A double-CD release that collates material from the period 2008 – 2011.  Including for the first time digitally The Bacteria Magnet and Rushkoff Coercion E.P.s, previously unreleased remixes and exclusive tracks.  Comes in deluxe 6 panel digipac with art from Babs Santini.

Copies ordered from Dirter arrive as a three-disc edition, with a bonus CD in a full-color printed sleeve.  The bonus disc is (for the first time in digital form) the vinyl mix of Huffin' Rag Blues.

More information can be found here.

M. Geddes Gengras returns with the anticipated follow-up to his critically acclaimed Collected Works Vol. 1 The Moog Years (Umor Rex 2013). The music on New Process Music constitutes his first recordings of purely modular composition; while the album was recorded between 2011 and 2012 it has never been released before and we are pleased to present it for the first time as the Vol. 2 of his Collected Works series.

New Process Music represents a major aesthetic shift for M. Geddes Gengras, fusing the long-form modular compositions he had been exploring on a bevy of small-run cassette releases with a new obsession with post-production editing to create a deeply tuned aural environment, lush in analog electronics that are gritty along the edges, with rich textures and melodies materializing and wafting away like smoke. For New Process Music, Gengras used only a small eurorack synth and magnavox tape echo for the tracking process; the pieces that emerge act as documents of an artist exploring the limits of his chosen instruments. Most of the patches here were originally written for performance and recorded live. Sequences are twisted and bent, turned in on themselves or combined with random information. Longer tracks like "Slider" and "The Last Time We Were Here" zigzag across scales, the latter emulating the endless keyboard technique that was highlighted on Collected Works Vol. 1: The Moog Years, while the former takes the form of a bubbling kosmiche workout that collapses under its own momentum. Shorter pieces like "Glass Dance" and "Relation" offer fractured sequences that refuse to resolve over wavering beds of drone and shade. The overall effect is that of a richly detailed sound world that envelops the listener in a deeply personal space.

Out November 18th.

More information here.

After the Rain is the latest offering from Mark Van Hoen and Louis Sherman's Locust project. Following up the 2013 release You'll Be Safe Forever, this new album sees Locust stepping away from the abstracted forms of previous works presenting a more melodic/harmonic proposition. Bathed in a warm nostalgic memory, After the Rain draws on Mark's formative influences, primarily '70s electronic music.

Unlike previous Locust and Mark Van Hoen releases, which relied on programming and sequencing much of this new record was played live, creating a space where innovation is secondary to the suggestive power of time, space, mood and melody. Rich in melancholia and a yearning for a world once suggested After the Rain explores a crack in the historical framework, one embracing female identity and astute observations of melodic atmosphere. After the Rain is a melodic electronic mood record which presents itself as a triumph of historical revisionism.

More information can be found here.

After releasing a first glimpse in the form of the Atomos VII EP earlier this year, A Winged Victory For The Sullen reveal their second full-length album entitled Atomos which sees the duo introduce flurries of electronics, harp and modular synthesizers to their sound in the follow-up to the 2011 self- titled album.

In 2013 AWVFTS caught the ear of Wayne McGregor, founder of Random Dance Company and resident choreographer at the Royal Ballet, who is perhaps best known for his choreography work on the Radiohead video "Lotus Flower" as well as "Ingenue" by Atoms For Peace.  McGregor used the debut album as the warm-up music during practice sessions for Random, and after noticing the group's reaction with the music, he contacted Adam and Dustin to see if they would write the score for his new work.

Given complete artistic freedom, the duo treated the score with the same care and attention as their debut full-length by recording more than sixty minutes of music over a four-month period across studios in Brussels, Berlin and Reykjavik with the help of their long time collaborative sound engineer Francesco Donadello. During the process they came to the realization that this would become their official second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique release.

More information is available here.

John Fahey is to the solo acoustic guitar what Jimi Hendrix was to the electric: the man whom all subsequent musicians had to listen to. Fahey made more than 40 albums between 1959 and his death in 2001, most of them featuring only his solo steel-string guitar. He fused elements of folk, blues, and experimental composition, taking familiar American sounds and recontextualizing them as something entirely new. Yet despite his stature as a groundbreaking visionary, Fahey’s intentions—as a man and as an artist—remain largely unexamined. Journalist Steve Lowenthal has spent years researching Fahe'’s life and music, talking with his producers, his friends, his peers, his wives, his business partners, and many others. He describes Fahey’s battles with stage fright, alcohol, and prescription pills; how he ended up homeless and mentally unbalanced; and how, despite his troubles, he managed to found a record label that won Grammys and remains critically revered. This portrait of a troubled and troubling man in a constant state of creative flux is not only a biography but also the compelling story of a great American outcast.

More information can be found here.

Recorded in Madrid and Rome during 2013, this is the new album by the influential electronic duo ranked as industrial music pioneers. Ultraphoon is a leap ahead as for production and sound quality, with a stunning and brutal outcome, richly detailed nonetheless. Rhythms, noises and processed voices from different sources come together in hypnotic –bordering on trance– soundscapes along the lines of previous releases such as Pulsión (2009) and Desarrollos Geométricos (2011). Most of the meticulous mastering process has been carried out by Francisco López, internationally renowned as one of the top sound art and experimental music personalities, giving a new twist to the usual Esplendor Geométrico sound.

More information can be found here and here.

Trouble is the brand new dispatch from the assorted output of Kevin Drumm and sits as one of the quietest in his entire catalogue. A single continuous 54-minute excursion into the netherworld of the audio spectrum, Trouble is neither ambient nor drone but a more complex investigation into the deep recesses of sound.  One which discreetly works itself into the mind of a listener willing to invest in the path laid out in this extremely subtle, beautiful and exceptional release.

More information can be found here.

Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Ambarchi's work in recent years has evinced an increasing fascination with the possibilities of combining abstract sonic textures with rhythm and pulse, whether in his drumming with Keiji Haino, the subtly driving ride cymbals provided by drummer Joe Talia in their work together, or the motorik grooves of Sagittarian Domain (Editions Mego, 2012). Quixotism takes this aspect of Ambarchi's recent work to the next level: the entirety of this long-form work is built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, being joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful, passages.

The pulse acts as thread leading the listener though a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of Crys Cole's contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede, appear and reappear, in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke's synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Eliane Radigue, and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, so that they are often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

Anyone who follows Ambarchi's work knows that it has many facets: explorations of the outer limits of rock with Keiji Haino, psychoacoustic interference and sizzling harmonics in his solo performances, delicate improvisations with Keith Rowe or John Tilbury. To all these projects, Ambarchi brings his particular sensibility, patiently allowing sounds to develop on their own terms without forsaking their intrinsic physical and emotional power. Similarly, although Quixotism is shaped by its many contributors, the resulting sound world is unmistakably Ambarchi’s own. His most substantial solo release since Audience of One (Touch, 2012), Quixotism represents the summation of Ambarchi’s work over the last few years while also pointing to the future.

More information can be found here.

Ashley Paul's Heat Source was recorded during a challenging year of transience between New York and London. During this year of impermanence Paul performed regularly and the effects of frequent performance and traveling can be heard in the intentionally pared back emptiness of Heat Source. making it an emotionally challenging and fascinatingly personal listening experience.

Heat Source finds Ashley Paul working using her brilliant ears to find a zen like balance between her voice and a sparse arrangement of staccato instrumentation leaving as much open space on one song as most people would create in a lifetime. This open space isn't empty, however, but it's up to you to fill in the meaning. Heat Source is an emotionally challenging and fascinatingly personal listening experience that creates a powerful pace.

Ashley Paul is a performer and composer based in Brooklyn, New York. She uses an array of instruments including saxophone, clarinet, voice, guitar, bells and percussion, mixing disparate elements to create a colorful palate of sound that works its way into her intuitive songs; free forming, introverted melodies. This blend manifests beautiful and simple musical forms against acoustic experimentation. Her solo albums have received high praise being chosen in Wire Magazine's "Top 18 Releases of 2013," Pitchfork "Best Experimental sounds of 2013", first on Byron Coley and Thurston Moore's "Tongue Top Ten" in Arthur Magazine and included on NPR's All Songs Considered "Best of 2010". She has been interviewed or featured in Wire Magazine, BOMB, Gonzo (circus), Dummy, The Quietus, Ad Hoc, Spex, The Sound Projector and Foxy Digitalis.

Ashley has performed or recorded with Phill Niblock, Rashad Becker, Nik Colk Void, Loren Connors, Aki Onda, C. Spencer Yeh, Anthony Coleman, Joe Maneri, Joe Morris, Seijiro Murayama, Greg Kelley, Bill Nace and Eli Keszler appearing on such labels as PAN, ESP-DISK' and Tzadik. She received a Masters of Music from New England.

Out October 27th.

More information will eventually be available here.

One of the most intriguing artists on the Hospital Productions roster, Lussuria came to prominence with the release of three tapes as part of the American Babylon series in 2012 which were eventually compiled into a double vinyl edition last year. His opiated atmospheres brought together the ritualistic appeal of late '70s and early '80s Italian industrial music crossed with the claustrophobia of early material from The Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil.

Having been in the works through late 2013 and in post-production for several months since, Industriale Illuminato is in some respects the first release by Lussuria conceived as a standalone album, and is perhaps his most unique, unsettling body of work to date. Inspired by Deconstructionism and an overriding sense of anxiety, the album revolves around the dislocated narrative of album opener "Boneblack," a dense and evocative fade into shadowy realms inspired by composer Giacinto Scelsi and the enigmatic mind-tricks of Alain Resnais' Last Year at Marienbad.

More information can be found here.

Following up from the success of his emphatic PAN releases Dutch Tvashar Plumes and Diversions 1994-1996 in 2012, we are excited to announce ‘KOCH’ (pronounced "cotch"), the new album from London's Lee Gamble.

Sharing some stylistic affinity with his previous records, which excavated his deeply personal history with UK jungle and rave, and techno, this new work dives even deeper to reveal a singular and intimate musical vantage point, shifting to approaching music as projection, state, hallucination, an other place. In Koch, we experience an artist constructing a future after time spent deconstructing the past.

In the music we witness such dimensional abstraction, zooming between epic macro scenery and claustrophobically close detail, disorientation and absolute focus. Rhythms fuse together and phase apart, club tracks tunnel into an anxious wilderness, with themes and textures emerging as threads throughout the record, wormholing between each track.

There is a sense of the seen and the unseen, an honest tension between music as function (for this world) and as artistic exploration (for another world) as cracks in the surface appear to reveal the odd and alien minutiae within. Koch represents an intimate and revelatory new phase in Lee Gamble's practice. Producing tracks that can live and grow on their own in a club or personal listening environment, the artist's exploratory framework creates threads of consistency and tension between disparate spaces, locations, and mental states.

More information can be found here.

The culmination of four years writing and editing, Anjou marks the first collaboration between Labradford's Robert Donne and Mark Nelson since the release of that group's fixed:context LP.

Combining modular synthesis, Max/MSP programming and live instrumentation, Anjou deftly weaves noise with gentle ambience and melody with texture.

Guitar, bass and Steven Hess' (Locrian, Fennesz, Pan American) live percussion give the eight pieces an immediacy and create a framework for the more abstract sounds of digital and analog synth programming.

The product of twenty-plus years of friendship, Anjou is refined and challenging.

An extension of the Labradford sound-world but no mere victory lap, Anjou represents Donne and Nelson stepping out and forward, their eyes firmly focusing on the future.

More information can be found here.

The creatures who frolic in the Chemical Playschool have again escaped their test-tubes, and hell, this time they have gone too damn far...

Recorded from May through July 2014 at The Dolls' House, London and The Silver Studio in Nijmegen. Mastered by Ray.

Edward Ka-Spel, The Silverman, Erik Drost., Raymond Steeg...Cover Art by Anita Hammer.

More information can be found here.

"I've known Nathan for many years and we've played shows and made records together, so I know his thing - hushed, reaching vocals weaving an often melancholic impression over sparse guitar and ambient backdrop. As the opening song ("Reinforced/Delicate") stumbles in, carrying that familiar weight, I thought I knew what was coming, but I was wrong. By the first two lines of "Into the Night", the second song, I had to sit down because if the rest of the record was going to be like this, I knew I wanted to be there with it. To my delight, it did not let up - every song a relentless epiphany, the ragged edge of emotional, even physical, abandon.  Timeless songs like "My Favorite Drug is Sleep" and "I was Once a Handsome Man" careen into the more artful/obtuse textures even thru the sprawling electric tribute of "Ride on, Molina."  This is what happens when someone with a truly unique vision sticks to their guns and proves it."

- Alan Sparhawk, Low

Out September 23rd.  More information can be found here.

When Sunn O))) first approached Scott Walker about appearing on their 2009 album Monoliths & Dimensions, little did they know what it would actually lead to. Four years on, Scott was back with something even more enticing, collaborating on Soused, a body of work he was writing with them in mind.

Recorded in London in early 2014 and produced by Scott Walker and long-time ally Peter Walsh with the assistance of musical director Mark Warman, Soused is a 5-track 18-minute body of work that cements both acts’ wide-reaching and otherworldly renown.

Out October 20th on 4AD.

More information and a brief trailer can be found here.

Primitive And Deadly is EARTH's tenth studio collection.  Dylan Carlson and long term cohort, drummer Adrienne Davies, manage to pull off the trick of completing an Ouroborean creative cycle, twenty-five years in the making, whilst exploring new directions in their music.  For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment.  As much as Carlson's guitar has always been the focal point of EARTH's music, it's been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies' drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows).  Perhaps the largest left turn on Primitive And Deadly, though, is prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free-ranging meditations of EARTH into something approaching traditional pop structures.

Out September 2nd.

More information can be found here.

The first new full-length Godflesh album in 13 years will be released on Justin Broadrick's own Avalanche Recordings label on October 7, 2014.

More information will eventually be posted here.

A new song ("New Dark Ages") can be heard here.

Beautiful Noise is the first-ever documentary about one of the most influential, underground music movements of the late 20th century.

Featuring members of: Cocteau Twins, The Jesus & Mary Chain, My Bloody Valentine, Ride, Slowdive, Chapterhouse, Swervedriver, Lush, Curve, Pale Saints, Seefeel, and more.

Created by filmmakers Eric Green (Writer/Director) & Sarah Ogletree (Producer/Editor) and their production company HypFilms, Beautiful Noise is a DIY, indie film and passion project inspired by a deep appreciation of the music and the desire to see it documented in musical history.

The genesis of the project began with the principals Green in April of 2005 and Ogletree and evolved over the course of many years and with the help of a great many people who believed in the project and donated their time, equipment, knowledge, and even money to see this film released.

Following a  successfull Kickstarter campaign and a protracted licensing phase, the filmmakers were able to complete the film.

Beautiful Noise Premiered May 31, 2014 at the Seattle International Film Festival and Internationally June 8, 2014 at the Sheffield International Film Festival.  Currently it continues to screen in festivals and will next be released on Home Video (date to be announced soon).

More information can be found here.

Medical Records presents two of the most striking and iconic reissues in its catalog.

Since The Accident was originally released in 1983 on Ink Records. The LP exemplifies the transition point between experimental structure and loops into the catchy pop hooks that would later define such releases as Rotund For Success.

Difficult to classify, it is a masterpiece of electronic music. The opening track "Relic Of The Empire" is a slow sequenced magnificent piece with time-stretched samples overlaid with multiple tracks to create a symphony quite unlike anything heard before. The hit "Dead Eyes Opened" (charted in 1985 as a single) is a dance floor-friendly track with crafted synth hooks fused with bursts of noise intertwining with interesting vocal samples.  "Gashing The Old Mae West" is a perfect example of how the record can take a dark turn into the style of the earlier Sev Heads with jagged industrial crunched out tape loops and folding in and out samples.

City Slab Horror was originally released in 1985 (also on Ink Records) . This LP, though 2 years after Since The Accident, continues to carry the torch illustrating the evolving transition between experimental structure and loops into the catchy pop hooks that would later define such releases as Rotund For Success.

This LP seems to move slightly into darker territory in general with its synth textures and slower tempo tracks, but overall has a nice “continuation” feel from Since The Accident, yet with obvious technological evolutions. The opening track "Spasm" drags the listener down the Sev Head mental rabbit-hole instantly with its heady samples and eloquent drum machine rhythm.  "Spitoon Thud" is a rambunctious affair with its cacophony of samples and percussion.  "4.W.D." is a great sneak peek into the sound of the Sev Heads LPs to come with its treated vocals and pop hooks (perfected on later records such as The Big Bigot).  Next to last is the amazing "Goodbye Tonsils" track which is unstoppably catchy and features more of the creative use of samples which made this group so interesting.

Though signed to '80s industrial label icon Nettwerk in North America and often classified in the same vein, these records are not easily definable and have a life of their own. Though commonly misclassified with a lot of the late '80s industrial/goth scene (as well as touring with Skinny Puppy at one point), Severed Heads would be more accurately in good company with acts such as Cabaret Voltaire, early Coil, Chris & Cosey (and CTI), and the like.  Long out-of-print and a rarity on the collector’s market, these LPs are presented with original repro jacket.  Remastered by Tom Ellard from the original source masters. Presented on high-quality 180gram heavyweight black and white vinyl.  Features bonus LP insert compiled by Tom Ellard with ephemera from the time.  Limited Edition.

More information can be found here.

Performed and put to tape at Estuary Recording Facility, The Seeker and The Healer constitutes the first collaborative work from Texas-based sound artist Cory Allen and minimalist composer Duane Pitre, who hails from Louisiana.

The album's two sidelong pieces were developed out of multiple improvisational sessions governed by predetermined rules, sourced from piano, bowed guitar, harmonium, and 49-stringed drone harp (a custom-made instrument of Allen's own design featured here on record for the first time).

In the context of both musicians' discographies, these pieces occupy a unique and important place, synthesizing the strengths and compositional tendencies of each into a sympathetic and symbiotic whole. Pitre's powerful, overtone-laden string work, documented on sterling outings for labels such as Important and Root Strata, is on fine display here, augmented by the keen sense of pacing and attention to the finer points of acoustic atmosphere that typify Allen;s solo output. Both pieces go beyond academic minimalism, mining deeper and more personal terrain.

The arc of "The Seeker" begins with contemplative piano clusters that are wed to guitar and harmonium drones, building to a dramatic crescendo and punctuated by percussive histrionics sourced from Allen’s drone harp. "The Healer" conjures a focused, mournful environment imbued with rich sonic lyricism by way of Pitre’s bowed guitar. Operating as a duo, Allen and Pitre have found truly fertile ground, producing an album that stands as a radiant beacon in their already exemplary catalogs- a masterful record that proves to be distinct from their past releases and simply cannot be missed.

More information can be found here.