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INT 036CD
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"An evocative work of bleak electronic atmosphere and suffocating dread, Failing Lights is the intensely personal vision of Michigan (via Lexington, KY) artist Mike Connelly. While he has toured the world as 1/3 of legendary industrial/noise units Hair Police and Wolf Eyes, Connelly spends his days crafting a much different sound on his own. Under the Failing Lights flag, he has self-published a nearly uncountable number of cassettes and CD-Rs of rough drones, detuned improvised grit and unstable acoustics in tiny editions that quickly vanish into collector-land. Intransitive is proud to present the defining -- and first widely available -- Failing Lights statement, an album of sinewy horror with a fine-tuned beauty within its darkness. A single piece in five sections, failing lights begins with disquietingly barren negative space. As the album creeps forward, it steadily dispenses sheets of diffuse throat-scratch and skittering strings, culminating in a blast of molten organ. Not noise, ambient, improv, black metal, or anything else: this is Failing Lights."
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INT 033CD
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"Intimate, absurd, feral and aggressive in its homemade weirdness, the music of Kommissar Hjuler & Mama Bär has been a well-kept secret for too long. Hjuler & Bär have self-published their dada-esque sound poetry experiments on small-edition lathe-cut LPs, tapes and CDRs for years, usually adorning them with elaborate junk sculptures and paintings. Intransitive is proud to collect their best recordings so far onto a single, widely available CD so that anyone can hear the music without making a major financial investment. The husband and wife duo uses deceptively simple means -- typically just their voices, a cassette-tape recorder and a microphone -- to create astonishing suburban dramas that are somehow both sweetly charming and staggeringly psychotic, sometimes at the same time. Join Kommissar Hjuler and Mama Bär as they perform acts of banal heroics, like exploring the basement... taking their son for a bicycle ride... walking with a red shirt into a field of cattle... pondering reforms made to the Danish police system... all viewed through the unhinged lens. Kommissar Hjuler & Mama Bär are painters, sculptors, film-makers and musicians based in Flensberg, Germany, near the Danish border. Their artwork has been exhibited in galleries and at festivals around the world. They collaborated with like-minded artists such as Thurston Moore, Arnulf Meifert, John Weise, Runzelstirn & Gurgelstock, Jan Iwers and Af Ursin, among many others." "Asylum Lunaticum is not just another name or title, it's an almost too harmless a description of the family Hjuler/Bar. Over decades, Kommisar Hjuler provided me with his sick but mind-blowing art. So rare their works are, it's truly time to dig 'em out and show the world! This CD shall do so." -- Rudolf Eb.er (R&G/Schimpfluch-Commune Int.)
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INT 029CD
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"Dark Garden, the new album of thrillingly idiosyncratic analog buzz by Nerve Net Noise (aka homemade synth duo of Hiroshi Kumakiri and Tagomago) , is the perfect entry point for listeners new to their singular sonic world. This album of short, song-like synthesizer pieces might take its cues from manga, science fiction, early electronic music, and minimal techno, but as always, the Tokyo band resides firmly in their own inexplicable universe. Dark Garden assimilates fractured beats, stuttering pulses, naked static, and impatient drones into an album that's somehow both playfully alive and coldly menacing. In his liner notes, synth builder Kumakiri describes spirits that lurk in the shadows and watch people go about their lives, existing in a parallel world that bring to mind fairy tales and myth. Nerve Net Noise's music is similarly just out of reach, present in the natural world but not quite a part of it. For fans of Klaus Schultze, Jessica Rylan, Henri Pousseur, or Pan Sonic."
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INT 030CD
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"Ten years after his debut CD, Stone Blind (Intransitive, 1997), Howard Stelzer presents Bond Inlets, his first widely available solo cassette-tape composition. Boston-based sound artist Stelzer was never happy with his first album, and threw away most of the pressing as soon as it returned from the factory. He took the occasion of his label's tenth anniversary to dissect the source sounds of that work and filter it through the lens of the interceding decade in order to build a piece that more accurately reflects what his intentions were then and what his aesthetic is today. Bond Inlets is subtly emotional work of foreground drone that beats its head against the plastic walls of cassette-tape technology, laying bare the physicality of the process of its creation. The dying motors of cassette players, tape-saturated percussion, and blown-out condenser mic wail are mixed with elements of new live improvisations and field recordings taken in his neighborhood to create oceans full of no-fidelity murk and evocative hiss. There is an implacable melancholy to Bond Inlets, with fragments of distant melodies that surface only to be subsumed again into the grime."
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