Edition of 500 copies solo album from Twig Harper of Nautical Almanac in the mode of his classic Intuitive American Esoteric series. This is a massively psychedelic/continually unfolding series of tape works that move from moments of single string acoustic blues guitar through chattering voices, glitches, weird snatches of audio verite, what could almost be Industrial re-thinks of Suicide’s “Ghost Rider”, piano demolition ala Philip Corner… in many ways it makes me think of the place that John Fahey might have ended up if he had pushed through with the more extended experiments in concrete ragas that he was involved with near the end of his life, formulating  a particularly personal and future-visioned take on American Primitive that came from the sounds of his surroundings and the landscape itself and the way they operated within his own personal mythology. Few people can make tape work sound so musically expressive and, yeah, intuitively America as Harper and this is a real treat. “First proper CD release from Nautical Almanac’s Twig Harper. Twig was a big part in Hanson Records getting off the ground back in the mid-90's, so I'm very excited to release his debut solo glass mastered CD! Hot off the barefoot of his collaboration release with Daniel Higgs on Thrill Jockey... Twig Harper continues in the alternate universe tradition of his three volume Intuitive American Esoteric LP series, with 43 minutes psychedelic tape manipulations and droning synthesizer… electronic and organic sound mixed to brain warping perfection. Bell's, homemade electronics, synth, piano, strings, junk, horns and voice treated with tape for "full-on" musique concrete/sound poetry/electronic trance inducing confusion. Recommended for fans of Albert Hoffmann, Smegma, Pierre Henry, The Butthole Surfers, Maria Sabina, Dylan Nyoukis, Tobe Hooper, Criswell, Tod Dockstader, Sirhan Sirhan, The 13th Floor Elevators, Aliens, Humans, Jokes, and OBE's. 500 copies packaged in black poly jewelcases.” – Aaron Dilloway. 

First ever ‘real’ CD from Wyatt Howland aka Skin Graft with a set of wretchedly distorted, blown-apart tone threat that pushes ever deeper into explorations of entropic noise, sandpaper drones and the sound of twisted metal w/a black psychedelic aspect and found tapes/intercepted emergency calls incorporated in an odd textural/tonal manner that is profoundly disturbing: “Debut CD release for Cleveland's Skin Graft. Wyatt Howland aka Skin Graft has been blasting his crude noise in the filthiest Cleveland basements and scum punk bars every two or three nights… a week! for the past five or so years. He has a knack for writhing in the filthy underbelly of sound using junk metal, field recordings and primitive electronics. Dystropohy is complete audio horror texture…pulverizing harsh sounds of fluttering static, feedback and crushed metal… This is the sound you hear when you are stuck upside down in the backseat of a hit and skidding car.  Just horrible sounds!  The complete OPPOSITE to the sounds of his past collaborators Emeralds and Bee Mask. Whereas they have aimed for outer space… Skin Graft has aimed himself head first into a shitty old Cleveland gutter. Always touring, always playing gigs, and always recording…solo and as a member of long running Cleveland noise punks Dead Peasant Insurance as well as Power Violence heavyweights Apartment 213. Recommended for fans of Wolf Eyes, The New Blockaders, Napalm Death, Taint, Murder Corporatrion, Negative Approach, Prurient, and Controlled Bleeding. 500 copies packaged in black poly jewelcases.” – Aaron Dilloway. 

Edition of 200 copies cassette from Dilloway: documenting a DJ set that doubled as an exercise in re-programming subliminals, Post Live... features excerpts from two post-gig sessions on the decks at a club where Dilloway played the same song, very quietly, on infinite repeat, for about 45 minutes each, with the sonics pitched just below the sound of crowd chatter. This is a weirdly seductive listen, with the music almost seeming to orchestrate the chatter and the chatter taking on a musical form of its own ala Cornelius Cardew’s experiments with massed voices while the non-English speaking aspect of the crowd pushes the timbral, hypnotic and rhythmic qualities to the whole. Another fascinating subliminal/orchestral envisioning by Dilloway.