K is the latest album by Chicago artist Chelsea Bridge and by far her most personal and pop-oriented. This move from noise into distinct pop songwriting with pop song structures didn’t come from any dramatic shift. According to Linehan’s observations, the most punishing power electronics artist also loves the most perfect pop records. Masonna and Madonna existing in the same sonic universe. The Rita and Rita Ora. Sky Ferreira and James Ferrero. As more pop stars are starting to experiment and flirt with noise, see Rosali and Billie Eilish, noise artists flirting with pop music completes this loop. For Linehan, it was opening herself to artists like Ariana Grande’s Thank U, Next, Lana Del Ray and Jessica Lee Mayfield’s Make My Head Sing where she found not only a deeply resonant sentimentality, but also a thrilling juxtaposition of sweetness and jagged production that became a springboard for inspiration on K. 

Limited to 100 copies.

Drowse / AMULETS Limited Edition Cassette Tape

Drowse Side A

AMULETS Side B

Limited to 100 copies.

Design and Layout by Dustin Bowen

Mastered by Andrew Weathers

The two Portland experimental artists paired together on a split feels like a natural extension of a sonic space the two have been circling for years.

Most known for his experimentation in crafting lovingly warped tape loops and ambient guitar work that rings out with an emotional clarity even when it is processed beyond recognition, Randall Taylor brings some of his most abstract work to the table with a track like "ASTRAL" and hits squarely in the chest with the heartbreaking "DISMANTLED".

AMULETS is joined by drowse - Kyle Bates long running experimental project. drowse's songs are known for stitching together deconstructed ambient passages that glow with a pale gray light with heavy subject matter that delve into unflinching personal accounts of mental health and loss.

We are honored to bring these two artists together to share a split cassette together.

Limited Edition Cassette

Music and Lyrics by Bailey Miller.

Mastered by Sean McCann

Cover photo by Vy Pham.

Limited Edition Cassette

Music and Lyrics by Bailey Miller.

Produced by Bailey Miller and Isaac Joel.

Cover photo by Vy Pham.

Leon Johnson has spent his share of time in airports. Growing up in a veritable Civil Rights dynasty, the now Indianapolis-based multi-instrumentalist and composer traveled frequently as a child, accompanying his family all over the U.S. and Africa where his grandfather organized against apartheid. Being so often on the move, Johnson took solace in sitting and people-watching at airports where, as Johnson puts it, “we’re in between where we’re going and where we were and we don’t have much to say.”On From Nine Mornings, his debut full-length as Airport People, Johnson conjures a sense of ease and order, a kind of effortless harmonic precision that sounds, perhaps, like a reaction to the disjointedness of being dragged along from place to place.Like Eno’s Music for Aiports or Satie’s musique d'ameublement, From Nine Mornings seems to invite projection and interpretation. It is music which can be used this way or that; generous music. There is a spaciousness that recalls Keith Jarrett’s The Köln Concert but also a deeply memorable, hummable character, like William Tyler or Paul Bley’s “Ida Lupino.” From Nine Mornings is sparse but supportive; melodies don’t drift, they ride, if ever so gently.Each of the tracks on From Nine Mornings proceeds from a melody that, in fact, emerged each on a respective morning in 2020. Johnson had recently lost his job, recently moved, and was once again seeking to exploit the more freeing aspects of the liminal. What is there to hear when we’re in between where we were and where we’re going and we don’t have much to say?


After that period of emergent morning melodies, Johnson reviewed and culled. By chance, nine stood out––and so we have nine (and a prelude), each from its own morning. Piano, essentially, but also violin, upright bass, guitar, drums, field recordings, and manipulated orchestral samples bolster these melodies, careful but buoyant. Fans of John Carroll Kirby and Nils Frahm and H. Takahashi will undoubtedly find much to love in these pieces, but Johnson’s love of The Bad Plus and Pat Metheny are here too, just beneath the surface, as is Johnson’s classical training. The songs are simple but sophisticated just the same, cinematic or perhaps televisionistic, a kind of gentle drama fit for the subliminal, the periphery––this is a mode not entirely unlike the Rachel’s Selenography.


Much of what happens on From Nine Mornings is precise, but none of it is proscriptive. The title, and the spirit implied, ensures an openness. These are nine pieces of music from nine mornings. But as for what they are for or where they are going, this is left to the listener.

Mark Trecka | Implication

Implication is Mark Trecka’s third full-length solo recording. It is his first entirely instrumental full-length release.

With only one exception, all sounds on Implication were sourced from a single prepared piano improvisation which Trecka recorded during the same session that resulted in his recent LP Acknowledgment. He then took these relatively few sounds and manipulated them into cassette loops before further shaping them into the four narrative compositions that make up Implication.

Given the limit and uniformity of the source material, the breadth of sonic textures, tones, and moods that comprise the record is remarkable. Lyrical passages interweave with percussive hammering and harmonic drones, brief moments extended and bent by distressed magnetic tape.

And the one exception to the uniformity of the source material is significant. Just over the record’s halfway mark, “Radiance” emerges –– an expansive and shimmering collaboration between Trecka and longtime friend Walt McClements, whose processed accordion both pushes and pulls Trecka’s pulsing loops. While McClements’ work has been compared to that of Kali Malone and Tim Hecker, in this context one might also think of a rough around the edges outtake from... more

releases October 29, 2021

Most sounds by Mark Trecka including piano and cassette loops and their editing and shaping. "Radiance" features Walt McClements on processed accordion, shaping and so forth. Treatments throughout by Evan Hydzik. Mastered by Mkl Anderson. Original piano recordings engineered by Rob Kissner. Design by Will Brady.

Limited to 100 copies

Mixed by Luke Thinnes. Mastered by Andrew Weathers.

Layout and Design by Dustin Bowen.

When interviewed about his early, influential work, John Fahey had the tendency to dismiss it as “cosmic-sentimentalism”. Used as a pejorative to describe a kind of naiveté that Fahey noticed in his big-tent, let’s-throw-it-all-together style of American folk music, Zach Spencer aka JENNIFER took up this phrase as a compliment of the highest order and an idea worth exploring in his omnivorous approach to creating music. JENNIFER sits squarely in a lattice of late-modern new age minimalism, and SINCERELY, created using isolated stems of 80’s pop hits filtered through Spencer’s deep passion for Indian/Southeast-Asian music & contemporary drone heavy-hitters, is an album that’s fiercely more than the sum of its parts – cosmic sentimentalism to the gills.

It’s hard not to imagine this music as some kind of unearthed lost-classic 1980’s White Label, Marin County hot-tub-scene new age album accompanied by 40 pages of liner notes. In reality, JENNIFER is a solo project of Denver D.I.Y denizen and noise-punk lifer Zach Spencer. A fixture in Denver’s legendary D.I.Y community who cut his teeth playing in over a dozen Skingraft / Load Records style noise-punk bands in the CD-R-era American underground, Spencer experienced a crisis of faith in the foundational underpinnings of Western music that led to an 8-year immersive study of North Indian classical music and the centering of drone outside of a Western context.

JENNIFER, originally conceived as an offering to the ever-present-now in the form of analog-only, never-recorded live performances, produced the music that eventually became SINCERELY over a 5-6 month span in 2018 after a series of personal and community tragedies rocked Spencer and the close-knit D.I.Y scene centered around famed warehouse space Rhinoceropolis. Bridging the gap from the “gift theory of art” that informed JENNIFER’s early performances, these recordings slowly began taking shape as a personal gift to Madeline Johnston (Midwife) and others devastated at the loss of both a cherished friend and an artistic community. Years after its completion, this “elegy in the shape of a love letter” has now been offered up to the world at large: a collection of graceful, tearfully-joyous compositions full of bright, arcing drones, seismic tonal shifts, and gorgeous harmonic overtones that recall the stately elegance of Stars of the Lid and amplifier-riding of La Monte Young. At its heart, SINCERELY speaks from a place of love extended outwards.

SINCERELY, JENNIFER.

Limited to 100 copies.

Art by Laura Luna Castillo

Design and Layout by Dustin Bowen.

Laura Luna Castillo is a multi-disciplinary artist and musician currently residing in Puebla, Mexico. Through these convergences of time-based media, music, sculpture and narrative languages, she explores the mechanisms of memories, imagination and the perception of inhabited spaces through multiple angles and temporalities. Laura's main concern is to investigate the ways in which we experience and think of the places that we inhabit and reclaim as well as the objects that surround us. Thus, time-based installations and kinetic interventions form one of the core components in her practice.

From Laura on Tuberose: "I was inspired by the book “The art of perfumery, and method of obtaining the odors of plants” by G.W. Septimus Piesse from 1857 in combination with the exploration of the study of time, memory loops, ephemeral and elusive memories.

The fascination with the art of perfumery comes from the analogy of time and sound as being ephemeral and volatile, fragments of terror and wonderment are interwoven, treated like fragrances of memories that are extracted as an attempt against entropy. Each track is made as if constructing a perfume or a smell, with their titles referencing ingredients and processes used in the extraction and entrapment of essences, sometimes paradoxically violent and beautiful.

Time would feel suspended and unreal, and in a way, perhaps the closest we come to trapping memories and time is through the art of trapping smells, it could be though of as a way of time-traveling.

As with my previous albums, I have thought of a narrative that is entwined across the album, each track is like a character made up of extremely volatile memories, a futile pledge against entropy capturing imagined narrative essences. "

The trajectory of Fritz Pape's music is a constant embrace of extremity in musical expression. Under Zijnzijn Zijnzijn! Pape created impenetrable walls of swelling guitar noise that recalled the minimalist sonic attacks of Swans or The Boredoms, organized large guitar ensembles and explored the limits of collective volume and repetition and is known for playing marathon drone sets. With a CV of limit-testing experiments, the Cincinnati-based artist has created a gorgeously executed and fully realized album that explores carefully constructed chance connections.

According to Fritz, "Most of this music happened on it's own accord, after some careful (and some not so careful) construction of circular connections between sound-making and sound-altering systems, with some gentle human coercing along the way. These recordings are observations of those systems getting to know themselves."