Bis Aufs Messer weekly News 02 May 2021
hi. Welcome to another newsletter for May. A little earlier then usual - but since we have a holiday tmrw we thought you maybe wanted to scroll through some news :) We will be in the shop again on Friday and Saturday from 11 - 16
We got some cool new cool iron Lung titles back in stock like Alien Nosejob 7“ and LP, the Electric Chair 7“, both Internal Rot LPs, a few Insect Warfare LPs. Also got some more SCREAMERS LPs (also a few on RED)
LOST GIRLS - Menneskekollektivet LP, ERIKA DOHI - I, castorpollux LP, PHOEBE BRIDGERS - Copycat Killer 12“ along with her other two Albums, the fantastic re issue of the BILLY HARPER - Black Saint LP, ALVIN CURRAN - the works LP, ADRIAN YOUNG - the American negro LP, ERIKA DOHI - I, castorpollux LP, SARCASM - Creeping Life LP and more
We also have the SHIFTERS - open vault DLP at the pressing plant and the we will started pre orders for the upcoming PIGEON LP pretty soon. (release date will be June 11th). Almost half of the red ones are already gone.
Thank you for your support in those difficult times
Norman & Robert
mailorder@bisaufmesser.com
www.adagio830-records.bandcamp.com
7“
ALIEN NOSEJOB - HC45-2 7“ (iron lung - The second installment of ALIEN NOSEJOB's hardcore alter-ego that is also called ALIEN NOSEJOB. Blasting frantic riffs over snappy drums and vocals that could fall apart at any moment but never do. Fabulous. 6 songs in 8 minutes... rip, rip, rip, rip, rip and rip but defo not R.I.P. 350 on black and 150 on translucent red 70gr vinyl nestled into a classic foldover sleeve with download card included. Written and recorded by Jake Robertson. Mastered by Mikey Young. Art by Nick Nolan.) 10.00
ELECTRIC CHAIR - Social Capital 7“ (iron lung - Picking up right where "Performative Justice" left off with ELECTRIC CHAIR cranking out their pitch perfect hyper active USHC filled to the brim with snarl and style. These manglers have sharpened their sticks and aimed them square at the hackneyed garbage parade that is modern society, just jabbing away at it until all thats left is a bloodied lump and maybe a tooth or something. Listen and bear witness to one of the best punk bands of our generation doing what needs to be done. 1000 copies of Discharge black 70gr vinyl housed inside a stunning silver foiled glue pocket sleeve with 14x14 poster and download card included. Recorded by Detto. Mastered by Jack Control. Art by Collin Buhr with photographs by Dave Hoekje and type/design by Leoff Spennit.) 10.00
LP
ADRIAN YOUNG - the American negro LP (jazz is dead - Tri-Fold Jacket - The American Negro is an unapologetic critique, detailing the systemic & malevolent psychology that afflicts people of color. It should be evident that any examination of black music is an examination of the relationship between black & white America. This relationship has shaped the cultural evolution of the world and its negative roots run deep into our psyche. With an elaborate orchestral and soulful display, The American Negro re-invents the black native tongue: a politically conscious LP with a prescription to eradicate hate in America. "The American Negro is the most important creative accomplishment of my life. This project dissects the chemistry behind blind racism, using music as the medium to restore dignity and self-worth to my people": Adrian Younge is a multi-instrumentalist, film composer and producer with an analog studio and record store in Los Angeles. He is a member of The Midnight Hour and has produced for entertainment greats ranging from Jay Z, Kendrick Lamar and Wu Tang Clan. He's composed for television shows such as Marvel's Luke Cage (with Ali Shaheed Muhammad), and films including Black Dynamite. He owns the boutique record label, Linear Labs, and is co-owner of Jazz Is Dead. When he's not working on scores for major studios or networks, he's making albums that speak to his own artistry. For The American Negro, Younge not only wrote, but played every instrument of the album's rhythm section; he also orchestrated a 30-piece orchestra and recorded them in his analog studio.) 33.00
ALVIN CURRAN - the works LP (our swimmer - The Works - one of the most famous pieces by brilliant American composer Alvin Curran - was not created by will and direct purpose but, as the composer himself states, as a “providential accident” which is to say quite organically. Combining piano and voice with found sound and a custom-built Serge modular synthesizer, “The Works” is a slowly developing piece where space and ambient tape are eventually overtaken by raga-esque chanting and frenetic piano playing, where synthesizer washes become full-on workouts all leading to a coda where the listener is “finally carried off on the wheels of the Berlin U-Bahn.” Curran - whose initial training and musical education was as a pianist - had been living in Roma, Italy, in the mid-‘70s returning to his roots and performing regularly in cocktail lounges on Via Veneto. It was this return to piano and vocals that became the genesis for The Works. In relearning the piano, a five-note “motive” took hold. Added to this was “a recording I had made of our 14 year old dachshund Caspar just before he died. It was, in fact, a love song which he persisted in singing all day after meeting a lovely bitch in heat in Piazza Navona. This I knew would be the beginning of the piece.” As the piece expands further the listener will hear “cows munching grass, the Rome-Florence express train, a horse-fly caught against a window pane, my footsteps approaching a Roman fountain and later going up the steps of my old studio, cicadas, an Amsterdam calliope, a tin can being kicked, and a series of sounds from La Serra di Lerici.” Though “The Works” has been performed in many incarnations over the years, it’s this performance - captured on February 24, 1980, and originally released that same year by the short-lived Italian avant-garde label Fore - that is the definitive version, and one of the finest recordings ever made by the celebrated composer. ) 26.00
THE ARMED - ultrapop LP (LP w/ printed inner sleeve + lyric insert and Download card! The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions-sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective-and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art-itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make." ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack "Night City Aliens" and 2018's critically acclaimed album Only Love, which landed on 'Album of the Year' lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer.) 28.00
BILLY HARPER - Black Saint LP (our swimmer -Billy Harper is one of the great tenor saxophonists in the post-Coltrane mold. Originally from Houston, TX and with a degree from the venerable University of North Texas College of Music, Harper emerged on the New York City jazz scene in the late 1960s performing with Art Blakey, Max Roach, Lee Morgan, and others. Known for his soulful and propulsive tone, Harper was already a highly regarded and prolific session man before the release of his debut album as a leader on the cult favorite Strata-East label in 1973. Recorded in 1975, Black Saint was the second album for Billy Harper as bandleader and is the most acclaimed and fully realized of his long career. The inaugural release of the Italian label Black Saint - to which the album lent its name - is comprised entirely of Harper compositions; the peaceful and subdued opener "Dance, Eternal Spirits, Dance!," the swinging and fiery "Croquet Ballet" and the side-long epic "Call Of The Wild And Peaceful Heart." Harper's group features trumpeter Virgil Jones - a graduate of Roland Kirk's mid-60s groups and session player for McCoy Tyner, Charles Tolliver, and others - along with Joe Bonner on piano, David Friesen on bass, and Malcom Pinson on drums. Black Saint is too melodic and swinging to be free jazz but too forward-thinking to be described as modal post-bop; Harper's advanced compositional sense and galvanic tenor work make this an album of pure fire music. This is a beautiful album back into print on its original format for the first time in over 40 years.) 26.00
CURRENT JOYS - voyager DLP (secretly - Current Joys - the project of Nick Rattigan - signed to Secretly Canadian for its seventh album, Voyager. Voyager rattles with the live-wire feeling that's thrummed through all of Rattigan's previous releases: quavering, scream-itself-hoarse vocals and self-interrogation via song. But here, that bristling, sentimental rock 'n' roll cacophony is overlaid with a soundtrack orchestra guiding it along. It's an odyssey, a grand-sounding journey of self-discovery spread across sixteen tracks. Part ekphrasis, part personal, it's Rattigan learning new ways to understand his own feelings and identity while inspired by the highly-stylized, striking storytelling of filmmakers like Alfred Hitchcock, Lars Von Trier, Terrence Malick, Agnès Varda, and Andrei Tarkovsky. Voyager, Rattigan's most mature release to date, is an evolution built on Current Joys' prolific output since 2013. Each piece of Current Joys' previous discography is wholly built and envisioned by Rattigan, self-recorded and quickly released, quivering with a lonely intensity. On Voyager, Rattigan eschews lo-fi home recordings for a full band and recording sessions at Stinson Beach Studios.) 27.00
ERIKA DOHI - I, castorpollux LP (Osaka-born and New York-based pianist Erika Dohi is a multi-faceted artist with an eclectic musical background. From highly polished traditional classical to bold improvisation, she is a dynamic performer whose timeless style and unidiomatic technique sets her apart in contemporary NYC avant-garde circles. Dohi's vast repertory is impressive, but what makes her truly such a barrier-defying artist is what lies ahead. I, Castorpollux, Dohi's debut solo album, is a profound personal excavation set to a gripping landscape of wild, genre-fluid composition; a virtuosic, but emotionally generous convergence of the technical and the spiritual. With understated piano & keyboards at its center, I, Castorpollux is equal parts hazy nostalgia, science-fiction soundtrack and electroacoustic experimentation. The project features contributions from Channy Leaneagh (Polica), Andy Akiho, Immanuel Wilkins, among others, and is produced by William Brittelle. The central theme to the album is the "split-self" and variable perceptions of time that Dohi has faced at formative moments in her life. She experienced the 1995 Kobe earthquake at age 7. Hiding under a table during the worst of it, she later emerged to find the world around her crumbled. In her immediate vicinity, a fixture of her childhood remained standing. The Tower of the Sun, a type of three-faced time machine itself from Expo 70, designed by artist Taro Okamoto is a trail-marker on Erika's journey, a stand-in sigil to unlock the mysterious sounds of her work, with 70s synths and retro sci-fi aesthetics permeating the album's narratives. Much of the album was written while living in Texas where the split between her Asian self and the idea of being an American necessitated a near mountain of self-discovery to reconcile how she felt and who she was within the social backdrop of a strongly conservative environment. It is no wonder that the character of the Dioscuri, Castor and Pollux from Greek and Roman mythology, resonate so deeply with her, or Haruki Murakami's Two Moons and their strange light. From her contributions to various projects, and her participation in the Artist in Residency collaborations, Erika has become a staple of the 37d03d community. 37d03d is honored to partner with her on her profound and moving debut.) 25.00
GAS CHAMBER / BLACK IRON PRISON - Public Humiliation II LP (iron lung - When Iron Lung Records hosted a weekend of shows to celebrate our 10 years of being a label we secretly recorded a bunch of the sets hoping to catch some magic. We knew that the two bands were collaborating with the intention of doing a one-time performance especially for us which is a beautiful thing on it's own and a true testament to that group of people being 10 steps ahead of most bands anyway. We knew it would be intense but holy shit... to say that GAS CHAMBER and BLACK IRON PRISON are merely "intense" is a gross understatement. They are relentlessly and deeply immersed in their own musical world of mental, spiritual and physical annihilation. This would prove to be GAS CHAMBER's final performance. 500 copies on black 150gr vinyl housed in a 24pt jacket with download card included. Recorded live at The Vera Project in Seattle WA. The record is an exact representation of the set without edits (except for a fade out/in for the side break) for time or tuning or any of that other shit that lesser bands do. Mixed and mastered by Will Killingsworth. Photography by Craig Shepherd. Layout and design by Jensen Ward.) 21.00
INSECT WARFARE - World Extermination LP (iron lung - What more can be said about "World Extermination" that hasn't already been said? In our opinion it is one of the top five grindcore albums of all time. It's distinct, catchy, brutal, unpredictable, relentless, mechanically tight, razor sharp and that artwork is iconic as hell. A perfect album in every way. This is an official reissue, lovingly recreated with the best available materials to be as close to the original release specifications as possible. This version improves on the original in that it comes with more legible insert art, a heavier jacket and a much, much bigger poster. Everything is bigger in Texas, right? 1000 copies of black 150gr vinyl housed in a 24pt jacket with lyric insert, poster and download card included. Recorded at Red Room Studios in Houston TX. Re-Mastered by John Golden. Art by Daniel Shaw and Tom Triplett.) 25.00
INTERNAL ROT - Grieving Birth LP (iron lung - Absolutely pulverizing grindcore as lethal as running a marathon in the open desert without any water. There are no tricks, no gimmicks, no pitch shift, no triggers, no psychic surgery, just grind. Do you grind? Because this fucking grinds. Did mention that it grinds. It does. It grinds. A pure record. 800 copies on black vinyl housed in a 24pt jacket with poster and download card included. Art by Xavier Irvine, Christoph Winkler and Vicky Morales. Recorded by Jason Fuller, Alex McFarlane and Xavier Irvine. Mastered by Mikey Young. A split label release with the legendary and enigmatic 625 Productions.) 20.00
JABIR - Vuelo Por Las Alturas De Alhambra LP (discos - Vuelo por las Alturas de Alhambra was originally published in 1988 on Discos Esplendor Geométrico and it is a hidden gem in the catalogue of this influential Spanish label. The album unfolds a series of subtle and mesmerizing compositions inspired by the legacy of Al-Andalus, the muslim Spanish civilisation. Both a polymath and erudite musician, Jabir decided to pay homage to the marriage of spirituality and science present in that bygone era. For that aim, he relied on a vast array of acoustic instruments (ney, violin, ud, bendir and daf), as well as on digital synthesizers and a complex system of computers able to generate aleatory melodies in Middle Eastern scales. Discos Transgénero is proud of making available again this extraordinary and highly sought masterpiece for the first time in more than three decades. The reissue has been carefully remastered from the original master tapes with the approval and supervision of his author and includes new liner notes and unreleased pictures. Vuelo por las Alturas de Alhambra is a recommended listening for those into the most narcotic side of Muslimgauze, the Dariush Dolat-Shahi's lps on Folkways, Jon Hassell's Fourth World explorations or even the recent work of contemporary Iranian experimentalists like Sote and Saba Alizadeh. Edition of 400 copies.) 27.00
LOST GIRLS - Menneskekollektivet LP (small-town super sound - Norwegian duo Lost Girls, artist and writer Jenny Hval and multi-instrumentalist Håvard Volden, release their first album after collaborating for more than ten years. Volden has been playing regularly in Hval's live band for more than a decade, and their duo project goes back to an acoustic collaborative album from 2012, using the moniker Nude on Sand. Instead of resurrecting the previous band, Hval and Volden opted for a fresh start for their 2018 EP Feeling, taking nomenclatural inspiration from the 2006 graphic novel by writer Alan Moore and comics artist Melinda Gebbie. For their first LP, Hval and Volden booked an actual studio (Ora studios, Trondheim, Norway), which they had never done before. Recording sessions took place in March 2020, even if they felt like the material wasn't really ready for recording. This left a lot to improvisation, and so Menneskekollektivet was created in-between set structures and the energy of collective exploration. Perhaps this is what makes Menneskekollektivet unique: The quality of trying something, to see if the structures fit. In a way this is a more physical version of what Hval has been exploring lyrically over the past decade in her solo work. The title is Norwegian and translates to human collective, which adds to the feeling of a recording made as part of a strange, improvised performance project. The music flickers; between club beats and improvised guitar textures; between spoken word and melodic vocal textures; between abstract and harmonic synth lines. Throughout the piece, Volden's guitar and Hval's voice come across as equals, wandering, wondering, meandering. Sharing the space. The writing process began with short, more concise forms, but then Volden brought in experiments with seasick synth loops and drum machines, and the work went off on a longer durational tangent, inspired by chance and intuition. This allowed for an unfinished, raw feel, and the song structures and words were expanded and improvised in the studio. Hval says: "There are lots of late night ideas at work, begun as half-asleep, slack vocal takes on top of something really strange Håvard has sent me. We both record before we know what we're actually doing.) 25.00
MATTHEW E. WHITE & LONNIE HOLLEY - Broken Mirror: A Selfie Reflection LP (Broken Mirror: A Selfie Reflection is a timely callout to the power of collaboration, of kindred spirits connecting in crowded rooms. Moreimportant, though, is this collision of two profoundly Southern artists, meeting to shed expectations of generation and genre, scene and situation and exchange truth, wisdom, and energy. The real world is more complicated than a pretty digital picture, bowdlerized of blemishes. As Broken Mirror: A Selfie Reflection reminds us, it can be more revelatory and transformative, too. These tracks are balls of energized contemplation, Holley crooning grievances and observations above surrealist grooves so irrepressible and heavy that the words strike with the force of gospel. Holley strolls into "I Cried Space Dust" as if he's wandered into the On the Corner sessions and offered unsolicited insights on true transcendence. "I'm Not Tripping" is an anthem of self-worth and self-enjoyment for a society mired in self-doubt, the words breaking like light beams through clouds of atomized drums and synths. And Holley begins the title track as a character mindlessly staring into a cell phone, captivated by his own image like Narcissus at water's edge. Holley ponders the egotism of projection over dizzying keyboards and guitars so jagged they conjure fractured glass. By song's end, he's mocking this infrastructure of pandering for likes, jeering us all above a savage bassline that dares you to differ. Holley and White may seem like unlikely collaborators, divided as they are by decades and disciplines. Holley, 70, first earned attention as a sculptor far removed from the fiefdom of fine art, using society's detritus to create curious bricolages that ferried deep narratives of ancestral pride, enduring pain, and eternal hope. His music_privately stowed on stacks of cassettes before he released his staggering 2012 debut, Just Before Music, at the age of 62_aired those ideas over extemporaneous pieces for prismatic keyboards. But on Big Inner and Fresh Blood, White, now 38, came into acclaim as one of his generation's most meticulous songwriters and arrangers. Stretching his assuredly soulful voice like a smile across little symphonies of strings, horns, choirs, and percussive cavalcades, White commanded sounds where Holley seemed to glide inside them.) 25.00
PHOEBE BRIDGERS - Copycat Killer 12“ (dead oceans - MOUNTAIN BLAST COLOR - Copycat Killer is a 12" featuring 4 exclusive new versions of songs from Phoebe Bridgers' wildly acclaimed Punisher album. Collaborating with arranger Rob Moose (Sufjan Stevens, The National, Bon Iver, Vampire Weekend, Jay-Z), these are brand new orchestral arrangements of the songs Kyoto, Savior Complex, Chinese Satellite and Punisher, all given a luscious revamp that is sure to delight any fans of Phoebe's album and serve as perfect gateway for new listeners into what makes her one of the most special artists of 2020 and beyond.) 20.00
PLUNKY / ONENESS OF JUJU - make a change DLP (strut - Strut present the definitive edition of a 1977 classic, Plunky & Oneness OfJuju's 'Make A Change' album featuring the international hit 'Every WayBut Loose' and five previously unheard studio takes. Recorded at Omega studios in Maryland, the album marked a transition forthe band with lead vocalist Jackie Eka-Ete recording her last sessions withPlunky and Virtania Tillery taking over lead vocal duties. "'Make A Change'was always designed as a slightly more commercial entry in our discography," says Plunky. "We approached the sessions in the same way that we had approached all of our music since the early '70s. We played extended jams because we would always find something within those explorations. The songs had enough organic qualities to be considered R&B and enough rhythm to be Afro funk." After catching fire in Washington DC clubs through local record pools, the dancefloor favourite 'Every Way But Loose' famously became an anthem for Larry Levan at New York's Paradise Garage, kick-starting international success for the track. Other album cuts like funk workout 'Higher' and the wistful stepper 'Always Have To Say Goodbye' have remained staples among soulful DJs worldwide. "The songs and lyrics on this album have come back around full circle," continues Plunky. "With songs like '(Family Tree) Make A Change' and 'Every Way But Loose', we don't have tochange one word for them to be relevant all these years later. The positive messages are universal and timeless." This definitive edition of 'Make A Change' features the full original album alongside five previously unheard studio takes, all) 28.00
SARCASM - Creeping Life LP (static shock - Sarcasm's final offering is the much-needed shot in the arm you don’t even have to queue for. Sonically their six-track EP is a potent mix of the ignorant anarcho clatter and arch post(-graduate) punk you already love them for, but moreso. Picture UK DECAY squatting the Barbican. Still eschewing distortion for a truly inspired use of phase, the cavernous production (another Falco joint) will leave you staring at a city trader until he switches carriages. Whether it's echo-laden pronouncements on our worst instincts for techno addiction (‘Digital Colony’) or odes to modernist artists Paul Nash (‘Marsh Personage’) each track is as desperate as it is restrained by the same conditions. Heavily reminiscent of FALLOUT and the more cerebral end of UK82, mercilessly taut and lyrically about as obtuse as you’d hope from punk songs about rare varieties of lichen. Some guy once said something about the need for pessimism of the intellect and optimism of the will in abject times, and this band amply proved the evergreen joy to be had in being a smart arse. Bury ‘Creeping Life’ under the rubble of the A3030 at Stonehenge when they start tunnelling, because this is one for the well-groomed future druids. Justified and ancient, ‘Creeping Life’ absolutely goes. (Bryony Beynon)) 20.00
SARAH NEUFELD - detritus LP (After a year of sadness comes an album fit to resist it. Detritus, the third solo LP by violinist/composer Sarah Neufeld, confronts anguish with beauty, turmoil with grace, gliding through the present like a dancer mid-motion, reaching through space 'til she's caught. Detritus originated with a collaboration: in 2015, Neufeld was invited to appear on stage with the legendary dancer/choreographer Peggy Baker. Baker had prepared a solo piece based on work from Neufeld's second album, The Ridge, to which Neufeld added an original lyrical prelude. The live result was an incendiary duet, almost a sort of face-off, which left each artist unsated. They agreed to reunite for a more extended collaboration - a full-length show with Baker's company, where Neufeld would write to (and perform music alongside) Baker's choreography. It was a fertile partnership, uniting the two women's intense, curious, ferocious sensibilities across an age difference of 29 years. Baker had conceived the show around the title of Neufeld's prelude, "Who We Are In The Dark," exploring themes of loss, betrayal and the emptiness of space; Neufeld was herself in crisis mode, reacting to a specific, earthbound kind of grief (including the end of a relationship). Making work together, they drew on these raw feelings - insistent, urgent darkness but also something that was, for Neufeld at least, much more unexpected: a romantic, tender-hearted love, inspired by the movements of the dancers before her. The work premiered in February 2019. Even before Neufeld and Peggy Baker Dance Projects set off on tour, she had the intuition that this music might take another form: as a distilled set of songs, refined and developed beyond the versions performed on stage. Starting that summer, she began arranging this lush and soloistic material - work that eventually became Detritus - and performed some of these experiments at her own solo gigs. Neufeld worked throughout the process with her Arcade Fire bandmate Jeremy Gara, whose drums, synths and ambient electronics co-anchored the Peggy Baker shows and helped shape the reimagined album versions. She would go on to add foot-pedal bass synth, wordless vocals and swells of French horn courtesy of Bell Orchestre compatriot Pietro, bringing in woodwind wizard Stuart Bogie as a one-man flute ensemble, layering clusters of chords atop Neufeld's luminous) 25.00
VLADISLAV DELAY - Rakka II LP (After the exceptional first volume of ‘Rakka’, Vladislav Delay is taken by the wanderlust again for a ravishing 2nd album of elemental electronics inspired by the Finnish wilderness. RIYL Shackleton, Rian Treanor...Where 2020’s ‘Rakka’ represented some of Sasu Ripatti aka Vladislav Delay’s most intensely noisy textures and rhythmic complexity, as inspired by walks in his native Finnish wilderness, his follow-up further draws on and refines that experience in a beautifully brutalist bouquet of brambling distortion and tempestuous pulses that speak to the chaotic power of nature’s ecological interdependence. In the process ‘Rakka II’ fulminates Delay’s reactive sound even closer to the styles of Shapednoise, but still distinguished by his signature, freehanded style of percussive tumult that reaches beyond techno and club music into an ecstatic, holistic hybrid of power ambient, black metal, avant-dub, free jazz, and extreme dance musicks.) 30.00
