Canti Magnetici

sablona_4_panel_Jcard.indd   An acousmatic track based on field recordings mainly collected on the mountains of Northern Italy during two different phases of a wood harvest work. Luca Garino (Italy, 1978) is an Italian composer active since 1996 in the fields of electronic and concrete music. He started as self-taught and then continues his research at computer music at LaSDIM (Laboratorio per la sperimentazione e la didattica dell’informatica musicale). Previously active under the moniker of AHV and Psalm’n’Locker, “The Woodcarver” is his first release under his own name.

sablona_4_panel_Jcard.inddA delicate requiem for tape loops and synth. A charming exploration in the world of disintegrated sounds. Danny Clay is a composer and sound artist from Ohio, now based in San Francisco, drawing upon elements of American folklore, genealogy, art education, children’s theater, improvisation, digital media and everything in between to make music. Greg Gorlen is an experimental musician living in San Francisco. He produces music and noise using junk, found tapes, and home made cassette loops. He runs the cassette label Turmeric Magnitudes and writing about music for demagnetization blog.

sablona_4_panel_Jcard.inddGently unpredictable successions of concrete, electronic and instrumental sounds that chime, shudder, and wrinkle. Seven sequences salvaged from meandering recording sessions, self-collages from the remnants of forgotten ideas and intentions. Matthew P. Hopkins (Australia, 1978) is an artist based in Melbourne, working with sound, visual art, and writing. His audio work sits loosely within the realm of concrete music. Tim Coster (New Zealand, 1980) is a musician from Auckland, now living in Melbourne. He plays textural keyboard music using synthesisers, effects and cassettes.

sablona_4_panel_Jcard.inddA music magma of junk-electronics, abstract tape loops and proto industrial drones. An acid mix of the early electronic experiments of Pauline Oliveros, the noisy static wall of Maurizio Bianchi and the DIY American weird touch like Nate Young and Aaron Dilloway. Michele Mazzani is one of the most “pure” representative of the Italian underground music scene. In the strangest places you can image as show locations (bivouacs lost in the mountains, crumbling houses, garbage dumps) he organizes live sets that are an unmissable cult for the few people who follow him. His legendary DJ sets played only with tapes recovered in charitable organizations run by the Church is also a must. He lives in an old Romagna-style farmhouse where he frequently organizes shows, festivals and happenings. The farmhouse is also Lonktaar headquarter, his label, which now counts more than thirty releases, ranging from battered psychedelic and rotten noise to Indian travel sound reports. Gabriele Gotini is a master in the art of circuit bending and tape loops. Besides playing in Videobasic and other more or less extemporaneous projects, he runs the music project: Trashsound


Sacred Phrases

LXV & Karmelloz – ‘Runner’ CS
Runner finds two of the avant-electronic underground’s boldest and brightest minds teaming up for a series of long-distance collaborations. Philadelphia musician David Sutton has led a prolific run of addled textures and synthetic, meditative edits under his LXV moniker, as well as formerly under the name Current Amnesia and Car Commercials (with Daniel DiMaggio). Recording as Karmelloz, Oregon-based producer Matthew Pepitone creates elusive, genre-agnostic bouts of rhythm for a variety of forward-thinking labels, including 1080p, Cleaning Tapes, and Hoko Sounds. Born out of a mutual appreciation of each other’s work, the partnership began with a series of messages before naturally evolving into a full-blown project. Together, Sutton and Pepitone’s respective approaches and sonic traits blur into a cohesive collage of sound. Opener “Trapwire” sets the stage with unhurried curiosity, listening to the space between each artist and letting each piece fall into place. The song’s whispered, alien vocals eventually dissolve into darker, slightly more grotesque and clipped drones. Those haphazard and beautifully disfigured vocals later return on “Cost of Caring,” intermixed with a dizzying display of agile production and hued malignancy of “Guitar Store” and “Runner.” Elsewhere, “Mr. Untouchable” and closer “Crypto” emphasize the open-ended, potential of this still-young collaboration. We can only hope this is the beginning of a long and prolific pairing. Clear cassette with white imprint. Fold-out j-card and download code for digital copy.


Geology Records

IMG_6083_edit_100x100STRATA13 Lost Trail – ‘A Retreat More Than A Surrender’ C40 $7.5
Edition of 50 on pro dubbed, chrome, imprinted black cassettes. Two sided, multi-panel j-cards and a slipcover.


Sean Kelly

Sean Kelly – ‘Mankid 2’
Screen Shot 2016-08-11 at 10.09.14 PMNew York musician Sean Kelly takes a sonic leap forward with his latest unnerving, anxious work as Mankid. An enigmatic interview serves as the backbone of the record, while he presents his signature electronics and obliterating but intricate percussion on top. In 22 minutes “Mankid 2” paints a full picture composed of gloomy, borderline cavernous soundscapes and crushing, yet tasteful noise.



With plastic resin art Objet. The 5 artists included in this split release are based in disparate geographical regions of Earth: Romania, Argentina, Massachussetts USA, San Francisco USA, and Normal IL USA. One of Aubjects’ central interests is to juxtapose calculated-technological and intuitive-organic notions. This collection of works from several remarkable creative perspectives is another unique iteration of this aim. Two 60 min. cassettes come in an oversized jewel case designed to fit 3 tapes side-by-side; the space for the 3rd tape is taken up by a unique resin art piece by Rik Leipold aka Objet Plastik. J card artwork and info inserts designed by D. Petri. Alan Courtis is an experimental guitarist / multi-musician based in Argentina, whose discography is in the triple digits, as is his luminous list of collaborators. Courtis’ work is intuitive and adventuresome, often utilizing unusual instruments, tools, tunings and treatments. He stated in an interview from 2015, “the most interesting music happens when we’re not completely in control.” His work is always intriguing, likely because of his fearlessness to try new combinations of musical elements and collaborators. Somnoroase Pasarele is a Romanian duo dealing in abstract electronics. Their name (Sleepy Birds) comes from a bed time poem written by Mihai Eminescu, national poet of Romania. Our first awareness of them came from a recording released by Czech label Baba Vanga called ABECD. They’ve since had other equally fascinating recordings released on Tymbal, Czaszka, and Magical Garage Taste. Their style is distinctive, utilizing atypical synth sounds and asymmetrical rhythmic elements. Often there is no rhythm at all, and strange textures predominate. The feel of much of their music is strangely unsettling. Interruptions, hiccuping sounds, discordances, and other artifacts of chaos / chance (improvised or scripted) fill each moment with immediacy. Their sound constructions shape-shift through time, coaxing the listener insistently through winding pathways of tension, release and other dynamics. Crank Sturgeon has been exploring “the unwieldy commingling of noise and performance art” (from his bio) since the early 90s. He has worked heavily in sound, performance, sculpture, photography, and installation (Hoboplane is of note); faithfully positing disciplined madness in all his creations. He tends to overlap mediums. He is a sound-searching electro-acoustic gear-builder, who creates unique sound instruments, plays and records them. Mr. Sturgeon’s work is spontaneous and inspired. His performances interweave sculptural, visual, and sound information with an intriguing theatrical flair which flows freely off-the-cuff. D. Petri has been working with Dog Hallucination since 2006 as editor, musician and idea contributor, and has worked heavily with close friends in Amalgamated, Homogenized Terrestrials and Gushing Cloud. He also owns / operates the Aubjects label in pockets of available time. This initial work as Directives is based in experimentation with guitar sound, utilizing approximately 5/1 pre to post processing ratio. Equipment malfunctions and analog artifacts resulting from primitive recording techniques are captured and digested into software, where they are subsequently enhanced, reconstructed, edited and manipulated. Intuition and primitiveness characterizing the original solo guitar performances (recorded on junky old cassettes with low fidelity microphones) is digested into a webwork of digital mixing, manipulations and occasional sound additives. Rik Lee Leipold is an artist and resident of the Tenderloin neighborhood of San Francisco. Over the last six years, he has been using resin as a material to embed objects in works of art. Recently, he was awarded a grant from the Wildflowers Institute to help fund larger projects. One project has been filling pot-holes in the sidewalk with clear resin and street detritus.
Ltd. 24 copies.

With b/w art booklet by D. Petri. August Traeger may be known to some through his label Bicephalic Records, or his projects Somnaphon, Nipple Stools, and Food World. His work is overtly electronic; often software and glitch-based. His pieces are full of sounds pulverized beyond recognition and reorganized to form wobbling tonal-rhythmic riddles. His pieces here cover a wider-than-average range of electronic territory, consisting of minimal analog synth melodies warbling in verby haze, sharp soft-synths and hypnotic arrhythmic glitchworks. Odd Person music is not merely a hobbling digital-fetish cacophony, though. There is a specific flavor of tonal and melodic logic among his obtuse musical forms which stimulates like caffeine and fine reading materials. Some people have said Odd Person music makes you smarter when you listen to it. Miguel A. Garcia is a sound artist based in the Basque country of Spain. To describe his audio work, some words from his bio say it best: “He uses sounds taken from electronic devices residues, often interrelated with field recordings or acoustic instruments, in the search of an intimate, intense and immersive experience.” Miguel has worked in the past with August Traeger (notably on Pixel Hexing, a DVD collection of experimental video works released on Bicephalic Records), and works in similar territory with digital destruction and reconstruction of sound from varied sources. Garcia creates cinematic noise-sculptures in time through his wise usage of dynamics, timing and treatments. The pieces included here are in flavors of white and pink digital / overload, rumblings, and other textures sculpted by careful direct-signal manipulations. Tape & booklet come in oversized poly case similar to DVD case. Ltd. 30 copies.

With full-color art booklet by the artist. Homogenized Terrestrials’ Phillip Klampe returns to his cassette roots; this is his first full-length release on tape since the early 90s. e tistula no. 2 is an album of obscure emotions in electronic tones and textures, blurred, agitated, and emphasized through use of processing, pacing and juxtaposition. The results are, as usual, strangely beautiful. Klampe’s vision is further clarified as of late by surges in his video work. In his video imagery he brings to life poetic and often inscrutable images, sensations and events corresponding to his work in sound. Stills from recent video works make up the included booklet of full-color imagery. Tape & booklet come in oversized poly case similar to DVD case. Ltd. 30 copies printed and assembled by the artist.


Palm Tapes

Chronic Tan – ‘Wilderness Campaign’ C28 $5
pt007Whispers surrounding Chronic Tan’s “Wilderness Campaign” have persisted amongst friends and local rock fans. The wait is over, and the Detroit four-piece’s debut is here. Guitarist and vocalist, Kevin Singer enthusiastically delivers cerebral wordplay framed by tight playing. Memorable cuts include: “La La Lodge,” “Petite & Mean,” and a songwriting triumph, the most tender track, “Jim Pherro & Me”; which, lush in reverb treated horns and slide guitar, shows the group’s ability to use overdubs lightly to superb effect. The track’s emotive final thirty seconds recall a Grateful Dead closing ballad. The tempo slows to a lazy pace, and rich lead guitar work rises to the stars. Chronic Tan describe themselves as, “lovable vape dads in the making, languishing in late capitalism.” Stating, “We couldn’t hack it on the PGA Tour so we settled for this instead.” With five different cover designs (the vast majority are of the tan variety), it’s here.


Constellation Tatsu

Mary Lattimore & Maxwell August Croy – ‘Terelan Canyon’
mary_maxwell1Having never met before going into the studio together, harpist Mary Lattimore and koto player Maxwell August Croy recorded an album in less than 48 hours, all live with zero overdubs. Terelan Canyon is a “new” sound built on interplay and improvisation that explores space and form, with virtually no ego, filled with sonic imagery and a tapestry of emotions. Epic and beautiful, this recording is a special moment captured in time. Mary Lattimore experiments with effects through her Lyon and Healy Concert Grand harp. Her latest solo harp record At the Dam was released in March 2016 by Ghostly International. Mary has recorded and collaborated with Thurston Moore, Kurt Vile, Meg Baird, Fursaxa, and Jarvis Cocker, among many and her harp/synth duo with producer Jeff Zeigler is currently working on a second record. Maxwell August Croy is a multi-instrumentalist whose work fluctuates liberally between melody, classicism and experimentation, all while attempting to harmoniously represent all three. A student of the piano, guitar and Japanese koto, Croy has worked to expand the instrument’s heretofore constrained vocabulary to settings outside traditional Eastern musics. He has released a number of full-length albums as a member of experimental ambient duo En with James Devane and has collaborated with musicians Tujiko Noriko, Sean McCann, Jared Blum and Jefre Cantu-Ledesma, with whom he also co-runs the Root Strata label.


Unread Records

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#189 – Jason Morphew – ‘Easy Come (Songs of 2004)’ CS $5
The second volume of unheralded & unreleased song from ever prolific singer / songer veteran.

#188 – Swampwalk – ‘Warriors’ lathe $10
Two new songs that ooze real deal honesty right into your gut. Bouncy pop for guitar and gameboy. Includes 16 page booklet of photo / scribble.

#187 – The Debts – ‘Lonely song’ lathe $10
Two track hard plastic slab that delivers a cut in your valves. A good thing is happening all around you! Includes 16 page book of random collage and nonsense. screened covers.

#186 – Hip Replacement – ‘Router Space: Smashed Hits 100’ CS $5
Midwest spillage on mars. Crazed up ummo goop that splays itself hard and makes you steed up!

#185 – Will Simmons & The Upholsterers – ‘Bewitched’ CS $5
New tasty cakes from Simmons & his band. Jangle pop / rock / pub stomp & polka even. Have yourself humming.

#184 – Razors – ‘Live from the Laboratory’ CS $5
Delve serious like into song form : long form / short form / brain tendencies / etc. Side two is one hell of a long Prozac jam orchestra that destroys all bounds! Not really a live album per-se – but you be feeling it! Fancy screened covers.



Pure Ground – ‘Giftgarten’
Pure Ground is a minimal industrial/wave duo formed in Los Angeles in the Spring of 2012. Making use of a great assortment of analog and digital hardware, Pure Ground creates hard electronics teaming with rhythmic white noise and unsettling melody as the backdrop over which the group explores lyrical themes of present-day dystopian realities, sleeplessness and the supernatural, and the eventual triumph of the natural world over a human civilization in rapid decline. Not limited to music composition, the band also makes forays into analog video work, much of which can be seen projected onto them during live performances and in album art. To date, Pure Ground has released two LPs, four cassettes, three vinyl singles and a 20 minute VHS. Their next full-length LP Giftgarten will be released on LP (Avant! [EU] & Chondritic Sound [US]) and CD (Sleepless Berlin) on September 1st, 2016 to coincide with their third tour of Europe.

Pleasure Symbols – ‘Pleasure Symbols’
Pleasure Symbols from Brisbane, Australia is the post punk/synth duo project of Phoebe Paradise and Jasmine Dunn. Desolate but not devoid, Pleasure Symbols engulf honest pop music under a sea of slowed, cold synth and bass. Ritualistic vocals perpetually conveying a sense of desperation, but not without fortitude, the bands unembellished restraint continually on show. Pleasure Symbols is the self-titled 4-song debut 12″ EP coming out September 2 on Avant! Records in Europe and Death Valley in Australia.


Dirty Pillows

Angel Dust – ‘Shallow’
angel dust shallowcoverDirty Pillows is very pleased to release the latest sound manipulations from Pittsburgh, Pennsylvania’s Angel Dust. This album is a stylistic and sonic continuation in the realm of recent Dirty Pillows releases. With Shallow, Angel Dust stitches together brief glimpses of lost worlds and feelings long forgotten only to suddenly pull the listener into the reverse of that realm. The album sets the stage for the listener to get lost in a false reality of confusion and vague memories through harsh noise and stunning soundscapes. We could continue to try to describe this release but the creator has stated his intentions well enough, and we couldn’t articulate it any better: “I’ve worked harder than I ever have on this album to engage in a process of deconstruction in order to translate the feel of autumn into something aurally tangible. It is the sound of shifting through an open field under a orange stained sky on morphine, lungs drowned in cold smoke and skull numb with suffocating noise. These pieces were created under the influence of textural sound design, field recording & musique concrète. I also exercised a heavy amount of restraint and physicality to illustrate a sense of emptiness while imposing a balance between environmental minimalism and subtly rhythmic, methodical sound shaping.”