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viewing 1 To 22 of 22 items
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LP
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NR 132LP
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LP version. "Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland's geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and a hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It's a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity. Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of 'gather[ing] from the air a live tradition.' Elsewhere, 'Herne's Oak' provides seismic bass waves that physically halt the track in its steps -- giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman. If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it's an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how. Cover art is by Henry Hablak, who also designed the art for Part One and Part Two."
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NR 132CD
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"Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland's geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and a hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It's a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity. Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of 'gather[ing] from the air a live tradition.' Elsewhere, 'Herne's Oak' provides seismic bass waves that physically halt the track in its steps -- giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman. If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it's an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how. Cover art is by Henry Hablak, who also designed the art for Part One and Part Two."
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LP
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NR 131LP
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LP version. "At its heart, music has always been a questioning of inheritance -- a dialogue with predecessors and forebears, the forging of one's own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of contemporary consciousness, yet still broadcasting a signal for all who will listen. Released periodically on three of 2024's full moons, the three-album cycle, Triptych, is Harvestman's most ambitious undertaking yet. But it's also the distillation of a unique approach that finds a continuity amongst the fragmented, treating all its myriad musical sources and reference points not as building bricks, but as tuning forks for a collective ancestral resonance, residing in that liminal space between the fundamental and the imaginary, the intrinsic and the speculative. Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland's geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and a hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within. It's a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prized out of time yet bound to its singularity. Featuring Om bassist and long-term friend of Steve's, Al Cisneros."
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CD
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NR 131CD
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"At its heart, music has always been a questioning of inheritance -- a dialogue with predecessors and forebears, the forging of one's own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of contemporary consciousness, yet still broadcasting a signal for all who will listen. Released periodically on three of 2024's full moons, the three-album cycle, Triptych, is Harvestman's most ambitious undertaking yet. But it's also the distillation of a unique approach that finds a continuity amongst the fragmented, treating all its myriad musical sources and reference points not as building bricks, but as tuning forks for a collective ancestral resonance, residing in that liminal space between the fundamental and the imaginary, the intrinsic and the speculative. Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland's geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and a hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within. It's a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prized out of time yet bound to its singularity. Featuring Om bassist and long-term friend of Steve's, Al Cisneros."
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NR 130CD
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"At its heart, music has always been a questioning of inheritance -- a dialogue with predecessors and forebears, the forging of one's own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes Of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen. The first of a three-album cycle, Triptych: Part One, is Harvestman's most ambitious undertaking yet. Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland's geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and a hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It's a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity."
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LP
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NR 130LP
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LP version. "At its heart, music has always been a questioning of inheritance -- a dialogue with predecessors and forebears, the forging of one's own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes Of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen. The first of a three-album cycle, Triptych: Part One, is Harvestman's most ambitious undertaking yet. Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland's geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and a hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It's a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity."
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NR 129CD
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"Ufomammut formed in the late '90s by Poia (guitars, FXs) and Urlo (bass, vocals, FXs, synths), rising from the ashes of past band Judy Corda, together with Vita (drums). With Levre taking over on drums in 2021, the band has undergone a rebirth, culminating in the release of the album Fenice and the Crookhead EP. Over the course of twenty-five years, the band has developed a unique sound that combines heavy, dynamic riff worship with a deep understanding of the psychedelic tradition in music. This has resulted in a cosmic, futuristic, and technicolor sound that fully immerses listeners. The band has produced ten records along with various other releases, such as compilations, EPs, and live albums. Now, as they celebrate their quarter-century milestone, the band presents their latest album, Hidden. This album marks a shift in the band's musical composition, aiming for a more intense and heavy sound, and it's the third release featuring Levre as the band's new drummer. The title reflects the concept of the presence of everything in existence and the ability to bring to light what lies within. With Hidden, Ufomammut delves into a sonic journey that traverses vast expanses of space and time. From the crushing heaviness to the haunting melodies, from the textured compositions to the otherworldly atmospheres, it testifies to the never-ending evolution of the band and their mastery of creating immersive sonic experiences: a fitting celebration of their twenty-five years of sonic exploration and experimentation."
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NR 129LP
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LP version. "Ufomammut formed in the late '90s by Poia (guitars, FXs) and Urlo (bass, vocals, FXs, synths), rising from the ashes of past band Judy Corda, together with Vita (drums). With Levre taking over on drums in 2021, the band has undergone a rebirth, culminating in the release of the album Fenice and the Crookhead EP. Over the course of twenty-five years, the band has developed a unique sound that combines heavy, dynamic riff worship with a deep understanding of the psychedelic tradition in music. This has resulted in a cosmic, futuristic, and technicolor sound that fully immerses listeners. The band has produced ten records along with various other releases, such as compilations, EPs, and live albums. Now, as they celebrate their quarter-century milestone, the band presents their latest album, Hidden. This album marks a shift in the band's musical composition, aiming for a more intense and heavy sound, and it's the third release featuring Levre as the band's new drummer. The title reflects the concept of the presence of everything in existence and the ability to bring to light what lies within. With Hidden, Ufomammut delves into a sonic journey that traverses vast expanses of space and time. From the crushing heaviness to the haunting melodies, from the textured compositions to the otherworldly atmospheres, it testifies to the never-ending evolution of the band and their mastery of creating immersive sonic experiences: a fitting celebration of their twenty-five years of sonic exploration and experimentation."
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NR 029LP
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"Grails don't mince words. Awesomely communicative but entirely instrumental, this dynamic band's violin, guitars, piano, and drums collide with sober melodies and massive emotion. At alternate moments, Grails can sound vaguely classical, Eastern European, Irish, like the lost tapes of Pauline Oliveros, and rock. They're not really like anything else on the Neurot roster, but they've got something in common with all the Neurot bands: a commitment to intense music that forges new paths and communicates in the most real way possible. Grails have their fair share of ambient noise -- shivery violins, a trickle of a high-hat, the amplified scrape of a guitar string -- but their music is based on strong, narrative melodies that resonate in the heart. At times it sounds delicate, but they never cower. Burden of Hope is the debut LP, following a pair of self-released, eponymous EPs in 2000 and 2002. The LP is the culmination of a year's worth of recordings, including a reinterpretation of Sun City Girls' classic 'Space Prophet Dogon.' Grails are gathered in Portland, Oregon from Baltimore, Little Rock, Louisville, Chapel Hill, and Reno. As an ensemble, their respective backgrounds in hardcore, classical, folk, and rock blend seamlessly. Formed in late 2000 to execute live the bedroom recordings of guitarist Alex Hall, the once-tentatively-assembled group found unexpected success with both audiences and local press. Originally formed under the moniker Laurel Canyon, the name of the group was changed to Grails to coincide with the release of The Burden of Hope in October, 2003."
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2LP
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NR 126LP
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"Praised by Jimmy Page as 'riveting,' Janaka Stucky's book length poem, Ascend Ascend, published by Jack White's Third Man Books in 2019, gets a mesmerizing treatment on this album by the same name, accompanied by experimental cellist Lori Goldston. Goldston, known for her work with a number of acts -- including Nirvana, Cat Power, and Earth -- provides otherworldly layers of distortion and natural reverb over Stucky's dirge-like vocal performance. Recorded at the All Pilgrims Church in Seattle while Stucky was on a 7-city tour produced by Atlas Obscura in 2019, the performance is served well by the room's ambiance and was recorded, mixed, and mastered by Mell Dettmer -- who has engineered albums for acts such as Earth, Sunn O))), Master Musicians of Bukkake, and Wolves in the Throne Room."
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LP
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NR 082LP
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2022 repress. Gold vinyl. 2012 release. "Townes Van Zandt never reached significant fame during his lifetime. Although highly respected by his peers and other songwriters, the mood and atmosphere of his music, coupled with his sometimes dark and sarcastic nature, was not suitable for the commercial country-industry of Nashville. Van Zandt's songs did, however, reach popularity in his day through artists such as Willie Nelson, Merle Haggard and Emmylou Harris. Within his circle of outsider singer-songwriters, he was adored, though ultimately depression and alcoholism overshadowed his life. Van Zandt's friend, singer Steve Earle, has been quoted as saying, 'Townes Van Zandt is the best songwriter in the whole world and I'll stand on Bob Dylan's coffee table in my cowboy boots and say that.' Van Zandt's passed away in 1997, and the fact that artists as diverse as Robert Plant, Mudhoney, Norah Jones, Lyle Lovett and Dylan himself have kept his songs alive and vital is a testament to the influence and impact of his music. So now do Steve Von Till, Scott Kelly and Wino stand and sing his tribute, each focusing on the essence of Van Zandt's music and lyrics in his own personal way. The result is a great homage, whose intensity lies in fragility and elementary human truths. Van Zandt's broken-hearted love songs and gloom-ridden tales are most deserving of this tribute and praise."
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2LP
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NR 050LP
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2022 repress. "Now in its third decade of innovative noisy psychedelic-metallic thunder, Neurosis is more than a just a powerful band -- it's a religious experience. As such, personal epiphanies are repeatedly told both by those who've been converted by Neurosis' sensory overloading live show and by those who've felt transformed while listening to the legendary quintet's recordings. Given To The Rising is both reflective of the aggressive pummeling for which Neurosis is known, as well as an exploration into psychoactive prog-rock and eviscerating symphonic heft that moves well beyond what we've all come to recognize as the 'Neurosis note.' Given To The Rising is like being submerged in an isolation tank -- it envelops, subverting the senses with surreal visions we'd swear were our own, cleverly jarring and disorienting consciousness beyond any footing in reality. Just as any diehard Neurosis fan will tell you, there's a moment with every new record and live show at which the band stops as if the world has frozen in position, then suddenly kicks into a behemoth wail that forces one's head and shoulders to lurch and sway uncontrollably. Given To The Rising is a sound borne of that captivating and transcendent moment."
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CD
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NR 122CD
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"For over twenty years, Ufomammut has combined the heaviness and majesty of dynamic riff worship with a nuanced understanding of psychedelic tradition and history in music, creating a cosmic, futuristic, and technicolor sound destined for absolute immersion. Fenice (meaning 'phoenix' in Italian) symbolically represents endless rebirth and the ability to start again after everything seems doomed. The album is the first recording with new drummer Levre, and truly marks a new chapter in Ufomammut history. While the band are well-known for their psychedelic travels into the far reaches of the cosmos, Fenice is a much more introspective listening experience. It was conceived as a single concept track, divided in six facets of this inward-facing focus. Sonic experimentations abound in the exploration of this central theme: synths and experimental vocal effects are featured more prominently than ever before, as the band push themselves ever further into the uncharted territory of their very identity. The towering synths on the opening track 'Duat' evoke an almighty machine rising from the depths of primordial ooze. There's a shift to a frenetic garage-psych pace before mellowing out into a more familiar doomy stomp. 'Kepherer' is a respite, albeit a slight one, returning to the pulsing rhythms of the album's intro before plunging the listener into the menacing build and release of 'Psychostasia' next. Each oscillation of this extraordinary album feels inevitable -- Ufomammut are after all, masters of their craft, and when it comes to creating enveloping sonic journeys into the unknown, it's their uninhibited sense of exploration that breaches new sonic ground. Fenice is the sound of a band whose very essence has been rejuvenated, and are welcoming the chance to create music in the way they know best: by unfolding carefully and attentively, by melding those extreme dynamics which render Fenice as a living and breathing creature -- and by writing gargantuan riffs that herald their very rebirth."
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LP
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NR 122LP
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LP version. "For over twenty years, Ufomammut has combined the heaviness and majesty of dynamic riff worship with a nuanced understanding of psychedelic tradition and history in music, creating a cosmic, futuristic, and technicolor sound destined for absolute immersion. Fenice (meaning 'phoenix' in Italian) symbolically represents endless rebirth and the ability to start again after everything seems doomed. The album is the first recording with new drummer Levre, and truly marks a new chapter in Ufomammut history. While the band are well-known for their psychedelic travels into the far reaches of the cosmos, Fenice is a much more introspective listening experience. It was conceived as a single concept track, divided in six facets of this inward-facing focus. Sonic experimentations abound in the exploration of this central theme: synths and experimental vocal effects are featured more prominently than ever before, as the band push themselves ever further into the uncharted territory of their very identity. The towering synths on the opening track 'Duat' evoke an almighty machine rising from the depths of primordial ooze. There's a shift to a frenetic garage-psych pace before mellowing out into a more familiar doomy stomp. 'Kepherer' is a respite, albeit a slight one, returning to the pulsing rhythms of the album's intro before plunging the listener into the menacing build and release of 'Psychostasia' next. Each oscillation of this extraordinary album feels inevitable -- Ufomammut are after all, masters of their craft, and when it comes to creating enveloping sonic journeys into the unknown, it's their uninhibited sense of exploration that breaches new sonic ground. Fenice is the sound of a band whose very essence has been rejuvenated, and are welcoming the chance to create music in the way they know best: by unfolding carefully and attentively, by melding those extreme dynamics which render Fenice as a living and breathing creature -- and by writing gargantuan riffs that herald their very rebirth."
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CD
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NR 120CD
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"My Proud Mountain and Neurot Recordings are thrilled to release Songs Of Townes Van Zandt III, continuing the tradition of well-known artists in the heavy music and dark genres covering the songs of Townes Van Zandt. This album features nine new and unique covers by Amenra, Cave In, and Marissa Nadler. Opener 'Quicksilver Dreams of Maria' paints Nadler as a pastoral daydream of mournful siren vocals, embodying the lovelorn and lustful side of Van Zandt some listeners tend to overlook. Her covers of 'Sad Cinderella' and 'None But the Rain' capture the tender and weary surrender to hope in the face of turmoil, like a flower blooming on a gravestone. The melodic and rhythmic contributions of Milky Burgess help make the covers a hazy carnival of memories that may be real or imagined. Amenra strip back their sludge metal sound to just vocals and acoustic guitar to pay tribute to the tortured soul at the center of Van Zandt's work. 'The sadness and despair in his songs are unparalleled,' says guitarist Lennart Bossu. Tackling 'Kathleen', 'Flyin' Shoes', and the eerie 'Black Crow Blues', Amenra shine a light on the real pain that made Van Zandt's lyrics all the more haunting. The result is the Texas desert by way of Belgium, a set of stark and emotionally raw ballads for long night drives to nowhere. Cave In's full-band covers of 'The Hole' and 'At My Window' find them at their most cavernous, slowing down their high-wire sound to a sidewinder crawl to navigate the claustrophobic darkness. At nearly seven minutes long, their doomed-out cover of 'The Hole' is as black as west Texas midnight."
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NR 120LP
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LP version. "My Proud Mountain and Neurot Recordings are thrilled to release Songs Of Townes Van Zandt III, continuing the tradition of well-known artists in the heavy music and dark genres covering the songs of Townes Van Zandt. This album features nine new and unique covers by Amenra, Cave In, and Marissa Nadler. Opener 'Quicksilver Dreams of Maria' paints Nadler as a pastoral daydream of mournful siren vocals, embodying the lovelorn and lustful side of Van Zandt some listeners tend to overlook. Her covers of 'Sad Cinderella' and 'None But the Rain' capture the tender and weary surrender to hope in the face of turmoil, like a flower blooming on a gravestone. The melodic and rhythmic contributions of Milky Burgess help make the covers a hazy carnival of memories that may be real or imagined. Amenra strip back their sludge metal sound to just vocals and acoustic guitar to pay tribute to the tortured soul at the center of Van Zandt's work. 'The sadness and despair in his songs are unparalleled,' says guitarist Lennart Bossu. Tackling 'Kathleen', 'Flyin' Shoes', and the eerie 'Black Crow Blues', Amenra shine a light on the real pain that made Van Zandt's lyrics all the more haunting. The result is the Texas desert by way of Belgium, a set of stark and emotionally raw ballads for long night drives to nowhere. Cave In's full-band covers of 'The Hole' and 'At My Window' find them at their most cavernous, slowing down their high-wire sound to a sidewinder crawl to navigate the claustrophobic darkness. At nearly seven minutes long, their doomed-out cover of 'The Hole' is as black as west Texas midnight."
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NR 118LP
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LP version. "Steve Von Till has made a life's work out of seeking the elemental. With a solo discography that stretches back more than two decades, he has toiled in a shadow realm, peeling back layers of reality in a never-ending search for true meaning and raw emotion. A Deep Voiceless Wilderness strips back the veil even further. An achingly beautiful ambient work with neo-classical leanings, the album is a hallucinatory and elegant rumination on our disconnect from the natural world, each other, and ultimately ourselves. For some listeners, the album may recall the work of modern composers like Jóhann Jóhannsson, Brian Eno or Gavin Bryars. For Von Till, it's about surrendering to the spirit of place -- and to the original intent behind his 2020 solo album, No Wilderness Deep Enough. That album marked a significant first for Von Till: it was his first solo record without a guitar in hand. Instead, Von Till intoned powerful and thought-provoking lyrics over piano, cello, mellotron and analog synthesizers. A Deep Voiceless Wilderness is that same album without Von Till's words. 'This is how I originally heard this piece of music,' he says. 'Without the voice as an anchor or earthbound narrative, these pieces have a broader wingspan. They become something else entirely and unfold in a more expansive way. The depth of the synths, juxtaposed with the strings and French horn, have space to develop and allow the listener to imagine their own story.'"
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NR 117LP
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LP version. "In 2020 Steve Von Till published his first book of poetry, Harvestman: 23 Untitled Poems And Collected Lyrics. Published by the University of South Dakota's Astrophil Press, the book established Von Till as a formidable and thoughtful author of verse -- a fact that Neurosis fans knew all along, but the wider world was only just becoming aware of. 'There is a depth of hope, acceptance and loss that permeates these poems,' Joseph Haeger said in his review for The Inlander. 'Like any great piece of art, Harvestman contains multitudes, and that's exactly what I was hoping for when I cracked it open. Von Till has already established himself as a great musician, and he's about to put his stake into the ground proving himself to be a damn good writer.' For 2021, Von Till has reimagined Harvestman in a new format, delivering an intimate and captivating reading of the collection with sound enhancements. 'Being a constant sound-seeker, I thought it would be more interesting to have some textures and treatments to break up the intimate voice recordings,' Von Till says of his decision to add some atmosphere to the spoken-word version of Harvestman. 'The background sounds used on some of the tracks were pieces related to No Wilderness Deep Enough that were either not used or repurposed to interweave further connections between my artistic output at this time of my life.'"
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NR 118CD
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"Steve Von Till has made a life's work out of seeking the elemental. With a solo discography that stretches back more than two decades, he has toiled in a shadow realm, peeling back layers of reality in a never-ending search for true meaning and raw emotion. A Deep Voiceless Wilderness strips back the veil even further. An achingly beautiful ambient work with neo-classical leanings, the album is a hallucinatory and elegant rumination on our disconnect from the natural world, each other, and ultimately ourselves. For some listeners, the album may recall the work of modern composers like Jóhann Jóhannsson, Brian Eno or Gavin Bryars. For Von Till, it's about surrendering to the spirit of place -- and to the original intent behind his 2020 solo album, No Wilderness Deep Enough. That album marked a significant first for Von Till: it was his first solo record without a guitar in hand. Instead, Von Till intoned powerful and thought-provoking lyrics over piano, cello, mellotron and analog synthesizers. A Deep Voiceless Wilderness is that same album without Von Till's words. 'This is how I originally heard this piece of music,' he says. 'Without the voice as an anchor or earthbound narrative, these pieces have a broader wingspan. They become something else entirely and unfold in a more expansive way. The depth of the synths, juxtaposed with the strings and French horn, have space to develop and allow the listener to imagine their own story.'"
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NR 117CD
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"In 2020 Steve Von Till published his first book of poetry, Harvestman: 23 Untitled Poems And Collected Lyrics. Published by the University of South Dakota's Astrophil Press, the book established Von Till as a formidable and thoughtful author of verse -- a fact that Neurosis fans knew all along, but the wider world was only just becoming aware of. 'There is a depth of hope, acceptance and loss that permeates these poems,' Joseph Haeger said in his review for The Inlander. 'Like any great piece of art, Harvestman contains multitudes, and that's exactly what I was hoping for when I cracked it open. Von Till has already established himself as a great musician, and he's about to put his stake into the ground proving himself to be a damn good writer.' For 2021, Von Till has reimagined Harvestman in a new format, delivering an intimate and captivating reading of the collection with sound enhancements. 'Being a constant sound-seeker, I thought it would be more interesting to have some textures and treatments to break up the intimate voice recordings,' Von Till says of his decision to add some atmosphere to the spoken-word version of Harvestman. 'The background sounds used on some of the tracks were pieces related to No Wilderness Deep Enough that were either not used or repurposed to interweave further connections between my artistic output at this time of my life.'"
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2LP
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NR 114LP
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Double LP version. "Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner, available on vinyl for the first time, as well as CD and digital formats. When two independent and distinct spheres overlap, the resulting ellipse tends to emphasize the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time -- a sentiment which also rings true to some fifteen years later. The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of 'dance music,' Neurosis & Jarboe redefined all notions of their past -- and outlined the course of heavy music to come."
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CD
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NR 114CD
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"Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner, available on vinyl for the first time, as well as CD and digital formats. When two independent and distinct spheres overlap, the resulting ellipse tends to emphasize the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time -- a sentiment which also rings true to some fifteen years later. The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of 'dance music,' Neurosis & Jarboe redefined all notions of their past -- and outlined the course of heavy music to come."
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