First ever collaboration between these two international electro-thug psych units. Recorded live and in the studio in New Zealand, it features two long tracks with Campbell Kneale on guitar, electronics and "harsh noise", Pete Swanson on electronics and vocals and GMS on guitar and electronics. First track moves from irresistible swells of tar-thick electronics to classic death/doom iconoclasm with deep bass runs that are as epic as your favourite block-busting Japanese guitarist. Second track is a torrent of pained electricity, tortured circuitry, lung-scraping vocals and power electronics that feel extremely tactile cut-up with Fushitsusha/Haino-esque brain-searing power blues. Sounds great.

New smoky, circuitous slow-burning free psych from a buncha Bardo Pond members, featuring Michael and John Gibbons, Clint Takeda and Jason Kournkonis. Touch of Kousokuya to the low-slung bass-staggered rhythms and the vocals are nicely blasted with a weird guttural acid-hillbilly style that's somewhere between Wild Man Fischer, Howlin' Wolf and fuggin Billy Gibbons. Wait a minute, is he another brother? Either way, this is great.

Debut CD from this new guitar duo featuring Thurston Moore and Andrew from Gown. Tracks slowly spool from small sounds generated by the furthest reaches of the instrument - the crackle of jack sockets, strings clipped against pick-ups - through to the kind of slowly modulating chord barbs that launched a bunch of Sonic Youth songs circa Daydream Nation. Cover art by Bill Nace of Vampire Belt et al.

Major new Mouthus album peaks at a whole new level of barbarous sludge with what sounds like a fleet of electric razors burying steel raptors in six feet of concrete while the Angus MacLise Orkestra play pre-Lapsarian Morse codes on a handbuilt steel drum containers and whole choirs of ghosts sing madrigals somewhere just over the horizon. There's a beautifully lapsed, primitive rock feel to much of the atmosphere - the way guitar lines appear like silvery hallucinations fading in and out of corporeal reality from track to track - that reminds me of the weird non-hierarchical instrumental mix of early NZ bombs like Trash, Dead C or Dadamah. Either way, this is another supremely devolved rock set from these crudest of cousins.

Limited to 500 copies split single with double-sided screen printed jackets and coloured vinyl. Bundles early ultra-primitive material from both groups that makes for an endlessly flippable slab of wax.

Beautiful drug-woozy ensemble psych that builds from the slightest hints of tape-loop sci-fi chamber huzz into the most celestially charged space blues to come out of the ranks of the Vanishing Voice to date. Endlessly gorgeous music box melodies get trapped in wows of wonked taped while satellites chatter like small children lost in tall, tall grass and zonks of percussion build lush hymnals from sidereal harmonic/rhythmic constructs. When the whole group start to slowly march towards the speakers with chugs of single chords and those flighty, padding drums you could well be crossing the drawbridge into Schloss Norvenich during the first live actions that would birth Can's Monster Movie and Heidi Dahl's immaculately conceived vocalisations are every bit the match for Malcolm Mooney's bringing-down-the-sun style. If yr at all into the endless garage hypnotism of the '66 Velvets and the way that the various German/Euro communes turned that music from an up-tight urban spike into a wide-open form of communal narcosis then this is surely your poison. Highly recommended.

New CD edition of what was originally a limited self-released CD-R and an LP on Gispy Sphinx. Hypnotic jam logic in a higher-minded JOMF/PÑrson Sound style interwoven with beautiful group chants, almost songs and flights of pure boo joy. Heidi Diehl's vocals still have the power to reduce grown men to pools of heartbroken mope with the slightest breath. Also features G. Lucas Crane, Steven J. Taveniere and special guest Pete Nolan of Magik Markers et al.

Limited edition of 500 copies on blue vinyl featuring alchemically re-worked live and studio jams from Neil Campbell (A-Band/Vibracathedral Orchestra et al). Lucid electronic minimalism combines with a feel for elaborate technicolour architectures, illuminated circuitry and the application of ritualised trance moves to punk primitive drones for a series of gorgeous psychedelic constructs. The sister album to the Neon Pibroch CD, also on Important.

New CD edition of this recent solo album from Makoto Kawabata of Acid Mothers Temple, previously available on vinyl from A Silent Place. Inspired by the 1972 Popol Vuh album Hosanna Mantra, Kawabata has assembled a beautiful series of devotional Kosmiche tone-float pieces that work to further the higher-mind feel of his original Inui series of recordings. Here he uses electric guitar, bouzouki and sitar.

"This all-star trio features William Hooker on drums, Eyvind Kang on violin and guitar and Bill Horist on guitar. Sync'd up like they've been playing together for eternity these recordings represent a dramatic paradigm shift in the art of improvisation. These three thoroughly modern artists scan jazz, new music and noise - stretching it all out and putting it back together within the expansive boundaries of these tremendously compelling high energy recordings. William Hooker has performed as a leader of many ensembles of improvised and new music. Accompanying musicians have included: Billy Bang, Thurston Moore, David Murray, David S. Ware, William Parker, Melvin Gibbs, Donald Miller, DJ Olive, Elliot Sharpe, Malachi Thompson, Zeena Parkins, Lee Ranaldo, DJ Spooky, Rob Brown, Roy Campbell, Mark Hennen, Steven Bernstein, Roy Nathanson, Jason Hwang, Glenn Spearman, Joseph Celli, Ellen Christi and many more Eyvind Kang's introduction seems to have come when he was still a student at Cornish College. At this time he traveled to NYC to perform and tour with John Zorn's Cobra game piece. Kang has since recorded and toured with John Zorn, Mr. Bungle, Secret Chiefs, Bill Frissel, Sun City Girls, Arto Lindsay, Wayne Horvitz & many more.Bill Horist has played or recorded with members of Larsen, Earth and The Boredoms as well as Bill Frisell,Wayne Horvitz, KK Null, Matt Chamberlain, Trey Gunn, Chris Cutler, Kawabata Makoto, Trey Spruance, Eugene Chadbourne, TatsuyaYoshida, Shazaad Ismaily, Climax Golden Twins, Haco, Illusion of Safety, Saadet Tuerkoez, Planktonman, Jack Wright, Steve Fisk, Anla Courtis (Reynols) and many more." - IR.

Reissue of a very hard to find double 7” set, originally released in 1997 and long out of print. Recorded in Fahey’s Oregon hotel room, this set works as some kind of bridge between his earlier compositional style and the more overtly damaged sound of Womblife and City Of Refuge while remaining more straightforwardly beautiful than either of those two. Fahey’s acoustic guitar has a stationary gamelan quality which sits real nice and his whistles and wordless vocals work in much the same way as the train recordings did on his earlier sides. Other tracks are more abstract, with attacks of steel slide mutated by a storm of F/X. Great to have this back in print and the package is further bolstered by the inclusion of a full-colour booklet with a bunch of snaps of rarely scene original art by Fahey. Comes in deluxe letterpressed sleeves.

”Limited edition of 300 copies in a heavy stock screen printed jacket. A Zamuro is a dark South American vulture of great size. Zamuro is also a solo composition piece for portable synth and analog filter. Side A on this LP is a live realization of this piece recorded at the Compound in San Francisco in 2006 (Mastered by Lasse Marhaug). Carlos composed and performed this piece live on several tours in the US/Europe/Japan all trough out 2006 and 2007, if you saw him live in those two years this is the piece he performed. This was the most complete version of it that made it to tape. Side B is a studio piece recorded live on a much larger modular synth, based around the same theme, but with structural and tonal variations not in the original composition. .This is pure psychedelic electronic music. Cover illustration by Megan Ellis. Screen printed at Monoroid.” – IR.

All-improvised studio summit between two generations of six-string psychedelic assault, Makoto Kawabata of Acid Mothers Temple and Shinsuke Michishita of LSD March. As explosive as you might have hoped, this monster moves from eerie loops of smeared minimalist drone through to the sound of two guitars tearing tremolo-inflected wails of fuzz from the very guts of their fucking instruments. Imagine the most brain-flashing psychedelic assault troupe ever hallucinated outta west coast USA, transplant em to Japan and then erase the rhythm section. Too much.

Debut album for the horse-killing free music trio of Don Dietrich (Borbetomagus), C. Spencer Yeh (Burning Star Core) and Ben Hall (Graveyards). Great to hear Ben in this kinda context, playing in a rolling propulsive style that is the closest I’ve heard him come to the whole post-Milford school of exploded time.  Dietrich’s sax – naturally – dominates the sound, with a warp of Hendrixoid F/X contorting the tongue logic until it sounds like he’s licking a cement mixer. Yeh’s strings give the group an intense vertical lift and at points it sounds like he’s sawing the whole group straight off of the ground. A great record in the tradition of Babi Music, Demo Moe, The Celestrial Communication Orchestra and Borbetomagus. All exclusive material, none of which was on the American Tapes CD-R releases.  

Deluxe vinyl that presents a side each from eternal music monoliths Eleh and sound artist Duane Pitre: Eleh’s side, “Empty Summer Endless”, is a deep-bass navigation of the most phantom sonic topographies while Pitre presents a sound installation entitled “Feel Free” that trades an uncanny feeling of stasis with subtle guitar harmonics and simplistic electronic tones in order to engender a weightless/timeless take on ecstatic minimalism. First edition, sold out at source, very limited supply. 

Stunning document of Parisian cellist Gaspar Claus’s visit to Japan across a series of collaborations with key Japanese underground and traditional players: aiming to join the dots between traditional Japanese music practice and contemporary experimental modes, Claus brings together an amazing line-up of players for a series of songs and improvisations including mind-blowing ensemble pieces and stunning duo jams with Keiji Haino (on vocals), Kazuki Tomokawa (on vocals and guitar), Otomo Yoshihide (turntables), Sachiko M (sine wave), Eiko Ishibashi (voice, piano, drums), Kakushin Nishihara (voice, satsuma biwa), Ryuichi Sakamoto (piano), Hirochimi Sakamoto (electric cello), Leonard Eto (wadaiko) and Kazutoki Umezu aka Doctor Umezu (tenor saxophone). A necessary instalment for serious Japanese underground heads, combining folk/punk ferocity with dark, classical stylings.