Tabs Out | Q&A With Angoisse

Q&A With Angoisse
5.20.16 by Bobby Power

angoisse

Based out of Barcelona, Angoisse is a boutique cassette imprint specializing in disparate, largely electronic sounds. Run solely by David Romero, who also records under the alias Fingering Eve, the label operates under a stark but diverse sonic umbrella that covers everything from noise and industrial to ambient and dissonant techno. Angoisse’s latest batch of tapes emphasizes this singular sense of variety with three new tapes, including the pummeling electronic scrambles of Pure Matrix, a blissed-out drift of ambiance by Dominic Coppola and Forest Management, and the return of Hsdom (aka Jochen Hartmann of the dearly departed Phaserprone imprint). We caught up with Romero just a few days shy of releasing this new batch of tapes to talk about the label’s withdrawn demeanor, austere but striking aesthetic, and apparent (lack of) ties to the local Barcelona scene.


When did you start Angoisse, and how did the first releases come together?
Started Angoisse a few years back with a friend who was a key piece in the Basque black metal scene and isn’t involved anymore with the label.

Where does Angoisse fit within Barcelona’s music scene?
I have no idea.

What artists or labels inspire you?
Right now most inspiration comes from things that are not music related, from fashion brands to editorials and magazines, to tech wear ads, accelerationism, speculative fiction, sport cars, trap music videos, and my personal Instagram, Twitter and Facebook feeds.

This new trio of tapes seems perfectly balanced, going from serene and subtle, through odd and abstract, to pummeling and dissonant. Do you see this batch as a triptych or three parts of a complete piece?
Each release is a complete piece on it’s own and I don’t really see them as a triptych but I guess it could work as that in some way. I prefer to think of it just as a batch that fits very well the idea of releasing electronics for all conditions.

Did you reach out to the artists for this batch, or did they come to you with the material?
Both.

Do you accent demos, or do you commission each release?
I prefer to commission each release.

Much of your back catalogue covers noisier and somewhat abstract techno sounds. Do you intend to branch out even more as the label continues
It’s constantly evolving and changing with every batch so it can branch out or even die any day.

You recently issued the label’s first piece of vinyl, with Exoteric Continent’s Peninsula 7-inch. What was different about working with vinyl? Why make a format switch for that particular release?
First vinyl was actually another 7-inch by Alleypisser that came out in the very first batch. The format switch on both releases was based on the artists’ preference due to either recording the material with that format in mind and just feeling like doing it at the time but it’s really annoying to work with vinyl and deal with pressing plants.

Do you design the art for all of your releases? Do the artists have any input
I do it at this point but always with the artist’s input until we get to a point where the final design is a good blend of both parts aesthetics and ideas.

Are there any hurdles to being both an artist and a label owner?
I’d say there’s advantages as I do not depend on anyone to release my own stuff and control everything.

What’s next for you, and for Angoisse?
There’s a new Fingering Eve release that should see the light soon and there will be some live dates after the summer too. For Angoisse, “Vanity Fair” by Gabi Losoncy is near ready and I’m very happy to release it very soon. After that there are many releases in the works and I’d rather not disclose any names yet, whoever cares should just keep an eye on the label’s sites.

Tabs Out | Future Museums – An Absence [ video premiere ]

Future Museums – An Absence [ video premiere ]
5.3.16 by Bobby Power

future museums

Since 2010, Neil Lord has steered his Future Museums project through a number of limited edition releases that mine the most psyched-out corners of modern ambient, drone, and lo-fi. While the band has sifted through a number of members, including Justin Sweatt (Xander Harris) for a spell, the Austin-based project recently settled itself into a comfy trio, featuring Lord, Maxwell Parrott,and Nicolas Nadeau. Now, the trio follows up its recent run of tapes on Fire Talk (including the excellent Tapestry Of Time and Terrain / Pleasure Cruise double-tape opus) with “An Absence”, a new 37-minute EP released on Mirror Universe. To celebrate, the label has put together a snazzy new video shot and directed by T.C. Johnson, who also does live visuals with the band. Musically, the 12-minute teaser finds Future Museums ambling through vibrantly desolate and deprecated locales, equipped with a modest set of effects pedals and a lethargic but hopeful drum machine. Landing somewhere between Windy & Carl’s epic, melancholic drifts and the band’s own peripheral sense of optimism, the trio finds a deep and inherent sense of beauty in the lowliest of places. Visually, Johnson parallels Future Museums’ aural lament, contrast stark and bluntly natural scenes of rustic decay with analog infidelities for a hypnotic and calmly disorienting, altogether captivating, series of meditations.

“An Absence” is available now from MU’s Bandcamp for digital / cassette preorder. 100 physical copies will be available May 20th.  Do yourself a favor and pick up the label’s “Austin, TX power trio” bundle of tapes, featuring this EP and new jams by Single Lash and Slow Pulse.

Tabs Out | Q&A With Heavy Mess

Q&A With Heavy Mess
4.27.16 by Bobby Power

heavy mess

Braeyden Jae first released his solo material a mere two years ago, with a run of frayed but beautiful cassettes issued via some of the international tape scene’s heaviest hitters, including Patient Sounds, Phinery, Hel Audio, Spring Break Tapes… the list goes on. But the SLC-based musician has been active in the tape scene since 2010 with Inner Islands, an imprint Jae founded with Sean Conrad. Now, Jae seems to only be getting busier, having just released his first work on vinyl via Whited Sepulchre and launched Heavy Mess, a self-described “discrete cassette label.” We caught up with Jae just after the release of two new tapes to talk about the beginnings of Heavy Mess, where it’s at, and where it’s headed.

 

When did you decide to start Heavy Mess, and how did the label first come together?

It’s something I’ve been thinking about for a long time, like late 2013. It was initially going to be called Soft Etc. I had the first release lined up, it was the Gossimer tape “Across That White Plain” that Absenter ended up putting out. I was finishing up my gender studies degree at the time and it was something I realized I couldn’t take on in a sincere way, so I put things on hold. But the urge to get back into running a tape label kept creeping up, so I eventually came back around to it and re-dubbed the label Heavy Mess.

You initiated Heavy Mess with “soft launch” that included a release of your own, Broken Punk. Do you plan on releasing your own future work on the label?

I do have plans to release my own stuff with the label, but am giving priority to releasing other peoples work right now. So probably won’t see anything from me on Heavy Mess until sometime next year.

And now you’re returning for a true launch with two tapes: one by Sister Grotto and the other by Orra. How do these releases represent Heavy Mess?

I want Heavy Mess to be flexible in the type of sounds it can release. I had previously started Inner Islands (which Sean Conrad of Orra is currently running, and doing such a great job with), and got bogged down by how specific the zone was. Kind of like, feeling trapped by it’s aesthetic parameters. Heavy Mess will have a lot more freedom with what it can be. So more than an indicator of the type of zones Heavy Mess will stick with, I hope the Sister Grotto and Orra tapes will set a good tone for the quality of releases people can expect from the label. I really adore Sister Grotto’s and Orra’s work. And everyone involved with those projects are the kindest folks you could know. Really honored to have their trust in lending me their sounds for the label.

You’ve worked with a number revered cassette labels now. Did you learn anything while working from these labels?

Totally, I’ve been really fortunate to be able to work with so many honed in labels, and I’ve for sure learned a bit from each of them. I’ve been super impressed with Joe who does Spring Break Tapes. I really respect his process. He’s super involved and communicative and just really pumped on the stuff he puts out. He’s also a really good dude. Like, I haven’t released an album with him since late 2014 but he’s still actively supportive with what I’m doing. We text back and forth on a regular basis and he’s always making time to check out my new sounds. I’d like to have that type of interaction with the artists I work with, having it be more than just “I put out your album”. I’d like there to be family vibes ya know?

Are there other tape labels or artists who directly inspire you?

I’m consistently blown away by Orange Milk and make it a point to keep up to date with what they are doing. Also really into Astral Spirits, I have a pretty hefty collection of their tapes at this point. My fav label that popped up last year though was Lime Lodge, all three of the records they put out are top shelf stuff, and their minimal visual aesthetic is so honed in. But yeah, there’s so much great stuff going on right now. It’s really inspiring to see the overwhelming amount of quality work being put on a regular basis.

Where does Heavy Mess fit into the SLC music scene? Besides your own material, do you see the label issuing local sounds?

I guess it doesn’t. I’ve always been really shitty about figuring out how to integrate into the Salt Lake music scene. I’m also not too concerned with Heavy Mess having a geographic identity with the city it’s based in. I’m a pretty big introvert and honestly my deepest musical connections have been formed via online interactions and with folks that I rarely get to communicate with face to face. I’m also planning to move this fall, so Heavy Mess will be vibing elsewhere. Though, I do have plans to release a tape from a Salt Lake artist, Blush Stains. It’s a project by Taylor Christian who recently put out a self-released album with his band Seven Feathers Rainwater, as well as a tape on Phinery, with a drone duo he’s in called Iconographs.

Do you have final say on the audio and art of each release, or do you leave it to each artist?

There is a simple formatting for the j-cards that will be consistent for each release. Other than that, the artist has plenty of say in helping curate the visuals for their release, I like to keep it an open dialogue and get to a point where both sides feel good about it. As far as audio goes, I’m working with artists that I really adore so not a lot of input on that end. Just little things I guess, like suggesting which track worked better for the “a” and “b” side on the Orra tape.

What’s next for Heavy Mess?

I’ve got things planned our for the next while. It’s all on the site. The next batch will include albums from Blush Stains, Christian Michael Filardo and Teasips (Ang Wilson from Electric Sound Bath). After that will be two double cassettes from Ashan and Gossimer, both are solo projects from the folks involved in Orra. Than later on, stuff from Heejin Jang, Macho Blush, Padna and Amulets. I’m keeping myself busy.

Tabs Out | New Batch – Vitrine

New Batch – Vitrine
11.2.15 by Bobby Power

vitrine

Boy, oh boy, was I late to the Vitrine party. The label, run by Allen Mozek (who also records as No Intention and is a member of both Good Area and Twin Stumps), has been around since 2013, slowly picking up speed and issuing only a handful of releases for its first two years. But while its output was meager, compared to other like-minded esoterica cassette imprints, the sounds and modest but striking packaging were – and are – downright necessary at this point, which choice highlights that include Safe House’s “Region VI“, Three Legged Race’s “Rope Commercial Vol. 2“, and Good Area’s “Dilettante” Cassette.

But Copley Medal’s mesmerizing and low-key hysteria on “Marble Cage” (VT08, Feb. 2015) was what finally got my attention, and I’m happy to report I’ve been hooked ever since. Each small batch, generally including two or three new tapes at a time, includes a range of sounds and contexts, ensuring some enjoyable level of discovery and intrigue.

This latest round of cassettes highlights both the label and Mozek’s uncanny ear for gloriously tattered sonics that nod to a number of ghastly sounds and ideas. VT15 brings the latest set of bizarrely mutated musique concrète by Tom Darksmith, the beloved tinkerer with past releases on Hanson, Kye, Chondritic Sound, and his own Mom Costume imprint. “Everyone is Welcome In My Room” plays true to Darksmith’s penchant for listlessly foreboding collages, constructing massive but desolate scenes of vague despair and almost guaranteed doom. Found sounds seamlessly intermix with Darksmith’s anonymous trove of instruments (?) and noisemakers, creating an immersive, 30-minute slab of disorienting bliss broken out into two equally engrossing parts.

Next up, 010001111000 (whether it’s pronounced “oh one oh oh oh one one one one oh oh oh” or “zero one zero zero zero one one one one zero zero zero” is yet to be confirmed) brings “lmof”, a slightly more optimistic survey of tape machine fuckery and distant, weary-eyed beauty. For tape’s opening section, dimply pastoral chords waft from some malfunctioning reel, intermittently interrupted by pure electronic signals and mis-firing wire connections. It’s a pleasantly jarring experience that leads perfectly into the tape’s wallowing meander through quietly hellish vignettes. Estranged guitar ditties and apparition-like vocals saunter into frame while other characters and distant textures take form and dissolve from moment to moment. Segues begin to fold into one another, rendering things both grotesque and beautiful obsolete.

Vitrine closes out this particular trio with a captivating tape by Mel Bentley, Philadelphia-based poet, writer, and designer. “Red Green Blue” appears to be Bentley’s debut audio recording, capturing a number of live readings, plus one piece featuring Jim Strong. Bentley’s work here revels in a visceral spew of urbanism, commercialism, identity, social media, and false sense of accomplishment. At times recorded in pure, live readings while elsewhere haphazardly lifted from a MacBook broadcasting from the other side of the room, Red Green Blue might be the perfect middle ground between the avant-poetry and experimental cassette worlds.

Make sure you follow Vitrine’s YouTube channel, perhaps the most reliable way to grab their tapes before they each disappear.

Check out An Introduction To Vitrine –>

Tabs Out | An Introduction To Vitrine Records

An Introduction To Vitrine
11.3.15 by Bobby Power

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Since first launching in 2013, Vitrine has gradually but steadily released a confounding series of cassettes that speak to label founder Allen Mozek’s varied and obsessive taste in esoteric sound. Ranging from squalored noise, Spartanic musique concrete, spoken word, and just about everything in-between, the label’s catalog boasts highlights from established experimental acts (Gene Pick, Adam Bohman, Three Legged Race, Darksmith, et al.), to relative newcomers and/or new projects (Copley Medal, 010001111000, Mel Bentley, et al.), and Mozek’s own projects (No Intention, Good Area). We caught up with Mozek to track the label’s history and explore the impetus behind its recent trio of tapes.

 

How did the label first come together? And can you speak to why the label seems to have been picking up speed in production this year?

The first batch of Vitrine cassettes were not released with the intent of starting a label (a comically lofty term for the endeavor to this day), instead, it was simply a method by which Gabi & I could better create a context for what we were doing, outside of affiliate associations. It was also meant to harken back to the small-run cassettes and home imprint which I cherish and collect obsessively to this day, despite ever dwindling funds. I don’t quite remember what the idea was behind the second batch of VT cassettes, Gene Pick & Safe House. If I remember correctly, the goal was to move beyond the nuclear core of a domestic couple to acts who I was personally acquainted with, as was the case with Chris / Gene Pick, or through the collector’s grapevine, as was the case with Shane English of Safe House. VT04 & VT05 were initiated while Good Area was still active and as such were begun more as jokes / elaborate conceits rather than the perpetuation of a label or aesthetic. Good Area dissolved while both cassettes were in development and as such became a greater personal focus for me. Vitrine evolved into my main focus following the dissolution of Good Area. I only like to release my own creative material sparingly, so the label became an outlet for me. These early VT releases still came out to the public irregularly, as I was paying for them out of pocket while attempting to subsist on a low income wage job. But despite the span of time between, say, the A.Bolus / Copley Medal batch & the Adam Bohman / No Intention batch, I was well underway planning releases for the next year plus. In fact, the reason for the increased activity can partially be attributed to a current slackening of financial responsibilities (as much of Vitrine comes out of pocket… I don’t make any money on the tapes) and a further increase in my free time.

That is to say, my life at 31 basically consists of waking up every morning, going to work, coming home, taking a nap, and then attending to this & that for the label until I pass out and start the process all over again. An additional reason for the increased activity is the fact that many projects which were initiated, say, a year plus ago, are now seeing fruition. My favorite releases are those which enjoy long gestation periods – the Stewart Skinner cassette was set in motion before I contacted either Chris or Shane for the second VT batch. In fact, the Stewart Skinner was originally meant to be a 70+ minute CD. That was Stew’s idea and it remains a damn good one. I think someone should take him up on that offer…

Sure, I love the times when I contact an artist and they give me audio & artwork within a month & both parties are good to go. But my favorite way of working remains the long incubation – the upcoming Byron Recital Hall was initiated around the same time I contacted Robert Beatty / Three Legged Race and there are a number of other artists who I contacted around the time of the comp whose cassettes I don’t foresee coming to light until April onward 2016. I have releases up until around VT36 mapped out. These will come out at a fairly quick clip, heaven allowing. If I suddenly stop moving units, well, then that will lead to a reorientation of goals. Currently the plan is to make it to VT50 & then disappear, though I also hope to release a handful of vinyl records – Good Area’s “Macbeth”, No Intention’s “Rabelais”, a handful of items from neglected contemporaries & an archival offering or two from buried artists who I find to be of some worth / import. Short answer – I currently have a lot of time on my hands, thus the increase in production. Natch.

The latest batch is relatively varied, in terms of your previous releases. How did this batch come together?

This current batch is one of my favorite VT collections yet. That is to say, I find it one of the most left-field assemblages yet. Darksmith has been a favorite artist for a long time. Once Vitrine solidified as an extroverted label, Tom was put on the short list of dream projects I wanted to work with. Vitrine, to risk hyperbole, was started because of the efforts of projects such as Darksmith. Tom was incredibly easy to deal with and was incredibly accommodating every step of the way. He asked me if there was any figure I wanted depicted on the cover of the cassette and I asked him to draw Anna Kavan – author of the unsung SF classic Ice. 010001111000 has been, to this day, the only unsolicited submission which has manifest into an actual Vitrine release. It’s not on account of a lack of inspired material directed my way, rather, I’m a cranky curmudgeon, and I have a specific, jaundiced vision for the label. 010001111000 just so happened to dovetail into many of my obsessions and further illuminated aesthetic nooks and crannies heretofore untraveled by the label. Contact with artists past and present in Japan remains of singular concern for me, and despite the sometimes frustrating language barrier, I am striving to foster a better intravenous of exchange. Mel Bentley is a writer and poet who I met through a gallery event in Philadelphia which I helped curate called Poems in a Room. She was recommended to me as an inspired writer, I booked her and was subsequently blown away. Amelia is a fantastic poet and also someone I greatly admire personally. Like her, I also came out of the creative writing workshop program, but whereas I drifted off following undergrad into a miasma of tape music and alcohol abuse, Mel has since fostered strong contacts with amazing poets and garnered worthwhile archival jobs with Ubuweb & Penn. I personally feel that her and I occasionally intersect in terms of method, but she is much more sophisticated and developed in her approach, while I remain wild in method, due to a self-imposed explosion from academia and attendant alcohol abuse. Her cassette is one of my favorites which I have heretofore released. I am confident Amelia will accrue an impressive array of publishing credits in the near future. It’s an honor for me to work with her at this juncture. Her & I have discussed a collaborative effort, but that has been perpetually forestalled by my trenchant lassitude.

Check out Vitrine’s new batch –>

Tabs Out | Q&A With Robert & Leopold

Q&A With Robert & Leopold
10.2.15 by Bobby Power

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Founded only a half a decade ago, Robert & Leopold is a boutique cassette imprint owned and operated by Ryan Martin, a Brooklyn-based musician who co-runs the Dais imprint and records under a slew of hypnotic, sublimely intense aliases (Copley Medal, Death Houses, Hanel Koeck) and collaborations (DeTrop, On A Clear Day, York Factory Complaint). Following a double-dose of deeply confounding, subtly unsettling releases (Løt.te’s Private Shell and On a Clear Day’s Photo 51), we caught up with Martin to chart the label’s beginnings, the balance of Martin’s split effort between R&L and Dais, and a few of Martin’s most beloved cassette labels, both past and present.

 

Robert & Leopold’s first release came in 2010 with a tape by Maurizio Bianchi– a hell of a way to launch. Can you talk about the beginnings of the label and how that first release came together?

Previous to Robert & Leopold, I was loosely helping my friend Lou Caldarola with his label, Period Tapes. I was involved in the first few release but decided to do my own solo imprint that was at a more steady pace and would allow me to release my own music on a regular basis. My first releases on R&L were a tape by Maurizio Bianchi, whom I became friendly with through Dais, and a tape by my band York Factory Complaint. Both of those received a great response so I just kept going with it for the past few years. It’s mainly an extension of myself outside of Dais to release things that would be too “left-field” for Dais, but that I am a huge fan of on a personal level. The whole label is just a self-focused realization of things that I love and admire in art & music.

You also co-run Dais with Gibby Miller, and while R&L and Dais are quite different, there is some overlap in aesthetic and sound. How do you keep the two projects separate, and what’s the hardest hurdle there?

There is a bit of overlap simply because both labels release works by artists who are friends, so you will see a lot of the same names pop up in some incarnation within both labels. Part of me is in Dais and the rest of my reflection can be glimpsed in R&L. Dais is a real full-time, semi-professional (ha!) kind of entity, R&L is just a personal project I take on when I have some down time or have some recordings of my own I’d like to get out quickly. Both pair well together but are different enough that they stay out of each others hair.

It seems like you put out an average of 10 tapes a year. Do you handle everything, from design to packaging and mailing?

I’ve slowed it down slightly this past year only because of lack of free time, but that sounds about right. It all depends on the release. I’ve designed / created artwork for quite a few release but sometimes the artist wants to handle that aspect. I would like to get ambitious on packaging sometime in the near future, do something memorable and tactile but it has to be the right fit to pull it off in a tasteful way. Past all of that, it’s just me doing everything!

R&L just released an LP by On A Clear Day, your project with David Grant. Was this the first time you’d thought about doing an LP on R&L?

The thought had crossed my mind in the past of doing vinyl, but like anything it’s always a cost issue. This album was a special “baby” of mine and David, so we felt it was worth taking the dive into the financial black hole that is vinyl production to see that this album we made was released on the proper format but still retain it’s niche sensibility.

What’s your demo or submission policy?

Right now, it’s just been that I don’t take demos or submissions. I’ve only put out one release that was done by a stranger cold calling me with a demo submission.That was the Kosmonaut tape I did 3 years ago. He caught me at the right moment and sent me some really incredible music that was in the style of a lot of things I was listening to at that time. Anything else was either my own work, releases by friends or me reaching out to artists that I truly admired personally.

You’ve accomplished quite a bit on both Dais and R&L. Do you have any dream projects or past projects that never happened?

Quite a few actually! I won’t name the projects that were declined by the artists when approached. As for stuff I’d like to do, I have lists of releases that I would eventually like to make happen. Best to keep that list to myself though, better for surprises of the future.

Who are some of your favorite tape labels, past and/or present?

Favorite past tape labels… Where do I begin?! Grafika Airlines, Exart, Insane Music, Sound of Pig, Broken Flag, Audiofile, Jim Tapes, Inner-X-Musick, Kubus, Ding-Dong….I could sit here all day naming of old tapes labels that I gush over their discographies.

Present: Vitrine, Ascetic House, Chondritic Sound, Hanson, Fag Tapes, House of Alchemy, Goat-Eater Arts are a small fraction of labels that I pick up titles from regularly, that’s just what I’ve been listening to lately.

 

R&L discography to date
(R&L058) Løt.te “Private Shell”
(R&L057) On A Clear Day “Photo 51”
(R&L056) DeTrop “Man, Woman, & Beast”
(R&L055) David First “The AM Radio Band”
(R&L054) Hanel Koeck “Rosendale Open”
(R&L053) No Intention “+B”
(R&L052) Death Houses “Duty Roach in Millions”
(R&L051) Maurizio Bianchi & Ryan Martin “As Strong As Death Is”
(R&L050) Bob Bellerue “Fine Phenomena”
(R&L049) Further Reductions “s/t”
(R&L048) Copley Medal “Sabbath”
(R&L047) Ryan Martin & Anthony Mangicapra “Golden Hazrat”
(R&L046) Hoor-paar-Kraat “Live at the Brooklyn Fashion League”
(R&L045) Climax Denial “Anxiety Rituals”
(R&L044) EMP “Era II”
(R&L043) Believer/Law “Contrition”
(R&L042) Anla Courtis & Richard Francis “Aucklantida”
(R&L041) Drowning the Virgin Silence “Head Cleaner”
(R&L040) Stone Baby “Debris”
(R&L039) Kösmonaut “Geist”
(R&L038) Death Houses “…All but the Crimson Light Remained”
(R&L037) Âmes Sanglantes “Have You Come Here to Torment Us Before the Time?”
(R&L036) Aaron Dilloway “Tractor Cuts”
(R&L035) Leif Elggren “Sleepwalking”
(R&L034) Hanel Koeck “Francis Bloom, His Mistress & The Dullard”
(R&L033) Hanel Koeck “Piano Music”
(R&L032) Future Blondes “Live at Libertine Social Club 7/9/12”
(R&L031) Chris Brokaw “Tidal Mud”
(R&L030) Hoor-paar-Kraat “In Your Absence”
(R&L029) Letha Rodman Melchior / Tretetam “Moon Mountain”
(R&L028) DeTrop “Con Rit”
(R&L027) Hidden Tooth “July 18, 2012”
(R&L026) Black Leather Jesus “Even Deeper”
(R&L025) These Feathers Have Plumes “Hegira”
(R&L024) Genetic Infantryman & Ryan Martin “Live 12-23-2011”
(R&L023) Rust Worship “Optimistic”
(R&L022) York Factory Complaint “Sufferings”
(R&L021) York Factory Complaint “Live Document ’09-’10”
(R&L020) Femminielli “Sprezzatura”
(R&L019) Jazkamer “Failed State of Mind”
(R&L018) Exhumed Corpse “Mortem Obire”
(R&L017) Kama Rupa “City of Caesars”
(R&L016) Sudden Infant “The Wicked Mothers”
(R&L015) Lasse Marhaug “Angelica 2011/05/20”
(R&L014) DeTrop “Apart From The Dutch Administrators, There Seemed To Be Only About A Dozen Whiteskins Living In Bali”
(R&L013) K2 “IsopDoping”
(R&L012) DeTrop “Rewards of Faith”
(R&L011) Pipeline Alpha “Demons and Dances”
(R&L010) Chapels “That Incorrigible Death’s-Head”
(R&L009) Werewolf Jerusalem “Carnal Violence”
(R&L008) Scorpio & Glass “Eight Days for Trifecta”
(R&L007) York Factory Complaint “Will & Testament”
(R&L006) Knights of Timbre “Rite of Noise”
(R&L005) Bleak Race “Communication Breakdown”
(R&L004) Future Blondes “Vila’gok 2”
(R&L003) Hoor-paar-Kraat “Elbow Drops Effortlessly”
(R&L002) York Factory Complaint “Sentiment”
(R&L001) Maurizio Bianchi “Violichte”