Out of stock
2 LP + 7"
INCAPACITANTS
“As Loud As Possible”
The mid-90s were particularly abundant years for harsh noise, producing many albums which are now considered masterpieces. One of the most beloved classics from this period is "As Loud As Possible" by Incapacitants. Active since 1981, the duo of Toshiji Mikawa and Fumio Kosakai found their stride in the early 90s and set off on an unrelenting course which produced countless gems of noise. Many of these have been well preserved and documented elsewhere, compiled on "Box Is Stupid" and "Alchemy Box Is Stupid", however, "As Loud As Possible" has never been reissued since its original release on Zabriskie Point. It is now made available for the first time since 1995, with no corner cut in preparation of its reissue. The audio was transferred from the original tapes by Din-I-Ilahi, and re-mastered for digital and vinyl formats by Rashad Becker. The iconic cover photographs by Naomi Hosokawa have been scanned from the original negatives and enlarged for the expanded format, along with outtakes and unused shots, which are now included here for the first time. T. Mikawa also dug into the Incapacitants archives and unearthed two additional tracks of previously unreleased material, recorded around the same time as the album. These two tracks, entitled "As Loud As Possible Revisited" are included as a bonus 7" with alternate picture sleeve. Features extensive liner notes written by Sam McKinlay aka The Rita. A personal all-time favourite, it is an honour to present "As Loud As Possible" as a double LP in deluxe gatefold sleeve. Includes digital download.
Incapacitants are T. Mikawa & F. Kosakai:
All electronics, voice
Edited by T. Mikawa
Photographs taken by Naomi Hosokawa at Factory Pub Bon-Ba-Ye
(Special thanks to Mr. Ohba)
Originally released by Zabriskie Point, 1995
Transferred from original master tape by Din-I-Ilahi
Remastered by Rashad Becker
31,00€
Out of stock
LP
Joe COLLEY
“Deformation Of Tone”
Joe Colley’s skeleton key is an intra-dimensional sense of humor. It exists in a place between and beyond dry, deadpan, and defeatist, and is not actually funny. He has a knack for unlocking the essence of the absurdly uncomplicated, elevating it to a place of near-iconic significance and leaving it there. Hovering in a void. Or mashed in the jowl of an insect getting doused with regurgitated chyme and rumen bacteria. Consistent with his past efforts, Deformation Of Tone contains no sturm und drang or exhausting drama. This spectacle-free album delivers abrasive-adjacent electronic judders cloaked in a feeling of intimacy distilled from primordial ooze. Opening voices dissolve into Lucierian mosaic yammer, and plummet into a negative space populated by an unadorned clicking, that most elemental physical manifestation of audio phenomena, the antithesis of awareness and enlightenment and transcendence. Of sentience, even. A quintessential example of his streamlined, efficient hilarity. The episodes continue without pause, as if one is moving through an exhibition. Compared to Colley’s work, which he once described as “little noises arranged on a piece of plastic,” a lot of other noise seems hell-bent on shameless over-compensation. Embarrassingly so. His material has always been low-key, and Deformation Of Tone finds him shuffling in a colder, harsher, more desolate direction. The single-malt rasp of an unnamed conspiracy theorist / motivational speaker, present more for his intonation than anything else, punctuates this rather sculptural 33 minutes of machines whirring, devices beeping, blank-face rotary drones swelling and merging with unnaturally regimented hive rustlings and perfectly unpleasant high-gain squelch — all constructed with a master’s timing and sense of scale.
- Seymour Glass / Bananafish
21,00€
Out of stock
LP
Dave PHILLIPS
“Disappear”
disappear was born of something that ceased to be, suddenly, unexpectedly, painfully. like two mirrors that reflected too strongly and burst. the shards that were left tell a story. of a trance meeting of an insect and a flower in a self-made paradise and the resulting journey that took them towards new dimensions but was brutally cut short before these could be explored. the sun disappeared. the resulting daze looked back and saw... mirrors don’t reflect what we want to see.
disappear consists of 7 pieces composed alongside a presence. the story linking the pieces unfolds when the presence disappears and the 8th, last piece of the album appears, a cleansing lament disguised as an abomination. marnować means waste in polish. composed between january 2018 and november 2019, a period also known as the berlin daze. mastered by riccardo mazza. edition of 300
18,00€