Animal Psi

Extinción De Los Insectos 12″
Primer disco de Extinción De Los Insectos, dúo de speed-punk-alucinógeno surgido de las cenizas de Ensaladilla Rusa y Campamento Ñec Ñec! 10 miniaturas de batería-guitarra-aullidos en vinilo negro de 140 gramos por una cara a 45 rpm para mayor calidad sónica. Portada y contraportada horror-vacui salvaje hecha por HAZ impresa en color verde marino sobre cartón gris. Coedición de Afeite Al Perro, Chingaste La Confianza y el sello inglés Lupus. 300 copias (100 a través de Afeite Al Perro), 8 euros. // First album of Extinción De Los Insectos (Extinction Of Insects), hallucinogen-speed-punk dui risen from the ashes of Ensaladilla Rusa and Campamento Ñec Ñec! 10 miniatures of drums & guitar & howlings in 140 grams 45 rpm one sided black vinyl. Wild horror vacui front and back cover made by HAZ. Printed in sea dark green over grey cardboard. Coedited by Afeite Al Perro, Chingaste La Confianza and english label Lupus. 300 copies, 8 euros.

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WOLF EYES – ‘No Answer: Lower Floors’ CD/LP
This record is sick, you need to worry about this one. From Tough to Toughest to Tangled, No Answer was recorded and mixed at the Michigan Underground Group’s gambling/clubhouse/art space, with the usually 2D-flat quality of the drums and electronics given creeping new brightness-life within the hollow echo acoustics of the sacred space’s cinder prisons. No Answer : Lower Floors shares a natural feel with previous Wolf Eyes efforts but goes much further in detailing their underworld of odd melodies and mangled harmonics. Within their system-based economic compositions, there remains zero room for wasted space. The whole record is less internal misery and more colorful, if of a ‘could be life on Mars’ zone more than rainbows and daisies.

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DIGITAL LATEX – ‘PATTERN RECOGNITION’
Digital Latex está de vuelta después de un silencio de 2 años con un nuevo EP en el cual su estilo de new age trance altamente emocional llega a nuevas alturas, transformándose en magia sonora. ‘Pattern Recognition’ es una entrega de tres de sus mejores y más inspiradores tracks hasta ahora y uno de los más anticipados releases en MALIGNA.// Digital Latex is back after a 2 year silence with a new EP that takes his style of highly emotional new age trance to new heights, becoming sound magic. ‘Pattern Recognition’ are three of his best and most inspiring tracks yet and one of the most anticipated releases on MALIGNA.

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Wold – ‘Freermasonry’
“This is all to say that Freermasonry — the obliterative sixth album from Wold, the Saskatchewan act led by the incredibly named Fortress Crookedjaw — is ultimately enigmatic and entirely unknowable, an intersection of noise, metal, and electronics that doesn’t yield to such plainclothes criticism. Mean, dense and multivalent, with a lyrical conceit based on Masonic symbolism and Biblical scripture, it’s the rare loud music that begs to be louder still if you’re to have any chance of understanding it. Freermasonry is a case study in controlling the illusion of chaos, an elegantly constructed nightmare of sound where hearing one layer of serrated screams, static bursts, and feedback flares means you’ve missed some mass of activity somewhere else. Weirdly seductive rhythms tumble beneath a laundromat of blown-out tones and crackling vocals, generally pulling your attention a dozen different ways. I’ve been listening to the album consistently for three months now, and somehow, I’m still surprised by what its 58 minutes sound like and accomplish. Paradoxically disorienting and direct, Freermasonry is a constant tumult of surprising activity, more unforgiving than most everything in the noise, metal, and drone scenes, places where Wold kind of fits.” –Grayson Currin, Pitchfork (8.3); Members include: Fortress Crookedjaw (poetry, discourse, composition, bass, devices, synth, and vocals); Obey (guitar on “SOL” and “Free Eyes”); and Acrimonia (guitar, additional compositional work, and programming on “Annex Axe”). Ideologic Organ presents the double LP Freermasonry from Saskatchewan-based black metal/noise group Wold. Recorded in Regina, Moose Jaw, London, and Providence.

Gravetemple – ‘Ambient/Ruin’
Gravetemple was formed in 2006 as a side-project of the band Sunn O))) by Oren Ambarchi, Stephen O’Malley and Attila Csihar. The group formed initially to tour in Israel in the summer of ’06, creating several recordings which eventually became The Holy Down album, which was released on Southern Lord Recordings in 2007. At the time of the Israel tour, the Lebanon War started and was in action. In summer ’08, the trio reformed together with the addition of Australian drummer Matt “Skitz” Sanders for a short European tour culminating in a headlining performance at Supersonic Festival in Birmingham. In late 2009, the original trio reconvened for a special one-off concert at London’s Institute of Contemporary Arts. April 2013 marks the first set of live action since that period, and a new chapter in the ongoing system of the related network. Ambient/Ruin was created with the 2008 quartet — elements of tape collage, concrète, and field recordings blend within a strong, geographically-diverse (parts were recorded in Japan, Australia, Paris and Israel) suite of heavy minimalist/maximalist music, black/death metal and drone. The culmination of these efforts become the music, literally, of Sadistik Exekution meeting Phill Niblock. Gravetemple clearly adapted the more abstract and experimental aspects related to Sunn O))) and have continued from that point, with ongoing focus on metaphysical construction of free music and will. The music became a geographically and metaphysically-based effort. Attila (chants & percussion & Fuji sounds recorded on location in Kamakura May 08); Stephen (guitars & Korg Polysix recorded in Paris & Saalfelden June 08); Matt (drums were recorded at 3 Phase studios, Melbourne by Sam Johnson March 06); Oren (guitars, motorized cymbal, electronics, bells, tympani, atmos recorded at Jerker House, Melbourne & BJB, Sydney 06-08). Cut by Rashad Becker at Dubplates & Mastering, Berlin February 2013. Drawings by Justin Bartlett/VBERKVLT. Art direction & backline design: SOMA. This album was assembled from live performances, cobbled together with elements of tape collage, concrète, and field recordings backed up by heavy drone/black/death metal. “Gravetemple is a sacred metaphor & psychedelic spiritual abstraction.” –Ideologic Organ

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HC088 Forced into Femininity – ‘Messiah of Evil’ C22 $7
Second press / reissue of Forced into Femininity’s (Jail Flanagan) exquisitely charged and frantic masterpiece “Messiah of Evil”. Jail maximizes the BPM and violently zooms thru some extreme arpeggiated progressions, mystery modifications, and choreographed mania. Her lyrics lash the horrors of reality. Messiah of Evil is a document of the highest of extreme energy and singular expression. Professionally duplicated limited run of 100 copies. “The beauty of irrational urges has rarely been delivered so honestly.” -Russian Tsarlag

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YONG YANDSEN – ‘Disillusion’ LP
Yong Yandsen is a musician from Kuala Lumpur, Malaysia. He’s a member SiCKL, collective promoting avant-garde and experimental music and expressions in Malaysia. Some may know his name from the Shang compilation, released on Xing-Wu, with two other artists from Malaysia. He did compose a piece for guitar, which was his first intrument that he drop for tenor saxophone some years ago. With his tenor you can find him on various recordings from the band Klangmutationen, but here it is the first time solo. 7 improvisations recorded over a period of two years in Cheras, KL. Free tenor sax with strong breath and playing with pitch in a lyrical style that make Yandsen related to Albert Ayler, Kaoru Abe or Masayoshi Urabe. Black vinyl limited to 300 copies. Mastering by Giuseppe Ielasi. Artwork by Loïc Verdillon.

PALI MEURSAULT – ‘Offset’ LP
offset is the exploration of the soundscape of a printing workshop, a journey in the depth of the mechanical and industrial energy of rotary presses. Composed from field recordings made in two different printing facilities (in Grenoble and Paris from november 2011 to february 2012), the work is deliberately situated in between the sound document about the over-determined environment of a work place and the electroacoustic re-composition/manipulation. A series of variations on textures, rhythms, cycles and patterns formed by the producing and reproducing machines. Here, the soundscape is regarded as a social and cultural phenomenon as much as it is acoustic: the recorded matter is both the damaging and alienating by-product of the production process, and already holds a musical dimension, marked by a hundred years of mechanical fantasies, as cultivated by the Futurists, industrial music or techno. The issue, then, was to study how the noise of a machine becomes music as much as it was to understand how a musical culture produces an alternative listening of the environment. The first side of offset explores the rhythmic patterns of mechanical “cycles”; the second focuses on “fluxes” and continuous phenomena. Co-realised by universinternational and doubtful sounds. Black vinyl, limited to 300 copies. Mastering by Giuseppe Ielasi.

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GR250: v/a – ‘Feeding On The Faceless’ C60 compilation
A best-of collection of Green Records in-house solo and group recordings. Brand new tracks by Unveiling Asylums, 1%er, Idle Hour, Cujo, Void Transport, Black Lace Drag, Woven Qualm, The Bloodletters, Resin Injection, Lidless Eye, and Orphanage Rats. Styles all over the map, featuring members of Redrot, Tarpit, Cold Turkey, and a bunch of other Michigan maniacs. Xerox covers, numbered edition of 30 copies.

GR251: Klinikal Skum/Lidless Eye split C62
Two sides of nasty electro-industrial noise by the members of Black Lace Drag. Klinikal Skum (Ryan Oppermann of Redrot, Post Mortem Junkie, S.P., etc.) delivers his signature brand of creeping, rythmic electronic atmosphere. This is the project’s first new material in nearly four years. The Lidless Eye (Knox Mitchell of Orphanage Rats, 1%er, etc.) side mixes homemade pulse boxes and electronics into an unstable frequency structure. Insane homemade sounds. Xerox covers with insert, numbered edition of 40 copies.

GR252: PBK + Anla Courtis – ‘Inasive Species’ C40Newly completed, but a long time in the making, Invasive Species is a collaboration between American noise artist Phillip B. Klingler, aka PBK, and Argentinian experimentalist Anla Courtis, guitarist and co-founder of the legendary psych band Reynols. Courtis’s sound-sources consist mostly of feedback frequencies and throbbing synthetics that push the limitations of digital sound. Set against PBK’s crunching, psychedelic noise and turntable manipulation creates the sensation of being inside a structure of circular forces where the infernal sounds are swallowed up in pulsing sonic vortexes. Sound is somewhere between ambient, space music and noise/drone. Xerox covers with insert, numbered edition of 55 copies.

GR253: Landstander – ‘Possessed’ C60
The return of this studio-only organ unit. Four dark, extended songs played on both electric and wind organ, and recorded to four track tape. Recurring night terror music. Xerox covers, numbered edition of 20.

GR254: The Bloodletters – ‘Skeleton Chained’ C30
UK/US mail collab between Simon Wilson (Blue Spectrum, The Phosphenes, etc) and Knox Mitchell (Lidless Eye, Woven Qualm, etc), this time fed through Simon’s trash compactors and boiled down with broken jazz flue and sizzling electronics. Xerox covers, numbered edition of 18.

GR255: Lidless Eye – ‘The Liquid Engineer’ C32
new sounds and manglings bring Lidless Eye into it’s third year of existance . On this tape are four carefully composed pieces homemade of electro-acoustic non music crafted with mixers and gutted radios, no effects. Xerox covers, numbered edition of 20.

GR256: Stagnant Fluids – ‘Fungal Refuge’ C30
Second tape from this always changing ??? unit led by Ohio’s Bradley Dixon (Rose Window) and Michigan’s Heath Moerland (Sick Llama). On this tape: one side of mystery clatter and syrup-thick tone assault, and one side of treated live ramblings from deep inside the MUG concrete bunker. Xerox covers, numbered edition of 20.

GR257: Dour – ‘Final Document’ C20
Since the mid 2000s, Sam Dour (Exhumed Corpse, Ghouls, Tightrope, Gridlock’d, +) has been infecting ears and minds with his brand of dark, unrelenting harsh PE. This tape signifies the end of the Dour project with his final live set on side A, and a premium slab of mind-numbing harshness on side B. The soundtrack to an endless massacre. Xerox covers, numbered edition of 30.

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various artists – ‘Ohrwurm Culture‘ CDr 5€
It took almost one year to gather almost all the people involved in almost five years of Monstres par Excès. It started as a half-baked joke about noise labels and the scene. It ended up releasing more than expected, crossing the boundaries of bad taste, avoiding the scenes, promoting unfriendliness, eschewing totalities and tonalities. We’re not quite sure about which way we should go, from now on: tumbling around as a faltering machine, in breaks and fits? As an excess of organs without a body, the positive side of negativity? Or should we just stop altogether? You will not notice anyway. 2007-2012: a quinquennial plan in borderline anaesthetics. From noise to noises and backwards, throughout alliances, pseudonyms, rip-offs, chances, encounters. Se rabattre sur. This is how we sounded: a culture of earworms for unattuned ears. 30 copies.

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Adderall Canyonly – ‘Excelsius Minor’ CS
Excelsius Minor is a haunted house of an album, full of looming mysteries, told in hushed words around a campfire somewhere outside eternity. Portland, Oregon’s Adderall Canyonly is primarily known as an eclectic and multi-talented synthesist, often delving into melodic construction or rhythmic ecstasies on a range of releases for labels like Field Hymns and Tranquility Tapes. Synthesizers nestle neatly beside evocative guitar work and Rhodes melody. Imagine unearthing a forgotten John Carpenter ghost story, the old Betamax weathered from sitting in an abandoned lighthouse near the foggy sea. You put this tape into your trusty Super Beta machine and the tracking has shot the images to abstraction, leaving only the soundtrack which echoes Carpenter and Howarth, Goblin and the Italo circuit, among an everflowing prog-minded propulsion. But there’s something else here too, the tape is imbued with a supernatural force, the lighthouse is glowing, and you can’t… stop… listening… Presented in an edition of 100 pro-dubbed and imprinted cassettes with full-color artwork.

KBD(uo) – ‘Loss/Gain’ CS
Two longform electro-acoustic compositions from Toledo’s KBD(uo). Percussion and abstract synthesizer elements fit side by side in a new aural cosmology, behold a trance, and the cymbal is reduced to homonym or symbol in the archetypal plane. That’s what KBD(uo) does. Michael Kimaid and Gabe Beam make fearless forward sounds, they are timbral safarists in jungles of sound, aural alchemists transmuting the organic and electronic to novel hybrid state. Loss/Gain moves in territories ranging from the unrelentingly uncanny to the sublimely ecstatic and remains a glimpse of a hidden world, a rare catalog of conjured soundforms and evolving ether. Presented in a limited edition of 100 pro-dubbed and imprinted cassettes with full color artwork designed by RCN’s Ram Youssefi.

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