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REPOSE 121LP
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The second album from Finnish experimental band featuring members of the legendary Circle. Mahti are a Finnish four-piece group presenting a unique mixture of ambient-rock, electronic music and traditional Finnish-Karelian music. Lengthy semi-improvisational pieces are built on top of complex, hypnotic grooves which are layered with opaque guitars and strangely soothing noise elements. In the heart of it all there's kantele, an ancient Finnish string instrument played by Hannu Saha, who has studied Finnish folk music in theory and practice for nearly five decades. The other players are Jussi Lehtisalo and Tomi Leppänen, who also form the rhythmic core of avant-rock group Circle, and psychiatrist Teemu Elo. Strange dreams guaranteed! Limited edition transparent purple marble LP. Housed in a stunning full-color sleeve with polylined inner bag and download code.
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REPOSE 110LP
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Third release in the "first time on vinyl" trilogy, following the quickly sold-out Pink Lady Lemonade - You're From Outer Space and Myth Of The Love Electrique. Here you have the band's classic 2007 double album, Acid Motherly Love, pressed on vinyl for the first time. Acid Motherly Love is another out-there ride through Acid Mothers' weird and psychedelic world. Guitars howl, riffs grow bigger with each minute and brains get fried along the way. Recorded under falling ash and burning roof tiles, Acid Motherly Love features every dimension of their legendary underground sound -- from wild riff heavy jams, to quieter acoustic passages and spoken monologues, all capped by the trance inducing 15 minute-plus epic "Santa Sanrodriguez". Fully redesigned sleeve complete with obligatory nudity. Transparent orange vinyl; gatefold sleeve; edition of 350.
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REPOSE 117LP
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Following on from their well-received albums Primitve Fuck (2018) and The Wholly Other (2020), London based psych rockers Black Helium release their third album Um via Riot Season Records. Here you find psychedelic defiance at its most incendiary and joyous. Returning to record at Bear Bites Horse studios with Wayne Adams, Beck Harvey, Diogo Gomes, and Stuart Gray deep dive into lysergic rock primitivism sparking sprawling stream-of-thought explorations to bring about an album that is as fried as it is alive. Black Helium are a psychedelic power trio, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed-out psychedelia. Black Helium are: Stuart Gray (vocals, guitar), Beck Harvey (bass, vocals), Diogo Gomes (drums). Purple/lilac color vinyl; edition of 400.
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REPOSE 114LP
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Bruxa Maria are back on their third full-length; be grateful. Build Yourself A Shrine And Pray is 45 minutes of pummeling, punishing fury as unrelenting and all-consuming as your anger at coming up short for the rent. The new record finds the band just as enraged as their 2016 debut, while continuing to evolve artistically. Bruxa Maria's huge bass and guitar, frantic drums, and banshee shrieking vocals build tension with few moments of release, the frenzy sometimes dissolving into feedback, static, and synth drones. Often the riffs have a swagger that makes you want to dance, and in a few places there are flashes of some genuinely pretty melodies and hooks. Those moments all shine through for just an instant before being shredded by the noise and wrath, torn apart flower petals under a line of razor wire. This is dark music about and against a darkening world, where anger and art are crucial to how we keep on keeping on. You can call it now, this is going to be the best record of 2023. Bruxa Maria are: G. Dread - guitar, vocals; Dave Cochrane - bass (Head of David, God, Terminal Cheesecake); Paul Antony - Drums (Ghold, Test Dept); Robbie Judkins - Synth noise (Left Hand Cuts off The Right). Dread black vinyl. Includes three double-sided A4 inserts and download code; printed outer sleeve with poly-lined inner.
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REPOSE 111LP
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Sun yellow vinyl; gatefold sleeve. Continuing the "first time on vinyl" purge of the Acid Mothers Temple archives. Here's the band's classic 2006 album finally available on double vinyl for the first time. Myth Of The Love Electrique is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
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REPOSE 112LP
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Reissue, originally released in 2005. First time available on vinyl for 15 years. New sleeve artwork with photos by Steve Gullick and pressed on dirty white vinyl. Ladybird... one perfect heavy as fuck hypnotic riff played over and over and over and over across two sides of an LP. Back when Shit And Shine formed, the idea was basically to sound like their heroes Drunks With Guns and Strangulated Beatoffs, using that same basic formula. A big dumb ass catchy riff played over and over until the joke gets old... then keep going. Recorded live at Southern Studios, London (fun fact: the same room where Bauhaus recorded "Bela Lugosi's Dead") in 2004 with just two basses, a snare drum, a huge cardboard box and a tiny toy Casio SA-1 keyboard (using the "airplane" sound hitting the same key over and over for 41 minutes). Some still say it's the best thing Shit And Shine has ever done. No argument there. Originally released on CD, and super limited vinyl. This was Shit And Shine's second release and it sold out quick. Remastered and beefed the hell up by Craig Clouse at Shit And Shine Ranch, 2022. Don't sleep on it. Edition of 300.
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REPOSE 102LP
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First time on vinyl. Originally released as a CD only album on Riot Season back in 2008 and out of print ever since. Fourteen years later it's finally getting the double vinyl release it fully deserves. Now expanded, and with new artwork Pink Lady Lemonade - You're From Outer Space really could be Acid Mothers Temple's first "summer album". Here, Acid Mothers Temple's most representative song "Pink Lady Lemonade" is dismantled and reconstructed as a blissful ecstatic psychedelic trip where chaos and silence intersect. These were the first Acid Mothers Temple & The Cosmic Inferno studio recordings since the addition of Pikachu, drummer and vocalist with Osaka grenade-girl duo Afrirampo. The popular AMT standard "Pink Lady Lemonade" showcases a 21st century acid rock update on the '60s San Francisco psychedelic sound. This one doesn't reach in the red status often -- it's a more out-there trippy ride. But when it does finally soar, Kawabata Makoto's guitar has never sounded more alive. Gatefold sleeve; clear vinyl; edition of 350.
Mothers Temple & The Cosmic Inferno: Pikachu - drums, voice, cosmic shaman; Tabata Mitsuru - bass, voice, malatab; Higashi Hiroshi - synthesizer, dancin'king; Shimura Koji - drums, Latino cool; Kawabata Makoto - guitar, voice, electronics, speed guru; Audrey Ginestet - voice, cosmos.
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REPOSE 106LP
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The wonderfully named Kevin, are a three-piece band formed in Osaka, Japan in 2017. The line-up at the time of recording/releasing this debut album Aftermath consisted of Hayato Izawa (vocal), Yutaro Umemoto (guitar), and Yuichi Umemoto (drums). The band has been influenced by psychedelic rock, krautrock, folk music, and free jazz. But Kevin is less full-on psych rock than some of their Japanese contemporaries (and new label mates) like Acid Mothers Temple, Mainliner, and Hibushibire. The strong krautrock influence is more prominent in their unique sound. Taking influence from the likes of Can and This Heat, their sound was initially based on noise music. Nowadays, they are minimizing their equipment and developing their own music with a groovy, delicate and devastating band sound. In 2019, the band successfully performed their first show abroad, in Taiwan, and with the worldwide release of Aftermath now via Riot Season records they intend to travel and play far and wide (when rules allow). Transparent green vinyl; includes download code; edition of 300.
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REPOSE 109LP
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When not enthralled to the cosmos, Wild Rocket call Dublin, Ireland home. It is from this base that their new record Formless Abyss emanates. This, their third transmission as a musical unit, features three long form pieces of swirling intensity brought to you by Riot Season Records. As a confluence of ideas and methods, Wild Rocket endeavor to interpret the subtle signals of the universe -- the interplanetary vibrations -- and present them as brash manifestations of sound. Scientists and shamans alike have endeavored to interpret the universal whispers, to elucidate meaning from the measurable and the sensible. It is known that to measure and interpret is to alter and color those signals and this is what drives the development of Wild Rocket's sound and interpretation. Formless Abyss showcases the band's unflinching pummeling style, drifting from repetitive blows to unhinged swirls of din yet always remaining innately infectious and perhaps surprisingly danceable. The record is presented as a continuous piece in three parts. The title track "A Formless Abyss" appears here for the first time in recorded form -- a behemoth of a tune which builds around a drone, joined by dual drums and minimal bass locked into a repetitive groove. A groove that is slowly expanded via multiple guitars and synthesis. Vocals eventually join at just the right moment imploring the listener to "leave your criticisms down" and realize "we're all equal now" in the formless abyss or the place between worlds where our earthly preoccupation with human differences are meaningless. The second track "Interplanetary Vibrations" may seem familiar to some in a simpler form. The expanded line-up and extended development of the core theme brings a new interpretation and experience that is more than worthwhile. The track's vocals juxtapose the hybrid Germanic language of English with the ancient native Irish language of Gaeilge. Both used to promote meaning and interpretation of the interplanetary vibrations felt by all. The track features large dynamic shifts and changes of pace, culminating in a wash of smashed gongs and distorted guitars. The final track "Future Echoes" is a doom/kraut juggernaut coming in at just under twenty minutes. Are we doomed to repeat the mistakes of previous civilizations over and over, or can we find the cracks of light that echo through and show us a new way forward? Seaweed green vinyl; includes download code; edition of 300.
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REPOSE 077C-LP
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Transparent curacao blue vinyl; includes download code; edition of 300. The long-awaited follow-up to Osaka's Hibushibire Freak Out Orgasm! debut album from 2017 is here with Turn On, Tune In, Freak Out!. Who are Hibushibire?: 821 on bass, Ryu Matsumoto on drums, and Changchang on guitar and vocals. It would be fair to say Hibushibire's 2017 debut album Freak Out Orgasm! went down well with fans of psych-rock. It garnered quite a few influential underground reviews and seemed to sell through on word of mouth alone. UK-based music blog Dayz Of Purple And Orange said this of their debut: "Fuck me! I think I've died and gone to psychedelic heaven! If anyone had asked me what I would really want from a freak out, heavy-as-fuck psych band I would have to say I would want the sheer guitar pyrotechnics of Acid Mothers Temple, the hard-as-nails scuzziness of The Heads, the lead heaviness of a fucked-up Blue Cheer, and the instrumental dexterity of Hendrix on speed. Guess what, that band exists and they are called Hibushibire!" Their follow-up Turn On, Tune In, Freak Out! is produced again by Makoto Kawabata (Acid Mothers Temple, Mainliner) and it's the next logical step in the band's sonic development. As with its predecessor, side one consists of three tracks, "Ecstasy Highwaystar", "Blow! Blow! Blow!", and "Overdose, Pussycat! More! More!". Some of these titles will be familiar if you've followed the band's live shows in recent times, and it's pretty much a guitar to the front, full gonzo-style hard-rocking psychedelic freak out from the first blast of Changchang's guitar panning from left to right before the main riff kicks it all off. Again, as with their debut, side two comprises of just one epic length track. "Rollercoaster Of The Universe" clocks in at seventeen minutes and is the sound of the band moving onto the next level during its journey. It's a shudderingly beautiful piece, with many hypnotic twists and turns. The band did initially attempt to produce this album by themselves, but got "brain fever" in the studio and called their old friend Makoto to come down and help them finish it off. As he had no preparation in advance, he knew nothing about how the recording was going in the studio, and moreover there was little time left for adjustments to be made. But his technique of mixing was, as always, both mighty and almost destructive.
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REPOSE 098X-LP
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Transparent lavender vinyl; includes download code; edition of 250. Originally released as a limited yellow vinyl LP in April 2021, this debut from Taiwan's psych-heads Dope Purple quickly sold out and gained immediate cult appreciation. Dope Purple in their own words: "Grateful End is our album release in 2019 in the form of CD and cassette. The title Grateful End clearly shows that this is our album with the theme of 'End', such as 'The Last Day of Humanity' and 'Good Night, Good Death' are two of our songs with the theme of 'End'. However, this album also has another theme of 'Live', in fact most of the songs on this album are based on our imagination of 'Live'. 'End' is not the antonym of 'Live', 'End' is just one of the stages of 'Live', in other words 'End' is also our 'Live'. Grateful End is a meaningful 'End' for people struggling to 'Live'. It is only when the 'End' comes together with 'Live' that we can find significance in it and pay attention to how people face the 'End' of 'Live'. The End of something enables us to understand 'Live'. Most of the tracks for Grateful End was recorded in 2018, before the epidemic, so our music doesn't reflect the situation of epidemic, but there was a time in 2020 when I thought about the reality that humanity was facing the last day of humanity. Thanks to the efforts of many people, humanity is not yet extinct, and thanks to the help of many people, we can now release this vinyl. We are very grateful to all of you. But at the same time, the plight of the epidemic has re-emerged many humanity and morality issues that we have avoided looking at. Maybe we won't die out, but if we don't face our humanity squarely, we will lose our humanity in the future and will no longer be human. I don't know what our music can do about humanity, but it is true that music is one of the creations of humanity, and music cannot leave humanity. As music music lovers, our creations will always face humanity. I hope that in the future, after the epidemic is over, we can understand and inspire each other through our live and music." For fans of Acid Mothers Temple, Les Rallizes Denudes, Asian psych, etc.
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REPOSE 099LP
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The fourth full length album of Orchestra of Constants Distress, Concerns marks the end of a quadruple suite of intense, dissonant, reluctant improvisation. Looking back on five years of musical summits, which also has resulted in a couple of cassette releases and a live LP from Roadburn Festival, one might wonder if these musicians have come to some form of insight. Riffs seems to have deepened into complete compulsiveness as the rhythm from drummer Anders Bryngelsson (Brainbombs, No Balls) deliver both frustration and caution at the same time. Between the dissonant sounds of Henrik Rylander (Union Carbide Productions, Skull Defekts) and the choleric play style by guitarist Joachim Nordwall (Idealist, Skull Defekts) a way of emotional vacuity is spreading. With the phlegmatic and elemental bass of Henrik Andersson (visual artist) the music of OOCD is a montage of soundscapes rather than the uniform of compositions. Rather than seeking a musical presence through improvisation they seem to perform absence and void. Orchestra of Constant Distress are: Joachim Nordwall (The Skull Defekts, iDEAL Recordings), Anders Bryngelsson (Brainbombs, No Balls), Henrik Rylander (The Skull Defekts, Union Carbide Productions), Henrik Andersson. Edition of 300; includes download code.
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REPOSE 097LP
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Nine years after its initial release in 2011, The Ripper At The Heaven's Gates Of Dark is back. The original black vinyl and CD editions sold out pretty quick, and have been a constant source of repress requests ever since. So, at Makoto's personal request here it is. It's definitely the best Acid Mothers Temple studio album from that short lived four-piece line up. With the exception of the album's opener "Chinese Flying Saucer" and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22-minute jam, "Shine On You Crazy Dynamite" and also the album's closer "Electric Death Mantra". The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesizer, and at times, really trippy vocals (most prevalent on "Back Door Man Of Ghost Rails Inn"), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album. Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. The Ripper At Heaven's Gates Of Dark maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon. Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording: Tsuyama Atsushi - monster bass, voice, soprano sax, cimpo flute, soprano recorder, acoustic guitar, cosmic joker; Higashi Hiroshi - synthesizer, dancin' king; Shimura Koji - drums, Latino cool; Kawabata Makoto -electric guitar, electric bouzouki, sitar, organ, percussion, electronics, speed guru. Recorded at Acid Mothers Temple, Japan. Produced and engineered by Kawabata Makoto.
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REPOSE 097B-LP
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Limited transparent blue with black swirl double-LP vinyl. Housed in a newly redesigned, full color gatefold sleeve. Nine years after its initial release in 2011, The Ripper At The Heaven's Gates Of Dark is back. The original black vinyl and CD editions sold out pretty quick, and have been a constant source of repress requests ever since. So, at Makoto's personal request here it is. It's definitely the best Acid Mothers Temple studio album from that short lived four-piece line up. With the exception of the album's opener "Chinese Flying Saucer" and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22-minute jam, "Shine On You Crazy Dynamite" and also the album's closer "Electric Death Mantra". The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesizer, and at times, really trippy vocals (most prevalent on "Back Door Man Of Ghost Rails Inn"), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album. Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. The Ripper At Heaven's Gates Of Dark maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon. Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording: Tsuyama Atsushi - monster bass, voice, soprano sax, cimpo flute, soprano recorder, acoustic guitar, cosmic joker; Higashi Hiroshi - synthesizer, dancin' king; Shimura Koji - drums, Latino cool; Kawabata Makoto -electric guitar, electric bouzouki, sitar, organ, percussion, electronics, speed guru. Recorded at Acid Mothers Temple, Japan. Produced and engineered by Kawabata Makoto.
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REPOSE 100LP
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Double LP version. Gatefold sleeve; one record on silver vinyl, one record on black vinyl. The follow-up to Mainliner's 2013 comeback album Revelation Space has been rumored for many years. There have been tales of several attempts being finished and scrapped in the last five years. That's how hard it is to run a band when all the members are based on different continents and in other very busy bands themselves (Acid Mothers Temple and Bo Ningen notably). But it's finally done. And if you're a fan, it's been worth the wait. In Kawabata's own words: "This new album is the second chapter of this present Mainliner. Finally, we could open to the next stage to break old customs since 1995". The killer trio from the Revelation Space album is still intact, with Kawabata Makoto (motorpsycho guitar), Koji Shimura (drums), and Kawabe Taigen (bass/vocals), and it's back to calling them just Mainliner once again (Revelation Space was issued as Kawabata Makoto's Mainliner).
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REPOSE 100CD
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The follow-up to Mainliner's 2013 comeback album Revelation Space has been rumored for many years. There have been tales of several attempts being finished and scrapped in the last five years. That's how hard it is to run a band when all the members are based on different continents and in other very busy bands themselves (Acid Mothers Temple and Bo Ningen notably). But it's finally done. And if you're a fan, it's been worth the wait. In Kawabata's own words: "This new album is the second chapter of this present Mainliner. Finally, we could open to the next stage to break old customs since 1995". The killer trio from the Revelation Space album is still intact, with Kawabata Makoto (motorpsycho guitar), Koji Shimura (drums), and Kawabe Taigen (bass/vocals), and it's back to calling them just Mainliner once again (Revelation Space was issued as Kawabata Makoto's Mainliner). CD version comes in gatefold sleeve.
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REPOSE 095LP
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Shit And Shine return to the mighty Riot Season, the label that was brave enough to put them on the map in the first place. This LP, like 2019's Doing Drugs, Selling Drugs (REPOSE 085LP) returns to the sludge. Sludge the way sludge is meant to be ... fucking sludgy and evil. This shit is ridiculously heavy, in fact it could be one of the heaviest sludgiest records ever made. Yeah, for real. Sleep? Melvins? you call that sludge!? PAH!! No, not quite. Sure, it's heavy and riffy but nothing close to this slow-motion exploding mountain of filth lava. Goat Yelling Like A Man what a great name for a fucked-up record. No bullshit the LP includes actual goats yelling like men as vocals. Hail the mighty black goat of your nightmares! Hail Shit And fucking Shine! When sludge needs to be done proper, Shit And Shine do not fuck around. White vinyl; includes download code; edition of 500.
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REPOSE 096LP
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Taras Bulba featuring ex Earthling Society head Fred Laird return with their second album Soul Weaver. Soul Weaver was recorded between February and April of 2020. The album is a sharp contrast to the Taras Bulba debut. Whereas One (2019) was a laidback psilocybic novelty travelogue; Soul Weaver is more guitar-driven dream like psychedelia, mixing '60s garage rock, shoegaze, bucolic west coast acid folk, and ambient feedback. The album builds on song structures instead of drifting instrumentals prevalent on the band's debut and is an indication of the path they want to go musically. Constructing the album in such a short time and under lockdown restrictions changed the way the album took shape. Due to the social distancing percussion had to be constructed from drum machines or "found" from previous sessions and cannibalized. So, in some ways this is more a solo record (Jon has never heard the songs). It is a guitar album whereas One was a rhythm/percussion focused recording. Lyrically it draws on (quite accidentally) the writings of Dion Fortune, particularly her novel The Sea Priestess (1938). It never even came into mind until I started draughting the lyrics and things started popping up that had very strong comparisons to that novel. The recording has a bit of a watery, dreamy feel too and it's also haunted. It's haunted by a good soul though; with electric blue eyes. Transparent turquoise vinyl; Housed in a reverse board printed outer sleeve with black poly-lined inner; includes download code; edition of 300.
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REPOSE 094LP
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It's hard to say how Mummise Guns actually came to be a thing. What is certain is that Tracy Bellaries and Matt Ridout had shared a flat for a while and were often speaking about forming a group to have an outlet for some music that Tracy had written, but above and beyond that initial idea the rest is slightly hazy, or perhaps murky is the better word. Where, why, and how the rest of the group got involved is not 100% clear, but the initial lineup of Tracy, Matt, Adam Ian Sykes, Cleaver, and Alex Wilson prepped three of Tracy's songs and three of Matt's into something solid enough to record by early 2017 and the band dropped into Wayne Adam's Bear Bites Horse Studios in East London to track their debut self-titled LP, with Al and Adam adding further recordings at Pigs Pigs Pigs Pigs Pigs Pigs Pigs guitarist Sam Grant's Blank Studios in Newcastle. After that, it's safe to say things got busy. Pigs Pigs Pigs Pigs Pigs Pigs Pigs took over the airwaves with a series of incredible LPs on Rocket Recordings, Luminous Bodies wrote and recorded an absolute belter of a second album for Box Records, Casual Nun dropped a couple of full-length smashers and a split with Bruxa Maria on Box Records and Hominid Sounds, Ghold released a killer LP on Crypt of the Wizard, and Black Shape and Michael both dropped some classics on Hominid Sounds and Cracked Ankles respectively. Yet, throughout all of this intense activity, the Mummise Guns LP lurked in the shadows like a malevolent beast just waiting for the right moment. That moment was early 2019 when everyone regrouped at Bear Bites Horse, including new addition Gordon Watson, for some final overdubs and mixing. And here it is, 2020, and the proof of all this hard graft is finally available to you. So here are six tracks of noise-fueled amphetamine that is perfect to drive all the right people from your house and attract all the wrong ones in. Mummise Guns are: Tracy Bellaries - bass (Part Chimp, Luminous Bodies, Ikara Colt); Cleaver - drums (Michael, Black Shape); Matt Ridout - guitar (Dethscalator, Casual Nun); Adam Ian Sykes - guitar (Pigs Pigs Pigs Pigs Pigs Pigs Pigs) Gordon Watson - guitar (Terminal Cheesecake, Luminous Bodies); Alex Wilson - vocals (Ghold, Shuck). Edition of 300.
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REPOSE 088CD
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The career of Acid Mothers Temple has been an interesting and varied one. With well over 200 releases to their name since 1996, the band have certainly put in the hard yards. Recent times have seen a resurgence in their underground cult popularity. Between Autumn 2014 and December 2015, core AMT members Tsuyama Atsushi (bassist/vocalist) and Shimura Koji (drums) left the band. Original members Makoto Kawabata and Hiroshi Higashi took this as their chance to create a new line-up and that this was a good chance to refresh the band with new members. The last Acid Mothers Temple album released by Riot Season was Reverse Of Rebirth In Universe in 2018 (REPOSE 073R-LP) which was incredibly well received. For that album the newly settled line up featuring new boys Wolf (bass), Satoshima Nani (drums), and Jyonson Tsu (vocals) re-recorded old AMT classics and a few new jams. The album and subsequent world tour were incredibly well received, not only by long time AMT diehards but also a whole new crowd who were discovering the band for the first time, either via the album of the show, which included the band's first appearance at Glastonbury Festival in summer 2019. Chosen Star Child's Confession is the latest studio album from the band which should be considered the genuine "first album" of this new line-up with the added presence of Geoff Leigh (ex Henry Cow). In the band's own words: "We had recording session with Geoff Leigh (ex Henry Cow) at the beautiful Sam and Rachel's recording studio in London in July 2018 (with work completed back in Japan in 2019). It was the first year of the new vocalist Jyonson. We recorded some our standards and classics also new jam session. We found many musical direction, daydream psychedelic, dubby jazz groove, Si-Fi trance, experimental exotic chaos, etc... it's the truly beginning of Acid Mothers Temple's new era!" CD version includes bonus track "Santa Maria Enfance".
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REPOSE 088LP
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LP version. Orange vinyl; edition of 500. The career of Acid Mothers Temple has been an interesting and varied one. With well over 200 releases to their name since 1996, the band have certainly put in the hard yards. Recent times have seen a resurgence in their underground cult popularity. Between Autumn 2014 and December 2015, core AMT members Tsuyama Atsushi (bassist/vocalist) and Shimura Koji (drums) left the band. Original members Makoto Kawabata and Hiroshi Higashi took this as their chance to create a new line-up and that this was a good chance to refresh the band with new members. The last Acid Mothers Temple album released by Riot Season was Reverse Of Rebirth In Universe in 2018 (REPOSE 073R-LP) which was incredibly well received. For that album the newly settled line up featuring new boys Wolf (bass), Satoshima Nani (drums), and Jyonson Tsu (vocals) re-recorded old AMT classics and a few new jams. The album and subsequent world tour were incredibly well received, not only by long time AMT diehards but also a whole new crowd who were discovering the band for the first time, either via the album of the show, which included the band's first appearance at Glastonbury Festival in summer 2019. Chosen Star Child's Confession is the latest studio album from the band which should be considered the genuine "first album" of this new line-up with the added presence of Geoff Leigh (ex Henry Cow). In the band's own words: "We had recording session with Geoff Leigh (ex Henry Cow) at the beautiful Sam and Rachel's recording studio in London in July 2018 (with work completed back in Japan in 2019). It was the first year of the new vocalist Jyonson. We recorded some our standards and classics also new jam session. We found many musical direction, daydream psychedelic, dubby jazz groove, Si-Fi trance, experimental exotic chaos, etc... it's the truly beginning of Acid Mothers Temple's new era!"
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REPOSE 087LP
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Orchestra Of Constant Distress (OOCD) add two live recordings to their oeuvre of audio documents. A limited black vinyl LP from Roadburn Festival, Tilburg 2019 and a cassette from Fylkingen, Stockholm the same year. A listener might wonder what the concept of "live" means in relationship to this work since there is little evidence of any interest towards the living in this musical operation. The ridged riffs and non-conform sounds seem rather to have its origin in phase of audio regression. Perhaps this is a result from earlier unconscious trauma as the band members have experiences from Skull Defekts, Union Carbide Productions, and Brainbombs. Gloss finished sleeve includes download code; edition of 300.
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REPOSE 091LP
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"... I initially stumbled upon the odd and highly dangerous musical practices of Perhaps while on an assignment in Bermuda. There had been rumors of a local tribesman partaking in occult practices, of which I knew was native strictly to the Goat Bleeding Bad Men of the Congolese jungle . . . Upon arrival it was clear there was a strange foreign intervention within the community of the tribe, which was largely uninhabited upon first glance. Much of the surrounding foliage had been strung with the entrails of various animals and there were several disturbing fixtures composed of bones and various organs lining the commune. I managed to track down the tribesman, who appeared to be in some deep trance and was entirely unable to communicate, though seemed to be fixated on a single task: the drawing of a peculiar symbol. My researching the symbol resulted in only one hit, a piece of musical literature by a band Perhaps, who I later found to be recording in the area just weeks before . . . Wherever [Perhaps] went a small commune followed, which was typically composed of deranged acid freaks, occultists, and Norwegian dairy farmers who had sold all their assets to follow the band after 'hearing their music speak from the mountains'. After managing to crack into one of their camps that was stationed in an abandoned motel, I spoke with Jim Haney of Perhaps regarding their cultish practices, who gave little in way of detail but claimed to be working towards a deconstruction of reality through a linguistic utilization of vibration. My stint with the cosmic beings through the telekinetic transmission had led to one conclusion; that Perhaps have been in the works on something new . . . Through my continued interest I've procured the names of other members of this current project, which include: Sean McDermott, Tom Weeks, Ricky Petraglia, David Khoshtinat, Ben Talmi, Makoto Kawabata, Lucas Brode, Isiah Mitchell, Olivia Kieffer, Tyler Skoglund, Chang Chang. Though I can't say exactly what is to come, it seems as if the ideas that were proposed during my initial meet may have been surpassed. Perhaps' plans have begun to surface, and we are all at risk, for whatever that means. The great column and the vibrational prismic beings have shifted their attention to earthly matters, it would be foolhardy to not heed their warning. Though, self-preservation may be an impossibility." --Sam Hailstone December 2019 Includes download code; edition of 300.
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REPOSE 089LP
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Riot Season welcome The Noise Birds, aka Suishou No Fune (Japan) and Numinous Eye (USA), into the fold. Back in 2007, the Tokyo-based duo known as Suishou No Fune visited San Francisco, and during their stay participated in a recording session with old friends Mason Jones and Mike Shoun, who were operating under the name Numinous Eye. That session was released in a very small edition several years later by the Essence Music label from Brazil as Black Flowers Of The Forest In The Cosmos. When Suishou No Fune were planning their latest trip to San Francisco in May of 2018, as part of filming for a documentary, plans were made for a follow-up recording. The quartet crammed themselves into a small rehearsal space, along with two guests who filmed the proceedings, and spent the afternoon creating dark, heavy psychedelic atmospheres. Pirako and Kageo, on high-end and low-end guitar respectively, have an uncanny way of melding inner-space psychedelic drone with free-form guitar lines and spiritual sonic flow. Suishou No Fune has been a key part of Japan's scene for two decades now, playing as a duo as well as in extended format with drums and bass. San Francisco's Numinous Eye, started by guitarist Mason Jones after parting ways with his previous band SubArachnoid Space, has released a string of albums bridging noise-drone with psychedelic rock. Prime collaborator Mike Shoun, on drums and synthesizers, has also played with Thee Oh Sees, Peacers, and many others. Noise Birds, as a trio of guitars driven by drums, demonstrates a cohesive vision and melding of minds as the layers of sound shift around each other. Improvised together on the spot, these songs ebb-and-flow as the players communicate without words, focused on working together with the goal of taking the music as far in, and out, as possible. This is music as speech, as collaboration, as friends coming together across an ocean to express themselves as one, presented here for everyone else to hear and enjoy. The Noise Birds are: Pirako (guitar), Kageo (guitar), Mason Jones (guitar), Mike Shoun (drums). RIYL: Bardo Pond, Kousokuya, Fushitsusha, Carlton Melton, Les Rallizes Denudes. Includes download code; edition of 300.
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REPOSE 090LP
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Formed from the ashes of Drunk In Hell and Blown Out, OZO are a blazing improvised alto sax-led free jazz rock trio made up of Graham Thompson (Ballpeen), Karl D Silva (Drunk In Hell) and Mike Vest (Drunk In Hell, BONG, 11Paranoias, Melting Hand). For fans of Pharaoh Sanders, John, and Alice Coltrane: improvised and experimental alto sax workouts, lead drums, fluid thunder bass, and freak out guitar melodies. OZO's Saturn is five tracks of black Impulse! meets harmonic Stooges.
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