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CD
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SOL 198CD
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$15.50
PREORDER
RELEASE DATE: 6/5/2026
"Robin Storey, recording as Rapoon since 1992, has more than one hundred albums in his discography. His music pulls inspiration from Eastern traditions, merging rhythms, electronics, samples and instruments into captivating ambient soundtracks that defy easy categorization. Asked about this project, Robin says 'I have long been interested in comic book art and when Matt contacted me about a collaboration I was immediately interested. He sent me some frames and I was blown away by the artwork. I found that adding a musical score to the drawings and the story outline came very naturally as I identified very much with the character and the situation. It was at once humorous and enchanting. I hope I have done the artwork justice.' Matt Howarth has made his name with his comic books and graphic novels over a career stretching back to the mid-1970's. Many of his works have a science fiction theme, but electronic and alternative music has always inspired him, leading him to projects with countless musicians. Soleilmoon is pleased to be releasing this captivating cross-disciplinary cooperative project by two of the label's favorite artists."
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Book
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KPUS 619826BK
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$46.00
PREORDER
RELEASE DATE: 6/5/2026
"Hardcover, 468 pages. In the wake of his Cause And Effect cassette label and distribution service, Hal McGee launched Electronic Cottage International Magazine. Running from 1989 to 1991, its six issues focused on the independent home recording community -- artists who had developed their craft in the post-punk DIY era. The contributors were nearly all members of the hometaper community. The magazine featured articles providing helpful tips and highlighted the challenges hometapers faced. It included insightful artist and label profiles. And it could be a hotbed of controversy and debate. Though its mission was to serve the hometaper community, Electronic Cottage's coverage of independent music contributed as much as any of the era's publications. The 468 pages produced stand as crucial documents of an era that was melting into the next. Foreword by Jerry Kranitz, author of Cassette Culture: Homemade Music and the Creative Spirit in the PreInternet Age. Design by Studio Bertin."
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KPUS 619819BK
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$56.00
PREORDER
RELEASE DATE: 6/5/2026
Hardcover, 524 pages. "In the mid-1990s, Mason Jones of Charnel Music edited and published four thick, annual issues of Ongaku Otaku magazine. Operating from San Francisco, California, Mason's goal was to spread the word about the compelling independent music being produced in Japan. With dozens of interviews and articles, and many hundreds of reviews, the magazine was an influential voice, sharing words about Aube, Cornelius, Yamamoto Seiichi (Boredoms, Rovo, Omoide Hatoba), Shizuka, Jojo Hiroshige (Hijokaidan, Alchemy Records), MeltBanana, Ruins, KK Null, and many more. This facsimile edition brings the original pages to readers three decades later. Mason Jones has run the Charnel Music label since 1988, and has released many albums, both as a solo artist recording as Trance and as a member of SubArachnoid Space, Numinous Eye, and Collision Stories. He began visiting Japan regularly in the early '90s and arranged U.S. shows for many artists from Japan. Ongaku Otaku was a labor of love aided by many contributors to whom he remains grateful. Design by Studio Bertin."
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DVD/BOOK
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SDVD 003DVD
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$160.00
PREORDER
RELEASE DATE: 6/5/2026
DVD is NTSC, region free. "Ten years in the making, Brion Gysin's Dreamachine is being released by Soleilmoon Recordings, in cooperation with The Hafler Trio and Simply Superior. Gysin was a British-born Canadian painter and illustrator, best known for discovering 'cut-up' writing, the technique made famous by William S. Burroughs. With the assistance of Ian Sommerville, Gysin invented the Dreamachine, which at its essence is a rotating cylinder with a light hanging inside it. The user sits or stands in front of it, very near, with eyes closed. As it rotates, slots cut in the side allow flashes of light to hit the user's eyelids 8 or 13 times per second, matching the rate of Alpha waves produced by the brain during meditation or the early stages of sleep. The inspiration for the Dreamachine came to Gysin when he was traveling by bus along a road lined with tall trees. It was a transformational moment in Gysin's life, and the first Dreamachine was created in 1961, after more than two years of experimentation and tinkering. The package released by Soleilmoon includes a fully functional Dreamachine, designed to Brion Gysin's specifications, printed and diecut on sturdy, flexible and long-lasting vinyl. It's ready for use, right out of the box. Simply connect the overlapping velcro-lined edges, center the cylinder on an LP, lock it in place with a few pieces of sticky tape and then place it on a turntable, preferably one that can rotate at 78 RPM, although 45 RPM will work, too. Hang a lightbulb inside, then seat yourself near the rotating cylinder, close your eyes and wait for the dreamstate to be induced. An accompanying book includes three essays written by Andrew McKenzie, excerpts from a previously unpublished 1980 interview with Brion Gysin, and extensive notes on the dreamachine itself, written by McKenzie. The DVD contains four distinct sections, beginning with 'Pirate TV,' a 45 minute documentary film produced by Rabotnik TV and first aired in Amsterdam in 1988. This program was later released on VHS video by Staalplaat and Soleilmoon. Next is 'Aorta,' a short documentary on the first public exhibition of the Dreamachine 1988, in Amsterdam. Andrew McKenzie's 2008 lecture at CPH:DOX Statens Museum for Kunst in Copenhagen follows. At the conclusion of the lecture the camera cuts an adjoining room where several Dreamachines are operating. The final section of the DVD features three audio-visual pieces, with sound composed by Andrew McKenzie. All of the audio material on the DVD is intended to be played on a 5.1 surround system, but is compatible with stereo equipment."
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Cassette
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SOL 206CS
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$17.00
PREORDER
RELEASE DATE: 5/29/2026
"Back in 1987, Clive Barker's supernatural body-horror classic Hellraiser hit cinemas worldwide and introduced audiences to the demonic Cenobites. Barker was a devoted Coil fan (Peter Christopherson and John Balance), and he famously said they were the only band he'd ever heard on record whose music he'd had to take off because, in his words, 'they made his bowels churn.' He initially invited them to compose the film's music, and the group began recording cues. But the producers at New World Pictures ultimately rejected the material in favor of a more traditional approach, bringing in Christopher Young, whose final score remains excellent, if less experimental. What remains from Coil is an unfinished soundtrack with surviving fragments and rough ideas, abruptly left behind mid-process, a glimpse into an alternate Hellraiser movie, one listeners can only fantasize into existence. Nearly 40 years after the first Soleilmoon cassette edition was released, key long-term collaborator and Coil's 'secret third member' Danny Hyde located the original Hellraiser studio session tapes, and the bonus material recovered from them is presented here as an 'expanded ritual' edition, reassembled into a standalone, possibly definitive and strangely beautiful nightmare suite. Play it in the dark and experience the consequences of raising hell. Notes by Danny Hyde. Original artwork by Trevor Brown."
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SOL 207CD
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$17.00
PREORDER
RELEASE DATE: 5/1/2026
"In 2023, Nigel Ayers, PBK, and Allan Zane collaborated on the striking CD This Home Stands on Ancient Bones, a work described as a 'requiem for humanity' -- meditative, emotionally charged, and deeply introspective. Cartology of Shadows now emerges as the next chapter in this evolving project. For this phase, the collective widens its perceptual field with the addition of a fourth voice: Kirk Wilson, a long-time friend and collaborator of Allan Zane. Experienced from a vantage point deep within the void, Cartology of Shadows unfolds as a fractal descent into the most distorted and bleak regions of human experience. Anchored by the spoken-word prose of Nigel Ayers, the release is steeped in existential dread and inward-turned scrutiny, drawing the listener into an intense metaphysical passage through Jungian archetypes, surreal imagery, and beyond. Nigel Ayers, to many, needs no introduction. Ayers is the founding member of The Pump and Nocturnal Emissions. Emerging from the U.S. cassette underground of the 1980s, Phillip B. Klingler, aka PBK, has forged a singular body of work across multiple formats, releasing many albums internationally, and defining a strain of sound rooted in electroacoustic practice, industrial music, and free improvisation. His instinctive turntable/synthesizer-driven compositions conjure dense but atmospheric sound worlds of unknown origin, which PBK has referred to as 'noise-ambient audio.' Kirk Wilson is an artist in his own right. In addition to being a formally trained art student and photographer, Wilson's work also extends into sound design and music. Allan Zane is best known for his 'Dark Ambient' work as WYRM. In recent years, Zane has primarily focused his attention to his long-standing project, Le Scrambled Debutante. Accurately referred to by Richard Rupenus as an 'absurdity blender,' Le Scrambled Debutante bends audio data (as well as listener's minds) into compositions of haute-buffoonery paralleled by none. In much the same way as This Home Stands On Ancient Bones was originally conceived, PBK was the impetus for Cartology Of Shadows as well. Seeking to return to the organic, intuitive camaraderie that defined the earlier collaboration, PBK approached Allan Zane with the idea of extending the previous work. Always eager to engage in new creative exchanges, Zane in turn invited the other contributors to participate in the project. With all parties aligned, Cartology of Shadows quickly took on a life of its own. Limited edition of 100 copies."
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SOL 203CD
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"In 1990, CM von Hausswolff, while on a tour in the United States with Karkowski/Bilting, PHAUSS, and The Hafler Trio, visited Dale Travous' CCD2 Laboratory located in the basement of the Kalberer Hotel Supply building in Seattle. Travous, who had a keen interest in the scientific and artistic contributions of Nikola Tesla, had constructed a large Tesla coil in his laboratory. During this visit, CM von Hausswolff recorded a demonstration of the coil, and the resulting sound was incorporated into PHAUSS' composition, 'Nothing But The Truth,' which was released on compact disc in 1991 by the Anckarström label in Gothenburg, Sweden, and later re-released in 2022 by Room40 in Brisbane, Australia. This meeting with Travous also led to a collaboration involving The Hafler Trio/PHAUSS and Annie Sprinkle, aimed at advocating for NATO's withdrawal from Iceland. The project utilized two Megavolt Tesla Transmitters, which included four Hewlett Packard function generators, a laser modulator, an SW receiver, and metal runes, culminating in a video and a series of photographs taken by Arthur S. Aubry. The sounds produced by these Tesla coils have been integrated into this production. In 1973, the Federal Electrical Commission in Mexico City was involved in the production of a television program for Canal 4 (Channel 4) designed to highlight Nikola Tesla's sound experiments with turbines and wireless resonant electric circuits. This initiative was named 'Visible Sound.' Ultimately, due to concerns regarding low viewership, the decision was made not to air the show. Since then, it has been classified as 'Lost Media,' archived within annals of the now-defunct Canal 4 in Mexico City. During the sound experiments, members of the Commission employed early synthesizers and circuit boards to capture and manipulate the vibrations produced by these devices. Fast forward to 2024, Telekinett successfully obtained these important recordings, which had been preserved on magnetic tape by a former employee who had worked on their optimization and mastering."
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Book w/CD
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SOL 199BK
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"On the Borderline is two books in one: It's an autobiography by Robin Storey, the musician best known as Rapoon. And it's a comprehensive survey of his parallel career as a visual artist. Rounding out the package is compact disc containing all-new recordings, attached inside the front cover. Robin Storey's autobiography starts with a unvarnished review of his early years growing up in a hardscrabble village near the Scottish border, in the far north of England. He was often cold and hungry, dressed in second-hand clothes, foraging for wild mushrooms, or turnips and carrots pilfered from fields near his home, where he shared meals with his parents and four siblings. His introduction to art preceded his experiments in music, both of which are examined in detail. He covers his days playing football, attending art school, meeting girls, dabbling in improvisational music, working as a graphic artist, living in a variety of precarious situations, and eventually finding himself making music as a co-founder of Zoviet France. Gigs around England and Europe followed, along with marriage, fatherhood, and a more settled existence. The majority of the book is given over to a comprehensive review of Robin Storey's output as a visual artist. His paintings regularly appear on the jackets of his albums, but only a fraction of his work has been widely published, and the second portion of On the Borderline is filled with page after page of rarely seen paintings and charcoal drawings. The images are grouped chronologically, allowing readers to appreciate the progress and evolution of his artistic style. There are more than 100 pages of color and black-and-white images, starting in the 1970s and carrying forward into 2020s. It's an enchanting collection of sensuously drawn charcoal nudes, abstract or impressionist patterns evoking primordial landscapes, alien voyagers, and vibrating hallucinations usually visible only to ancient shamans. On the Borderline is a hardcover book with 176 pages, most printed in color. Limited edition of 400 copies. A new compact disc recording A Dark Telling is mounted inside the cover."
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SOL 202CD
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"Compact disc in digipak packaging. Limited edition of 250 copies. Simon Fisher Turner is an English musician and difficult cat to pill. His acting career began with numerous appearances in British television productions when he was in his teens. He's not actually very happy with those years now, but hey, what can you do! By the time he was in his 20s he was pursuing twin acting and musical paths, appearing in television and film rolls while performing in a variety of bands. In his 30s he abandoned acting completely while continuing to explore new forms of musical expression, which with the passing of time became ever more inventive and adventurous. To this day he stands with both feet in film and music, simultaneously scoring films, documentaries and composing site specific soundtracks and producing music all over the world. An outsider."
"As the performer and composer of this piece I would invite you to be experimental in your use with this music for your films. I would be happy if you used it in any way you want, which these days means 'manipulate at your leisure' with as much technology as you feel, or not perhaps. Myself, I love to slow these pieces down, or drop them two octaves for a section or not. Please experiment and edit and re/edit backwards or forwards whenever you feel the urge. If you feel it. Some of these pieces are also very happy just sitting under your film doing nothing. A bit like a jam filling in a cake. Just filling a visual space with sounds. Unspecific. Vague. Just being in your film. They love this role a lot. Sitting. Doing very little. Taking up space but never crowding the frame. You may want to re/sample some of this music. Please feel free. The music here is all for you to play with. I have no idea how I made it either, that doesn't really matter does it? But I try to be simple and strong." --Simon Fisher Turner
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SOL 201CD
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"Compact disc in digipak packaging. Limited edition of 250 copies. Simon Fisher Turner is an English musician and difficult cat to pill. His acting career began with numerous appearances in British television productions when he was in his teens. He's not actually very happy with those years now, but hey, what can you do! By the time he was in his 20s he was pursuing twin acting and musical paths, appearing in television and film rolls while performing in a variety of bands. In his 30s he abandoned acting completely while continuing to explore new forms of musical expression, which with the passing of time became ever more inventive and adventurous. To this day he stands with both feet in film and music, simultaneously scoring films, documentaries and composing site specific soundtracks and producing music all over the world. An outsider."
"This score was commissioned for the film Symphony of a Great City by Walther Ruttmann. The musicians I choose to perform it with were Klara Lewis and Rainier Lericolais. I made the backing track using tones and pitches from MARX on Abletone Live. I then sent Klara and Rainier all my home recordings through the years I made when visiting Berlin, from the mid-eighties to the present day. The idea was that they could process anything from my source tapes, and not use anything else. This to me seemed an interesting idea, as then all the sounds would come from various times from the city and surrounding countryside itself. All of the sounds were recorded while I made music for two films. Cycling the Frame (1988) and The Invisible Frame (2009) by Cynthia Beatt. One was shot before the Soviet-era wall dividing the city came down, and the other afterwards. My original sounds for Cycling the Frame were recorded on cassette and I used a Casio SK1 sampler and a Revox to track and mix on. Sounds on The Invisible Frame were all recorded digitally on a Roland Edirol recorder. Time passes and technology moves forwards. I had a dozen or so dub plates made from these recordings, and Rainier was in control of the wind-up gramophone player we used to start the concerts with. I also had a piano. We have never been able to record this music properly in the studio, so I thought let's just release Backing Track so everyone can have a go and make their own version." --Simon Fisher Turner
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3CD
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SOL 187CD
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"The Legendary Pink Dots classic psychedelic masterwork from 1991 is released now with all the bonus tracks previously available on the extremely limited (and expensive) 5LP box set from 2015. In addition to the original album, remastered by Edward Ka-Spel, two additional CDs of material from the same recording sessions are presented here. It's all packed into an eight-panel digipak with a 12-page booklet with lyrics and notes about the recordings. It's three hours of music in one package!"
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SOL 190CD
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"... It's the first thirteen years or so of our children's lives made into cute and cruel songs of experimentation and, yes, chaos again. So, from the first heartbeat (not included here) to just under two years ago, I randomly and sometimes secretly recorded them singing or talking, often encouraged of course by me. That's what parents do. I recorded for 13 years. It's rather wonderful to have sound documents as opposed to pictures. Luckily I have both and I'm still rediscovering forgotten sounds even now. This is a music/sound diary (perhaps) of the frankly mad, cute, annoying, moving, innocent, loud, loving, embarrassing, noises of their lives up to now, as recorded and messed up by me, as in messed-up-and-I-don't-care, but do I care. I try to edit with clarity where needed, but otherwise the vocals and ideas are pretty raw and unaltered for the sweeter market of pop . . . I was a dad with slithers time on my hands and a Mac I could barely understand. I made tracks/songs, whatever you want to call them between cooking, cleaning, bathing, shopping, driving, and sleeping ad infinitum. It's the three of us mainly, with The Elysian Quartet thrown together for The Mighty Dinosaur song, but I'm the leader, the captain of the ship. You always need a Captain and they were my sonic crewmates, even though they were often press-ganged into service reluctantly. There will be no Volume Two. They've eventually got really fed up with me doing this, and I can't blame them one bit, but when faced with all these bits of songs or, fragments of stuff, what do you do? Throw them in the bin, give them to them on their wedding day and really make them cringe? No. The best thing to do is to compile them like a mix tape and keep your fingers crossed that someday, someone might be interested in releasing a compilation of this madness. Charles Powne from Soleilmoon Recordings came to the rescue, in that he mentioned somehow whether I'd heard of an LP of children's songs. I hadn't in fact, but I told him about these recordings I'd been making over the years. Isabella and Jasper I think are now probably incredibly pissed off with me, but you know, that's tough. Full stop. Now at 17 and 15 their childhoods are over. The illusions shattered. There is no pretence. They can watch the news, Snapchat at speed, and lurk on the net who knows where. Innocence has gone, battered out of them by schools and the more serious and dull adults that surround them. They were the funniest and most amusing two smaller people imaginable, but now, they're Teenagers... Aaahhhhh. They've opinions, they're brighter than me, better looking, funnier, nicer clothes, better humour and taste, and they've more friends than me too. The job is done. 'm sadly responsible for the musical settings they happen to find themselves in, although, quite often all the music or at least some of it is made up from their noises too. We like a noise here and there and we love to dance on a Friday night. One of the beauties of this sort of music is that there are no rules. We could all do with this sort of freedom, in not just music, but film, cooking, and storytelling. A child's imagination is the finest open canvas ever..." Simon Fisher Turner, London, June 25, 2020
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SOL 190LP
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LP version. "... It's the first thirteen years or so of our children's lives made into cute and cruel songs of experimentation and, yes, chaos again. So, from the first heartbeat (not included here) to just under two years ago, I randomly and sometimes secretly recorded them singing or talking, often encouraged of course by me. That's what parents do. I recorded for 13 years. It's rather wonderful to have sound documents as opposed to pictures. Luckily I have both and I'm still rediscovering forgotten sounds even now. This is a music/sound diary (perhaps) of the frankly mad, cute, annoying, moving, innocent, loud, loving, embarrassing, noises of their lives up to now, as recorded and messed up by me, as in messed-up-and-I-don't-care, but do I care. I try to edit with clarity where needed, but otherwise the vocals and ideas are pretty raw and unaltered for the sweeter market of pop . . . I was a dad with slithers time on my hands and a Mac I could barely understand. I made tracks/songs, whatever you want to call them between cooking, cleaning, bathing, shopping, driving, and sleeping ad infinitum. It's the three of us mainly, with The Elysian Quartet thrown together for The Mighty Dinosaur song, but I'm the leader, the captain of the ship. You always need a Captain and they were my sonic crewmates, even though they were often press-ganged into service reluctantly. There will be no Volume Two. They've eventually got really fed up with me doing this, and I can't blame them one bit, but when faced with all these bits of songs or, fragments of stuff, what do you do? Throw them in the bin, give them to them on their wedding day and really make them cringe? No. The best thing to do is to compile them like a mix tape and keep your fingers crossed that someday, someone might be interested in releasing a compilation of this madness. Charles Powne from Soleilmoon Recordings came to the rescue, in that he mentioned somehow whether I'd heard of an LP of children's songs. I hadn't in fact, but I told him about these recordings I'd been making over the years. Isabella and Jasper I think are now probably incredibly pissed off with me, but you know, that's tough. Full stop. Now at 17 and 15 their childhoods are over. The illusions shattered. There is no pretence. They can watch the news, Snapchat at speed, and lurk on the net who knows where. Innocence has gone, battered out of them by schools and the more serious and dull adults that surround them. They were the funniest and most amusing two smaller people imaginable, but now, they're Teenagers... Aaahhhhh. They've opinions, they're brighter than me, better looking, funnier, nicer clothes, better humour and taste, and they've more friends than me too. The job is done. 'm sadly responsible for the musical settings they happen to find themselves in, although, quite often all the music or at least some of it is made up from their noises too. We like a noise here and there and we love to dance on a Friday night. One of the beauties of this sort of music is that there are no rules. We could all do with this sort of freedom, in not just music, but film, cooking, and storytelling. A child's imagination is the finest open canvas ever..." Simon Fisher Turner, London, June 25, 2020
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PORTO 13282CD
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"Porto is the only authorized live recording of a Coil live performance. Coil performed on 21 June 2003 at the Casa da Música Festival in Porto, Portugal. Present on stage that night were Peter Christopherson, Ossian Brown and Thighpaulsandra. John Balance was not part of the lineup, possibly due to his drug and alcohol addictions. Because of his absence the music on this recording is entirely instrumental. The show was also notable for being Ossian's last appearance with Coil."
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SOL 196CD
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"'Would you be able to stand in for me in Paris, for a tribute to Derek? - Of course! Besides, I think Gen is participating there with Thee Majesty. - Yes, absolutely. They're going to do a new performance of In The Shadow Of The Sun. - Different from the one we did as TG?! - Exactly. And I was going to create a new piece myself, different from the one Derek had commissioned me to write for The Art Of Mirrors. But something came up at the last minute and it would be a shame to miss this opportunity to pay tribute to him, which is why I'm calling you now. I assume that Derek would have been very pleased that one of us did it. - Alright, but what's the deadline? - You've got one month to get ready!' This is more or less how Simon Fisher Turner and Peter 'Sleazy' Christopherson made plans one morning in July 2004 -- on the occasion of the tenth anniversary of Derek Jarman's death -- in order to mount one of the greatest tributes the Étrange Festival has ever presented. Beyond his talents as a film maker, painter and botanist, Derek Jarman was an artist who seized in the best way the very essence of mutations unleashed by a whole generation, at the dawn of the 70's. As a privileged observer of the incredible deflagration brought about by the punk movement, the industrial music and gay liberation, he leaves behind him a fascinating and deeply moving work, in which the members of Throbbing Gristle, among others, took part. Unreleased before, this new work composed for several short movies is finally released. The ultimate gift from such a talented composer, and of whom there is still so much more to discover."
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SOL 194EP
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"This is a companion to the full-length album recorded by Edward Ka-Spel with Amanda Palmer. It consists of the two bonus tracks from the CD on side one, plus an exclusive new song on side two. All three songs are previously unreleased on vinyl. Limited edition of 227 copies, presented in a textured paper sleeve."
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SOL 185CD
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"Electric Sewer Age was conceived in 2006, a glowing spark in the imagination of John Deek of Divine Frequency. A brief, cryptic announcement in 2009, followed by a few rough tracks released online, heralded its birth. Announced with nothing more than the tagline 'an Infinity of Sewers thrown open beneath the Threshold House', little was known about this upcoming project other than it likely featured some involvement of former Coil legends Peter 'Sleazy' Christopherson and Danny Hyde, and perhaps, it was rumored, with the posthumous contributions of John Balance. Because Electric Sewer Age was intended to be an anonymous aural experiment meant to free the listeners mind of any preconceptions about who or what created it, little more was ever planned to be publicly revealed about the project, even after the first release. However, following the unexpected and untimely passing in 2010 of Christopherson, the first Electric Sewer Age EP became an epitaph to the loss of this peerless musician, for these were the last tracks he and his decades-long collaborator and friend Danny Hyde ever completed together. The music, originally intended to conclude Coil's 'Moon's Milk' series, was released on CD by Divine Frequency in 2012, and then on vinyl the next year by Danny Hyde. Both editions sold out quickly and have been unavailable until now. Moon's Milk In Final Phase consists of four ambient-electronic instrumentals, reissued by Soleilmoon Recordings."
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SOL 185LP
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LP version. Celestial black vinyl. Includes download code. Edition of 250. "Electric Sewer Age was conceived in 2006, a glowing spark in the imagination of John Deek of Divine Frequency. A brief, cryptic announcement in 2009, followed by a few rough tracks released online, heralded its birth. Announced with nothing more than the tagline 'an Infinity of Sewers thrown open beneath the Threshold House', little was known about this upcoming project other than it likely featured some involvement of former Coil legends Peter 'Sleazy' Christopherson and Danny Hyde, and perhaps, it was rumored, with the posthumous contributions of John Balance. Because Electric Sewer Age was intended to be an anonymous aural experiment meant to free the listeners mind of any preconceptions about who or what created it, little more was ever planned to be publicly revealed about the project, even after the first release. However, following the unexpected and untimely passing in 2010 of Christopherson, the first Electric Sewer Age EP became an epitaph to the loss of this peerless musician, for these were the last tracks he and his decades-long collaborator and friend Danny Hyde ever completed together. The music, originally intended to conclude Coil's 'Moon's Milk' series, was released on CD by Divine Frequency in 2012, and then on vinyl the next year by Danny Hyde. Both editions sold out quickly and have been unavailable until now. Moon's Milk In Final Phase consists of four ambient-electronic instrumentals, reissued by Soleilmoon Recordings."
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SOL 185LTD-LP
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LP version. Moon green vinyl. Includes download code. Edition of 250. "Electric Sewer Age was conceived in 2006, a glowing spark in the imagination of John Deek of Divine Frequency. A brief, cryptic announcement in 2009, followed by a few rough tracks released online, heralded its birth. Announced with nothing more than the tagline 'an Infinity of Sewers thrown open beneath the Threshold House', little was known about this upcoming project other than it likely featured some involvement of former Coil legends Peter 'Sleazy' Christopherson and Danny Hyde, and perhaps, it was rumored, with the posthumous contributions of John Balance. Because Electric Sewer Age was intended to be an anonymous aural experiment meant to free the listeners mind of any preconceptions about who or what created it, little more was ever planned to be publicly revealed about the project, even after the first release. However, following the unexpected and untimely passing in 2010 of Christopherson, the first Electric Sewer Age EP became an epitaph to the loss of this peerless musician, for these were the last tracks he and his decades-long collaborator and friend Danny Hyde ever completed together. The music, originally intended to conclude Coil's 'Moon's Milk' series, was released on CD by Divine Frequency in 2012, and then on vinyl the next year by Danny Hyde. Both editions sold out quickly and have been unavailable until now. Moon's Milk In Final Phase consists of four ambient-electronic instrumentals, reissued by Soleilmoon Recordings."
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CD
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SOL 194CD
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"There is a station where the train never arrives, where the Waiting Room is always occupied, where the conversation is inevitably awkward and where you're never quite alone, but perpetually almost alone. Ladies & Gentlemen, welcome to Station Yellow Moon, the final bastion of humanity, the last stuttering blip on the life support system, the domain where Access Is Denied perpetually - but who the Hell would want to go there anyhow? Well, some pay handsomely for the Great Escape, despite the risks... High On Station Yellow Moon is a new solo album by Edward Ka-spel of The Legendary Pink Dots, and marks the beginning of his collaboration with longtime friend and fellow traveller Amanda Palmer of the Dresden Dolls. It doesn't get more conceptual than this."
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LP
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SOL 194LP
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LP version. "There is a station where the train never arrives, where the Waiting Room is always occupied, where the conversation is inevitably awkward and where you're never quite alone, but perpetually almost alone. Ladies & Gentlemen, welcome to Station Yellow Moon, the final bastion of humanity, the last stuttering blip on the life support system, the domain where Access Is Denied perpetually - but who the Hell would want to go there anyhow? Well, some pay handsomely for the Great Escape, despite the risks... High On Station Yellow Moon is a new solo album by Edward Ka-spel of The Legendary Pink Dots, and marks the beginning of his collaboration with longtime friend and fellow traveller Amanda Palmer of the Dresden Dolls. It doesn't get more conceptual than this."
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2LP
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SOLV 013LP
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Sold out, 2020 repress forthcoming... "In 1991 The Legendary Pink Dots released The Maria Dimension, an album most accurately described in the band's own lexicon as 'Kaleidoscopic', composed of a blend of electronics, guitar and voice, with a generous helping of sitar, brass and woodwind instruments. The songs were recorded at the band's home studio following four weeks of improvisation and experimentation. The first vinyl edition of the album was released as an edited version of the CD, with the last six tracks sliced off. 25 years on, this edition contains the complete fourteen-song album on vinyl for the first time ever, and has been remastered for maximum listening pleasure. The albums are presented in a deluxe gatefold sleeve with tip-on printing, with lyrics, track list and band photo printed on the inner sleeves."
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2LP
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SOLV 013B-LP
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"Summer of 1990 was glorious. The Dots entered the studio on a high as The Crushed Velvet Apocalypse seemed to be embraced by a broad audience. Our label Play It Again Sam had been generous with the budget for a new record, and there was a spirit of daring adventure firing up the band. For the first month we pretty much jammed... and Bob captured many of these sessions on a small tape recorder placed in the middle of the studio. Bob had dusted off his sitar, Niels unearthed his monstrous kettle drums, Phil surrounded himself with synths and samplers. If it hadn't been for the mosquitoes we might have played through the nights. Driving to the studio each day was a challenge in itself, as the last stretch was just dirt-track with huge potholes to navigate around. There were other obstacles too: sand drifts, Highland cattle that stubbornly blocked the path and Konik horses - partial to nibbling the plastic wing mirrors and rubber tires on Phil's car. But... most dangerous of all were the nature walkers - they would shake their fists and rant about it being a nature reserve, and that cars were not allowed (always choosing to ignore that one board which read 'except for residents'). The albums are presented in a deluxe gatefold sleeve with tip-on printing, with lyrics, track list and band photo printed on the inner sleeves."
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LP
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SOL 192LP
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"Napoleonic Blues is the seventh album by Ostara, and their second release for Soleilmoon, following Paradise Down South (2013). Inspired by the famous picture of the defeated emperor at Fontainebleu, Napoleonic Blues is a reflection on the persistence of the past in the chaos of the present, history's long shadow that refuses to dissolve. Echoing lines from the Roman poet Horace, the battle hymns of the Crusades, the rebirth of the Islamic Caliphate, the siege of Gaza, the collapse of Detroit and the meditations of St John of the Cross, this is a journey through the night and fog that lingers like the smoke of an eternal flame. Eleven songs, linked by a chain of time, the ancient stalking the modern, the lamp of the golden age lit on the pyre of the darkest days. Richard Leviathan, formerly of Strength Through Joy, has enjoyed a long creative affiliation with Douglas Pearce of Death In June, who released Strength Through Joy's single 'Dark Rose' and two albums in the mid 1990s. Leviathan and Pearce collaborated on Death in June's Kapo! and Scorpion Wind with Boyd Rice and John Murphy in 1996. Ostara has been Leviathan's solo project since 2002 with six previous releases that have firmly established him in the neo-folk genre. Evocative titles, intellectually stimulating poetry, strong melodies, a feel for language, smooth clear voices and a polished professional sound characterize the work of Ostara. Limited edition of 265 copies, pressed on ultra-heavy 200 gram black vinyl. Includes lyric sheet."
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CD/BOOK
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SOL 188CD
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"Robin Storey, best known for his musical avatar Rapoon, has written his first book, a 68 page short story about a group of characters navigating an unfamiliar and changing world. A Pale Blue Door takes place in the past, the present and the future, and may involve time travel. The people in the story are trying to live their lives as best they can, but a mysterious spaceman floats in and out of view, affecting them in different ways, and never quite touching the ground. A Pale Blue Door is a tightly written, well paced tale that reveals its secrets slowly. Robin Storey's prose is concise and economical, engaging and seductive. The book begs to be read again and again. Accompanying the book is a 60 minute Rapoon CD, also titled A Pale Blue Door. The compositions utilise recordings of stars, manned space missions, radio signals and emissions made available through NASA's official website. There are also field recordings made on the marshlands of the Solway Firth in Cumberland."
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