Animal Psi

MONOL!TH – ‘Andromeda’
MONOL!TH returns with Andromeda, a 57 minute follow up to 2013’s Pyramid. Andromeda continues to drift along the same tides as Pyramid yet it conjures up a new sci-fi depth. The 14 tracks emerge from darkness with star-like gentleness only to dissolve with cosmic bite.

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Leila Abdul-Rauf & Tor Lundvall – ‘Ibis/Quiet Seaside’ 7″
Over the past few years, Tor Lundvall has thoughtfully displayed his ambient sound works in connection with Dais Records, releasing two retrospective multi-disc box sets and two full length albums. Apart from his collaboration with Tony Wakeford on Autumn Calls, collaborations with others have been extremely rare. Tor and multi-instrumentalist, Leila Abdul-Rauf (Vastum / Hammers of Misfortune / formerly of Amber Asylum) first got in touch in late 2011. Their exchanges eventually led to a musical collaboration of both like-minded artists joining in to illustrate their unique and personal visions of nature, life and art. During a visit to Lundvall’s home in May 2012, Leila wrote a spontaneous track on Tor’s Winter Piano entitled Ibis. Tor recorded and engineered the track along with Leila’s vocals. Later that month, Lundvall added various sounds and ambient washes to the mix. A solo version of Ibis, featuring the original piano / vocals but with additional horn, was released on Abdul-Rauf’s debut LP Cold and Cloud on Saadi Saati Records in 2013 (Lundvall also designed the sleeve and created the cover art for this LP). The earlier, collaborative version of Ibis has remained unreleased until now. It was agreed that a 7″ was the perfect format. On the reverse, Lundvall has written a new piece entitled Quiet Seaside constructed around Abdul-Rauf’s guitar riffs which Lundvall also recorded during her 2012 visit. The track captures Tor’s signature lush keyboard and ambient whirl. The early mix was sent to Leila who worked in her slow-moving brass performance and textured tone scales to make this work as introspective as it is beautiful. Limited edition of 300 vinyl copies featuring artwork by Tor Lundvall.

YORK FACTORY COMPLAINT – ‘Lost in the Spectable’
Conceived as a sort of sonic embodiment of Martin and Berdan’s increasingly disgusted worldview, Lost in the Spectacle builds around its noisy industrial back- bone with surprising, beat-driven passages and intense, all-too-human vocals. For an album so unrelenting, though, it offers a certain accessibility that’s uncom- mon in contemporary noise music. Lost in the Spectacle is an extended hand, an invitation to the impressive work Martin and Berdan are doing. It’s immediately striking, but repeated listens reveal its depth.

Maurizio Bianchi – ‘Amentest 7″
The late 70′s rejection of punk and rock-oriented music within select underground subcultures was signified by the works of of bands like Throbbing Gristle, Cabaret Voltaire and Whitehouse. Using their network of record labels and propaganda, these like-minded noise makers created a sound and aesthetic that is known far and wide as something quite English. But in Italy, a storm was slowly brewing in the works of a lone composer by the name of Maurizio Bianchi. Starting in 1979, Bianchi formed his earliest sketches of abstract loop composition under the pseudonym Sacher-Pelz. After only a few months, he felt it was time to start producing more conceptual works under his given name, sometimes shortening his authorship to only MB. The following years saw some of industrial and ambient music’s most genre defining works. Rumors surrounded a series of mischievous unauthorized releases only to be contradicted by his humble and earnest willingness to collaborate with other like minded composers coincidentaly followed up by his ominous “disappearance” from music during the late 80′s / early 90′s. His various comebacks always showed MB to be the master of his own device who undoubtedly influenced and inspired thousands of musicians, artists and composers with his creative output. Most recently, MB has been reflective on his 35 year history in music and the impact he has had on it. His recent works show MB as undoubtedly reflective yet remaining persistently original. Amentest is Bianchi’s most recent work employing the 7” single format, a medium that MB has only dabbled in briefly. Keeping his abrasive rhythmic sounds, beautiful use of delay patterns and selective subject matters at hand, MB’s genius still shows that he is as relevant today as he was back when he was quietly manufacturing his echoed sound sculptures in the foothills of Italy in 1979. Limited to 300 copies. Edited by Kris Lapke (Alberich) with artwork by Ryan Martin (York Factory Complaint / Dais).

Sissy Spacek – ‘Lead Their Exit’ 7″
On Xmas day in 1999, the channels of the noise canon received a new entry into its ranks by the name of Sissy Spacek. 15 years later, the outfit, held together by core members John Wiese & Charlie Mumma, has left a littered trail of damaged recordings and countless performances in its wake. Known for it’s cult output and conceptual performances—each idea folding over the last to create havoc in the way that most would care to avoid, Sissy Spacek takes this all head on. Their newest 7” shows the band exploring song-based material (see also their live shows), employing it’s newest member Sara Taylor to provide vocal accompaniment to their special brand of furious destruction. To those familiar with their previous works on PPM, Chondritic Sound, Gilgongo or Wiese’s own Helicopter imprint, one will instantly welcome their signature hybrid of grindcore blasts and avant-garde sensibility and remain captured by the band’s semblance of leftfield song writing. Limited to 300 copies.

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HEL011 – Matt Nida – ‘Explorer’
Second full-length from London-based producer. A mix of classic synthesizer music of the 70s and 80s filtered through punchy, driving Detroit-style techno.

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Atomizador and Grosgoroth split CS
Full color cover printed on heavyweight paper, insert in black and white marble paper, toxictape and gift sticker of the newly created label Muerte Cerebral. 60 copies. 2 euros. Portada a todo color impresa en papel academia de alto gramaje, encarte en blanco y negro en papel mármol, cinta tóxica y pegatina-regalo del recién creado sello Muerte Cerebral. 60 copias. 2 euros.

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ELEH – ‘CIRCLE 3: FULL MOON AT 35HZ’ LP
Circle Three: Full Moon At 35hz is the third Circle piece from Eleh and the first to be released since 2010’s Repose. Packaged in a heavy duty screen printed cover. #’d edition fo 500. The first 100 copies have a gold ring print and text. These copies will be shipped randomly. Audiophile quality LP cut at Dubplates + Mastering in Berlin. Like Repose, the first Circle piece released on vinyl, this is a one sided LP with a screen printed side B.

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Marrach – ‘Chambers of Resistance’
[EN] Tripstep jazz album by Lithuanian project Marrach, cousin of another of our release artist Chtin Mara. [PT] Album de tripstep pelas mãos do projecto Lituano Marrach, primo de um outro nosso artista Chtin Mara.

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Chris Daily – ‘The Music of Yesterday: 2004-2005’
As part of the Teflon Beast family, musician, producer, and noted hermit Chris Daily suddenly and unexpectedly released the beginnings of a retrospective multi-volume archival project via his own Bandcamp. Going back to 4-track cassette tapes made between ’04 & ’05 when he was in his early teens, Daily has compiled a breathtakingly expansive work of a staggering pop prodigy. From riffing on a crude loop of music inspired by Madonna, “Everybody’s High But Me,” to imagining the standard “April in Paris” as if recorded for Pet Sounds using a mix of Midi and acoustical instrumentation, Daily’s pop prowess is one of the great unheard musical catalogs of the do-it-yourself set.

Chris Daily – ‘Song Calendar Vol. 1’
Not content to be merely an “oldies” act, Daily has been working tirelessly this year on a massive holiday music project titled “Song Calendar.” The first volume of 2014’s holidays, some more well-known than others naturally, are now available in this set of esoteric pop music. Highlights include “It’s No Fun When You’re the Grammar Police,” “Blue Yodel,” and the wry “PI Song.” Stay tuned for more holiday related music on Teflon Beast and look for volume two in time for Christmas.

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NP200 The Garment District – ‘If You Take Your Magic Slow’ LP
If You Take Your Magic Slow is the debut full-length LP from multi-instrumentalist Jennifer Baron’s The Garment District, with help from a few friends and family—her cousin Lucy Blehar provides lead vocals throughout. If You Take Your Magic Slow is very much a structured album with its diverse tracklist meticulously strung together. A mix of surreal instrumentals and subtle turns conjures outdoor walks in transitional atmospheres and landscapes, nature hikes in the city, sunny days that are okay with becoming cloudy, warm music full of feeling that remains comfortably easy-going despite the meticulous care given to its sophisticated orchestration and arrangements. This eclecticism creates something complex yet accessible, loose but direct. Baron mixes pastoral psychedelia with artful minimalist post-punk experimentation and a subtle approach to library music, soundtracks as “pop,” with just enough droney dreamy color to fill it all in. If You Take Your Magic Slow doesn’t follow any templates or gimmicks: its focus is on being true to its musicality, songwriting, and honest approach to compelling contemporary easy listening—something we are quite fond of. A perfect summertime record.

NP180 The Deep Freeze Mice – ‘Best Of 1979-88’ LP
The Deep Freeze Mice were an English post punk/weirdo, pop/DIY band from Leicester; they released ten albums between 1979 and 1989 on their own labels Mole Embalming and the still running Cordelia Records. The band also gained a bit of post existence notice by their inclusion on the Nurse With Wound list and through the Messthetics compilation series. The original lineup consisted of guitarist/vocalist Alan Jenkins, bassist Mick Bunnage (of the Statics), keyboardist Sherree Lawrence, and drummer Graham Summers (also of the Statics) which remained intact until the release of the band’s third record, The Gates of Lunch. After the departure of Summers and the acquisition of replacement Pete Gregory, the lineup remained until their breakup in 1989. Leader Jenkins (who was also involved with the Chrysanthemums and Ruth’s Refrigerator during the existence of Deep Freeze Mice) continued afterwards in the Creams and the Thurston Lava Tube while maintaining Cordelia Records. In origin, the Deep Freeze Mice started out in the informal, confidently scrappy mindset of the post punk era creating often upbeat goofy songs speaking to political topics, surrealist imagery, and science fiction. The most interesting thing about the band’s sound was a distinct approach to a kind of British classic rock sensibility with subtle flourishes of psychedelic ambiance which, when combined with their punky way of doing things, created a unique approach falling someplace between the ramshackle pop sound of The Television Personalities and Bowie style weirdoisms. This LP serves as a new release, a collection of the best of the Deep Freeze Mice. It was compiled by guitarist/vocalist Alan Jenkins. Original Deep Freeze vinyl fetches high collector prices and we felt like a collection was necessary to re-introduce a long overlooked band whose material spanned many albums in such a diverse way. We hope you enjoy and appreciate The Deep Freeze Mice as much as we do and that this compilation provides a starting point to then look back into the band’s deep catalog.

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Daniel Bachman– ‘Orange Co. Serenade’
On Orange Co. Serenade, Bathetic’s first release from the rising guitar savant Daniel Bachman, we’re introduced to a veritable landscape of winding guitar. Bachman treats his guitar lines and licks in a way that resembles the earth itself, at its most pristine, delicate, yet also primal and overpowering. Pieces move, ascending and descending in the same way that the clouds roll through blue skies, the same way brooks babble down rocky fronts carving their paths in the land.

Form A Log – ‘For The Record’
Form A Log members (Ren Schofield, Noah Anthony, and Rick Weaver) projects, such as God Willing, Container, Profligate, The New Flesh, and Dinner Music have been highly revered over the years for their ability to stand out from the crowd. Form A Log is no exception, and takes the member’s abilities to carve their own niche to the next level.

United Waters – ‘Sunburner’
As we here at Bathetic Records have been uber-fans of the massive Mouthus for years, it comes with great pride to release this record from United Waters, headed up by Brain Sullivan and rounded out by Chris Shield and Patrick Cole. While this is a quieter, more subtle beast than Mouthus, there’s still the same type of burned, frayed energy at work here. What this record is is a unique brand of challenging psychedelia, equal parts pop and cement truck. Each track is approached with a true-blue pop styling, melodic vocals, hooky guitar licks… but when filtered through the gray and tan haze, it comes out warped and warbled, drifting at its own accord.

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Telecaves/Walter Gross – ‘Line Fracture/Trigger’ C33 $6
From sunny Los Angeles comes the doom dark drone arrangement of twisted textured sounds of Telecaves. Line Fracture is the collection of three tracks filled with massively layered soundscapes labeled as “viscerally terrifying.” Sentimental art fuckery, Telecaves clearly cut a refined sound of disturbance. The b-side features Walter Gross – back from his demise in Los Angeles, “Trigger” approaches a reminiscent sound of 2013’s “the end is coming” epic vinyl debut “Rotocraft.” 15 minutes slammed into ambient noise, strained vocals, stretched chords, epic beats, and the trademark Walter Gross sound. You cannot replicate such originality. Together Line Fracture / Trigger loop and hurl sounds of isolation. Limited to 100 copies, 50 on green and 50 on black cassettes.

Teaadora – ‘Blood Gold’ C11 $5
Teaadora is a singer/songwriter from Bloomington-Normal, Illinois. Blood Gold is the follow-up cassingle to Teaadora’s 2013 full-length “Virgin Forever.” A slight departure from the very lo-fi recording style, but staying true to nature, Teaadora’s self-awareness pours through the poetic lyrics and beautifully hypnotizing vocals and ethereal instrumentation. The two tracks featured take on a more pop essence than much of Virgin Forever. This growth in performing and recording has not spared that lo-fi ethic completely., but the maturity is noted. The music is still haunting and minimal. The opening track, Perfect Love, is a very sentimental ballad that features the softly spoken lyrics of a somber nature. Contrasted with Blood Gold which takes on a more “full-band” approach with a nice drum beat that carries the song off into an inner depth of love and despair.

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