(Vitrine - VT20) Cassette $9.50 (Out-of-stock)

The source material’s puritanism betrays both a libertinage of intent and depth of connotation latent in Fraser Hall’s illustrious and long-standing solo project. Since the early 1980s, blackhumour has investigated the cracks in common speech practice and the vacancy of the signifier. Vocal event is mined for stochastic determinism and glottal smut. Sapir-Whorf collides into Krafft-Ebing. It would be difficult to categorize this material as sound poetry, despite a focus on voice, breath and the subtle diversion of linguistic intent. Repetition and magnification direct the incremental units of a sound which focuses sonic density into a concrete minimalism. Edition of 100. C40
Listen to an excerpt of “Pale Grey” here:


C. R. Odette

(Vitrine - VT19) Cassette $9.50 (Out-of-stock)

On the first solo release from tape-noise stalwart Samantha Flowers, inane conversation segues from isolate flutter to stoop obsolescence, swaddled in a bored headache of masked vocals and malfunction. Signal interference bleeds into positional confusion and numbskull amp burble, while still retaining an adroit sense of humor. Over the past few years, Flowers has racked up an impressive resume during residencies in Philadelphia and Detroit, with turns in various projects, including out-of-bounds rhythm box unit Growth Program alongside Chris Durham. C. R. Odette refines the confounding aesthetic of Flowers’ crud-improv duo Creode, while also allowing for perpendicular forays into AQM-style shortwave collapse, Quick Stab-fried pop debris and deep Kenzo field recordings. Edition of 100. C30
Listen to “The Ring” here:


Everyone Is Welcome In My Room

(Vitrine - VT15) Cassette $8.00 (Out-of-stock)

“Gloriously tattered” is how Tabs Out summarizes the “bizarrely mutated musique concrète by … the beloved [journeyman grindeur] with past releases on Hanson…, Chondritic Sound, and his own Mom Costume imprint. Everyone Is Welcome In My Room plays true to Darksmith’s penchant for listlessly foreboding collages…, massive but desolate scenes of vague despair and almost guaranteed doom. Found sounds seamlessly intermix with … anonymous … instruments … and noisemakers.” C30. Edition of 100