Marisa Anderson, "The Golden Hour" and "Mercury"

CD version of the 2009 Mississippi Records release. Highly recommended to followers of the Blackshaw/Wissem line of acoustic instrumental composition that runs through the Imprec catalog.

From the original notes:

"Portland guitar wizard Marisa Anderson's long awaited solo guitar record. Marisa has been a fixture on many a music scene for years & years playing w/ everyone from the Evolutionary Jass Band to Tara Jane O'Neil to The Dolly Ranchers. In any context, she can't escape her rag/blues/folk roots no matter how hard she tries. This LP featuring only guitar, no vocals, no overdubs, we are treated to a very intimate sounding home recording filled w/ delicate grace. Comparisons to John Fahey & his ilk are bound to occur, but won't be the last words"

CD version of the 2013 Mississippi Records LP.

From the original notes:

"Portland guitar virtuoso Marisa Anderson is back with a new set of home recorded instrumentals. This time around we find Marisa exploring structures more based on the Appalachian folk tradition. The bluesy cadences of Marisa's other previous release -The Golden Hour - are still there but more in an emotional sense than a structural. It's rare to find a record that has just one instrument with no vocals that can achieve real emotional communication - but here 'tis. Marisa thoughtfully composed & recorded this LP over the course of the last two years. It was worth the wait."

More information here.

4327 Hits

Christina Vantzou, "No2"

Developed over a four-year period, and entirely funded by a part-time job working as a SAT university entrance exam mathematics tutor, No2 was composed using synthesizers and a variety of unidentified samples that were manipulated beyond recognition.

Christina Vantzou then collaborated with Minna Choi of the San Francisco based Magik*Magik Orchestra. Vantzou and Choi worked on the notation and arrangements and recorded the compositions with a 15-piece ensemble at Tiny Telephone studios in San Francisco. The chamber layer on No2 follows a similar pattern as her first record with the addition of bassoon, oboe, and an enhanced string section.

Vantzou spent four months premixing the album before Adam Bryanbaum Wiltzie (Stars of the Lid / A Winged Victory for the Sullen) engineered the final mixes, as well as added some of his signature sound texture, at his studio in Brussels, Belgium.

Perhaps a better title for the album would be "Symphony No2" as it was composed as a cohesive whole, much like her first album No1. Dense layers of strings are augmented by angelic voices, piano, woodwinds, & various synthesizers. Instrumental music, especially that which is scored with strings & horns, is invariably described as "filmic". This is even more likely when the composer is a filmmaker such as Christina Vantzou.

Welcome to the future, which luckily for us is filled by a woman's voice with a beautiful narrative. A recording that is a meeting of personalities is like the contact of chemical substances: if there is any reaction, all are transformed.

More information here.

3949 Hits

Cyclobe, "The Visitors" and "Sulphur-Tarot-Garden" reissues

The Visitors

With 13 years having passed since its initial release, The Visitors is now available again on Phantomcode.

This double CD and LP edition comes with new artwork by Alex Rose and Fred Tomaselli, as well as a specially recorded piece by Cyclobe, "Son of Sons of Light."


"The poets of the sulphur baths in seven crystal tiers star shaped, with the laughter of ghosts in its water" Derek Jarman

Composed to accompany three phantasmagorical Super 8 films by Derek Jarman.
This newly mastered edition contains the previously unreleased definitive mix of "Tarot."

More information available here.

4323 Hits

Zoviet France, "The Tables are Turning"

Somewhere in the rainy, misty forests of the Pacific Northwest of America, three ladies have the unlikely task of sewing together the packaging for a new album by Zoviet France.

The Tables Are Turning, released by Soleilmoon Recordings on November 18, consists of recordings from the soundtrack to the contemporary dance production, "Designer Body."  The dance, premiered by British dance company, Ballet Lorent, in 2008, explores the transformational relationship between humans and the clothing they wear.

Seven dancers, performing on continuously rotating plinths, slowly remove layers of their costumes, revealing the sensuous nude bodies beneath. The music accompanying the dancers is by turns dense and moody, then lyrical and soaring, underlining the mounting vulnerability of the dancers as they undress.

Liv Lorent, Ballet Lorent's artistic director and choreographer, spoke with Kelly Apter, writer for The List, saying "At the beginning, the body is the most designed it can be. They're wearing hats, coats, heavy costumes and make-up – all the man-made and artificial things we do to disguise ourselves everyday. Then, over 18 minutes, we take it all away. And because there are several layers, there's a real sense of metamorphosis."

The members of Zoviet France, who prefer to remain anonymous, write “We've known Liv Lorent for a long time. When she started to conceive 'Designer Body,' which she wanted to be a hybrid of contemporary dance and performance art, she decided that an unconventional performance needed an unconventional soundtrack. The composition of the soundtrack and the choreography evolved alongside each other so it became a dialogue between Liv and ourselves. The main inspiration that we took from the production's concept was rotation; throughout the one hour performance, the dancers are located on turntables that turn continuously, at varying speeds and changing direction. We mirrored this in much of the soundtrack, with circular and rotating sounds."

More information cam be found here.

10477 Hits

"Hassānīya Music from the Western Sahara and Mauritania"

In 2006, Hisham Mayet returned to West Africa to continue his search for an unknown musician he had heard six months earlier on the radio in a Morocco hotel room. Knowing only that it was Sahrawi music — music of the south — he headed down through the vast and remote desert landscape of the Western Sahara and Mauritania in hopes of finding someone who could identify these revelatory recordings.

That artist was Group Doueh. But he also found much, much more as he wandered from Laâyoune, Western Sahara, to Mauritania's capital city of Nouakchott: From intimate, sinuous home recordings by Group Marwani, to a sublimely devastating track by the enigmatic Abdul Rahman Al-Gheid, to the inimitable tidinit artistry of Sadoum Ouled Aida, the performers on this album exemplify the haunting and intoxicating qualities of Sahrawi music.

Featuring Mayet's first recordings of the electrifying Group Doueh, as well as dizzying field recordings from Nouakchott's Marché Capitale — where relentless traffic noise swirls together with fragments of melody from countless cassette vendors’ PA speakers— Hassānīya Music from the Western Sahara and Mauritania is the evocative soundtrack to a chimerical journey that is also documented visually in Sublime Frequencies’ breathtaking film Palace of the Winds. It not only traces Mayet's own passage through these barren and beautiful lands, but also charts the evolution of Sahrawi music from sung poetry accompanied by traditional acoustic instruments to electrifying modern grooves drenched in reverb and phase effects.

Limited edition pressing with Stoughton tip-on full color gatefold jacket.

More information is available here.

9323 Hits

"Choubi Choubi! Folk and Pop Sounds From Iraq (Volume 2)"

In 2005, Sublime Frequencies released Choubi Choubi: Folk and Pop Sounds from Iraq, and in the ensuing years it has become one of the most beloved and venerable titles in their catalog. Now, almost nine years later, this highly anticipated second volume is finally here. Compiler and producer Mark Gergis has once again put forth a revelatory and poignant collection of Iraq's national folk music.

The musical style most prominently focused on in this volume is the infamous Iraqi choubi, (pronounced choe-bee), with its distinct driving rhythm that can feature fiddles, double-reed instruments, bass, keyboards and oud over its signature beat. Choubi is Iraq's version of the regionally popular dabke, another celebratory Levantine folkloric style of rhythm and line dance. What really defines the Iraqi choubi sound are the crisp, rapid-fire machine-gun style percussive rhythms set atop the main beat. To the uninitiated, they sound almost electronic. Sometimes they are, but more often this is the work of the khishba – a unique hand-drum of nomadic origin (aka the zanbour – Arabic for wasp), which appears across the board in many styles of Iraqi music today, with extensions of it also heard in Syrian and Kuwaiti music. Among other styles featured in this volume are Iraq's legendary brand of mawal – an ornamental vocal improvisation that sets the tone of a song, regardless of the style, and the outstanding Iraqi hecha, with its lumbering and determined rhythm pulsing beneath sad, antagonized vocals.

The tracks on this collection were produced during the Saddam era – between the 1980s and early-2000s. An important goal within the Iraqi Baathist agenda was to promote its brand of secularism, which saw the establishment of cultural centres, and a fostering of the arts. Music was more encouraged, albeit more institutionalized than ever – particularly folkloric and heritage music such as choubi. In an Iraqi army comprised of seven divisions, Saddam referred to singers as the eighth. Still, unless a rare level of stardom has been achieved, being a singer or musician isn’t usually encouraged or viewed as a respectable lifestyle in much of the Arab world. It’s often those deemed social outsiders that tend to find their niche in music – particularly the "party music" heard on this collection. Among them are the Rom Gypsy Iraqis (known as Kawliya in Arabic). A number of female singers wear masks and adopt pseudonyms to protect their identities, as some are runaways or prostitutes making ends meet in the seedy nightclub scene. Occasionally, they end up with successful recording careers.

Sajida Obeid, who has appeared on both volumes of Choubi Choubi! is an example of a talented Kawliya singer from the nightclub scene of the 1980s who rose to choubi infamy in Baghdad. Choubi inevitably invokes tawdry connotations within Iraqi society (cheap nightclubs for the lower classes, outcast gypsies and singing prostitutes), but in fact, many calibers of Iraqi singers and ensembles have recorded and performed the music.

Unofficially, choubi can be called the national dance of Iraq. Though some may deny this claim (mostly due to its reputation and stigma), at most Iraqi weddings you'll find people from all walks flaunting their best choubi moves. Iraqi music has always had a way of transcending religious groups and ethnicity, collectively shared between Arabs, Kurds, Assyrians and myriad other Iraqi minorities. In 2013 sadly, this diversity and unity within Iraq is increasingly fragmented, but traditions continue throughout the internationally displaced diaspora.

(Limited edition 2-LP set in heavy gatefold jacket with beautiful artwork and liner notes by Mark Gergis)

More information here.
7769 Hits

My Cat is an Alien, "Psycho-System"

My Cat Is An Alien have just finalized their most extreme work to date: 'PSYCHO-SYSTEM' is a 6 CD Box + Digital Download released by Elliptical Noise Records (Canada), representing the most advanced expression of their current creative method of composition through the brothers' brand new self-made strings and electronic instrumentation.  An explicit warning reads that "prolonged exposure to sounds and high volume listening can cause episodes of psychotic break with reality, hallucinations, schizophrenia, bipolar disorders, catatonia."  Watch the official trailer by Roberto Opalio.


More information can be found here:


7257 Hits

"Rising From The Red Sand" reissue

VOD120: V/A Rising from the Red Sand Volumes.1-5 5LP set

"Rising From The Red Sand" was one the most comprehensive compilations of early 80s industrial, wave and underground music, spanning a total of five cassettes, compiled by Gary Levermore for his own Third Mind Records label (which has also recently been revived).

The original five tapes are now released as a 5xLP set, following several months of tracking down as many artists as possible to obtain their permission to reissue their material. Almost all were found, although nine tracks are missing from this box. Rising From The Red Sand was a precursor to the two later double-LPs Elephant Table Album and Three Minute Symphony, but due to the vastness of the project, it offers a more complete insight into the musical underground of the early-mid 80s period.

Rising From The Red Sand includes the likes of Chris & Cosey, Nurse With Wound, Die Tödliche Doris, Test Dept, Attrition, Colin Potter, Muslimgauze, Ian Boddy, We Be Echo, Konstruktivists, Portion Control, Metamorphosis, Bene Gesserit, Legendary Pink Dots, P16.D4, Nocturnal Emissions, Human Flesh, Bushido, Smegma, Ptose, Kopf Kurz, Merzbow, Tone Death, Pseudo Code, Conrad Schnitzler, Cultural Amnesia, John Hurst, Section 25, Fan Tan,  Un Departement, Scram Ju Ju, Five Or Six, Sylvie & Babs, James Braddell, Onnyk, Nexda, Hula, Dave Knight, and Irsol.

Liner notes are written by Frans de Waard (of the Korm Plastics label and Vital Weekly), and he writes: "I still regard it as the best compilation of industrial music from that time - a five hour Encyclopedia Industrialis."

More information can be found here (due out in late November 2013).

622 Hits

Vinyl-on-Demand Hafler Trio Retrospective

VOD119: Hafler Trio A Cure for Kenophobia–An Empowerment in 4 Easy Stages at Very Reasonable Rates: Recordings 87-99 4Lp Set

This very special box-release with booklet and containing almost 4 hours of Hafler Trio archive recordings recorded between 1987 and 1999 gives a great opportunity to dig into the universe of music-mastermind, multi-talent and concept-art genius Andrew McKenzie and his electronic/drone/ambient/music concrete-like music-output as Hafler Trio.  None of the collected songs have ever officially been released on vinyl or CD up to this point.

In 2012, Frank of VOD went through a whole pallet of tapes, DATs & reels with Hafler Trio Archive-Recordings; some released, but many still  previously unreleased. Frank of VOD digitalized several of his favorites and Andrew chose the final recordings to be selected for this release and also made this very beautiful conceptual design for the box. This is the ultimate Hafler Trio experience for die-hard fans, as well as new open-minded listeners not aware of Andrew McKenzie's work.

The 4 LPs  contain the following audio:

Lp1: The Hafler Trio Play The Hafler Trio Play The Hafler Trio By The Hafler Trio

Lp2: I Love Children But I Couldn’t Eat a Whole One

Lp3: Regicide, Fratricide & Feneration for Dummies

Lp4: The Generosity of the Body with Explicit Diagrams

More information here (due out in late November 2013).

655 Hits

"Facing the Other Way: The Story of 4AD"

The first official account of the iconic record label.

This Mortal Coil, Birthday Party, Bauhaus, Cocteau Twins, Pixies, Throwing Muses, Breeders, Dead Can Dance, Lisa Germano, Kristin Hersh, Belly, Red House Painters.

Just a handful of the bands and artists who started out recording for 4AD, a record label founded by Ivo Watts-Russell and Peter Kent in 1979, a label which went on to be one of the most influential of the modern era.

Combining the unique tastes of Watts-Russell and the striking design aesthetic of Vaughan Oliver, 4AD records were recognizable by their look as much their sound. In this comprehensive account concentrating on the label's first two decades (up to the point that Watts-Russell left), music journalist Martin Aston explores the fascinating story with unique access to all the key players and pretty much every artist who released a record on 4AD during that time, and to its notoriously reclusive founder.

With a cover designed by Vaughan Oliver this is an essential book for all 4AD fans and anyone who loved the music of that time.

"4AD get the lavish label history they deserve" – MOJO

"Aston has impressive access to some of rock’s most reclusive figures" – Q

"Facing The Other Way represents one of the greatest stories to emerge from rock and roll's modern history" – DROWNED IN SOUND

"The conviction of Aston's storytelling blows dust off the needle so that those records and their often magical beauties are dragged out to be admired once again… Compelling stuff" -MOUTH MAGAZINE

"Martin Aston's 600-page chronicle is a suitable extravagant enterprise" -Guardian

More information here.

Facing the Other Way

6344 Hits

S. Alexander Reed, "Assimilate: A Critical History of Industrial Music"

cover imageWhile there have been a few excellent books published about individual bands published over the years  (Wreckers of Civilisation and England's Hidden Reverse spring to mind), no one has quite gotten around to writing a definitive history of industrial music yet.  Reed, currently a professor of music at Ithaca College, has certainly made a valiant attempt though (and scored a major coup by getting Oxford University Press to put it out as well).  Assimilate is essentially half of a truly wonderful book: Reed does a spectacular job chronicling both the formative years of industrial music and its ties to radical art movements, but ultimately gets bogged down a bit in theory and some perplexing choices in focus.

Continue reading
17577 Hits

Dekorder's 10th Anniversary Hybrid Vinyl Series

To celebrate the 10-year anniversary of the Dekorder label, we have invited some of our dearest friends and artists we admire to contribute new & exclusive recordings to a brand new series of highly limited Hybrid-Vinyl Picture-Discs. So far we have confirmations from Pye Corner Audio, Leyland Kirby, Excepter, sonic boom (of Spacemen 3, Spectrum, E.A.R.), Bill Kouligas (of PAN Records), Vindicatrix, Kemiallysät Ystävät, Ensemble Economique, Alien Radio, Black To Comm and a few lovely surprises to be revealed in the 2nd half of the year. Hybrid-Vinyl is a newly devised combination of a Picture-Disc and a regular vinyl release. The audio will be cut into the black vinyl side to utilize the superior audio quality of classic vinyl (compared to the often weaker-sounding picture disc pressings).

We are planning to do runs of 300 to 500 copies depending on the popularity of the respective artists. There will be no re-press. Ever. The releases will be pressed on 12" Hybrid-Vinyl and contain 15 - 25 minutes of exclusive music.

More information is available here.

7378 Hits

"Assimilate: A Critical History of Industrial Music"

Cover for  Assimilate

•The first critical history of industrial music as a genre

•Draws on interviews with both famous and forgotten musicians, record label owners, DJs, and promoters

•Offers close readings of twenty exemplary works spanning thirty years

"Industrial" is a descriptor that fans and critics have applied to a remarkable variety of music: the oildrum pounding of Einstürzende Neubauten, the processed electronic groans of Throbbing Gristle, the drumloop clatter of Skinny Puppy, and the synthpop songcraft of VNV Nation, to name just a few. But the stylistic breadth and subcultural longevity of industrial music suggests that the common ground here might not be any one particular sound, but instead a network of ideologies. This book traces industrial music's attitudes and practices from their earliest articulations--a hundred years ago--through the genre's mid-1970s formation and its development up to the present and beyond.

Taking cues from radical intellectuals like Antonin Artaud, William S. Burroughs, and Guy Debord, industrial musicians sought to dismantle deep cultural assumptions so thoroughly normalized by media, government, and religion as to seem invisible. More extreme than punk, industrial music revolted against the very ideas of order and reason: it sought to strip away the brainwashing that was identity itself. It aspired to provoke, bewilder, and roar with independence. Of course, whether this revolution succeeded is another question...

Assimilate is the first serious study published on industrial music. Through incisive discussions of musicians, audiences, marketers, cities, and songs, this book traces industrial values, methods, and goals across forty years of technological, political, and artistic change. A scholarly musicologist and a longtime industrial musician, S. Alexander Reed provides deep insight not only into the genre's history but also into its ambiguous relationship with symbols of totalitarianism and evil. Voicing frank criticism and affection alike, this book reveals the challenging and sometimes inspiring ways that industrial music both responds to and shapes the world.

Assimilate is essential reading for anyone who has ever imagined limitless freedom, danced alone in the dark, or longed for more noise.

More information is available here.

9206 Hits

"Japanoise: Music at the Edge of Circulation"

Noise, an underground music made through an amalgam of feedback, distortion, and electronic effects, first emerged as a genre in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe, and North America. With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise has captured the imagination of a small but passionate transnational audience.

For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium?

In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise and the productive distortions of its networks. Capturing the textures of feedback—its sonic and cultural layers and vibrations—Novak describes musical circulation through sound and listening, recording and performance, international exchange, and the social interpretations of media.

"David Novak goes inside the Noise scene and presents an astounding perspective: historically astute, inspired, and completely shell-shocked."Thurston Moore, Sonic Youth

"Edgy, compelling, and sharply insightful, this is the definitive book on 'Japanoise.' Drawing on his personal involvement in Noise scenes across two continents and over two decades, David Novak takes readers into the experience of Noise: its production and performance through apparati of wires, pedals, amplifiers, and tape loops, through its intensity on the stage and in one's ears and body."Anne Allison, author of Precarious Japan

"This is a striking book: theoretically exciting, aesthetically intriguing, and well crafted. Japanoise is an extreme case study of modern musical subjectivity that demonstrates how core cultural ideas are formed on the fringe. David Novak's treatment of circulation as embedded in the creative process will shift the debate in ethnomusicology, popular music studies, and global media studies."Louise Meintjes, author of Sound of Africa! Making Music Zulu in a South African Studio

More information is available here.



7389 Hits

loscil, "Intervalo"

Intervalo cover art


Intervalo is the result of a collaboration between Seattle pianist Kelly Wyse and Vancouver's loscil. Culminating from two live performances in 2012, first at Seattle's Substrata Festival and later at Decibel Festival, these recordings were made in Seattle to capture the collaboration. This collection features reworked versions of familiar loscil compositions such as "Endless Falls" and "Hastings Sunrise" alongside unique versions of rarer compositions such as "Rye Fields" and "City Hospital."

More information is available here.



7922 Hits

"Dead C vs. Rangda"

Two of the greatest bands of the present day, each composed of two guitarists and a drummer. Every member's name carries its own legendary status. Richard Bishop. Ben Chasny. Chris Corsano. Michael Morley. Bruce Russell. Robbie Yeats. Fabricated empires have risen and been destroyed by the vast output of any one of these guys. Finally, they come together on one release: a split LP between two supergroups.

The Dead C's tracks are a gem of a find. The band uncovered recordings nestled in the back corner of their archives that they completely forgot existed. These tracks were under consideration for their seminal album Eusa Kills. The loose majesty found on that album comes to the fore here, with a group finding their wings right as they are set aflame.

Rangda recorded their two compositions at Russian Recording in Bloomington, Indiana. Everything that brings these musicians together uncoils and commands. Beats of silence underscore tangents that lead back to main themes and out again. It’s as though the years and years of playing under their collective belts has culminated in these glorious moments.

More information here.



6428 Hits

"Read & Burn: A Book About Wire"

Published to coincide with the release of Wire’s excellent new album Change Becomes Us, Read & Burn is the first serious, in-depth appraisal of one of the most influential British bands to emerge during the punk era.

If Wire were briefly a punk band, however, it was largely by historical accident. Their story is one of constant remaking and remodeling, one that stubbornly resists reduction to a single identity. Read & Burn traces Wire's diverse output from 1977 to the present and does justice to their restlessly inventive body of work by developing a sustained critical account of their shifting approaches. It combines analysis and interpretation with perspective drawn from extensive interviews with past and present members of the group, as well as producers, collaborators, and associates.

Out March 15, 2013 on Jawbone Press.

7024 Hits

"The Pierced Heart and The Machete"

In the past, I have definitely preferred Sublime Frequencies' musical releases to their cinematic ones, but Olivia Wyatt's follow-up to Staring into the Sun is quite a beguiling exception to that trend.  Naturally, one major reason that this film is so great is the exotic and fascinating subject matter (Vodou pilgrimages in Haiti).  However, Wyatt's skillful execution elevates her footage into something truly wonderful, lushly and kinetically capturing the unique and occasionally disturbing sights and sounds of a world that very few non-Haitians will ever to experience first-hand.

Continue reading
9074 Hits

Jon Mueller, "Death Blues"

Find Yourself. Impatience. Death Blues. Acceptance. Impermanence. Iron String. The six songs that comprise Jon Mueller's Death Blues are each their own doorway to both a bold new musical statement from the renowned drummer/percussionist and an unprecedented journey into a conscious contemplation of death -- and the life that surrounds it. Released in tandem with a multi-part manifesto, Death Blues transcends its own existence as 34-minute, earth-cracking rock album. Much like Mueller, whose landmark solo work stands alongside his role in notable bands Volcano Choir (and previously, Collections of Colonies of Bees), Death Blues embodies the acknowledgement that there's more to experiencing music than simply just listening.

Conceived and largely executed in its recorded form by Mueller himself -- adding hammered acoustic guitar and bold vocal patterning to his ever-evolving mastery of percussion -- Death Blues is audibly (and intensely) personal. However, the very act of recording was the first step in a discourse that Mueller began over a year ago, forming a band of brilliant performers from his Milwaukee, WI hometown that would go on to perform Death Blues at Hopscotch Music Festival in Raleigh, NC and at two sold-out Death Blues events in Milwaukee, where a labyrinth led the audience into a multi-sensory and participatory experience culminating in a climactic performance of the album. It was as close as one could get to being next to Mueller at that moment of discovery: of the inevitability of death as the impetus to become more present in each moment and of the necessity of building his own path to sharing that idea.

Death Blues is being collaboratively released by Taiga (vinyl) and Hometapes (digital).

Death Blues cover art



6274 Hits

Black Boned Angel, "The End"


This is the final album. The End, delivered in three parts, is achingly beautiful, and solidifies the territory explored in the band's previous efforts, including the stunning collaboration with Nadja, entitled Christ Send Light (20 Buck Spin), to convey an emotional journey through complex chord structures that render equal parts dissonance and melody.  Born from the mind of Campbell Kneale (Birchville Cat Motel, Our Love Will Destroy The World) and partner James Kirk, The End is a stunning juxtaposition of darkness and radiance that triggers a visceral reaction in the listener. Those familiar with previous works from this outfit, such as The Witch Must Be Killed (Conspiracy Records), Verdun (Riot Season), and the multiple releases on 20 Buck Spin, will be elated by this eloquent yet blistering final chapter in one of the best bands to grace the genre. This hand numbered edition of 500 is housed in a custom, oversized, 7" square envelope.


EDITION: 500, hand-numbered, eight pieces to assemble, archived in custom oversized 7" square envelope


More information here.




6496 Hits