodLust! - B!121) CDR $12.00 (Out-of-stock)

Lee Stekoe (Skullflower, Inseminoid, Marzuraan) moves air around with sound in a fairly unsettling way, à la Damion Romero, though Stokoe's is far denser and more complex. Heavier than drone, a far cry from simple harsh noise, Sugar Tip is described by the label as "blackened psychedelic noise."



(Chocolate Monk - choc.559) CDR $6.75

An album about vacationing in the American northeast when the autumn trees are at or near their most psychedelic. Herein is incidental life, baked into new ambers: laughing strangers, enthusiastic tour guides, restaurants and airports, a fountain, two young twentysomethings on a street corner staging a lonely action for reproductive rights, the world’s most mesmerizing hotel refrigerator, and more besides. Edition of 60


Curfew Recordings

(Harbinger Sound - 110) CD $16.50 (Out-of-stock)

All-acoustic, unprocessed recordings from 1984 by John Smith (then publisher of Interchange magazine), Sean Dower (ex-Death Magazine 52, later of Bow Gamelan Ensemble) and John Mylotte (Metgumbnerbone). Bull roarers, spirit whistles, human thigh-bone trumpet, chimes, pipes, gongs, flutes, drums, projectiles, scraped and bowed glass, metal, bones, wood and other objects and materials recorded inside a ten-meter-by-twenty-six-meter steel-plated cylindrical structure once used for bitumen storage located at a disused industrial site on the river Tyne. Edition of 300.


Toto Angelica

(I Dischi Di Angelica) Used CD $10.00

Recordings of the label’s annual festivals held from 1991 to 2001, mixed into a new work of otherwise impossible combinations (e.g., Fred Frith with two Inuit women, Pavarotti with Mike Patton). This collage of samples collates vocal and instrumental passages and achieves a sense of urgency climaxes in a crescendo of glorious cacophony.


Nature Unveiled

(Durtro - DJ94) Used CD $12.00

Remastered 2008 reissue of the apocalyptic debut album (L.A.Y.L.A.H. 1984) by David Tibet, Steven Stapleton, John Balance, Annie Anxiety, Isidore Ducasse, John Fothergill, John Murphy, Nicholas Rogers, Roger Smith, and The Youth. Intense chanting, loops slowing down and speeding up, demented opera samples, eschatology, Crowley. Booklet with early photographs of the group members and original insert materials. Sealed.


The Grape That Takes No Prisoners

(Chocolate Monk - CHOC.358) CDR $8.00 (Out-of-stock)

Living legend Adam Bohman with fellow London Improv Orchestra member Adrian Northover and Sue Lynch, recorded at OXO studios in 2015. The trio combines the putter and wheeze of saxophones with home-made strings, objects, tapes and text cut-ups to great effect.


Heavy Days Are Here Again

(Atavistic - ALP207CD) CD $11.00

Pianist, composer, unsung hero of Dutch creative music, member of the first incarnation of the Willem Breuker Kollektief, Cuypers brings Han Bennink and Breuker back together after a somewhat fractious split. The reunited band toured, made a national TV appearance, and then recorded this killer studio LP (BVHAAST 1981).


Ethereal Stairwell Suite

(Mu) Used CD $7.00

“Dark ambient textures created with guitar and bass with a mellow late-night feel,” according to 1000 Flights. This 1998 disc lurks “in the dark while the rest of the world lies unconscious and unaware…. [A]n excursion into the more ancient and primal layers of the human mind…., kind of like wandering alone through a vast cavern with no light, the dark night, the abyss, in the dark north before the sun is reborn.” Cover art is hand-cut section of a painting with stenciled pray-paint text.


No One Bull Left Behind

(Krim Kram) CD $13.50

Belfast-born, Swiss-based artist, Stuart McCune expands upon techniques explored in previous releases, offering a wide palette of sounds and compositional approaches. The album opens with what Krim Kram’s grandmother, a lifelong harsh noise aficionado, would have described as an absolute banger, a roaring behemoth of joyous blasting, before subtly shifting gear to more experimental ground. There is a very singular musical quality to each of the tracks, each containing its own distinctive character. And while the album as a whole certainly falls within the harsh noise realm, the lines between noise and musicality are continuously blurred.



(Spoon) Used CD $6.00 (Out-of-stock)

"Boat-Woman-Song" and "Canaxis" were recorded in Cologne 1968, originally released 1969, remixed from the original tapes. The previously unreleased "Mellow Out" was Czukay's first piece of music performed for an audience in 1960 on the German radio, cut into vinyl by a small recording studio straight from the broadcast.


Eis 9

(Grob) Used CD $5.00

Acoustic-meets-electronic-meets-abstract sound by multi-instrumentalist Dafeldecker and electronic musician Hegenbart, who emphasize sound over energy and introspection over panache. Soft hits on a gong, a few notes of prepared guitar, minimal percussion, non-intrusive electronic treatments, and carefully selected samples all come together in the duo’s post-minimal free improv from 2001.


Pterodactyl Bunker

(Chocolate Monk - choc.451) CDR $8.00

For twenty years Dai Coelacanth has been masquerading as a Graveyard Alligator, or a Radio Alligator. Hanging around bus stops. Shouting the odds. Hear him now: “Cannibal King and her friend The Colonel shook loose in an imaginary dream. Whatever the situation, there could be no suspension of broadcast. Suzi handed out nose-plugs. Don’t touch my legs, you creep. I don’t have to tell you anything.” Don’t cheat yourself by not listening to Pterodactyl Bunker in its entirety. Cheaters never win. Numbered edition of 60


Lung Tree

(ReR Megacorp) Used CD $4.00

Nine rather short tracks from 2005 by three West Coast improvisors, each one exploring a different mood within the realm of quiet contemplation. Dalaba and Dempster weave sinuous, slightly sad lines, occasionally engaging in spontaneous two-part skirmishes, while Rieman’s modified piano seduces the ear with unusual plink-plonking. “The Dock-Red Ice” and its sparse landscape, the quiet “Bed Shadows into Sleep,” and the dirge “Morning Light Through Smokestacks” stand out as particularly strong self-contained pieces, but each track brings its share of surprising sounds and pleasant ideas to the table.



(Fragment Factory - FRAG31) CD $17.25 (Out-of-stock)

Sound transformed from data transmitted via wireless electroencephalograph headsets worn by the performers, received by sound engineers and processed before emerging through eight speakers surrounding the audience. Performing live without prior tests or rehearsals, each member of the quartet develops and gains control over his own brainwave patterns by listening to the results of his mental activity and changing electric impulses of the brain, thereby sculpting the sound through their minds alone. Edition of 300


Sounds of Sacred Places

(Kye - KYE13) CD $15.00 (Out-of-stock)

"The presence of water and an enormous monolith in the midst of the vast desert plain is given as an explanation [for the] magical appeal [of] the 'Shadowgiving Mountain' of the Aborigines," writes the artist, "Better known under its western name ... Ayers Rock (Australia)...." [T]heir ancestors, the 'Dreamtime People' ... 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." Kye's CD reissue of Sounds of Sacred Places (Igloo 1987) includes a 16-page booklet of photos and notes. Remastered from the original tapes by Darge. Edition of 500.



(Mom Costume) CDR $7.50 (Out-of-stock)

A single twenty-two-and-a-half minute track by the master of externalizing the inner maelstrom. Edition of 30.



(Mom Costume - 016) CDR $6.00 (Out-of-stock)

Cassettes, mics, domestic and field recordings.



(Throne Heap) CD $10.00 (Out-of-stock)

Lo-fi basement surrealism, domestic and field recordings, tapes, electronics, and radio. Recorded 2012 -2019.


Moral Injury

(Mom Costume - 017) CDR $6.00 (Out-of-stock)

Metal, piano, tapes, keyboard, records, domestic and field recordings.


Poverty Of Will

(Chocolate Monk - choc.435) Magazine + CDR $15.00 (Out-of-stock)

With many Darksmith recordings, one’s imagination doesn’t immediately conjure a person creating or manipulating sound, but rather drifts toward visions of depopulated areas getting damaged by alien weather events — choked by toxic dust, pelted by freeze-dried rocks of ooze, ruptured by shrieking subterranean trauma. Human agency, when its presence is unmistakable, occupies a position of forced abandonment, like cinematic ghosts unwilling to quit the material plane or an individual dehumanized by efficient banality. Through grit-flecked remnants of grainy field recordings from environs luscious and bleak. Weighed down by cackles and croaks blurred by humidity and contact mics. Tangled in rusted-over playgrounds dominated by geese and tumors. Molested by magnetic tape instability, truncated fidelity, and corrupted modulation fur. As the companion book demonstrates, the lad has an eye for evoking from bland and wholesome portraiture the incipient horror unknowingly embedded within. Darksmith’s stark, high-contrast line art dispenses with gradation, a nice echo of the flatness of the subjects’ lives immortalized by disposable time-killing entertainment magazines ubiquitous throughout medical waiting rooms. 44 pages.



(Mom Costume - 015) split CDR $6.00 (Out-of-stock)

Two pieces each to unearth. Darksmith Of California keeps the hiss and confusion to a maximum on “Jumbo On The Floor” and “Jumbo Up The Stairs” while Nyoukis Of West Lothian digs deep with walkman compositions “Midge Down The Hole” and “Midge In The Gutter.” Edition of 60.


Hapax (Legomenon)

(Phage - PT178) Used CD $9.75

Three long tracks that are re-compositions of live recordings made between 2003 and 2011 best thought of as field recordings of art instillations: sounds generated by everyday objects manipulated by electric motors or applied mechanics and then amplified.


We Were Where

(Chocolate Monk) CDR $8.00

1990s primitive SoundEdit collage alongside the two-man live jam band, supplemented with leftover interview snippets from an oral history tome about New York City graffiti writers and a new live acapella lament. Edition of 60


Enigma, The Complete Blue Note Sessions, 1952-1953

(Birdland) Used CD $8.00

Two sessions, both from WOR Studios — one with JJ. Johnson, Jackie McLean, Gil Goggins, Oscar Pettiford, and Kenny Clarke; the other with Jimmy Heath replacing McLean, Percy Heath instead of Pettiford, and Art Blakey taking over for Clarke. In heavy, hardback-style digipak, with brief liner notes by Matteo Piazza. From Italy


Ewige Blumenkraft

(Holy Mountain) Used CD $10.00

Six tracks (including an epic, eighteen-minute alpha state called “Plum Village”) by occasional Faust guitarist Steven Wray Lobdell. A new psychedelic chapter in the little known tradition of Karnatic rock (other entries being Ustad B. Khan, Clarke Hutchinson Band, and Sun City Girls). Sealed


The Clingfilm Survival Diaries

(Chocolate Monk - choc.496) CDR $6.75

Karl M V Waugh doesn’t let his day job as software developer sour him —far from it. Big Hairy has used his work-from-home schedule to put in the obligatory Zoom meetings, do the minimum amount required, and then set about developing his own noise-making apps. Priorities, people! One of which is a crude looper with manual varispeed control per loop with a very tactile approach, albeit a tad chaotic, like Pierre-André Arcand’s Macchina Ricordi for the Tik Tok generation. This album is made up of four shards from improvisations where Waugh runs various live sources into his phone and from phone to handheld recorder. All via the lens of exhaustion, parenthood, home working, and lockdown 2020. Edition of 60


A Sound Atlas Of Venereology

(Trash Ritual - TRASH054) Used CD $13.00

The second installment of the Club Moral archive series is DDV's interpretation of Anthony Wisdom's A Colour Atlas Of Venereology (Wolfe Medical Atlases 1973). All tracks were performed on Wasp and Korg MS50 synths, and recorded at Club Moral in 1982 on a plain stereo cassette deck with no additional remixing or mastering. Samples from Andrezej Zulawski's 1981 movie Possession were used; lyrics from the Colour Atlas, "Haut Und Geschlechtskrankheiten IV," "Visites Cliniques," and "Revue de Dermatologie" are recited in DDV's typically deranged, animal-like fashion. Almost all material here was never performed live nor featured on other Club Moral related recordings in any other form. Raw and offensive, with all original materials reprinted in a sixteen-page booklet. A classic piece of industrial history.


Exorcist Blues

(Chocolate Monk - choc.585) CDR $8.00

An invitation to take a deep dive into the intergalactic mycelial network of Teonanacatl — the sacrament of Teotl — the totality, the pulsing, undulating wave of Time ~ Space ~ Becoming ~ Unbecoming. The two a cappella vocal songs were received by ancestors while wearing an upside down trash can mask in rural Scandinavia. The more electro-acoustic pieces do their best to replicate some of the various sounds received during the Ceremony of the Deified Heart in which one BECOMES the feathered serpent Quetzalcoatl. Sacred mushrooms optional. Edition of 60


Automates Ki

(Plastique) Used CD $5.00

Montreal-based musician and performance artist Maxime Rioux produces compositions played on homemade musical instruments (often specific to a single live performance, usually string or percussion) that are not played directly by a musician. All of the music on this recording was improvised on bottles, boxes, lamps and, everyday objects, springs, sticks, cymbals, bells, cans, drums and other pieces of percussion by Rioux’s Automates and human musicians.



(Bôłt - BRPOP05) CD $14.00

Voice, melodies and adaptation by Jean-Louis Costes, premiered at The Birth Of Noise out of the Spirit of XVIII Century Music series accompanying the exhibition Ladies With A Doggy And An Ape. Farce and horror. Volume five in the label’s Populista series.


Torn Tongue

(Absurd) Used CD $10.00

The recorded voice of Kelly Sams manipulated by computer and effects in a dense six-track collage. Packaged in a 6.75-inch round, three-panel cardboard cover. Edition of 160


Maximum Dose

(Pure) Used CD $5.00 (Out-of-stock)

Not much compares to Gabriele Giuliani’s dense, snarling loop-based low end and wild-hell aggressiveness. Recorded and mixed in July 1996 at the Zero Factory.


The Damned

(Starlight Furniture Company) CD $5.00

SPECIAL SALE PRICE FOR A LIMITED TIME, to coincide with Trapdoor Fucking Exit, a series of performances taking place inside Helga Fassonaki’s Installation Touching Them Touching Me – A Love Song for the Dead C, at Human Resources Gallery April 20 – 22 in Los Angeles. (more info here: http://helgafassonaki.net/) Nasty rock screech that sacrifices not an ounce of the grace and finesse required of tamers of gigantic, wild sandworms. The Dead C’s improvised noise rock verges on disintegration with a trademark hazy disorientation, invariably evoking hypnotic and heavy moods. But The Dead C are no bummer. They have always sought liberation from shallow and easy rock conventions; amid the murk of cardboard box guitars, underwater vocals, and ramshackle drumming, a new consciousness emerges. The recognizable, sullen strumming, mumbling and lyrical ennui of Michael Morley, anchored by percussionist Robbie Yeats and punctuated by Bruce Russell’s atonal bursts coalesce in a solid front that mocks the efforts of schmaltz-peddling hacks.


White House

(Siltbreeze - SB40) CD $10.00

“The off-kilter tones and noises on ‘The New Snow’ sound a bit like Perry and Kingsley going nuts, at least here and there,” observes our sous chef at All Music Guide, “While the usual noise, fuzz and detuned strangeness skips around the mix. Then there’s the minute-long ‘Aime To Prochain Comme Toi Meme’, which could be anything from minimal guitars to kalimba…. [T]he majestic ‘Bitcher,’ with a just-epic enough swoop to it, [sticks] to a big and bold sound along with some heavy-duty flanging throughout on the lead guitar….” The album concludes “with one of the band’s best ever songs — the steady, addictively paced, surging ‘Outside’.”



(Phase!) LP + CD $29.25

Guitar and voice through minimal effects to create instant songs, psychedelic collages and direct, stripped-down bursts by Panagiotis Spoulos. Partially improvised but fully psychographic, Gainer has anthropocentric characteristics and lo-fi character, and flirts with punk, bedroom pop and analog noise. Vinyl is 180-gram. Edition of 250. Check out the video for “Float” here: http://youtu.be/rvdWSa9rHQY?list=UUPqvcMshhRs0X8JZ6ccM_jg


Voiceprints & Aircuts: Sound Poetry By Other Means

(Adhuman) CD $14.00

From a distinctly leftfield position relative to the gnarled, textural tape noise works of Nothing New Under the Sun cassette (Gift of Music, 2022), that guy from Melkings, Zwangsbeglucktertum, and Association Copy offers an obscure, bloody-minded take on Sound Poetry and voice-based sound art. “According to Enzo Minarelli, the Italian pioneer of Polypoetry,” says DeAngelo, “Every poet needs a theory. With pince-nez tilted towards nothing less than the failure of the avant garde to realize itself, Sound Poetry By Other Means utilizes the strategies of audio poems circa-mid 20th century as a vehicle for this virtual history tour. The various deficiencies, missteps, gear fuck ups and general atmosphere of ‘Why?’ all bleed into the smudged margins to reinforce the cart-before-horse nature of producing art indifferent to, nay, incapable of commodification within a cratering Marketplace of Ideas. While the message is by no means optimistic it is voiced in an unaffected, at times even joyous register befitting the paradox of post-End of History déclassé unfreedom. Although intended to be taken as a whole, the disc provides plenty of meat in the purely sonic form of alienation for audience members antagonistic to such prescriptive formalities.”



(Present Time Exercises - PTECD1) CD $18.00

The entirety of Deas's colossal work for 12-string guitar spanning over 70 minutes in four parts. Exploring the sonic possibilities of guitar through a legion of extended techniques, the piece investigates the space between composition and free improvisation, moving between melodic sections reminiscent of Eastern folk music, vicious free improvisations and gradual minimalist transformations. Edition of 1000 copies.


Death & Beauty Foundation

(Somnimage - som018) CD $15.00 (Out-of-stock)

Val Denham and Andrew M. McKenzie's (Hafler Trio) 1982 avant garde masterpiece for the bewildered; that's right, the legendary Darlington tapes available after 26 years. “One long collage,” observes Vital Weekly, “The main instrument at work here is the voice … best described … as sound poetry, with a melodic touch…. [G]uitars, the good old Casio VL-tone 1 and several tape editing techniques (speeding up of sound, slowing down) [are] played rather naively and free.” Remastered, frightening and beautiful. The strangest album ever recorded.


Live @ Leeds 4.15.00

(Nihilist) Used CD $10.00

Uncompromising twenty-three-minute power-industrial attack. Silkscreened all-black jewelbox. Includes Fratricide video.


Live At Karachi

(213 Records) Used LP + CD $13.00 (Out-of-stock)

Thirteen studio tracks by this French band who arrived at postpunk- and no-wave-influenced noise rock via the straightforward grind and pound of Jesus Lizard. Occasional dub elements, hints of expansive skronk, and sharp tones with ounces of sax and beats pepper their tried-and-true head-on punkers. Overall, real solid sleazeball shit here. Edition of 300.


Ne Plus Ultra

(Pure) Used CD $6.00 (Out-of-stock)

Nine unrelenting tracks, performed and recorded at Not An Exit, 1997. Sci-fi horror and spooky, unearthly soundscapes, layer upon layer of harsh, swirling atmospheres, volcanic eruptions, ear-splitting whistles, garbled shortwave static, and distorted voices.


The Ready Made Boomerang

(New Albion) Used CD $8.00 (Out-of-stock)

The title track is a John Cage mesostic written for Pauline Oliveros, Stuart Dempster and Panaiotis. Guests include vocalist Thomasa Eckert and William O. Smith on clarinet, recorded at Fort Warden Cistern in 1990, where balloons are exploded, vocals are suspended, percussive stuff is dropped, and instrumental sounds are lovely and mysterious.



(Menlo Park) CD $7.00

The fourth full-length album from San Francisco masters of “quiet-loud” experimental rock cacophony. A fifteen-track juxtaposition of extremes and hybrids that push the limits of beauty and power, as the band moves from thermonuclear sound assault to moments of calm. Spectacular drumming, flesh-hacking guitar, roaring bass, and nerve-tingling female vocals.



(Kill Rock Stars) Used CD $6.00

“[T]he band’s debut alternated actual melodies with meandering bits of downtown-style guitar noise, [but] everything on Holdypaws could easily be classified as a ‘song’ …, [sounding] very much like a less-refined Blonde Redhead. This development represents a steady progression toward relative normality…. Deerhoof’s songs universally portray a surreal, nightmarish place seen through the eyes of a child, as if Glenn Branca composed a soundtrack to ‘Where the Wild Things Are.’ Songs like ‘Queen of the Lake,’ ‘The Moose’s Daughter’ and ‘Crow’ describe an interior landscape populated by shadowy, half-beast mutants…. There are no songs about ‘relationships’ or anything else vaguely connected to the sane world’s agreement about what constitutes reality; this is the stuff of dreams, and as such, they are effectively creepy and strange.” From 1999


Live "Koalamagic"

(Dual Plover) Used CD $5.00

No-pop stunners recorded between 1996 and 2000.


The Man, The King, The Girl

(Kill Rock Stars) Used CD $5.00

The early recordings on this disc by Rob Fisk (bass and guitar) Greg Saunier (drums), and Satomi Matsuzaki (vocals) took about two years to compile from zillions of practice tapes. There’s a conscious moving away from their improvisatory noise roots here, with a focus on what to the group sounds the most catchy, hi-fi, and powerful.


The Night I Met Maria C

(Locust) Used CD $4.00

The fifth volume in the Met Life Location Sound series from 2003 is an “aural take on waste and getting wasted,” accomplished by pairing a field recording of Seattle City Dump Wallingford Transfer Station, unedited and complete from start to finish, with the title track, which was “aggressively edited from a single evening of drunken prowling.”


Unreliable Narrative

(Chocolate Monk - choc.420) CDR $8.00

Cody Brant and Shane McDonell bust out their warped musical minds for this doozy. Strung-out toe-tapping tunes and creeped-out paranoid shuffle to make your third eye twitch. Imagine the Puzzle Punks got slipped a roofie by a young, pimple-faced Rick Potts. Kill voice to skull. Sometimes good things fall apart, putting the pieces back together. Kill voice to skull. Chewing off the insides of your cheeks. Very suspicious. Numbered edition of 60


By The Malice Of The Evil... Death Comes! Vol 1

(At War With False Noise - ATWAR094) split CD $10.50 (Out-of-stock)

Three young Finnish sludge bands who take their cues from Eyehategod, Iron Monkey, Grief and, of course, Black Sabbath, putting their own spin on heavy, feedback-laden and bluesy dirges. Edition of 500.


Deep Listening

(New Albion) Used CD $42.00

“Recorded in a massive underground cistern in Washington State with a 45-second reverberation time, the recordings are defined by a surreal smearing of [the] tones [of accordion, voice, conch shell, metal pieces, trombone, didjeridu, garden hose, whistling, and metal pipes]. Like much of Oliveros’s and Dempster’s work around this time, most of these improvisations … focus [on] extended drones, with Dempster’s trombone and didjeridu providing the backbone. Far from evoking any sort of stasis, these tones swell and resonate actively throughout the space, and the effect is hallucinatory. Melodic lines intertwine as they ripple and decay, and momentarily raised voices seemingly emerge from within the insistent, omnipresent root…. In a contemporary context, Deep Listening still sounds revolutionary. While drone, minimalism, and ambient music have proliferated in the intervening decades, few albums in those fields are as rich texturally and harmonically or have such clarity of vision. The album remains vital largely because it embodies Oliveros’s ideas, which have themselves resurfaced as a corrective to the sinister undercurrents of social and technological advancement.” From 1989. Manufactured at Disque Americ.


Grimly Forming

(Chocolate Monk - choc.515) Magazine + CDR $15.00

Yet more sweet eye-and-ear yolk in the Lunk Headed Library series and further recordings from the under-documented tape-mangling sound wizard whose use of tapes, sampler, electronics, phone recordings, contact mics, and objects render “a fairly accurate … depiction of my brain turning to mush over the last eight months or so.” The 20-page A5 color booklet is a selection of collages made between 2015 and 2021. Nothing soothes mush brain like magazines, scissors, paper, and glue stick. Balance, dear Bozos. Numbered edition of 69



(Works Fatagaga) Used CD $15.00

Three tracks of fractured noise guitar and electronics. Spray-paint stencil lettering on jewel box with glued die-cut insert and traycard. Edition of 250. Visible crack on front of jewel box.



(Ecstatic Yod) Used 3xCD $50.00 (Out-of-stock)

Early lo-fi vintage recordings by Mike Kelley, Cary Loren, Niagara and Jim Shaw when they lived and performed at God’s Oasis in Ann Arbor, Michigan. The almost-too-good-to-be-true cream of the crop of pre-punk American Midwest weirdness.


Immortal Gods

(Majora) Used CD $15.00 (Out-of-stock)

1998 reissue of the debut album (Pan Records 1982) by one of the key fixtures in the Phoenix, Arizona, scene of the early ’80s. This high-water mark from within the exotic, cult, folk, beat, punk, and outsider rock musical canon was recorded with Sun City Girls’ Alan Bishop and Charles Gocher; Dan and Mary Clark (of The Feederz and Victory Acres); Paris 1942’s Jesse Srgoncik; and Brandon and Audrey Curtis. A better backing band for realizing a hot tango with Detroit’s African / voodoo / Hitchcock vision can’t be imagined. Sealed


Hardcore Vol. 1

(Rykodisc) Used CD $18.00 (Out-of-stock)

Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, originally released in 1990, Devo’s pre-punk conceptual art project strips rock ’n’ roll bare of its collective cool and jerks back into propaganda and radical philosophy fit for post-modern man. Noisy synth, strangled guitar chops, grinding, pent-up energy and a primitive rhythmic thud power early Devo, beneath which are threaded lyrical themes of post-McCarthy paranoia, middle-class ephemera and lack of sex. Ten-page book of lyrics and pictures. Drilled promo.


Frankenstein Symphony

(Asphodel) Used CD $5.00

Stitched together fragments of other musical pieces, woven together into a coherent, workable whole, from friends and former students who gave their blessings to be part of the electroacoustic / acousmatic pioneer’s experimental venture from the late 1990s, the 64-minute piece consists of layers of tape manipulations and musique concrète, with reassuring hints of traditional harmony and melody appearing in the middle distance and then slowly transforming into something entirely different.



(Tzadik - TZ7050) Used CD $12.00

1999 reissue of a “strange, hyperactive musical slide show” made of sampling collages, originally self-released (Goodbyeboozy 1995) by this Italian neo-primitive composer. Combining modern technology with concepts inspired by John Oswald and mystery tapes, Di Gregorio chops, mixes, and blends the known and unknown. Sealed with a promo drill mark on the jewelbox.


[Retro 01]

(Eden Gully) Used CDR $5.00 (Out-of-stock)

Three tracks from 2001, recorded during Dial’s only tour of New Zealand’s north island. A roaring media culture stew made from radio and shortwave transmissions.



(Scratch And Sniff Entertainment - SNSE073) CD $11.00 (Out-of-stock)

The debut CD from Diaphragm is an amalgamation of dark droning machinery, choppy shuddering, and static-laden buzz and whir augmented by a rusted mountain of ancient oscillators. These are exacting compositions inspired by the grayed-out hulks of broken concrete and broken razor wire that litter the landscape of the artist's surroundings. The sounds on Sublimation may appeal to listeners of Speculum Fight, Iovae, Tom Grimley. Diaphragm is the project of New York native Nicholas Pace. He is part of a core group of diverse young artists that include Halflings, Cathode Terror Secretion, Ahlzagailzehguh, Pharmakon, and others, that are providing for some serious and difficult listening in early 21st century NYC.


Pacta Daemoniarum / Crasse

(Hospital - HOS232) Used 2xCD $5.00

Diapsiquir's two remarkable double-albums on End All Life warrant the term avant-garde, without regard for blueprints, a rare honor. An obscure and controversial French outlaw black metal band known for their decadent activities, this 2xCD contains their first two demos -- Pacta Daemoniarum from 1999 and Crasse from 2001 -- both of which spit twisted, vociferous, manic vocals over complex, orchestrated, highly distorted chaotic metal. It never rests and is fully absorbed in the savage, sexually violent, drug-laden nihilism of French subculture.



(Hanson - HN211) CD $12.00 (Out-of-stock)

Total misery by Robert Turman (ex-NON, Z.O. Voider) and a former Wolf Eye, recorded in January 2009 during a horrible Ohio snowstorm. Dilloway on synthesizer and tape delays, Turman on tapes and effects, both frozen and stuck in the snow. Very minimal, very slow, very cold.


Dropout Elements

(Chocolate Monk - CHOC.328) Cassette $8.00 (Out-of-stock)

(Chocolate Monk - CHOC.328) CDR $7.00 (Out-of-stock)

Dilloway turns tapes of Nyoukis singing, playing violin, pogo stick and other junk into four tracks of heavy loop madness. Saltier than a mumified German sailor. Edition of 50


I Drink Your Skin

(Hanson - HN260) CD $12.00 (Out-of-stock)

Dilloway messes with Renaissance and noise 8-track loops, Drumm spills coffee on a mini-disc. One track by each using sound sources by the other. “A major convergence of two of the most relevant midwestern freenoise artists of the day,” declares Earpeace, “Get it or you suck. You suck anyway.” Previously released on cassette by American Tapes in 2001. Edition of 500


Modern Jester

(Hanson - HN250) 2xLP $24.00 (Out-of-stock)

(Hanson - HN250) CD $13.00 (Out-of-stock)

With the exception of "Eight Cut Scars," this is completely different from the cassette of the same name, though every second does contain subliminal messages (some things are just too good to let go of). "Hyper-focused [and] monolithic," according to All Music Guide, "harrowing, but strangely beautiful," while East Village Radio describes it as hallucinatory and sprawling. LP in silkscreened gatefold jacket, edition of 500. CD


Shining Path

(Melon Expander) CD $13.50 (Out-of-stock)

Live sampling pioneer Thomas Dimuzio and tape-loop maestro Joseph Hammer (Solid Eye) swallow audiences with dark explorations of sound. They specialize in a symbiotic sound process as they continually loop, reloop, sample and resample within an interactive feedback circuit linking both artists. Nearly every aspect of Dimmer's live performances grace The Shining Path, yet this is not a live document, but rather a pastiche and reworking of everything Dimmer has accomplished in their years of performing as a duo. Recursive circuits meld into rich and seething sonic masses with subtle waves pulsing sound within sound. The Shining Path suspends the listener over dim and dank planes on an aural trip spanning and scanning from a celestial vista.


Pink Cow

(Chocolate Monk - choc.510) Magazine + CDR $15.00 (Out-of-stock)

Master loopist and audio hypnotist Joseph Hammer and loopy sonic magician Rick Potts are the “antique brass holes” who have been plundering phonics since the pre-MIDI era of the LA Free Music heyday. Their chunks of discombobulated ear worm wax are still circling around heads like stars and birdies after a mallet blow to the frontal lobe. This slice of kaleidoscopic audio fruitcake was recently discovered in their jewel-encrusted archive treasure chest. Milk the Pink Cow’s psychoactive soda pop and go for a swirl with floating fragments of dolled-up cartoonery and prismatic rigamarole bouncing off rubber walls of repurposed Exotica malarkey in a sauce of dreamy semi-gelatinous electro-stoolage. The eye-dazzling 16-page full-color booklet of Potts’s tainted surrealism is included for purusal while submerged in the Dinosaurs’ sound swamp.


Return of the Disco-Aristo-Sarcophagus

(Melon Expander - ME006) CD $13.50 (Out-of-stock)

Since 1983's self-titled cassette release on The Solid Eye label, Rick Potts and Joseph Hammer have delicately dispensed laughing-gas-balloon-animals-go-pop music as Dinosaurs With Horns. This cryptic LAFMS-related group occurred during and in between periods of playing with Points of Friction, Steaming Coils and Solid Eye. Spencer Savage and/or Tom Recchion played with them in the mid-'80s and continue intermittently since. A smattering of Dinosaurs With Horns material appears on various compilations and limited cassettes and CDRs, but Return of the Disco-Aristo-Sarcophagus is the first full length CD, recorded November 2000 on KXLU and January 2007 at the LACE Gallery in Hollywood. It is the perfect soundtrack to a snorkeling dream or stumbling down the stairs with berries and cream. Obviously. TEDIUM HOUSE BEST OF 2008.


Peak To Peak

(PSF) Used CD $12.00 (Out-of-stock)

“Electric strings…, saxophones, electronics, and samples move with unexpected ease from meditative passages to intense blow-outs to free scatter,” says Eddie Flowers about this 1994 disc, “The wash of precision rumble and sound-tweaking that surrounds everything creates chaos from an intensely ordered technology.”


Dead Souls

(Chocolate Monk - choc.226) CDR $9.00

Violin feedback bloom from Mike Collino, whose spirit of scrape triturates tiny minds. Suitably ajar tape swashbuckle with dollops of bent spooned electronic glup and soured bass harmonic preserve whispers “let’s get mysterious.” Doglady truly represents the crude with lots of style, like a spleen tarantula running roughways, educating the peasants. Let the muscle be heard.


Future For The Body

(Chocolate Monk - CHOC.361) CDR $8.00 (Out-of-stock)

Further nocturnal transmissions from Mike Collino, who eases the burbling in your sick head with a collection of short pieces that utilize electronics, indefinable strings, piano, violin, electrical hum, modified tape / voice, music boxes and who knows what else. Eerie and beautiful as ever. “These are closed systems,” says Collino. “Inexplicable failures and therefore shareable. I’m able to make it and keep it because I don't understand it.” Numbered edition of 60


Try To Put Your Hand Right Through Me

(Chocolate Monk - CHOC.269) CDR $8.00 (Out-of-stock)

LAFMS-esque gloop by Southampton’s finest duo of non-musicians cranking out disorienting sound collage. Broken instruments, dictaphone wheeze, mouth gurgles, electronic puff and pant. Cover art by Miss Constance.



(Chocolate Monk - choc.577) CDR $8.00

These Southampton sound gibberers have brought many a face-bursting smile to those lucky enough to see and hear them in all their live glory. Life affirmation through noises and prance is their bread and butter, while recordings have been scant over the years. Be grateful that Chocolate Monk is here to present this egg of Fluxus-level blubber and bent class. All hail that damn goose and these noise joy masters. Edition of 60


Human Interface

(Dual Plover - DP42) CD $16.00 (Out-of-stock)

Dokaka is a DIY human synthesizer: just a man and his voice. No effects, no auto-tune, no edits, no sampling. Not really a true beatboxer (he multitracks his vocals sometimes as many as 20 passes per song), he began vocally mimicking music while humming along to the television as a child and by the age of six was making tapes of his efforts. The bass-player missed a practice session by the band in which Dokaka played drums as a teenager, and he filled in by humming the bassline. The singer was so taken with his vocal ability he encouraged him to record more on his own. His vocal-only interpretations of Led Zeppelin, Slayer, The Rolling Stones, and many others gained cult status when his mp3s went viral (and attracted the attention of Björk, who incorporated his unusual skill into her 2004 Medúlla album). Available for the first time outside of Japan, Human Interface includes 17 hours of vocal insanity multi-tracked into 88 muttered micro-tracks.


Take Me To Cape Town (Mary Visits Elisabeth)

(Research Laboratories) CDR $8.00

“Bert Kaempfert’s foot tapping easy listening classic “Afrikaan Beat,” notes our friend at Idwal Fisher is “the backbone of a Basinskie-esque” opening track on this disc by Bristol-based musician Richard Beale (of Head in the 1980s and Receiver in the ’90s), “slowed down to less than half speed and drowned in a lethargic steel mill rhythm…. A lava-lamp stoner trip…. The other three tracks move in a similar fashion —underwater communications, submerged wanderings, Eraserhead murk and drones, ultra tape sludge extraordinaire.” Edition of 20


Dos D’ânes

(Ronda) Used CD $8.00

Hacking away on a homemade system and twisted electronic tools, eRikm and Noetinger gleefully activate levers, tactile screens and joysticks with the utmost concentration. Doneda makes the air shake with acoustic vibrations. Together, they give free rein to their audio tricks, buzzing, interference, constructive feedback, electro-shocks, concrete slipping, hazed quotes, white noise, saturations and incisive scratches.



(Monotype - MONO043) CD $13.50

Self-described by the improvisers as “the wild horseman of sound,” Razine slides, breaks rhythmical lines, transforms textures suddenly, and suggests the ring of the “Trumpet of the Martians,” caught through utopian poetry by visionary and transreason linguist Velimir Khlebnikov, inspirer of futurians, serialism, surrealism and lettrism.


Chuncked And Muddled

(Bloat) Used CD $8.00

1993 debut from Tuscon’s spastic lo-fi gut-bucket garage blues duo. The wicked growl of guitarist / singer Bob Log III on acoustic and electric slide homemade dobro approximates an electrocuted McDowell on amphetamines, mixed with AC/DC. Thermos Malling’s unique microphone setups distort vocals via vacuum cleaner hose or two hairdryers, whatever it takes. For percussion, there’s a Budweiser box, a tin bucket, an old film reel, an iron shopping basket used as a hi-hat, other found objects. In white hinged box, with cover glued onto front and inside, rubberstamped. Includes patch. Autographed



(Corpus Hermeticum) Used CD $8.00 (Out-of-stock)

With guitars, bass, synthesizer, organ, and drums, Kim Pieters, Sara Stephenson, Adria Morgan and Andre Richardson elegantly roll through clouds of blissful free improv noise, angular guitar abstractions, and buried distant voices.


Absurd Fjord

(Communion) Used CD $6.00

Guttural neo-prog tales of inner journeys and outer limits. Mark Davies of Thinking Fellers Union Local 282 guests on two tracks


Double U / Glands of External Secretion

(VHF - VHF31) 2xCD $12.00

An ambitious 30 minutes of pristine Double U klank und sturm, hailing their fjordic past while heralding their arrival at a new underwater home where mermaids play magic tubas and ghostly mariners dream of the four winds thousands of leagues above, plus a track-by-track demix of the same length, colliding the Glands’ kerflump with the Double U’s structure. Your music box will be coated with a sweet amber resin of wholly illogical proportions.


Ninth Set

(Die Stadt - DS103) CD $22.50 (Out-of-stock)

A 67-minute masterpiece in five parts by this Irish composer who was awarded the Magisterium Prize at Bourges International Electro-acoustic Music Competition (open to composers with a minimum of 25 years of professional experience, with the objective of promoting and diffusing works that might become milestones in the history of electroacoustic music). Previous works include the 5xCD set Babel which took ten years to compose, the three-hour Passades, and Operating Theatre's Rapid Eye Movements (United Dairies, 1980). Doyle has worked with Fovea Hex, Clodagh Simonds, Brian Eno, Percy Jones and Colin Potter.


The Songwriter

(Ecstatic Peace) Used CD $25.00

“Sloppy and fun, but meant to be taken seriously, Doyle is at his best when playing the saxophone, where simple melodies explode into a fury of squawking.” From 1995


Alabama Feeling

(DRA) Used CD $65.00

“In late 1977, Arthur Doyle brought his quintet to New York to play at the Brook, a loft space on West 17th Street managed by Charles Tyler, with whom Doyle formed the label Dra that same year. The saxophonist / flautist / vocalist was joined by old friends from his hometown of Birmingham — Charles Stephens on trombone and Rashied Sinan on drums. Sinan turned up with a student of his, Bruce Moore, ‘to give it more rhythmic feel,’ and Richard Williams was brought in on Fender bass to take on both drummers. From the opening, splendidly titled “November 8th or 9th — I Can’t Remember When,” Alabama Feeling pounds the listener into the ground with thrilling energy; dreadful sound quality perfectly suits the no wave ethos of the period.” This 1998 reissue includes liner notes by Rudolph Grey



(Autobus - AUTO009) CD $13.50

An anti-Christmas album, with songs from all over the world sung in Hungarian, Japanese, German, Portuguese, English, Yiddish and French. All fourteen tracks are thematically related to Christmas and/or winter (most of them are against either or both). The new-music-for-children duo (Franqo Rythmo -- aka Franq de Quengo of Bimbo Tower and the Sonic Protest festival -- on drums, electronic and acoustic percussion, toys, electronics and cheap effects; and Lore -- aka Laure Barges -- on voice and toy percussion) becomes a full quartet on Mascarade, their fifth album, joined by Mr. Pinguin (electric and acoustic guitar, electric bass and ukulele) and Mami Chan (keyboards).


Dragon or Emperor

(Pickled Egg) Used CD $4.00

Stewart Brackley of Black Carrot and Aaron Moore of Volcano the Bear make a drum and bass racket version of Pere Ubu meets Lightening Bolt. From 2006



(Raoul’s Left Ear) Used CDR $5.00

Two live recordings from Ohio and Michigan, plus “Wasted Time,” a seven-minute track decomposed by Silvum in 2006. Numbered edition 76/80


Brothers Together

(Eremite) Used CD $12.00 (Out-of-stock)

On “this reeds’n’traps free jazz duo workout” from 2002, “there are four long tracks, of which the first is superbly arresting, mixing hard bop with afro-funk in a way which makes it seem they always belonged together, while on the final track Mateen quotes from Carmen,” marvels Jazz Review, touching “all sorts of bases along the way…. A fine example of a rarified but highly rewarding area of music, this goes next to Roach/Braxton, Maslak/Moffett and indeed Coltrane/Ali, where it surely belongs.” Clipped corner


The Whys of Fire

(Ecstatic Yod) Used CD $5.00

“An overlooked 2003 album that features fretwork from Thurston Moore, percussion by Chris Corsano, and additional backing from Patrick Best, Mike Gangloff, and Jack Rose of Pelt,” notes Tiny Mix Tapes, “Produced and mastered by Jim O'Rourke with vocals, drums, and any other incidental backing instrumentation buried way down in the mix. Dan Ireton’s lyrics are almost entirely incomprehensible and constitute, in essence, an eerie howling and wailing. Buried under heavy feedback, dense bursts of overlapping, overdriven guitar skronk, extraordinarily liberal use of reverb, bowed and scraped guitar strings, prepared and treated instruments.”



(Krim Kram) CD $11.75

After about a decade of activity in the visual arts, Dublin-based Kevin Kirwan jumps into experimental sound using field recordings, found objects, feedback and tape manipulation. His noise is restrained and textural with occasional melodic undercurrents. Krim Kram’s CD reissues two cassettes originally self-released in editions of 15 in 2021, described by S. Grey as “concise explorations of materiality and physicality via hard-panned, lumbering slow-burn buzz and cut up blasts of spidery frequencies [with] an exquisite sense of timing.”


Turntable History

(Important) Used CD $5.00

A recording of a 40-minute multi-channel sound composition conceived as part of an audio-visual installation in the circular vaulted brick space of a historical water container in Berlin in 2009. Harmonically resonating, pulsating signals derived from recordings made by Arnold Dreyblatt of a Magnetic Resonance Imagining Scanner (Siemens Magnetom Symphony Maestro Class) in a radiological practice in Berlin.


All Are Guests In The House Of The Lord

(Hospital - HOS201) CD $13.50 (Out-of-stock)

The first collaboration between Prurient and Kevin Drumm is one of the darker records in either artist’s discography. Prurient (Dominick Fernow) has toiled in the fields of noise for over a decade and has developed an increasingly dynamic output incorporating darkly arranged synths. Using source sounds of intense tonal drones supplied by Drumm, the two create a haunted atmosphere that is far removed from noise, exploring minimal junctures, using field recordings and clean, patient vocals to lead the way. Subtle electronic textures combine with near-cinematic arrangements.



(Moikai) Used CD $8.00

“Firmly in line with monster-minimalists Tony Conrad and Phil Niblock, with extrapolations of microscopic detail familiar to fans of Bernhard Gunter and the Mego scene.”


Imperial Horizon

(Hospital - HOS251) Used CD $11.00 (Out-of-stock)

Imperial Horizon examines sustained tone in greater depth than Drumm's previous Hospital benchmark, Imperial Distortion, stretching out minimalism to unreached heights of serene ambience. Lulling electronic drones slowly transform over the course of the hour-plus piece, echoing both an existential terror and Zen calm. Mutations grow so quietly, only the body opens to identify this change while the mind closes. The ephemeral and seeming lightness of the tones hang with taut balance in contrast to the method in which they are overlapped and rotated with deadly weight. How wildly divergent emotions rise, hover, and fall using so little is a mystery only Drumm can solve.


Impish Tyrant

(Dagda Hammer - DAGDA001) CD $12.00 (Out-of-stock)

Remastered CD reissue of this 2004 burner, the debut release on Drumm's own label. Absolutely gnarly rectified cut-ups, up there with Sheer Hellish Miasma as one of the lofty peaks during his harsh investigation of full-bore guitar / synth / computer tactics.


Necro Acoustic

(Pica Disk - PICA017) 5xCD $37.50 (Out-of-stock)

Lights Out (new album recorded 2006-2008); Malaise (reissue of limited-edition double-cassette [Hospital Productions, 2009]); Decrepit (previously unreleased material from 1998-1999, plus tracks from split LP with 2673 [Kitty Play, 2005] and the LP on Dilemma, 2008); No Edit (new album of prepared guitar material recorded in 2009); and Organ (first-time release of the 55-minute version of this track [believed for years to have been lost, recently discovered] previously released in edited form on Comedy [Moikai, 2000]). Solid box with gold print, individual CD-wallets and 24-page booklet.



(Ideal - 105) CD $10.00 (Out-of-stock)

Reissue of instantly sold-out cassette (Ideal 2007) that guarantees exhaustion. Powerful and dynamic noise built with travelling frequencies, rich with details, very little hope.



(Hospital - HOS371) 2xCD $20.00 (Out-of-stock)

Malignant electronic ambient music by a true master whose subtle, roving drones keep the pace with Hitchcockian tension, while details of a story emerge and recede, and sequences are lost in the clatter of long chambers of isolation adorned with the trimmings of pagan beauties. Edition of 500.


Entire Musical Work of Marcel Duchamp

(Ampersand) Used CD $20.00

Predating the work of John Cage (it was composed in 1913), this radical experimental composition employs chance operations and non-musical sounds. “Erratum Musical” and “The Bride Stripped Bare by Her Bachelors” were realized by the S.E.M. Ensemble in 1976 (Petr Kotik, alto flute; James Kasprowicz, trombone; William Lyon Lee, celesta; John Bondler, glockenspiel), and was previously released in 1976 on Multhipla Records. S.E.M.’s soft, slow-motion studies bear similarities to Cage, Christian Wolff, and Morton Feldman. Booklet from this 2000 reissue contains notes by Kotik.


Atmospheres Of Metal

(Dr Jim's - DRJIM06) Used CD $15.00

Monstrous riffs expand and evolve into sheer sinister ambience, shortwave sounds, distorted operatic singing, underwatery drones, power electronics and various tape fuckery zones before delivering the lumbering thud-rock punch. From 1992.


I Can Hear Music

(Brinkman) Used CD $4.00 (Out-of-stock)

Yo La Tengo bassist James McNew’s second full-length release as Dump plays up the lo-fi elements of his one-man-band recordings with deliberate distortion and tape glitches, but it’s overall a bit poppier and less experimental; arrangements are heavy on the weedy synths and inexpensive drum machines, which adds to the homemade charm. Sealed



(Brinkman) Used CD $4.00

Modest, fuzzy, loser-happy indie pop from the early ’90s by James McNew of Yo La Tengo.


That Skinny Motherfucker with the High Voice?

(Shrimper) Used CD $25.00

Prince covers by James McNew of Yo La Tengo. From 2001. Sealed


Our Telluric Conversation

(23five) CD $18.00 (Out-of-stock)

A bold, expressive piece of sound art, confident in its multiplicity of perspectives caught in a constant flux of attraction and repulsion. Performed with shortwave, data streams, uncanny use of the human voice, oscillators, sonar, and wire tapping microphones, the recording comes with a 40-page booklet with an interview between Duncan and von Hausswolff about their histories, ideas, and methodologies. Packaged in a curiously tactile O-card, embossed with braille and covered with a rubbery coating.


River In Flames / Klaar

(Staalplaat) Used 2xCD $50.00

Beautiful acousmatic work with Orjan Hendriksson, Zbigniew Karkowski and Andrew McKenzie. River In Flames has rhythmic loops, fax machines, Morse code, exceptionally deep bass, sharp interruptions, a long electronic wash, electric buzzes that confine the listener in a center of white noise. Klaar alternates electroacoustic sources between loud and soft, with heavy use of ambient recordings; loops of circling electronics mix with voices and found sounds smooth the road into a sort of mantra; radio frequencies immerse in a sea of clicks, pops and explosions of a desperate mob. 32-page book of Duncan’s writing and photography.



(Die Stadt - DS104) CD $22.50 (Out-of-stock)

(Die Stadt - DS104) Used CD $11.00

A collection of live recordings. Duncan’s was made at The Compound in San Francisco 2007. Kontakt der Jünglinge’s (aka Asmus Tietchens and Thomas Köner) is an excerpt from their live performance at Mutek Festival, Montreal, 2003. C.M. Von Hausswolff recorded his at All Tomorrows Parties, London, 2005.


Mommy Close The Door

(Starlight Furniture Company) CD $7.00

Recorded live in France in late 2002 by Japanese vocalist Junko Hiroshige — whose murderous wail hypercubes Patty Waters, Yoko Ono, and the titular victim in Olivia de Havilland’s 1972 crime flick The Screaming Woman — in collaboration with Yves Botz, Thierry Delles, Michel Henritzi, who extend the trad power trio into a Marclay mash with brutal rock’n’roll energies. Extremely nasty, unholy screaming that’d peel paint mixed with maniacs destroying the history of popular western music one record at a time.



(Leo - LR295) Used CD $5.00 (Out-of-stock)

Joined by McPhee on soprano and tenor saxophones and Heward on drums and kalimba, Duval steers the trio through mostly short free improvisations to many of which there is a quietness, though hardly a lack of intensity. Heward’s carefully constructed, prodding kicks urge on his compatriots. Duval's distorted, squeaky bass lines weave in and out. The stunning McPhee swings, stretches, and instantaneously composes at virtually any tempo or level of dynamics.


Recluses Unite

(Dual Plover) CD $13.00 (Out-of-stock)

Spend the evening in the company of a bottle of whisky instead of your sweetheart, and the tune you bellow out in the wee hours -- with arms around a snake oil merchant and a boxing ballerina -- could well be a ditty from the mind of Al Duvall. He crafts wicked vaudevillian hits on banjo, kazoo, and various percussive detritus; his “gentle but deadly” songs draw from working-class music of pre-war America, blending jug-band, medicine show, music-hall, and Victorian parlor ballads. Duvall delivers a loving backhand to the fringe dweller in this expertly crafted collection of aural ephemera. With an overdose of morbid puns and sly innuendo, Recluses Unite is the perfect primer for any aspiring vagrant.


Timid Mischief

(Dual Plover) CD $15.25 (Out-of-stock)

An unguided tour guide down Memory Lane. First stop: turn-of-the-century style American folk played on banjo, kazoo, guitar, musical saw, and a collection of spittoons, frying pans and medicine bottles. Duvall’s vaudevillian songs are steeped in black wit, double entendre and clever wordplay about kleptomaniacs, moonshiners, criminals, loners and even more shadowy figures. Timid Mischief mixes old-timey, ragtime, sea shanty, Victorian parlor and jug band musics recorded on wax cylinders and other lo-fi devices. These songs should have been written between 1900 and 1930; he just never got around to it until now.


New Life After Fire (For Thom Thomson)

(Art Metropole) Used CD $8.00

The complete set from a live performance in Toronto 2001, ranging from quiet ambience to destructo wall-of-noise. Playing alongside his own experimental films, Ranaldo coaxes a wide range of sounds from his guitar while pre-recorded voices from prepared tapes float in and out of the mix. Working with a sampler and CD deck, Dyment adds bursts of noise and ambient bed-tracks. Edition of 500



(Schimpfluch Associates - SHA02) 2xCD $20.00

Eb.er's most developed program to date, combining psychodynamic environments built from specific nature sounds and extreme acoustics, often including ecstatic elements on instruments of shamanic origin. Binaural beats as well as isochronic tones stimulate a direct neural reaction to this unique and unheard audio art. The title of this 128-minute work derives from tantric techniques that raisie psycho-physical energy, or inner fire, from the perineum up to the top of the brain, from where it drips (as nectar). This consciousness-expanding heating and dripping during creation and/or reception of Brainnectar is given priority over any musical aesthetics. The grand lady of japanese extreme music -- screamvocalist Junko Hiroshige of Hijokaidan -- participates on several tracks.


Do-Undo (in G maze)

(Helen Scarsdale - HMS018) Used CD $13.00

Do-Undo emerged out of Q-O2 Werkplaats, a sound-art laboratory of sorts based in Brussels, where Julia Eckhardt, one of the artistic directors, has built an archive of recordings of long-form viola pieces played exclusively in G. Sound-artist, field recordist, and ingenious instrument builder Manu Holterbach, who has taken part in several Q-O2 residencies, reconstitutes her recordings which, on their own, seek the rich if occasionally dissonant overtones central to the minimalist works of Tony Conrad, Phill Niblock, Eliane Radigue, and Ellen Fullman. Holterbach populates his compositions with field recordings, turbulent textures and bristling movements that sympathetically weave amid the rasping drones from the viola. On a technical level, Holterbach’s field recordings on his composition “Two stasis made out of electricity” -- an arc lamp, the Parisian subways, an electric powerplant -- all naturally buzz with the same G of Eckhardt’s viola, without the benefit of digital pitch shifting. The resulting drones transcend conceptualism and strategic intent, and instead make no differentiation between the environment (man-made or otherwise) and the academy. Limited edition with letter-pressed covers.


Cleverness Ferments Meat

(Chocolate Monk) CDR $8.00 (Out-of-stock)

COMING SOON. Cleverness Ferments Meat “won’t revolt your housemates so much as the previous one,” promises Andrew Ciccone of Navel-Gazers. “If you’ve made it this far, you’re probably on the lookout for duck noises drenched in reverb — well, I can guarantee you’ll find that here. But there’s more. On ‘see you Friday’ I could swear I detect — get this — *over*dubbing. Either that or these clone-farmers have managed to herd a half dozen Eggs, a handful of Crisps and even an Ivor Kallin or two into a single room simultaneously, for some sort of a barbershop TwelveTet. By the end of the final track (titled, predictably enough, “puppet 7 eating up the crap peacefully’), with several wrongfully-detained harmonicas seeming to have been waterboarded most unceremoniously, I am ready to concede that I have no idea what’s going on.” Edition of 60


Ego Derpz

(Chocolate Monk - choc.462) CDR $8.00

Fritz Welch and Adam Campbell’s system of hyperextended rumblings is designed to break a hole through invisible or undetectable barriers. It goes for the mind, ear, leg, heart, hand and scalp. Its first impulse is subtracted from the overall net of intentions beyond an overflowing golden toilet. For example, the sound is produced for the sole purpose of abseiling clogged and crystallized hierarchies before finally putting it all to rest. Speakers and surfaces are thoroughly interrogated, yielding a steady diet of perpetual come down. Guests are Lucy Duncombe and Tony Bevan. Edition of 60


Epitaph Für Aikichi Kuboyama / Sechs Studien

(Wergo - 67332) Used CD $15.00

Powerful spoken-word based tribute to Japanese fisherman Aikichi Kuboyama, who died of radiation poisoning incurred when the first hydrogen bomb was tested in the South Pacific in 1954, paired with seven studies derived from the same source material, using only abstract musical sounds in a spectrum where the spoken word can no longer be recognized.


Heiner Müller's Die Hamletmaschine

(Ego) Used CD $10.00

The soundtrack for Müller’s postmodern cut-up play, recorded for East German radio in 1990. Monologues and stage directions incorporate alien routines (every word of the play is here, in German, of course; another voice recites the directions. When Ophelia laughs on the page, it’s read aloud but no laugh proceeds), changes in perspective and soundstaging resemble film edits and heighten the schizoid nature of the enterprise, while the protagonist’s bleak prognosis and the junkyard aesthetic, not surprisingly, is a perfect fit for Neubauten, who frequently interrupt their workshop percussion and overlay a jumble of voices. A few elements (slammed buckets, low-end piano notes, electronic pedal points, machine wails) circulate on various tasks, but avoid interacting with the rhythms of Hamlet’s speeches recited by Blixa Bargeld. Digipak.



(Potomak) CD $14.00

2003 reissue of the seminal, form-destroying debut from 1981, a violent collision of urban primitivism and punk sensibilities, combining an intense mess of atonal guitar drones with brutal scrap metal percussion. With nine tracks from Stahldubversions (Eisengrau 1982) plus the previously unreleased “Schieß Euch Ins Blut.”


Zero Return

(Chocolate Monk - choc.432) CDR $8.00

Francesco Calandrino lives and works way down in Alcamo in the fields of research music, net-art, language and wine — no doubt guzzling down the good grape while he generates hyper lo-fi sounds from sputtering mechanical systems like his beloved old radio-cassette stereos and wonky Walkmans — while Cristiano Deison has his lab way up in Varmo, where he can usually be found frothing over his Tascam 404, turntable guts and objects churning out skillful tape loop burbles, electronic skittering and field recordings. The whole thing has a great eavesdropping throb that feels like it’s beaming in from afar. Both are part of the ferment of ideas here but Zero Return is a real whodunit. Better get out your ear magnifier, Sherlock. Edition of 60


Crossing Into The Electric Magnetic

(Without Fear) Used CD $8.00 (Out-of-stock)

Early recordings from electronic music pioneer whose work predates musique concrete. He combines everything from Native American music to opera to chanting to Egyptian mythology into fascinating fever dream. Most tracks are from 1959 at the Columbia-Princeton Electronic Music Center (Otto Luening is on one track), but one is from 1944 at Middle East Radio Station of Cairo, another is an excerpt from a piece made walking around San Marco Basilica in Venice in 1961 with a reel-to-reel tape recorder, and another manipulated audiotape / sound sculpture piece was recorded in a New York art gallery circa 1974. Twelve-page book with liner notes by Mike Hovancsek.


Eyeball of Hell

(Scat) Used CD $5.00 (Out-of-stock)

With clothing held together with rat traps and safety pins, Marshalls covered in fiberglass, a lawnmower, and songs like “You’re Full of Shit,” The Electric Eels were unabashedly confrontational, angry, absurd, desperate, and self-destructive, swapping abrasive three-chord rock of utter despair with free improv.


45 Minutes From Underneath The Beds

(Absurd - A6) CD $12.00

Scandinavian performance/composition iconoclast’s speech impedimentia heralds his highly idiosyncratic noise bordering on personal field recordings.



(Firework Edition) Used CD $8.00 (Out-of-stock)

Scandinavian performance / composition iconoclast’s speech impedimentia heralds his highly idiosyncratic noise -- personal field recordings from on the toilet and reworked and adapted for the sound installation Avträde in conjunction with the group show Transformation at Karlsborg Castle, Sweden, during the summer of 2000.


The Cobblestone Is The Weapon of the Proletariat

(Firework Edition) Used CD $10.00

Source material is a single recording made while throwing a cobblestone on the street outside Firework Edition, Stockholm June 15, 2001. Booklet includes an excerpt from a conversation between Jim Haynes and Elggren from Activating the Medium at SFMOMA, San Francisco February 2003. Sealed


A Kind Of Air

(Chocolate Monk - choc.468) CDR $8.00

A slightly different edit of the Glasgow-based writer and artist’s beautiful and strange piece recorded for Mark Vernon and Barry Burns’s Radiophrenia in 2019. A slow moving thing that seems to stretch out time. “If I were to tell you how I arrived here, I would have to explain the voicemails,” says Ms. Ellul. “The voicemails have been in the back of my mind for some time. They had accumulated over several years, in fits and starts. A waxing and waning of words spoken into the void. For months, I watched them arrive but I did not listen to them. When I eventually did hear the messages, certain things were immediately clear. The condition of his lungs was deteriorating. His breathing was labured. The messages had never been easy to follow. They were often slurred, because of the drink. But now when he spoke his words were interrupted by coughing fits, more and more so as time went on. By groans and gasps. Belly-speech. Gurgles of outflow.” Edition of 50


Third Parties

(Chocolate Monk) CDR $7.00

Most of the sounds that Wilcox and Ellul make come from close-to-hand, everyday, tactile objects, accidents, or routines. And from the body as it rubs, carries, plays, waits, dawdles with its surroundings. The voices are chatting, syncopating, trying to change position, getting in a mess. Edition of 60



(Staubgold) Used CD $8.00