January 2021 Batch
Get all 3 releases in the January, 2021 batch at a discount.
Scathing – Untitled
Why is everything so fucking harsh in Texas? With the shit that comes out of there sometimes I’m shocked there’s enough distortion pedals and scrap metal to go around. Lucky for us Scathing’s Kenny Brieger is from Texas. And man is this tape fuckin harsh. At its peaks, the volume and textural aggression Scathing delivers can be absolutely suffocating. But it never rests on a single angle too long and maintains a lot of dynamics and movement that you might not expect from a searing c30 like this. The sounds have familiar ingredients from the greats of American harsh noise but come together in a brew entirely of Scathing’s making. Absolutely one of the most consistent rippers smashing pedals today.
Hand numbered edition of 50
Oozing Meat – Unseen Phantoms in Open Spaces
Oozing Meat is fucked. If you’re unaware, Oozing Meat is 2 of Richmond, Virginia’s finest coming together to be as fucked as possible. Jason Hodges of Suppression and Eric Tomillon of Fake Object bring you 530 tracks in 12 minutes. I didn’t count but I believe them. First is 115 tracks with acoustic drums, and its followed up by 415 tracks with drum machine. The acoustic drums are fucked. Despite needing to do 3 songs per second it doesn’t feel rushed, and really takes its time. Its unsettlingly patient for breakneck noisecore. The drum machine is 100% full bongo. Deche Charge goes speedcore. Absolutely relentless. The tape has 4 blank minutes on each side so you can sit alone in your room listening to the dead tape thinking about how fucked that was like its 1994. Get it together shithead.
Hand numbered edition of 50
Developer – Stand in My Shadow Forever
For the last 4 years Matthew Reis has been keeping his noise to the confines of his incredible noisecore band Living Room (H1006). But you can only separate a man and his mute buttons for so long. Its hard to begin describing the music on this CD. Its everything. Every single sound there ever was stuffed into a school bus and thrown down a mountain. But its not some repetitive 20 distortion pedal endurance test like some longer form cut up albums can be. There are passages reminiscent of Matthew’s earlier concrete work as Teeth Collection that fill the space between canyons of demolishing cut up. Every song has its own set of distinct sounds and unique flow, and would work effortlessly as a side of a split. And yet when you listen to the entire thing there is no mistaking that you’re hearing a full album. This is a high-water mark not only for Matthew’s individual catalog but for the style of cut up harsh noise as a whole. 10 untitled tracks over 50 minutes that leaves you with an itch to hit play on track 1 again as soon as its finished. A feeling like maybe you can figure out what the fuck that was, or how he did that. But you can’t. And you never will. All you can do is play this disc until you go deaf, and stand in its shadow forever.
Edition of 100 CDs