MUSIC
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Jordanian producer Taymour teams up with Palestinian rapper/singer Bareetlblad on a killer mini-album of skewed gothic pop, like some auto-tuned, arabic-language re-imagining of Faith-era The Cure via Dean Blunt, Cocteau Twins x Future. Trust, it’s exceptional stuff, curving melancholy, PNL-style biomechanical rhymes around heartfelt new wave/post-punk loops, like little else.
'NOS INSAN (نص إنسان)' is such a potent fusion of ideas that you wonder why no one tried it sooner. Billed as a break-up record, it's dripping with intensity, finding fragile harmony between Future's slow-burning emo-rap milestone 'HNDRXX' and Martin Hannett's moody canon. If that sounds odd, just imagine a pulverised version of Dean Blunt's catalog: 'Black Metal'-era songwriting, Hype Williams-era beatmaking and Babyfather's plasticky rap commentary.
Haifa-based vocalist Bareetlblad is captivating on 'Sort Akrhek, Ad Ma Ba7ebek (صرت أكرهك ! قد ما بحبك)', singing and rapping over Taymour's beatless, chorus-heavy guitar loops. It's a flawless opener, isolating a mood that's potent and fully unique. There are no beats, just rain-soaked Vini Reilly-style shimmers over Bareetlblad's soaring AutoTuned vox. The album title means "half a man”, a reference to a hollowed-out stretch following a breakup, referencing vintage grunge and shoegaze while at the same time scraping life-or-death imagery from traditional Arabic poetry and the region's melancholy folk music.
Peep 'T2ddamet (تقدمت)', a track that pulls on the interplay between Taymour's '80s Cure-style drum machine splashes and Bareetlblad's melodramatic love-drunk rhymes, or the all-too-brief 'Bdounik (بدونك)', a minute and a half of washy industrial-cum-dreampop guitars over robotic, overdriven sweet nothings that sound as if they're being broadcast through an empty mall on a busted tannoy. Best of all, 'Msafreh (مسافرة)' rounds things out with a euphoric gust of strums and a half-heard vocal that you'd more likely expect to find on one of Cocteau Twins' late-period fantasies.
One of the best rap/R&B mutations we've heard in ages, a small, perfectly formed cult classic in the making.
Musically, first of all, 1991's second album, "loveless," was more advanced and unexpected than anything else released at the time. Kevin Shields and band thoroughly pursued a sound based on pure sensuality, resulting in a work that overwhelmed the listener's senses. 1990's representative work was hailed as a perfect masterpiece that pushed the possibilities of studio recording to the limit, and has been featured on The Beach Boys' "Pet Sounds" and It has been hailed as a milestone on par with The Beach Boys' "Pet Sounds," Miles Davis' "In A Silent Way," and Stevie Wonder's "Innervisions.
Japanese obi included.
Mastered from 1/2" analog tape using Studer A80 VU-PRE and Neumann VMS 80
180g vinyl weight
Standard gatefold outer sleeve
Six 300 x 300 mm art prints enclosed
Includes DL code (24-bit | 16-bit | mp3)
John Hubbard, who is also a book designer and based in Finland, had released the sole recordings of the legendary project “Vogelscheiß Und Seine Verrückten Kröten” in 1989 in a limited edition of just 50 copies on his Strength Through Joy label. Now these rare recordings are re-issued for the first time by Art Into Life. In 1988, upon meeting Steve Stapleton while on vacation in Europe, John then went to Aachen and visited Christoph Heemann & Andreas Martin, and the enigmatic sessions they recorded are revealed here.
45 Pounds is the debut studio album from the exciting noise rock newcomers YHWH Nailgun. Spearheaded by the minute-and-a-half frontal lobe blast of lead single ‘Sickle Walk’, it finds Rich Smith and Zack Borzone laying down dizzying assaults on the senses that sound like math rock being electrocuted. For fans of Death Grips or Black Midi.
Bag of Max Bag of Cass is a joint work from Zach Hill and Lucas Abela. Hill, while primarily known as a founding member of Death Grips, is a titan in music—a visionary drummer, master of velocity and compositional design. Abela’s practice stands alone in the world of free improvisation, forging entire universes literally from shards of amplified glass. These aren’t songs so much as vast, textured fields. Here, noise becomes a sonic environment of focus and intensity. For all its volatility, the music holds an unlikely stillness. Hill’s rhythms refract against Abela’s sustained, splintered overtones, forming a labyrinthine architecture ever ready to ensnare you.
Arriving two years after the first chapter, Absurd Matter 2 isn’t just a sequel, it’s an evolution, redrawing the boundaries established by its acclaimed predecessor. The Berlin-based Italian producer tempers his confrontational sonics with rare moments of introspection, shifting seamlessly between blown-out noise, warped hip-hop, mutant club experimentation, and weightless ambience. Textures disintegrate and reassemble, rhythms flex and crumble, and every detail balances on the edge of fantasy. It’s a poetic, layered response to Nino Pedone’s changing physical reality: the gradual hearing loss and perceptual renegotiation triggered by Ménière’s disease, which struck him in 2022. At first, the experience felt like betrayal, a brutal disconnection from the very sense that had shaped his life. But over time, the disorientation turned into a strange kind of focus. The silence between sounds became as expressive as the sounds themselves.
The first Absurd Matter was a visceral reaction to trauma; the second is more reflective – an ambiguous chronicle of sensory recalibration. Pedone doesn’t represent his altered inner reality through extremes, but through depth, zooming in on illusory distortions, tense rhythmic fluctuations, and fragmented sonics. Dense, immersive, and mystical, the album mirrors Pedone’s evolving relationship with perception itself.
Tinnitus-like feedback wails and noir-ish strings introduce “Repeater”, making it immediately clear that Pedone is painting a more delicately finessed image this time around. Fleshed out by raps from cult MCs billy woods and E L U C I D, the track is marked by subtle, sophisticated contrasts: the blurred, inverted rhythms that couch Armand Hammer’s haunted back-and-forth, and the glitchy interference that offsets the lavish orchestral phrases. Backwoodz associate Fatboi Sharif lends his Lynchian drawl to “Bandage Chipped Wings”, grounding Pedone’s lysergic rhythmic distortions with syrupy, horror-inspired couplets. Pedone also invites discomfort into “Crash Landing”, with droning, metallic tones that contradict South Central rapper ICECOLDBISHOP’s elastic flow. “Bitch, I don't give a fuck about anybody,” he squawks over Pedone’s incongruous rasping textures and time-warped beats, “cash out at any party.” Working alongside London’s Loraine James on production, Pedone reunites with Moor Mother on “I Saw The Light”, blending James’ soft-focus atmospherics with soundsystem-damaging, overdriven bass hits and rusted percussive snips. Moor Mother’s assertive words hover over the wreckage, tightening Pedone’s themes of overstimulation and altered awareness as they stutter and veer off course, vanishing into the backdrop.
Contrasting his more pensive experiments, Pedone’s dancefloor deviations are more concentrated on Absurd Matter 2 than ever before. He torches a stuttering dembow structure on “X”, obfuscating the rhythm’s familiar energy with disturbing audio hallucinations. On “Splintered”, he reunites with Kenyan prodigy Slikback, mangling neon-lit trance arpeggios with dissociated trap rhythms. He sharpens his skills to a fine point on “Oblivion Step”, observing 2-step through a lens of distortion and personal abstraction, shaking blipping synth leads over neck-snapping drums and counteracting the momentum with airless sci-fi soundscapes.
Perhaps the album’s most surprising moment arrives with “Viel”, which features vocals from Los Angeles-based composer Kaitlyn Aurelia Smith. Together, Pedone and Smith chance upon their notion of dub techno, fogging synth stabs and ghostly vocal traces into eerie harmonic distortions. On some level, it’s almost pop music, a far cry from the bleak dissonance of Absurd Matter and a hopeful way to reframe turbulence as transformation.
Absurd Matter 2 doesn’t simply document a process; it enacts one. It doesn’t offer clarity; it invites disorientation. It’s not a map of the labyrinth, but a foghorn piercing the darkness.
“Kachouzu” is a limited-edition lathe-cut release by Merzbow, also known as Masami Akita. It presents the pinnacle of harsh noise, with Merzbow’s signature metallic and extreme sound unfolding throughout. Unlike standard pressed records, the lathe-cut format delivers a uniquely raw sonic texture that further amplifies the intensity and impact of the work.
After years of exploring classical and popular music on the violoncello, as well as delving into contemporary composition and improvisation, Garcia presents IN / OUT, an album that pushes the boundaries of musical convention. Recorded in an underground reservoir in Geneva, this unique project transforms the site’s natural acoustics into an integral part of the compositions.
Through nine meticulously crafted pieces, Garcia blends minimalist contemporary music, dark ambient, and experimental noise. By using expanded cello techniques, microtonality, and alternative tunings, she creates sonic landscapes that evoke the depth and complexity of a multi-cello ensemble. The resonance and reverberation of the cavernous space infuse the album with a haunting, immersive quality, where each sound interacts organically with its environment.
Drawing inspiration from composers like La Monte Young, Eliane Radigue, Jürg Frey, and Arvo Pärt, Garcia integrates elements of sacral minimalism and acoustic experimentation into her work. The result is a project that bridges improvisation and composition, showcasing the cello’s versatility while challenging traditional notions of recording and performance.
Produced in collaboration with Bongo Joe, IN / OUT stands as a testament to Garcia’s innovative vision and her ability to transform unconventional ideas into deeply evocative musical experiences. This album invites listeners to step into an auditory world where instrument, space, and artistry converge in profound harmony.
CLEAR VORTEX CHAMBER charts a new period of exploration and discovery for Alexander Tucker both as musician and producer. After discarding a year’s worth of material, Tucker sought the advice of Downwards Records label boss Karl O’Connor aka Regis who advised him on production techniques and approach. Along with further support form Freddy Lomas of Kinn and Emptyset’s James Ginzburg, Tucker got to work on a new set of material with a heightened sense of clarity and density. Tucker explains “Making this album really tested me, it was the outcome of a long period of hard lessons and harsh realities, but I had some good friends to guide me along the way and pull me out of the mire.”
At the core of MICROCORPS is Tucker’s complex modular systems, knitted into the tracks are triggered samples of his own cello and bass guitar playing, which meld into the electronic fabric of each track. Tucker expands “I wanted the album to sit somewhere between machine technology with something primitive, where synthetic and acoustic sources become intertwined. I like the idea of different dimensions phasing in and out of one another, creating new areas where I can explore sound, structures and imaginary spaces”
These imaginary spaces play a key role in the construction of CLEAR VORTEX CHAMBER. Tucker’s background in fine art and his current work with experimental comics bleeds into the unspoken landscapes of his music. “I want to trigger parts of the brain that can dream up imagery whilst at the same time focus of the sonic structure of the music itself, I guess I’m still obsessed with trying to create some sort of psychoactive environment” The architecture of each track presents itself in the form of massive kicks, sonar clicks and kinetic percussive rhythms, supported by pulsing bass drones. Cello and bass guitar samples initially bowed, plucked and hit by mallets are triggered creating dense wooden timbres that punctuate the electronic field. Voices and vocals both treated and untreated weave throughout the album in the form of cryptic dialogues and unspooling wordless singing, adding to the cross pollination of something human, machine and a space in-between.
Collaboration is a key element to MICROCORPS. Justin K Broadrick’s heavy spidery guitar lines and processed screaming rip wormholes in ‘FEDBCK’, Regis lends his distinct vocal work to ‘ZONA’, Japanese artist Phew injects organ drones, vocals and fried electronics throughout ‘SANSU’. On penultimate track ‘FEBCK 2’, Karl D’Silva’s droning saxophone joins Broadrick’s feed backing guitar noise and improvising lyricist, producer and sound artist Elvin Brandhi spits out cut up diatribes across final track ‘MALLETS’. Throughout the album Tucker’s own processed voice sits alongside singer JJOWDY’s eerily gentle laments
Salty club dogs Beau Wanzer, Lukid & Tapes agitate each to stuttering 2-step, juke and rave noise extents on a frazzled session for TTT
The five trax of ‘Borez’ see all three flock around mutual poles of briny electronics and nervily restless rhythm programming within a framework of shattered but sharply effective club music. The gibber-jawed juke garage of ‘Point of Some Return’ pitches them into diciest wormholes of teeth-chatter 2-step, next to the dry-humped slam and almost Drexciyan lines of distorted, scudding, coruscating leads to ‘Rubber Eater’ on its 7’ arc to lusher resolution.
‘Darnell Can’t Polish a Turd’ pulls focus to sourest, piquant frequencies and bolshy bass blasts in a sorta bucking roll cage like Somatic Responses gone happy hardcore, and ‘Xylone Xylophone’ follows down that metallic wormhole like Evelyn Glennie on a mazza to the fizzy machine funk of ‘Lomp’.
John Hubbard, who is also a book designer and based in Finland, had released the sole recordings of the legendary project “Vogelscheiß Und Seine Verrückten Kröten” in 1989 in a limited edition of just 50 copies on his Strength Through Joy label. Now these rare recordings are re-issued for the first time by Art Into Life. In 1988, upon meeting Steve Stapleton while on vacation in Europe, John then went to Aachen and visited Christoph Heemann & Andreas Martin, and the enigmatic sessions they recorded are revealed here.
A meeting of two uncompromising sound artists, New Music fuses pulsating electronic rhythms, immersive drones, and abstract textures into a vivid, physical listening experience. Rising from the outer fringes where abstract techno, noise, and electro-acoustic composition converge, both artists channel their distinct sonic vocabularies into a shared space of tension and transformation. Giffoni’s deep synth drones collide with Nordwall’s ritualistic sense of structure and rhythmic, creating a sound that feels at once mechanical and organic, grounded and cosmic. Moving between dense rhythmic sequences and vast stretches of tonal drift, New Music unfolds like a continuous exploration of energy and decay - music that challenges the boundary between motion and stasis, chaos and control.
For listeners of forward-thinking electronics, this collaboration stands as a compelling testament to the power of sound and the unique chemistry that emerges when two creative worlds intersect. Nordwall explains: “Even though we spent a lot of time together, we never really talked about making music together. But when Carlos visited Sweden, I asked if he’d be into it, as I felt our recordings were starting to sound like they came from the same planet. He kindly agreed and sent me a batch of files to work on. That became New Music - our music, our shared sound.”
Carlos Giffoni is a Venezuelan-born experimental musician and composer known for his visceral approach. A central figure in the 2000s New York noise and experimental scene, he founded No Fun Fest and has collaborated with artists such as Merzbow, Prurient and Jim O’Rourke.
Joachim Nordwall is a Swedish artist and musician exploring industrial, drone, and minimalist, repetitive electronics. As head of iDEAL Recordings and a member of projects like The Skull Defekts and Organ of Corti he remains a key force in Sweden’s experimental music landscape.
Kunsthaus Bregenz presents Wish You Were Gay, a major exhibition by Anne Imhof that gathers new sculpture, painting, sound and six video works never before shown. The show reflects on the artist’s formative years while extending themes that have defined her practice from the beginning.
Imhof revisits early recordings from 2001–03, a period when her life and work overlapped to the point of being inseparable. Using handheld camcorders – then a new technology that allowed the screen to flip – she performed directly to the lens, testing gestures, movements, and songs with guitars, amps, and her close circle of friends and collaborators. These raw documents, urgent and improvised, form the foundation of her later explorations of presence, absence, chance, and fate.
Across the exhibition, Imhof transforms this material into a language of repetition, doubling, and variation, situating the body as a central medium. Figures slow into moments of suspended tension, or erupt with sudden force, echoing her distinctive performance works. Biographical in tone and steeped in the realities of queer community and chosen family, Wish You Were Gay is both intimate and expansive, drawing threads from past to present in a charged meditation on life, art, and endurance.
KontaktAudio presents the first-ever official release of the ultra rare and sought after B-Semi Live 24/5/1984 cassette, a rare and explosive document capturing a crucial moment in Japan’s underground noise and industrial music scene. Recorded at the legendary B-Semi venue in Tokyo, this performance brings together three pioneers - Merzbow, Null (K.K. Null), and Nord - delivering a raw, unfiltered onslaught of early Japanese noise music in its most intense form.
This historic recording showcases the primitive power and experimental spirit that defined the early Japanese noise music scene, sitting alongside the abrasive intensity of Whitehouse, the industrial ritualism of SPK, and the mechanical destruction of Throbbing Gristle. A sonic time capsule of Japan’s most groundbreaking sound revolutionaries, B-Semi Live 24/5/1984 is an essential piece of noise history.
Jezgro is proud to present the second release by the almighty god of noise Merzbow. "Torus" is bleak, twisted and uncompromising EP, that has a tendency to disturb and sooth, both at the same time, your inner dark parts and make you question your moral.
Spanish producer and composer Pedro Vian and Japanese noise legend Merzbow join forces once again for A Wheel of Mani, a singular work set to be released exclusively on 12” vinyl on June 4, 2025, via Modern Obscure Music. This collaboration follows in the footsteps of their previous joint effort, Inside Richard Serra Sculptures, released last year, where they explored the intersection of sonic abstraction and dense textural landscapes. With this new release, the two artists push even further into the spiritual and abrasive corners of their sound, merging ethereal atmospheres with the raw intensity of extreme noise, shaped by
glitch techniques and digital experimentation.
The album serves as a meeting point between seemingly opposing sonic worlds, now interwoven in a fascinating synergy. Vian contributes his sensitivity for hypnotic pads and enveloping ambiances, while Merzbow amplifies the experience with his signature saturation and searing textures. The result is a composition of stark contrasts and unexpected harmonies, inviting the listener into a sensory journey where mysticism and chaos coalesce into a singular experience.
The decision to release A Wheel of Mani on vinyl underscores its physicality, emphasizing the tactile experience of sound, where each groove reveals unexplored tonal dimensions. Vian and Merzbow eschew conventional approaches, dissolving boundaries between the ambient and the abrasive, the meditative and the cathartic. This is not an album that seeks easy resolutions but one that thrives within the tension between harmony and noise, where texture takes precedence and time becomes elastic. A work designed as much for deep contemplation as for total immersion in its expansive sonic universe.
To celebrate 20 years of this incredible album by Masami Akita, we are doing a limited edition gatefold vinyl pressing on baby pink colored vinyl limited to 300 copies worldwide.
For over four decades, Masami Akita, the man behind Merzbow, has remained one of the most singular and uncompromising figures in experimental music. Known as a pioneer of Japanese noise and a tireless sonic innovator, Akita has consistently pushed boundaries, exploring sound not as a vehicle for melody or harmony, but as a raw material to be shaped, sculpted, and sometimes obliterated. His prolific output spans hundreds of releases, each one revealing a different angle of his evolving sonic philosophy — from dense analog textures to intricate digital manipulations.
Originally released on CD in 2003, Animal Magnetism is now receiving a long-overdue vinyl reissue — a deluxe edition that not only revives the album but enhances it. This new edition has been meticulously remastered by Lasse Marhaug, a respected figure in noise and experimental music who brings on vinyl reissue new clarity, weight, and depth to the recordings. Spread across two vinyl LPs and housed in a gatefold sleeve, the reissue replicates the original artwork, including Masami Akita’s own photographs, while also adding a previously unreleased bonus track, “Quiet Comfort #2.”
Animal Magnetism occupies a unique position in Merzbow’s vast catalogue. It is a work that remains firmly rooted in the artist’s signature approach — dense layers of distortion, feedback, and electronic debris — but it also stands out for its sense of structure, variation, and surprising accessibility. It’s an album that, while intense, is not impenetrable. It invites the listener to explore its textures and uncover subtle melodic patterns and rhythmic shifts beneath the surface noise.
The opening title track sets the tone: a chaotic yet strangely hypnotic blend of static, metallic clangs, fractured beats, and synthetic tones. There's a sense of tension throughout — familiar in Merzbow’s work — but here, it builds gradually, revealing layers rather than overwhelming the listener all at once. There’s even the faint outline of something resembling a melody, buried deep beneath the sonic rubble, slowly emerging and fading as the piece unfolds.
What makes Animal Magnetism distinctive is its balance between harsh noise and a more refined, composed sensibility. Where many Merzbow albums plunge into total abstraction, this one maintains a sense of movement and progression. Tracks evolve over time, flowing into one another with a kind of warped continuity. Noise isn’t just a wall here — it breathes, pulses, and shifts form.
One of the album’s highlights, “Quiet Men,” is a surprisingly playful and kinetic track. High-pitched, swirling sounds bounce around in cartoon-like patterns, giving the piece a strange but infectious energy. It’s vivid, bright, and almost whimsical — a striking contrast to Merzbow’s more oppressive works. Yet, it never abandons the core aesthetic of noise: distortion, friction, repetition — only here, it’s presented with a lighter touch, almost like a satire of dance music through a noise lens.
The album’s longest piece, “A Ptarmigan,” stretches to more of twenty minutes and showcases Merzbow’s gift for long-form development. The track shifts dramatically over its runtime — starting with a sense of movement and brightness, before descending into slow, grinding dirges. At one point it feels almost celebratory, the next meditative and ominous. It’s a miniature sonic journey that encapsulates many of the album’s contrasts: playfulness and heaviness, speed and inertia, chaos and control.
Later, “Super Sheep” picks up the pace, with a more aggressive rhythmic drive. While its bass line may evoke familiar electronic or break core structures, Merzbow twists and mutates it into something uniquely his own. The distortion here feels intentional and compositional — not just as an effect, but as a central part of the track’s logic. It’s not chaos for chaos’s sake, but a carefully controlled burn. Another standout, “Pier 39,” veers into ambient territory. Gentle scraping textures, soft frequencies, and minimal movement make it a quiet anomaly in the tracklist — but also a necessary one. It shows how even within the noise genre, Merzbow is capable of creating space and silence, of dialing back the intensity to explore fragility and restraint. The newly added bonus track, “Quiet Comfort #2,” fits seamlessly into the album’s sound world. It serves as both a continuation and a reflection, extending the album’s themes while offering something fresh.
Today, as interest in Merzbow continues to rise — with new generations discovering the depth and breadth of his work — this reissue feels especially timely. It’s a reminder that noise can be complex, emotional, and even, beautiful. Animal Magnetism is not just for seasoned noise fans, but also for adventurous listeners looking for a unique and challenging experience that rewards attention and repeated listening. This edition is a must-have for collectors and newcomers alike: an essential document of an artist who continues to redefine the outer edges of sound.
Includes bonus track not available on vinyl reissue
25th anniversary reissue of MERZBOW's legendary Tauromachine, now remastered by James Plotkin and featuring unreleased bonus material!
This is the first-ever compilation bringing together Nigel Ayers’ solo work and his long-running project Nocturnal Emissions. Covering recordings from the early 1980s up to 2024, it spans more than four decades of experimental sound.
Nocturnal Emissions is recognized as one of the earliest and most uncompromising industrial/noise groups, standing alongside Throbbing Gristle, SPK, and Cabaret Voltaire. Their sound sits at the intersection of raw industrial electronics, noise, and electronic Dada, fusing harsh textures, tape collage, and rhythm in a constantly evolving hybrid form.
The compilation, fully remastered in Tokyo, traces the major phases of Nocturnal Emissions and Nigel Ayers’ work, spanning raw, confrontational noise rooted in the squatting scene and anti-capitalist protest of the early 1980s; the rhythm-driven period that brought dancefloor energy to industrial grit; and Ayers’ later solo “Neotantric” phase of ambient, ritualistic sound exploring magick, ancient beliefs and altered states while carrying forward a spirit of subversion and transcendence that remains entirely intact decades later. Across these eras, the collection captures the full breadth of Ayers’ creative journey and moves between intense, layered noise and quiet, atmospheric soundscapes blending field recordings, spoken word, electronics, and collage.
1. Nigel Ayers / Tangled Clumps 02:13
From Excavations in Substation (2024)
Words and music by Nigel Ayers.
2. Nocturnal Emissions / 04 06:37
From Music for Butoh (1992)
Music made for the performance of Transearth by Poppo and the Go Go Boys.
Recorded live in La MaMa Theater, New York City, USA, October 1992.
Music composed and performed by Nigel Ayers
Originally released in 1993, edited and digitally mastered in June 2005.
3. Nigel Ayers / Nonsite Observatory 05:35
From Painted by Spirits (2019)
Electroacoustic instruments played by Nigel Ayers.
Recorded in Cornwall, October 2019.
4. Nigel Ayers / The Wise Wound 04:13
From Omega Earth Electrode (2019)
Sounds of Cornwall's industrial heritage recorded and processed by Nigel Ayers.
5. Nocturnal Emissions / Vegetation Narration 05:28
From The World is my Womb (1987)
Composed by Caroline K.
Text, narration and instruments played by Nigel Ayers.
6. Nocturnal Emissions / Night Sky 10:25
From Imaginary Time (1994)
Acoustic instruments played by Charlotte Bill.
Disarranged and decomposed by Nigel Ayers.
7. Nocturnal Emissions / Sealing a Phase 04:46
From The World is my Womb (1987)
Composition and instruments played by Caroline K.
Text and narration by Nigel Ayers.
8. Nocturnal Emissions / Rusting Shells 06:04
From Shake Those Chains Rattle Those Cages (1985)
Recorded in the studios of the Emission Control during November 1984.
Text and Voice by Caroline K. and Nigel Ayers.
9. Nocturnal Emissions / Sperm Count 04:19
From Befehlsnotstand (1983)
Recorded The Emission Control, London, England in 1983 and remixed in 1992.
Composed by Caroline K. and Nigel Ayers.
10. Nocturnal Emissions / When Were You Last in Control of Your Dreams and Aspirations ? 4:12
From Tissue of Lies (1981)
Computer and Synthetizer by Daniel Ayers.
Voice, Bass, Synthesizer and rythm by Caroline K.
Voice, Guitar, Violin and Tape by Nigel Ayers.
Recorded in South London in 1980.
11. Nocturnal Emissions / Never Give Up 4:53
From Songs of Love and Revolution (1985)
Music and voice by Caroline K.
Lyrics and voice by Nigel Ayers
12. Nocturnal Emissions / Golgotha 07:23
From Omphalos! (1998)
Decomposed and disarranged by Nigel Ayers.
13. Nigel Ayers / A Small Rectangle 02:42
From Excavations in Substation (2024)
Words and music by Nigel Ayers