Beautifully crude LP from the spark behind New York’s already-legendary No Fun Fest and collaborator with players like Dylan Nyoukis and Thurston Moore. Wild electronic churn cut with a glue of ginchy almost-melody that gives the whole thing the repetitive psychoactive edge of the faultiest minimalism. An all-night flight spent licking batteries and huffing lighter fluid. Second release on the newly-minted No Fun label, packaged primitive-punk style. Edition of 300, no re-press ever.

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

“Carlos Giffoni’s heavy synthesizer work recalls the crushing, massiveness of early industrial music. Completely consuming the air around it with heavy vibrations and total deprivation. These four tracks rip holes through the sonic barriers, loud and powerful but with entrancing subtleties and discreet builds. The nature of the 7” format does not harm Giffoni’s work which normally exists in extended lengths; instead very succinct and unwavering compositions result: creating four vignettes of grey industrial zones. As the person responsible for No Fun Productions and the No Fun Fest, this Brooklyn transplants presence in the current progression of the genre is undeniable. In an edition of 400 2x7”(one on white vinyl and one on black) sets in gatefold sleeves with art by Maya Miller of Heavy Tapes/Religious Knives.” – Arbor.

“The ongoing study and execution of harsh noise by driven artists constantly reinstates the medium via different techniques, concepts, and different artist amalgamations for a collaborative work. For myself, working with the different 'warbling' and generative moving lines of modular synth from Carlos Giffoni offered me a chance to investigate many different 'spaces' of tone and line manipulation. The examination and crossing of the different LINES slowly become their own parallel entity as the adjoined and wavy synth lines are further dirtied, cut repeatedly, and joined with the knife of 'gated' and cutting HN pedal work. To further manipulate and display the different lines and HN stylizations, Giffoni had the opportunity to heavily edit the textural work of The Rita to exude the constantly moving and jutting sense of Giffoni's own pulsing and driving synth decay via the dirtied analog source material of The Rita. Modular synth and pedal work have been long standing tools in the world of harsh noise, but not often are they crossed over with such investigative and crackling tendencies – a virtual criss-crossing of the different technical lines.” - Sam McKinlay/The Rita. Limited to 300 copies.

"After developing his calling card on Adult Life and the eternal releases Carlos Giffoni defines his signature with compositional electronic music. Melding the analog drone colliding tonality of the past expressions and introducing minimalist sequencer details a pure electronic landscape is cultivated that nurtures the formation a man makes in stepping from the mysteries of youth into adulthood." - HP.

Limited tour-only CD from Carlos Giffoni’s new solo project dedicated to primitive techno and acid house. Two minimal tracks that combine Industrial drones with squiggles, beats and synthesized wormholes.

“IN THE BEGINNING there was Roland's founder Ikutaro Kakehashi and an arsenal of "computer controlled" analog jock boxes designed specifically to outmode the trad rock (read: HUMAN) rhythm section... the circuitry was so tightly wound however, so rooted in synthesis that it failed to meet its promise. It wasn't until the mid-80s that the TB/TR system took novel form as acid house; a simple but novel attitude shift that saw an embrace of extra-terrestrial machine funk aesthetics converging with the all-too-human need to make austere, robotic dance music. ENTER NO FUN ACID ::: Carlos Giffoni's reinvention and reanimation of the noise cadaver vis a vis German minimal synth rewired to memories of seedy Venezuelan raves circa 199X. A nebulous drone gives way to 606 delirum, followed by an array of sequenced modular synth, infinitely spiraling like a borehole through Kakehashi's 3rd eye. This is acid: the primordial years. On the flip is an elegiac space hymnal take on NFA from techno alchemist Gavin Russom. Mastered by Rashad Becker in Berlin, Pressed in Detroit at Archer. Limited to 500 copies.” – NF.

Edition of 200 hand-numbered copies self-released CD from Glasgow’s Konx-Om-Pax aka digital artist Tom Scholefield, best known in the VT universe for his artwork on Oneohtrix Point Never’s Rifts 2xCD. Optimo Tracks consists of work specially composed for an installation at the Optimo Espacio club night in March 2009. The tracks move from tortured and treated avant rock through sublime Coil/NWW style driftworks and mangled Industrial pile-up, the last of which gets a totally wonked No Fun Acid remix courtesy of Carlos Giffoni.

Duo work from Mike Connelly of Wolf Eyes and Carlos Giffoni, fucked-up single speaker hypnotics with Giffoni's cycles of almost fluent tongue irradiated by a crust of hard circuits. Comes in cool shrunken video case packaging. Limited.

Massive split LP with two sides of primo-Japanese underground meat: Masami Akita aka Merzbow’s side is one of his most tactile and crudely-conceived outings in a while, looking back to Batztoutai With Memorial Gadgets-era in its combination of analog and digital soundsources, utilising sandpaper tones, sirens, feedback, disorientating jump-cuts and gunshot percussion for maximum mindfuck. A classic Merzbow side. The flip is even more spectacular, with Cris X aka Christiano Luciani joined by Japanese underground performers Keiko Higuchi on piano and vocals and Sachiko Fukuoka of Kousokuya/Vava Kitora et al on electronics, effects and vocals. Cris X plays a dark devotional form of holy drone using electronics, guitar, field recordings, cymbals, samples and effects and both Keiko and Sachiko inhabit the music like wraiths. Keiko comes across like Patty Waters circa “Moon Don’t Come Up Tonight” or Diamanda Galas circa “My World Is Empty Without You Babe” countering spare chords with an incantatory vocal that is truly chilling. The final piece is a duo between Schiko and Luciani recorded and mixed at home by Rinji Fukuoka of Overhang Party where the spectral atmospherics of Sachiko’s dazzling solo work meet the devotional drones of Cris X in a way that’s as remarkable as planet-devouring classic by Tangerine Dream, Nijiumu and Toho Sara. Edition of only 300 copies on white vinyl. Highly recommended!

Major limited edition white vinyl reissue (hand-numbered edition of only 199 copies) of what was originally an ultra-limited 1983 ADN cassette that came packaged in a bloodied hanky: anyone who came up on the later Merzbow sides may be a little surprised at the improvisatory electro-acoustic nature of some of the amazing early jams, mostly cut in the company of Kazuyuki K Null or Akita’s high school buddy Kiyoshi Mizutani. Kibbutz is one of the hands-down highlights of Merzbow’s early crude psychedelic Industrial style, with the duo of Akita and Mizutani playing guitar, drums, effects and keyboards. At points the levels of string violence exceed your fantasy of a free-metal Cale/Conrad/MacLise summit with cluster-fucked bulldozing keyboard work and constantly fluxing drone, at others it feels like an iron-clad Sun Ra Arkestra travelling the spaceways. The drums/guitar work is truly punk primitive, with the atom-smashing style of The Dead C, Harry Pussy or The Blue Humans complete with cro-magnon rhythms, sudden dive-bombings solos and a liberated post-free jazz mindset.  If you’ve never checked in on the early Merzbow acid/industrial rock sound then Kibbutz presents it at an absolute peak, still one of the wildest and most formally fucked rock/noise of any era. So great to see this massive set on vinyl, highly recommended!