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patty_d_27

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Posts posted by patty_d_27

  1. 3 hours ago, meatrocket8 said:

    US
    200 - 180 Gram Black (Triple B Bandcamp exclusive) 
    200 - Neon Pink Inside Ultra Clear w/ Neon Orange & Neon Green Splatter
    300 - Ultra Clear & Neon Violet Pinwheel w/ Neon Green & Neon Orange Splatter 
    500 - Neon Green & Highlighter Yellow Spinner w/ Neon Green Splatter
    200 - Ultra Clear w/ Neon Violet, Neon Orange, & Neon Green Splatter (Brooklyn Vegan exclusive) 
    500 - Neon Orange & Solid Red A-side/B-side w/ Neon Violet Splatter (band exclusive) 
    300 - Canary Yellow (Revelation exclusive)
    300 - Ultra Clear (Disorder Atlanta exclusive) 
    500 - Clear Orange w/ Red Splatter

     

    AU
    300 - Transparent Blue (Last Ride Records exclusive) 
    300 - Transparent Purple (Life.Lair.Regret exclusive) 

    Nice, wonder when the US will go online

  2. Reviving this because I also have a double black copy with these etchings and still can't find any info (my google search only had this link). Has anyone gained any new info over the last three years :lol:

     

    EDIT- I created a Discogs entry, which includes some photo comparisons to a 2012 repress. Both have the "Recordsd" typo in the jacket, but the cover is a little more off white than my 2012 copy, and the labels are different textures

    https://www.discogs.com/Say-Anything-Is-A-Real-Boy/release/13546811

  3. Pre-Order from Chimera's Store

     

    Release date is August 31

     

    cover_beanpole.jpg?1527093978

     

    'All My Kin' is the strange and somewhat unbelievable album by an artist called Beanpole. “Starving artist” must have been their mode of recording as stories of farming, eating, and disfigured animal-human hybrids course throughout the record. Very little is known about Beanpole, but it is widely recognized by collectors that most of the music originated from the late 1980s and early 1990s. Some sources maintain Beanpole is still active, although evidence remains unsubstantiated. Primus’ Les Claypool claims he attempted to release a decade’s worth of Beanpole recordings on his Prawn Song label in the ‘90s. We’re told that the tracks were delivered to the mastering studio on worn-out cassette tapes and dusty DATs. As legend has it, when Claypool played the mastered tracks to his distributor, the response from company executives was poor. As a result, Claypool was summarily dismissed from his business relationship with the distribution company, effectively ending his label. For nearly 20 years thereafter, the tracks were to remain forgotten. Fast forward to 2017 when Claypool was touring with Sean Lennon as The Claypool Lennon Delirium. Les played the old, neglected recordings to Sean, who decided that the world was finally ready for Beanpole!

  4. Coil Presents Black Light District: A Thousand Lights in a Dark Room PO

     

    ElpH vs. Coil- Worship the Glitch PO

     

    During the transitional period in which Coil’s primary leadership (Peter “Sleazy” Christopherson and John Balance) reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil’s “real life” members, as well as the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldly influence.

     

    Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way… unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love's Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

     

    "Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career…uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

     

    During the studio sessions that developed into what would become “Worship the Glitch”, Coil became aware of random compositions emitting from their gear, and were at odds with constant “accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being… constantly playing the role of trickster, throwing a wrench into Coil’s methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch.”

     

    Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

     

    Both releases have been remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the double LP vinyl releases are packaged in a beautiful matte 24pt stock gatefold jackets. First pressings of the vinyl is pressed on 200 clear, 500 red, 600 blue, and standard black vinyl, with an edition of 500 yellow exclusively for Europe and UK shops and distros.

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