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Acid Mothers Temple & The Melting Paraiso UFO

Hallelujah Mystic Garden Part 2

    Hallelujah Mystic Garden Part 2 contains a new deep-pocket groove disco version of fan favorite Pink Lady Lemonade. Side 2 is a slick kosmiche-electro-disco number that unfurls over a period of 20 minutes and is periodically punctuated by Makoto Kawabata's unruly soloing. 

    Cotton Casino : voice, astral mama Kawabata Makoto : guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru Higashi Hiroshi : synthesizer, noodle king Mitsuko☆Tabata : guitar, guitar-synthesizer, voice, kisses & hugs Satoshima Nani : drums, another dimension S/T "Wolf" : bass, tapes, space & time Recorded at Acid Mothers Temple, Jun. 2016 - Mar. 2017 produced and mixed by Kawabata Makoto 



      Double sided, screen printed jacket by Neil Burke @ Monoroid. Heavy duty virgin vinyl. Disorder marks a few milestones for the band Growing; it is their ninth full length release, in the fifteenth year of their band as well as their first record in almost six years. Disorder is neither revival nor bookend for Growing. Over their fifteen year career they've issued records on Kranky, Troubleman Unlimited, The Social Registry and Vice Records; they've touring with the likes of Sunn O)))), Hot Chip, Fuck Buttons, Animal Collective & Gang Gang Dance and have played on five of the seven continents. Disorder is another mile marker on the long open road, both figuratively and literally, Growing have been traversing for years."A kaleidosope of prismatic tones and juddering electronics forming a series of mesmeric constellations." 



        Imprec is proud to present Eleh's Homage series remastered and on CD for the first time. Certain frequency combinations that were impossible to cut on LP are effectively presented in this digital edition. Eleh, an artist who flourishes in restraint, uses a reduced sonic vocabulary to highlight delicate intricacies in a logical path toward harmonious satisfaction. The organization of hypnotic square waves, rippling sine waves and triangle/saw tooth waveforms is a discourse in the infinity, rather than the limits, of reduction. By employing a natural practice of balanced interpretation, Eleh enables an individual reaction free of the clutter of white noise. "Eleh's music electrifies whatever space it engages. With the flip of a switch, it exposes the ways in which all space is, potentially, electric." Frieze "Nuances of sound turn symphonic." New York Times Homage To The Square Wave

        Mark Rogers & Mary Byrne

        I Line My Days Along Your Weight

        Brooklyn duo Mark Rogers & Mary Byrne recorded their debut, I Line My Days Along Your Weight, as a true duet: facing each other inches apart, intent upon listening. They wove together archaic instruments – baritone acoustic, tricone resonator, golden-era flattop, space-age lap steel, upright piano, and hundred-year-old mandolin – into a new and vibrant third voice.

        All the songs were recorded live to two-inch analog tape, the studio equivalent of tightrope-walking without a net. Mark and Mary later added minimal touches of lap steel, piano, and electric guitar, but essentially what you hear is what they performed together, start to finish. With Mark's deeply expressive, contextual fingerstyle and Mary's emphatic, unaffected singing, this striking debut invites listeners into a space most intimate, and most human.

        Mark and Mary each grew up on opposite sides of Central Pennsylvania's Susquehanna River, but their paths did not cross until years later in the explosively creative East Atlanta music scene. From there, the two moved to Brooklyn, where they married, and where Mary earned her MFA in writing from Brooklyn College and Mark quickly became an in-demand stage and session player and music instructor. Their collaboration began in earnest in the days after Hurricane Sandy hit New York in November 2012; with the city at a standstill, the two sketched many of the songs now on I Line My Days Along Your Weight.

        Before this, Mark played with Brooklyn indie-folk band The Loom, with whom he toured and performed as part of Brooklyn Academy of Music's 'Next Wave' series and at Pop Montreal and CMJ. He was also multi-instrumentalist and songwriter with Atlanta's renowned alt-Americana quartet, Myssouri, whose 'War/Love Blues' was selected by Pitchfork as a top album. Mary was lead singer, songwriter, and guitarist for Atlanta trio Hot Young Priest, which toured nationwide; their 'Fiendish Freaky Love' (Two Sheds Music) garnered critics' praise in Magnet, Amplifier, The Big Takeover, Time Out New York, and NPR's 'All Songs Considered'.

        Zurich includes Tony Wilson (Knives ov Resistance), Neil Halstead (Slowdive/Mojave 3), & Sarah Peacock (Seefeel). All of the recordings were lost until very recently when Touch recording artist Mark Van Hoen found the two tracks on old CD-Rs and cassettes he was given by Wilson. This CD version of the original LP release includes bonus tracks. Zurich began as a 1994 musical partnership between Neil Halstead then of Slowdive and Tony F Wilson. The two recorded a handful of tracks together at a time when Wilson was co-promoting and DJing at the club/live night Quirky in South London where he booked acts including Pan Sonic, Hafler Trio and Autechre. Halstead was shortly to begin work on Slowdive's final and most experimental album Pygmalion.

        Recorded at a time when the popularity of ambient techno was at its peak, these recordings are remarkably austere by comparison. Whilst A Harsh Truth displays the Oriental gracefulness of a Sakamoto/Sylvian collaboration, Tzarist's gothic industrialism shares more in common with the early works of Coil. Following the release of Pygmalion and Creation letting go of Slowdive, Halstead would disband Slowdive and abandon sound experimentation to create more song-based material in Mojave 3. Shortly thereafter, Wilson began collaborating with drum & bass producer and engineer Joe Gray on more rhythm based, yet still atmospheric productions. Too Scared to Breath features the voice of Seefeel's Sarah Peacock and sounds not unlike prime Autechre and Aphex. Militia (Dynamic Warfare) on the other hand mirrors the post-metal Dub of Techno Animal and Scorn.

        L A N D release their debut album, 'Night Within' on 10th July 2012 through Important Records.

        CD & LP packaged in deluxe first edition letterpressed jackets.

        Guest contributions include David Sylvian, Daniel O'Sullivan (Miracle and Ulver), Duke Garwood and many others with the two creators taking a directorial role. The album was sculpted in Reykjavik by Ben Frost, enhanced by his signature aural physicality and visceral sub bass. The album is a vast collision of sound, from free brass and woodwind to "geometric" bowed cymbals and metallic percussion. But more than simply music, the multidisciplinary L A N D draw on and evoke a wide range of art forms.

        They describe this work as "approaching an apocalyptic noir narrative" and 'Night Within', despite its slate visual appeal which recalls the grey paintings of Gerhard Richter, thematically points towards a world occupied by the early postmodern detective stories of Paul Auster and the urban neon dislocation of Taxi Driver with its existential protagonist roaming the city alone late at night.

        Featured artists:
        Daniel Lea: Baritone, Bowed Cymbals, Sound Design, Percussion
        Matthew Waters: Baritone, Guitar, Piano, Bass, Percussion
        David Sylvian: Vocal
        Paul Cook: Drums & Percussion
        Matthew Cousins: Bass & Percussion
        Tom Farmer: Double Bass
        Dom Garwood: Clarinet
        Duke Garwood: Saxophone & Alto Clarinet
        Jamie McCarthy: Violin
        Daniel O'Sullivan: Piano
        Alexander Tucker: Bowed Mandolin
        Richard Turner: Trumpet

        After exploring their creative impulses through strings, horns, pianos, and varied folk influences, Mi and L'au have decided to venture into a newer, more electric environment on their newest record. If Beauty is a Crime doesn't feature a single guitar. In fact, you won't find a traditional instrument anywhere on it. The simple, stripped-down sound for which they've become so well known is transformed on their latest album, shaped unexpectedly by circuits, programs, and mechanical processes. "The bet," Mira says, "was to make an album with a computer and new software... From now on we will study machines, meaning keyboards, drum machines, and computers in general." But, along with Mira and Laurent's redefined approach, something familiar found its way into their music.

        While making the album, both musicians noticed the spectre of familiar melodies and rhythms haunting their work; the inspiration wasn't from a specific song or melodic line, but from a mood or an idea buried somewhere in their past. As they investigated this anomalous influence, they uncovered a shared memory of films enjoyed during their childhood, specifically those scored by French composer François de Roubaix. Responsible for the music in well over 30 films, de Roubaix was known, among other things, for his use of synthesizers and drum machines, and for his use of folk elements in several projects.

        The connection between his work and their current endeavor was obvious. Subsequently, Mi and L'au immersed themselves in his music, even as they continued to produce their own. Whether by fate or by coincidence, his music found its way into their lives just as they were beginning to explore what electronic sounds could do for them. So, in the end, they dedicated If Beauty is a Crime to François. Through their newly discovered electronic voice something older and more familiar sounded out, and the result is a stunning fusion of ideas and feelings that completely redefines Mi and L'au's sound.

        Various Artists

        Ikebana - Merzbow's Amlux Rebuilt, Reused And Recycled

        Artists were asked to use Merzbow's album "Amlux" as an instrument in an original composition, rather than to perform the conventional remix. Hoping that this would allow the artist to flourish with greater creative freedom and a less restrictive context. Perhaps the beat oriented tracks, record scratching and vocals will annoy some noise purists, and perhaps the noisy sound collages will irritate others, but overall this collection of tracks from some of the best electronic artists working today will enlighten the listener. Tracks included are from DJ Spooky, Plug (Luke Vibert), Mouse On Mars, KK Null, Alec Empire, Kawabata Makoto, Cornelius, Kid 606, Negativland, Nobukazu Takemura, Atom TM, Chicks On Speed, Experimental Audio Research, Bola, Kim Hiorthoy Staalplaat Sound System, DJ/Rupture and many more.

        Daniel Johnston And His Hyperjink Tricycle

        Alien Mind Control

        The casual studio atmosphere naturally created when friends get together to record has brought out the best in Daniel. These four tracks, each fronted by Daniel, represent some of his most striking and compelling work in a long time. Included is a new version of the popular track "Long Lost Love".

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