4 x 6
Enviro 100lb cover
“Vignettes and poems of loss, longing, learning, and life. Honest reflections and thoughtful provocations – relatable, raw, and unnerving.” -Gibby Miller
Delroy Edwards has come a long way. 2012 marked his introduction into the world of Dance Music via Ron Morelli’s Imprint LIES. After offering up essential dance floor singles like ‘4 Club Use Only’ and ‘Heart and Soul’ Edwards’ established himself as a producer with a unique touch and style. With a growing desire to control his own output and make a more significant statement, Delroy set off to start his own imprint, L.A. CLUB RESOURCE.
Creatively directing his own imprint became a platform for him and over the course of two years L.A.C.R. created one of the most palpable musical experiences in the field. The label released music in a range of styles from a span of generations, the only constant was the high output and stellar art direction. Many releases produced by the label head himself, Delroy’s production were lauded for their piercing simplicity, grace and attitude.
In his first LP for the label, Edwards’ has arranged a sincerely personal moment. The 30-track effort marks a special moment in his growth blending current interests in punk and electronics into an outsider narrative like no other. From Devo to J Dilla the influences across the record are subtle but respectful. Regardless of influence, Hanging at the Beach feels unequivocally new. Experiencing the LP for the first time speaks to the Californian experience in its full range. Certain moments call to the beaches of Monterey while others speak to the sleeze that lines Hollywood Blvd. Edwards doesn’t distance himself from the production style that has defined him and the label, but this effort is a long playing collection, a directed, new moment for the prolific producer.
A2 Wide Awake
B Labyrinths I-XII
“Kaitlyn’s solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory.”
Limited Edition of 100 copies.
Mono No Aware is the first compilation to be released on PAN, curated unreleased ambient tracks from both new and existing PAN artists. Featuring Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, ADR, Bill Kouligas and more.
“Mono No Aware”, ‘the pathos of things’, also translates as “an empathy toward things”, or “a sensitivity to ephemera”. A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life’s transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present.
The album is mastered and cut by Rashad Becker at D&M, featuring photography by Molly Matalon and design by Bill Kouligas. A Limited Version of 100 copies will be released as a special art edition in collaboration with Mount Analog for Printed Matter’s LA Art Book Fair 2017 (spanning Feb 23-26). All copies arrive with photo print and hand-stamped vinyl, copies sold onsite are also hand-numbered and signed by artist. Limited pre-order release via Mount Analog shipping March 1.
A1. Kareem Lotfy – Fr3sh (03:52)
A2. Malibu – Held (06:22)
A3. Yves Tumor – Limerence (05:29)
A4. HELM – Eliminator (03:27)
B1. ADR – Open Invitation (04 :49)
B2. AYYA – Second Mistake (07:16)
B3. Flora Yin-Wong – Lugere (02:47)
B4. Mya Gomez – justforu (05:31)
C1. Bill Kouligas – VXOMEG (03:36)
C2. Jef Witscher – ok, American Medium (06:19)
C3. TCF – C6 81 56 28 09 34 31 D2 F9 9C D6 BD 92 ED FC 6F 6C A9 D4 88 95 8C 53 B4 55 DF 38 C4 AB E7 72 13 (0 3 :4 3)
C4. James K feat. Eve Essex – Stretch Deep (04 :20)
D1. SKYH1 – Huit (03:51)
D2. M.E.S.H. – Exasthrus (Pane) (03:44)
D3. Oli XL – Heretic (04:17)
D4 . HVAD & Pan Daijing – Zhao Hua (06 :47)
L.A.-based Brazilian producer Jesse Pimenta a.k.a Dreams with a trio of tuffened club constructions for his own label, Private Selection Records. Up front, ‘Energy’ and ‘Twisted Karma’ bring a percussive pressure recalling work from Tessela, Randomer or The Zenker Brothers, but the B-side is a different beast altogether, twysting-a-belly with a grinding, mutant techno torque.
On Dither he gets down with a urgent, trippy sound primed for foggy, redlit basements – creeping up on ya with the tightly tucked and paranoid funk of Time For The Tumult, and a nastier electro rhythm named Parodist that sounds a bit like Beua Wanzer, whereas the flipside twists off two microtonal jack tracks in Spinebash and the acidic flutter of F.T.H.
World-renowned as one of experimental music’s most vital and impressionistic composers of the past few decades, William Basinski’s tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener’s psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled “For David Robert Jones.” Conversely, the title track, “A Shadow In Time,” is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to – or wrung from – tape.
Wielding a left-handed guitar, Deb employs a unique style of
arpeggiated finger picking, producing vast and organic musical textures reminiscent of Vinny Reilly (Durutti Column) with the anthemic power of Sisters of Mercy and Cocteau Twins. In the past two years Deb has been invited to support bands such as Cold Cave, Psychic TV, Clan of Xymox, The Frozen Autumn, Prayers, and label mates Youth Code and King Dude.
From its incarnation, Drab Majesty was a solo act; an interplay between guitar and triggered machines. In 2016, with growing audiences and heightened interest, Drab expanded into a duo, employing the keyboard accompaniment of far-out twin, Mona D – filling out frequencies and upping the spectacle of the live performance.
New label from P Relief and Suzanne Kraft based between Los Angeles & Amsterdam.
Lush, ambient house jams!!!
”ATTENTION ”DJ” Due to a factory error, it is advised you adjust your tonearm before playing P2 [El Nino] to ensure undisturbed playback and a more enjoyable experience.”
Taylor Burch and Joe Chocherell’s DVA Damas project has always inhabited a sound space all of its own. While heavily influenced by post-punk rock, new wave and minimal wave synth-pop, quite a few of their records also draw on contemporary minimal techno and Visionquest style tech-house. It’s the latter that comes to the fore on “Clear Cut”, with Burch’s stylized, groaning, Mascara-clad vocal riding a dubby, hypnotic tech-house groove and spiraling, EBM electronics. It stretches out for a mesmerizing 10 minutes, too, and subsequently overshadows the fine – but not quite as potent – bonus tracks.
New far out tape from SFV Acid!
Building on the breakthrough of her “Glacial Glow” album, and coming off of tours opening for St. Vincent and The Jesus Lizard (something that only makes equal sense for Noveller), guitarist and filmmaker Sarah Lipstate emerged with what AllMusic called “an incredible and complex statement, and one that clearly stands as a challenge to herself and her audience alike.” The album. “No Dreams” would continue to elevate her songwriting and soundscaping to new heights, with Pitchfork raving; “Sarah Lipstate creates miniature musical worlds, places that you feel like you’ll never leave as long as the record is playing.” Lipstate, a former member of Parts & Labour and Cold Cave, as well as a collaborator with such luminaries as Lee Renaldo and Jim Thirlwell, along with being a member of both Rhys Chatham’s Guitar Army and Glenn Branca’s 100 Guitar Ensemble, has emerged as one of the most exciting and interesting guitarists of this era. “No Dreams” cements her as a talent on the rise.
2xLP 10″ Black Vinyl of Instrumentalepathy housed in deluxe gatefold tip-on jacket.
Includes unlimited streaming of Instrumentalepathy via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
A1 Pathetic Dreams
Featuring – Kid Moxie, Miguel Atwood-Ferguson
A2 Good Morning
Featuring – GonjaSufi
B1 Warm Wind (Frimpong)
Featuring – Amir Yaghmai
B2 Residual Tingles
B3 The Butcher
Featuring – Mophono
C1 Friendship (Interlude)
C2 Gammalaser Kill
Featuring – MRR, Malcom Catto
C3 Life Guard Tower #22
Featuring – Amir Yaghmai
D1 Listen For My Whistle
D2 Shred You To Bits
“Instrumentalepathy features an impressive cast of artists tied closely to GLK over his music career with Brainfeeder, Low End Theory and beyond. Guests include Gonjasufi, Miguel Atwood Ferguson, Niki Randa, Kid Moxie, Mophono, Amir Yaghmai and The Heliocentrics. It’s been over a decade since GLK and Gonjasufi have collaborated on new music, bringing the two natives of San Diego back together for something truly special.
As many know, GLK used the triumphs of battling a near death experience three years ago when shaping his debut Cuss Records album. A handful of the tracks were even captured from his bed, unable to walk, with morphine running through his veins and staples in his body. A musical illumination that one could argue helped save his life and steared him towards the achievements he has accumulated with his live band The Gaslamp Killer Experience. Instrumentalepathy marks the catalyst point of an important road for GLK and the electronic community at large.
Instrumentelephy, like his latest releases, continues down the rabbit hole of his debut full length Breakthrough (Brainfeeder) and the recent live record with his band The Gaslamp Killer Experience. Molding psychedelic ethos and heavy drum breaks with the traditional music language of his ancestors and the futuristic landscapes of modern electronica, GLK continues to push the boundaries of contemporary music.”
ltd-3 features new solo work from montreal’s karl fousek, who has sold out several stellar releases on denmark’s phinery tapes, canada’s adhesive sounds, and most recently, his collaborative effort as fousek / hanson / tellier-craig for la’s spring break tapes. limited to 75 numbered copies.
In this self titled cassette, artist Eric Avery explores less traditional sonic territory with modular synthesizers and gorgeous effects chains. Limited to 75 numbered copies.