{"title":"Avant-garde","description":"","products":[{"product_id":"s-dom-w-ktorym-mieszkal-waz-a-house-where-dwelled-a-snake-lp","title":"-S- – Dom, W Którym Mieszkał Wąż (A House Where Dwelled A Snake) LP","description":"Requiem for wretched, frustrated faustian spirits.\nDark doom occvlt funk infused with the blackest of metals.\nA frivolous reinterpretation of the faustian myth: an experiment in hybris and bleak quotidian magic ending up in revelation through self-delusion.\nOBTRUSIVE DREAMS \u0026amp; VOLUMPTOUS NIGHTMARES\nSTUPEFYING ABUNDANCE OF CONFUSION\nTHY HOUSE IS BUILT OF VENOM\n\n-S- is:\nPatyr – compositions, bass, vocals, ambient\nGrzegorz – drums\n\nFeaturing:\nMichał Górczyński - contrabass clarinet\nNana Rovira - bass clarinet\nMaryj - guest vocals on track 4\nRecorded at BlackOut Studio\nMix \u0026amp; mastering by Marcin Klimczak (Moustache Ministry Studio)\nCover art by Bartosz Tymosiewicz (Katastrofa Stuff)","brand":"-S-","offers":[{"title":"Black","offer_id":47087567962357,"sku":"IVR175LP","price":54.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_7faa07a3-e99c-422d-b014-15ae2cacec04.jpg?v=1759458259"},{"product_id":"acl-holy-ghost-cd","title":"ACL – Holy Ghost CD","description":"\u003cp\u003eCompletely disgusting power electronics \/ noise \/ industrial \/ experimental out of the UK. Long out of print, new old stock ex-distro warehouse find. May contain crushed dead insects inside the cover.\u003c\/p\u003e","brand":"ACL","offers":[{"title":"Default Title","offer_id":47087568486645,"sku":"HAG99","price":14.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_06c48b1a-abc4-41cd-a3d9-616b79788de4.jpg?v=1759458262"},{"product_id":"absolute-key-corridors-mc","title":"Absolute Key – Corridors MC","description":"\u003cp\u003eEmerging from an impressive roster of underground projects – including personal favourite Circle Of Ouroborus – Antti Klemi continues to expand possibilities and find new pathways of experimental noise in the restless, exploratory possibilities of Absolute Key. In Absolute Key, Antti finds resolution and beauty in crude electronics, found sound and decrepit machinery, and ‘Corridors’ is the project at its contemplative, resonant best.\u003cbr\u003e\n‘Corridors’ is available in an edition of 75 copies, with oversized artwork in a ziplock bag with a banderole.\u003c\/p\u003e","brand":"Absolute Key","offers":[{"title":"Default Title","offer_id":47087569993973,"sku":"SIC164","price":12.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_ff24b105-8bd3-4128-91c2-c9d90d1c2e74.jpg?v=1759458272"},{"product_id":"absoluten-calfeutrail-blarke-bayer-conflict-resolution-seminar-cd","title":"Absoluten Calfeutrail \u0026 Blarke Bayer – Conflict Resolution Seminar CD","description":"\u003cp\u003eA live in the studio collaboration between Absoluten Calfeutrail (Mark Groves) and Blarke Bayer (Ben Andrews) Conflict Resolution Seminar offers five violent harsh noise and monstrous electric drone takes, at times also pushing towards terrain associated with present day power electronics. Text used as the basis of vocal content was appropriated from the corporate context, and deals with leadership, management and the resolution of workplace conflict. Listeners struggling with the expectation to exercise assertive behaviour and settle absurd disputes between colleagues during business hours should pay attention. Tracked and mixed in April 2008 by Marcus Cook (Default Jamerson) at Head Gap studio in Preston Victoria, during a windstorm that tore sections of the studio roof off and created intermittent brown-outs. Nature may have sought to sabotage, but this work exists regardless.\u003c\/p\u003e","brand":"Absoluten Calfeutrail \u0026 Blarke Bayer","offers":[{"title":"Default Title","offer_id":47087570059509,"sku":"SBB0010","price":9.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_e2bd83bd-3711-4b12-8e59-64a0bd60f8e8.jpg?v=1759458273"},{"product_id":"absoluten-calfeutrail-total-scum-materials-cd","title":"Absoluten Calfeutrail – Total Scum Materials CD","description":"\u003cp\u003eTotal Scum Materials is the debut solo release from Northcote resident Mark Groves (Whitehorse, True Radical Miracle). Recorded during Semester 2 2006, synth-muck, spring reverb cracks and MS20 headaches characterise these demented Vangelis gunk bursts and Frostwave tantrums. The skuzzy error bank on offer is clearly perceptible: audible mobile phone interference peppers opening tirade ‘Tenant Howl’, while loop start\/end points hiccup and derail the drones under ‘Perpetual Quandary’. Maybe that kind of garbage is your thing. Maybe you like to hear broken, wasted sounds. Hey maybe you would even like to hear a grown man impotently rage against a real estate agent! Black comedy! Proceedings conclude with a totally diseased take on the USHC classic ‘Negative Approach’.\u003cbr\u003e\nEdition of 200.\u003c\/p\u003e","brand":"Absoluten Calfeutrail","offers":[{"title":"Default Title","offer_id":47087570256117,"sku":"SBB004","price":9.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_abde2241-03fc-4e3e-94bc-e91657e027be.jpg?v=1759458273"},{"product_id":"absurd-cosmos-late-night-absolutist-assemblage-and-berating-employees-for-eighty-hours-per-week-mc","title":"Absurd Cosmos Late Night – Absolutist Assemblage and Berating Employees for Eighty Hours per Week MC","description":"More of the Absurd Cosmos on the streets of Melbourne\nPair with Chicken Shawarma\nSmells good\n\"What does it say to you?\"\n\"It restates the negativeness of the universe. The hideous lonely emptiness of existence. Nothingness. The predicament of Man forced to live in a barren, Godless eternity like a tiny flame flickering in an immense void with nothing but waste, horror and degradation, forming a useless bleak straitjacket in a black absurd cosmos.\"","brand":"Absurd Cosmos Late Night","offers":[{"title":"Default Title","offer_id":47087570452725,"sku":"IC-025","price":9.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_6832e5fa-12a8-43cf-a7c2-8f3666530bbe.jpg?v=1759458274"},{"product_id":"abyssal-elloristh-sepulchorporeal-amore-lp","title":"Abyssal \/ Elloristh – Sepulchorporeal \/ Amore LP","description":"\u003cp\u003eDark Descent Records unveils an ungodly pact between two exceptional merchants of death: U.K.’s and the enigmatic Ellorsith.\u003c\/p\u003e\n\n\u003cp\u003eThe split release showcases mastery in mind-warping death\/black metal from two unique angles. Abyssal’s reverb-laden and dissonant cascades of notes exist in seamless synergy with the twisted and doom-ed barrage of Ellorsith.\u003c\/p\u003e\n\n\u003cp\u003e“Abyssal has been a part of our musical journey throughout the years,“ speaks Ellorsith. “There is a certain inscrutability and elemental force that can be found in both acts, as well as a similar approach to just letting the art speak for itself. Moreover, I think we share or cherish the importance of the concepts and lyrics as a major foundation of each release.”\u003c\/p\u003e\n\n\u003cp\u003eIt is the aforementioned foundation on thematic concepts that makes the bands such an impeccable match. “We wanted to explore the sepia stained recesses of the early twentieth century – a time that existed on the brink of photography, and left naught but a faint imprint of ghostly images – glimpses into the past through crude analogue machinery,” reflects G.D.C., the entity behind Abyssal’s hellish creations.\u003c\/p\u003e\n\n\u003cp\u003e“Ellorsith’s side 'Amore' focuses on the tale of Carl Tänzler (aka Carl von Cosel) whose love for his tuberculosis patient Elena Milagro de Hoyos turned into a ghoulish obsession beyond her demise.\"\u003c\/p\u003e\n\n\u003cp\u003eAtó con cintas los desnudos huesos\u003cbr\u003e\nEl yerto cráneo coronó de flores\u003cbr\u003e\nLa horrible boca la cubrió de besos\u003cbr\u003e\nY le contó sonriendo sus amores\u003cbr\u003e\nLlevó a la novia al tálamo mullido\u003cbr\u003e\nY se acostó junto a ella enamorado\u003cbr\u003e\nY para siempre se quedó dormido\u003cbr\u003e\nAl rígido esqueleto abrazado\u003c\/p\u003e","brand":"Abyssal \/ Elloristh","offers":[{"title":"Black","offer_id":47087570616565,"sku":"DDR285LP","price":47.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_3dee5214-0d41-4d6b-a614-945850a438b8.jpg?v=1759458275"},{"product_id":"abyssal-rift-extirpation-dirge-lp","title":"Abyssal Rift – Extirpation Dirge LP","description":"\u003cp\u003eAbyssal Rift emerges from the bowels of hell with its debut-full length monstrosity, \"Extirpation Dirge\", a thirty six-minute miasmatic behemoth of dark and antihuman death-doom conceived by Columbus, Ohio-based multi-instrumentalist Matt Auxier (of industrial acts 6th Circle and Ash Prison) handling all instruments, songwriting and recording, with the exception of drums (performed and recorded remotely by David Mahony of Irish black\/grind terrorists Unyielding Love).\u003c\/p\u003e\n\n\u003cp\u003eThe band is the manifestation of Auxier's long-running history as a metalhead and of his extensive appreciation (parallel to that for industrial music) for dark and atmospheric death metal bands like Incantation, Disembowelment and Immolation as well as for 60's and 70's prog bands like Goblin, King Crimson, Eloy, and Amon Düül II, which in the context of his expertise and knowledge as a producer and home studio owner, has yielded a dense and disorienting dark death metal beast shrouded in surreal atmospheres and an hallucinatory form of dirge-like experimentalism.\u003c\/p\u003e\n\n\u003cp\u003eAn all-devouring obfuscation of abyssic crush depth, \"Extirpation Dirge\" seems horizonless and bottomless as it propagates and gravitates downward like a churning maelstrom, alternating moments of obliterating machine-like dark death metal destruction to others of misery-torn doom and cinematic widescreen experimentalism, with dense synth work alternating contemplative passages of clean guitars and ominous presages of spectral dark ambience.\u003c\/p\u003e","brand":"Abyssal Rift","offers":[{"title":"Black","offer_id":47087570714869,"sku":"SRUIN215","price":44.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_cc080ffb-8c69-49e7-9096-5ddf58079586.jpg?v=1759458277"},{"product_id":"ad-nauseam-imperative-imperceptible-impulse-2lp","title":"Ad Nauseam – Imperative Imperceptible Impulse 2LP","description":"With their sophomore album Imperative Imperceptible Impulse, Ad Nauseam took a step forward in terms of composition, musical structures and sound. Music is not intended as a mere sequence of riffs that sounds well one after the other, but is now a naturally ordered structure where almost every musical event refers to the past and\/or predicts the future, generating very layered and complex patterns dominated by polyphony and polyrhythms and where each instrument has its own role and is essential in the whole. The music represents a merging of many different styles, the most prominent ones being extreme death\/black metal, avantgarde, jazz, post-core, doom\/sludge and ambient.\nThe composition process of Imperative Imperceptible Impulse has been heavily influenced by 20th century classical composers like Stravinsky, Šostakóvič, Xenakis, Scelsi, Penderecki and Ligeti, to name a few. Both the concepts of harmony and melody have been put into discussion to get a music where harmony is obtained by means of disharmony and melody by dissonances. To push this method even further, a unique tuning system has been conceived, to allow a new harmonic vocabulary and to eradicate the players from the comfort zone of the usual melodic patterns every guitar\/bass player is used to.\nAd Nauseam takes a step back from the synthetic, flat and fake sound of modern production trends, going in the opposite direction, again adopting the same principles that are used to record classical music: less is more.\nAn extreme effort has been put to find a way to record the most natural, dynamic and tridimensional sound possible. For this reason, instead of focusing on the mixing and post-production phase, an insane amount of attention has been paid studying how to capture the best sound since the very beginning. The maniacal assembly and calibration of the audio chain allowed to nearly eliminate the use of equalizers and dynamic compressors. Saying it with Steve Albini: \"I want to hear the sound of the instrument, not the sound of the processor\".","brand":"Ad Nauseam","offers":[{"title":"Colour","offer_id":47087571337461,"sku":"AV396LP","price":69.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_2cd8d943-3e43-4839-8e0b-8ef7739240c5.jpg?v=1759458280"},{"product_id":"adam-park-is-unique-oil-free-air-mc","title":"Adam Park – Is Unique Oil Free Air MC","description":"\u003cp\u003eWhen i was younger, artists I looked up to talked of a handful of semi-unknown Aussie groups in hushed tones. Most of the time tracking down music of these people was a difficult task, let alone concrete information about the who’s and why’s. Two groups that fit this description were VOLVOX and THE PERFECT LOVERS. The one thing they had in common despite the years and thousands of kilometers separating them was a man named ADAM PARK. This makes sense as he was uncompromising as an artist, humble and a bit of a mystery too.\u003cbr\u003e\nFirst poking his head up as member of NEW WAVER in the 80’s, Adam followed his vision throughout his life, constantly refining it - intricate tape compositions, sculpture, free improvisation and fully-fledged ‘bands’, never seeming to worry about his place in any of it. He made things simply because he wanted to.\u003cbr\u003e\nCHYME, CAPTAIN’S LOG and UNIQUE OIL FREE AIR were some of his solo ventures - and while collaborating with TRAPDOOR TAPES, and playing in groups throughout the 2000’s and beyond such as SUNSHINE HAS BLOWN and GIRLS GIRLS GIRLS. He continued to perform solo shows - often handicapping any act performing before or after him. How do you follow that? What even was it? To us, Adam was a magician and this magic is most easily heard on his solo recordings.\u003cbr\u003e\nTwo gigs - separated by two years, one tape. ADAM PARK is UNIQUE OIL FREE AIR.\u003cbr\u003e\nEdition of 100\u003c\/p\u003e","brand":"Adam Park","offers":[{"title":"Default Title","offer_id":47087571501301,"sku":"IIN001","price":11.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_594d62c3-a2f8-413d-b42a-545089f8ddaf.jpg?v=1759458281"},{"product_id":"aeviterne-the-ailing-facade-lp","title":"Aeviterne – The Ailing Facade LP","description":"\u003cp\u003eOn their debut album The Ailing Facade, Aeviterne look beyond the destruction of flesh or the punishment of the spirit, instead turning inward to focus on the abyss of consciousness itself: the curse of sentience; the futility of productivity; the breakdown of consensus reality; humanity’s twin drives to propagate and destroy itself, locked in permanent perverse competition.\u003c\/p\u003e\n\n\u003cp\u003eAeviterne formed in 2015 as a vehicle for guitarist and vocalist Garett Bussanick to continue exploring some of the musical ideas his previous band Flourishing pursued, particularly the fusion of death metal with rhythms and textures inspired by harsh post-punk and industrial music. Bussanick, Flourishing bassist Eric Rizk, and drummer Ian Jacyszyn (Miasmatic Necrosis) unveiled the Sireless EP in 2018. The years since that brief but powerful introductory statement were spent not in dormancy, but in painstaking composition and relentless experimentation in pursuit of the densely textured, multifaceted sound of The Ailing Facade, and also saw Aeviterne’s lineup expand to include guitarist Samuel Smith (Artificial Brain, Luminous Vault).\u003c\/p\u003e\n\n\u003cp\u003eThe result is an album that plunges listeners into hellish headspaces of dread, anxiety, and unease through dynamic songwriting and deliberate, nearly narrative sequencing rather than effects pedal abuse, made even queasier and more disorienting through subtle electronics and additional layers of percussion, culminating in the instrumental title track and epic closer “Dream In Lies.” Immolation’s harsh technicality and the psychedelic menace of Godflesh can serve as reference points, but don’t fully capture the all-devouring alchemy of The Ailing Facade.\u003c\/p\u003e\n\n\u003cp\u003eThe Ailing Facade was engineered and mixed by Jacyszyn, with drum engineering and mastering by Colin Marston (Gorguts, Krallice). Artwork and layout by Mark McCoy (Full of Hell, Pig Destroyer).\u003c\/p\u003e","brand":"Aeviterne","offers":[{"title":"Black","offer_id":47087572648181,"sku":"PFL265","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_cb494e92-34c7-459f-a099-820b033ba561.jpg?v=1759458286"},{"product_id":"akaihirume-yasumune-morishige-ricca-cd","title":"Akaihirume \/ Yasumune Morishige – Ricca CD","description":"Yasumune Morishige and Akaihirume are musicians based in Tokyo. Morishige is a cellist who primarily performs improvisation, and collaborates with many musicians and dancers from Japan and other countries. Akaihirume is a vocalist who improvises in addition to singing her own songs. In 2015 she and computer player Carl Stone started a duo project whose activities include performances in Asia and the United States. (They also performed at Ftarri Festival in 2019).\nSeparately from her work with Carl Stone, Akaihirume performs in a duo with Yasumune Morishige. Over the past few years they have appeared regularly at Ftarri, Tokyo. This CD documents their performance in a concert on February 24, 2020. Morishige's subtle yet free-spirited cello playing and Akaihirume's vocals, with her creative use of effects, intertwine exquisitely and permeate every corner of the space. Consisting mainly of improvisation, the recording also includes (at the beginning and end of the performance) Akaihirume singing her own songs, accompanied by graceful melodies. The superb performances beautifully channel the musical artistry of both musicians.","brand":"Akaihirume \/ Yasumune Morishige","offers":[{"title":"Default Title","offer_id":47087575073013,"sku":"ftarri-973","price":24.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_7b62ac19-a92a-4663-bc43-a9787d116cb2.jpg?v=1759458298"},{"product_id":"altars-ascetic-reflection-lp","title":"Altars – Ascetic Reflection LP","description":"\u003cp\u003eBear witness to 'Ascetic Reflection', the long awaited return of the Australian power-trio ALTARS. In eight tracks spanning 40 minutes, the group bends Death Metal to its will in new transcendental forms. An evolution that reflects and expands upon the sound established by the group's critically acclaimed debut 'Paramnesia'.\u003c\/p\u003e\n\n\u003cp\u003e'Ascetic Reflection’ is the long-awaited follow up to the bands debut — an evolution that reflects and expands upon the sound established by Paramnesia. Engineered, mixed and mastered entirely by the band themselves in January 2022 — Ascetic Reflection is an arcane and powerfully organic culmination of the renewed trio's efforts.\u003c\/p\u003e\n\n\u003cp\u003eAdorned by a sweeping gatefold painting by Adam Burke, and a series of internal collages created by Derek Setzer, ‘Ascetic Reflection’ interrogates one’s perception of the self. The opposing halves of the work, each reflecting outward from its centre, form mirrors by which to measure humanity's true face — inverse views of its ouroboric cycles, mortal burdens, and futile lust for power, knowledge and the divine.\u003c\/p\u003e\n\n\u003cp\u003eEnigmatic Australian Death Metal entity ALTARS rose sharply to prominence with the release of their 2013 debut ‘Paramnesia’ (Nuclear Winter Records\/Blood Harvest). The record quickly drew widespread acclaim for the band's dynamic, forward thinking compositions — hearkening to the genre's forebears whilst carving a niche all their own.\u003c\/p\u003e\n\n\u003cp\u003eAfter a premature halt, in part due to a debilitating illness affecting co-founding member Cale Schmidt (vocals and bass, see also Monomakh), ALTARS entered a long period of dormancy. Guitarist Lewis Fischer joined the ranks of Melbourne outfit Ignivomous, while drummer Alan Cadman entered the fold of Adelaide’s occult StarGazer. All the while, ‘Paramnesia’ continued to gain status as a cult classic and glimpse of the band's true potential.\u003c\/p\u003e\n\n\u003cp\u003eAfter eight years of silence, 2021 saw a revived ALTARS announce its resurrection with the promise of a new full-length album, and then the recruitment of Brendan Sloan (Convulsing) to fill the void on bass and vocals — cementing the band as a force to be reckoned with once more.\u003c\/p\u003e\n\n\u003cp\u003eFor fans of Ulcerate, Gorguts, Portal, Dead Congregation.\u003c\/p\u003e","brand":"Altars","offers":[{"title":"Black","offer_id":47087575761141,"sku":"SPIT074LP-2","price":44.95,"currency_code":"AUD","in_stock":true},{"title":"Colour","offer_id":47087575793909,"sku":"SPIT074LP-2C","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_a78d6a50-ecf5-4995-9f00-a9755321bae6.jpg?v=1759458308"},{"product_id":"altars-ascetic-reflection-cd","title":"Altars – Ascetic Reflection CD","description":"\u003cp\u003eBear witness to 'Ascetic Reflection', the long awaited return of the Australian power-trio ALTARS. In eight tracks spanning 40 minutes, the group bends Death Metal to its will in new transcendental forms. An evolution that reflects and expands upon the sound established by the group's critically acclaimed debut 'Paramnesia'.\u003c\/p\u003e\n\u003cp\u003e'Ascetic Reflection’ is the long-awaited follow up to the bands debut — an evolution that reflects and expands upon the sound established by Paramnesia. Engineered, mixed and mastered entirely by the band themselves in January 2022 — Ascetic Reflection is an arcane and powerfully organic culmination of the renewed trio's efforts.\u003c\/p\u003e\n\u003cp\u003eAdorned by a sweeping gatefold painting by Adam Burke, and a series of internal collages created by Derek Setzer, ‘Ascetic Reflection’ interrogates one’s perception of the self. The opposing halves of the work, each reflecting outward from its centre, form mirrors by which to measure humanity's true face — inverse views of its ouroboric cycles, mortal burdens, and futile lust for power, knowledge and the divine.\u003c\/p\u003e\n\u003cp\u003eEnigmatic Australian Death Metal entity ALTARS rose sharply to prominence with the release of their 2013 debut ‘Paramnesia’ (Nuclear Winter Records\/Blood Harvest). The record quickly drew widespread acclaim for the band's dynamic, forward thinking compositions — hearkening to the genre's forebears whilst carving a niche all their own.\u003c\/p\u003e\n\u003cp\u003eAfter a premature halt, in part due to a debilitating illness affecting co-founding member Cale Schmidt (vocals and bass, see also Monomakh), ALTARS entered a long period of dormancy. Guitarist Lewis Fischer joined the ranks of Melbourne outfit Ignivomous, while drummer Alan Cadman entered the fold of Adelaide’s occult StarGazer. All the while, ‘Paramnesia’ continued to gain status as a cult classic and glimpse of the band's true potential.\u003c\/p\u003e\n\u003cp\u003eAfter eight years of silence, 2021 saw a revived ALTARS announce its resurrection with the promise of a new full-length album, and then the recruitment of Brendan Sloan (Convulsing) to fill the void on bass and vocals — cementing the band as a force to be reckoned with once more.\u003c\/p\u003e\n\u003cp\u003eFor fans of Ulcerate, Gorguts, Portal, Dead Congregation.\u003c\/p\u003e","brand":"Altars","offers":[{"title":"Default Title","offer_id":47087575826677,"sku":"SPIT074CD","price":19.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_6cb0e516-194e-472d-ab36-c3988381a514.jpg?v=1759458306"},{"product_id":"alvin-lucier-works-for-the-ever-present-orchestra-vol-ii-lp","title":"Alvin Lucier – Works For The Ever Present Orchestra Vol, II LP","description":"\u003cp\u003eWorks for the Ever Present Orchestra Vol. II continues Black Truffle’s documentation of the late work of legendary American experimental composer Alvin Lucier, who sadly passed away in 2021 at the age of 90. Like the first volume of the series, the two works recorded here were written for The Ever Present Orchestra, an ensemble founded in Zürich in 2016 to perform Lucier’s work exclusively. At the core of the music Lucier wrote for the ensemble is the electric guitar, an instrument he began to explore in 2013. Played with e-bows, in these works electric lap steel guitars take on roles akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s. This strikingly elegant pair of compositions would serve as an ideal introduction to Lucier’s late music for a listener as yet unfamiliar with its graceful exploration of beating patterns and other acoustic phenomenon.\u003cbr\u003e\nThe two pieces have quite different characters, exemplifying Lucier’s ability to harvest a remarkable range of musical results from closely related compositional procedures and concerns. In Arrigoni Bridge (2019), Lucier uses a technique familiar from earlier works such as Still Lives (1995), where sine waves traced the shapes of household objects. Here, three lap steel electric guitars (played by Oren Ambarchi, Bernhard Rietbrock, and Jan Thoben) follow the form of the Arrigoni Bridge that connects Middletown and Portland, Connecticut. The bridge’s two enormous steel arcs become slowly sweeping pitches, alongside which alto saxophone (Joan Jordi Oliver Arcos), violin (Rebecca Thies) and cello (Lucy Railton) sustain long tones, creating a variety of audible beating patterns depending on their distance from or proximity to the guitars. With its stately pacing, warm middle register tones, and rich timbral variety in the sustaining instruments, Arrigoni Bridge is a beautiful example of compositional reduction producing immersive results.\u003cbr\u003e\nFlips (2020), on the other hand, is more austere. Scored for two lap steel electric guitars (Rietbock and Thoben), double bass (Ross Wightman) and glockenspiel (Trevor Saint), the two acoustic instruments played with bows, the piece zooms in on the range of a major second (two semitones). The two guitars sweep in opposite directions within the range, crossing every four minutes; the double bass and glockenspiel sustain long tones, producing beats of different speeds determined by their distance from the guitar tones. This limitation of the tonal range means the music is often dissonant and forces the phenomenon of audible beating to the surface, resulting in a paradoxical music composed entirely of long tones yet alive with pulsating rhythm. Exemplifying Lucier’s ability to uncover near-infinite complexity within seemingly simple materials, Works for the Ever Present Orchestra Vol. II is a fitting tribute to one of the major figures of the experimental music tradition and a testament to the continuing power of his work. \u003c\/p\u003e","brand":"Alvin Lucier","offers":[{"title":"Black","offer_id":47087576187125,"sku":"BT109LP","price":69.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_7f484f6d-5873-45c3-9221-ad670fb24705.jpg?v=1759458307"},{"product_id":"alzheimer-blanks-s-t-mc","title":"Alzheimer Blanks – S\/T MC","description":"\u003cp\u003eThird release for If It’s New is Alzheimer Blanks debut cassette. Humid psychedelic electronics that peel as the tape rolls. 5 seductive tunes fused together. A winding path. Drifting to the centre. Forging melody from puzzle pieces. Samples cut, resampled and cut again. Captured afterthoughts of various obsession. Embracing mistakes. Submitting to a trance. Relishing mystery. Reliving playtime. Disregard genre. The listener can make up their own mind. The first of hopefully many entries. Recorded to tape in July 2024.\u003c\/p\u003e","brand":"Alzheimer Blanks","offers":[{"title":"Default Title","offer_id":47087576219893,"sku":"IIN03","price":14.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_714e1efc-30d5-43c0-97a3-e223c85beaf8.jpg?v=1759458307"},{"product_id":"anakrid-ugly-pretty-7","title":"Anakrid – Ugly \/ Pretty 7\"","description":"Anakrid makes a further contribution to Christopher Bickel's legacy of carefully and exquisitely plotted ambient\/industrial finery, this time evoking two shades of 1980s Organum via 'Ugly' – a shimmer of organic drone ozone – and 'Pretty' – a mangled wreck of junk metal catastrophe in fully produced exquisite detail.\n100 copies pressed of this 7\", with collage artwork courtesy of the talented Jan Warnke (Geräuschmanufaktur label).","brand":"Anakrid","offers":[{"title":"Black","offer_id":47087576482037,"sku":"SIC113","price":14.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_3cac4530-3489-495c-8beb-f3a0866c748b.jpg?v=1759458310"},{"product_id":"andy-heck-boyd-ripped-spit-runction-raydal-cd","title":"Andy Heck Boyd \/ Ripped Spit – Runction Raydal CD","description":"\u003cp\u003eKasper and Heck, married at the deep fried Kentucky butterfly, she sizzled the couch lassoing crunchy tunes to the walls which ransacked the verbs right out of his toolbox of cartoons getting lost in the woods at night. After recording they had sex and both gave birth to concrete squirrels.\u003cbr\u003e\nMastered by Joe Talia.\u003c\/p\u003e","brand":"Andy Heck Boyd \/ Ripped Spit","offers":[{"title":"Default Title","offer_id":47087577137397,"sku":"IC-023","price":14.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_81e89c2e-ae59-4f31-b7f4-699bb632bec0.jpg?v=1759458315"},{"product_id":"antediluvian-the-divine-punishment-2lp","title":"Antediluvian – The Divine Punishment 2LP","description":"\u003cp\u003eNearly eight years after the release of Antediluvian’s sophomore album, “λόγος,” the band returns with a new full-length entitled “The Divine Punishment.” Originally a duo before later inviting additional members into the fold, Antediluvian has always fundamentally been a collaboration between guitarist\/vocalist Haasiophis (Black Death Cult, Revenge) and percussionist Mars Sekhmet, whose relocation to Austria precipitated the band’s hiatus. After reforming for a series of live performances, with a lineup that also featured bassist Aedh Zugna (Solar Winds, Allfather), the band set about writing and recording new material culminating in this monumental album.\u003cbr\u003e\n“The Divine Punishment” defies the preconceptions that many listeners might have going into it. Thematically centered around the many manifestations of carnal deviance — pathological, unrestrained, cruel — the album is a contorted rendering of the spirit, once pure, blemished and bespoiled through sexual blasphemy. The recoil of ecstatic release. The organs of reproductive union mutilated, splayed. Unbounded perversion, the primal transgression.\u003cbr\u003e\nMusically, this is the most abstract and experimental release in the band’s catalog but also the most accessible, due in no small part to the album’s production, which is as vital to its power as the songs themselves. The densely layered tracks are masterfully woven together, accentuating the composition rather than muddling it. Constructed from the blurry discordance of Haasiophis’s riffs, idiosyncratic elements permeate the album. Penetrating and unyielding and knotted with passages of spiraling repetition, “The Divine Punishment” is a work that is darkly kaleidoscopic, with strategically placed effects, synths, samples, and even violin accentuating its multidimensional impact. The roiling chaos of Mars’s tom-laden drumming and the pummeling, daedal fury of Aedh’s bass lines undergird the composition, anchoring yet also contributing to the discord. “The Divine Punishment” is not merely a return to form for Antediluvian, it reflects the band’s evolution from their inception, extrapolated, over the near-decade since their last album, to reveal a meticulously sculpted masterwork that continues to push boundaries, just as the band has done for the last 15 years.\u003c\/p\u003e","brand":"Antediluvian","offers":[{"title":"Black","offer_id":47087577694453,"sku":"ANTIGOTH529","price":54.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_b42cb351-875e-4ae9-b379-80d038e21622.jpg?v=1759458320"},{"product_id":"antimonument-concealment-lp","title":"Antimonument – Concealment LP","description":"\u003cp\u003eDeath metal meets its future self. When almost everything has been said and done, contamination becomes the only escape, as new ways to interpret and reinvent the wheel must be found to keep setting the mind free and the genre moving forward, including creating clever and transformative crossover syncretisms with other styles and genres than can open the eye of terror along with new gateways to a higher dimension of chaos. And this is how Brazil's mysterious experimental death metal deconstructors Antimonument have approached their cryptic and bludgeoning craft: infusing it with all kinds of foreign (but adjacent) audial excoriations, including industrial noise, hardcore punk, cryptic no-wave and scathing power electronics, to render their experimental dark extreme metal a futuristic and multidimensional sonic warhead. Imagine a mix of Blasphemy, Carcass, Incantation, Khanate, Swans, Crucifix, Void, Godflesh and Controlled Bleeding, and you will be closer, yet still not completely within, the mutated experimental realm of devastation conceived by the Brazilian cult. And it doesn't end there. As an art studio\/collective creating audio-visual experiences encompassing sound, visuals and video, Antimonument is more than just as a band, rather an explorative sensorial weapon of self determination. In this sense the Brazilian collective can be seen as an extreme metal counter-shade to the flourishing Brazilian experimental underground vanguard that in recent years has nurtured defiant bands like Test, Papangu, Deaf Kids etc. who've turned grindcore and hardcore inside out. It was only a matter of time before grim and abysmal black\/death metal would receive the same treatment and be syphoned through one of the most exciting and fearless experimental micro-scenes that exists today, and Antimonument are the vessel which got us there.\u003c\/p\u003e\n\n\u003cp\u003eAnitmonument's crushing debut album \"Concealment\" was first released in 2021 on CD in Brazil by Cianeto Discos and later the same year on cassette tape in the USA by Red Door Records. Shortly after Antimonument and Sentient Ruin began working on an enhanced reissue featuring brand new artwork, two brand new tracks, and an entirely new master by Will Killingsworth at Dead Air Studios to serve as the release's first ever vinyl edition along with brand new digital\/streaming and cassette tape versions to accompany it.\u003c\/p\u003e","brand":"Antimonument","offers":[{"title":"Black","offer_id":47087577956597,"sku":"SRUIN177","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_262ace67-c06f-4d2b-bf39-5cd5c7e7dd66.jpg?v=1759458323"},{"product_id":"aphotic-abyssgazer-lp","title":"Aphotic – Abyssgazer LP","description":"\u003cp\u003eA concept of ultimate finality doused in cosmological inevitability. A sound of world-building\/destroying immensity shrouded in otherworldly dissonance and suffocating atmospherics. Visions of eons ahead, evoking the ultimate fate of matter and as such of existence. All this is the \"Abyssgazer\", the immense debut album by Italian atmospheric post-death\/doom metal oracle Aphotic. The four piece from northern Italy which features current and past members of bands like Fuoco Fatuo, Blasphemer, and Ekpyrosis, has set out to create the ultimate extreme metal clairvoyance into the death of our universe, through an audio, visual and conceptual experience of unparalleled evocative power. According to the eschatological tale and astrophysical prediction, the most absolute Omega possibly conceivable will materialize as aeons ahead, on timescales almost impossible to imagine, an inexorably inflating universe made only of exhausted and degenerate stellar remnants will reap apart the fabric of spacetime itself until matter will start decaying, and even every black hole singularity will be evaporated, due to quantum effects, into radiation emanating in nothingness. And so, as maximum entropy will be reached, time will become meaningless. In this frame, the album title-track reflects on how, in remote times and places, inert matter can shape into living beings, then evolve into sentient creatures who might become able to stare into the unknown and wonder about the true nature of time and space – by gazing into the abyss. The Abyssgazers, will become the self-consciousness of the Universe. Then come the medium: dark, imposing, colossal atmospheric death metal to disintegrate the fabric of perception, reality, and time itself, and to soundtrack the universe's last vision and final breath. A nebulous, churning cosmic abyss evoking the destruction of worlds through masterful sonic synthesis: the necromancing twisted dark death metal of Incantation and Immolation, the expansive and morphing storytelling of Triptykon, Neurosis, Evoken and Bolzer, and the suffocating coldness and dissonance of Godflesh. And finally, the visuals by Chilean abstract painter Rodrigo Pereira: an otherworldly vision unto the abyss sealing this eschatological journey towards the eons to come. Analog mixing meticulously crafted under the expertise of audio engineer Greg Chandler from Esoteric (Priory Recording Studios, UK) and mastering by Colin Marston from Gorguts etc. (The Thousand Caves Studio, NYC), complete an unheralded debut album of immense, imaginative, consciousness-expanding avant-garde death metal crafted to glorify and reimagine the immensity and inevitability of death far beyond this carnal plain.\u003c\/p\u003e","brand":"Aphotic","offers":[{"title":"Black","offer_id":47087578087669,"sku":"SRUIN183","price":49.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_19fa8ded-90a5-4bc0-b176-cdb94a0e4d45.jpg?v=1759458324"},{"product_id":"arek-gulbenkoglu-greek-tape-cd","title":"Arek Gulbenkoglu – Greek Tape CD","description":"\u003cp\u003eThe Greek Tape (2023) presents a series of pieces focused on the concept of making, and the vagaries of artefact.\u003cbr\u003e\nUsing a variety of compositional strategies and tools, a complex set of red herrings prevail.\u003cbr\u003e\nSource recordings include motors, primitive electronics, video, voice, and tape machines.\u003cbr\u003e\nPlayback recommended at moderate to loud volume.\u003c\/p\u003e","brand":"Arek Gulbenkoglu","offers":[{"title":"Default Title","offer_id":47087578415349,"sku":"IC-022","price":14.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_bd81cbff-0803-44da-aaf5-f9ef0e0ae16d.jpg?v=1759458328"},{"product_id":"artificial-brain-infrared-horizon-cd","title":"Artificial Brain – Infrared Horizon CD","description":"\u003cp\u003eWith their second full-length album “Infrared Horizon”, NY-based death metal band ARTIFICIAL BRAIN have created a sophomore release more advanced than their lauded debut album “Labyrinth Constellation”. By taking their brand of singular brutal guttural yet technical and ambient sci-fi death metal to a new galaxial plateau, “Infrared Horizon” sees the sonic architecture laid down by the band go further into the beyond and infinite.\u003cbr\u003e\nConceived in 2011 by guitarist Dan Gargiulo (Revocation) and vocalist Will Smith (ex-Biolich), the band would be rounded out by bass player Samuel Smith (Luminous Vault), guitarist Jon Locastro, and drummer Keith Abrami. The band would align themselves with Profound Lore Records and drop their debut album “Labyrinth Constellation” in 2014 to wide praise within the circles of death metal that range from accolades from within technical, dark, guttural, and progressive death metal respectively. Along with decent touring around “Labyrinth Constellation”, the band would also have their music played and were even name dropped on multiple occasions in the popular CBS television shows Elementary and Limitless.\u003cbr\u003e\nOnce again produced by Colin Marson (Gorguts, Dysrhythmia, Krallice) at The Thousand Caves, “Infrared Horizon” (featuring art by Adam Burke) sees ARTIFICIAL BRAIN traveling towards a sonic realm where the music has become more brutal and dissonant, technical, atmospheric, and just overall more otherworldly. Delving into the lyrics and themes of “Infrared Horizon”, themes such as dealing with the concept of a dystopian future in which robots and cyborgs have outlived human beings. Robots and Cyborgs who believe themselves to be not of creation of the long extinct humans but a more perfect evolution of them. The scenarios take place all over outer space and on unnamed planets (not necessarily Earth).\u003c\/p\u003e","brand":"Artificial Brain","offers":[{"title":"Default Title","offer_id":47087578644725,"sku":"PFL183CD","price":29.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_fdc19ea0-901c-4cca-8128-c3d523dc3b4a.jpg?v=1759458331"},{"product_id":"ashenspire-hostile-architecture-lp","title":"Ashenspire – Hostile Architecture LP","description":"\u003cp\u003eAshenspire's ‘HOSTILE ARCHITECTURE is a sonic exploration of the ways that subjects under late capitalism are constrained and set in motion via the various structures that uphold stratification and oppression in urban contexts.\u003c\/p\u003e\n\n\u003cp\u003eInspired by brutalist, postmodern and utilitarian architectural structures that are found throughout post-industrial cities, hauntological in nature, being designed to provide for the populace through affordable housing but ultimately cost-cutting exercises and unfit for purpose.\u003c\/p\u003e\n\n\u003cp\u003eThe term hostile architecture refers to design elements in social spaces that deter the public from using the object for means unintended by the designer, e.g. anti-homeless spikes, which the album presents as emblematic of a foundational contempt for the poor and working class, an exemplification of a status quo fortified in concrete.\u003c\/p\u003e\n\n\u003cp\u003eThe album invites the listener to explore the dissonance of these contradictions in their own circumstances and perhaps consider possibilities for a world beyond what Mark Fisher called “Capitalist Realism.”’\u003c\/p\u003e","brand":"Ashenspire","offers":[{"title":"Black","offer_id":47087579234549,"sku":"CODE135V","price":54.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_30c0699c-8ea0-4c6c-97d6-c07254a2efbe.jpg?v=1759458337"},{"product_id":"atemporal-thorn-genesis-lp","title":"Atemporal – Thorn Genesis LP","description":"\u003cp\u003eATEMPORAL is the solo project of Sebastian Montesi, restless and appreciated musician coming from the ranks of AUROCH, MITOCHONDRION and EGREGORE, some of the best bands of today's underground metal scene. Wrapped in a beautiful cover by Nether Temple Design and mastered by Gabriele Gramaglia (Cosmic Putrefaction, Vertebra Atlantis), \"Thorn Genesis\" marks the debut of ATEMPORAL and in it Montesi keeps what the album title promises, giving birth to an occult, bewitched and malicious black metal record.\u003c\/p\u003e\n\n\u003cp\u003eATEMPORAL rekindles the burning coals of the blasphemous black metal of the origins, but at the same time translate its lexicon using modern musical formulas, the result of the black\/death drifts typical of Montesi's other bands. Sharp and oblique guitar riffs, mad and dissonant Lovecraftian-flavored melodies, and an unpredictable, chaotic songwriting ensure a sense of giddiness and physical oppression, sublimated in the monstrous 16-minute finale, \"Backward Down The Thorny Path.\"\u003c\/p\u003e\n\n\u003cp\u003eGiven the pyrotechnic mastery of Sebastian Montesi on the six-string, \"Thorn Genesis\" could be called an eminently guitar record that moves back and forth between tradition and avant-garde, but in many episodes - thanks to a deliberately raw and scratchy production - it also comes out a strong tribal component, a sort of primitivism that hypnotizes and seduces the listener.\u003c\/p\u003e\n\n\u003cp\u003e\"ATEMPORAL has served as an amphora to be filled with timeless images of human spirituality, fable, and mythology,\" Sebastian Montesi says. \"As a vessel of esoteric expression I have found it worthy, and now I hand it to you, the wine ready to be poured when you are ready.\"\u003c\/p\u003e\n\n\u003cp\u003eLimited edition of 200 (100 black, 100 transparent red) on 12\" 140 gram vinyl.\u003cbr\u003e\n350 gram sleeve, 3mm spine.\u003cbr\u003e\n2-page insert, black inner sleeve, outer plastic sleeve.\u003c\/p\u003e","brand":"Atemporal","offers":[{"title":"Black","offer_id":47087579988213,"sku":"IVR194LP","price":54.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_ceabd5e3-9b10-48da-869d-1e1a302e959b.jpg?v=1759458344"},{"product_id":"bastard-noise-and-merzbow-retribution-by-all-other-creatures-lp","title":"Bastard Noise and Merzbow – Retribution By All Other Creatures LP","description":"The experimental legends BASTARD NOISE and MERZBOW present their new collaborative album, RETRIBUTION BY ALL OTHER CREATURES. A lashing out against man-made institutions that perpetuate animal cruelty, every second of BASTARD NOISE's contribution to this collaboration is simply put - pitch-black, palpable fury. Elsewhere, the iconic MERZBOW's influence creeps in with a two part concept - the ZooNOsISE tracks, firing off MERZBOW's calling card - grainy, unsettling distortion that builds and builds, set against wretched technological wailing and alarming constants.\nThe record's intent is both a call to action, and a foreboding signal of end times. \"Stand up against any form of animal abuse you witness at all cost,\" BASTARD NOISE mastermind Eric Wood writes in his liner notes. \"Be part of positive, compassionate change and spit on the grave of the status quo.\" MERZBOW\/Masami Akita's message is simple, but hits hard - \"TIME IS RUNNING OUT. NOISE IS MUSIC\"","brand":"Bastard Noise and Merzbow","offers":[{"title":"Metallic Silver","offer_id":47087581495541,"sku":"RR74511","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_2aa4868b-cba1-4675-95a9-c3be6633c708.jpg?v=1759458355"},{"product_id":"behold-the-arctopus-hapeleptic-overtrove-cd","title":"Behold the Arctopus – Hapeleptic Overtrove CD","description":"BEHOLD...THE ARCTOPUS will release the WORST album of the year in June 12, 2020.\nAnd 1000% guaranteed it WILL NOT make it to any \"BEST-OF-2020\" or anytime soon.\nIt's because this album is so far ahead of its time that only the people who will appreciate this are either out of their minds or people from the distant future.\nChallenging and absolutely brilliant.\nColin Marston: warr guitar\nMike Lerner: guitar guitar\nJason Bauers: wood, plastic, metal","brand":"Behold the Arctopus","offers":[{"title":"Default Title","offer_id":47087582642421,"sku":"P2-021","price":14.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_f3f7e262-39fa-4b7d-8918-5a8a0532d61a.jpg?v=1759458365"},{"product_id":"behold-the-arctopus-hapeleptic-overtrove-lp","title":"Behold the Arctopus – Hapeleptic Overtrove LP","description":"BEHOLD...THE ARCTOPUS will release the WORST album of the year in June 12, 2020.\nAnd 1000% guaranteed it WILL NOT make it to any \"BEST-OF-2020\" or anytime soon.\nIt's because this album is so far ahead of its time that only the people who will appreciate this are either out of their minds or people from the distant future.\nChallenging and absolutely brilliant.\nColin Marston: warr guitar\nMike Lerner: guitar guitar\nJason Bauers: wood, plastic, metal","brand":"Behold the Arctopus","offers":[{"title":"Purple","offer_id":47087582707957,"sku":"WT-177","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_4314d5b0-69d9-4291-a15f-6a29c20cdead.jpg?v=1759458365"},{"product_id":"bekor-qilish-throes-of-death-from-the-dreamed-nihilism-lp","title":"Bekor Qilish – Throes Of Death From The Dreamed Nihilism LP","description":"\u003cp\u003eTalented Italian singer and multi-instrumentalist, Andrea Bruzzone debuts with the avant-garde metal project BEKOR QILISH and an album, \"Throes Of Death From The Dreamed Nihilism,\" already particularly mature, complex and layered.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIt is no coincidence that some special guests — recognized masters of the most technical, progressive and experimental extreme metal — have accepted to participate in the recordings: from Colin Marston (KRALLICE, GORGUTS) and Gabriele Gramaglia (COSMIC PUTREFACTION, VERTEBRA ATLANTIS), who contribute with their typical mind-bending guitar solos, to Romain Goulon (SADIST, NECROPHAGIST) and Eugene Ryabchenko (FLESHGOD APOCALYPSE), authors of superlative performances on drums.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eShort but full of contents and inventiveness, BEKOR QILISH's \"Throes Of Death From The Dreamed Nihilism\" is a veritable whirlwind of oblique riffs and complex rhythms that often dilute metal violence into ethereal and hypnotic melodies; an album that expertly blends the most bizarre and intellectual extreme metal with cosmic-inspired atmospheric sounds, imagining the eerie alien landscapes depicted in the beautiful cover painting by Strx.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eWritten, performed and recorded by Andrea Bruzzone\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eWarr-guitar solo on \"Ocean Of Malice\" by Colin Marston (Krallice, Gorguts, Behold...the Arctopus)\u003c\/p\u003e\u003cp\u003eGuitar Solo on \"Self-Destructed Destruction\" by Gabriele Gramaglia (Cosmic Putrefaction, Vertebra Atlantis, Turris Eburnea)\u003c\/p\u003e\u003cp\u003eGuitar solo on \"Total Infection\" by Samuele Boni (Landscape Of Zeroes)\u003c\/p\u003e\u003cp\u003eDrums on \"Cryptic Hatred\" by Eugene Ryabchenko (Fleshgod Apocalypse, Banisher, Castrum, Locracy)\u003c\/p\u003e\u003cp\u003eDrums on \"Self-destructed Destruction\" by Romain Goulon (Sadist, Necrophagist)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMixed and mastered by Mauro Scarfia\u003c\/p\u003e\u003cp\u003eSound design by Mauro Scarfia and Andrea Bruzzone\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCover painting and logo by STRX Art\u003c\/p\u003e\u003cp\u003eArt direction and layout by Francesco Gemelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLimited edition of 200 on 140 gram black 12\" vinyl.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e350 gram outer sleeve, 3mm spine.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e2-page insert, black inner sleeve, outer plastic sleeve.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Bekor Qilish","offers":[{"title":"Black","offer_id":47087582740725,"sku":"IVR186LP","price":54.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_8989d098-fc49-44c1-98ba-12d704f085cc.jpg?v=1759458366"},{"product_id":"ben-carey-antimatter-lp","title":"Ben Carey – Antimatter LP","description":"‘Three well crafted gems of abstract electronic gestures... If Joan Miró’s biomorphs could sing, this is what they’d sound like’ - Todd Barton\nBen Carey is a Sydney-based saxophonist, composer and technologist. His practice is profoundly informed and extended by technology, through the creation of audio-visual works, the development of his interactive performance software: _derivations and more recently, his fixation on modular synthesis. Ben's work is driven by a fascination with the symbiotic relationships that develop between human and machine in composition and performance.\n \n‘The three pieces on this record are the result of live interactions with complex and unwieldy networks of electricity, realised on a small eurorack modular synthesiser system in the studio sometime between late 2017 - mid 2018. Over the past few years this instrument has become a core part of my musical practice. For me, working with a modular synthesiser is about experiencing musical composition as an interactive process, where the lines between sound design, composition and improvisation are enticingly hazy.\nThe first two pieces are edited from longer improvised sessions on the instrument. ‘Peaks’ evolves from a single, restless microtonal line into a sea of metallic resonances and unstable bass snarls. Named after the Danish physicist Søren Absalon Larsen, the second work explores a gestural language based around audio-feedback, the acoustic phenomenon he discovered. Feeding the outputs of filters, oscillators and amplifier circuits back into their inputs, ‘Larsen’ exploits the resultant textural, timbral and rhythmic instability of these chaotic vibrations. Finally, the long-form improvisation ‘Networks Articulated’ drives relentlessly forward through active surface textures to arrive at a monolithic, suspended noise-scape woven from un-synced oscillators, swirling filters and crackling analog noise.’ \n- Ben Carey ","brand":"Ben Carey","offers":[{"title":"Black","offer_id":47087583527157,"sku":"HHLP03190749","price":42.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_1f0336bc-9764-4e2e-94d6-942cb3028262.jpg?v=1759458370"},{"product_id":"ben-carey-metastability-lp-cd","title":"Ben Carey – Metastability LP\/CD","description":"Metastability was composed \u0026amp; performed on the 1975 La Trobe Serge ‘Paperface’, a colossal modular synthesiser designed by Serge Tcherepnin, currently housed at the Melbourne Electronic Sound Studio (MESS), Naarm\/Melbourne, Australia. The fruits of two residencies at MESS in 2019 \u0026amp; 2021, Metastability explores some of the vast sonic terrain of this unique machine across its five tracks. The instrument was commissioned for the La Trobe University Music Department in the mid-1970s by composer Warren Burt \u0026amp; has since been restored by renowned Serge expert Ken Stone. Affectionately dubbed a ‘Paperface’ system due to the characteristic paper graphics used on its front panels, the La Trobe Serge is one of three instruments designed by Tcherepnin to make its way to Australia during this period.\nThe La Trobe Serge is a beautiful, complex instrument. At the core of Tcherepnin’s design philosophy is the concept of ‘patch programmability’, where low-level functions of the instrument are made available to the musician. This design approach pushes the performer to define \u0026amp; re-define the scope of the instrument’s architecture as part of the compositional process. In my encounters with the Serge, I experience the instrument as an electronic ecosystem, one that makes me work hard for every sound, but always in collaboration with the machine. What fascinates me most about working on the Serge is this sense of human\/non-human collaboration. As a patch begins to grow in complexity, I’m acutely aware that my compositional decisions are not solely my own. They’ve become part of a sprawling human-machine network, the history of which sits in front of me as an imposing tangle of patch cables. In Metastability, I was interested in exploring this relationship, resulting in sounds \u0026amp; processes that push \u0026amp; pull on each other, moving in \u0026amp; out of equilibrium.\nApparent Equilibrium, the bonus CD included in this release, documents a live recording made on the La Trobe Serge at MESS in July 2022. Extending upon sounds \u0026amp; ideas from Metastability, this recording was made in preparation for an octophonic surround sound performance at The Substation (Naarm\/Melbourne), as part of Sonorous V, curated by MESS. Piloted through some custom software, the performance weaves in live Serge with pre-recorded materials from Metastability, diffused in a virtual surround-sound environment. As this CD was mixed for binaural playback, please use headphones for an optimal listening experience.\n- Ben Carey \n45rpm. Deluxe film-laminated 'Tip-On' gatefold. Limited to 200 copies worldwide. Includes download card and bonus binaural CD 'Apparent Equilibrium'.","brand":"Ben Carey","offers":[{"title":"Black","offer_id":47087583592693,"sku":"HHLP04230753","price":44.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_49ded193-acbc-46e5-8efa-b4002eb954c7.jpg?v=1759458371"},{"product_id":"ben-frost-francesco-fabris-vakning-lp","title":"Ben Frost \u0026 Francesco Fabris – Vakning LP","description":"A note from Room40s Lawrence English on Vakning:\n'Nothing is fixed, nothing is permanent, nothing holds for anyone, any time or anything.\nAs stable as we might choose to think it is, this planet is anything but that. A paper thin crust, the zone in which we find ourselves, and mostly concern ourselves with, exists as a modest veil cloaking a dynamic seismic turbulence that is as powerful as it is unknowable.\nThere are moments though where ruptures occur. The pressure from within carves its way to, and through, the surface of the planet simultaneously delivering destruction and virgin landscapes, as primordial as any we might care to imagine. It is here, in these places, where we can literally see the living planet, that geologic time is condensed and world building is made visible, and audible to us, in an unrestrained and provocative detail.\nThese volcanic ruptures, such as those captured on Vakning by Francesco Fabris and Ben Frost, speak to the very living geology of Earth. These recordings, captured at close range, exist at a nexus where liquid rock becomes solid. They capture moments of transformation, of obliteration and of creation, often all at once.\nThese are recordings of a living, material planet, dynamic and unrestrained.'","brand":"Ben Frost \u0026 Francesco Fabris","offers":[{"title":"Black","offer_id":47087583625461,"sku":"RM4175LP","price":54.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_b889cd46-3276-4859-9d3f-ed29dfcf3344.jpg?v=1759458371"},{"product_id":"ben-frost-the-wasp-factory-lp","title":"Ben Frost – The Wasp Factory LP","description":"In advance of new music from Ben Frost in 2017, Bedroom Community is excited to present the definitive recorded version of his 2013 opera and directorial stage debut, The Wasp Factory, based on the novel by the late Iain Banks.\nSetting his unwitting characters against the backdrop of vast, implacable forces of nature—storm, sea, fire, and even their own madness— Frost reaches deep into his formidable arsenal to reveal an unexpected warmth, from the composer of electronic experiments like AURORA and Theory of Machines. The focus here is on the live sound of the Reykjavík Sinfonia, recorded in Abbey Road’s Studio II and, for the first time, the human voice. He sets David Pountney's Libretto to tuneful, even soulful vocal lines; an extraordinarily unreliable narrator describing scenes of extreme violence and horror in music of incongruous loveliness.\nRather than attempt to represent his protagonist onstage with a singing, acting boy, Frost infamously cast an ensemble of 3 women to give voice to his dissociated internal monologues: Lieselot De Wilde, Jördis Richter and Wildbirds \u0026amp; Peacedrums' own Mariam Wallentin. And just as he did with the highly detailed instrumental writing on his albums like AURORA or Sólaris (composed with Daníel Bjarnason), here Frost creates a seamless collaboration of performer and interpreter, each singer and each player fully and sensitively inhabiting their respective nuanced parts. And the recorded result defiantly stands apart from the realm of traditionally “classical recordings”, framing in the highest definition every moment of this studio performance - the confrontationally close breath of strings and vocalist alike push and pull against a range of digital shapes and textures.\nThe Wasp Factory is not too far from those albums in terms of continuity with Frost's thematic obsessions. Like Sólaris, which was inspired by another so-called \"sci-fi\" novelist's literary masterpiece, The Wasp Factory asks what it means to be a human being, and what happens when that human being gets lost in the labyrinth of his own psyche. And like AURORA, and By the Throat, it asks where—and whether—the boundary can be drawn separating the human animal from the terrible, destructive brutality of nature. ","brand":"Ben Frost","offers":[{"title":"Black","offer_id":47087583690997,"sku":"HVALUR025LP","price":59.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_36c548b4-85a9-4387-a672-32fff0de7a36.jpg?v=1759458372"},{"product_id":"beyond-dawn-in-reverie-lp","title":"Beyond Dawn – In Reverie LP","description":"\u003cp\u003eLong anticipated re-mastered and re-packaged re-issue of this out of print and obscure 1999 Beyond Dawn album. Apx. 55 mins. playing time including six acoustic \/ atmospheric numbers, three remixes and a live track. Two of the tracks are previously unreleased. One of the best Beyond Dawn records, and a must to all fans of dismal, atmospheric music.\u003c\/p\u003e","brand":"Beyond Dawn","offers":[{"title":"Black","offer_id":47087584477429,"sku":"DUPLO11LP","price":39.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_7f1e7b7d-d361-41bf-9c26-13a6d3bc6d8f.jpg?v=1759458378"},{"product_id":"big-brave-a-chaos-of-flowers-lp","title":"Big|Brave – A Chaos Of Flowers LP","description":"BIG|BRAVE’s music has been described as massive minimalism. Their fusillades of textural distortion and feedback emphasize their music’s frayed edges as much as its all-encompassing weight. The potency of the trio’s work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential to A Chaos Of Flowers, an album that builds on their ferocious 2023 album nature morte. Lyrically, the songs explore the most vulnerable of human experiences, how marginalizations manifest internally and externally, the inner struggles of isolation, and co-existence in nature. A Chaos of Flowers draws on catharsis and beauty as well as the quagmire of disorientation and othering. The album is a monument of simultaneous serenity and disquiet, a subtle maelstrom of internal life.\nFor A Chaos Of Flowers guitarist\/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. “I discovered that most poems from folk traditions or in the public domain seem to be by men – to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets,” says Wattie. Wattie’s interpolation of poetry from artists around the world and across womanhood, intermingled with her own, examines the chaos and confusion alienation breeds in the psyche of those othered by society. “It is a feeling of relatability and even astonishment really,” Wattie notes, “with how these writers of different standings and eras and all being female-presenting, each expressing these seemingly similar intense moments of individual experiences, of intimacy and madness. We're alone, and yet, not.”\nGuitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. Volume and noise have been essential tools in BIG|BRAVE’s catalog. A Chaos Of Flowers keenly reconfigures how the band utilize each element of their sound, allowing the space for loud movements to feel achingly quiet and abundant with delicate gestures. Ball’s guitar soars in long arcs and blusters in thick layers around Wattie’s own resolute chords. Hudson delivers her most powerfully reserved performances on record, incorporating elegant brushwork and making deft use of cymbal-work to give the songs’ deliberate paces momentum. Wattie’s voice is tempered and unhurried throughout which guides the reverent tone of each piece. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer\/engineer Seth Manchester, the internal tumult of Wattie’s voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion.\nBIG|BRAVE achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualise what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. BIG|BRAVE’s sound on A Chaos of Flowers has blossomed, harnessing potent emotions with their unparalleled arrangements and intricate economies of space. It is an album as moving as it is awe-inspiring.","brand":"Big|Brave","offers":[{"title":"Black","offer_id":47087584706805,"sku":"THRILL607LP","price":59.95,"currency_code":"AUD","in_stock":false},{"title":"Transparent Pink","offer_id":47087584739573,"sku":"THRILL607X-LP","price":59.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_959c6bc0-a032-464f-bf76-0e029f1f63f5.jpg?v=1759458379"},{"product_id":"bill-orcutt-a-mechanical-joey-lp","title":"Bill Orcutt – A Mechanical Joey LP","description":"\"Bill Orcutt is of course famous for his bluesy free improv acoustic guitar playing, which he has been performing since he re-emerged with the 2009 solo album A New Way To Pay Old Debts, 12 years after the dissolution of his seminal noise rock band Harry Pussy. He has also held down day jobs as a software engineer at various Silicon Valley companies for the last two decades.\nApart from certain errant excursions such as Harry Pussy’s final album Let’s Build A Pussy, which consists of Orcutt timestretching a second of the voice of Harry Pussy drummer Adris Hoyos into an hour, and notwithstanding the fact that since 2011 his albums have been released by electronic music label Editions Mego, there was previously a marked divergence between the computers of Orcutt’s career and the eschewal of digital manipulation in the uncompromisingly visceral playing of his vocation, in which the pluck of every string is palpable. This changed in 2016, when he released the avowedly primitive open source live coding audio program Cracked, which consists only of a window in which commands are typed.\nSince then, Orcutt has been intermittently releasing music made with the app on his DIY label Fake Estates, A Mechanical Joey being the latest. Its two sides comprise one continuous track, lasting 35 minutes in total, during which Orcutt creates the illusion that a sample of Joey Ramone counting in a song accompanied by drumbeats is moving forwards and backwards in space. It is a sequel of sorts to last year’s Pure Genius, another release by Orcutt made on Cracked, which consists of various computer generated voices counting, accompanied by bleeps ascending the chromatic scale. The blurb for that record claims that it was borne of the fact that 'while stuck out on the left coast surrounded by braying tech bros,' Orcutt 'realized that we, the plebs, will eventually be here only to serve the machines'. But perhaps the return of the human voice on A Mechanical Joey is his indication that we might be able to resist after all.”— Daniel Neofetou, Wire","brand":"Bill Orcutt","offers":[{"title":"Black","offer_id":47087584903413,"sku":"FAKE015","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_49ed9fb3-30b7-4bbb-ba54-090ea28cc515.jpg?v=1759458381"},{"product_id":"bill-orcutt-four-guitars-live-lp","title":"Bill Orcutt – Four Guitars Live LP","description":"\"As Bill Orcutt’s most mature and exhilarating LP to date, Music for Four Guitars was a slab of undeniable Apollonian beauty. Its approachability and obvious novelty landed it not only on the year- end lists of every key-pushing codger in the underground in 2022, but also on NPR in the form of the Bill Orcutt Guitar Quartet, an ensemble assembled to perform this music and featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish. But while their Tiny Desk Concert gave a whiff of the quartet’s easy intimacy, the sterile confines of the virtual recital medium still left a puzzle unsolved: how might these brutally mannered bricks of minimalist counterpoint sound on a stage in front of actual breathing bodies?\nThis was the question foremost in my mind when I first saw the quartet in San Francisco a few months before this double live LP was recorded. I was already familiar with the prowess of Eisenberg and Mendoza, two of the most technically intimidating shredders to blast out of the noise\/improv underground, and knew Parish as the mastermind behind the epic translation of Orcutt's quartet recordings into a fully notated score. I was ready to be “blown away\" — and I most assuredly was. The quartet navigated Orcutt's jaggedly spiraling right angles into the shining core of the compositions with joyous ease, faithful to the originals in nearly every way (though their tempos were slightly ramped up, Blakey style, to communicate their breathless rush). The renditions were flawless, stellar and inspiring. I had expected nothing less.\nWhich leads us to this album, Four Guitars Live, recorded in November of 2023 at Le Guess Who? festival during the quartet’s first European tour. The true essence of this set is not simply in its faithfulness to the source compositions, but in the group's easy familiarity (no doubt the result of weeks on the road) and the generosity of their improvisations, both collective and solo. Orcutt, clearly cognizant of both the caliber of his collaborators and the singularity of their voices, has given everyone room to stretch out, and all have delivered some of their most moving passages to date.\nOne of this record's great thrills for me is imagining a listener, perhaps unfamiliar with the outer limits of contemporary guitar improvisation (or the Tzadik catalog), slammed into catatonia by Mendoza's liquefying lines on Out of the corner of the eye, then revived and healed by the languid, breathy lines of Parish's unaccompanied, spaced-out breakdown of the track's main theme, finally only to be crushed by Eisenberg’s staggering extended solo on Only at dusk (somehow channeling both Eugene Chadbourne and Buck Dharma).\nThere's another peak, which begins at the end of side B, in Orcutt's own languid solo, encapsulating the flowing focus of his recent solo LPs, and serving as an introduction to the next side's ensemble tour de force, the psychic heart of the album, On the horizon: its melodic core passing first to Orcutt, launching into a sublime solo turn by Eisenberg, a duo of Parish and Mendoza, before parachuting back into the ensemble for a smashup rendition of Barely visible and Glimpsed while driving (renamed Barely driving) knitted together with an softly bubbling ensemble improvisation. The transfer is orchestrated yet seamless, its tonal form undeniable even in the presence of obvious dissonance.\nThe breadth of Four Guitars Live gives lie to the false notion that agile, polytonal improv is necessarily without soul, is necessarily inaccessible. Rather, Four Guitars posits a human avant-garde music that the most conservative will recognize as virtuosic and revel in its classic intervals, boiling counterpoint, and precisely- layered facets. Even the rockers in your life might dig it, so why not pass it on?\" — TOM CARTER ","brand":"Bill Orcutt","offers":[{"title":"Black","offer_id":47087584936181,"sku":"PAL080LP","price":64.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_6905b207-ada9-490e-8e77-37c8544c3808.jpg?v=1759458381"},{"product_id":"bill-orcutt-how-to-rescue-things-lp","title":"Bill Orcutt – How To Rescue Things LP","description":"Charlie Parker's first album with a string section landed in 1950, ten years after his debut recordings. Although the overtly lush arrangements of Charlie Parker with Strings were Parker's idea, the record must've been something of a relief to producer Norman Granz, especially when the sides went on to become Bird's best-seller, by a long shot. The record (and its follow-up) sparked something of a jazz-strings virus, infecting Nina Simone, Paul Desmond, Clifford Brown, and (later) Miles and Trane. And while the latter entries in that list were clearly bending their arrangements into space-age forms (and the arrangers — Gil Evans, Eric Dolphy — were becoming much hipper), these ubiquitous strings albums established a jazz cliché of sorts. They were a shot for the charts at worst, an attempted reinvigoration of tired easy-listening ear candy at best.\nHow to Rescue Things, landing 15 years into Bill Orcutt's “rediscovery” years, marks a somewhat tardy entry into the string-sweetening sweepstakes. In a post-chart, post-irony world, no one is going to mistake this as a bid for mainstream ears — nor are too many pop-gobblers going to paste this into their “Chillax” playlist. With loops of dulcet, birdsong choruses, syrupy strings, and plucked harps clipped from an RCA easy-listening disc, the zombie strings conjure not red leather couches, cotton slankets, and yuzu martinis, but rather a clockwork mortuary, an undead Who-ville and a cigarette butt drowned in bottom-shelf scotch. In contrast to Orcutt's previous reanimation of yesterday's hit parade, How to Rescue Things instead takes as its foundation the oily underbelly of the American songbook, the relentless gears that churn melody into newly consumable and marketable forms — simultaneously ersatz, soothing, and funereal.\nIt's easy to use saccharine, easy-listening settings to deconstruct the romanticism of the past. Yet How to Rescue Things is not an ironic record. True to its title, the transparently corny strings serve not as a meditation on cultural vacuity, but as an attempt to rehabilitate the clichés of the past, “rescuing” them as improvisational grist for new melodic content. They serve as a harmonic substrate for some of Orcutt's most complex playing, and free him to explore the solo-as-such without the need to imply an underlying tune (unlike Orcutt's previous acoustic explorations of nostalgic song).\nOrcutt's razor-sharp Fender slices through the satiny settings in angular and unexpected ways, particularly in the final tracks “Requiem in Dust” and “The Wild Psalms,” where his double picking swerves into almost Sharrock-ian territory. But ultimately, true to the Parker records that started this whole trope in the first place, Orcutt sticks to a complex yet tonal path throughout, imbuing tracks like “Not Reconciled” (with its crooned “Oh my god” and a cheeky “amen” tacked to the end) with wide-eyed romantic optimism that goes down strange in a deathbed ballad. But ultimately, it's not strange at all. Rather, this palliative track celebrates a necessary, death-defying joy in the face of darkness — whether genuine or performative is unimportant. And what's more genuinely American than whistling past the graveyard? Just ask Judy Garland. — TOM CARTER \nP","brand":"Bill Orcutt","offers":[{"title":"Black","offer_id":47087585001717,"sku":"PAL079","price":54.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_0d3d98a6-015d-432a-9363-611780363da5.jpg?v=1759458382"},{"product_id":"bill-orcutt-jump-on-it-lp","title":"Bill Orcutt – Jump On It LP","description":"It’s been ten years since Bill Orcutt released A History of Every One, a compendium of hacksaw renditions of American standards on acoustic guitar — and since ten years is a blink of an eye, you are forgiven for not immediately realizing that we've gone an entire decade waiting for Jump On It, the next Orcutt solo acoustic record. As those of us of “a certain age” will tell you (ad nauseam), a decade is a blink of an eye containing an infinity of experiential moments, and if this record is any gauge, the weight of those experiences have squashed Orcutt’s rough edges, feathered his stop-motion timing into a languid lyrical flow, and snapped the shackles tethering his instant compositional skills to the imperative to deconstruct guitar history. In short, Jump On It is a collection of canonical, mature acoustic guitar soli to contrast against the fractured downtown conceits of previous acoustic releases. For those paying attention to the arc of Orcutt’s electric records, which chart a course from Quine’s choppiness to Thompsonian \/ Verlaine-ian flow, it should be no surprise that the ten year gap between acoustic records should expose a similar underlying journey.\nBut what’s maybe more surprising is that Jump On It, with its living-room aesthetics and big reverb, packs a disarming intimacy absent from the formal starkness of Orcutt’s earlier acoustic outings. Although you might sense the looming human in the audible breath whispering intermittently between chords (a physical flourish reminiscent of the late Jack Rose), such documentarian signposts are the exception rather than the rule. Not quite refuting (yet not quite embracing) the polish of revered watershed records by Bert Jansch, John Renbourn, or Bola Sete, Jump On It treads a path between the raw and the refined, exemplified in tracks such as “The Life of Jesus” and “In a Column of Air” that alternate swaying chords with Orcutt’s trademark angular quicksilver runs (cut brick-wall short). While you won’t mistake Jump On It for incidental music, at least not if\ntaken at full strength, stray passages radiate a conversational beauty that would please the most dissonance-adverse listener.\nStrangely, some of the melted lockstep grooves found in Jump On It evoke nothing other than Music for Four Guitars. While many of the linear runs are clearly improvised, and the phrasing distinctly slurred, intuitive and non-mechanical, the strummed chords hint at a cellular construction similar to Jump On It’s electric predecessor. (Orcutt states that he prefers to keep his strategies obscure — but that implies there is in fact a strategy).\nWhatever the case, I also hear Satie in Music for Four Guitars, and I hear him here too, hidden within Jump On It’s lilting repetition, which I easily imagine stretching to an infinitely-distant horizon. Like each of Satie's three Gymnopedies, each facet of Jump On It is a tiny miniature bound in a slim volume, an earworm you might savor again and again upon awakening or before drifting off. Each track is a key to a memory, a building block in a shining anamnesis leading to the recollection that hey, we’re all humans in a shared cosmos, and music is one way we might make that universe go down easy. And who wouldn't jump on that? — Tom Carter ","brand":"Bill Orcutt","offers":[{"title":"Black","offer_id":47087585067253,"sku":"PAL073LP","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_edd9f8ab-3f0c-42c7-ad7f-bf1ceb586ec0.jpg?v=1759458382"},{"product_id":"bill-orcutt-music-for-four-guitars-lp","title":"Bill Orcutt – Music For Four Guitars LP","description":"\"In a trajectory full of about-faces, Music for Four Guitars splices the formal innovations of Bill Orcutt's software-based music into the lobe-frying, blown-out Fender hyperdrive of his most frenetic workouts with Corsano or Hoyos. And while the guitar tone here is resolutely treble-kicked — or, as Orcutt puts it, \"a bridge pickup rather than a neck pickup record\" — it still wades the same melodic streams as his previous LPs (yet, as Heraclitus taught us, that stream is utterly different the second time around). Although it's a true left-field listen, Music for Four Guitars is bizarrely meditative, a Bill Orcutt Buddha Machine, a glimpse of the world of icy beauty haunting the latitudes high above the Delta (down where the climate suits your clothes).\nI've written before of the immediate misapprehension that greeted Harry Pussy on their first tour with my band Charalambides — that this was a trio of crazed freaks spontaneously spewing sound from wherever their fingers or drumsticks happened to land — but I'll grant the casual listener a certain amount of confusion based on the early recorded evidence (and the fact that the band COULD be a trio of crazed freaks letting fly, as we learned from later tours). But to my ears, the precision and composition of their tracks were immediately apparent, as if the band was some sort of 5-D music box with its handle cranked into oblivion by a calculating organ grinder, running through musical maps as pre-ordained as the road to a Calvinist's grave.\nThat organ grinder, it turns out, was Bill Orcutt, whose solo guitar output until 2022 has tilted decidedly towards improvisation, while his fetish for relentless, gridlike composition has animated his electronic music (c.f. Live in LA, A Mechanical Joey). Music for Four Guitars, apparently percolating since 2015 as a loosely-conceived score for an actual meatspace guitar quartet, is the culmination of years ruminating on classical music, Magic Band miniatures, and (perhaps) The League of Crafty Guitarists, although when the Reich-isms got tossed in the brew is anyone's guess.\nAnd Reichian (Steve, not Wilhelm) it is. The album's form is startlingly minimalist — four guitars, each consigned to a chattering melody in counterpoint, repeated in cells throughout the course of the track, selectively pulled in and out of the mix to build fugue-like drama over the course of 11 brief tracks. It's tempting to compare them to chamber music, but these pieces reflect little of the delicacy of Satie's Gymnopedies or Bach's Cantatas. Instead, they bulldoze their way through melodic content with a touch of the motorik romanticism of New Order or Bailter Space (\"At a Distance\"), but more often (\"A Different View,\" \"On the Horizon\") with the gonad-crushing drive of Discipline-era Crimson, full of squared corners, coldly angled like Beefheart-via-Beat-Detective.\nJust to nail down the classical fetishism, the album features a download of an 80-page PDF score transcribed by guitarist Shane Parish. And while it'd be just as reproducible as a bit of code or a player piano roll, I can easily close my eyes and imagine folks with brows higher than mine squeezing into their difficult-listening-hour folding chairs at Issue Project Room to soak up these sounds being played by real people reading a printed score 50 years from now. And as much as I want to bomb anyone's academy, that feels like a warm fuzzy future to sink into.\"\n— TOM CARTER","brand":"Bill Orcutt","offers":[{"title":"Black","offer_id":47087585132789,"sku":"PAL068LP","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_3288c282-8d4c-4e23-ae0e-276fe7fa9e3a.jpg?v=1759458382"},{"product_id":"bill-orcutt-odds-against-tomorrow-lp","title":"Bill Orcutt – Odds Against Tomorrow LP","description":"\"After two LPs and over half a decade spent toiling in the margins of the American Songbook, Bill Orcutt returns to original composition and the blues with his latest LP, Odds Against Tomorrow. Taking its title from Robert Wise’s 1959 film noir, Odds Against Tomorrow retrofits familiar folk\/blues forms to the unique sound of Orcutt’s guitar and the result crackles with a freshness and authority that nostalgic retreads cannot deliver.\nOdds Against Tomorrow is more than an expansion of the territory charted by Bill Orcutt, his eponymous 2017 studio electric debut, although it’s certainly that. With its nods to existing musics, half- step fluctuations, and near-songwriterly manipulations of tension\/release, Odds Against Tomorrow is a rock record — almost. Clearly and simply recorded through a clattering Fender Twin in Orcutt’s living room and lovingly mixed by Bay Area neighbor and pedal-steel savant Chuck Johnson, no one would mistake it for any era’s radio fodder, yet the precision of its technique and the swaying Child-ballad logic of its gentler improvisations comfortably seats it between John Mayall and Richard Thompson in your Ikea Kallax.\nThree songs (“Odds Against Tomorrow,” “The Writhing Jar,” “Already Old”) are multi-tracked, an innovation that, for guitar buffs familiar with Orcutt’s stripped-down vernacular, jumps out of the grooves like a Les Paul sound-on-sound excursion in 1948, or a Jandek blues rave-up in 1987. Specifically evoking John Lee Hooker’s double-track experiments on 1952’s “Walking the Boogie,” the steady chord vamps of “Odds Against Tomorrow” and “Already Old” form a harmonic turf on which Orcutt solos with lyrical abandon — and while his playing has always earned begrudging respect from any hardened shredders willing to pluck the foam out of their ear canals, even the most strident neck- strangler will steam over his lubricated runs. For the more “contemporary-minded,” “The Writhing Jar”’s crashing overdubs recall the brassy six-string voicings of This Heat or Illitch.\nWith the exception of the unreconstructed Elmore James-isms of “Stray Dog” and the “Layla”-finale-like haze of “All Your Buried Corpses Begin To Speak,” the remaining non-overdubbed tracks dovetail snugly with Orcutt’s previous solo output, reeling gently in a Mazzacane-oid mode (“The Sun and its Horizon,” “The Conversion Experience,” “Judith Reconsidered,” “Man Dies”) or vibing up the standards (“Moon River”). On their own, these tracks would still be an important contribution to Orcutt’s canon. As part of Odds Against Tomorrow’s greater whole, they provide a through line, connecting the idiosyncrasies of Orcutt’s past explorations with the scrambled tropes of his present work.\nOdds Against Tomorrow challenges contemporary solo guitar practice in a way that simultaneously nullifies hazy dreams of folk purity and establishes a new high-water mark for blues-rock reconstruction. Put simply, in our current era of mannered revisionism, it is a joy to listen to.\"\n— TOM CARTER","brand":"Bill Orcutt","offers":[{"title":"Black","offer_id":47087585165557,"sku":"PAL056LP","price":54.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_17b4ab5a-502d-4480-ac90-cf23b7fca8da.jpg?v=1759458383"},{"product_id":"bill-orcutt-the-anxiety-of-symmetry-lp","title":"Bill Orcutt – The Anxiety Of Symmetry LP","description":"\"Bill Orcutt’s latest 'counting' album, The Anxiety of Symmetry, completes a trilogy on his Fake Estates label that started with Pure Genius (2020) and A Mechanical Joey (2021), all realized with his own Cracked computer music software. Comprising two 15-minute-long improvisations, the album’s terrain is limited to six samples of female voices singing the number of the corresponding note value in the first six pitches of a major scale. These are fashioned into compact phrases (1-2, 1-2-3, 1-2-3-4, etc.) that are looped and layered. As the loops combine in multiple permutations and cycles, their uneven lengths create polyrhythms and syncopations as well as harmonies. On the surface, Anxiety is unusually placid for Orcutt, reminiscent of Minimal classics like the 'Knee Plays' of Phillip Glass’ Einstein on the Beach (which also features sung numbers, although without the one-to-one relationship between pitch and interval number) and the breathy soprano voice loops in '2\/1' from Brian Eno’s Music for Airports. However, the album’s title is adapted from Orcutt’s essay of the same name in the Spectres III anthology about a compulsive behavioral condition known as 'Just Right' and its parallels and possible applications to music, which suggests that this titular music’s inspiration is not trance- inducement, but rather a kind of mental obsession with ordering and re-ordering. In the essay, Orcutt posits that 'for the ‘Just Right’ subject composing or performing with the computer, the fixation with repetition, symmetry and arrangement in sound can be mediated with software, creating new prospects for both therapeutic engagement with their compulsions and the creation of music with a length, density and scale not possible without machines... Offloading one’s 'Just Right' auditory compulsions onto the computer fulfills the promise of automatic art, allowing the full expression of the subconscious by removing the need to focus on anything but the arrangement and rearrangement of elements, and the sounds themselves become merely a byproduct of the process of satisfying these feelings.'\nThe Anxiety of Symmetry might then be comparable to artist Hanne Darboven’s quasi-Minimal compositions and their basis in odd mathematical calculations derived from the calendar, in taking its cue from an extra-musical process. The two pieces’ polyphony is not far off from Orcutt’s recent Music for Four Guitars, but also marks Anxiety as a departure from both Pure Genius and A Mechanical Joey. The latter bypassed melody and harmony altogether; its relentless, phantasmagorical looping and subdivisions of Joey Ramone’s trademark onstage count-offs could be seen as a wry comment on the repetitions within repetitions of rock songs and their ongoing performances, or simply the monomania of years of touring for months on end. Pure Genius presented a male and female voice stolidly reciting the numbers that correspond to the notes of a scale that are simultaneously generated with sine tones (i.e., when a voice says 'one,' the first note of a scale is heard at the same time); Anxiety collapses Pure Genius’ juxtaposition of pitch and counting by having the numbers sung. Stripped down yet excessive (in the tradition of his other works with Cracked), Anxiety seems less like its predecessors’ deconstructions than a new kind of subversive easy listening.\" — Alan Licht","brand":"Bill Orcutt","offers":[{"title":"Black","offer_id":47087585231093,"sku":"FAKE017","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_26628a20-f747-48eb-af7b-8afe7a12ef68.jpg?v=1759458383"},{"product_id":"bill-orcutt-the-four-louies-lp","title":"Bill Orcutt – The Four Louies LP","description":"In 1957, R\u0026amp;B singer Richard Berry scrawled a few crude stanzas on a strip of toilet paper, and chant-sung them in fake patois over a shuffling rhythm to capitalize on the Latin craze tearing up the charts. \"Louie Louie\" didn't make much of a dent in the national consciousness in its first iteration, but when Berry and the Pharaohs took the song on the road up and down the West Coast, it became something of a regional sensation. In 1962, the Kingsmen carved their mush-mouthed, barely-pubescent first take of the nascent standard into acetate. The resulting 45 was a mega-hit (although Berry remained a pauper until legal wrangling finally made him rich shortly before his death in 1997). No one could quite decipher the words, so grown-ups assumed the worst, and the resulting hysteria culminated in an FBI obscenity investigation and trial (\"Unintelligible at any speed,\" concluded the judge). The countless cover versions that followed the original hit mangled the song's blurry text into guesstimated verse with varying shades of angst and filthiness.\nLess than a decade later, Steve Reich's Four Organs (built from a stacked dominant-11th chord with wayward pitches gradually trickling out either side like pancake syrup) made its concert debut. Its introductory staccato fanfare poleaxed unsuspecting uptown highbrows in an almost rockist fashion, and while the piece was tolerated by the art mob, Reich's work didn't fare so well in uptown concert halls. At a Carnegie Hall performance in 1971, one listener repeatedly slammed her head into the stage, shouting \"Stop, stop, I confess!\" Nonetheless, the work's relentless progression, melting into Farfisa dreamscapes, would eventually inspire some of the most palatable manifestations of American minimalism.\nBill Orcutt's latest release for Fake Estates, his ongoing opus of obsessive rearrangement, seamlessly melds these audio landmarks. Fittingly, Reich described Four Organs as \"the longest V–I cadence in the history of Western Music,\" and as such, it neatly envelops all of Louie Louie within its single chord. Intuiting this, Orcutt deftly overlays the opening salvos of these sonic cognates into a zig-zagging 4\/4 cadence, which unfolds over side one with an incongruously conventional rock dynamic structure. The Four Organs' sustained organ threads suggest Louie Louie's vocal line, whether by accident or Orcutt's design. Organ drones dominate Side 2, with Louie Louie forced into counterpoint. We can hear just how out of tune the Kingsmen were, unsalvageable by any pitch correction software, with that damned maraca inexplicably sliding into a pulsing but syncopated 6-beat bar ending with the door-slam finality of the original Kingsmen 45.\nTaken together, Louie Louie and The Four Organs represent key signposts in musical evolution: proto-punk, proto new age; reviled by the squares, yet efficacious in blowing forward-looking minds. In 2025, Orcutt has reinvigorated both well-worn standards with some of their old mojo, and their novel, pulsing setting provides a whiff of what made them revolutionary in the first place. — TOM CARTER ","brand":"Bill Orcutt","offers":[{"title":"Black","offer_id":47087585296629,"sku":"FAKE018","price":44.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_5b51b799-92d6-42b9-93ef-8cabe0b62c52.jpg?v=1759458384"},{"product_id":"black-math-horseman-s-t-lp","title":"Black Math Horseman – S\/T LP","description":"\u003cp\u003eAtmospheric American doom rock quartet, Black Math Horseman, return with their first release since 2009’s Wylt (Tee Pee Records).\u003c\/p\u003e\n\n\u003cp\u003eHelmed by vocalist \/ guitarist Sera Beth Timms (Black Mare, Ides Of Gemini), the self-titled Black Math Horseman sees its original lineup — rounded up by Ian Barry, Bryan Tulao, and Sash Popovic — deliver their most engaging material yet.\u003c\/p\u003e\n\n\u003cp\u003eComprised of four hypnotic chapters that seam into one, this 12” EP — out on Profound Lore Records — sees Timms and company heighten the tension and atmosphere of their sound, creating something more experimental and ultimately heavier than their previous work.\u003c\/p\u003e\n\n\u003cp\u003eTo be played at 45RPM. Comes in an LP jacket with a matte designed insert and download card.\u003c\/p\u003e\n\n\u003cp\u003eFor fans of Subrosa, Neurosis, Isis, The Obsessed, St. Vitus, Kyuss, Blackwater Holylight.\u003c\/p\u003e","brand":"Black Math Horseman","offers":[{"title":"Black","offer_id":47087587164405,"sku":"PFL288","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_524a0555-b209-4251-a039-dc956788f990.jpg?v=1759458394"},{"product_id":"blarke-bayer-bone-sheriff-s-t-cd","title":"Blarke Bayer \/ Bone Sheriff – S\/T CD","description":"Blarke Bayer is the solo project of Ben Andrews who also plays guitar in Agents Of Abhorrence, My Disco, Kilat and Magnetics. This release finds him exploring a wall of drone, subtle drifts and waves of noise.\nBone Sheriff is the drunken ramblings of Simon Taylor (Whitehorse \/ Malakat \/ Tax \/ Lakes) and Rob Mayson (Grey Daturas \/ EOH \/ It's Is \/ Whitehorse etc). Fueled by a cocktail of ginger wine and sparkling ale, Bone Sheriff shudders to life rattling bones and burning souls. An awesome follow up release to \"Moonee Ponds\" (Sabbatical).","brand":"Blarke Bayer \/ Bone Sheriff","offers":[{"title":"Default Title","offer_id":47087587688693,"sku":"SWEATLUNG008","price":14.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_a4f3531f-1970-4c50-aca7-55b8bded9682.jpg?v=1759458399"},{"product_id":"bloated-data-the-aesthetic-of-death-cd","title":"Bloated Data – The Aesthetic of Death CD","description":"\"An album centred on the 1994 F1 season that saw the passing of Aytron Senna and the rise of Michael Schumacher.\nThe season is Shakespearean, tragedy, triumph, deceit and victory.\nSenna went to his grave believing that Schumacher was a cheat. Schumacher went to no end to achieve glory, fittingly lifting the trophy in Adelaide.\"\nMasterfully crafted harsh noise, as you have come to know it, utilising strictly engine sounds, commentary and interviews as source material.","brand":"Bloated Data","offers":[{"title":"Default Title","offer_id":47087588409589,"sku":"MI39CD","price":14.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_5674939e-d9f9-4731-bc68-014a673889ca.jpg?v=1759458402"},{"product_id":"bloated-data-the-aesthetic-of-death-mc","title":"Bloated Data – The Aesthetic of Death MC","description":"\"An album centred on the 1994 F1 season that saw the passing of Aytron Senna and the rise of Michael Schumacher.\nThe season is Shakespearean, tragedy, triumph, deceit and victory.\nSenna went to his grave believing that Schumacher was a cheat. Schumacher went to no end to achieve glory, fittingly lifting the trophy in Adelaide.\"\nMasterfully crafted harsh noise, as you have come to know it, utilising strictly engine sounds, commentary and interviews as source material. Housed in black norelco style cases, recycled cassettes. Full colour A4 insert featuring full collage by Bloated Data.","brand":"Bloated Data","offers":[{"title":"Default Title","offer_id":47087588475125,"sku":"MI39","price":12.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_4a86775e-f313-4268-ab9b-be52dd08954f.jpg?v=1759458402"},{"product_id":"blood-incantation-absolute-elsewhere-ltd-edition-3cd-blu-ray-artbook","title":"Blood Incantation – Absolute Elsewhere (Ltd. edition 3CD + Blu-ray Artbook)","description":"10-inch sized artbook with 52 pages [extensive artwork with loads of photos \u0026amp; liner notes] containing full album 'Absolute Elsewhere' (CD1), 'All Gates Open (Original Motion Picture Soundtrack)' on CD2, and the Luminescent Bridge EP (CD3 – first time released on CD format). Blu-ray features the documentary 'All Gates Open: In Search of Absolute Elsewhere' and the full album in Dolby atmos with a 5.1 mix.\nBlood Incantation’s Absolute Elsewhere is unlike anything you’ve ever heard before. At roughly 45 minutes, the two compositions that make up this album are as confounding as they are engaging in their scope, melding the 70's prog leanings of Tangerine Dream (whose Thorsten Quaesching appears on ‘The Stargate [Tablet II]’) with the deathly intent of Morbid Angel. \nAbsolute Elsewhere, which takes its title from the mid-70's prog collective (best known as a celestial stopover for King Crimson drummer, Bill Bruford), Blood Incantation are leaving the notion of genre behind and writing a new language for extreme music itself.\n\nThis album is available in the following formats:\nLimited edition deluxe 3CD + Blu-Ray artbook\nLimited edition CD Digipak\nLimited edition 12” LP on clear with lilac splatter 180g vinyl, gatefold cover and poster\n12” LP on black 180g vinyl, gatefold cover and poster\n12” LP on transparent turquoise 180g vinyl, gatefold cover and poster","brand":"Blood Incantation","offers":[{"title":"Default Title","offer_id":47087588573429,"sku":"158670","price":124.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_c0134cc5-c55b-4233-bdc6-163028095c9e.jpg?v=1759458404"},{"product_id":"blood-incantation-absolute-elsewhere-cd","title":"Blood Incantation – Absolute Elsewhere CD","description":"Blood Incantation’s Absolute Elsewhere is unlike anything you’ve ever heard before. At roughly 45 minutes, the two compositions that make up this album are as confounding as they are engaging in their scope, melding the 70's prog leanings of Tangerine Dream (whose Thorsten Quaesching appears on ‘The Stargate [Tablet II]’) with the deathly intent of Morbid Angel. \nAbsolute Elsewhere, which takes its title from the mid-70's prog collective (best known as a celestial stopover for King Crimson drummer, Bill Bruford), Blood Incantation are leaving the notion of genre behind and writing a new language for extreme music itself.","brand":"Blood Incantation","offers":[{"title":"Default Title","offer_id":47087588638965,"sku":"158668","price":26.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_c036fc62-95a9-4ee3-8aa0-20f1962f2576.jpg?v=1759458404"},{"product_id":"blood-incantation-absolute-elsewhere-lp","title":"Blood Incantation – Absolute Elsewhere LP","description":"Blood Incantation’s Absolute Elsewhere is unlike anything you’ve ever heard before. At roughly 45 minutes, the two compositions that make up this album are as confounding as they are engaging in their scope, melding the 70's prog leanings of Tangerine Dream (whose Thorsten Quaesching appears on ‘The Stargate [Tablet II]’) with the deathly intent of Morbid Angel. \nAbsolute Elsewhere, which takes its title from the mid-70's prog collective (best known as a celestial stopover for King Crimson drummer, Bill Bruford), Blood Incantation are leaving the notion of genre behind and writing a new language for extreme music itself.\n\nThis album is available in the following formats:\nLimited edition deluxe 3CD + Blu-Ray Artbook\nLimited edition CD Digipak\nLimited edition 12” LP on clear with lilac splatter 180g vinyl, gatefold cover and poster (700 copies worldwide)\nLimited edition 12\" LP on neon orange coloured 180g vinyl, gatefold cover and poster (300 copies worldwide)\n12” LP on black 180g vinyl, gatefold cover and poster\n12” LP on transparent turquoise 180g vinyl, gatefold cover and poster","brand":"Blood Incantation","offers":[{"title":"Clear with lilac splatter","offer_id":47087588704501,"sku":"157652","price":74.95,"currency_code":"AUD","in_stock":false},{"title":"Transparent turquoise","offer_id":47087588737269,"sku":"158672","price":69.95,"currency_code":"AUD","in_stock":false},{"title":"Neon orange","offer_id":47087588770037,"sku":"19802802581","price":69.95,"currency_code":"AUD","in_stock":false},{"title":"Black","offer_id":47087588802805,"sku":"158671","price":74.95,"currency_code":"AUD","in_stock":false},{"title":"Transparent yellow","offer_id":47087588835573,"sku":"160953","price":79.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_fe20e892-9c40-43a8-ad70-0d80986b9d01.jpg?v=1759458404"}],"url":"https:\/\/blacksound.com.au\/collections\/avant-garde.oembed?page=12","provider":"Blacksound Records","version":"1.0","type":"link"}