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LONG ISLAND ELECTRICAL SYSTEMS

Ron Morelli's "Laughter Taker" is taken off the "Disappear" LP from 2018. Now the label owner enlists a crack squad of remixers for a super limited, highly collectable LIES outing!

Noise makers Mick Harris (Scorn, Fret), Parrish Smith and Overlook are called in to demolish and demonize the track starting with Mick Harris cataclysmic hurricane on side B, Parrish Smith's fast paced hi-tech-booty jam on side B and Overlook concluding proceedings with a pitch black event horizon populated with ghostly choirs and sinister energy.


STAFF COMMENTS

Matt says: Hold onto your underpants pop pickers! Big Ron's poised waiting to rip 'em clean off yer buttcheeks the cheeky scoundral! A rip-roaring noize fest for the muscular dancefloor inhabitants. Scared me shitless.

Daryl Cura aka DeeCoy has been an integral part of the Chicago underground house scene for many long years, producing numerous records and running the prestigious @eargasmicrec as well as being part of the legendary supergroup Dirty Criminals alongside Traxx and Jamal Moss. LIES present two seperate, previously unreleased archival 12"s recorded during the Criminals era in the early 2000's. This is a testament to an understated artist from the vast Chicago scene who in many ways was very much way ahead of his time...

Second part of the Deecoy excavation sees more pioneering primitive-electronix from this groudbreaking artist. "The Chase" introduces the record through bolt cutter drums railroaded at a high speed. Alien discourse decoded by human interfaces seem to characterize "Tunnel Vision" as a mixed message of bleeps and bangs peppers our inputs. "Chrome" sees tuff body music veer off slightly into more cerebral states, the perfect contradiction of body and mind working in conjecture. "Eights" concludes with some freebase acid, just in case the fiends were starting to get all scratchy. Mega stuff from this Chi-town luminary whose output seems tailor made for Ron Morelli's LIES label... Recommended! 


STAFF COMMENTS

Matt says: The spoils of a second dig around Deecoy's scorched studio reveals more black magic studio trickery in the same vein as Jamal Moss, Steve Poindextor, Adornis etc. There's something in the punch I tell thee!

Daryl Cura aka DeeCoy has been an integral part of the Chicago underground house scene for many long years, producing numerous records and running the prestigious @eargasmicrec as well as being part of the legendary supergroup Dirty Criminals alongside Traxx and Jamal Moss. We now present two separate previously unreleased archival 12"s recorded during the Criminals era in the early 2000's. This is a testament to an understated artist from the vast Chicago scene who in many ways was very much way ahead of his time.

Much like fellow pioneer Jamal Moss, DeeCoy takes the various ghosts and tropes of dance music sordid history and breaks them down to their most primal and primitive forms. A distilled form of house music that resonates from within, unrestrained by glitz, glammer and polish. This music could exist in tribal times and is, as such, an extension of those hypnotic and repetitive rhythms our ancestors danced around too. Voodoo house music by one its true originators.

Part 1 of 2. 300 only. Don't sleep!


STAFF COMMENTS

Matt says: Proto-house blueprints beated out on vintage drum boxes like cave paintings. The double-helix of the dancefloor reveals its early incarnations from another Chi-town wizard. Mega.

LIES' experimental noize merchant and high concept artist, Torn Hawk, is back with another slurry of mechanized freakouts, electro-static discharge and industrialized chaos. A producer who manages to impart his own sense of impending collapse onto whatever style or genre he's working in there's also a fragile sense of personality he oft manages to convey through dark electronic ballads and avant-garde soundscapes.

Across eleven tracks for LIES we see further into the mind and soul of this exploratory and fearless producer. At times painfully bleak, at others aurally arresting, it takes no prisoners and compromises on nothing. A truly personalized rendition of environment, mood and feeling from a unique and out there artist of the 21st century. 


Originally released as a limited run cassette on Low Jack's Editons Gravats label in 2017, we now get an official vinyl pressing via L.I.E.S.

Krikor Kouchian serves this killer soundtrack to the documentary 'Arabie Saoudite: Les Liaisons Dangerousness' Where the French TV program focuses on the Saudi royal family’s support of Wahhabism and the West’s appeasement of Saudi foreign policy, Kouchian underlines and accentuates the content with a brooding blend of mirage-like electronics and minimalist drum machine geometries. A deviation from his previous works and one in which he moves into appropriately darker synth territory.

New York City by way of Miami, Alex Suarez delivers his debut lp the eight track "Autogolpe" for L.I.E.S. Autogolpe, is a term for military coup initiated by a dictator to take control of an existing government and Suarez uses this loose idea to create the range of emotions associated with said act. Musically he expands on his prior releases for Bank and Primitive Languages as heavy industrialized sonic beatings sit next to somber passages; oil drum slow beat tribal clangers provide a back drop for screams shooting out of the dark. Musically it paints a distorted picture of world in decline, an exile from another land and arrivial to anothers in chaos or the clinging hope of something better on the other side.

STAFF COMMENTS

Patrick says: Gloomy and dystopic, Alex Suarez' debut LP muses on military coups, offering hissing ambient pieces, abrasive industrial workouts and polyrhythmic techno snarlers over the course of eight impactful tracks.

Tel Aviv based two man project TV.OUT has been making a name for themselves these last years putting on impressive live sets, djing around the world, and running their Paralaxx imprint releasing various strains of rugged, well informed electronic music. On their debut for L.I.E.S. we get a smoking three tracker spanning styles that would not seem out of the place being played on the West Coast of Den Hague in the late-90s. Think early Legowelt meets Coca Disco meeting heavier techno sounds as a starting point. Club gear for the gearheads. The electroid snap of "Further" gives way to the techy pulse and melancholic synths of "Moon" before the bristling perx of "Galaxy" takes us down a darkroom wormhole.

Svengalisghost captured here in his most true form, the live setting. This recording comes direct from the board during his performance on French television in 2015 and harnesses the maniacal energy of his live set in perfect form. What may be the Chicago born artist's darkest and most plodding recording to date, this is the definintion of deconstructed death-industrial, forward thinking and freeform yet totally focused and razor sharp, plodding drums over open wire electronics and zodiac killer vocals hitting you from all angles. This is sound of evil personified. Limited copies available worldwide. Necessary evils for yer bag, grab it while its hot.

STAFF COMMENTS

Matt says: A truly arresting, haunting and terrifying excursion into sound here from the already hyped Svengalisghost. Drinking from the same PCP-laced broth as The Trash Company and much of the Dark Entries camp, with a bit of Ron Hardy's sherm thrown into the pot for good measure. Warning! - will fuck you up!

Eric Copeland

Courtesy, Professionalism, Respect

Copeland brings the (schizoid, neon, frenetic) noise for his newest LP on L.I.E.S. Kicking things off with the juddering lo-fi stomp of 'Convoy', pushing hi-passed snares and delayed synth squeals through the mincer and ending up with some mechanically recovered heat, slavered liberally atop a solid foundation of mealy kicks and shuffled hats. 'Qualified' continues where we left off where vox are concerned, taking the mean voice of a hundred robots and gating them with some brutal sample & hold abstractions. In case this wasn't enough of thematic giveaway, bit-crushed synths fire off like lasers into the neon-lit heavens, turning the casual romp through the dystopian wilderness into a climactic white-knuckle boss-fight. 
Moving further along, and 'Doggy' presents the first indication of rhythmic convention, with lithe bass fragents flickering over a classic four-to-the-floor percussive backdrop before pulling out the flicker-machine once again to heavily treat the melodic overtones into a brittle amalgam of crystalline pulses and terse filter cuts. 
'Ultimo' veers into lite grime territory with sqelchy digital synths weaving their way around the cut-up vocal snippets and tinny flanged cymbals (it would sound great blaring out of a nokia speaker on the back of the 168). Brilliantly futuristic but with nods to everything that has secured its passage up to this point. Copeland has always pushed the boundaries, and this is no different, it just so happens that his boundary pushing has veered squarely into the wonky lo-fi house/techno/misc zone I find so appealing. RIYL Opal Tapes / Cloudface / SNES.  

STAFF COMMENTS

Barry says: Brilliantly eccentric soundtrack to futuristic mishaps, last-life white-knuckle gaming and dusty sampler glitches. Superb.

American experimental musican Shane English offers up an expansive long player for Ron Morelli's cult LIES label. On this outing we see the producer collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name). Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Cohesive throughout, you can easily find yourself lost in the blurred, Event Horizon style eeriness. Evocative and highly engrossing, this is the soundtrack to being alone on an abandoned space station with only radio signals and the IR spectrum as company.

New York by way of Miami, Nick Klein has strung together an impressive discography over the last couple years releasing music for Alter, Ascetic House, and Bank among others, while at the same time handling his own Primitive Languages imprint bringing to life music by a wide range of cellar dwelling freaks. Some time in the making, we now see Klein with his debut on L.I.E.S. displaying, over four tracks, a wide range of production styles, each effective in their own right. From side-chained jack to peak red drum work outs to computer based minimalist bit destruction this EP proves to be a crushing statement from an artist coming into his own. Forays into wormholes, mainframes and plasma swamps for rave goblins, techno zombies and dancefloor mutants throughout the cosmos. Recommended! 

A huge departure from his known works, Marcos Cabral appears on L.I.E.S. with his most dynamic and experimental work to date, the 'False Memories' double album. Compiled from various cassette tape recordings spanning the years of 1998-2000, here we have the early experiments from an accomplished producer, which showcase the unharnessed energy of youth when it crashes head on with the technology of the day. The tracks created by Cabral reflect his attempts of the music of the time falling somewhere in between techno, dub-techno, IDM, and even noise (actually, especially noise - you'd think our new 'technoise' section had been created just for this release!). An engaging and timeless listen the whole way through.

Marcos says: "I recently found about three hours of my unreleased tracks from 1998-2000 on old cassette tapes. The collection that I set aside for LIES is pretty much all from 1998. During that time, I lived in upstate New York in a 3000 square foot loft with just one other friend. Both being DJs we would use our loft for fairly large parties... Cajmere from Chicago definitely being a highlight. I knew nothing about "making" music at this time and was using this fairly primitive wav. looping program called Acid. I just started recording my crappy Roland MC-303 into my computer and would just mash loops together over and over. Listening to these tracks now, I have a really vague memory of making them, and feel that their naive nature and the happy accidents that happened here are pretty exciting to listen to."


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