An Interview with Longinus Records

8.13.21 by Matty McPherson

Back in Winter, an album out of South Korea quickly spread like wildfire around RYM, Bandcamp, and various other outlets. Anyone who was lucky enough to pick up a cassette of Parannoul’s To See the Next Part of the Dream may have noticed that it was the inaugural release (LR-001) of a new midwest upstart, Longinus Recordings. For the past few months, Matthew Cruz has turned what was a serendipitous act of good faith into a functioning label with three tape releases under its belt, a couple of digitals, and a sudden global cult following. His documentation via Instagram has been a worthwhile microblog to follow, even when it implied a hiatus was coming. Although there’s not going to be a sudden hiatus.

When Thomas of TBD Presents and I hopped on Zoom in late May to discuss Longinus, it was obvious that Matthew Cruz had infinite futures in mind, as well as an endless barrage of love for the artists he’d been working with. So, here’s the story of Longinus Records as it stands in Summer 2021 — how he found Parannoul, turned a one-off project into a real deal, and where the label is headed next — amongst a litany of other psychedelic curios and musings.

This interview was assembled through an open dialogue/conversation and we thank Mr. Cruz for being a cool fella!

Are there any labels that influenced Longinus when you started?

Now as far as record labels go, I don’t think there’s anything terribly differentiating between labels big or small; it’s the concept they produce. Labels rarely put mission statements and such on their releases.

Now if I had to choose one that I love, Factory Records and the Madchester scene. I loved that Tony Wilson gave his artists free reign to do whatever the hell they wanted. At that time in history, artists were subservient to the label, not the other way around. And yet, how Factory was operated became a catalyst for Madchester! Wilson’s unique DIY ethos being able to break that hold on how music was being produced and distributed really resonated with me.

Obviously, I don’t want to say my whole label is completely inspired by Factory Records because they collapsed after Happy Mondays’ garbage album “Yes Please!” and we’re not trying to do that with Longinus.

Can you tell us about your job and what you are currently doing?

So, I work at a college radio station and just started a summer internship with a large corporate fast food entity. In the past, I’ve been writing longforms about music. I remember in one of our team meetings, this one person was talking about how some people we’re [writing these longforms] to flex their music taste. To a degree, something I’d agree with. That’s not necessarily the point though; it’s about sharing the music you like. Coming from someone who has had a musical journey for 7 to 8 years. Some people are getting into music for longer or just recently. The longer you go, the more obscure you write. So part of what I do is be a fake tastemaker/journalist.

The stuff I write isn’t obscure. I’ve written about Gas’ Pop. That ambient techno that emulates LSD is my shit. I adore it to the point I have a test cassette of Pop! It sounds like a fake urban legend. I even dm’d Wolfgang Voight and a week later he got back and said if it looks like this, it is real! I can’t help but be thrilled I own that.

So, Psychedelia is kind of overarching how you listen to music and what you like? More so than shoegaze?

Honestly, I’d jokngly describe myself as a “fake as fuck” shoegaze fan. Yes, I love “the big three” a lot for their textures and emphasis on psychedelia. I’m someone who enjoys exploring psychedelia. I would consider Wolfgang Voight’s Gas as the zenith of Psychedelia, simply in terms of the way it replicates the effects of psychedelic drugs; it may not be stylistically psychedelic music but I’ve always been intrigued by “wall of sound” style music with grand production that gives off kaleidoscopic sounds that are vibrant and thick.

Although, I don’t explore shoegaze as an offshoot of psychedelia, I explore psychedelia as a concept and how they replicate the textures of it. As far as Shoegaze goes, I love a lot of Galaxie 500 and slowcore, fishmans… I don’t listen to a derivative of Loveless and think it’s garbage or M83’s Dead Cities and try to discover every underground shoegaze gem.

Like earlier this year, I got into a thing where I was only listening to Happy Mondays, the Stone Roses, and Leisure by Blur (which isn’t even that great of a record!) because I thought there were engrossing takes on Psychedelia.

What was the plotting out of Longinus Recordings, especially for the inaugural release (Parannoul’s To See the Next Part of the Dream)?

I was on RYM one day, sorting by new tunes to see if there was something I could flex on my co-workers and friends. And I found this album by this South Korean individual going by the name of Parannoul—it had 100 ratings or so at the time which is a decent amount for a DIY record, but in the grand scheme of things isn’t that much. Before I was just listening to the Stone Roses or something and I decided to throw it on after. It was a definite “a-ha!” moment, like listening to Twin Fantasy for the first time and realizing “this is gonna be a visionary piece of music that will be influential.” It’s kind of surreal having listened to To See the Next Part of the Dream and it was as good as it is while NOBODY knew about it! I was in that moment when I realized “Holy shit! I wanna do something with this!”

So I emailed Parannoul at like two in the morning. I think I verbatim told Parannoul that it was “visionary” or some other high praise and asked if I could press cassettes of it. I’m not a musician nor a professional tape label; I had never had experience with this, but I was just so enthralled and impressed by his album, that I was more than willing to front the costs and make these tapes. Then I got an email a day later with a confirmation, and then it kicked in that I own a tape label now…

Yup, so I started designing the Jcard. The first one I did, was really really shitty, because I wanted to lock down this proof-of-concept so that people could see it was real! I literally modeled it off of Twin Fantasy, making a basic Jcard that would work for all intents and purposes.

I had thought, “okay, I can go on Amazon and purchase 30 cassettes and dub them with my Nakamichi BX-150, a $5 goodwill purchase! I had envisioned that this album was likely to fade into obscurity and that I could say “Hey, I made a cassette once!” and that I would have made a legitimate physical copy of Parannoul’s music and we would part ways. We really did think we would only sell 30 tapes if we were lucky. 

I kind of realized that I was getting in over my head when the initial test batch of 30 tapes sold out in two hours. At this time, Parannoul had doubled on RYM to over 200 ratings where it was consistently at the top for the early “Top 40 of 2021” list. With not a lot of major album competition at this time, it was finding an audience. So, the release and success was truly serendipitous. I could not make the time to efficiently produce another run in house, so I turned things over to professional duplication. I had sold 100 of them…and then the Pitchfork review came out, which really put it in scope how special this type of music had come out was for a lot of people.

Yeah, you can even see this with Home is Where and Hey ILY, these burgeoning emo acts that threw their releases out on tape and have kind of blown up thanks in part to that network of critics.

Yeah! With Parannoul, Ian Cohen literally posted on Twitter something like “Hey this album with a blue smokestack is getting a lot of buzz on music forms…” and I realized we were likely gonna get a review. I love Ian Cohen, and in every sense of the word that guy is a tastemaker. As someone who participated in the vibrant DIY scene in Michigan, it was really awesome to him to champion bands like Dogleg that didn’t seem like they would otherwise get attention. Their BNM sorta smashed the stigma of “good midwest emo/DIY records that are capped at mid 7.0s”.

For the record, I used to follow the DIY scene rumbling across the Midwest more often. I attended those last two years of Bloodfest, which was basically the emo scene’s Lollapalooza. It was so fun, with a lot of bands of all kinds getting together to play at a Michigan High School! It was too perfect and I can’t believe they allowed that to happen.

Have you found or listened to artists like Asian Glow through critics, other extremely online artists, or on Bandcamp? 

I had not listened to these albums or artists before. Total blind listens! While I had seen Home is Where’s “fifth wave emo” image going around, all of my artists I have found through Bandcamp or RYM. When I did find the album, I did start digging into Asian Glow on Bandcamp and saw a web of connections. Most notably that both were in Seoul, South Korea. People were not tuned into this at the time, but if you started checking the trending for Seoul, it was picking up.

It was another “eureka” moment with Cull Ficle. I was hearing a bunch of reference points from those shoegaze tinges to the Microphones; passionately written songs with math rock melodies. Of course I wanted to press it on tape! And its fifty tape run took three days to sell out, with orders being placed all over the world! We got orders from the UK, Sweden, and a lot from South Korea!

Your Instagram has been a nice microblog of the label’s status. Although is it going on Hiatus for the summer?

Oh no, I fucking lied through my teeth! I figured it might slow down, and yet while I was talking with sonhos tomam conta, the brazilian blackgaze artist (and third release on Longinus), I kinda realized just how big the label is getting. Not many tape labels ever have that advantage of having their first release be a huge album that blows up. Thus, I am going to consolidate Longinus Recordings into a formal operation. 

That means I gotta manage it like a real business! Shipping Parannoul tapes (60% were bought US, 40% were bought international) for three days means a lot of customs forms! I need to hire someone to glow up my logo and not make it look like it was a photoshop job (I used the sphere of Longinus from Neon Genesis Evangelion as a temporary but I guess it’s my logo now). Also, there will be an actual Bandcamp page without a stock graphic of Shinji or a still from Akira. It kinda looks like a college kid’s finsta at the moment. I will be upping the dubbing quality of tapes!

I’ve been so consumed by all this work and other stuff I haven’t even given a lot of 2021 tapes any listens! Speaking of, I’ve almost thought about distributing some of these tapes to the local record shops, but I have no idea what that conversation entails.

Will there be repressing of the tape?

Absolutely! Every day there are DMs asking about repressing Parannoul. I plan to do one as well for Cull Ficle after its 2xLP vinyl pressing and a few more titles come down the line.

The reselling of the Parannoul tape on discogs has been insane. I don’t like the way that these markets (especially vinyl) are turning resale. Limited colors or whatnot that sell in ten minutes and are on ebay the next day. It pains me that artists intentionally do that to “throttle the stocks” and maintain this kind of demand for the record. 

That it has even turned personal with tapes is even more bizarre. On the discogs page for Parannoul, someone was trading a $100 record for a copy (that I haven’t even shipped) of the Cull Ficle tape. The translucent blue tape of Parannoul was listed and just sold for $210. I literally posted a comment on my discogs begging people not to buy from a scalper because that tape is not of hi-fi quality. You have to be crazy! I might be biased because there are shoegaze tapes I’d splurge on (*laughs*), but maybe I don’t understand tapes. Just get the files, a deck or box, and make it yourself; these are white blank tapes.

Do you think that Longinus is going to be focused on rumblings in the global DIY sounds?

It’s whatever I want to do! Now, I’m not trying to sound self-righteous because I don’t think I’m doing shit! It is these artists and their music that is what sells; I’m just the tape distributor and A&R guy and when I hear an album that makes me go “this shit hits,” I just know I want to press it! There’s a lot of music that is being undiscovered from other college kids the same age as me. I would like to keep one hand in the shoegaze realm. It’s still a sound that I’m partial to.

Right now, I just let my artists vibe. I’m not trying to breathe down their neck (we had verbal contracts and email agreements), they go at their own pace and complete it to their own vision. They got free reign over their music and there is nothing I can do besides just try to help support them and distribute physicals. 

Now, there are a few Longinus releases I know that are coming down the pipe.  I’m prepping Dating’s next album as a forthcoming release on Longinus. They were actually shouted out by Parannoul in a Sonemic interview; they did shoegaze akin to Parannoul back in 2012, way ahead of the curve! sonhos tomam conta’s second record arrived on 8/8 Bandcamp Friday and I have to figure out their release schedule and situation with physicals! I made twenty tapes of their debut and while I had wanted to make more, a lot of her fans are in Brazil. The Brazilian Real is not very strong to the dollar, and cassette culture is not as huge there unfortunately.

Finally, we have something of a “mogul move” right now. sonhos tomam conta, Asian Glow, and Parannoul are currently teasing a collaborative split at the moment that just straight up excites the hell out of me. Think about these three very different aspects of DIY — the Microphones-style lo-fi, textured rhythms of blackgaze, and pure melodic shoegaze — metastasizing into cutting edge sound. It’s a trifecta of what DIY can do right now. Honestly, I’m thrilled that they are all open and wanting to work together; they took the agency to do that! So, the day that split comes out I will be the HAPPIEST man alive 🙂

Alex Cunningham – pas de deux & Armor

8.5.21 by Matty McPherson

Doctors from around the world have cited St. Louis, Mo based violinist Alex Cunningham as a leading practitioner in the arts of dispossession. The last time I checked up with Cunningham, I was learning about “social capital where I [he] grew up,” and by that I mean I was knee deep in a liturgy of string semantics propelling a most excellent sonic exorcism. It cleared me of my back aches! Cunningham approaches the violin in all its clandestine glory. He can keep his violin strings at bay, pacing and feeling out the acoustics, or he can lay down a sudden jolt of sonic horror with a most haywire solo; it’s concrete and unrelenting. Cunningham’s sound transmutates appropriately in art form, where his collages separate and render bodies down to their mouths or arms, packing them into an omnibus that seeks to overtake your senses. 

These details are important to the tapes Cunningham has been crushing here in 2021, where his ideas still teeter in a liminal space of unclassifiability. The C20 “pas de deux” tape (released through Richmond, VA based label Working Man Lay Down), finds that beyond the violin Cunningham is emphasizing “objects and electronics.” On paper, this may not really surprise you or me. I mean, I use objects to wind my tapes up and electronics to talk about tapes. Yet, the second the ferric hits that tape head with “tensile strength,” it becomes rather apparent that Cunningham has discovered a new source of energy. The violin’s vicious string patterns are chopped up and warped until they reflect the sound of an Amtrak locomotive running on pneumatics. The percussive blasts give a sense that we are traveling at 300MPH. As the piece progresses, the loops become more sensory depraved, moving further into blank spaces. It’s as if suddenly the train was meticulously zipped into a body bag to be sunk at the bottom of the ocean. “bones turned coral” is a welcome companion, a slow-burn working through a litany of found sounds in its first half, before seeking out and finishing with classic Cunningham violin dronery. 

Meanwhile, the second release on Storm Cellar, Cunningham’s shiny new imprint, is “Armor.” Armor is a bit longer than “pas de duex,” yet still centers on two main pieces for each side. And without masquerading a Cunningham violin solo under layers of industrial debris, he’s simply bookended with devious intros and outros that emphasize found object textures. The main piece of Side A, “I Saw My Devil,” opens like the sweltering sun on June asphalt, encompassing everywhere and aching all over; sublime kind of dissonant heat therapy. As Cunningham continues down his improv, midway through he hints at a breadcrumb of a softer song, but quickly refracts, savoring in moments of string drone and meticulous, frantic silence. Side B’s Armor is simply a furious whirlwind of a solo. One that starts practically en media res, without any hindrance towards becoming enraptured in the jittering peaks and cantankerous crescendos that Cunningham chases down. Fit for weddings of all occasions/occults, ages 6+

Small press edition for “pas de deux,” with collage zine j-card insert available at Working Man Lay Down’s Bandcamp page. Edition of 100 for “Armor” available (in shrinkwrap!) from Alex Cunningham’s personal Bandcamp.

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Wiggly – If I give you a cherry, the least you could do is spit the pit back into my bowl so’s I can suck on it later, and you don’t have to poke me in the eye with the stem

8.3.21 by Matty McPherson

The New Jersey based Cavern Brew Records holds an open demo policy that has rewarded itself with a blind bag of lo-fi in all its pop, field recording, and unclassifiable forms! Of most recent note is their release of the Kansas City lo-fi chameleon Wiggly with an album title THAT long and cover filled with THAT much negative space. It all screams “Joy Void 2k15,” and indeed the hissy murmured vocals of everyday imagery would almost make it so! For Wiggly is a one-man machine making songs the color of dusk and dawn, somewhere between basement pop and open sky folk. 

Wiggly’s one-man process to put these songs to tape involved a smattering of instruments and adverbage usage ( “electric guitared, bass guitared, harmonicad, floor tomed, tambourined, synthesizered, keyboarded, kalimbad, and bongo cajoned”). In the process, he’s presented soundscapes that sound like the last 35ish years of 4AD, mending the cavernous folk of Heidi Berry or a Victorialand instrumental (“Over”) with Deerhunter’s astral gaze (“Everlasting Light” and “Keeper’s Sign”) and even a smidgen of Amps’ basement fuzz. Perhaps it strikes you as a mouthful of references. Yet, with every listen, I find another earworm to hold onto or another curveball freakout, like the “Strangeface Rant,” to dissect and untangle, and with the skies so gosh darn blue right now, it’s quite a treat to savor.

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Seth Kasselman – UV Catamaran

7.29.21 by Matty McPherson

I had a large grin on my face when I discovered we were in for another surprise from Seth K so soon! Kasselman’s previous release, Anteroom in Birch, was his formal return to the world of tapes, trafficking in bubbly yet eerie musique concrète. It’s a sonic framework that UV Catamaran retraces back from one state to another, literally. These four pieces (all running around 9-10 minutes) were recorded between a 2014 move out of LA and finished in 2018 at Phoenix; the decision to unstick them from time and drop them now has (in the words of Kasselman) revealed an “unintended canonic feeling” that further dive into aquatic longform zones, exploring the indeterminate paradoxes that come from within those spaces. 

I guess what I’m saying is that onf UV Catamaran, Kasselman finds expansive space to convey a feeling of being mentally immobilized or hindered without ever sounding completely stuck. Side A opens with the title track, where you can find Kasselman meticulously applying an inquisitive electronic hum while window gazing for the perfect echoey drum pattern. Squeamishly re-terraforming itself, the pattern turns towards the most watery and tingly it can, becoming a necessary buffer as an ominous and grand drone breaks towards the surface, trapping everything in its path. On “Long Time Machines,” Kasselman plays up the ominous drone patterns as if it’s a ghost sauntering through his house; clashing with his field recordings of breath or clarinet noise, it sparks piercing moments of horror and sublime bliss. 

Side B, with “Comet Tricks” and “Are Overhead,” continue the steady mapping of brain fog. The former balances the babble of a voice under an interrogative wave of synth droning, scanning for the most quixotive of sound cacophonies to tease out and let glisten, if only for a second. After about nine and a half minutes of exploring every nook and cranny there, Kasselman comes down for the latter. “Are Overhead,” featuring Jared Cox on guitar, pieces together the past three tracks into its own. A sputtering and elastic jam until it decides to rip it up and start back from scratch. Halfway through the piece turns its focus on a formless percussive until Cox comes like an angel from the heavens! Gracing Kasselman with a searing, astral solo, Kasselm helps brings UV Catamaran to a plane of jubilant solace.

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Stefan Christensen – Loimaa

7.28.21 by Matty McPherson

The long awaited return of Garden Portal back in March arrived with four new gateways into cosmic Americana, loving self-dubbed and mastered in house. Stefan Christensen’s Loimaa is perhaps the most protected and elliptical of the four releases I’ve found. The former vocalist for the Trouble in Mind four-piece Estrogen Highs (and current guitarist for Headroom) has quietly been building a knack for lively, ramshackle acoustic guitar that sounds like a tavern on the edge of a coastal port; all the while, he runs the C/Site label that has been crucial in documenting what’s been going down on New Haven, CT. Anyways, I say all of that because Loimaa’s eight parts come with scant information, just that they are asynchronously ordered (in what I can assume is an act of generosity or good will).

Thus, Loimaa has a rather open-template feeling to its guitar sound, the real center of this bad boy! On blind listens, I was taken aback by Christensen’s emphasis on light drone chords, psych noise, and the warmth produced from recurring strumming patterns. These sounds emphasize a grounded patience — much like the one felt when looking at the cracks in tiles or the brushstrokes of a watercolor, that give the tape a peaceful feeling in its instrumental passages. Meanwhile, tracks like Loimaa VIII (third on the album) and Loimaa III (eighth on the album) present Christensen’s vocal delivery center, careening and pushing forward. His vocal presence is a welcome vessel, and in Loimaa VIII, he practically builds itself up as a sing-along chant, as Christensen exclaims, “It’s all the same!” Nevertheless, once more back into the deck!

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Rachika Nayar – Our Hands Against the Dark

7.21.21 by Matty McPherson

Perhaps you spotted Nayar’s sounds in the indie film, So Pretty, or you were waiting for her music to find a home on cassette. I’ve been hanging onto this second edition tape of Nayar’s debut for a couple months now, letting it unfurl with the sounds in my library. Nayar has a knack for making the liminality and overload of glitchy digital processing into an intimate, amorphous space of her own. In March 2020, she was supposed to play a bill with the Horse Lords. I could only imagine how dazzling her blend “ambient-electronic, shoegaze, trance, and folk” would have complemented those polytechnics’ own expansive dominions. The 8 pieces that comprise, Our Hands in the Dark, truly integrate those sounds, towards Nayar’s notion of “full sensory encompassment”.

This approach, on a general level, involves taking reverb-laden guitar loops and modifying them via Ableton and granular synthesizers; the results can glisten and trance. There are dazzling, multifaceted string arrangements, major-key midi get-ups, and glitch techniques sparking euphoric head rushes reminiscent of the field. Tracks like “Marigolds and Tulsi” and “New Strands” may be concise yet excel at highlighting a kind of timeless dimension that Diatom Deli often conjures. Never once though do the tracks lose sight of these kinds of blissful, jubilant emotions for the listeners. You want to savor these moments, even on the long form tracks. 

It’s here where the album stretches into a lineage of Kranky-ambience somewhere between Deerhunter’s preconscious interludes of Cryptograms and Windy & Carl’s naturalistic maximalism. Like those two, it is a uniquely personal, situated piece of music, while leaning further into the trance dimension than those two. This is reinforced by the way vocals subvert simple classification. When they do appear though, as with Yatta’s aching  on “Losing Too Is Still Ours,” their collaboration opts to approach with the voice as an instrument to the arrangement; no words, just heartbroken moans, chasming into drones that feel of a story that is as timeless as desire. Nayar’s other tracks that feature these types of vocals pull into the same realms. “Aurobindo” in particular, mends that delivery as if it’s a lullaby, before gazing off in an oblique, ominous direction. It’s on these tracks that Nayar can weave together euphoria and the bittersweet.

So it strikes me as intriguing to end on “No Future.” It’s an elated, midi-bursting track (with Zeelie Brown’s cello being manipulated over Nayar’s guitar) that practically bursts to the surface, even as it ends with a vocal sample that murmurs “there’s no future.” What that statement implies, more than just typical doom and gloom, feels out of reach. I’m not even certain how to take such a grim reminder, after an album filled with loops towards infinite possibilities, except to return to the start.

Not too long ago, I started working up a mixtape of heavy reverb laden music. One side loud, one side ambient. For the latter side, I opened with a smidgen of Stars of the Lid’s The Ballasted Orchestra’s “Sun Drugs” to be precise, and decided to layer it below Rachika Nayar’s “The Trembling of Glass,” the opening track from her debut tape, Our Hands Against the Dusk. Astonishingly, the low end hum matches precisely with those opening glimpses of Nayar’s orchestral recalcifications. It was an unexpected delight to imagine the way that guitar danced and twinkled, noting what it was linked to and the paths it can go forth from.

Second Pressing Sold Out on NNA Tapes

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Henry Birdsey – Half Dragged

7.20.21 by Matty McPherson

I’ve started spending Saturday mornings at the local media bodega. The image may imply storage warehouse, but it’s really more pauper’s drop: boxes of (the latest in) VHS, laserdisc, vinyl, and deadstock cassettes littered across the floor. This whole ordeal is all about how much you know your 80’s major label tapes, as well as whether or not you think dust particles in your lungs are worth it. Having talked to local Tabs Out legend, M. Sage, a while back about these types of dives, he steered me towards the Windham Hill and ECM cassettes, which I’m always on the prowl for. Needless to say the excess of major labor distribution channels sure did provide an unfathomable range of esoteric, cosmopolitan sounds in the 1980s.

So, my ears had been a little more primed for Henry Birdsey’s Half Dragged. It is a recent release from back in January, a studio session of material road-tested during a California tour from a moment yonder. Yet, it sounds as if it could have been culled from anytime out of those damned boxes I search through. In the past, Birdsey’s label, Other Minds, has been not willing to approach the ferric medium. They’re more of a high quality CD n’ Vinyl kinda outfit. Kudos then to their faith placed in Andrew Weathers (of Full Spectrum Records) whose usually mastery and post-production works transfer this release for BOTH portable Walkman and quadraphonic soundworks. Plus, Other Minds adorns the release with a decked out Birdsey biography, essay, and tuning/production notes; ROIR-level shit!

Turning to those liner notes, author Jakob Battick contextualizes the lap steel as a blues and folk instrument, although Birdsey’s meticulous configuration and tooling of the lap steel approaches a blank zone. Strung up with “close dissonances between neighboring strings” and “competing 5th functions to create a rattling, ominous Dominant drag,” Birdsey pieces are imbued with an assured meditative quality. Birdsey performs them with two violin bows and metal (to keep the lap steel returned) and overdubbed once, which creates the effect of harmonious sound disintegrating; that’s really a scientific way of saying “light water pattering down the pipes.” Sinking down with those sounds is easy. Especially when that endless, spidery deteriorative pattern is enticing, as in the closing meditation of “HD-[2]”! 

It gave me a strong throwback to both Phicus’ Liquid and a (real fringe) Windham Hill tape dedicated to Tibetan Chants. Both concurring reflection of utilitarian space design, I suppose.

Pro-dubbed cassette, includes extensive liner notes. Edition of 100 available exclusively from the Other Minds Bandcamp