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Search Result for Label TYPE
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LP
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TYPE 115LP
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To this day, Nicholas Bullen is best-known as a founding member of arguably grindcore's most important act: Napalm Death. Although he decided to call it a day before the band slipped into the mainstream circuit, his sonic fingerprints were all over their influential debut Scum, and he's been breaking boundaries ever since. A key figure in Birmingham's experimental scene, Bullen was also a founding member of Scorn and has been involved in a variety of projects since. Over 30 years later we arrive to Component Fixations, an album that Bullen has been contemplating, working, and reworking for some time. It is, after all, his solo debut proper, and as such is a work that absolutely represents him as an artist both visually and aurally. Taking influence from the early electronic artists of the 1960s, Bullen has fused this passion with his own musically explorative past, resulting in an album of beguiling tape-manipulations, drones and noise. Component Fixations is far more than a simple exercise in academic sound, and Bullen has injected his long-form pieces with a rare mortal sense of corruption and failure. Every single sound on the album was taken from field recordings captured in the confines of Bullen's house and garden, and this only serves to confirm the unshakable humanity of the record. Component Fixations might be a long way from Scum, but dig deep and you'll find the same curious mind, desperate to pull apart sounds and give them a brand-new meaning. Extreme doesn't have to mean loud, after all. Cut at Dubplates & Mastering, Berlin.
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TYPE 114LP
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It's been three years since Rhode Island sound artist Geoff Mullen released his last album for the Type label, but he's hardly been taking it easy in the interim. After a few small-run cassette releases and a string of dates in Europe (both solo and in the Oxtirn trio with PAN's Eli Keszler and Ashley Paul) he found some time to get stranded in the woods and craft this beguiling long-form record. A mono recording of a multi-channel installation piece, Filtered Water is probably the most unusual addition to Mullen's catalog, and definitely the most hypnotic. Recorded in the Hudson Valley, the album blends field recordings, feedback, and tape collage to create a deeply immersive sound environment. This is a record that reveals itself slowly, and uses the most spare of materials. Everyday sounds like a passing train or a far-off party are subsumed by the music, and the raw sounds of nature are tempered by electronic processes. Luckily, Mullen's signature musical sensitivity prevents this extended experimental piece from ever becoming trying or indulgent. It is honest, textured sound and far more beautiful than a description can attest. Geoff Mullen is one of New England's most impressive sonic innovators, and Filtered Water offers a fascinating glimpse into his unique sound world. Cut at Dubplates & Mastering, Berlin.
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TYPE 113LP
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Working tirelessly at their craft since 2001, Hair Police are survivors of the rapidly-dissolving U.S. noise scene. Made up of Mike Connelly (aka Failing Lights), Robert Beatty (aka Three Legged Race) and Trevor Tremaine -- the three Midwesterners have amassed quite a catalog between them, but somehow always hit hardest when they fuse their talents and work together. Mercurial Rites is the trio's first proper full-length since 2008's Certainty of Swarms, and in typically obstinate form doesn't pander to the noise scene's mass exodus towards the dancefloor. Instead, the record is as dirt-sodden and gruesome as the band has ever sounded, and marks an evolution in industrial noise without straying far from their original intentions. They've always been a consistent band, but Mercurial Rites does a pronounced job in distilling the raw energy of their defining early LP Obedience Cuts and fusing it with the disturbing soundscapes of later records Drawn Dread and Prescribed Burning. Tape-saturated bells and gongs push up awkwardly against pounding, funereal percussion and the kind of disembodied screams we last heard on '80s-era Whitehouse sides, and while the result might terrify some, it re-affirms what made the noise scene so alluring in the first place. It's an unsettling, punishing sound that revels in its own abstraction, yet every clank is meticulously placed, every screech of feedback so pointed that at times you forget the layers of distortion and fog altogether. We're simply left with sparse vignettes of darkness, and in the empty silence in-between the blasts of synthesizer or white noise, there's more horror than you could possibly imagine. Cut at Dubplates & Mastering, Berlin.
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TYPE 112LP
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It's tough to know what to expect when dealing with the output of musical mastermind Brad Rose. Under a plethora of different guises, he has stamped his mark on just as many genres, yet Isolatarium, his second under the Charlatan moniker, might be his most focused to date. Dispensing with the jerky 808-led shimmer of its predecessor Triangles, Isolatarium makes its case with cold, digital synthesis and buried 4/4 pulses. The searing noise of Rose's output as The North Sea is still audible somewhere in the mix, but the key to this record is restraint, and any clouds of white noise are tempered by cascades of sizzling FM synthesis. While album highlight Kinetic Disruption gives a nod to the outsider dance moves of Actress, Rose manages to push his clatter even further into the ether with a shroud of grinding oscillators and grimacing tape noise. It almost sounds like a devastating new take on the delirious experiments of Maggi Payne or Suzanne Ciani, but with the added hoarse cough of 21st century pessimism. Rose makes his best case with the album's closing track "Terminal Zero," and as the clanking percussion and drunken tones spiral into spluttering computer malfunction, there's no doubt that he has hit on his richest seam to date.
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TYPE 110LP
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Since upsetting the techno multiverse with Man With Potential, ex-Yellow Swan Pete Swanson has tirelessly continued his exploration of the form, quickly breaking it down and molding it in his image. Pro Style is the result of those experiments, and finds Swanson at his most explosive, with his archetypal searing synthesizer blasts directed over warehouse kicks worthy of the Downwards catalog. This is possibly Swanson's most technoid investigation to date, but any "mainstream" form is peppered with more than enough failure to put a smile on the faces of unconvinced Yellow Swans fans. Pro Style is far from Berlin's precise minimalism, instead taking a raw, hands-on direction that we haven't heard in the genre for many years. Whether you're in the club or in the basement, Swanson's pounding kicks and (surprisingly) booming basses should keep the apocalypse at bay, for now at least. Cut at Dubplates & Mastering, Berlin.
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TYPE 098LP
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Type follow up Mike Shiflet's Sufferers with a further exposition of his individual and far-reaching sound palette. A member of C Spencer Yeh's revolving Burning Star Core unit, and a prolific collaborator with the likes of Daniel Menche, Chris Corsano, Pete Swanson and many others, Shiflet has honed an intensely visceral feel for tone and texture which makes his records so intriguing to lovers of experimental composition and music-making. With some production/audio mastering assists from fellow Columbus, Ohio-based musician Joe Panzner, on Merciless Shiflet engages with corrosive textures from the off, enticing us in with fractured small sounds on "Feeble Breaths" before weaving a lattice of quick-drying fiberglass strands over your cochlea, which become infested with scuttling, insipid rhythms and abstract noise abrasions designed by Panzner on the lloopp software for max/msp. This induction, by contrast, makes the second half piece of evolving horror drones in "Exodus And Exile" that much more affective, while the second side plays through as one longer, queasy composition veering from cacophonous noise to wheezing drone and chilly isolation with the contribution of cassette manipulation by Jason Zeh, cello by Marina Peterson and violin from C Spencer Yeh. Cut at Dubplates & Mastering, Berlin. Limited vinyl pressing of 500 copies only.
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2LP
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TYPE 104LP
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The internet can be blamed for many things, and while the current consensus seems to be that it is single-handedly responsible for the destruction of the music scene, it's impossible to deny the influence it has had on contemporary rap music. Previously held hostage by industry moneymen, file sharing and social networking has democratized the genre and allowed people to hear what's really going on in the minds of young producers and rappers. Main Attrakionz are one such cottage industry made up of rapper/producer Squadda Bambino and rapper MondreM.A.N., and in only a couple of years, the Oakland-based duo have amassed an enviable cache of heavy-hitting records. Surprisingly, none of these highly-regarded mixtapes have yet made it to the physical realm, so it is Type's pleasure to issue the band's defining 808s & Dark Grapes II on wax for the first time. 808s... shows Mondre and Squadda in exemplary form, spitting home truths and fractured hood memories over untouchable productions from their unmatched arsenal of collaborators. Clams Casino hardly needs an introduction at this point, but he is joined by Japanophile SF duo Friendzone, Marlee B, Keyboard Kid and many more to create a veritable roadmap of the current scene. The sound might have been awkwardly labeled "cloud rap," and sure, it sounds pretty dreamy, but there's more to Main Attrakionz than just a subgenre. This is fathoms-deep, genre-bending rap music found outside of the traditional boundaries, and its protagonists are two of the most compelling voices in the scene. Listen hard, and listen good, this won't be the last time you hear from Main Attrakionz. Limited edition double-vinyl pressing, cut at Dubplates & Mastering in Berlin.
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CD
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TYPE 100CD
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Techno isn't a genre that has birthed many classic albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks' debut Biokinetics. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12"s, Biokinetics was the first of the label's album releases, and still stands as its crowning achievement. The duo was made up of dark ambient pioneer Thomas Köner and sound engineer Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman. What separated Biokinetics from other albums at the time was its unwavering narrative -- the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together -- the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it's hard to exactly put your finger on what makes it a classic. Simply put, Biokinetics is one of the most important records in the genre, and it is Type's pleasure to make it available to the world once again. Features new artwork.
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LP
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TYPE 103LP
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There are dark forces at work deep in the deserts of New Mexico. William Fowler Collins has been hard at work since his last full-length effort, but collaborations with Gog and Aaron Turner (of Isis) haven't deterred him from crafting this pitch-black follow-up. The ingredients won't surprise fans of Perdition Hill Radio (TYPE 046CD/LP), but on The Resurrections Unseen, Collins further damages and buries his palette of sounds beyond all recognition. Howling field recordings are trapped between walls of tape hiss while white noise and twisted guitar suffers through overdub after overdub, leaving only the picked carcass of what was once a discernable sound. Much was made of its predecessor's deconstruction of black metal, but The Resurrections Unseen takes this to another level entirely. The album is, for all intents and purposes, a black metal record -- but any traces of blast beats, hoarse, blood-curdling vocals or shrill distorted guitar have been totally obliterated. What remains are bleak, windswept textures, spine-chilling rituals and the kind of doom-laden ambience that'll have you double-bolting your doors and checking your phone lines. This is not theater though; Collins never resorts to the typical horror tropes, instead opting to suggest fear with the most restrained hand. As rolling hiss emerges from a muddy puddle of dank sub bass, it might take a few listens to pick out exactly what you're hearing at all, but the terror is there from the very beginning. Many artists attempt dark music, but few really succeed -- Collins has managed it by merely suggesting what our brains already know. A frightening thought, indeed. Cut at Dubplates & Mastering, limited to 500 copies only.
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2LP
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TYPE 096LP
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Pat Maher's outsider sounds have emerged in many different forms; the syrup-laced rap remixes of DJ Yo-Yo Dieting, the ketamine house of Diamond Catalog and of course the wheezing industrial ambience of Indignant Senility. Consecration Of The Whipstain is Maher's second widely-available album under the Indignant Senility moniker, and its long-form abstractions place him a step apart from his peers. Where Plays Wagner took a selection of thrift store charity records as source material, Consecration... works with a wider palette and sees Maher roughly paste together clattering percussion, wretching environmental sounds, opium drones and much more to emerge with a sound that owes more to Iannis Xenakis and Lustmord than to the contemporary set. Maher's noise roots have always given him a rougher, more abstract edge than others in the genre, but this album finds his shadowy ambience chiseled into four pitch-perfect explorations of his very particular alternate timeline. Recorded through amplifiers and microphones to give the music a chance to "breathe," the fuzzy pictures slowly come to life and offer a shocking amount of depth and variety. At times it sounds like a decaying sound strip from a '30s suspense reel, with all the crackle and flicker you'd expect to come alongside that. Maher's sounds take us into places we might not want to go, but there's no denying that once you're there it's hard to wrench yourself free. Deluxe vinyl edition, cut at Dubplates And Mastering, Berlin.
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