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Artist: AF URSIN
Title: Aura Legato
Format: CD
Label: Blackest Ever Black
Country: UK
Price: $18.00
"Blackest Ever Black presents the first CD edition of Af Ursins 2005 masterpiece Aura Legato. Af Ursin is the alter ego of Finnish autodidact composer/improviser Timo van Luijk. His work is rooted in the use of acoustic instruments (wind, percussion, strings), but his special sensitivity to the timbral qualities of each instrument, and his deft blurring of them, results in a sound-world that is mysterious, amorphous and hallucinatory, full of suggestive shadows, creaks and whispers. Van Luijks process begins always with pure improvisation: music played in an intuitive, sensual way, without the employment of conscious technique. He performs and overdubs each instrumental component himself, and out of this process micro-structures and loose arrangements emerge: the piece becomes an improvised composition. Aura Legato is one of van Luijks darker and more acutely psychedelic offerings: a work of profound interiority, but one that also conjures images of old Europe and fin-de-siècle decadence - dabblings in Thelema, the fog of the opium-den - and has earned comparisons to Third Ear Band, Nurse With Wound, Mirror and HNAS." - Blackest Ever Black.

Artist: AF URSIN
Title: Aura Legato
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $31.00
"Blackest Ever Black presents Af Ursins 2005 masterpiece Aura Legato. Af Ursin is the alter ego of Finnish autodidact composer/improviser Timo van Luijk. His work is rooted in the use of acoustic instruments (wind, percussion, strings), but his special sensitivity to the timbral qualities of each instrument, and his deft blurring of them, results in a sound-world that is mysterious, amorphous and hallucinatory, full of suggestive shadows, creaks and whispers. Van Luijks process begins always with pure improvisation: music played in an intuitive, sensual way, without the employment of conscious technique. He performs and overdubs each instrumental component himself, and out of this process micro-structures and loose arrangements emerge: the piece becomes an improvised composition. Aura Legato is one of van Luijks darker and more acutely psychedelic offerings: a work of profound interiority, but one that also conjures images of old Europe and fin-de-siècle decadence - dabblings in Thelema, the fog of the opium-den - and has earned comparisons to Third Ear Band, Nurse With Wound, Mirror and HNAS." - Blackest Ever Black.

Artist: ASHTRAY NAVIGATIONS
Title: To Make A Fool Ask, And You Are The First
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
"Ashtray Navigationss To Make A Fool picks up where the nerve-damaged exotica of 2015s A Shimmering Replica left off - acerbic "surf" guitar and synthetic salt-breeze fit for the Tropic of Yorkshire. Instant immersion in a potent, pungent psychedelia that feels equal parts cosmic and aquatic. What Phil Todd wrenches out of his instrument these days is a language unto itself - a helical, grieving howl, a (super)natural efflorescence, beyond earthly description - ur-rock and post-everything. Equal emphasis is given here to pulsating machine rhythms and lush keyboard textures, with contributions by Mel ODubhshlaine. There were pre-echoes of all this in the recent Fluctuants (2015) and Aero Infinite (2014), but To Make A Fool feels like the fullest expression of something which was only glimpsed in those earlier works. The side-long "Spray Two" - gently eddying string-pads gradually slashed with fraught piano improvisations - is a masterpiece in its own right. At its delirious peak, the whole thing boils over into brooding, arpeggiated noir-techno - Michael Manns steadicam roaming Leedss B-roads, some kind of tangerine nightmare - before finally cooling into a bleary starfield of pure and sumptuous hypno-tone. This is a trip, in the most skull-splitting, soul-crinkling sense of the word, but it soothes and heals as well. A circular and transformative journey to the other side of the underneath, and a landmark recording from one of the most adept and visionary nodes in Britains freak-out underground." - Blackest Ever Black.

Artist: BARNETT & COLOCCIA
Title: Weld
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $25.00
“Faith Coloccia and Alex Barnett return to Blackest Ever Black with their second duo album, Weld; working with synthesizers, effected vocals, raw electrical noise, field recordings, EVP techniques, tape manipulation, and drum machines to create a music at once lucid and mystic. Its songs embody various experiential philosophies and objectives: searching for the sacred in the forgotten and supposedly useless; exploring the meaning of "natural"; listening for the pulse of the ancient; using technology both to materialize memory and to dream a folklore for a future age. Coloccia and Barnetts ambition is apparent early on in the stately, medievalist keyboard/choral poetics of "Truth Teller," moving through the agitated wormhole techno of "Dreamsnake," to the white light-emitting, near-symphonic plainchant of "Healer." The zero-hour synth pulsations of "Blight" are first interrupted, then engulfed, by an extra-terrestrial broadcast of piercing bell and glass-tones; "AM Horizon" is pitched bewitchingly between Prophet-5 pulp futurism and earthbound, atavistic dread; the baroque harmonic sequence of "Agate Cross" disintegrates at its very climax, cooling and dissipating into a deep star-field of pure tone. "Ash Grove" and "Rose Eye" are exhilarating exercises in contemporary musique concrète; complex timbral constructs in which Coloccias disembodied glossolalia, swooping strings, and other nameless sonic spectra conspire to evoke extra-dimensional space and the highest spiritual drama. Weld speaks its own distinctive dream-language, but it comes highly recommend to anyone enamored of the brittle sci-fi synth-scapes in Caroline Ks Now Wait for Last Year, the amorphous electronics of Beatriz Ferreyras work, Conrad Schnitzlers more gothic moments, and even the gravest metaphysical reckonings of a Stockhausen or a Rózmann.” - Blackest Ever Black.

Artist: BERROCAL, JAC/DAVID FENECH/VINCENT EPPLAY
Title: Why
Format: 7"
Label: Blackest Ever Black
Country: UK
Price: $12.00
"Jac Berrocal, David Fenech, and Vincent Epplay return with their first record since 2015s Antigravity (BLACKEST 011CD/LP). The title track is a louche but volatile art-rock panther-stalk... a cracked jazz ode on street hassle, pitched somewhere between Vince Taylor-in-exile and PiLs Metal Box (1979)... Berrocal on vocals, a slurring stream-of-consciousness that becomes a yowl of despair; drums loose and dub-delayed; Fenechs jagged guitar phrasing, and Epplays electronics set to flay. "Ice Exposure" situates Befs mournful, muted trumpet in the eerie deep-freeze ambience that characterized Antigravity, and "Alienor En Aout" coaxes a gloomy poetry from affectless cold war radio broadcasts." - Blackest Ever Black.

Artist: BERROCAL/DAVID FENECH/VINCENT EPPLAY, JAC
Title: Antigravity
Format: CD
Label: Blackest Ever Black
Country: UK
Price: $18.00
"Legendary trumpeter Jac Berrocal joins two fellow travelers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy, and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock n roll. The trios first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece "Rock n Roll Station," which first appeared on his 77 LP Parallèles (TES 037CD) with chain-wielding, leather-clad wildman of British rock n roll Vince Taylor singing the lead, and Berrocal on micd up bicycle; here, the Frenchman takes the vocal reins. A barely recognizable interpretation of Talking Heads "The Overload" pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum-machine rhythms, humid electronics, and jagged guitar phrasing, while "Where Flamingos Fly" reroutes the Gil Evans Orchestras classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trios reading of "Kinder Lieder," the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walkers Climate of Hunter. Originals include the agitated Iberian psychedelia of "Spain," and "Panic in Bali," which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered "Lonely Woman" quotations. "Solaris" is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocals trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay -- like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humor pervading; see the anarchic cross-hatch of "Ife Layo," or the CD-only track "Lessai des Suintes ou le bal des Futaies," Berrocals poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow, and the ReR axis will find much to chew on. Play, as we know, is serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, lets go." - Blackest Ever Black.

Artist: BERROCAL/DAVID FENECH/VINCENT EPPLAY, JAC
Title: Antigravity
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $25.00
"Legendary trumpeter Jac Berrocal joins two fellow travelers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy, and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock n roll. The trios first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece "Rock n Roll Station," which first appeared on his 77 LP Parallèles (TES 037CD) with chain-wielding, leather-clad wildman of British rock n roll Vince Taylor singing the lead, and Berrocal on micd up bicycle; here, the Frenchman takes the vocal reins. A barely recognizable interpretation of Talking Heads "The Overload" pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum-machine rhythms, humid electronics, and jagged guitar phrasing, while "Where Flamingos Fly" reroutes the Gil Evans Orchestras classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trios reading of "Kinder Lieder," the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walkers Climate of Hunter. Originals include the agitated Iberian psychedelia of "Spain," and "Panic in Bali," which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered "Lonely Woman" quotations. "Solaris" is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocals trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay -- like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humor pervading; see the anarchic cross-hatch of "Ife Layo," or the CD-only track "Lessai des Suintes ou le bal des Futaies," Berrocals poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow, and the ReR axis will find much to chew on. Play, as we know, is serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, lets go. Includes MP3/FLAC download code." - Blackest Ever Black.

Artist: BLACK RAIN
Title: Dark Pool
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $26.00
"Dark Pool is the new studio album from Black Rain, the projects first in 18 years. Produced in New York City by Stuart Argabright, Black Rains founder and figurehead, Dark Pool is a work of hard-edged sonic fiction rooted in cyberpunks quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation. Stuart Argabright first landed in New York in 1978. By day, he worked as a landscape gardener for the upscale likes of Rock Hudson and Bob Dylan, while at night involving himself in all manner of subcultural activity -- the reverberations of which are still being felt today. He co-founded seminal no wave minimalists Ike Yard (whose early 1980s work has been cited as an influence by the likes of Kode9, Young Echo and Silent Servant), collaborated with the late Rammellzee in futurist hip-hop outfit Death Comet Crew (recently reactivated for an LP on Powells Diagonal label) and as Dominatrix scored a bona fide club hit with the downtown electro classic "The Dominatrix Sleeps Tonight" (1984). Black Rain was revived in the wake of 2011s Now Im Just a Numbers release and Argabright has toured extensively under the name and in 2013 released an EP of live recordings, Protoplasm, on BEB. Three of the EPs four tracks appear here on Dark Pool in radically revised and expanded form: the stuttering ribofunk of "Endourban" is now anchored by ominous string pads faintly redolent of Argabrights label-mates Raime, while "Data River" revisits the accelerated beat-stream of Black Rains 1996 album Nanarchy, and the low-slung "Protoplasm" has evolved into a sprawling, syncopated techno epic -- the sound of red dawn rising on an illegal replicant rave. A further seven new productions feature. "Burst," its title perhaps a nod toSogo Ishiis 1982 biker gang saga Burst City, harks back to the scrap-metal-banging brutalism of Black Rain mk.1; "Xibalba Road Metamorph," the albums angry, anguished centerpiece, externalizes the sadness and self-loathing of Jeters oppressed post-human workforce. "Night in New Chiang Saen" reimagines dub as the viral product of one of AgriGens morally-suspect scientific initiatives in The Windup Girl, before "Who Will Save the Tiger?" calls upon spidery, Metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century Ark. Vocals (on "Profusion" and "Profusion II") from Zoe Zanias (Keluar), and a brief spoken intervention from Sean Young (who of course played Rachel inBlade Runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album. For all its textual references, Dark Pool is a visceral and straight-talking affair: its body-hammer rhythms and brooding sound design require no explanation for their impact to be felt." - Blackest Ever Black.

Artist: BLACK RAIN
Title: Protoplasm
Format: 12"
Label: Blackest Ever Black
Country: UK
Price: $19.00
"Protoplasm is a four-track EP by Black Rain, containing its first new material since 1996. Since the release of the Blackest Ever Black compilation Now Im Just a Number: Soundtracks 1994-95, Stuart Argabright (also of Ike Yard, Dominatrix, Death Comet Crew) has reactivated the Black Rain project. The four tracks of desolated cyberpunk techno that constitute Protoplasm were recorded live from the desk at the 2012 Blackest Ever Black showcase at Corsica Studios, London. Mastered by Matt Colton at Alchemy, London. Edition of 500." -Blackest Ever Black.
SOLD OUT

Artist: BREMEN
Title: Eclipsed
Format: Double LP
Label: Blackest Ever Black
Country: UK
Price: $31.00
“Bremen return with Eclipsed, a double LP of glacial electronics, strung-out drone-punk, and smoldering space-rock minimalism. Following the release of their self-titled debut on Skrammel in 2013, the Swedish duo of Jonas Tiljander (Brainbombs) and Lanchy Orre (Brainbombs,Totalitär) joined the Blackest Ever Black fold in 2014 with Second Launch (BLACKEST 033LP). If the mood of that record was brooding and stygian, its monochord intensity unfaltering, then Eclipsed, this equally sprawling set, could be construed as a warmer, more dynamic, and variegated offering. Perhaps. There are still passages that are heavier than a death in the family. Still a staunch obsession with the consciousness-altering power of repetition. The bands points of departure are specific: a particular organ sound from J. A. Seazers 1970s recordings, the squalid alien guitar tone of Chrome, the cranked psychic roar-out riffage of Hawkwind, the melancholic mode of Swedish jazz pianist Jan Johansson, minimalism from La Monte Young to Eleh, "cold 80s electronic sound," and sloppy, lo-fi psychedelic rock from the likes of Pärson Sound and Träd, Gräs och Stenar. Tiljanders icily poised synth and organ drones and the grieving cosmic howl of Orres guitar dominate the landscape, but their instrumental palette has also expanded to include various percussion treatments, saxophone, strings, and dissolved vocal fragments. Their exploratory jamming, overdubbing, and dub-savvy mixing yields a music of unbelievable eloquence and physicality. Eclipsed is another masterpiece of black hole psychedelia from one of the greatest underground rock n roll units on the planet. No serious void-worshippers collection is right without it. All songs by Orre/Tiljander. Mastered by Tomas Bodén. Cut by Noel Summerville. Pressed at Optimal. Housed in gatefold sleeve. Includes MP3/FLAC download code.” - Blackest Ever Black.

Artist: BREMEN
Title: Second Launch
Format: Double LP
Label: Blackest Ever Black
Country: UK
Price: $33.00
“Mind-shattering double LP of dysphoric space-rock minimalism from two luminaries of the Swedish punk underground. Second Launch follows Bremens self-titled debut of 2013 and comprises 11 controlled improvisations, reinforced with overdubs, that take clear inspiration from the dark side of Kraut and progressive rock, early electronic and drone music, while also owing something to the fathomlessly bleak interior landscapes conjured by Nico/Cale on The Marble Index and Desertshore. The complex dialogue between Lanchy Orres guitar and Jonas Tiljanders organ, by turns pensive and combative, bound up with their mastery of reverb and feedback, is the focal point of the record; supplemented with drums and sparingly-deployed analog synthesizer tones to evoke nothing less than the vast emptiness of outer space and the obliteration of all meaning and identity in the face of it. From the full-throttle motorik and bonehead repetitions of "Sweepers" and "Entering Phase Two" (echoes of Tiljander and Orres alma mater, Brainbombs) to the deep astral psychedelia of "Static Interferences," via the mournful Northern European ambience of "Walking the Skies," the rolling thunder of "They Were Drifting," and the poignant, star-gazing blues of "Hollow Wave," Second Launch charts impossible gradients in its search for answers to the oldest questions of all. Gatefold sleeve.” - Blackest Ever Black.

Artist: CAROLINE K
Title: Now Wait For Last Year
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $31.00
"First ever vinyl reissue of Caroline Ks outstanding 1985 album, Now Wait For Last Year. This haunting, wistful work of post-industrial synthesizer music - the late Nocturnal Emissions co-founders only solo record - has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely sought-after. Tags like industrial, minimal synth or proto-techno cant really do justice to the richly cinematic sound-world that Caroline Kaye Walters, aka Caroline K, describes as "from the sustained ambient tension of sidelong opener The Happening World to the future-primitive rhythms and stately piano flourishes of Animal Lattice, and the melancholic, deep-frozen synth sequences of Chearth." Fans of Wendy Carloss A Clockwork Orange, Chris Carters The Space Between, and early Detroit techno should pay special attention, but this searching, future-proof masterpiece demands to be heard by all." - Blackest Ever Black.

Artist: CUT HANDS
Title: Damballah 58
Format: 12"
Label: Blackest Ever Black
Country: UK
Price: $16.00
"Damballah 58 is the monstrous sequel to 2012s deadly Black Mamba 12". The title-tracks diabolically addictive vaudou rhythms insinuate deeply before uncoiling convulsively into an irrevocable reclamation of the consciousness. The B-side features "Mamba Muntu" (sister track to the previous "River Mumma" and "Witness the Spread of the Dream"), the treacherously beautiful "Belladonna Theme," and the marauding, burning rush of "Immersion." Written and produced by William Bennett. Original vévé artwork by Mimsy DeBlois. Cut by Noel Summerville at 3345 Mastering, London. 12" vinyl housed in reverse board picture sleeve." -Blackest Ever Black.

Artist: CUT HANDS
Title: Festival of the Dead
Format: Double LP
Label: Blackest Ever Black
Country: UK
Price: $37.00
"2LP version housed in high gloss gatefold sleeve. Includes mp3/FLAC download. It is said that the gods of the dead demand you ritualistically commit to each intensely hot beat of the ceremonial drum. Now, here, is the music for their celebration of death, music to dance together with, to oblivion, a music both spectacular and ecstatic where, like never before, the spirits of Santería and Voudou mix with raw electricity into burning diabolical polyrhythms. Festival of the Dead is without doubt the most potent distillation yet of Cut Hands malign percussive energy, with pieces like "The Claw" and "Vaudou Take Me High" leading the irresistible polyrhythmic assault in pursuit of one thing: a final rapturous celebration of oblivion. Written and produced by William Bennett." - Blackest Ever Black.

Artist: CUT HANDS
Title: Festival of the Dead
Format: CD
Label: Blackest Ever Black
Country: UK
Price: $18.00
"It is said that the gods of the dead demand you ritualistically commit to each intensely hot beat of the ceremonial drum. Now, here, is the music for their celebration of death, music to dance together with, to oblivion, a music both spectacular and ecstatic where, like never before, the spirits of Santería and Voudou mix with raw electricity into burning diabolical polyrhythms. Festival of the Dead is without doubt the most potent distillation yet of Cut Hands malign percussive energy, with pieces like "The Claw" and "Vaudou Take Me High" leading the irresistible polyrhythmic assault in pursuit of one thing: a final rapturous celebration of oblivion. Written and produced by William Bennett." - Blackest Ever Black.

Artist: DALHOUS
Title: An Ambassador for Laing
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
"Debut album from the Edinburgh-based duo of Marc Dall and Alex Ander, who work with intricately-stacked percussion, dub-wise bass and a rich harmonic tapestry of processed voices, keys, harp, vibraphone, guitar, woodwind, strings and synthesizer -- every sound re-sampled to the nth degree then subjected to subtle automation and rigorously fine-tuned over a period of many months. From the mesmerizing, pastoral drift of "Anger Sees Red" and "Dwelling by the Meadow" to agitated arabesques like "The Physical Body" and the self-titled "Dalhous," the resulting pieces explore dream-like but treacherous terrain. Eleven questions in a world of blue." - Blackest Ever Black.

Artist: DALHOUS
Title: Will To Be Well
Format: Double LP
Label: Blackest Ever Black
Country: UK
Price: $33.00
“Gatefold double LP version with mp3 download. Will to Be Well is the new studio album by Dalhous, their second for Blackest Ever Black. This double LP reflects writer-producer Marc Dalls continued interest in the life and arcana of R.D. Laing, but also alludes to more universal and enduring mysteries: the relationships between body and mind, illness and wellness, the physical and the metaphysical. The 15 tracks assembled here also showcase the maturation of a uniquely gifted and expressive composer: Dalls stirring, efflorescent melodies and stately harmonic architectures, with their grievously honed simplicity, are a delight: lucid, lyrical, immediate. For all the modernity of Dalhous approach, the album recalls a bygone era in synthesized and sample-based music, a time when its practitioners were not just set-designers but storytellers, too. Will to Be Well arrives just one year on from the Edinburgh-based projects tenebrous debut, An Ambassador for Laing (BLACKEST 003CD/LP), which was released to widespread acclaim in Spring 2013: The Wire praised "a frequently beautiful music, whose often calm surface belies the powerful currents moving beneath it," while FACT called the LP a "wonderfully compelling head-scratcher... opaque, elusive ... and fascinating." Nonetheless, a notable shift in tone has occurred in the 14 months that have elapsed. If Ambassador was a tussle between darkness and light that ended in stalemate, with Will to Be Well it seems the light might just be winning. Pieces like "Transference" and "Her Mind Was a Blank" project a rapturous psychedelic intensity; "To Be Universal You Must Be Specific" and "Entertain the Idea" adopt the serene ambient register of recent Dalhous EP Visibility Is a Trap; while "Sensitised to This Area" goes about its business with an almost Balearic swagger. But light, too, can be oppressive: the sun that gives life can also burn, and bleach, and blind. And even amid the endorphin rush of the albums most ebullient passages, there is the sense of a greater melancholy, an intractable doubt, lurking beneath the surface. Dalhous music is suitably paradoxical, managing to sound at once futuristic and folkloric, both technologically advanced and avowedly pastoral. The elegiac repetitions of "A Communion With These People" and the pagan drones of "Lovers of the Highlands" speak of Dall and his studio partner Alex Anders deep connection to the rugged contours of their native Scottish landscape, while on "Four Daughters by Four Women" and "Thoughts Out of Season" convulsive post-rave rhythms are employed to evoke ancient natural cycles. Though Will to Be Well is a less obviously eerie album than its predecessor, Dalhous nose for the uncanny remains. A defining album from a major young artist.” - Blackest Ever Black.

Artist: EXPLORING JEZEBEL
Title: On a Business Trip to London
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $30.00
“On a Business Trip to London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E., limp-wristed ornamental industrial, sickly minimal synth, and cheap suntanned trollop techno. Whats more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Ducks piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On a Business Trip to London is a highly accessible and often disarmingly pretty work that will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power, and dominance. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.”

Artist: EXPLORING JEZEBEL
Title: On a Business Trip to London
Format: CD
Label: Blackest Ever Black
Country: UK
Price: $18.00
"On a Business Trip to London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E., limp-wristed ornamental industrial, sickly minimal synth, and cheap suntanned trollop techno. Whats more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Ducks piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On a Business Trip to London is a highly accessible and often disarmingly pretty work that will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power, and dominance. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries. Track 11 only available on CD version." - Blackest Ever Black.

Artist: F INGERS
Title: Hide Before Dinner
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $29.00
“Hide Before Dinner is an extraordinary LP from a group comprising Carla dal Forno (Tarcar), Samuel Karmel, and Tarquin Manek (Tarcar,LST). Deeply drugged, synth-daubed death-folk and DIY electronics of the highest order; acutely psychedelic, inscrutable but emotional, sunken but prone to soaring, with flashes of horror too. Beautifully conjures the mirth and murk of childhood summers... a relatable surburban gothic... grazed knees, hide-and-seek, nettle-stings. Trampled flowerbeds and failing light. Ghouls in your neighbors garden. Think Nico meets Dome or Alison Statton wandering The Pickle Factory after dark. If you dream you die, you die. Cover art by dal Forno and Manek. Layout assistance by Oliver Smith. Cut by Noel Summerville and pressed at Optimal. Housed in full-color gloss sleeve with printed inner sleeve and download code.” - Blackest Ever Black.

Artist: FORNO, CARLA DAL
Title: Fast Moving Cars
Format: 7"
Label: Blackest Ever Black
Country: UK
Price: $12.00
"Fast Moving Cars is the debut solo single from Carla dal Forno (F ingers, Tarcar). Poignant, alluring, happy/sad art-pop?Both a song of devotion and a dream of leaving. Languid, dub-wise, but with a heartbreaking clarity and economy of expression. The arrangement is stark, if not austere: rooted bassline, dry snare, noirish synth-drift and whispers of reverb conspire to open space rather than fill it. Its perfect for Carlas voice, a floating understated alto. "Dont be so daft, do something exciting? ". The lyrics are frank; fluent in the feelings that underpin the beginning, middle and end of a relationship." - Blackest Ever Black.
SOLD OUT

Artist: HINCHLIFFE, DICKON
Title: Red Riding: In the Year of Our Lord 1980
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $30.00
"Blackest Ever Black presents the first vinyl edition of Dickon Hinchliffes original score for 1980 -- the second part of Channel 4 and Revolution Films Red Riding trilogy, adapted by Tony Grisoni from David Peaces quartet of novels and first screened in 2009. Each film in the Red Riding trilogy, a landmark achievement in British television history, was helmed by a different director and had its own distinctive look, sound and feel. While Julian Jarrolds 1974 and Anand Tuckers 1983 were both marvelous, well-rounded pictures, James Marshs 1980 -- photographed by Igor Martinovic on 35mm -- somehow seemed to penetrate deeper, hit harder, and linger longer and more vividly in the memory. Described by Tony Grisoni as "an elegant steely trap," 1980s tragic arc is all the more devastating for the glimpses of lightness and redemption with which it taunts its hero -- policeman Peter Hunter, played with astonishing grace and nuance by Paddy Considine. Warren Clarke, Maxine Peake, Peter Mullan, Tony Pitts, Jim Carter, David Morrissey, Sean Harris, Shaun Dooley and Lesley Sharp also figure in what surely ranks as one of the finest British ensemble casts ever assembled. So yes, the acting, writing and direction are all first-rate, but crucial to the mesmeric, elegiac and ultimately pincering, punishing effect of 1980 is its music, composed by Dickon Hinchliffe and performed by a small string ensemble augmented with bass, piano, guitar and percussion. A founding member of Tindersticks, Hinchliffe has played a major role in the bands scores for the films of Claire Denis (including Vendredi Soir, Trouble Every Day and Nénette et Boni), and since flying the roost has established himself as an arthouse and Hollywood composer of considerable renown, with credits including Forty Shades of Blue, Project Nim, Winters Bone and Rampart. Even more eloquently than Paddy Considines note-perfect performance, Hinchliffes music for 1980 articulates Hunters journey from righteousness to ruin, his optimism gradually consumed by dread and paranoia. Even at its most tender, its most hopeful, its most soaringly romantic, the stench of death is all over it." -Blackest Ever Black.

Artist: JAWORZYN, STEFAN
Title: Drained Of Connotation
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $26.00
"Writer, musician, and misanthrope Stefan Jaworzyn was a notorious and energetic presence in the UK underground of the 1980s and 1990s. Following a brief stint in Whitehouse, in 1986 he formed Skullflower with Matthew Bower and remained the bands guitarist for four years, playing on Birthdeath (1988), Form Destroyer (1989) and Xaman (1990), among others. In 1990 he established the Shock label. Shock Records was a resounding boot to the arse of the narrow-minded, welcoming artists as disparate as Lol Coxhill, Coil, Drunks With Guns, The Dead C, and Ramleh into its fold. Jaworzyn rejoined Whitehouse in 1990-1991, and around this time was also invited to participate in a roundtable discussion about serial killers on Channel 4s After Dark program -- it ended with him vehemently debating the meaning of the word "integrity" with fellow guest Michael Winner. Despite having supposedly renounced the guitar, in 1991 Jaworzyn returned to the instrument with some venom, forming Ascension (later Descension) with drummer Tony Irving. In the second half of the decade, Jaworzyn retired the Shock label and largely withdrew from music, choosing to focus on drinking and cursing; although his Texas Chain Saw Massacre Companion was published by Titan Books in 2003, and on occasion he emerged to play live (including the Whitehouse "farewell" show in a duo with drummer Chris Corsano). Now, after 17 years off the grid, Jaworzyn has reappeared. 2013 saw him reactivate Shock to issue two 12" EPs of emphatic new solo material, as well as Eaten Away by Shadows (a compilation of solo bedroom recordings from 82-83) and the aforementioned Skullflower KINO CD series. Pre-dating the Eaten Away tracks, the driving, faintly sociopathic and supremely zoned pieces on Drained of Connotation were created in early/mid-82 at Jaworzyns then home in Cardiff using a Korg MS10 or 20 and his beloved Dr. Rhythm drum machine. SJ: "While a maniacal edge predominates, a couple of pieces seem surprisingly mellow, a concept infrequently associated with my subsequent endeavours and disposition." - Blackest Ever Black.

Artist: LEWIS, ALEXANDER
Title: A Luminous Veil
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $20.00
"A Luminous Veil is the debut release by Alexander Lewis. Six tracks of heart-sore modern industrial and S-M techno created using synth, microphone, and pedals. Recorded in one take with minimal computer processing or post-production. Limited edition of 500 copies only." -Blackest Ever Black.

Artist: LUSTMORD
Title: The Word as Power
Format: Double LP
Label: Blackest Ever Black
Country: UK
Price: $31.00
"Gatefold double LP version. Lustmord first emerged as an associate of SPK in the early 80s, before embarking on a solo career that has yielded such classics as Heresy (1990), The Place Where the Black Stars Hang (1994) and (with Robert Rich) Stalker (1995). Lustmord has also contributed to numerous Hollywood films as music and sound designer, and collaborated with the likes of Clock DVA, Chris & Cosey, Geir Jenssen, The Melvins, Tool, Aaron Turner, Monte Cazazza, and Coils Jhon Balance. Sometimes described as "dark ambient," his work simply goes deeper and further than conventional ambient dares to. Half a decade in the making, The Word as Power is his new studio album and an exploration of ritual music without dogma. For the first time in his 33-year career, Lustmord places vocals at the center of his abyssal ambient creations, coaxing incantatory performances out of Aina Skinnes Olsen, Jarboe (ex-Swans), Maynard James Keenan (Tool), and Soriah. Sonically, The Word as Power is even more detailed, expansive and consuming than Lustmords followers have come to expect, with voices, electronics, immense sub-bass, field recordings, and other acoustic phenomena harnessed and arranged to stimulate feelings of dread and desolation, certainly, but also escape, renewal and rebirth." -Blackest Ever Black.

Artist: MANEK, TARQUIN
Title: Tarquin Magnet
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
“A unique synthesis of time-dilating folk-jazz romanticism, brittle chamber dub, and plasmic post-techno electronics, Tarquin Magnet is Australian musician Tarquin Maneks first full solo release on Blackest Ever Black, but by no means his first contribution to the label; as one-half of Tarcar(with Carla dal Forno), he has released the dysfunctional dreamsongs ofMince Glace (2014), and as one-third of F ingers (with dal Forno andSamuel Karmel) he has helped summon the baleful backyard apparitions of Hide Before Dinner (BLACKEST 044LP, 2015). Manek has been busy elsewhere, too; he released Th Duo under his LST alias on Another Dark Age in 2015 (ADA 003LP). Still, none of this activity prepares one for the disturbed and enchanted environments of Tarquin Magnet. Its raw materials are the result of improvisation and domestic field recording, of literally grabbing at whatevers available -- clarinet, keyboard, dictaphone, cell phone -- and throwing it into the pot. And then, of course, untold hours of hunched and red-eyed editing. For all its rough textures and strange juxtapositions, this is masterfully mixed and arranged music; to adepts, and really to anyone listening at high volume, its deep spatial dynamics and higher dub logic will be powerfully apparent. Comparisons are pointless, but one might imagine "Edges of Illusion"-era John Surman meeting Karel Goeyvaertss minimalist phase, delivered with the no-fidelity recklessness of the best underground traditions of Australia and New Zealand. The spooling tunnel visions of "Fortunes Past" (like a scene from Jane Arden and Jack Bonds Anti-Clock (1979)) and strung-out junkyard gamelan of "Fortunes Begun" precede "Perfect Scorn," a tour de force of crackd kosmische pitched somewhere between folk tale and science fiction. Imagine The Shadow Ring or Small Cruel Party trying to find common ground withDettinger or Pole, or the sound of a million servers crashing and taking their users memories with them. Maneks psycho-acoustic landscaping culminates in "Blackest Frypan," a puzzle-box of insinuating, paranormal resonances wrought out of plucked steel guitar strings, stifled screams, and subaqueous bleeps. This truly progressive, THC-ushered marriage of wracked bedroom psychedelia, gloopy alien concrète, and dubwise, third-eye-open sound-design is a fitting finale to a record of singular and persuasive vision. Mastered and cut by Matt Colton at Alchemy, London; pressed at Optimal; housed in reverse-board sleeve with printed inner sleeve and download code (MP3/FLAC).” - Blackest Ever Black.

Artist: MANEK, TARQUIN/MARTINA QUAKE
Title: Locks On Our Doors Not On Our Hearts
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $21.00
"Locks On Our Doors Not On Our Hearts utilizes EMS VCS3, Oberheim OB-Xa, and ARP 2600, in combination with cheap, contemporary consumer electronics. It is, in all intents and purposes, a short, cautionary story about love. It is also a folk-tale, a science fiction, a suicide note. Unusually for a long-form spoken word piece, it is immediate in its impact, and lasting in its effect. The narrator is damaged and unreliable: Martina Quakes voice, digitally processed into a flat, AI affectless-ness, conveys this all too well. Is this the vernacular poetry of the Uncanny Valley, or is it just that loss makes robots -- numb and listless not-quite-humans -- of us all? Locksrevels in the space between the spontaneous and the programmed (what is a poem if not a program?). Its part Tales Of The Unexpected, part Susan Howe, part Ruth Rendell, part HAL (or Holly). Tarquin Maneks music is widescreen but understated... A becalmed landscape populated by distant drones, just-out-of-focus field recordings, and phased, minimalistic, Rhodes-style keys -- a sort of somber, lunar jazz. Just as Quakes words are cumulative in their tragedy, the music grows more agitated and turbulent, at certain points harking back to the smoked-out psycho-acoustics of Maneks 2015 Blackest Ever Black LP, Tarquin Magnet (BLACKEST 047LP, 2015), and his work in F ingers, with Samuel Karmel and Carla dal Forno." - Blackest Ever Black.

Artist: MOIN
Title: Murphy
Format: 12"
Label: Blackest Ever Black
Country: UK
Price: $16.00
"An EP from Moin, the duo of Tom Halstead and Joe Andrews aka Raime. This 12" follows Moins debut offering "Elsie," which appeared as part of a 2012 split 7" release with Pete Swanson on Blackest Ever Blacks Confessions sub-label. Three new tracks recorded with drums, guitar and bass, arranged with effects and sequencer. Cut by Matt Colton at Alchemy and housed in full picture sleeve." - Blackest Ever Black.

Artist: NAAAHHH
Title: Themes
Format: 12"
Label: Blackest Ever Black
Country: UK
Price: $16.00
"Five tracks of dark-side slither from somewhere under London - sidereal downers for all hardcore ravers. The dread energy of grime and bleep techno distilled into pungent electro-acoustic ooze. Paranoid street music meets the cosmic disturbances of musique concrete, the spine-freeze of isolationism and Englands Hidden Reverse (2012). Staccato string stabs, murmured voices, black holes of reverb and pulverizing, body-numbing bass. Drums optional; Unwanted side-effects include nosebleeds, earaches, stomach cramps, and nausea." - Blackest Ever Black.

Artist: OFFICER!
Title: Dead Unique
Format: CD
Label: Blackest Ever Black
Country: UK
Price: $18.00
"Blackest Ever Black presents to you Dead Unique, an album by Officer! recorded in 1995 but -- outrageously, inexplicably -- never before released into the public domain. This then is not a reissue or a revival; its a new record that just happens to have been maturing in the cask for, oh, a little shy of 20 years. It also happens to be a lost classic of English art-rock, and the crowning achievement in the career of its mercurial creator, Mick Hobbs. Londoner Hobbs roots are in the fecund RIO scene of the late 70s and early 1980s, initially as guitarist in The Work (alongside Bill Gilonis, Rick Wilson and Henry Cows Tim Hodgkinson), and subsequent related groupings The Lowest Note, The Lo Yo Yo, and The Momes. Over the course of the decade he became closely associated with This Heat and their Cold Storage studio in Brixton. Officer! -- the project that this incorrigible collaborator and connector calls his own -- surfaced in 1982 with a cassette tape entitled Eight New Songs By Mick Hobbs. It marked the blossoming of a singular writer and improviser, with a gift for plangent melody, ingenious arrangement and lyrics at once caustic and courtly, playful and profound (two songs from this tape, "Life at the Waters Edge" and "Dogface," have been remastered for a forthcoming limited edition 7" release on Blackest Ever Black). The Cold Storage-recorded Ossification LP arrived a year later, followed by Cough (1985) and Yes Yes No No Yes No Yes (1988). Megaphone Records, responsible for Ossifications recent 30th anniversary reissue, rightly describe it as "one of the most unusual, pleasurable and character-filled pop records anyone has heard -- a timeless anomaly in the history of recorded music." By the start of the 1990s Hobbs had joined Jad Fairs Half Japanese. In the early months of 95, Half Japanese were in Baltimore to record their Hot LP; Hobbs stayed on to cut the bulk of the songs that comprise Officer!s Dead Unique -- songs drawn from a rich store of material written and refined in the seven years since the bands last outing -- with a talented assemblage of local and visiting musicians. Returning to the UK, Hobbs brought the tracks to producer Julia Brightly to mix at her 16-track home studio in Bethnal Green; by the end of the summer, Dead Unique had taken shape. And then? Nothing. For reasons that no one, least of all Hobbs, can remember, Dead Unique was shelved, all but forgotten about until 2012, when Blackest Ever Black chanced upon it while trawling the Officer! archive maintained for Hobbs by Andrew Jacques. Finally, rightfully, this album is available to all for the very first time. A complex but thrillingly immediate avant-pop song cycle that charms and confounds at every turn, Dead Unique will give immense pleasure not only to Officer!s existing cult following, but to anyone with an appreciation of piquant, idiosyncratic songcraft -- fans of Kevin Ayers, Flaming Tunes, Art Bears, Woo, Dislocation Dance, R. Stevie Moore, Robert Wyatt, Cleaners From Venus, Lol Coxhill or The Monochrome Set should especially pay attention. It touches upon ragged-raw rock n roll, sumptuous chamber music, pastoral folk, blowsy prog-jazz and paranoid dub-space, effortlessly shifting from skronking abstraction to rousing harmonic refrain and back again. The tension between composition and improvisation is key to the LPs power, with Hobbs abetted by an extraordinary supporting cast that includes Tim Hodgkinson (bass clarinet), Pleasant Livers Fred Collins (vocals), Legendary Pink Dots Patrick Q (violin), filmmaker/animator Martha Colburn (vocal), Gilles Rieder (drums), Jad Fair (vocals) and Jason Willett (bass, keyboards, trumpet). Special mention must go to John Dierker, whose superbly expressive clarinet and saxophone parts are a fixture throughout, and to Joey Stack, who takes lead vocals on "Good" and the show-stopping "Elephant Flowers." Nonetheless, it is the voice of Hobbs -- as principal writer, performer and protagonist of these songs -- that resonates most powerfully. Blurring the roles of storyteller, poet and prankster, he turns memorable line after memorable line, booby-trapping them with mischievous puns, fleet-footed literary allusions, sudden digressions and shifts of register, nonsense rhymes and other wordplay. But his acute wit and flair for the absurd is moored by a deep romantic sensibility, and though it delights in the minutiae of the human comedy, Dead Unique ultimately addresses its biggest themes: love, loss, commitment, independence, the mutability and inconstancy of all things." - Blackest Ever Black.

Artist: OFFICER!
Title: Dead Unique
Format: Double LP
Label: Blackest Ever Black
Country: UK
Price: $33.00
"Blackest Ever Black presents to you Dead Unique, an album by Officer! recorded in 1995 but -- outrageously, inexplicably -- never before released into the public domain. This then is not a reissue or a revival; its a new record that just happens to have been maturing in the cask for, oh, a little shy of 20 years. It also happens to be a lost classic of English art-rock, and the crowning achievement in the career of its mercurial creator, Mick Hobbs. Londoner Hobbs roots are in the fecund RIO scene of the late 70s and early 1980s, initially as guitarist in The Work (alongside Bill Gilonis, Rick Wilson and Henry Cows Tim Hodgkinson), and subsequent related groupings The Lowest Note, The Lo Yo Yo, and The Momes. Over the course of the decade he became closely associated with This Heat and their Cold Storage studio in Brixton. Officer! -- the project that this incorrigible collaborator and connector calls his own -- surfaced in 1982 with a cassette tape entitled Eight New Songs By Mick Hobbs. It marked the blossoming of a singular writer and improviser, with a gift for plangent melody, ingenious arrangement and lyrics at once caustic and courtly, playful and profound (two songs from this tape, "Life at the Waters Edge" and "Dogface," have been remastered for a forthcoming limited edition 7" release on Blackest Ever Black). The Cold Storage-recorded Ossification LP arrived a year later, followed by Cough (1985) and Yes Yes No No Yes No Yes (1988). Megaphone Records, responsible for Ossifications recent 30th anniversary reissue, rightly describe it as "one of the most unusual, pleasurable and character-filled pop records anyone has heard -- a timeless anomaly in the history of recorded music." By the start of the 1990s Hobbs had joined Jad Fairs Half Japanese. In the early months of 95, Half Japanese were in Baltimore to record their Hot LP; Hobbs stayed on to cut the bulk of the songs that comprise Officer!s Dead Unique -- songs drawn from a rich store of material written and refined in the seven years since the bands last outing -- with a talented assemblage of local and visiting musicians. Returning to the UK, Hobbs brought the tracks to producer Julia Brightly to mix at her 16-track home studio in Bethnal Green; by the end of the summer, Dead Unique had taken shape. And then? Nothing. For reasons that no one, least of all Hobbs, can remember, Dead Unique was shelved, all but forgotten about until 2012, when Blackest Ever Black chanced upon it while trawling the Officer! archive maintained for Hobbs by Andrew Jacques. Finally, rightfully, this album is available to all for the very first time. A complex but thrillingly immediate avant-pop song cycle that charms and confounds at every turn, Dead Unique will give immense pleasure not only to Officer!s existing cult following, but to anyone with an appreciation of piquant, idiosyncratic songcraft -- fans of Kevin Ayers, Flaming Tunes, Art Bears, Woo, Dislocation Dance, R. Stevie Moore, Robert Wyatt, Cleaners From Venus, Lol Coxhill or The Monochrome Set should especially pay attention. It touches upon ragged-raw rock n roll, sumptuous chamber music, pastoral folk, blowsy prog-jazz and paranoid dub-space, effortlessly shifting from skronking abstraction to rousing harmonic refrain and back again. The tension between composition and improvisation is key to the LPs power, with Hobbs abetted by an extraordinary supporting cast that includes Tim Hodgkinson (bass clarinet), Pleasant Livers Fred Collins (vocals), Legendary Pink Dots Patrick Q (violin), filmmaker/animator Martha Colburn (vocal), Gilles Rieder (drums), Jad Fair (vocals) and Jason Willett (bass, keyboards, trumpet). Special mention must go to John Dierker, whose superbly expressive clarinet and saxophone parts are a fixture throughout, and to Joey Stack, who takes lead vocals on "Good" and the show-stopping "Elephant Flowers." Nonetheless, it is the voice of Hobbs -- as principal writer, performer and protagonist of these songs -- that resonates most powerfully. Blurring the roles of storyteller, poet and prankster, he turns memorable line after memorable line, booby-trapping them with mischievous puns, fleet-footed literary allusions, sudden digressions and shifts of register, nonsense rhymes and other wordplay. But his acute wit and flair for the absurd is moored by a deep romantic sensibility, and though it delights in the minutiae of the human comedy, Dead Unique ultimately addresses its biggest themes: love, loss, commitment, independence, the mutability and inconstancy of all things." - Blackest Ever Black.

Artist: OFFICER!
Title: Life At the Waters Edge/Dogface
Format: 7"
Label: Blackest Ever Black
Country: UK
Price: $14.00
“The first vinyl release of an essential song by Officer!, the project of Mick Hobbs (½ Japanese, The Work, The Lowest Note, Flaming Tunes). Backed here by the gloriously surreal "Dogface," the ecstatic, anguished "Life At the Waters Edge" was released on the 1983 cassette 8 New Songs By Mick Hobbs, recorded at Cold Storage with Hobbs (vocals, bass) accompanied by Rick Wilson (drums), Terri Robson (violin), Anna Piva (vocals), Richard Wolfson (keyboards), and Family Fodders Alig (guitar). Presented in picture sleeve with printed lyric sheet insert. Remastered and cut by Matt Colton at Alchemy, January, 2014. Edition of 300.” - Blackest Ever Black.

Artist: PEOPLE SKILLS
Title: Gunshots At Crestridge
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
"Gunshots At Crestridge is the second full-length album from Philadelphias Jesse Dewlow, recording under the moniker People Skills. The follow-up to 2014s Siltbreeze set, Tricephalic Head. Ten sunken songs, derisively adorned with rhythm and rudimentary dub effects. Bedroom elegies for the lost and irretrievable, last-ditch spells for transformation and renewal. Thurston Moore and Byron Coley likened the previous record to "South Island New Zealand pop played inside of an armored car," and that description holds here: underneath the hoods of these wracked and weather-beaten recordings are melodies of disarming beauty and optimism, bordering on the (willfully) mawkish, bubblegum ground underfoot. Whether speaking through stately keyboard pastorals ("Mint Julep"), rat-arsed rock n roll slur ("89¢ Public Render") or sulphurous aggro-electronics (the two-part title track), Gunshots At Crestridge exposes, then seeks to redeem, all of our tiny acts of self-sabotage, all of our sins against time." - Blackest Ever Black.

Artist: PRURIENT
Title: Through the Window
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
"Through the Window is the new album by Prurient, his first for Blackest Ever Black. It is, in a sense, both the conclusion and the climax of the journey that Dominick Fernow began with 2011s Many Jewels Surround the Crown 7" and continued with that years Bermuda Drain LP and Times Arrow EP. It was recorded before the Hospital Productions founders move to Los Angeles, but in tone, subject matter, and scale it firmly anticipates his current stint navigating the desert citys "hall of mirrors, sycophants, fair-weather friends and social vampires." The three pieces featured on Through the Window, including the 18-minute title-track, also represent the ultimate expression of Fernows affection for European techno forms, and his ability to apply them to his own uniquely lacerating purpose. Unlike his claustrophobic, inward-looking recordings as Vatican Shadow, this material is widescreen, open, expansive. Nonetheless, the goal is exorcism and self-knowledge, not ecstasy. Through the Window is, at bottom, a work of true SM electronics. Music to listen to at night, in the hills, watching as headlights approach." -Blackest Ever Black.

Artist: RAIME
Title: Quarter Turns Over a Living Line
Format: Double LP
Label: Blackest Ever Black
Country: UK
Price: $28.00
"Gatefold double LP version. Moving away from the sample-based strategies that characterized their early work, Joe Andrews and Tom Halstead have looked increasingly to live instrumentation for their first full-length work, mounting intensive recording sessions for percussion, guitar, and strings before painstakingly piecing the album together at their home studio. The gothic and industrial signifiers in their music remain, but more submerged and oblique than ever -- no less pronounced as influences than jungles rhythmic dynamism and doom metals oppressive weight or aspects of techno, modern composition, and dub."- Blackest Ever Black.

Artist: RASPBERRY BULBS
Title: Deformed Worship
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
"The second album by New Yorks Raspberry Bulbs. Since their debut LP Nature Tries Again (Hospital Productions, 2011) RB has grown from the solo project of M. del Rio (HWCT from Bone Awl) into a five-piece of extraordinary force and focus. The first studio version of Deformed Worship was scrapped, and its songs re-recorded by the band on cassette 8-track in November 2012, before being mixed and mastered by Kris Lapke (Alberich). Stomping, vicious and unrelenting. Nine songs. Thirty minutes. Raspberry Bulbs defies the constraints of classification but is often mistakenly labeled as a black metal band. It is not a black metal band." -Blackest Ever Black.

Artist: RASPBERRY BULBS
Title: Privacy
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
2015 repress. "Raspberry Bulbs is the invention of visual artist and musician Marco del Rio, who, under the guise of He Who Crushes Teeth, co-founded Bone Awl -- one of the most distinguished black metal projects ever to come out of the U.S. Raspberry Bulbs debut album, Nature Tries Again, emerged in 2011. Hitherto a solo endeavor, RB expanded to a five-piece in the wake of Natures release, and sought to make a definitive break from black metals musical signifiers, if not its underlying themes of alienation and abjection -- a path of self-discovery that culminated in the bruised, dynamic visions of their sophomore LP, Deformed Worship (BLACKEST 018LP). Privacy arrives barely a year after its predecessor, but its a markedly more developed and far-reaching album. Songs of excoriating intensity once again form the basis of the work -- the no-frills 4-track recording capturing all the violence and nuance of del Rios vocals, of the dual guitar rapport, and the machine-gun rhythm section -- but this time theyre interspersed with eerie electronic miniatures, instrumental pieces that suggest unseen worlds, malign energies, forces beyond our comprehension and control. This aura of the uncanny is no accident. Though its practically impossible to describe Raspberry Bulbs music without mentioning punk or metal, the bands most important influences are literary: in particular Lovecraft, Machen, Chambers et al." - Blackest Ever Black.

Artist: RAT COLUMNS
Title: Fooling Around EP
Format: 12"
Label: Blackest Ever Black
Country: UK
Price: $19.00
"First vinyl release of the definitive version of "Fooling Around," which appeared in truncated form on Rat Columns 2014 album Leaf (R.I.P. Society). Its void-chasing motoric and moody jangle evoke Splendour of Fear-era Felt or David Kilgour at his dreamiest, strapped to the engine of NEU!s "Für Immer." "Living in the New World" summons Orange Juice or The Modern Lovers, but with a darker, more delirious edge; "Should I Leave You Alone?" closes with square-jawed dub-bass and chewy tape FX yielding to baroquely beautiful guitar phrasing and limpid Moog tone-float. Picture sleeve; includes insert and download code. Edition of 500." - Blackest Ever Black.

Artist: SECRET BOYFRIEND
Title: Memory Care Unit
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
"Memory Care Unit is a long-form offering of poignant, isolationist machine music from Secret Boyfriend. Eschewing the cryptic and compact song-sketches that characterized his 2013 LP This Is Always Where Youve Lived (BLACKEST 023LP), Ryan Martin instead guides listeners through vast interior topographies and nerve-damaged ambiences that comfort and deceive like memory itself. Beginning with "The Singing Bile" -- minimal synth submerged and subjected to an almost oceanic pressure -- the tracks are mostly crude, extended live improvisations, recorded straight to tape. Martins loose intention was to subtract himself from proceedings and "let the music play itself," but the erasure is not quite complete; on the contrary, each piece feels distinctly authored, and charged with personal significance. The atrophying loops of "Memorize Them Well" broach the elegiac grandeur of Gas and William Basinski, while "Paean delle Palme" summons E.A.R., Af Ursin, and the clammy, opioid exoticism of :zoviet*france:*s Just an Illusion. The album is largely instrumental, but there are two weighty exceptions: the sprawling, drumbox-driven space blues of "Little Jammy Centre" and the guileless yearning of "Stripping At The Nail." This is electronic pop undressed, unraveled, and mapped onto the infinite wave. Expansive and enveloping, Memory Care Units offering of comfort and refuge is difficult to resist. But this amniotic idyll is frayed and haunted at its edges, and ultimately treacherous. The return to innocence it promises may be possible, but the price is separation, alienation, and loss. Housed in full-color reverse-board sleeve with printed inner sleeve. Includes MP3/FLAC download code." - Blackest Ever Black.

Artist: SECRET BOYFRIEND
Title: This Is Always Where Youve Lived
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
"Blackest Ever Blacks last release of 2013 comes from Secret Boyfriend, the solo project of North Carolinas Ryan Martin, who is also one-half of Boyzone and founder of the Hot Releases label -- a catholic endeavor that has seen him release records from the cream of the contemporary N.C. underground as well as reissuing classic sides by the likes of Maurizio Bianchi, Ghedalia Tazartes, and Ashrae Fax. To date, Secret Boyfriends presence has been felt largely in the shape of live performances and short-run cassette releases (including Carved at Birth, Furnishing the Void, and Skin on the Clock), as well as vinyl splits with Russian Tsarlag and Horaflora. This Is Always Where Youve Lived is SBs first LP release and unquestionably his most potent, fully-realized work to date. Twelve songs from under the floorboards: a heart-rending but hard-edged synthesis of downer folk, tape experiments, noise etudes, and basement-mildewed pop for edgeland fuck-ups, loners, and wanderers; recommended if you like Peter Jeffries, Flaming Tunes, Storm Bugs, etc. Arguably comes closer than any previous BEB release to articulating the "mesmerized suburban daydreams of our youth." Vinyl cut by Noel Summerville and housed in a full-color picture sleeve with printed insert." - Black Ever Black.

Artist: SHAMPOO BOY
Title: Crack
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $22.00
"The Vienna-based trios second LP following 2013s crushing debut Licht (BLACKEST 016LP), Crack finds Peter Rehberg (Editions Mego), Christina Nemec (comfortzone), and Christian Schachinger crafting a powerful alloy of extreme electroacoustic music, luminous ambience, and the mineral fundaments of rock and black metal. Opener "Spalt" immediately signals a departure from the monolithic doom of Licht, conveying instead a sense of adrenalized movement, of acceleration toward an ever-receding horizon. There is no percussion, yet Nemecs chasmic bass and Rehbergs protean electronics give rise to an unstoppable momentum. Schachingers highly lyrical, spiraling guitar improvisations nod to Fripp and Göttsching, but Shampoo Boys vision of the cosmos is more hard-boiled and unforgiving than that of their forefathers. On "Riss," slow, ceremonial down-strokes suggest a return to Licht, with the addition of Rehbergs unintelligible conversation-snippets, machine noise, and nameless natural currents mingling in pernicious hybrid forms that curl and ricochet about the stereo field. Subterranean bass tones, meanwhile, seem to reverberate from an ancient and appalling source. Its typical of Cracks unorthodox Weltanschauung, however, that just when we think the game is up, we are faced not with oblivion but with potential absolution: "Riss"s closing section is a gravely serene tone-painting. Side B is given in its entirety to the three-part "Bruch," the most potent and pugilistic manifestation of Shampoo Boys brute psychedelia to date. Part I is a near-gothic assemblage of tortured computer processing, abyssal drones, and stray industrial noise. This gives way to the calm but agonized concrète of part II, sparse, minimalist, dub-damaged. The broiling digital synthesis of part III complements annihilating slow-motion riffage; a thuggish monochord attack that feels almost Stooge-ian -- grungy, swaggering, sewer-savvy -- but doubles back into abstraction. It becomes impossible to distinguish individual instruments, processes, or contributions; the group mind takes over, the third eye is on fire, and the album climaxes in a black flash of negative ecstasy. Epic in scale, complex in mood, and dazzling in technique, Crack is a momentous achievement from three improvising musicians at the height of their powers. A lived-in and emotionally charged work, harrowing but energizing, it is also a sustained achievement of arrangement and post-production remarkable even in light of its makers pedigree: the harshest and heaviest passages are rendered with a sense of space and richness of detail that is truly otherworldly. Russell Haswells astute mastering amplifies this, resulting in one a supremely exhilarating and rewarding work." - Blackest Ever Black.

Artist: SHAMPOO BOY
Title: Licht
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $24.00
"Licht is the debut album by Shampoo Boy, a new guitar, bass and electronics trio from Vienna, comprising members Christian Schachinger, Christina Nemec, and Peter Rehberg. Schachinger and Rehberg have played together in various projects over the last 25 years, most notably Peterlicker -- see Last Slave (2010) and Nicht (2011), both released on Editions Mego. Schachinger was also involved in Der Scheitel, their album In einem Haus das Liebe heißt being a classic of German "Schlagermusik." Rehberg currently operates the Editions Mego family of labels and is a member of KTL, R/S, and Fenn OBerg as well as working on theater productions with Gisele Vienne, and with choreographer Margret Gudjonsdottir. Nemecs background is in avant-rock and industrial outfits such as Bray and her own performance group SV Damenkraft. She remains highly active as a solo artist, both as Chra and under her own name, and she has performed on several occasions with Lydia Lunch. Licht is made up of four improvisations recorded and mixed at Twisted, Wien between April 2012 and January 2013. Mastered by Noel Summerville at 3345, London. Artwork by Stephen OMalley." - Blackest Ever Black.

Artist: SIX SIX SECONDS
Title: Tearing Down Heaven
Format: 10"
Label: Blackest Ever Black
Country: UK
Price: $15.00
"Very necessary standalone release of Six Six Seconds "Tearing Down Heaven," standout track from the 2012 Downwards compilation So Click Heels. Written and performed in Berlin by the elusive Eden and deftly recorded and mixed by Karl OConnor. Darkly rapturous dream-pop; the abyssal swoon of shoegaze meets a harsher, more pernicious order of psychedelic rock minimalism. This 10" features a slightly extended version of "Tearing Down Heaven" and a stunning "Reprise" that unravels the originals complex webs of feedback and high-end scorch into a masochistic drone-raga for eternally thwarted lovers. Remastered by Matt Colton. One-off vinyl edition of 500 copies." - Blackest Ever Black.

Artist: TARCAR
Title: Mince Glace
Format: 12"
Label: Blackest Ever Black
Country: UK
Price: $18.00
"A modern-day revenge tragedy. Symmetrical, fine-spun, almost courtly; but quick-tempered, and far from blood-shy. A picture emerges: domestic disturbance, pissing on the compost heap, noise complaints from hateful neighbors. Sulking, pouting, goading. Cold leaves and Christmas. Body-clocks betrayed, seasonal adjustment disorders. Collecting bottles to smash in the parking lot. Marijuana and make-believe. A flaming bower of unbliss. Recommended for fans of A.C. Marias, Brenda Ray, General Strike, The Poems, Robert Storey, and other purveyors of shut-in, fitfully serene dub dysfunction. Created by C. dal Forno and T. Manek. Mastered by Dan Elleson and cut by Matt Colton. Edition of 300." - Blackest Ever Black.

Artist: TOMORROW THE RAIN WILL FALL UPWARDS
Title: How Great a Fame Has Deparded?
Format: 10
Label: Blackest Ever Black
Country: UK
Price: $18.00
"Two elegies in dub by Tomorrow The Rain Will Fall Upwards: for the once-great city of New York, and for one of its most celebrated sons. A 10" vinyl-only release, cut by Matt Colton at Alchemy and housed in a full picture sleeve. Strictly limited edition of 500." - Blackest Ever Black.
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Artist: TROPIC OF CANCER
Title: Restless Idylls
Format: CD
Label: Blackest Ever Black
Country: UK
Price: $18.00
"Restless Idylls is the first full-length album from Tropic Of Cancer, the solo project of Los Angeles-based Camella Lobo. Lobo debuted in 2009 with The Dull Age/Victims, a 10" single on Downwards and the first of three collaborations with Juan Mendez (Silent Servant). Two years later came a second Downwards release ("Be Brave," remixed by Cabaret Voltaires Richard H. Kirk), followed soon after by The Sorrow of Two Blooms on Blackest Ever Black -- the labels third release and one if its most cherished. Since then there have been 12" releases on Mannequin, Sleeperhold Publications, Ghostly International (a Part Time Punks Sessions live split with HTRK) and a limited edition compilation, The End of All Things, compiling singles and unreleased recordings. Restless Idylls marks TOCs return to BEB and consists of eight new recordings written in Los Angeles, with additional production from Karl OConnor (Regis) in New York and London. Its themes? The usual: romance, devotion, pain and helplessness. Mixed up mortals struggling against the brute mechanics of fate, and proving unequal to the task. A forced retreat into private, precious idylls of longing, faith, mystery, even misery. The urgent motorik of lead single "More Alone" is perhaps a misleading foretaste of the full-length, which is more lush, languid and extravagantly despondent than previous TOC material. Troubled hymns from an empty room, in a drowned world. A sensual and sepulchral psychedelia. Cover art by Silent Editions." - Blackest Ever Black

Artist: TROPIC OF CANCER
Title: Restless Idylls
Format: Double LP
Label: Blackest Ever Black
Country: UK
Price: $28.00
"Restless Idylls is the first full-length album from Tropic Of Cancer, the solo project of Los Angeles-based Camella Lobo. Lobo debuted in 2009 with The Dull Age/Victims, a 10" single on Downwards and the first of three collaborations with Juan Mendez (Silent Servant). Two years later came a second Downwards release ("Be Brave," remixed by Cabaret Voltaires Richard H. Kirk), followed soon after by The Sorrow of Two Blooms on Blackest Ever Black -- the labels third release and one if its most cherished. Since then there have been 12" releases on Mannequin, Sleeperhold Publications, Ghostly International (a Part Time Punks Sessions live split with HTRK) and a limited edition compilation, The End of All Things, compiling singles and unreleased recordings. Restless Idylls marks TOCs return to BEB and consists of eight new recordings written in Los Angeles, with additional production from Karl OConnor (Regis) in New York and London. Its themes? The usual: romance, devotion, pain and helplessness. Mixed up mortals struggling against the brute mechanics of fate, and proving unequal to the task. A forced retreat into private, precious idylls of longing, faith, mystery, even misery. The urgent motorik of lead single "More Alone" is perhaps a misleading foretaste of the full-length, which is more lush, languid and extravagantly despondent than previous TOC material. Troubled hymns from an empty room, in a drowned world. A sensual and sepulchral psychedelia. Cover art by Silent Editions." - Blackest Ever Black

Artist: TROPIC OF CANCER
Title: The Sorrow of Two Blooms
Format: 12"
Label: Blackest Ever Black
Country: UK
Price: $19.00
"2011 release. One-time repress on clear vinyl with the original picture sleeve, edition of 500. Tropic Of Cancer is the L.A.-based duo of Camella Lobo and Juan Mendez (Silent Servant). "A Color" is a soaring cold wave anthem, wailing synths and dead-eyed vocals riding an insistent, minimalist drum pattern that channels Stephen Morris, Mo Tucker, and early Cure. "Temporal Vessels" invokes Hannetts gloomiest productions. With shades of Nico, Cocteau Twins, and the finest 80s dream-pop, "Dive (Wheel of the Law)" takes up the entire B-side." -Blackest Ever Black.
SOLD OUT

Artist: V/A
Title: I Cant Give You the Life You Want
Format: LP
Label: Blackest Ever Black
Country: UK
Price: $24.00
"Blackest Ever Black US exclusive release manufactured and distributed by Mount Analog. 500 copies worldwide featuring unreleased and brand new material from Tropic of Cancer, Bremen, Tarcar, Cut Hands, Exploring Jezebel, Dalhous, Secret Boyfriend, 500 Stamps (Veronica Vasicka), Infrastructure Zero and more." - Blackest Ever Black.

Artist: WEEKEND
Title: The 81 Demos
Format: 12"
Label: Blackest Ever Black
Country: UK
Price: $20.00
"Blackest Ever Black is pleased to present the first vinyl edition of the legendary demos recorded in 1981 by Weekend -- the trio of Alison Statton, Spike Williams and Simon Booth. The four demos were released as a stand-alone CD by Vinyl Japan in 1995, and included as bonus tracks on Cherry Reds CD reissue of La Varieté; however, until now they have never appeared on vinyl. Licensed from Cherry Red, The 81 Demos is a 12" limited to 1,000 pieces, mastered by Matt Colton at Alchemy and housed in an LP sleeve printed on reverse board stock, with printed inner featuring liner notes by Spike Williams, Alison Statton and Simon Booth." - Blackest Ever Black.
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