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LP
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PSR 028LP
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"Sumer Is Icumen In is Quentin Thirionet's (Dhavali Giri, Pairi Daeza) debut album. Still, his musical escapades are vast and varied, based almost entirely on improvisation and live recordings, of which he occasionally distributes tapes without further information. Elusive to categorization and identification, unwilling to fix his musical activity under a stable pseudonym, his projects have ranged from gypsy jazz guitar swings, French traditional songs from Auvergne, and various experimental collaborations. Increasingly closer to electronic instrumentation, he crafted Maibaum, his first ever solo output. As the title goes, this may be a maypole on which his multicolored sonic visions spring about. Former rope access worker and currently a farmer of organic greens, Thirionet lives up to these lines of work as a musician. He assembles precisely what seems like a subtle balance between high manmade structures and soft fertilized soils; a high voltage pylon placed in a biotic landscape. It's all an even blend, spontaneous and steady, but this contraption comes from profound considerations. Armed with nothing more than a blackbox, a sequencer, a freeze pedal, and a tape player, Thirionet orchestrates a vivid rite of polished futures. At times reminiscent of Hans-Joachim Roedelius' enveloping arrangements, Maibaum's ambiances rely on mild repetitive patterns subsequently textured by prickling sprouts, mechanical dislocations and revamps that stoke and brighten the stirring motions. Jim O'Rourke's 'I'm Happy and I'm Singing' comes to mind in terms of its detailed and prismatic nature, but Sumer Is Incumen In has its particular narrative. It's a tale of regeneration, of spring's delicate procedures and allure, a celebration of gracious and fortunate junctions between nature and machinery. The album unfolds like a massive engine being made flesh to drift along the ether of a sultry land. The terrain turns pleasant and fertile in the title track; the colors and melodies of May start to unravel. Chromatic columns rise and define the scenery's depth of field breeding a synesthetic stream between crystal lights and warbling organisms... 'The Jeweled Grid' is a poem Quanta Qualia's lustrous metallic voice recites as a report of the album's phenomena. The thicket dissolves as the album concludes calmly in 'Le Concept De Chien N'aboie Pas.' Swaying under sieved solar light, leaves and branches tingle until the winds grow weak. All the warm creatures gathered along the way, and all those who danced around the maypole's splendid equilibrium now withdrew, folding up small to foster rebirth once again." --José Badía Berner
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LP
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PSR 024LP
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"Lethal Tender consists of the combined visions of Corum (of Timelash/Beguiling Isles) and newcomer 6-Ear colliding through a barrage of crunchy beats, off-kilter rhythms, hacked up speech synthesis, and bizarre melodies colliding and weaving to deliver a strange commentary of Americana industrial foolery a la Orange Milk Records, Sewn Leather, or even Herbie Hancock's Future Shock era chopped and screwed ripped and drippy on that special syrup. Funky, weird, and big but from a free-form noisy groove tip. Hard to pinpoint like a lot of Psychic Sounds releases, but intriguing as always. Mastered by Rashad Becker for an extra production punch, Empire of Illusion delivers a debut by these two heavy hitters that we're hoping to follow up from stat!" --Sarah H, PS
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LP
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PSR 027LP
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"What remarks can recall the pampered page when the subject shines through so many shaken seams? The remarks are for the producer of Quasimodo The Streetsweeper, the mysterious, though constantly revealing, CF, presenting himself here as Universal Cell Unlock. Christopher Forgues of Brown Recluse Alpha, Mark Lord, Kites, and author of blazetastic comic books. What remarks could remain after all that? However, one still finds this fresh pile of inviting and mature music, coated in the haunting haze of digital reverb. What premeditated remark could recharge reminisces of New York more than the city's newly appointed director of rodent mitigation? The lost legend of Tony Conrad running up the steps of a Manhattan church to meet the mysterious mad one playing the bells in the spire, Charlemagne Palestine. The bristles from the machines of swirling repetition that push parking brush to the side are repurposed here as pluckphonic metal keys, mined for their rich harmonic content. There are strategies taken from the decidedly unfocused on New York musical tradition of American and global capital-N Noise music. An invitation to a closed eye head bob is quickly revoked with a shock call to attentiveness. There's an attentiveness here. Across forty minutes of percussion music, with some stark electronic accouterments along the way, the focus on the form and compositional aspects is forgotten only to let the sounds build and interact without pesky human interruption. That's the remark to recall: remarkable music with new surprises pushed through." --Ben Kudler
Black and white double sided 11x17" hand stamped insert by CF. Mastered by Timothy Stollenwerk at Stereophonic Mastering. Full color cover with black poly lined inner sleeve. Limited edition pressing of 300 black vinyl.
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LP
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PSR 026LP
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"This duo of Eva Titania Soledad Van Deuren (Orphan Fairytale) and Tristan Vloeberghs create wondrous, shapeshifting soundworlds. Glyphs & Gods bounds through the airy on muted sparkles and amorphous melodies tinged with psychedelia. Van Deuren and Vloeberghs spiral skeletal rhythms into darkened corners like they're being chased by water ghosts from another dimension. The music flits from formless whimsy to blurred terror the deeper it goes. Moments in the glaciated ether step downward and spit out sonic shards of guitar rinse and resonant vocal spells. Going further into the core of Glyphs & Gods only gets stranger, and more enticing. Textural globules are cut into tiny bubbles by sharpened timbres, opening a space for haunted houses to make themselves at home. It's all a setup to punch through into some kind of celestial paradise where we levitate on synthetic winds and the stillness of never. Highly recommended." --Foxy Digitalis
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LP
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PSR 025LP
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"The moon is out and it's time for experiments in the Pacific Northwest. Enter the abode of Smegma Laboratories, dwelling of Ju Suk Reet Meate & Oblivia (The Tenses) whom are active in Los Angeles Free Music Society (LAFMS) notable collaborators with Merzbow, Wolf Eyes, John Wiese and infamous rock critic Richard Meltzer. It's late in the evening and they have invited fellow Smegmateer David Morgan along with synthesized sculptors Brenna Murphy & Birch Cooper of MSHR, and psychedelic shape-shifters Corum & Suzanne Stone of Million Brazilians. All have arrived to share conversation in a new potent brew of Sonic Fermentations about to be set into motion. A distant brass vibrates to initiate 'Batch 1' whetting the mug as we gaze through low glow haze of undulating electricity and nervous clatter. We are directly dipped into a volatile vat of saxophone trills, whistling lasers, conch moans, tense string vibrato, rattle snake shake, knife sharpening, gong burst, eastern flute, percussive clang, ratchet stir, guided all by the sway of upright bass to soothe the highly expressive ooze. Now activated, 'Batch 2' is too mutagenic for any container, a deep drank of sci-fi exotica concoction with psychotropic effects churned by a monstrous kalimba, canned laughter, radio broadcast fritz, eerie lap steel, double reed riff, all torched in a broth of stretching electrical beams. Suspense arrives by waiting for these themes to disintegrate and dissolve steering into unrecognizable forms. Once that happens, allure clashes with grotesque, contours between exhilaration and wailing dissolve, and the music becomes a current of unified instinct by this Psychic Sounds Ensemble. Sip it or shoot it, either way will result in stimulating both head and visceral.' --Karen K. Full color Folkways style wrap-around cover. Hand stamped & metallic screen printed insert. Mastered by Timothy Stollenwerk. Limited pressing of 200."
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