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SOD93; LP ALBUM
BRYTER LAYTER TWO LENSES



Comprised of Joseph Raglani (Kranky) and Mike Pollard (Arbor), Bryter Layter is a collaborative unit that focuses on the lyrical faculties of analog synthesis. For the most part, these recordings find the pair eschewing the at-times unfocused, long-form drone techniques that have become fixtures in the scene in favor of short, melodic compositions that are strikingly rich in detail. Listeners familiar with the oeuvres of Raglani and Pollard will find much to love here. As the pillow-soft, analog tone-clouds that characterize the latter’s work as Pale Blue Sky find themselves wed to the highly structured, dynamic arrangements that one associates with the former’s solo output.”Two Lenses” is rich and cinematic, rife with evocative motifs which ebb and flow from one piece to the next creating, over the course of the album, a masterfully composed, unified whole.

“Your Verdant Skin,” the opening salvo, brings to mind Popul Vuh’s work for Werner Herzog at its most grandiose, as waves of rising, symphonic tones surge and dissolve, carrying us along with them. “First Light,” with its startlingly catchy syncopated rhythms, illustrates perfectly those qualities which set Bryter Layter apart from their synthesist contemporaries, with Raglani and Pollard channeling wistful, sun-washed pop sensibilities into the cold facades of their machines.

Recorded live and meticulously arranged by Raglani at his home studio, and mastered by Greg Davis to supreme effect, “Two Lenses” builds upon and extends the qualities established on the pair’s 2009 cassette release “Imprinted Season” in every way. Their work here runs the gamut from maudlin and picturesque to profoundly hopeful always with an eye towards the beautiful. First 50 copies on clear vinyl.
-STUDENTS OF DECAY

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SP 009; LP ALBUM
HIVE MIND ELEMENTAL DISGRACE



"Elemental Disgrace" is an album that needs to happen now. Finally, the next phase has arrived - a stunning double side-long record of some of the U.S. best underground synthesizer music we have heard here at the Spectrum Spools headquarters.

Whatever rise to the synthesizer came later on in the 00's is hardly of any concern to Greh Holger and his Hive Mind project. Having released private press cassettes of solo synth works as far back as 2002, Hive Mind exists as enigmatic in world of new-jack synthheads and the tidal wave of "neo kosmische" that goes with it by flying far under it's radar.

The silence is now broken and here we are treated to some of the most unique sounds Spectrum Spools has yet presented. No blisscapes to be found here. No soaring latched arpeggios, no cosmic vistas. Not a single melody. This is two sides of ancestral ruin in its clearest and most focused presentation. The brutality of the Earth and the harsh reality of all that it holds. Unknowable sounds - that of the dawn of the Earth, or perhaps the sound of its demise. A toxic swamp of chemicals and mutated organisms left behind long after man has wiped himself away for good. Field recordings from the end of the world.

While others are racing for the stars, Hive Mind's tetonic plate shifting and brutal rumble will give you a brand new way to look at modern synthesizer composition. With a focus on textural sounds and shifting frequency registers, this album gives the listener the a full range of listening possibilities with infinite replay value.

It's worth noting that Spectrum Spools as a label would not exist without Hive Mind. An inspiration and a pioneer in the modern U.S. synthesizer circuit, it\'s with pleasure and honor to release "Elemental Disgrace" into the world.
-SPECTRUM SPOOLS

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SP 005; DOUBLE LP ALBUM
BEE MASK ELEGY FOR BEACH FRIDAY



Synthesizers, percussion, piano, guitar, tape, electronics, and max/MSP recorded 2003-2010 in Northampton, MA, New York, NY, Cleveland, OH, and Philadelphia, PA.
Edited and mixed at Tranquility Base, February 2011.
Cut at Dubplates & Mastering, May 2011

For the last few years, Chris Madak has been on a tangled and cryptic path toward the full realization of his Bee Mask alterego. Now, for the first time there seems to be light at the end of the tunnel - a chance for old plans to come to fruition and for new ideas to blossom into the unknown. "Elegy for Beach Friday" is a personal selection of highlights from a slew of limited cassette and CDr editions recorded between 2003 and 2010, reimagined, reedited, and remastered, offering both a cross-section for the uninitiated and a fresh enigma for the already-enchanted.
The original documents will age on the shelves of those fortunate enough to have been the know, and for the rest of the world, we now have this double LP retrospective of Chris' favorite time-stopping microcosmic suites, woven together over four instantly classic sides of wax. Here, the full range of Bee Mask's sonic palette has been carefully compressed into a dazzling and infinitely dense time capsule of mind-altering Martian sound fields and psychedelic dimension bending, bridging the worlds of Nikola Tesla and Lamonte Young and giving us the ideal soundtrack for our collective walk down a dirt road into the gaseous cloud of our final days.
-SPECTRUM SPOOLS

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SP 004; DOUBLE LP ALBUM
MIST HOUSE



Recorded January and February 2011 in Cleveland, Ohio.

John Elliott: Moog Voyager OS, Roland RS-101, Sequential Circuits Prophet 600, Roland SH-101, Phasers, Vocals

Sam Goldberg: Korg Polysix, Univox Minikorg, Multivox MX 202, Dave Smith Instruments Mopho

Mixed by Mist and Andrew Veres
Mastered by James Plotkin
Cut at D + M Berlin by CGB, March 14th 2011.

Photography by Ashley Krantz

"House" is the 2nd official full-length offering by Cleveland, Ohio duo MIST featuring Sam Goldberg (of Radio People) and John Elliott (Emeralds, Outer Space, Imaginary Softwoods etc) after 2009's self-titled debut effort on Amethyst Sunset.
A suite consisting of 7 complex, layered compositions shows new progression in composition and melody from the duo. From the lightning fast, bittersweet crescendo of "Twin Lanes" to the dramatic chord progressions of "I Can Still Hear Your Voice", "House" is a certain expansion in execution and construction. Tracks like "P.M." put a new take on the long-form Mist style with cryptic alien vocoder and humid pad sounds, while "Mist House" and "Dead Occasion" reveal new, complex territories that will most certainly please fans of the previous Mist recordings.
-SPECTRUM SPOOLS

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AS013; LP ALBUM
IMAGINARY SOFTWOODS THE PATH OF SPECTROLITE



the path of spectrolite is the latest full length recording from imaginary softwoods. early comments have praised this album and state that while this recording retains some of the icy drone sound from some previous softwoods releases, this is a great progression and a bit more active. an extremely beautiful album entirely of sounds created by synthesizer and voice, this is an essential piece of the imaginary softwoods discography that you are sure to love. pressed in an edition of 535. (COPIES ON CLEAR / WHITE MARBLED VINYL)
-AMETHYST SUNSET

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MT82CS; C24 CASSETTE
BEFORE, AFTER



pollard / borges collaborative sessions; recorded over a year's time, titled in three hours. most representative of the late treetops + emaciator sides of their personalities. delicate synth tones underneath layers of guitar and tape collage; each person's contributions bringing out the best qualities of the other's.
-MONORAIL TRESPASSING

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EMEGO101; CD ALBUM
EMERALDS DOES IT LOOK LIKE I'M HERE?



‘does it look like i’m here?’ is the third official album by emeralds (after "solar bridge" on hanson, and the self-titled lp on their own wagon and gneiss things imprints, as well as countless small edition tapes and cdrs on a host of labels) and once again it presents another radical new direction for this cleveland trio.
it sees the group moving from playing single oscillator analog synthesizers to really complex analog and analog/digital hybrid as well a great deal of guitar synthesizers, not to mention fine tuning their skills as brilliant tunesmiths. simply put, the results are outstanding.
comprising of a number of tracks from their recent  ultra limited 7” vinyl series on wagon, as well new compositions exclusive to this release. this fine selection of tunes surpass anything they have achieved in their 5 year career. perfect melodies intertwined with ripping sequences and a guitar sound that floats perfectly throughout. although most tracks cover new ground in that they follow a shortened ‘pop format’, more long form cuts such as the towering ‘genetic’ and the title track will give fans of their earlier work something to grab onto, or totally let themselves go depending on the state of mind.
having spent all their lives in the relative isolation of cleveland means their music has developed into a vital, stunning unique hybrid that may have not been able to blossom in more active urban centres.
‘does it look like i’m here?’ heralds a turning point for all those involved and is perfect vivid soundtrack to emerge out of the recent harsh grey winter. fresh, shiny and totally essential.
-EDITIONS MEGO

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J4F4343; C33 CASSETTE
1958-2009 LIVE



live guitar and synthesizer performances from matthew sullivan (earn; ekhein label) and alex twomey (mirror to mirror; jugular forest label). a heavyhearted, ambient in-studio performance and an extremely gazed live rendition of the B side from the project's first tape on ekhein.  everything dedicated to michael jackson.  1958-2009.  edition of 75 cassettes.

-JUGULAR FOREST

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R&M25/SEM-010; LP ALBUM
BRENDAN MURRAY / PERISPIRIT SPLIT



razors and medicine and semata productions are pleased to announce the first long playing record release of both brendan murray and perispirit. murray has been making waves around boston, the usa, and the world since 1999. perispirit, the collaborative project of ricardo donoso and luke moldof formed in late 2007, is known by their dynamic live performances and two cassette releases.  brendan murray’s “birches and marksman’s graves (voice and computer #1)” is a clear summation of his interest in controlled drones and gestural improvisation with a step into the unknown. murray is always keen to transform and manipulate an instrument sound color to the point of non-recognition, utilizing a single source for this piece: the voice of noell dorsey.

the piece opens with dissonant clusters, moving up and down generating momentum, keeping the music physical while still highly controlled. vague hints of melody lie underneath the cracks trying to seep through but are swallowed up by the turbulence. it gradually gives way to extended technique vocalisms that call to mind sound poetry and at times even the sprechstimme of schoenberg. later the swirling tones return with a combination of both the higher and lower pitch clusters. it sounds like falling infinitely downward.

perispirit’s side offers a statement that is equally focused but bares little if any resemblance to murray’s piece. it can be described as more active than their previous material, utilizing quick sectional transitions, relying on three key components: harsh noise, delicate melodic work, and degraded lo-fi manipulations.

the piece begins with dynamic harsh cutups that pay attention to sound specialization and stereo field manipulations inspired by the likes of sickness and pain jerk. the momentum grows and is quickly brought down to almost nothing creating a feeling of aural blue balls. the process is resumed and then the piece breaks into looping guitar passages with a subtle electronic underpinning. the layers build than disappear. the noise returns building to a heightened peak of frustration until it drops off and we are left with the sound of life’s monotony. gradually a wall of drone begins to creep in and eventually overtakes all else.

edition of 250 pressed on 160 gram off white vinyl featuring full color lp jackets & labels; mastered by kris lapke.

-RAZORS AND MEDICINE / SEMATA

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MT 68; CD ALBUM
PEDESTRIAN DEPOSIT AUSTERE



five years in the making, and the first duo recordings -- a very, very calculated and controlled effort. moving past the harsh noise cutups but not eschewing them entirely; rather, moving forward to areas of sound collage, music-concrete, field recording and electroacoustic. to be heard as one long piece. the progression continues. 1000 copies, pro-printed covers.
-MONORAIL TRESPASSING

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ACE015; CD ALBUM
TAIGA REMAINS WAX CANOPY



taiga remains is the brainchild of cincinnati's alex cobb. over the past few years he has developed a signature sound that blurs the line between blissed-out guitar work and atonal, blown-out dirges. cobb never sits still; taiga remains is always moving forward, searching out new ideas and sounds. his label, students of decay, is clearing house for all things drone. this year he's been spotted on root strata, callow god, arbor and more. in the world of vinification, it's been a damn good year.

on "wax canopy," cobb pushes the line he's scratched in the pavement further than before. his soothing, six-string sorcery still dot the horizon on this album, but there's also a more angular, blown-out monster at work here. it's like he's channeling the angry spirits of the world into a fuzzed elegiac strains. this is powerful music built to shake the foundation and rattle your crystal bones. these diamonds are forever.

limited to 500 copies. cover art by jefre cantu-ledesma.
-DIGITALIS

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NFP40; CD ALBUM
CARLOS GIFFONI ADULT LIFE



this is shining and pure electronic music. adult life continues carlos giffoni's work in slow-building drones and prickly, trebly peaks, but he also imbues these new compositions with subtle structure and blind-siding rhythmic pulses which recall the many pioneers of electronic composition, among them cluster, brian eno, kraftwerk, and tangerine dream. the caustic melding of foreboding abstraction and lively pulse raises adult life to a paradigm of the breathing and the immaculate, a strange set of dichotomies finding a shocking common ground. carlos giffoni describes this as some of his most musical work to date, a pure electronic excursion into more grounded troupes which almost paradoxically work out completely new sonic concepts and ideas. original illustrations for this full length by megan ellis.
-NO FUN

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FTS 01; CD ALBUM
BULBS LIGHT SHIPS



anyone familiar with the cdr label, jyrk, that i ran from 2001-2006, would know that I have long been a fan of william sabiston’s music. as a member of axolotl, as a filmmaker, or on his own, as ball lightning, he’s delivered the goods.

william formed bulbs with jon almaraz in 2005, shortly after his leaving axolotl and shortly following jon’s move from bakersfield to san fran.  jon was a younger, ambitious guitarist just hitting the big city. apparently the pairing was destiny, william’s beating-around-the-bush electronic drum styles mesh perfectly with jon’s ultra-processed minute guitar jabs.

light ships finds bulbs at their most psychedelic and pointillistic. they occupy an odd space between the gloss of kompakt records minimalism, the glue huff ambiguity of a band like mouthus, and the stuttering clicks and confusion of a han bennik/derek bailey duo. there’s a lot of movement from more acoustic to more electronic sounds, from more straight rhythmic patterns to totally elliptical percussive gurgling, from understanding what’s going on to not having any sort of idea who is doing what to whom. despite all these shifts and potential contradictions, the music manages to be entirely cohesive and the record is surprisingly easy on the ears. everything here has its place.
-PETE SWANSON

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DI 21; C20 CASSETTE
THE REEL DEAL MARKED FOR DEATH



here's one for those of you who particularly cherished hot air balloon ride's "oktoberfest" c30 this past winter, a release that garnered such critical accolades as "shows no signs of being anything other than dicking around for just long enough to be worrying." the reel deel, captured in action at cleveland's doubting thomas gallery, is the trio of john elliott (emeralds, outer space, hot air balloon ride), ryan kuehn (thursday club, dr. quinn medecine woman, hot air balloon ride), and myself, in tapes-only mode. this was a ridiculously killer/annihilated february night, of which i remember mostly all of us standing around a table laughing hysterically and the room glowing yellow while i tried to make my eyes focus on a massive fucking heap of tape. giant flapping jaws of the cosmos tunnel jams, decked out in stoned giggling and paranoid whispers. seriously counterintuitive water features. comments from those in attendance included, "i knew that jerry was here." no shit.
-DECEPTION ISLAND

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DI 20; C20 CASSETTE
DLX OTHR NINETIES YOUTH EXPERIENCE



controls more or less permanently set for cat shit and a hammer. gutter-sourced and wooden-fingered collage of twin guitar assault from the latest iteration of the ongoing bee mask/skin graft collab. disgusting patinas on elaborate bronze machines. hot coals/black holes uneasy contemplation energy, with an unexpectedly quiet/majestic finish. mark mcguire (emeralds) and nate scheible make cameo appearances, amid fragments culled from wasted home jams and performances at the tower2012 in cleveland.
-DECEPTION ISLAND

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VB 14; C18 CASSETTE
GOD WILLING EMOTION DISCRIMINATION




phased out bass frequencies piled on thick. another fine example of the consistently high quality releases coming from this empty-zoner. beer soaked sludge, mixed with pizza. 4 color silk screened inserts, stamped shells, type 2 high bias cassettes. edition of 76.
-VILE BILE

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HOS-138; LP + 7" SET
VARIOUS ARTISTS LIKE A FROG IN WINTER



i started putting this compilation together in 2004 while residing in providence. at that time the climate of noise was rather hi-fi, technological, and cold. This was the start of noise as entertainment rather than entertaining. personal communication became lost. noise became something clean. something stimulating. in response i started putting together a list of new bands at the time that i felt represented a more psychological, minimal, dismal, and rejected feeling that to me was one of a fire place having smoldered out after a night of burning. aside from the sound i wanted to see a return to the fetishistic and erotic attitude of noise... and a negative one at that.... again in response to what i saw as a call for positive noise. i asked the artists to think about the theme of inevitability. of being unable to escape ones own attractions and being slaves to desire. each one approached this topic differently and sometimes in very contradiction to the theme as you will see. many of these artists have continued on to establish themselves while others have vanished into the ether. however this is the terms upon which this work came forth to offer again a refreshingly negative perspective on this human game we play called life. participating criminals: in order of incarceration... ffh, a fail association, immaculate:grotesque, cleanse, pedestrian deposit, chrysalis, ahlzagailzehguh, habeeb, craniopagus, alberich, bereft, barrikad, prurient, sewer election, panicsville, filthy turd, omei, the seven arts, age of enlightenment, mark solotroff, whorebutcher, climax denial, stegm, burden. support deviance!
-HOSPITAL PRODUCTIONS

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RTB #43; CD ALBUM
RACCOO-OO-OON SELF TITLED



everything's coming to an end with the swansong from iowa city's raccoo-oo-oon. following up last years critically acclaimed behold secret kingdom (rtb/not not fun), the final album takes everything up a notch and shows a band taking their last breath and laying down the last bricks in their fairly short history.

the album blends together all different parts of raccoo-oo-oons discography, taking cues from the utter freeform punk madness of the cave of spirits forever (time lag), building something completely new of the era that was behold secret kingdom and yet delivering echoes of the eclectic mythos folkways recordings. the album reeks of desperation and a feeling of going down with nothing to loose at all. a fucked up future-prog mayhem that is all over the place and at no known place at all at the same time.

genuinely uncomfortable, desperate and just beautiful, this album will surely be remembered as the most important recording that racco-oo-oon ever put to tape. minds are melting, new grounds are covered and things will never be the same.

a playtime of close to 75 minutes over 7 tracks.
mastered by pete swanson.
mini gatefoldsleeve with black felt.
2xlp version on not not fun.
the band members are now playing in acts such as wet hair, trash dog and pukers.
edition of 1000 copies.
-RELEASE THE BATS

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TOV 11; CD-R ALBUM
DEAD MACHINES LOOK TWICE



three live tracks. one from the art gallery throwdown that thurston did concurrent with the last no fun. one from cleveland @ the embassy, and the final one a chicago gig for a crew of
acid eaterz. make sure your jellied brain doesn't go into protect mode.  Should be renamed the live horrible animal moaning sound band...but it's too long. In a slip case with strange ufo look twice artwork. numbered edition of 80.
-TOVINATOR

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BR 033; CD-R ALBUM
TRAUM CINDER BLOCKS



after a post-theft restructuring, traum reformats as more of a trio approach this go-round with chris riggs absolutely destroying the guitar chair. and what a damaged overall approach it is. the formal constraints bring something out that tends towards some of the most unknown improvised noise proposals so see light in michigan. riggs is a brutal technician and there's not a guitar note to be heard and the chords--if you can call'em that---- sound like machines self-inflicting tonal punches. riggs and bunny move through all the material with a push/pull controlled passive aggressiveness that makes it impossible again and again to figure out who's doin' what. cd-r in art sleeve with printed sandpaper
-BROKEN RESEARCH


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PIZZA NIGHT 09; C30 CASSETTE
THE MOSSY THROATS ELECTRIC MARSH



electric marsh is a hot slab of disgustingly likeable psychedelic mess. clattery squelches of electronics and sax. dan d's current jams (in acts like uneven universe, body morph, cardboard sax) are some of the sickest in the midwest. the rising sun of ferndale, some say. anything that he touches turns to absolute gold, showing incredible control on the most bizzzzare zones. couldn't be more stoked to drop this one. p.s."
-PIZZA NIGHT


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PRA003; CD ALBUM
TEN-TON 2_05



tracks 1-3, 5, 7, 9, 12–13 recorded live (no overdubs) on february 6th, 2005 @ 3030 w cortland/elastic arts foundation, chicago IL, by paul giallorenzo and davis krieg. mixed by paul giallorenzo and ten-ton.

mastered by carl saff.

tracks 4, 6, 8,10–11 from practice recordings, july 2004 to february 2005.

anthony decanini: bass guitar, percussion, guitar, alto saxophone
justin muggleton: guitar, bass guitar, amplified percussion
chris robert: drums on track 10
-PRACTICE

(anthony decanini's pre-binges project)

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PRA001; CD ALBUM
TEN-TON 11_03



recorded november 2003 by ten-ton
additional engineering by josh engelhardt
released january 2004

justin muggleton - guitar, percussion
anthony decanini - bass, percussion, alto saxophone
-PRACTICE

(anthony decanini's pre-binges project)

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