Cassette from this spectral Portland-based duo with some very delicate ribbons of drone and high, still tone breaking to light in abrasive mandalas of slow-rushing Technicolor static. Aspects of eastern drone workings by Ikuro Takahashi, Akio Suzuki and Takehisa Kosugi given a little of the airplane hangar tone-scope of Starving Weirdos or Pelt circa Empty Bell. Comes in a numbered edition of 100 copies with individually inked and sprayed tape labels in a silver sprayed case and ink drawn cloudscapes.

Turbulent new split single from Robedoor and Yellow Swans with two sides of disobedient psychedelic ritual scored for orchestras of narcoleptic machines. Robedoor generate a particularly smoky modal trance while Yellow Swans are in full wipe-out white noise style. Edition of 500 copies with printed labels and silkscreened art by Shawn Reed of Raccoo-oo-oon.

First full length vinyl outing for this aggressively nuanced free playing power duo featuring Zach Davis of Lambsbread on electric guitar and Ben Hall of Graveyards on drums. The strategies employed here – totally clean electric guitar with the attack amped all the way up and skittering, knitting needle style snare detonation – marks out the turf covered as being somewhere circa the whole Joseph Holbrooke/Ascension school of pummel and play and there’s a ton of brains to the way these guys skirt even the vaguest of lick-potential with silence, wowing harmonics and cracks of vibrating skin. Edition of 300 copies in screened chipboard sleeves, already completely sold out at source. Recommended.

”Spirited youth and the intense magnification of focused energies chart the recent zones for Treetops. Utilizing tapes, casio keyboards, vocals and a variety of other sources, the path to earth bound nature drone is firmly rooted in electricity. Like the combination of the glacial drifts of massive rocks and the movements of air, the sources meld into blissed out meditative drones: ceremonial music rising into the future to get out of the past. Infinite ancients; constantly progressing, constantly evolving. Mastered by Pete Swanson (D. Yellow Swans); in an edition of 300 copies in proprinted foldover sleeves featuring photography by Kyle Parker (Infinite Body). The B-Side features a remastered and extended version of the “When I Was Younger” 2xc10 (arbor69) from last winter.” – Arbor.

Edition of 450 copies vinyl upgrade for what was originally a cassette-only release on the Lal Lal Lal label in 2006 from this wild Finnish primitive/DIY/grunt/disruption squad. Zanzibar runs through squeaking, fuzzy guitar lines, twonked electronics, bedroom Amon Duul drum stylings, LAFMS-style cartoon goofs and folk songs of the drugged-at-home variety. Nuts and totally great. Light blue vinyl with full-colour pro-printed fold-over sleeves and insert.

“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.

New edition of 450 copies one-sided LP with a gorgeous full-colour sleeve by John Olson (Wolf Eyes). Here the duo of John and Tovah Olson move deeper into the kind of liminal, broke back electronics zone that defined their great run of collaborations with John Wiese, with creeped-out midnight soundtracks populated by shadowy nocturnal forms, firefly drones and a murky, drug-addled atmosphere. This feels like the beginning of a whole new phase for Dead Machines and it makes for a subtle but powerful trip.

”Iowa City’s Evan Miller is never one to stay in the same rut for too long. His earlier releases were composed of Fahey-esque spells, heavily emotional acoustic guitar work emanating tones of nostalgia and simplicity. On Transfigurations a new zone is crafted with lap-steel guitar and tape collage, creating equally nostalgic music from the other end of the spectrum: delicate, minimal drones. Tones interweave and textures evolve: it is Evan’s most personally progressive work, combining past themes and reinterpreting them on another medium: electric lap-steel guitar. Mastered by Pete Swanson. In an edition of 450 full color pro-printed cardboard LP sleeves and printed labels designed by Jeff Witscher (Rene Hell/Secret Abuse /Callow God).” – Arbor.

“These early four-track experiments from Peter Friel’s Cloaked Light project offers a look into focus.  With the slowest subtlety changes grow, only perceptible through reflection.  A new form of seeking to understand; a non-linear music, offering a space of contemplation to look forward and behind. On A Long Green Hall Friel shifts meaning and reorients the place of speech in a Lucierian experiment with self-help tapes.  On But I’m Trying, subtle tonal expansions mirror the manipulation of speech on the previous track, though without the recognizable markers of language the result is more obscured.  Each track offers insight to the others processes.  Recorded in Summer 2009, these tracks are some of the earliest from the project, a precursory inquiry to the tapes on Ekhein and Monorail.  Upcoming split 12” EP with Pale Blue Sky further explores the nature of tonal interactions and non-linear potentials of sound.  In an edition of 125 copies with full color cardstock covers and labeled tapes.” – Arbor.

Debut EP from this new project of Baltimore’s Door, formerly Earth Crown. Copper Glove has a damaged Baltimore vibe that reflects on the rusty Industrial scale confusion of Nautical Almanac presented in the form of a concrete composition that lurches from cranky keyboard tattoos through metal feedback and TNB-styled crackle. Nicely punked. Edition of 300 with silkscreened covers.

Solo jams from Garbes, ex-Raccoo-oo-oon and member of Wet Hair, Trash Dog et al. Keyboard-led garage rock that confuses the Velvets “Ocean” and The Doors “When The Music’s Over” with early Sonic Boom and 2^nd album Suicide. Edition of 300 copies.

“Jeremy Harris’ Lazy Magnet project has been active for well over a decade though the work has remained relatively shrouded in mystery.  A true nomad; shifting location and inspiration, following whatever path may prevent itself.  Under the Lazy Magnet guise, Harris has explored an innumerable amount of musical styles, adapting each to his uses. On “Yet From The Highest Crown No Blossom Fell” Harris (along with Sakiko Mori of Daily Life) explores the Sci-Fi textures of digital synthesizers.  A drifting score from the Providence Futuristic District where man and machine meet to look inside each other. Philadelphia’s Social Junk present four tracks operating from a similarly paired Industrial Sci-Fi stance.  Some of the groups strongest work, recorded in December 2008 while still living in Oakland, CA.  Feedback is tamed into a smooth element, as pliable as the human voice.  The union of these organic/inorganic elements create a unique sense of melody from within the warehouse; clearing away the trash, polishing the concrete.  In an edition of 125 copies with full color cardstock covers and labeled tapes.” – Arbor.

“The debut release under his own name, Brett Naucke’s Southern California is an aptly titled seven track suite.  In the nature of his other projects, Face Worker and Exercise, Naucke continues his exploration of upward advancement through a contemporary approach to ambient, classically new age music; here he wholly embraces discrete structures allowing the tracks to carry a natural progression, transparently simple though deeply considered.  Recalling the work of early 80’s West Coast composers such as Ray Lynch, Naucke’s command of smooth synthesis is both meditative and active; drifting washes of light, organized tones.  Translucent, linear growth; following the clouds across the sky.  In an edition of 125 copies with full color cardstock covers and labeled tapes.” – Arbor.

New project from Mike Pollard (Treetops) that moves from free-floating drone work into a more deliberately nuanced compositional setting. The sound has some of the endlessly magnified slow-motion feel of Andrew Chalk or Justin Meyer’s work, with waves of entropic melody dissolving into themselves again and again. The sky blue void on the cover works as the perfect visual counterpoint to the pure deep-field tones of the music. Plays at 45rpm. Edition of 400 copies.