Attenuated – ‘Ideomotor’ C30 $8
Pro-duplicated 30 minute cassette. Music by Ian Kennedy. J card by Bun Suzuki. Space Slave 33. Ed 100.
Excavacations & Azaleas – ‘Glasgow & Invocation’ C46 $8
Type II 46 minute cassette. Excavacations is Chad Parsons and Nicholas Longworth. Azaleas is Kyle Wade and Alice Andres Wade. J card by Carl Koopmans. Space Slave 32
Vermillion Father – ‘A Land in Which Only One Foot is Planted’ C60 $8
Pro-duplicated 60 minute cassette. Music by Jonathan Sacha. J card Bun Suzuki. Space Slave 31. Ed. 100.
“Botanica” is the first work published by Cristiano Carosi whih his real name. Moving to this new vest there’s the idea of “uncovering” unseen relashionships between sound objects, the research of new intersections and combinations through electronic instruments and synthesis filtered by effects and magnetic tapes like a diaphram for a fotographer impressing his film. “With my filters I dose the materials i play, find and record, different elements and couples of sounds, reproduced and observed while they re-grow together; I let them take their own space and time measuring this flow to keep and alterate the balance at the same time, leaving empty spaces and silence to a new dialogue”. He has recorded music with the shoegaze band Sea Dweller and is part of CYMBLS, a psychedelic band that experiments with sound and electronic with a minimal approach. With his solo project HERBAL RESEARCH he elaborates short studies of sound collage from samples, electronic synthesis and acoustic instruments on the tapes “Sound Non Sound” for Upside Down Recordings, his own label focused on experimental new sounds (Nastro, Filtro, Julien A.Lacroix, Angélica Castelló).
Cuacochi in Nahuatl language means “to sleep in a tree”. 
Golden Teacher was born in early 2013, when members Ollie, Laurie, Rich, Sam, Cassie, and Charlie gathered at Glasgow’s legendary Green Door Studios and packed seven cassettes with raw, rhythmic improvisations. These instrumental sessions, dubbed Green Door Disco Band (or G.D.D.B.), were a covert prologue for the band’s infectious and hallucinatory dance music. Originally issued via cassette on Golden Teacher’s own Akashic Records, this vinyl edition compiles G.D.D.B.’s most commanding moments for an explosive re-introduction to the band’s emergent boogie. Golden Teacher’s method was simple: Pack the studio with instruments, position a tape recorder on the floor, and rip. Whenever the vibe was right someone would hit record. The members swapped instruments at random, mutating across primal electro-disco and swirling, psychedelic house. Jerry-rigged rhythms breach the delectable fry of tape hiss. Melodies dissolve into throbbing ambience as percussion lurches in and out of focus. The band achieves a contagious blend of hazy atmospherics and crystalline frequencies that inundates each groove with club-level delirium. G.D.D.B. captures Golden Teacher’s kinetic genesis, transposing the dynamics of their freest and most elastic live performances onto plastic. As an exclusive bonus, the album is offered with or without a companion cassette, compiled by the band from two live performances in February, 2013. Side A is Golden Teacher in classic dance floor motion; Side B documents a baffling reinterpretation of Ludwig van Beethoven via abstract electronics. The tape is only available from House Rules. For those in the United Kingdom who wish to avoid obscene shipping charges, the LP (sans cassette) is available from the esteemed Monorail Music.
»Stones, Air, Axioms« is an ongoing art and research project by French sound artists Jean-Luc Guionnet and Thomas Tilly, dealing with the complex relationships between sound and architecture. Delme is the third phase within this venture. By virtue of its history and exceptional acoustics, Delme’s former synagogue is the ideal setting for a customised, on-site sound installation. Guionnet and Tilly are deliberately leaving the place empty, giving visitors an experience of both visual and sound architecture. By supplementing the built space with frequencies, as well as voices, instrumental notes, rhythms and silence, the artists offer everyone a special listening situation: whether this listening is drifting or attentive, static or mobile, it is guaranteed to give visitors a different perception of the place, which is remoulded by the volume of air it contains and by the sound travelling through it. Released in association with Centre d’art contemporain – la synagogue de Delme. Comes with high quality lossless download option of the full album. Edition of 300 copies on white vinyl.
Two ecstatically mind-bending free-improv face-melters and esoteric soul-healers from RAIC (the Richmond Avant Improv Collective) in one 2-disc set. ‘Communion’ and ‘Il Delirio E La Mortalità Di Amore’ are RAIC’s 3rd and 4th albums, respectively. Ranging from traditional free-jazz combo improvisations to distorted noise jams and lush, global drones, the two albums span an impressive breadth of vision as well as offering an eclectic, yet unified, listening experience. Double boutique numbered edition. Lino block printed outer sleeve, stamped inner envelopes, hand-stamped CD-Rs, full-colour insert/poster.
Periodically, Vancouver Island librarian Partli Cloudi emerges from the periodicals stacks and offers up another cut-up, broke-down, sideways look at the world through the textual magic of sound. Pet Smells finds PC stretching his muscles a little, in his words: “I was purposely trying to tap into more of a Three Feet High and Rising meets Smiley Smile type of record, and questioning if humour and joy can have a place in music versus more ‘acceptable’ emotions like angst, sadness, and ironically… melancholy. I guess when I said ‘music’, I meant like boring indie / underground / experimental music… putting the mental back in experimental. Don’t quote me on that though.” C30, high bias cassette, in printed envelope with insert card and dime bag of genuine pet hair.
All day every day, making tomorrow seem like yesterday. The musical ennoblement of the Big Time Television pirate music video channel in Max Headroom, GAD WHIP come on like a nightmare wedding of Mad Max and Bladerunner with their anarchistic trash heap of tripped-out industrial post-punk. Trapped In A Pin Hole Camera features the core trio of Amos, Bolam and Davies aided and abetted by Neil Campbell (Vibracathedral Orchestra, Astral Social Club etc), Paul Walsh (Smell & Quim, Foldhead etc), Jimbo Baxter (Freaks Union, The Fuckin’ Glorious etc), Eva Davies & Ryan Walker (both on extra guitar & bass duties). Recorded in several kitchens throughout the summer of 2017 in West Yorkshire, UK, with “one mic and a busking amp” the band claims, though the recording is by no means the lo-fi shambles that implies. C38, Printed envelope, full colour insert card.
It’s a murmuring attempt at animating an imagined landscape, and all manner of anthropomorphic entity within. I’ve been thinking of this album as druidic lore-play; it’s some pretty decadent fantasy. Hyper visual and hyper surrealistic, as far as lyrics are concerned. Threading in a lot of ’irreverent’ and intentionally loose percussive and organic sounds among more careful and familiar melodic stuff, which is gently reflective, I think, of the overarching concept and heart of the thing: play between two worlds. Above/below. Sound: a whole lotta sprawling polyphonic vocal stuff, including a small men’s chorus, droning, and percussion using throat, tongue and breath. Lots of table-tapping, hairbrush-bristles-on-paper, jewellery jangling, and some cutting and pasting of found battle sounds (swords clinking, drop-kicks, etc.) And of course, analog synth (Juno 60) and piano, acoustic string instruments (toy guitars, autoharp), electric bass, and bird song- mostly cardinals, robins and grackles. High bias transparent gold cassette. Housed in printed envelope with insert card.
Brooklyn’s Ancient Ocean has long occupied a unique & sublime tonal intersection of cosmic ambience and earthly heft, a line hard for most to straddle, much less with such success. On his latest for Field Hymns, John Bohannon’s instrumental soundscapes illuminate a curious mind at work: by keeping these tracks in their mostly skeletal form, they provide a lens into his process from the ground up and deliver a nuanced minimalist program of an artist at the top of his game.
Green House is proud to present ATMWorld, the first full-length album from Connor Hanwick under the Dondadi moniker. As a musician and producer involved in numerous projects over the last ten years, Hanwick’s recent work as Dondadi sees an effortless shift into the modern experimental realm. Through the marriage of synthetic and acoustic instruments, ATMWorld settles into a unique listening space. Striking a balance between classical and contemporary conventions, Hanwick nods to elemental aspects of musique concrète such as active listening and acousmatic sound through his use of field recordings and internet ephemera. Simultaneously, themes and effects exercised in contemporary electronic music are seamlessly woven into each composition. Digital manipulation and heavy layering of melodies and chordal motifs define ATMWorld’s nuanced shifts in perspective. Futuristic lullabies softly carry the listener into shimmering, fragmented bursts of emotion – sharp, abstract and holographic.
Second VHS compilation of live sets captured in Michigan during Summer 2017. All recorded to Hi8 and edited to VHS. 60 minutes of excerpts from sets by: Anla Courtis/John Olson/Cyrus Pireh, Thom Elliott, Tyler Hicks, Viki, Devotional, Vullmoxx, Church Shuttle, Sick Llama, Little Princess, and Charlie Draheim.