MUSIC

Cold Spring is proud to present a unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy" (Jack Dangers, January 2024). 'Extinct' sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20 minute opener 'FLAKKA' takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process. 'Burner' takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, 'Extinct' is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don't sleep on this one! (Todd Robinson / Subunit).

First time on CD for this classic Merzbow duo album from 1983...
......Material Action is a favorite among early Merzbow free-music, junk-noise workouts. Psychedelic improvised instrumental energy abounds on this essential early recording that is PURE MERZ.

Masami Akita plays tapes, percussion, electro-acoustic noise, organ
Kiyoshi Mizutani overdubs tapes, synthesizer, violin, machine noise

'noisembryo' definitively presented here on cd with bonus disc noise matrix including unreleased material from the same sessions as noisembryo and counterpart 'hole' and selected recording from the time period.

absolutely can’t be missed for fans of this period of noise deity merzbow. the bonus disc alone makes this essential for any merzbow fanatic as well as new listeners. When people ask where to start with merzbow? this is the answer!

the holy grail, not only of merzbow’s obsessive discography, but of the entire 90’s noise movement. you’ve heard the stories surrounding the infamy of this release, but beyond that stands the depth and wild energy over two decades later that ‘noisembryo’ encapsulates. velocity loops, roving automotive bass and cacophonic drum machine gel together with the surprising inclusion of a sound rarely heard within merzbow’s many years...masami akita’s own voice. akita’s surrealism of the past stands prominently relevant to this day. art images from unseen classic paintings and collages of masami from the original ‘noisembryo’ session.

The original 'noisembryo' on disc one as well as the following tracks included on the 'noise matrix' bonus disc:

1. Noisembryo Extra 01
2. Noise Matrix Extra 01
3. Noise Matrix Extra 02
4. Noise Matrix Extra 03
5. Noise Matrix Extra 04
6. The Amazing Maya H
7. 94526

Track 1: taken from original DAT tape which including ‘noisembryo’ recording on 1994.
Track 2-5: taken from original DAT tape which including ‘noise matrix’ (in ‘hole’) on 1994.
Track 6: a track recorded on 1995 for releasing eskimo compilation.
Track 7: taken from original cassette tape which recorded on 1994 and remixed on 2019.

all music by masami akita
all remastered on 2020 at munemihouse, Tokyo

portion of proceeds go to animal rescue. 

Masami Akita's psych-noise mantra originally released on CD in 1998 by Alien8 Recordings. Expanded double LP reissue available now in standard black and limited white vinyl editions. Remastered by M.A. in 2021 with additional material from the same sessions.

20th Anniversary Repress! 
Merzbow's Merzbeat is one the most unique and legendary titles in the artist's vast archive. This 20th anniversary repress is being issued at the same time as CD reissue of his 1983 album Material Action 2 and a brand new collaboration with Arcane Device, all on Important Records....

LPs "CODA" is @ Bam Balam Records. Produced and All rights and responsibility @ Richard PINHAS.2022/ Special Thanks to JJ from BamBALAM Records(2023)

Merzbow came roaring onto the Tokyo scene in 1979. To this day, the project remains one of the most prolific and aggressively forward-thinking acts in experimental music. Initially a duo of Masami Akita and Kiyoshi Mizutani, before settling as the moniker of Akita alone, the project took its name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at an unadulterated manifestation of sonic expression that has continued across the last 44 years, setting the pace for the entire genre of noise along the way. When it comes to Japanese noise, few projects have pushed boundaries or risen to a more iconic status than Merzbow. The mutant child of punk and experimental music, the project’s blistering sounds - as singular and wild as they are unique - are among the movement’s most important, definitive statements, continuously laying the groundwork for countless artists who have followed in its wake. Cloud Cock OO Grand marks a new era for Merzbow, the first of many CDs that will go in the direction we’d see in the ’90s. It is also the first time that this seminal document from Merzbow’s '90s period has ever appeared on vinyl. Composed and performed on synthesizers, metal devices, noise electronics and string instruments, all recorded at extreme volumes, Cloud Cock OO Grand’s five tracks present an enthralling sonic assault, deeply driven by the presence of electronic sounds, played against the sparse interjections of Akita’s heavily processed strings, that push toward new territories of the extreme, while subtly nodding toward historical gestures from the early years of the avant-garde. On the double vinyl, the tracks are not only remastered by Merzbow, but are recontextualized and open up a new sense of his studio experimentation at the time. Cloud Cock OO Grand is a stunning feat of remarkable importance within the genre of noise, delivering this long unavailable masterstroke back into our hands, while further illuminating the project’s crucial work from the 1990s. This is an absolute must for the indoctrinated Merbow fan as much as those just entering this incredible world.

Federico Ughi Together with Leo Genovese and Brandon Lopez Explores the Spaceways in the New Multidimensional LP/CD ‘Infinite Cosmos Calling You You You, Vol. 1’ Federico Ughi, drum wizard and producer, is back with an album under his own name for the first time in five years. The project features outstanding musicians: Leo Genovese, originally from Argentina but now Brooklyn-based on keyboards and synths, and Brandon Lopez from NYC on upright bass. This album celebrates the advanced creative dialogue between these artists by fully immersing the listener in the world of sound conjured by the trio. The expansive scope of this experience suggests that Ughi's artistic enterprise extends beyond the music itself to the idea of connection between artists, music, and the audience. In this conception the musicians are conduits for the delivery of cosmic sound, the music world, the cosmic dimension of sound and light. The message is launched towards the audience and refracted back through them, aspiring to achieve a sort of universal consciousness through presence and participation. The trio moves away from a specific genre, opening up to limitless possibilities. Anything is possible when these improvisers listen to each other so closely. This music is dynamic and defies particular labels. It’s the universal language of sound, frequencies, beat and vibration. The project is strongly influenced by the music, philosophy, and persona of Sun Ra, to whom one of the tracks is dedicated. The album will be followed soon by Vol. 2, containing the other half of the material recorded on the day at Sear Sound, the oldest recording studio in NYC.

Jessica EKOMANE « Manifolds » Entirely computer-generated, Manifolds is a work that explores the multiple possibilities of polyphonic writing, extending it to the “multiphonic” universe where sources and timbres diffract themselves in the listening space. The different voices of the composition no longer follow the traditional parallel trajectories of musical dialogue, but find themselves propelled as if into a particle accelerator, a “collider” freed from all formal rhetoric to reach a state of liberation of energies that is truly confounding. It is then that, in the multi-layered universe of sonic electrons, as if against its own will, a “chant” of overwhelming humanity is revealed. Laurel HALO « Octavia » (2022) Octavia, a piece for piano and electronics, explores the relationship between melodic motifs and textures in a singular way, intermittent moments of melody, harmony and sound materials connecting and disconnecting, to indicate a series of nets or webs, swaying in and out of one another. These sonic nets gently float, spin and merge, and the effect is one of gently floating over an abyss. The work is inspired by the “spiderweb city” of the same name in Italo Calvino's Invisible Cities: “Below there is nothing for hundreds of feet: a few clouds glide past; further down you can glimpse the chasm’s bed….Suspended over the abyss, the life of Octavia’s inhabitants is less uncertain than in other cities. They know the net will last only so long.” — François J. Bonnet, 2023

Release 20/1/2023. Does Spring Hide Its Joy is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention. 

Does Spring Hide Its Joy follows Malone’s critically acclaimed records The Sacrificial Code [Ideal Recordings, 2019] & Living Torch [Portraits GRM, 2022]. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music. 

Does Spring Hide Its Joy is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar's saturation timbre blends with the cello's rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience. 

Does Spring Hide Its Joy was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus & MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton & Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for Does Spring Hide Its Joy. 

In Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.” 

Does Spring Hide Its Joy has since been performed live on many European stages, in durations of sixty and ninety minutes. Including at the Schauspielhaus in Zürich, the Bozar in Brussels, Haus Der Kunst in Munich, and the Munch Museum in Oslo. Concerts are forthcoming at Unsound Festival in Krakow, Mira Festival in Barcelona, the Venice Biennale, and the Purcell Room at the Southbank Center in London. 

In addition to live concerts, the Funkhaus recordings of Does Spring Hide Its Joy have evolved in parallel as a site-specific sound installation. Malone has also invited the video artist Nika Milano to create a custom analog video work that interprets and accompanies the musical score as a fourth player, creating a visual atmosphere inspired by the sonic principles of the composition. Eight sequential video stills from Milano’s work are featured in the album artwork. 

Does Spring Hide Its Joy is packaged in a heavyweight laminated jacket with full-color printed inner sleeves with artwork by Nika Milano. Mastered by Stephan Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany. 

Limited edition of 150 copies worldwide. For the first time since 1988, Aurora Central Records is proud to present this limited edition re-issue of the first ever Merzbow live show, Recorded Live at Kid Ailack Art Hall, Tokyo, 22 March 198, remastered by Masami Akita.

"Best New Reissue" - Pitchfork (May 6, 2023) Legendary debut album by Junko Tange, originally issued by Osaka’s Vanity Records in 1979. Dadaesque recitations and sparse guitar, piano and electronic meanderings combine for a beguiling, hypnotic dreamworld. Officially licensed from the custodians of Yuzuru Agi's Vanity Records archives, this edition has been fully remastered from new transfers of the original analog tapes by Stephan Mathieu.

Limited to 200 copies on Yellow Pollen Color Vinyl. For the first time on vinyl, Masami Akita's 1998 masterpiece, Vibractance, originally released in France, this is one of the most unique and beautiful releases in the Merzbow library. It stands out as an analog dream of drone, noise, ambient music: a meditative journey on the psychedelic shores of experimental music.

LP (red vinyl) & 7" (one-sided blue vinyl). Limited vinyl edition of 300 copies.

Merzbow's impact transcends the confines of traditional music, embodying an ethos of constant innovation and fearless exploration into uncharted realms of sound. Navigating through the annals of Merzbow's extensive career reveals an artist who, for over 40 years, has remained dedicated to reshaping our understanding of music and pushing the boundaries of sonic expression. We are thrilled to unveil the highly anticipated vinyl reissue of Merzbow's groundbreaking album Oersted. This album, originally released on CD in 1996, marked a significant milestone in the experimental noise music scene, showcasing the unparalleled sonic explorations of the legendary Masami Akita, known as Merzbow. Oersted is a sonic journey through realms of noise, texture, and intensity that have solidified Merzbow's status as a pioneer in the realm of noise music. The album features a collection of meticulously crafted tracks that push the boundaries of sound manipulation and composition, creating an immersive experience for listeners daring enough to delve into its sonic landscapes. The vinyl reissue, masterfully remastered for the first time by the esteemed James Plotkin, renowned for his unparalleled expertise, breathes fresh life and depth into the album's already rich and intricate sonic landscape, unveiling new detail within its reverberant dense tapestry and complex noise palette. Each track on Oersted is a aural sculpture, with layers of distorted frequencies, pulsating rhythms, and unexpected sonic artifacts that challenge conventional notions of music and sound. Features four untitled tracks originally on CD, each occupying an entire side of the vinyl, except for the track on side D, which shares the side with two bonus tracks. These tracks epitomize a profound and multifaceted sonic odyssey, harnessing various tapes and the raw power of analog instruments and tools such as EMS Synthia, metallic electronics, various filters, and processed audio mixer. Side A plunges the listener into a kaleidoscopic amalgamation of unrefined sound elements, steadily weaving together strata of intensity and textural richness that evolve dynamically over its duration. Side B embarks on a sonic expedition delving deep into mesmerizing rhythms and intricately woven soundscapes, crafting an immersive experience that challenges traditional notions of musical structure and form. Side C boldly pushes the frontiers of sound manipulation, employing dynamic tonal shifts and varying intensities to construct a visceral and immersive sonic landscape. Side D, in its initial segment, extends the sonic narrative into uncharted realms of noise and texture, maintaining a cohesive yet unpredictable sonic progression. The supplementary tracks in the latter part of Side D provide additional depth to Merzbow's sonic experimentation, showcasing distinctive sonic palettes and layers that harmonize with the album's overarching themes and exploratory essence. The original artwork for the 1996 CD digipack, curated by Masami Akita, stands out for its minimalism and visual impact. The pink outer cover, with only the artist's name and album title in silver-gray at the center, grabs attention with its bold simplicity, foreshadowing the sonic experience of the album. Inside, the green provides a pleasing contrast, with credits in silver-gray maintaining stylistic coherence. The vinyl reissue faithfully replicates the graphics with a gatefold cover, enhancing the visual impact of the original artwork. The blending of pink and green colors creates a striking visual effect, highlighting the beauty of simplicity in Akita's graphic design. Immerse yourself in the mesmerizing world of Merzbow's Oersted and experience the raw power and beauty of noise in its purest form.

Klara Lewis and Yuki Tsuji's collaboration builds on Tsuji's singular guitar playing and Lewis's resolutely explorative soundscapes. Salt Water is their debut album. Klara Lewis is a sound sculptor and loop finder. She has spent the last decade creating albums equally tender and brutal for Editions Mego as well as in collaborations with Nik Colk Void, Peder Mannerfelt and now Yuki Tsujii. Lewis has presented her audiovisual work at festivals such as Sonar, Mutek, Dark Mofo and Atonal. Yuki Tsujii is a guitarist from Japan-via-London, now based in Stockholm. In the last 15 years, as a member of Bo Ningen, Tsujii has performed extensively across the world in festivals such as Coachella, Glastonbury, and Yoko Ono’s Meltdown and collaborated with artists across different disciplines such as Faust, Lydia Lunch, Keiji Haino, Alexander McQueen and Juergen Teller.

Masami Akita (秋田 昌美), (メルツバウ, Merutsubau) aka Merzbow, Animal Rights Activist, Writer, and Musician, Emerges as Iconic Figure in International Noise Scene Renowned for his pioneering contributions to the noise music genre, Merzbow (aka Masami Akita) has solidified his position as one of its most significant and recognizable figures. From his groundbreaking utilization of tape loops to craft expansive industrial landscapes in the late 1970s, to his transition to laptop-generated static noise at the turn of the century, Merzbow has consistently pushed the boundaries of sonic experimentation. Modern Obscure Music is delighted to unveil Merzbow's debut release on the label, "Tsubute Mosaic."

"In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities." - Zoe Efstathiou. "Following collaborations with Egil Kalman and Oda Dyrnes, Greek pianist Zoe Efstathiou investigates chaotic overtone systems on this pecuilar solo piano excursion, teasing inscrutable, hypnotic drones that sound utterly alien. RIYL Akira Rabelais, John Also Bennett, Kassel Jaeger." - Boomkat. Bio: Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory. Physical copies of the ltd LP is available from Boomkat, A Musik, Discreet Music, etc!

In 1987, Nakahara Masaya founded the project Violent Onsen Geisha, which quickly became one of the most well-known and influential names in the Japanese noise music scene, distinctive among others for frequently displaying a bizarre, sarcastic, and mischievous sense of humor. The band's name, which translates to "violent hot springs geisha," is a reference to the traditional Japanese practice of hot spring bathing, as well as a nod to Nakahara's confrontational and irreverent approach to music. As Violent Onsen Geisha, he creates experimental music that blends elements of noise, industrial, and avant-garde styles. He is known for his use of unconventional instruments and sounds, including feedback loops, field recordings, appropriated or "found" music, in addition to (or even instead of) straight-ahead noise. As well as his work as a musician, Nakahara is also a prolific visual artist and writer. His artwork has been exhibited in galleries and museums around the world, and he has published several books on the subjects of art and music. He is known for his irreverent and humorous approach to art, which often subverts traditional Japanese imagery and cultural norms. Despite his underground status, Nakahara has been a highly influential figure in the Japanese art and music scenes for over three decades. His work has inspired countless musicians and artists both in Japan and around the world. "Wagamama Na Ofukuro" is a super rare 1993 cassette release by Nakahara’s label “My Fiance's Lifework” . The title translates to "Selfish Mother" in English, and the tape is known for its confrontational and irreverent approach to music. It consists of handful of tracks that features a barrage of harsh noise, feedback, and distorted vocals. Despite its abrasive nature, there is a sense of humor and playfulness to the music, with artist incorporating samples of children's songs and nursery rhymes into the mix. Nakahara's use of unconventional instruments and sounds, as well as his willingness to push boundaries and challenge established norms, make this cassette a standout in the noise genre. Now available fully remastered 30 years after its first release.

Cold Spring is proud to present a unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy" (Jack Dangers, January 2024). 'Extinct' sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20 minute opener 'FLAKKA' takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process. 'Burner' takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, 'Extinct' is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don't sleep on this one! (Todd Robinson / Subunit).

First vinyl pressing of the long out of print 1993 classic many consider not only Skullflower's apex, but one of the finest noise rock records of the 90's. Edition of 600 clear smoke 2xLP in deluxe embossed sleeve.

聽覺侵蝕 噪音宣言 2 years after their debut album on Utech Records, P/O MASSACRE goes deeper in their immersive noise experimentation in this collaboration album with Alex Buess, and Merzbow (Masami Akita 秋田昌美). An architecture of distortion, Moog processors, spring reverb, drone effects and more, then developed in different directions by two electronic/noise veterans. It’s a journey of pure sensation, destruction, and rebirth. A skull-vibrating sound decomposition to your face. For this very reason of searching the limit of frequency and sound structure, we’ve decided to make this album as double 45 rpm vinyl, for a maximum aural experience, cut for vinyl by Frédéric Alstadt at Mont Analogue Masters. As he says: “it’s the cut of the uncuttable”. The visual design and layout are taken care of by the Taiwanese noise builder Chia-Chun Xu (Karma Detonation Tapes), with the artwork from the film destroying artist Tseng Peng-Chieh. Heavy gatefold sleeve, with obi and a bonus CD which includes an exclusive track “Nonslaught” from the same recording session by P/O MASSACRE only.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground artists. Poo-Bah Records, with its import bins and backroom jam space, attracted the pseudonymous artists forming the initial incarnation of long-running collective Smegma. Early members Ju Suk Reet Meate, Dennis Duck, Cheez-it Ritz, Big Dirty, Amazon Bambi and Dr. Id contributed to various LAFMS compilations and combinations before several core members relocated to Portland, Oregon in 1975, where they recorded their debut album Glamour Girl 1941. Originally released on the LAFMS label in 1979, the LP combines rock instrumentation with tape, synthesizer, horns and voice in a tempestuous cauldron of anti-academy improv and alien noise. Beyond its roots in LAFMS, Smegma would help shape the early Portland punk scene in the late '70s alongside Wipers and Neo Boys. In more recent years, they have collaborated with Merzbow and Wolf Eyes. This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

A full decade ago, Godspeed You! Black Emperor released Yanqui U.X.O. with no publicity or press availability, no marketing plans, no cross-promotions or brand synergies, driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication.To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement, but Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should, knowing full well that these days, anti-strategy risks being tagged as a strategy.The band has been blazing its own path again since 2010. We think they have made a new record that maintains if not exceeds the standards of their previous work. After almost two years of post-hiatus practicing, playing and touring, Allelujah! Don't Bend! Ascend! delivers two mighty sides of music that are definitively stunning, immersive and utterly true to the band’s legacy. The future looks dark indeed, but on the evidence of this new recording, Godspeed appears wholly committed to staring it down, channeling it, and fighting for some rays of sound (and flickers of light) that feel hopeful and true.