Metalux – ‘Paw The Elated Ruin’ C36 $7
Operating under the guidance of the singular creativeness of esteemed avant-navigators MV Carbon and Jenny Graf Sheppard, Metalux are undoubtedly responsible for some of the most distinctly unusual and enthralling preternatural experimental music of the past decade. Ever since banding together in the late 90â€²s, the duoâ€™s numerous recorded and live works have rendered a suitable explanation of all the encompasses their vanguard productions almost unfeasible; the at-once disjointedly colliding yet ingeniously intersecting torrents of homemade electronics, tape delay, blaring riffs relayed via both guitar and synth, and subsonic rhythms are all masterfully rendered into a peculiarly riveting design which only Carbon and Sheppard seem to hold the secret to. The eight songs on Paw The Elated Ruin fluctuate between apparitions of the skewed-punk of the duoâ€™s early tenure in Bride Of No No with the post-industrial electronic nihilism of peers such as Wolf Eyes, the otherworldly improvisational blasphemy of avant-pioneers Smegma, and the destructive reconfigurations of Nautical Almanac. While potentially resembling some of the mechanization of accustomed song-forms, Metaluxâ€™s inventive abstraction carries the finished exclamations past whatever barriers divide familiarity and innovation. Paw previously saw release as a very limited run of self-released CDRâ€™s and stands as another compelling highlight in a discography thatâ€™s seen release via such esteemed imprints as 5RC, Load Records, No Fun Productions, Bennifer Editions, and Hanson Records. Obsolete Units is immensely thrilled to be able to give this triumphant dissertation a second coming. Pro-dubbed/pro-printed edition of 100.
KILT – ‘Culos Asados’ C44 $7
KILT is the evolving noise hellion of dissonance masterminds Raven Chacon and Bob Bellerue, dual forces operating from Albuquerque, NM and Brooklyn, NY respectively. The Culos Asados cassette showcases two remarkable live performances which were dispatched within days of one another back in 2010 via Bellerueâ€™s current turf. Both unrelenting sets show the two esteemed artistsâ€™ piercing and inharmonious furry unleashed with a gritty, grating relish. As both recordings took place at two experimental haunts that have since distressingly succumbed to the great New York City areaâ€™s expanse of expense (those venues being the Bed Stuy-based DIY cove The Party Expo and the immensely-missed Williamsburg destination Zebulon), Culos is at once a crudely compelling tribute to the amorphous, ephemeral remembrance of powerful performance and a testament to Chacon and Bellerueâ€™s instinctual symmetry as purveyors of overwhelming abrasion and cacophonous enlightenment. Taking both playersâ€™ esteemed pedigrees into account (Bellerue is proprietor of the Anarchymoon label and has helped organize the Ende Tymes Festival in Brooklyn since 2010, which Chacon is a member of the Postcommodity art collective as well as having acted Composer-In-Residence for the Native American Composers Apprenticeship Project), the success of their collaborative synergy is hardly accidental. Pro-dubbed/pro-printed edition of 100.