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.

Heavy collaborative album in an edition of 300 copies from Marcia Bassett (GHQ/Zaimph/Hototogisu et al) and Carlos Giffoni. Bassett feels like the dominant voice here, rolling out wave after wave of crushing tonal feedback and huge rushes of iron-clad chords while Giffoni stacks perilous accumulations of rotor tones, analog drones and monolithic electricity.

"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.

The first ever release from the Hototogisu duo of Matthew Bower (Skullflower/Total/Sunroof) and Marcia Bassett (Double Leopards) that even approaches being ‘generally available', Green is a real CD - not a CD-R - pressed up for the group by the sainted Ed Hardy of Eclipse records and available in an edition of 1000 copies complete with a suave full-colour booklet reproducing a bunch of the duo's art. Anyone whose mind was blown by the vision of this pair powering their way through one of the most magical/unforgiving sets of Subcurrent 2005 will find plenty to drown in here. Tracks are shorter than on previous releases, though even more obsessively detailed. There are points where the cacophony is so insanely oversaturated that the noise starts to sound as if it's spontaneously giving birth to language: you start hallucinating words and sentences, almost as if the film protecting you from a constant bombardment of information-heavy environmental radiation has been blown apart. Green also features some of Hototogisu's most straight-ahead death/doom metal moves. Although they're not quite Skullflower, the first track features snatches of classic death metal riffs alongside the stomach-punch of a cheap drum machine and on their theme song, the beautifully ferocious “Heavy Blossom”, Mick Flower of Vibracathedral Orchestra plays drums. Alongside all the iron first action, there are some beautiful moments where Marcia and Matthew's voices melt into ribbons of pure white light and the whole thing floats to the ceiling. A modern classic, and possibly the best Hototogisu album to date. Highest recommendation.

Edition of 100 copies art book presenting colour reproductions of six of Marcia Bassett’s (GHQ/Zaimph/Hototogisu) psychedelic paint/collage works, running from Rorschach forests peopled by huge kittens through weird crystal geometries and distressed anatomy. Stapled card booklet.

Massive double studio LP from the duo of Marcia Bassett (Zaimph/GHQ et al) and Matthew Bower (Skullflower/Sunroof), recorded at the NNCK-related Black Dirt Studios, issued in a run of 700 copies in gatefold sleeves, long out of print. Pale Fatal Sister feels like the apex of the Hototogisu catalogue to date, the ultimate statement of their ecstatically overloaded aesthetic. Parts of this recording sound like Angus MacLise’s Joyous Lake Aspen flexi disc played through a mountain of Marshall stacks while storms generate huge elemental Oms in the background, all of which is broadcast through an obliterating wall of pure electricity. Sounding simultaneously uplifting and oppressive, this is Valkyrie –styled drone that vibrates with rainbow visions of the blackest psychedelia, the most extreme metal and the most bombastic avant garde composition. A new peak for this group, just mindblowing. Highly recommended.

Limited edition of 100 copies documenting a live solo show from Marcia Bassett that took place 6/6/06 in Hasselt. 28 minutes of thick, frozen air, slow brain-bloating highs, and thunderous ecstasy peaks. One of the darkest/densest blats from Marcia to date and highly recommended. Comes in wraparound colour pro-printed sleeves.

Brand new full-length recording from the duo of Matthew Bower (Skullflower/Total/Sunroof et al) and Marcia Bassett (Double Leopards/Zaimph/GHQ) features a more rock-reverent take on the kind of vertical screens of impossibly detailed overtone that defined their earlier albums, with Marcia's viola slow-burning fluttering afterimages of neon spirals deep into the air while Bower's guitar/microphone worship generates repeat-ascensions of overloaded ecstasy tone. Something grittier, more immediately tactile, that makes this their most dramatically meat-based orbit of hallucinated space/time vectors to date. Highly recommended.

New set of solo electric guitar recordings from Marcia Bassett (Double Leopards/GHQ/Hototogisu et al). Tectonic string work that has the weight of planets, with high, eerie melodies threaded through massive baseline drones. Aspects of Keiji Haino, Charalambides and Electronic Meditation-era Tangerine Dream make this a particularly explosive set. On Brother Raven’s label, hand-numbered edition of 200 copies. 

Hand-numbered edition of 200 copies LP on Manuel Mota’s private Headlights imprint documenting a heavyweight duo set from Marcia Bassett of Zaimph, Hototogisu, Double Leopards, GHQ et al and improvising Portuguese bassist and guitarist Margardia Garcia. Garcia is one of the major new generation European free players, coming out of the same scene as Mota, and she’s just as capable of generating Swans-style Industrial entropy as she is playing explosive fire music. Here Bassett uses keyboard and guitar to create austere arcs of Industrial-strength drone that Garcia anchors with tactile, questing strings, giving the whole thing an odd avant-classical backbone. 

New line-up and new post-Metal stance for Matthew Bower’s Skullflower, with thundercrack guitar and epic/baroque classical European bombast married to sheets of obscuritant power electronics: “The most remorseless, brutal Skullflower ever! Alternating between granular lo-fi primitive rock and granular lo-fi primitive Power Electronics, this taut disc is a chain mail glove of hate to any lazy minds who've tainted the air with describing Skullflower as 'psychedelic'. But that's not to say this is an all out total assault. There are also moments of tender acoustic balladry, it’s just that they don't exist. The remorseless brutal sound is primitive, but as detailed and rich as a blood soaked medieval canvas, somewhere betwixt The Rita and Clandestine Blaze, but more brutal! Long live the New Flesh! Kether is in Malkuth, Malkuth is in Kether, but in a different way...” – CSR. 

New solo album (first ever 'real' CD release after a bunch of limited CD-Rs) from Marcia Bassett of Double Leopards/Hototogisu/GHQ et al, released on Domink Fernow of Prurient's label. A real departure from her last few releases, Sexual Infinity has a darker, almost documentary-style atmosphere, with the low malevolent hum of late night, neon-illuminated streets (a hint of William Bennett's Bradford Red Light District in some of the more nocturnal 'field' style passages) cut up with the roar of jet engines, seedy, auraless orbits of cracked drone-tone, lurching blown-out synth violence that could almost be a field-recording of the aftermath of a Suicide riot and the most evocatively placed globes of murky drone. All held together with almost Haino-esque stabs of epic repeat chord runs. Highly recommended.

“When spinning this dark velvet cloak a door opens to clouds of smoke shooting out the windows sills of the shell of old library like ink plumes while smokes leaps like black cats between the curtains. Stone and concrete crumble and fill the air with gray gas showering the maze of shrubs in the courtyard with a dark veil of soot. Marcia Bassett has tread the waters of noise psych drone and continues to defy the categories. A dark psychedelic guitar wash peaks its head out of the smoldering coals that could have been released on the mighty slaughter productions death industrial temple from Italy. Further morbidity croaks from the slicing vocals of a distraught entity being ripped from one dimension to the other... and rather enjoying her ordeal. Light the candles and burn the incense....Limited to 300 copies.” – NFP. Already sold out at source.

Limited edition of 550 LPs from Carter Thornton compiling a few years worth of mail collaborations with players like Burning Star Core, Alan Dubin (Khanate, Gnaw, OLD), Marcia Bassett (Double Leopards, Zaimph), David Shuford (NNCK, Enos Slaughter), Pigeons, Kuwayama Kiyoharu, Marshall Avett (Zandosis), Greg Wildes (Gas Tank Orchestra), Carl Smith / Derek Phelps, Darwin Smith, Smith Harrison and Dr. Mijin Kim. Buncha styles devoured and regurgitated, from scattershot drone explosions and spare percussive strategies through laminal flashes of rainbow electronics. Plus it’s all compiled and programmed in a way that is totally maximalist, giving it the feel of some weird Euro art/rock obscurity in the orbit of Futura/Red et al. Excellent.