FEEDING TUBE RECORDS - Forced Exposure

$27.50 PREORDER RELEASE DATE: 9/4/2026

"Fifth solo outing by one of the founding guitarists of Elkhorn, who has also been an essential part of Jeffery Alexander's Heavy Lidders. Gardner is the master of several distinct styles. He can grab the ring of psych-eternity with rare surety. He has versatile outward-spiraling jazz chops. And I've even caught him playing a sort of avant doom metal like he was born Norwegian. I'll admit I haven't heard his last two albums (no promos I guess), but I'll bet they're pretty cool, since Rabbit Ears is a solid gas. The band this time is a quartet. Bassist Andy Cush and drummer Ryan Jewell are still present, with the new addition being guitarist Tom Malach (who is Cush's partner in Garcia Peoples) and the four tracks here are instrumental, loose and open. I am reminded in more than a few spots of Jerome John G****a's work of the early '70s, both in his duos with Howard Wales on Hooteroll, and on the extended tracks from Skullfuck, which Lenny Kaye characterized as 'pome tomes' in his Rolling Stone review of that set. Which is not to infer there is anything lazily referential or anachronistic about the tunes. The band's overall instrumental approach is as fresh as the just-torn veil of a psilocybin mushroom. But it is steeped in the tea of history. There's plenty of real melodic and rhythmic invention going on here, it's just done within a framework players and listeners have been exploring for half a century now. This lends the tracks a kind of faux familiarity that makes them as comfortable to sink into as a scented hot tub. You may have not heard them in this exact configuration before, but the notes documented here are all old friends and should be welcomed as such. A fine and hearty slab. Dig in." --Byron Coley, 2026

$25.50 PREORDER RELEASE DATE: 9/4/2026

You Should'nt try to barrow other People's skin [sic] was recorded professionally with quality vintage microphones, while a few tracks were self-recorded. Each song was recorded live in the studio -- no overdubs, no edits -- giving the album a raw, authentic edge. All songs were recorded analog to two-track tape or four-track tape, with the exception of one song being recorded on a portable tape recorder. Overall, the guitar sound is heavy, hypnotic, and catchy. And at times drone-y and chorus-y. The whole release starts out with a somewhat jarring piece, "Hair Productions Presents Lucas Gunn's Petertag," a very quick thick drone and high-end burst, more expected on a noise record, but showing Lucas' range and playfulness. It actually sounds like it could be the introduction to a low budget horror movie. It has an infectious nursery rhyme quality at times, yet leads into unexpected, unpredictable territories, paving the way for what is to come. The next three pieces feel like a triptych -- all move in and out of emotional stories, raga/raag at times, and always head-nod and toe-tap inducing. Each song utilizes a distinct left field sonic modulation, transforming the structure into an unpredictable journey. "Grandma Rainbow Nervous flew away tomorrow" starts side 2, continuing on with the perfect combination of left and right hand American Primitive styling ala Fahey. Luc then performs a great instrumental rendition of Mississippi John Hurt's "Monday Morning Blues." "Last Creepy Ever" take one starts with a vocal introduction, and then proceeds to its haunting minor key theme in a natural chorus-y tone. "My Flower and my Yellow skinned bird" has a spontaneous and unscripted quality unlike the other songs, a more home-recording sound, with herky-jerky plucking at times, like a peak behind the curtains. "Petertag's mom and dad love theme" is a short keyboard/synth based ditty that feels like a very unexpected shift after the previous wandering guitar piece, but works well. "Swallow the Bird Floating in Sunlight" then returns to the guitar, and has the feeling, like the title conjures, of watching birds floating and soaring in the sunlight, possibly in the late-day golden hour's glow, right when the sun is laying its head down for the night.

$29.00 PREORDER RELEASE DATE: 9/4/2026

"Fifty years after I first encountered the music of Orchid Spangiafora, it is a pleasure to be listening to new work by this most bonny of modern sound manipulators. Like Flee Pasts Ape Elf, which we reissued in expanded form in 2013, Eel Asp Flays Feet (the title of which is an anagram of the earlier set) is an assemblage of immaculate invention. It manages to produce a unique splotch of confusing analog surrealism in an increasingly digital world, and Robert Carey (aka Orchid himself) deigned to provide these notes on creating the music: 'This album is a combination of some new material and ideas and some older stuff that had not found its way into a tangible (non-online) form. 'Syllabus,' 'Dyad,' and 'Retroscope' were an attempt to return to an older style of electronic music. I put these on bandcamp, but they did not attract much attention. In mid-2021, David Greenberger provided me with the voice recordings he had made for the Everybody's Home project he did with Tyson Rogers. He asked if there was something I could do with them. I put together 'Holding Pattern' and 'In A Fog.' These two pieces might be considered the 'dub version' of Everybody's Home. I put them on Bandcamp as 'Nobody's Home.' The rest were originally made up of typical Orchid snippets. When I first took an electronic music course in 1972 one of the things that struck me about tape loops was how readily they produced interesting rhythms. Since then I got more into selecting them for the rhythm, but rather than repeating I tried to convey it in a single shot followed by slightly modified versions. In a number of these pieces I tried returning to actually repeating phrases enough to hear the natural rhythm of each loop. The mechanical sounds combined with vocal loops in, for example, 'Interlude One,' probably were influenced by the collaboration with Seymour Glass on Cous Cous Bizarre. The rapid streams of syllables in the 'Ur Sonata' came from playing around with an audio batch processing program. I used it to cut up regular loops into very short bits and string them together. Then, as with most electronic or 'tape' music, the real work consisted of removing the parts that didn't belong. The title comes from Kurt Schwitters because I felt the piece shared some of the same motivation or aesthetic, although the implementation is not at all alike.' Well, those are the component parts, but to truly grasp the whole, you must hold your brain tight and jump right in. There is just nothing like an Orchid Spangiafora album. Tell your friends." --Byron Coley, 2024

$25.50 PREORDER RELEASE DATE: 9/4/2026

Similar to Eric Arn and other folks in the guitar realm, William DeLee leans at times to the more neo-classical and cleaner side of acoustic guitar playing. But like Arn, he is never stale or overly traditional, and also like Arn, William has some mad skills, some might say, he's a virtuoso. Raynol Overlook showcases both Will's expertise, but also his incredible creative approach to both 6-string and 12-string guitar, as well as his emersion into the Andean stringed-instrument the charango. Like on past releases, this LP is a perfect blend of pieces composed on these various instruments. The first three tracks on side 1 are simply titled after the feature instrument, "Nylon," "Charango," and "12-String," which basically lay the groundwork for what's to come. All three showcase Will's incredibly fast and finessed right hand work, at times classical, and other times, almost flamenco in style. Fitting references to his various influences, as well as the origin of the charango. "Falls" and "Rueili" see Will switch to the ronroco, the baritone member of the charango family. "Falls" shows the quick right hand, bursts of fluttering fingers on the strings, accompanied by Joe Apice on shruti box (although its incorrectly credited to the next track, "Rueili"). "Rueili" then continues on the ronroco, but at a slightly slower tempo, but with similar quick finger action. Woven returns to the earlier neo-classical leanings of the first track. "Larch Mountain Trail" completes the side, with an airy live recording, almost sounding like a field recording on said trail, watching the various hikers walk by on their respective journeys. "Panjakent" kicks off side 2 with the return to the 12-string. After a minute of bursts, Will bears down with such consistency and intense right-hand action, with an undertone of pulse and rhythm. On "Night Train to Khiva," Will is joined by Aspen Claire DeVillier on vocals, Josh Moss on acoustic guitar, and Milkshake on electric guitar, expanding the sonic palette of the release, and completely adds to the overall vibe and intensity of this piece. "Kilim" quiets things down a bit, returning to the nylon string guitar, before Will is joined by Jake Soffer on electric guitar, as well as Josh (acoustic guitar) and Aspen (singing bowls) again, to round out the release with meditative and soothing title track.

$29.00 PREORDER RELEASE DATE: 8/21/2026

"There are fewer great guitar trio records than you'd suspect. Guitar duo sessions are far more abundant, and these three players have all done their share of those. But the dynamics of a trio are more-fickle. And when creating collaborative non-hierarchical music, maintaining a balance between three distinct voices is not easy. It requires rapt attention, a fearless approach to entering the unknown, and very good ears to do it successfully. Clearly, Connors, Vallera, and Sharp display mastery of all of these conditions and then some. Recorded live at P.I.T. (Property Is Theft) in Brooklyn, When the Moon Is New documents the first meeting for the trio. Loren and Elliott, two of the best-known experimenting guitarists on the planet, have a long-shared history, dating back to the days of the legendary Chapel Arts Center in New Haven. Elliott appeared there regularly and often did some jamming with Loren on those occasions. Michael Vallera is from a different generation and came of age in a world where players like Loren, Ellliot, Keith Rowe and Derek Bailey had already blown apart any and all notions of the guitar's limitations. His work explores textures, colors and possibilities born from the knowledge that there are no limits to the guitar's sonic possibilities. Together, the three create a beautifully layered universe of sound, as wide open and cosmic as recent images from the Webb Space Telescope. Occasionally I think I can ID some complex pluckery as Sharp's, some blues-canted shimmer as Connor's or some mutli-valent sound sheet as Vallera's, but in truth, this is an excellent example of 'fourth mind' creation in the Burroughsian sense. The individual parts played by each of artists combine themselves into something much larger than three commingled streams. There's a gigantic heft to the collective sound that will bowl you over in the best possible way. A truly magnificent record, When the Moon Is New, is an immersive and joyful example of experimental music at its most inviting and evocative. If it doesn't thrill you, I don't know what would." --Byron Coley, 2026

$29.00 PREORDER RELEASE DATE: 8/14/2026

"White Gourd is the soubriquet Suzanne Stone uses for her long-running solo project. Her recordings as White Gourd are distinct from her work in Million Brazilians, the mothership for the Psychic Sounds Collective, who (along with Big Blood, Id M Theft Able and others) have worked tirelessly to keep the Strange Maine banner flapping in the cold northern wind. White Gourd's music uses voice, saxophone, percussion and doo-dads galore to create song-like fields of sound possessing the semiotic weight of rituals celebrating an unknown tongue. There are certain resonances with artists like Fursaxa and Spires That in the Sunset Rise, but as with most Psychic Sounds related music, everything is bathed in a weird light unique to this organization. On (To Walk in) Justice (Calls for) Strength, layers of mystery are piled up and sorted like narwhale tusks, with the vocal and instrumental parts separating themselves into different barrels, then rising to commingle like smoke from a ring of burning peace pipes. Due the LP's title, I had suspected there might be some overt political content here, but it appears the album's overt 'message' is nothing more than setting a continued example of what freedom should sound like. In this sense, the music here is also of a piece with artists like the Sea Ensemble, whose experiments with low-bore improvisation blended elements of free jazz with avant 'new music' detailing and a sort of post-ethnic tribalist aesthetic. Suffice to say this's another beautiful and remarkable release by White Gourd, and if you dig it, you should check out other members of the Psychic Sounds team. Million Brazilians's Urban Fossickated Octave LP (FTR 462LP, 2019) is another stone killer. So do your bit. Keep Maine free, You'll be very glad you did." --Byron Coley, 2026

$27.50 IN STOCK

"Glorious vinylization of this 2022 duo session, originally issued as a cassette, documenting the first time Suzuki and Noyes ever collaborated. Ayami Suzuki has become known to cognoscenti for her brilliantly imagined vocal improvisations, through recordings with like-minded folks such as French vocalist/polymath Delphine Dora and avant hurdy gurdy player, TOMO. Rob Noyes has developed a parallel reputation as a master third-generation acoustic guitarist in the post-Takoma tradition. Originally based in the U.S. he wisely relocated to Tokyo several years ago. Which is where this meeting took place, and while I initially assumed the music had been composed to some degree. Rob assured me that was not true. He says, 'I think the recording can seem like something we took a lot of time with and discussed/composed to some degree, but we actually just agreed to meet at a rehearsal studio. It took a little more than an hour to track it all, without ever having played together before or even really discussing the approach we were going to take. I just tuned my guitar to a different tuning for each one and we let it roll.' The results kinda speak for themselves, but I was blown away by the notion they had never collaborated previously. The intimate nature of their blend recalls such long-time collusionists as Tim Buckley & Lee Underwood or Loren Connors & Suzanne Langille. Rob's delicate instrumental arcs create a perfect net for Ayami's vocals, which are usually wordless (although they always feel weighted with emotional content). It's a mesmeric pairing of voices. Which I can only hope is the first of many. Classic Fevers and Chills is a perfect soundtrack for spring, unconditionally magical." --Byron Coley, 2026

$16.50 IN STOCK

Co-released with Glitterbeat Records. Alison Cotton's fifth solo album is a mesmerizing weave of haunted atmospherics and avant-folk songcraft. Built around her viola, harmonium, and transportive vocals, the album moves between stark drone passages and more layered arrangements with piano, percussion, and synths. The Gods Laugh is a work of quiet, sublime intensity, cementing Cotton's unique space in the contemporary English music scene -- a space where richly textured sonics meet tradition, and deeply personal compositions evoke the experimental spirit of artists like Nico, John Cale, and Dorothy Carter. The Gods Laugh is a powerful restatement of all the things that make her music so transporting and immersive, but with a deeper emotional resonance resulting from a period of personal loss and upheaval. Alison has been recording for almost 30 years -- in bands like Saloon, The Eighteenth Day of May, and The Left Outsides -- and her solo career, which started with a cassette release a decade ago, came about almost by accident. But in the ensuing years, Alison has developed a singular and affecting style according to parameters she set herself. For The Gods Laugh, Alison played viola, harmonium, piano, hammer dulcimer, treble recorder, melodica, bowed cymbal and percussion, while her partner/producer Mark Nicholas played drums, bass and synths (their first use on a Cotton album). As usual, the songs are mostly improvised and recorded in one take, layering instruments over a drone base. The exception is "The Night it Darkens All Around Me," which was semi-improvised and with lyrics captured in an almost stream of consciousness style. The album also includes more piano, notably on "Sprigs of Heather," an epistolary continuation of a tale begun on earlier releases. Alison's father passed away in 2024 and as well as gifting her the album's title and having encouraged her to take up the viola in the first place, his presence is felt throughout the album. The brief, melancholy tune "The Final Harvest" is about Alison's dad's final visit to his beloved allotment. The only song written before this period of loss was Alison's setting of Victorian rural poet John Clare's I Am! Alison had been playing this live for some time but felt it "moulded perfectly with the feel of the rest of the album." Cotton occupies a unique place in the current English music scene, the way that often quite experimental drones of her work meshes with the more traditional elements seeing her included with artists like Nico, John Cale and Dorothy Carter. After remarkable releases like The Portrait You Painted of Me (FTR 658LP) and Engelchen (FTR 765LP), The Gods Laugh feels like the fulfilment of incredible promise.

"Cotton may expand folk's raw emotions into more avant garde territories, but they still feel possessed by a blood-red muscle memory that goes back centuries." - The Quietus

$29.00 IN STOCK

LP version. Co-released with Glitterbeat Records. Alison Cotton's fifth solo album is a mesmerizing weave of haunted atmospherics and avant-folk songcraft. Built around her viola, harmonium, and transportive vocals, the album moves between stark drone passages and more layered arrangements with piano, percussion, and synths. The Gods Laugh is a work of quiet, sublime intensity, cementing Cotton's unique space in the contemporary English music scene -- a space where richly textured sonics meet tradition, and deeply personal compositions evoke the experimental spirit of artists like Nico, John Cale, and Dorothy Carter. The Gods Laugh is a powerful restatement of all the things that make her music so transporting and immersive, but with a deeper emotional resonance resulting from a period of personal loss and upheaval. Alison has been recording for almost 30 years -- in bands like Saloon, The Eighteenth Day of May, and The Left Outsides -- and her solo career, which started with a cassette release a decade ago, came about almost by accident. But in the ensuing years, Alison has developed a singular and affecting style according to parameters she set herself. For The Gods Laugh, Alison played viola, harmonium, piano, hammer dulcimer, treble recorder, melodica, bowed cymbal and percussion, while her partner/producer Mark Nicholas played drums, bass and synths (their first use on a Cotton album). As usual, the songs are mostly improvised and recorded in one take, layering instruments over a drone base. The exception is "The Night it Darkens All Around Me," which was semi-improvised and with lyrics captured in an almost stream of consciousness style. The album also includes more piano, notably on "Sprigs of Heather," an epistolary continuation of a tale begun on earlier releases. Alison's father passed away in 2024 and as well as gifting her the album's title and having encouraged her to take up the viola in the first place, his presence is felt throughout the album. The brief, melancholy tune "The Final Harvest" is about Alison's dad's final visit to his beloved allotment. The only song written before this period of loss was Alison's setting of Victorian rural poet John Clare's I Am! Alison had been playing this live for some time but felt it "moulded perfectly with the feel of the rest of the album." Cotton occupies a unique place in the current English music scene, the way that often quite experimental drones of her work meshes with the more traditional elements seeing her included with artists like Nico, John Cale and Dorothy Carter. After remarkable releases like The Portrait You Painted of Me (FTR 658LP) and Engelchen (FTR 765LP), The Gods Laugh feels like the fulfilment of incredible promise.

"Cotton may expand folk's raw emotions into more avant garde territories, but they still feel possessed by a blood-red muscle memory that goes back centuries." - The Quietus

$29.00 IN STOCK

"On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead's tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that's also yielded the Heavy Lidders an infamous sub-cult of concert tapers that you're already sick of hearing about. A lot of other things are better over on that timeline, too. But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, 'heavy' in the Lidderverse being far from a monolithic musical idea. There's heavy like the album-opening 'From Loch Raven to Fells Point,' one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there's heavy, too, like 'Calliope Walker' and 'Tightroping,' featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years. But then there's also heavy like the cover photo of Alexander's late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander's life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine. Convened in 2019 on Alexander's relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist's music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you'll have to keep digging for the rest. And while it's not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander's many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of 'Reservoir Drop' into 'The Summer Song,' floating into a duo between Alexander's guitar and Carter's voice." --Jesse Jarnow

$29.00 IN STOCK

Joseph Allred is a Tennessee-based guitarist, singer, multi-instrumental composer, and visual artist with deep roots in the Upper Cumberland region of Tennessee and Kentucky. Their guitar playing draws from diverse musical styles including Appalachian folk, bluegrass, blues, flamenco, and classical guitar, as well as from folk iconoclasts John Fahey and Robbie Basho, figures of the 20th century avant-garde like Albert Ayler, Derek Bailey, and Henry Flynt, and the musical traditions of India, Iran, and the Arab world.

"The impetus for this album came while I was sitting in a cave near my house, ruminating on very old things. The title has to do with my own interest in history and rootedness, but it also acknowledges a futility. The pursuit of the 'old gods' often involves an obsession with simplicity and purity that only resolves through the construction of dishonest fantasies and a correlated denial of complexity. Perhaps the 'old gods' only start to become apparent when we know ourselves in relation not only to the vast and ancient cave networks in the mountains, not only to the data gathered from the lives and deaths of stars light years away, but also to the near-incomprehensible complexity of the dirt's microbiome, the constant marching of life and death under our feet at every moment which will eventually consume our bodies just as our sun's death throes will consume the earth. Though the starting point of this album was a rumination, the pieces contained here are less meditations than they were opportunities for me to empty myself of myself. It's only in these moments that I begin to feel I know anything at all." --Joseph Allred

$31.00 IN STOCK

Since 2003, Philadelphia-based improv ensemble Kohoutek -- founded and directed by percussionist Scott Verrastro -- has forged a dynamic, visceral range of sound, consisting of textural drone, atmospheric rock, abstract harsh noise freak-outs, clattering percussion, guitar heroics and alien electronics, all congealing to form a multihued psychedelic extravaganza. Inspired by such varied musical entities as Can, Amon Duul 2, Trad Gras Och Stenar, Dead C, Sun City Girls, Hawkwind, This Heat, Sun Ra, Art Ensemble of Chicago, and King Crimson, they inhabit a world of murky terrain where drone, musique concrete, and noise coalesce with cosmic folk, where doom and sludge metal merge with fiery jazzoid polyrhythms. All Kohoutek performances are rituals channeling untapped energy transmogrified through pure expression and response to the immediate environment. Akvoturo was recorded in April 2022 at Strange and New Sounds in Richmond VA with JK Kassalow (Cough/Caves Caverns), and unveils the band as a sextet featuring longtime core members Verrastro (Bitter Wish/Heavy Lidders/Henbane), bassist Craig Garrett, guitarists John Stanton (The Redeemers/Kuschty Rye Ergot), and Jeff Barsky (Insect Factory/Time Is Fire/Bed Maker) and electronics wizard John Simler (Cash Slave Clique). Kassalow augmented the ensemble with violin and analog electronics and edited and mixed the album with Verrastro. The unparalleled James Plotkin did the mastering. With Akvoturo, Kohoutek is delving into a more experimental form of their brand of US psych/space jams, a loose concept album sonically examining the consequential role that water has played in nascent civilizations, starting from our ancestral habitats. The title is in Esperanto, in theory a language as universal to humanity as water is to its diet, as well as an homage to the label ESP which is a substantial inspiration on the Kohoutek ethos, informed by revolutionary free jazz and outsider psychedelia. This release consists of four tracks. Side A starts out with "Pluvobaro," a combination of Eastern inspired components, including repetitive gamelan-esque marimba and other rhythmic work, with an insect-like drone. The side continues with "Inundo," a more traditional sounding American psych jammer. "Disfalo" starts side B, sparse and loose, like rain drops falling on various ephemera in a scrap yard, while the hum of machinery drones and squeals in the background. "Irigacio" returns to classic Kohoutek form, starting from a spacey/slide guitar based, mid-tempo head- nodding jam. It eventually builds into an ecstatic and faster single-note (almost surf) melodic guitar journey, before finally returning to the slow-head-nod tempo from the start of the song.

$27.50 IN STOCK

"Messrs. Corsano and Dorji are both familiar names in the Feeding Tube discography. Chris has played drums on eight FTR LPs (and recorded two other), and Tashi has played guitar on six (details upon request if you are lazy.) But this is the first time they have appeared on vinyl as a duo, and we are damn proud to have them. Over the past years Chris has recorded with a lot of the era's best guitarists -- Bill Nace, Ben Chasny, Thurston Moore, Nels Cline, David Vanzan, Bill Orcutt, Rick Bishop, Glenn Jones, Jim O'Rourke, Flo Stoffner, and onward. And Tashi has worked with some fine-ass drummers -- Thom Nguyên, Tyler Damon, Michael Zerang, Dylan Fujioka, Susie Ibarra, Marshall Trammell, etc. So perhaps this team-up was inevitable. They played their first live duo show at a one-off in 2023 and it went so well, they set up a four date tour for 2025. This set was recorded at the tour's inaugural date in Tashi's hometown, Asheville NC, at Ritual Botanica, a space run by Tashi's pals, Potion. And it is a corker. Chris runs through a panorama of his playing styles. Sometimes he flashes polyrhythmic jazzoid explosions across every available drum head. At others he lays into a slightly off-kilter backbeat like some sort of prog rock lumberjack. Simultaneously, Tashi lays out lines of space-oid feedback, drives through angular chunk-riffs ala early John McLaughlin, or spirals into psych flairs worthy of Japan's sub-underground masters. Together, they make a powerful argument for the divine mastery of drum/guitar duos, a non-standard format first introduced (to me, anyway) on Randy Holden's Population II. Live at Ritual Botanica is a different animal than Holden's classic LP, but a stone by any other name, y'know?" --Byron Coley, 2026

$27.50 IN STOCK

"Another mind-blasting slab from the band that emerged from the exquisitely raw chaos of Up-Tight. Guitarist Aoki Tomoyuki, who founded and led Up-Tight from 1992 to 2024, is one of the prime exponents of Japanese string-based underground insanity. His approach combines the psychedelic flow of White Heaven's You Ishihara with the scuzz-dynamism of High Rise's Munehiro Narita and the experimental distentions of Fushisusha-era Keiji Haino. Up-Tight's records were all sold blurts of N Generation Japanese freak logic, and that tradition has been continued by the Tomuki Trio. Their first two albums, Mars (on Riot Season) and its follow-up Shitsuren, were both boiling cauldrons of axe-smoke, with tunes that wandered through dizzying array of styles and moods, all of them underlaid with a splendid sense of utter disorientation. And that continues on album title. Even when the trio slows down into riffs that 'plod' in the tradition of the Stooges' 'We Will Fall,' they manage to infuse the air with shreds of sonic karma that refuse easy categorization. The way they balance the overload of their sound is definitely in the tradition of Japanese underground guitar noise of the past 35 years, but the Tomoyuki Trio seems bent on destroying the boundaries that have usually separated their precursors into distinct categories. They demand all access to all styles at all times. And the success of their attack on extant generic norms is abundantly clear throughout this album. It's an insane spin, and one I've been playing more or less non-stop for the past week without tiring of its inventions or becoming inured to the complexities of its sonic architecture. Album title is jam-packed with beautiful surprises for anyone who has the ears to hear it. Let us hope that cohort includes yourself." --Byron Coley, 2026

$27.50 IN STOCK

"Finally the second release on the Unknown Province sublabel of Feeding Tube records and it's a doozy: the self-released 1988 LP Delusions by Corpusse. Well known to deep-underground scenes in Canada, few know about the Canadian 'King of Rock N Roll' elsewhere. Corpusse was still a teenager in the Park-Ex neighborhood of Montreal when Delusions was released. The photo on the back tells you all you need to know featuring the young man standing on the city's shittiest back-alley snowbank. Nothing has really ever come close to the sheer cathartic energy -- some might say insanity -- of Corpusse's lyrics, toeing the line between Shakespearean monologue and GG Allin rant. Beneath him rumbles a Korg Poly-6 ('best fucking synth ever' he says) and a Welson organ. Somebody would probably call it Dungeon Synth now but this was 1988. The decrepit, burned-out city being delusionally painted by a bald and bearded artist on the cover is certainly the location in which Corpusse's gothic dramas are set. Most surely a metaphor for Montreal in 1988 -- a veritable Gotham by all accounts. Includes liner notes by Corpusse himself, describing the scene vividly. I've always felt Delusions formed a holy-trinity of self-released Montreal LPs of the 1980s alongside Carlyle Williams' Gotta Go For It and the American Devices Decensortized LPs. All three possess brain-fried, maverick visions of rock n roll which sometimes border on psychosis." --Alex Moskos, Montreal Jan 2026

$27.50 IN STOCK

"First vinyl offering by this fine Barcelona improv trio featuring Mark Cunningham (trumpet), Pablo Volt (trumpet, flugelhorn) and Andreu Serra (many forms of strings). C/V/S's two previous cassettes include 2022's Ad Hoc, and the work on Introspective Movement is as brilliant as always. While there's much utilization of effects, pedals and delays, the music here is definitely in the jazz realm. Mark's floating clouds of trumpet capture the futuristic Chet Baker vibe he so often explores, but Pablo's approach to trumpet and flugelhorn puts me in mind of the more brambly work of the Italian brass master, Enrico Rava. Andreu is a multi-instrumentalist, but here he is focused on guitars and their cousins, playing in an abstractly expressive mode that can recall the most reflective passages created by Keith Rowe. Which is not to imply that C/V/S's music is in any way mimetic. Expatriated to Barcelona for 35 years, Mark has developed the habit of making music with some of the best musicians that city's underground has produced. His many projects can seem related insomuch as they usually rely on sophisticated textural juxtapositions rather than high energy blasts to create their frisson, and so it is with C/V/S. The dozen pocket-sized compositions on Introspective Movement rarely combine elements in jarring ways, although the pieces can be dizzyingly unbalanced at times. This results from the way the trio presents multiple points of melodic/sonic focus, emphasizing the multiplicity of equally weighted individual voices, rather than the smoosh of purely collective aktion. It's a great way to do things, and allows the three to introduce some very weird electronic elements without disturbing the music's beautiful sonance. The results here are as fucking boss as anything Mark has done yet. And that is saying something." --Byron Coley, 2026

$9.50 IN STOCK

After two decades in the experimental music scenes of New York and Western Massachusetts, Wednesday Knudsen might be known equally as a sought-after improv collaborator and the vocalist and guitarist for the beloved long-running psych band Pigeons, as a member of the New England folk rock ensemble Stella Kola, or the psych kraut supergroup Weeping Bong Band. Atrium is Knudsen's fifth solo album, marking her rich recording history with a stunning masterwork. Channeling the "atmosphere of presence" alongside the legions of Éliane Radigue, Hiroshi Yoshimura, and Joanna Brouk, on Atrium, Knudsen plays it all -- alto saxophone, flute, guitar, synth, piano, autoharp, bass guitar, and vocals. Atrium's tracks are sculptural rather than ambient, with a release into the gorgeous hold of gravity that insists listeners don't escape or drift away. While conceived and recorded independently and at different moments over a two-year span, each piece on Atrium was shaped as an occasion, a space, a timbral architecture exposing and inviting presence. Each piece is an effort toward a minimalism meeting the pace of nature, without the need for geographic recognition. These hills don't impose on the listener, reverberating instead like an atrium to wherever and however you are. Atrium is the vital and expansive follow-up to Soft Focus: Volumes One (FTR 649LP) and Two (FTR 650LP) released in 2022. Developing her craft as a multi-instrumentalist since her youth, it took Knudsen nearly two decades to arrive at her own distilled beautiful sound that is disentangled from the fuzz guitar-haze of her pillar underground band Pigeons. Atrium opens with "Fair Aegis," a tone-scape that evokes the mystery of the green trees cathedral of the Taconic Mountains as it simultaneously offers a context and threshold to cross into the remarkable richness of the album. "Place of Dream" is the sound-portrait of a wonderful demi-daydream, an extremely brief, pleasant vision Knudsen experienced that would repeat itself, as if a spinning moment or a flickering, the spiral motion of certain plants as they grow, moving toward the places of their thriving. Other anchors include "Dear Life, Green Flame," the tremulous shape of life striving in first gear, the primal pulse seeking its cadence and the yes of breath. The track was recorded live, in one take, unplanned and improvised, unlike most tracks on the album which Knudsen intentionally shaped. As equally as "Atrium" is an experience of presence, it is music that reinforces the power of art as resistance. The songs distill attention in a language that Knudsen calls "the opening of the heart," reminding listeners that subsistence and community results from their own actions and engagement with their exterior.

$23.00 IN STOCK

"Shutaro Noguchi didn't set out to make a farewell album, but On the Run captures a moment of profound change. Recorded just weeks before moving back to Japan after 20 formative years in America (spent primarily Louisville, Kentucky), the album reflects a life in motion -- rooted in memories, yet reaching toward the unknown. In Louisville, Noguchi had built a creative home with a tight-knit crew, crafting beloved records that ranged from the country-rock swagger of Ryan Davis and the Roadhouse Band to the mutant grooves of Equipment Pointed Ankh. Meanwhile, he released compelling solo work, including the full-band psych rock gem Love Super Terranean on Feeding Tube Records. With On the Run, Noguchi joins The Roadhouse Band once more for a searching, expressive collaboration -- an album made at a threshold between past and future. The opening track "Olympic 3.5" begins with Noguchi in solitary introspection: "Now the wind is blowing / It's passing me by -- I'm getting a little too used to watching this sunset." He's soon joined by the syncopated rhythms and lilting synths of The Roadhouse camp, constructing a warped odyssey that intertwines the cosmic spirit of Gong with the melodic, pop-driven abstraction of Ryuichi Sakamoto. Noguchi returns with Wyatt-esque wordless vocalizations before the song spirals into a dark, abstract descent. Jazz-tinged numbers like "Apocalypse/Calendar" and "River Dagger" highlight Noguchi's singular compositional voice. His relaxed vocals float over otherworldly arrangements, while "Drive My Cape Cod" -- a voice memo captured during a long car ride and completed in the studio -- offers a candid glimpse into his melodic daydreaming, in a move reminiscent of Maher Shalal Hash Baz, where casual, unpolished moments reveal deeper emotion. Some tracks lean into groovier, more danceable territory, with production touches that echo Japanese contemporaries like Shintaro Sakamoto, Fishmans, Cornelius, etc. "Melody" pairs a nostalgic City Pop feel with the band's forward-thinking sound. The bubbly rhythm of "Time With You" feels almost weightless beneath the album's perhaps only guitar solo, played, oddly enough, not by guitar wiz Noguchi himself but by bandmate Ryan Davis. Amid the breezy lightness, he accepts the chaos of an uncertain future: "It's beginning to change / The time of the world / Eventually we'll see it." Noguchi's reflections on uncertainty are deeply relatable and bittersweet -- especially in this moment. With On the Run, Shutaro Noguchi and The Roadhouse Band show us how they face the unknown -- together, embracing uncertainty with both resilience and camaraderie." -- Kryssi Battalene, 2025

$29.00 IN STOCK

2026 restock. "46 years after I first heard Stare Kits on a cassette, they finally have an LP. About time! This NYC quartet's name often comes up in discussions of the No Wave era, which make sense. The members -- Angela Jaeger, Amy Rigby, Michael McMahon, and Bob Gurevics -- were all fans of the scene, and involved with various aspects of TR3, one of No Wave's pre-eminent showcases. UT played their first gig opening for Stare Kits. Rick Brown (Blinding Headache, Information, etc.) played guest sax with them. Julia Gorton used Amy as a photo model almost as often as she used Lydia Lunch, and so on. But despite such connections they were not a No Wave band. Stare Kits's music certainly use instrumental elements in line with No Wave's ethos, but these're part of a much larger mix. The band's basic approach is much rockier and punkier. Bob's guitar parts are more in the tradition of Quine and Reed than they are Lydian, the McMahon/Rigby's rhythm section is more primitive than martial, and Angela's vocals are goddamn melodic. Closer musical comparisons might be made to a various aspects of UK bands from Penetration to Wire to Deaf School to X-Ray Spex. There's a soupçon of a '79 UK DIY rattle to some of the tunes as well. But there is an ineffable something lurking in their collective soul that keeps Stare Kits's instrumental sound grounded in the NYC art-punk/street-rock continuum. Angela's vocals may resemble Penelope Houston's at moments but there's not much overt political content in Stare Kits's lyrics. An eclectic mix of elements? Yeah, and it sounds fucking great. The saga of Stare Kits was laid out pretty well in Angela's excellent book, I Feel Famous (Hat & Beard Press 2025) and was also part of Amy McMahon's equally dandy Girl to City (Southern Domestic 2019). Now's your chance to hear what their hubbub was all about." --Byron Coley, 2025

$27.50 IN STOCK

"Although it was the lead track on the Stones's eighth studio LP, Let it Bleed, the song 'Gimmie Shelter' was not released as a single. Indeed, the single 'from' that album was the countrified non-LP track, 'HonkyTonk Women' backed with the corny chorale sluice of 'You Can't Always Get What You Want.' It was as though the Stones, knowing they would soon be pilloried on the cross of Altamont, wanted to have a way to try and dodge those nails by being able to claim they weren't even a rock band. Well, fuck them. 55 long years after the Stones's shameful retreat from their true identity, Jackie O Motherfucker has decided to try them in the court of public opinion, both for their jaundiced world view as well as the sheer cowardice of their presentation of facts. The simplest way for JOMF to proceed would have been to illuminate the ridiculous musical and philosophical inconsistencies inside their trademark song of 1968/9, 'Sympathy for the Devil,' but they chose to leave child's play to children. Instead, they took the four minutes and thirty seconds of 'Shelter,' divided it into thirds and created a set of music that explores the mathematical relationships between those segments and the three parts of a song which it reportedly inspired, The Stooges's 'Gimme Danger.' I've had the Calculus of the equation explained to me a couple of times by Tom Greenwood, the founding member of JOMF, but I get sorta lost in most number stuff more evolved than Trigonometry. My sense is that three improvised pieces on this album are musical meditations about the possible existence of a tripartite equivalent of Aristotle's Golden Mean. And while I totally believe in his as a concept, it doesn't really help to explain what the music sounds like, y'know? The three tracks are drawn from two live shows and one studio session, using a line-up resembling that on 2023's Manual of the Bayonet, the music here is largely-instrumental, reed-laced, and filled with the same glowing sense of direction this listener gets when I'm several acid sheets to the wind. Some parts collect themselves and repeat like small bursts of energy trapped inside a pyramid. When vocals do pop up, they sound like out-takes from the soundtrack to Kenneth Anger's Invocation of My Demon Brother, and submerge themselves in a murk of Egyptian dust. Some might compare JOMF's sound to the more abstruse out-takes from the Dead's Gizan shows of '78. But its commentary on the nature of musical forms reaches back further than that. I mean, remember -- the Dead pulled out of playing Altamont. I'm not sure JOMF would have done the same, but I'm sure they would have done something if they found themselves in the same situation. And it might well have sounded like this. As Bear always said, 'A trip in time saves nine.' Good thought, and as diggable today as it was back then. Hop on. This shelter is rolling. --Byron Coley, 2025

$27.50 IN STOCK

The bicoastal duo of Greg Hartunian (West) and Colby Nathan (East) have made music together for 15 years. For their third and most focused full length, Dimples displays that they are anything but spring chickies. Past injuries leave scars, old flames leave burns, and memories are little more mental syrup on a midnight sundae. Obscure Residue stays true to Dimples' bittersweet off-the-cuff pop sound while pushing the tempo up a bpm or two, honing in their codeine dream melodies with orchestral arrangements. The humor is subtle, but ever-present -- cherished, not precious. Nowhere is this more-clear than on "Passage of Time," the most elemental and stripped down track of the album. Nathan's voice accompanied by the guitar delivers a personal and resonant message, stating: "Open up/you may get burned/But keep shut/And never even get a turn/There's no easing the passage of time." Dimples' songs comment on the psychic clutter that people collect, filter, and then retain or abandon -- be it by choice, chance, or circumstance. This clutter can be physical, too -- as experienced during Dimples live performances. Nathan typically performs alone in an ever-mounting pile of nostalgic detritus. He uses elements of the recorded materials while mixing in real time cacophonous loops, projections of deeply layered video collage, mutating outfits, and interactive set designs. One can see him smirking as he folds himself into the canvas of light and freak accident. Hartunian prefers tending his desert garden over performing live. He chooses instead to paint a world of his own design. These paintings, utilized for Dimples' album artwork and incorporated into the live projections, display surreal worlds that act as shelter for these strange pop songs. For a band more familiar with questions than answers, Dimples share some glimpses of wisdom that time bestows. Cheeky lyrics reflect that wisdom lies in the acceptance of ignorance and how it sculpts perception. Obscure Residue feels lived in -- a lifelong friendship -- direct and obtuse, familiar yet abstract. Dimples proves that they understand that time proceeds without restraint, and what comes along and what is left behind is less a matter of choice and more a matter of fact. So they sing, "some currents cannot be resisted, they turn you right around."

$13.50 IN STOCK

"(The) Scotch Broom Collective is an imaginary ensemble helmed (or once helmed) by Robert 'Bob' Fay, whose real-world units have included Sebadoh, Somerville Players, Deluxx, Crush, Baby Jesus Burnout, and so on. Bob's primary instrument is drums, but like his fellow American polymath Ben Vereen, Bob does not allow himself to be pigeon-holed. With Scotch Broom Collective he does it all, except perhaps for the tap dancing segments, which he has chosen to leave to others. The material on this tape (as on Scotch Broom's debut LP on UK's Golden Lab Records) was recorded by a miscellany of outfits with which Bob has been involved, and includes players like Conrad Capistran, Chuck P. Elea, Mark Perretta, Stephen Mathewson, Jason Lowenstein, Eric Matthews, Manny Lander, and Dan Ireton. As you might expect, the tunes are varied-as-shit, lo-fi-as-fuck and random-as-hell. Scotch Broom Ensemble's sound is dedicated to the unbridled freedom of otherness. So the tunes range from aggressive pokes into the cage of the free jazz bear to raw electric guitar instrumentals to wailing collabs with the great Dredd Foole. There is no slack, no waiting, and the tape unspools like a slacker's guide to the outer rim of the universe. It should probably be noted that the final Deluxx free form blowout on the tape was performed at the Paradise, opening for Sebadoh. Bob recalls, 'The packed house didn't know what to make of us?' What a bunch of goddamn squares. Insects & Water started coming together just before the Plague Years began, when Ted Lee innocently asked Bob if there were more good Scotch Broom tapes around. Now, after five long years of digging we have the answer. A solid, multivalent earful of strange yet somehow familiar raunch epistemology, delivered to your head by machines of loving grace. Perhaps we should all be asking better questions more frequently. Apparently they get results." --Byron Coley, 2025

$27.50 IN STOCK

"Feeding Tube Records is excited to present the first North American release by this amazing Japanese sound artist. Yosuke Fujita goes by the name FUJI|||||||||||TA, perhaps so he won't be mistaken for the guitarist of the same name who plays with Better Days, or perhaps because he just likes to hear people try to figure out how to say, 'FUJI|||||||||||TA,' properly. Either way, FUJI|||||||||||TA is a wonderful avant-garde project that has been active for almost two decades. In its current iteration, performances involve spontaneous compositions on a mutant pipe organ which is operated by air pumps rather than keys. Using a variety of gestural means to create the long tones that are the basis of his work, FUJI|||||||||||TA's performances (such as this one at an old church in Brattleboro VT) have a choreographic element to match the sonics. As an element for this live session (the first he has released), the artist was also able to weave in sounds from Epsilon Spire's own 1906 3' manual Estey pipe organ. The sonic mix is both organic and ghostly. The process by which FUJI|||||||||||TA works has a deeply spiritual quality that blends seamlessly with instrumental sounds sometimes recalling Charlemagne Palestine at his most oceanic. When FUJI|||||||||||TA adds vocals, things get even better. Sometimes using a technique where he pushes himself to a place where he utters sounds that are beyond his actual range, at others singing long wordless passages with prayer-like qualities, the music is beyond easy description. There are three tracks on the LP, each with a slightly different instrumental approach, but all of a piece. The first has both FUJI|||||||||||TA's mutant organ as well as the church's. The second features the church organ and voice. The third is church organ and a Japanese free reed instrument called a shõ. Some parts have a single drone line, others commingle multiple sources for extra pleasure. But the entire album is something like waking up in the middle of a very strange and beautiful dream, not exactly certain where you are or even who you are, just drifting on clouds of serendipitous sounds. All we can say is, 'dream on.'" --Byron Coley, 2025

$22.00 IN STOCK

Duncan Park, from Johannesburg, South Africa, has been releasing music since 2017 on labels such as Ramble Records from Melbourne Australia and Aural Canyon from Texas, as well as numerous self-released digital releases. Duncan draws inspiration from Six Organs of Admittance, John Martyn, Nick Drake, Bert Jansch, Robbie Basho, Daniel Bachman, Spiral Joy Band, Pelt, Liam Grant; from jazz giants like Alice Coltrane and Charles Mingus, and also from extreme metal and noise. Path To The Gallows was recorded in Beeston, UK and Durban, South Africa straight to cassette and engineered by the wizard Rob V. It's Duncan's ninth "proper" album (but could also be his twelfth or sixth depending how you count them). Leaning into the lo-fi world, Gallows is a great representation of Duncan's expertise in playing, composition, variety, and open mindedness. The LP begins with the epic "A Moon Possessed Corpse," which starts with the classic handheld cassette handling racket, setting up the tone of the release, before sliding right into Duncan's frenetic fingering and pull-offs, like he's desperately trying to document something before heading off on a one-way trip, all while his dog moans in the background, knowing what's in store. In much the same way countless people have captured themselves on cassette, Duncan documents his mindset on to tape, with tracks like "Talking and Tuning," setting the recording in a particular time and place, while he tunes and warms up, getting ready for the rising waters that are coming next "Flood Warning" sees him picking up the banjo, staying in the American Primitive world, before heading into a more classical guitar jaunt with the aptly titled "Allegro Op. 50, No. 13." With "Leaving Beeston Blues," Duncan gets back to the slower paced primitive guitar work, with some swelling background keyboard work. "Thistle On the South Coast" is a short ditty on flute, with feelings and imagery of coastlines, either here or there. "Waltz No. 1" returns to the more classical realm, before eventually settling back into the raag stylings of "Weaver's Nest," which ends with over a minute of the sounds of insects, a wind chime, and the return of the dog, letting the listen catch their breath before turning the record over to start it all over again.

$27.50 IN STOCK

LP version. "While they have collaborated a good many times, Next is the first recorded evidence of Danish guitarist (or more properly Bastardist) Jørgen Teller playing with American ex-pat multi-instrumentalist Mark Cunningham. The pair both have long histories on the fringes of known sounds. I first heard Teller as a member of the dizzily freakoid Tzarina Q Cut and Cunningham's decades of musical adventurism with Mars, Don King, Bestia Ferida, Blood Quartet, etc. have been well documented, not least by us. This is Mark's tenth FTR release! The four pieces here are improvised instrumental duets. The material was recorded in October 2023, as part of an ongoing residency Mark has at the Fabra I Coats creation center in Barcelona. Throughout, Teller plays Le Bastard (a Hofner 137 electric guitar with two bass strings and three guitar strings). Cunningham plays mostly trumpet and delays, but also whips out his old Dan Electro for one of the tracks. Overall, the sonic results are droney, druggy, lightly-noisesome slabs of brilliant buzz. In a general way, Jørgen's amped strings set up a humbucking sound-sheet against which he and Mark can each toss spontaneous squibs of creation and destruction, When Mark is playing trumpet and pedals, the music sometimes manifests a strange sort of charm that almost has the feel of a noise rock approach to the Canterbury Sound. By which, I mean the stuff is rackety, but there are built-in glissandos that make me think of nothing less Camel's brilliant live work on the Greasy Truckers Live at Dingwalls Dancehall. Of course, these moments resolve themselves in weirder ways than any Pete Bardens has ever dreamed up, but it demonstrates the duo's avant-prog game is strong! The doubled guitar track (called 'Next 3' to contrast it with 'Next 1,' 'Next 2,' and 'Next 4') is a superb piece of string work with rockist overtones that put fellow in mind of some of the best moments by classic two-man string units like the Smashchords or early Half Japanese. But with a more overtly hypnagogic overlay that forces your brain's receptors to stretch themselves in new ways. It's all amazing stuff. Sounding so fully evolved you'll be tempted to swear it weren't improvised! But you'd be wrong, friend. Some people just have the gift. To paraphrase that old softy, Lou Reed, their week beats your year. Get up with it!" --Byron Coley, 2025