{"title":"NEUROT - MUSIC","description":"","products":[{"product_id":"full-of-hell-the-body-one-day-you-will-ache-like-i-ache-cd","title":"FULL OF HELL\/THE BODY \"One Day You Will Ache Like I Ache\" CD","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThrough their own respective recordings, both The Body and Full Of Hell are internationally-revered as forward-thinking entities of extreme music, delivering their musical torment through incredibly intense and often unorthodox methods. The Body’s 2010 released \"All The Waters Of The Earth Turn To Blood\" sophomore LP remains one of the band’s prolific high points and one of the most groundbreaking and frightening albums in recent times. Their subsequent releases, including several LPs and more for Thrill Jockey have continued to expand upon this seminal release. Similarly, Full Of Hell rapidly became a favorite amongst hardcore, grind, death and noise metal fans immediately upon their formation with an incredibly energetic and destructive live attack. Their 2013-released \"Rudiments Of Mutilation\" sophomore LP solidified them as one of the most damaging new acts out there, and since its release the band’s intensity and hunger for experimentation has magnified immensely.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBoth bands are proven collaborators, relishing the results of collective efforts to create life-numbing constellations of distortion and depravity. The two members of The Body have joined forces with arcane producer The Haxan Cloak for \"I Shall Die Here\", Louisiana’s darkest sludge troupe Thou for \"You, Whom I Have Always Hated\", as well as \"Nothing Passes\" with Braveyoung, and a myriad of splits with artists as diverse and detesting as Australia’s Whitehorse, Japan’s Vampillia and Sandworm, taking their virulent, insidious influence to unsuspecting destinations across the globe. Full of Hell made a big impression with 2014’s two-part alliance with internationally feared noisemonger Merzbow, which resulted in the Full of Hell \u0026amp; Merzbow LP and the subsequent Sister Fawn EP. Their discography is littered with noise-soaked demos and splits that wrench Full of Hell in to fresh dimensions of heaviness and extremity, and their constant live actions never cease to stun.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBoth acts are unstoppable tour machines, and earlier this year they joined forces for a massive North American tour, and amidst the chaos, in May they found time to record together at Machines With Magnets in Providence, Rhode Island. The session has culminated into One Day You Will Ache Like I Ache, the debut collaborative record created by The Body and Full Of Hell. It is ultimately a reflection of their surroundings and their inability to cope therein.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. One Day You Will Ache Like I Ache\u003cbr\u003e02. Fleshworks\u003cbr\u003e03. The Butcher\u003cbr\u003e04. Gehorwilt\u003cbr\u003e05. World of Hope and No Pain\u003cbr\u003e06. Himmel und Hölle\u003cbr\u003e07. Bottled Urn\u003cbr\u003e08. The Little Death\u003cbr\u003e09. Cain\u003cbr\u003e10. Abel\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45285961426,"sku":"MUS-33685-01","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/full-of-hellthe-body-one-day-you-will-ache-like-i-ache-cd-1476042.jpg?v=1768614434"},{"product_id":"neurosis-honor-found-in-decay-cd","title":"NEUROSIS \"Honor Found In Decay\" CD","description":"\u003cspan class=\"bcTruncateMore\"\u003eThe music on Honor Found In Decay is both torturous and transcendent. It is the ongoing exposition of a vast internal dialogue that seems to carry the weight of eons. With the right kind of ears and eyes, it can seem like the trials and tribulations of mankind are being channeled through five individuals: Steve Von Till, Scott Kelly, Noah Landis, Jason Roeder and Dave Edwardson. And yet? They will be the first ones to tell you that they are just regular people trying to make sense of the world around them. The degree to which Neurosis allows them to step out of their everyday lives is the distance between one and zero, the distance between thinking and doing, the distance between this minute and the one that may or may not follow. Which is to say: Neurosis takes them outside of themselves and brings them closer to themselves. Simultaneously. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003e\u003c\/strong\u003e01. We All Rage In Gold\u003cbr\u003e02. At the Well\u003cbr\u003e03. My Heart For Deliverance\u003cbr\u003e04. Bleeding the Pigs\u003cbr\u003e05. Casting of the Ages\u003cbr\u003e06. All Is Found... In Time\u003cbr\u003e07. Raise the Dawn\u003cbr\u003e\u003c\/span\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":31188075118652,"sku":"MUS-35265-01","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/NEUROSIS-Honor_Found_In_Decay.jpg?v=1766066829"},{"product_id":"neurosis-pain-of-mind-cd","title":"NEUROSIS \"Pain Of Mind\" CD","description":"Pain of Mind marks the inception of one of the weirdest and most powerful bands there ever was as they begin their odyssey through the sonic landscape: 33 years, 13 albums and counting. These gritty punk songs bear little resemblance to what Neurosis would become, but the future was written here, and if you listen closely to these kids—barely out of high school at the time, you can hear their early influences: The guitars and existential anguish of Amebix and Rudimentary Peni, the passionate politics of Crass, the heaviness of Sabbath—and here, too, they lay the foundation for some of their enduring concerns: the pursuit of transcendence, and contemplation on the downward suck of despair. \u003cbr\u003e \u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003e\u003c\/strong\u003e01. Pain Of Mind\u003cbr\u003e02. Self-Taught Infection\u003cbr\u003e03. Reasons to Hide\u003cbr\u003e04. Black\u003cbr\u003e05. Training\u003cbr\u003e06. Progress\u003cbr\u003e07. Stalemate\u003cbr\u003e08. Bury What's Dead\u003cbr\u003e09. Geneticide\u003cbr\u003e10. Ingrown\u003cbr\u003e11. United Sheep\u003cbr\u003e12. Dominoes Fall\u003cbr\u003e13. Life On Your Knees\u003cbr\u003e14. Grey","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":31188132364348,"sku":"MUS-35267-01","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/NEUROSIS-Pain_Of_Mind_29ae306c-7640-4d09-b6e5-468086cfe0c3.jpg?v=1766066830"},{"product_id":"neurosis-the-world-as-law-cd","title":"NEUROSIS \"The Word As Law\" CD","description":"\"I still remember the first time I heard The Word as Law, shortly after it was released in 1990. From the first chords of “Double-Edged Sword” I was hooked – the sounds seemed to send some sort of powerful electrical current coursing through my body – and by the time the feedback faded out at the end of “Blisters” I was emotionally spent. I had never heard anything like it: The Word as Law completely changed my understanding of three different musical genres – punk, hardcore, and metal.\"\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003e\u003c\/strong\u003e01. Double Edged Sword\u003cbr\u003e02. The Choice\u003cbr\u003e03. Obsequious Obsolescence\u003cbr\u003e04. To What End?\u003cbr\u003e05. Tomorrow's Reality\u003cbr\u003e06. Common Inconsistencies\u003cbr\u003e07. Insensitivity\u003cbr\u003e08. Blisters","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":31188175814716,"sku":"MUS-35269-01","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/NEUROSIS-The_World_As_Law_d0597e10-02da-41fe-9ccf-7ac056354f9d.jpg?v=1766066830"},{"product_id":"steve-von-till-no-wilderness-deep-enough-lp","title":"STEVE VON TILL \"No Wilderness Deep Enough\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cspan style=\"color: #000000;\"\u003eOver the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003eTracklist:\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"color: #000000;\"\u003e01. Dreams Of Trees\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e02. The Old Straight Track\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e03. Indifferent Eyes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e04. Trail The Silent Hours\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e05. Shadows On The Run\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e06. Wild Iron\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"TRANSPARENT BLUE W\/ GOLD HAZE","offer_id":32361004695612,"sku":"MUS-41449-01-TBW","price":14.99,"currency_code":"EUR","in_stock":true},{"title":"CLEAR W\/ BLACK SMOKE","offer_id":55989643378953,"sku":"MUS-45719-02-CWB","price":14.99,"currency_code":"EUR","in_stock":true},{"title":"CLEAR VELLUM","offer_id":55993736462601,"sku":"MUS-45756-03-CV","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/STEVEVONTILL-NoWildernessDeepEnough.jpg?v=1766066770"},{"product_id":"steve-von-till-no-wilderness-deep-enough-lp-1","title":"STEVE VON TILL \"No Wilderness Deep Enough\" CD","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cspan style=\"color: #000000;\"\u003eOver the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003eTracklist:\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"color: #000000;\"\u003e01. Dreams Of Trees\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e02. The Old Straight Track\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e03. Indifferent Eyes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e04. Trail The Silent Hours\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e05. Shadows On The Run\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e06. Wild Iron\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":32706579660860,"sku":"MUS-41447-01","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/STEVEVONTILL-NoWildernessDeepEnough_4e71df94-6c87-4d19-afb0-29232d4bfca3.jpg?v=1766066591"},{"product_id":"steve-von-till-harvestman-23-untitled-poems-lp","title":"STEVE VON TILL \"Harvestman - 23 Untitled Poems\" LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"section__default__textbox--wrapper\" data-mce-fragment=\"1\"\u003eSpoken word version of Steve Von Till's first poetry book. Limited, one-sided + etched. Intimate voice recordings with hallucinatory textures and treatments. Harvestman: 23 Poems Poems \u0026amp; Collected lyrics received wide acclaim establishing Von Till as a poet in his own right. Side B LP etching artwork by Matzatl Features stunning linocut artwork by Matzatl on the cover.\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"BLACK","offer_id":39417012224060,"sku":"MUS-38440-01-B","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/STEVEVONTILL_HARVESTMAN-23UntitledPoems.jpg?v=1766066527"},{"product_id":"steve-von-till-a-life-unto-itself-cd","title":"STEVE VON TILL \"A Life Unto Itself\" CD","description":"\u003cp\u003e\u003cstrong\u003eTracklist:\u003cbr\u003e\u003c\/strong\u003e01. In Your Wings\u003cbr\u003e02. A Life Unto Itself\u003cbr\u003e03. A Language Of Blood\u003cbr\u003e04. Night Of The Moon\u003cbr\u003e05. Birch Bark Box\u003cbr\u003e06. Chasing Ghosts\u003cbr\u003e07. Known But Not Named\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45120139952393,"sku":"MUS-41438-01","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/STEVEVONTILL-ALifeUntoItself_9f49a31d-d338-4225-81c7-efee778b2893.jpg?v=1766065629"},{"product_id":"steve-von-till-as-the-crow-flies-cd","title":"STEVE VON TILL \"As The Crow Flies\" CD","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"If Neurosis is the collective consciousness bearing down on the listener with the weight of centuries, As The Crow Flies is a brief compendium of one man's private torments laid bare - a mere third-of-a-lifetime in the echo chamber of human history. And yet it is no less powerful, no less inclusive; no less reflective of the spirit that created it. The sixth-ever release on the band's own Neurot Recordings, Steve Von Till's solo debut was the first in what has become a long and illustrious line of solo recordings created by various members of Neurosis.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAs The Crow Flies was originally released in May of 2000, when the world was a very different place. The historically and mythologically loaded concept of flight - be it that of birds, planes or drones - didn't carry quite the psychic weight that it does today. At least not in the public arena. But for Von Till, a purer set of correlations was already in place - flight as freedom, flight as exploration, flight as the most fitting artistic method of scaling heights.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAs such, this album is the direct path from spirit to spirit\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e, from heart to heart, from source to ear. It's sad and desolate. It's sparse and introspective. There are no superfluous notes. Born of earth and stone and a respect for the power of nature, it's everything it needs to be: A funeral for a way of life. A yearning for what lies beyond the pale. A journey in which waiting is knowing and knowing is seeing with true eyes for the very first time.\" - J. Bennett, 2013\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracklist:\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e01. Stained Glass\u003cbr data-mce-fragment=\"1\"\u003e02. We All Fall\u003cbr data-mce-fragment=\"1\"\u003e03. Remember\u003cbr data-mce-fragment=\"1\"\u003e04. Warning of a Storm\u003cbr data-mce-fragment=\"1\"\u003e05. Twice Born\u003cbr data-mce-fragment=\"1\"\u003e06. Midheaven \u003cbr data-mce-fragment=\"1\"\u003e07. Shadows in Stone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45120158662921,"sku":"MUS-41439-01","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/STEVEVONTILL-AsTheCrowFlies.jpg?v=1766065628"},{"product_id":"steve-von-till-a-grave-is-a-grim-horse-cd","title":"STEVE VON TILL \"A Grave Is A Grim Horse\" CD","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003ePerhaps the history of the song is innate within us. At least that's what we might glean from Steve Von Till's third Neurot Recordings solo outing A Grave Is A Grim Horse. Intertwined with interpretations of songs by Nick Drake, Townes Van Zant, Mickey Newberry and Lyle Lovett, Von Till's powerful yet subtly graceful originals merge with a lexicon that manifests as something beyond signature, something beyond the concept of persona that popular culture has repeatedly sold us over the past 50 years. Where his previous releases showed reverence for folk music forms of the past, A Grave Is A Grim Horse peers directly inward, drawing from this history of song and earnestly embracing the need we all share to etch our mark upon the artifacts that will ultimately survive us.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eListening to the album, there's a troubling theme that reveals itself only when we're not seeking it. It tells us that we are nothing more than part of the sum of an elusive whole, but sometimes the patterns that define us can be harnessed, as they are here. And, what's most striking about the album is that Von Till's originals are so immediately captivating and threadbare that they seem more familiar upon first listen than the works of the time-honored songwriters to whom he pays tribute. Songs like the title track and \"Looking\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e For Dry Land\" show Von Till coming into his own as a composer and arranger, perfectly adorning songs with flourishes of swooping strings, pedal steel, organ, et al. There's a somber restraint throughout, allowing the plaintive melodies to elevate each song beneath Von Till's breathy whisper that's reminiscent of similarly raspy, whiskey-throttled voices of Mark Lanegan and Michael Gira.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSteve Von Till is most widely recognized as vocalist and guitarist in Bay Area heavy post-psychedelic punk legends Neurosis. But, the breadth of his talents and interests reaching far beyond that band's thunderous intensity have been well established over the course of related projects like the experimental offshoot Tribes of Neurot, psych-drone band Harvestman and acoustic guitar based solo releases As The Crow Flies (2000) and If I Should Fall To the Field (2002). Von Till's intense obsession with ancestry and many things ancient is deeply ingrained in all his work, but none more than within his solo recordings. His first two albums focused intently upon sounds and stories of ages past, eloquently serving to reconnect with forgotten mythologies and long-buried verse. While the same reverence remains on A Grave Is A Grim Horse, it is also Von Till's most personal and confident effort to date. Having traded city life for a rural existence in the open skies, wilderness and dense forests of Northern Idaho, the songwriter's dedication to these transcendent themes seem all the more focused and equally freed from contemporary trappings.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album opens with the parched weight of the title track, as the singer mournfully strums a bleary twanging guitar line, yearning for a departed elder, singing, \"what the dead reveal to the living\/ My blanket can't keep out this cold\/ A grave is a grim horse to ride.\" The last line poignantly punctuated by a loud, chiming guitar line drenched in reverb. \"Clothes of Sand\" is a reinterpretation of a rare Nick Drake song, unreleased in his lifetime, that Von Till makes his own by fitting its claustrophobic candor with a smudged, fatalistic sounding string accompaniment. Elsewhere, \"Valley of the Moon\" is a deeply impassioned account that seems both a chronicle of the singer's own pilgrimage in anticipation of catastrophes to come as an echo of those who'd previously endured similar hardships. While the song sounds wholly autobiographical, it is inspired by the Jack London book of the same name that eerily parallels Von Till's own exodus from city life. \"Looking For Dry Land\" is a moving attempt to reconnect to that very humanity that has long since departed. The finality of album closer \"Gravity\" is incredibly moving. \"What's done is done\/ What's gone is gone\" Von Till sings seemingly simultaneously to bid farewell to a past, a loved one...perhaps even all of us.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt's a resignation, just as the title suggests, echoing that of an old Irish limerick of the grim horse that delivers us to whatever may lie beyond this life. And, at the same time, it's an immense release to realize that we've only played a temporary host to this virus of song. A Grave Is A Grim Horse is a beautiful vessel to that end.\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracklist:\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e01. A Grave Is A Grim Horse \u003cbr data-mce-fragment=\"1\"\u003e02. Clothes of Sand\u003cbr data-mce-fragment=\"1\"\u003e03. The Acre\u003cbr data-mce-fragment=\"1\"\u003e04. Willow Tree\u003cbr data-mce-fragment=\"1\"\u003e05. Valley of the Moon \u003cbr data-mce-fragment=\"1\"\u003e06. The Spider Song \u003cbr data-mce-fragment=\"1\"\u003e07. Looking For Dry Land \u003cbr data-mce-fragment=\"1\"\u003e08. Western Son \u003cbr data-mce-fragment=\"1\"\u003e09. Brigit's Cross\u003cbr data-mce-fragment=\"1\"\u003e10. Promises \u003cbr data-mce-fragment=\"1\"\u003e11. Gravity\u003cbr\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45120163250441,"sku":"MUS-41440-01","price":6.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/STEVEVONTILL-AGraveIsAGrimHorse.jpg?v=1766065629"},{"product_id":"steve-von-till-a-deep-voiceless-wilderness-cd","title":"STEVE VON TILL \"A Deep Voiceless Wilderness\" CD","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSteve Von Till has made a life’s work out of seeking the elemental. With a solo discography that stretches back more than two decades, he has toiled in a shadow realm, peeling back layers of reality in a never-ending search for true meaning and raw emotion. A Deep Voiceless Wilderness strips back the veil even further. An achingly beautiful ambient work with neo-classical leanings, the album is a hallucinatory and elegant rumination on our disconnect from the natural world, each other, and ultimately ourselves.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor some listeners, the album may recall the work of modern composers like Jóhann Jóhannsson, Brian Eno or Gavin Bryars. For Von Till, it’s about surrendering to the spirit of place—and to the original intent behind his 2020 solo album, No Wilderness Deep Enough. That album marked a significant first for Von Till: It was his first solo record without a guitar in hand. Instead, Von Till intoned powerful and thought-provoking lyrics over piano, cello, mellotron and analog synthesizers. A Deep Voiceless Wilderness is that same album without Von Till’s\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e words.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“This is how I originally heard this piece of music,” he says. “Without the voice as an anchor or earthbound narrative, these pieces have a broader wingspan. They become something else entirely and unfold in a more expansive way. The depth of the synths, juxtaposed with the strings and French horn, have space to develop and allow the listener to imagine their own story.”\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracklist:\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e01. Called From the Wind\u003cbr data-mce-fragment=\"1\"\u003e02. We'll Always Have the Sea \u003cbr data-mce-fragment=\"1\"\u003e03. The Emptiness Swallows Us All \u003cbr data-mce-fragment=\"1\"\u003e04. Shelter in Surrender \u003cbr data-mce-fragment=\"1\"\u003e05. The Spiraling Away \u003cbr data-mce-fragment=\"1\"\u003e06. Nightshade High Country\u003cbr\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45120194707721,"sku":"MUS-41443-01","price":8.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/STEVEVONTILL-ADeepVoicelessWilderness.jpg?v=1766065629"},{"product_id":"steve-von-till-a-deep-voiceless-wilderness-2xlp","title":"STEVE VON TILL \"A Deep Voiceless Wilderness\" LP","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSteve Von Till has made a life’s work out of seeking the elemental. With a solo discography that stretches back more than two decades, he has toiled in a shadow realm, peeling back layers of reality in a never-ending search for true meaning and raw emotion. A Deep Voiceless Wilderness strips back the veil even further. An achingly beautiful ambient work with neo-classical leanings, the album is a hallucinatory and elegant rumination on our disconnect from the natural world, each other, and ultimately ourselves.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor some listeners, the album may recall the work of modern composers like Jóhann Jóhannsson, Brian Eno or Gavin Bryars. For Von Till, it’s about surrendering to the spirit of place—and to the original intent behind his 2020 solo album, No Wilderness Deep Enough. That album marked a significant first for Von Till: It was his first solo record without a guitar in hand. Instead, Von Till intoned powerful and thought-provoking lyrics over piano, cello, mellotron and analog synthesizers. A Deep Voiceless Wilderness is that same album without Von Till’s\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e words.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“This is how I originally heard this piece of music,” he says. “Without the voice as an anchor or earthbound narrative, these pieces have a broader wingspan. They become something else entirely and unfold in a more expansive way. The depth of the synths, juxtaposed with the strings and French horn, have space to develop and allow the listener to imagine their own story.”\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTracklist:\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e01. Called From the Wind\u003cbr data-mce-fragment=\"1\"\u003e02. We'll Always Have the Sea \u003cbr data-mce-fragment=\"1\"\u003e03. The Emptiness Swallows Us All \u003cbr data-mce-fragment=\"1\"\u003e04. Shelter in Surrender \u003cbr data-mce-fragment=\"1\"\u003e05. The Spiraling Away \u003cbr data-mce-fragment=\"1\"\u003e06. Nightshade High Country\u003cbr\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"TRANSPARENT VIOLET","offer_id":45120215286025,"sku":"MUS-41444-02-TBW","price":14.99,"currency_code":"EUR","in_stock":true},{"title":"TRANSPARENT BLUE","offer_id":45120215318793,"sku":"MUS-41444-03-TB","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/STEVEVONTILL-ADeepVoicelessWilderness_5f3e2220-1c64-4a31-ab1d-c79ba9505a96.jpg?v=1766065629"},{"product_id":"steve-von-till-harvestman-23-untitled-poems-cd","title":"STEVE VON TILL \"Harvestman - 23 Untitled Poems\" CD","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"section__default__textbox--wrapper\" data-mce-fragment=\"1\"\u003eSpoken word version of Steve Von Till's first poetry book. Limited, one-sided + etched. Intimate voice recordings with hallucinatory textures and treatments. Harvestman: 23 Poems Poems \u0026amp; Collected lyrics received wide acclaim establishing Von Till as a poet in his own right. Side B LP etching artwork by Matzatl Features stunning linocut artwork by Matzatl on the cover.\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45120219676937,"sku":"MUS-41446-01","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/STEVEVONTILL_HARVESTMAN-23UntitledPoems_8bdb141e-8f8a-48e5-8305-82a71636be29.jpg?v=1766065627"},{"product_id":"deafkids-petbrick-deafbrick-lp","title":"DEAFKIDS \u0026 PETBRICK \"Deafbrick\" LP","description":"\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Primeval I\u003cbr\u003e02. Força Bruta \u003cbr\u003e03. Sweat-Drenched Wreck\u003cbr\u003e04. The Menace of the Dark Polar Night\u003cbr\u003e05. Máquina Obssessivo-Compulsiva \u003cbr\u003e06. O Antropoceno\u003cbr\u003e07. Mega-ritual\u003cbr\u003e08. Hyperkinetic Mass Disorder \u003cbr\u003e09. Free Speech for the Dumb\u003cbr\u003e10. Primeval II","brand":"NEUROT RECORDINGS","offers":[{"title":"RED \/ BLACK","offer_id":45120281379081,"sku":"MUS-41454-02-R\/B","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/DEAFKIDSPETBRICK-Deafbrick.jpg?v=1766065630"},{"product_id":"ex-everything-slow-change-will-pull-us-apart-lp","title":"EX EVERYTHING \"Slow Change Will Pull Us Apart\" LP","description":"\u003cspan\u003eOur world has been gradually falling apart. This may seem like a bleak point of view, but the collapse we’re all witnessing inspired post-mathcore outfit Ex Everything as they created their eruptive debut Slow Change Will Pull Us Apart.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Everything around us–politically, socially, environmentally–seems to be stretching and breaking,” says guitarist Jon Howell. “Our record sits in that terrifying place where you’ve been watching it happen.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe Bay Area quartet boasts current and former members of Kowloon Walled City, Early Graves, Mercy Ties, Blowupnihilist, Less Art and others, but listeners shouldn’t mistake this for a short-term project or side band. This is a priority, every member focused and committed, and it only takes a few minutes with the album to understand how serious they are.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“This band is completely its own thing,” says Howell. “It addresses the part of us that wants to write fast, chaotic, knotty, messy, pissed off music.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStarted initially in 2018 between Howell and bassist Ben Thorne, drummer Dan Sneddon joined in 2019, solidifying the core of the band. After going through the usual growing pains, spiked with a global pandemic, they recruited vocalist Andre\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eSanabria who understood what the band needed and delivered it with a fierce dedication. Cut to the band heading into Sharkbite Studios with Scott Evans–whose engineering credits include Yautja, Town Portal and Ghoul–and the band was finally able to hear what they’d accomplished.\u003cbr\u003e\u003cbr\u003eSlow Change Will Pull Us Apart is a near-perfect fusion of Dischord-influenced math rock and noisecore, a nuanced rage that refuses to accommodate the passive listener. Howell’s percussive, angular playing is as impressive as it is baffling, with malformed chords and abstract melodies that still burrow effortlessly into your brain.\u003cbr\u003e\u003cbr\u003eSneddon’s drumming is a stampede of frenetic time signatures, deceptively understated patterns and anthemic bashing, while Thorne’s bass roils underneath like a ship’s hull scraping the ocean floor.\u003cbr\u003e\u003cbr\u003eThe band’s true skill, though, lies in how their instruments interlock, the structuring of movements that grow songs from rotted dirges to triumphant war cries, rhythmic tension building until a riff explodes it into something unexpected and completely satisfying.\u003cbr\u003e\u003cbr\u003eSanabria screams like he’s trying to tear the songs apart, though he manages to find moments of almost zen-like contemplation. It’s a deft and mesmerizing performance, aided by his deeply thoughtful lyrics about, as Howell says, the steady dismembering of the things that bind us.\u003cbr\u003e\u003cbr\u003e“I don’t know what we can do, except try and channel this terror into the music; add to the conversation by showing its face and saying how it makes us feel.”\u003cbr\u003e\u003cbr\u003eFirst in the practice space, then at the studio, Ex Everything is now ready for Slow Change Will Pull Us Apart to be showcased at full volume on stage.\u003cbr\u003e\u003cbr\u003e“We want these songs to move people the way they move us,” Howell says. “Because this band is nothing without that.”\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. The Reduction of Human Life to an Economic Unit\u003cbr data-mce-fragment=\"1\"\u003e02. Exiting the Vampire Castle\u003cbr data-mce-fragment=\"1\"\u003e03. Detonation in the Public Sphere\u003cbr data-mce-fragment=\"1\"\u003e04. A Sermon in Praise of Corruption\u003cbr data-mce-fragment=\"1\"\u003e05. Slow Cancellation of the Future\u003cbr data-mce-fragment=\"1\"\u003e06. Feral City \u003cbr data-mce-fragment=\"1\"\u003e07. The Last Global Slaughter \u003cbr data-mce-fragment=\"1\"\u003e08. Plunder, Cultivate, Fabricate\u003cbr\u003e\u003c\/span\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"RED \u0026 BLACK MARBLE","offer_id":45122877292809,"sku":"MUS-41456-02-RBM","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/EXEVERYTHING-SlowChangeWillPullUsApart_55884c01-f61a-4500-b9a8-062e1edf0151.jpg?v=1766065628"},{"product_id":"ex-everything-slow-change-will-pull-us-apart-cd","title":"EX EVERYTHING \"Slow Change Will Pull Us Apart\" CD","description":"\u003cspan\u003eOur world has been gradually falling apart. This may seem like a bleak point of view, but the collapse we’re all witnessing inspired post-mathcore outfit Ex Everything as they created their eruptive debut Slow Change Will Pull Us Apart.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Everything around us–politically, socially, environmentally–seems to be stretching and breaking,” says guitarist Jon Howell. “Our record sits in that terrifying place where you’ve been watching it happen.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe Bay Area quartet boasts current and former members of Kowloon Walled City, Early Graves, Mercy Ties, Blowupnihilist, Less Art and others, but listeners shouldn’t mistake this for a short-term project or side band. This is a priority, every member focused and committed, and it only takes a few minutes with the album to understand how serious they are.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“This band is completely its own thing,” says Howell. “It addresses the part of us that wants to write fast, chaotic, knotty, messy, pissed off music.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStarted initially in 2018 between Howell and bassist Ben Thorne, drummer Dan Sneddon joined in 2019, solidifying the core of the band. After going through the usual growing pains, spiked with a global pandemic, they recruited vocalist Andre\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eSanabria who understood what the band needed and delivered it with a fierce dedication. Cut to the band heading into Sharkbite Studios with Scott Evans–whose engineering credits include Yautja, Town Portal and Ghoul–and the band was finally able to hear what they’d accomplished.\u003cbr\u003e\u003cbr\u003eSlow Change Will Pull Us Apart is a near-perfect fusion of Dischord-influenced math rock and noisecore, a nuanced rage that refuses to accommodate the passive listener. Howell’s percussive, angular playing is as impressive as it is baffling, with malformed chords and abstract melodies that still burrow effortlessly into your brain.\u003cbr\u003e\u003cbr\u003eSneddon’s drumming is a stampede of frenetic time signatures, deceptively understated patterns and anthemic bashing, while Thorne’s bass roils underneath like a ship’s hull scraping the ocean floor.\u003cbr\u003e\u003cbr\u003eThe band’s true skill, though, lies in how their instruments interlock, the structuring of movements that grow songs from rotted dirges to triumphant war cries, rhythmic tension building until a riff explodes it into something unexpected and completely satisfying.\u003cbr\u003e\u003cbr\u003eSanabria screams like he’s trying to tear the songs apart, though he manages to find moments of almost zen-like contemplation. It’s a deft and mesmerizing performance, aided by his deeply thoughtful lyrics about, as Howell says, the steady dismembering of the things that bind us.\u003cbr\u003e\u003cbr\u003e“I don’t know what we can do, except try and channel this terror into the music; add to the conversation by showing its face and saying how it makes us feel.”\u003cbr\u003e\u003cbr\u003eFirst in the practice space, then at the studio, Ex Everything is now ready for Slow Change Will Pull Us Apart to be showcased at full volume on stage.\u003cbr\u003e\u003cbr\u003e“We want these songs to move people the way they move us,” Howell says. “Because this band is nothing without that.”\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. The Reduction of Human Life to an Economic Unit\u003cbr data-mce-fragment=\"1\"\u003e02. Exiting the Vampire Castle\u003cbr data-mce-fragment=\"1\"\u003e03. Detonation in the Public Sphere\u003cbr data-mce-fragment=\"1\"\u003e04. A Sermon in Praise of Corruption\u003cbr data-mce-fragment=\"1\"\u003e05. Slow Cancellation of the Future\u003cbr data-mce-fragment=\"1\"\u003e06. Feral City \u003cbr data-mce-fragment=\"1\"\u003e07. The Last Global Slaughter \u003cbr data-mce-fragment=\"1\"\u003e08. Plunder, Cultivate, Fabricate\u003cbr\u003e\u003c\/span\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45122889941257,"sku":"MUS-41458-02","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/EXEVERYTHING-SlowChangeWillPullUsApart.jpg?v=1766065628"},{"product_id":"grails-the-burden-of-hope-lp","title":"GRAILS \"The Burden Of Hope\" LP","description":"\u003cp\u003eGRAILS don’t mince words. Awesomely communicative but entirely instrumental, this dynamic band’s violin, guitars, piano, and drums collide with sober melodies and massive emotion. At alternate moments, Grails can sound vaguely classical, Eastern European, Irish, like the lost tapes of Pauline Oliveros, and, you know, rock. They’re not really like anything else on the Neurot roster, but they’ve got something in common with all the Neurot bands: a commitment to intense music that forges new paths and, yeah, communicates in the most real way possible.\u003c\/p\u003e\n\u003cp\u003eGrails have their fair share of ambient noise - shivery violins, a trickle of a high-hat, the amplified scrape of a guitar string - but their music is based on strong, narrative melodies that resonate in the heart. At times it sounds delicate, but they never cower; Grails ROAR, even when they’re being quiet.\u003c\/p\u003e\n\u003cp\u003eThe Burden of Hope is the debut LP, following a pair of self-released, eponymous ep’s in 2000 and 2002. The LP is the culmination of a year’s worth of recordings, including a reinterpretation of Sun City Girls’ classic “Space Prophet Dogon.”\u003c\/p\u003e\n\u003cp\u003eGrails are gathered in Portland, Oregon from Baltimore, Little Rock, Louisville, Chapel Hill, and Reno. As an ensemble, their respective backgrounds in hardcore, classical, folk, and rock blend seamlessly. Formed in late 2000 to execute live the bedroom recordings of guitarist Alex Hall, the once-tentatively-assembled group found unexpected success with both audiences and local press. Originally formed under the moniker Laurel Canyon, the name of the group was changed to Grails to coincide with the release of The Burden of Hope in October, 2003.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e01. The Burden Of Hope\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e02. Lord I Hate Your Day\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e03. The Deed\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e04. In The Beginning\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e05. Invocation\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e06. Space Prophet Dogon\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e07. The March\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e08. Broken Ballad\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e09. White Flag\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e10. Canyon Hymn\u003c\/span\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"BEER","offer_id":45122906521865,"sku":"MUS-41460-02-B","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/GRAILS-TheBurdenOfHope.jpg?v=1766065629"},{"product_id":"false-fed-let-them-eat-fake-cd","title":"FALSE FED \"Let Them Eat Fake\" CD","description":"\u003cspan\u003eIn 2019 BC (before Covid), Discharge frontman Jeff Janiak reached out to longtime friend and musician JP Parsons to assist on a new project. The pair wrote and recorded various ideas before reaching out to Amebix guitarist Stig.C.Miller who joined them during the global pandemic. The trio utilized this new creative climate of physical restriction and went on to set the foundations for their first album, via file sharing home recordings, which would be arranged and produced by Miller. It was several months later when he would call upon Nausea, Ministry, and former Amebix drummer Roy Mayorga to complete the lineup. Mayorga went onto record drums, mix, and produce the band’s debut album, Let Them Eat Fake.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn these unprecedented times of global restriction, fear, and the everlasting lack of faith in the hierarchy, FALSE FED has cultivated a heavy sound that is drenched in melody, aggression, and shrouded in darkness; an ominous and dystopian entity that is not bound by genre, yet still offers subtle hints to the creators’ lineage.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e01. Superficial\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02. The Tyrant Dies\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03. Echoes of Compromise\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e04. The Big Sleep\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e05. Dreadful Necessities\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e06. Mass Debate\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e07. The One Thing We Cannot Avoid\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45122912387337,"sku":"MUS-41461-02","price":6.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/FALSEFED-LetThemEatFake.jpg?v=1766065629"},{"product_id":"neurosis-given-to-the-rising-2xlp","title":"NEUROSIS \"Given To The Rising\" 2xLP","description":"\u003cspan\u003eNeurosis needs no introduction. The Bay Area's legendary masters of behemoth, psychedelic operatic guitar girth has influenced a wide array of artists and nearly singlehandedly defined vast extremes of heavy music popular today. However, now in its third decade, Neurosis' latest album finds the group's sound transforming yet again so dramatically that even to diehard fans, Given To The Rising might seem starkly different, a stunning reintroduction.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eGiven To The Rising is like being submerged in an isolation tank -- it's enveloping, subverting the senses with surreal visions we'd swear were our own, cleverly jarring and disorienting consciousness beyond any footing in reality. As any diehard Neurosis fan will tell you, there's a moment with every new record and live show at which the band will stop as if the world has frozen in position, then suddenly kick into the primordial wail that we've all come to recognize as the \"Neurosis note\" that forces the listener's head and shoulders to lurch and sway almost uncontrollably. Given To The Rising is Neurosis at its most captivating and\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ehypnotic.\u003cbr\u003e\u003cbr\u003ePut simply, the album is some of the band's most raw and immediate material to date, but it is also more complexly orchestrated and richly thickened with psych-damaged overtones. Given To The Rising is more than a just a powerful collection of songs -- it's more like a religious experience. While personal epiphanies are repeatedly told by those who've been converted by Neurosis' sensory overloading live show as well as its recordings, there's a hypnotic quality to this album that takes hold from the opening guitar squall of the title track.\u003cbr\u003e\u003cbr\u003eOnce again recording with revered engineer and longtime friend Steve Albini (as the band has for five previous albums,The Eye of Every Storm in 2004, A Sun That Never Sets in 2001, Sovereign in 2000 and Times of Grace in 1999), Given To The Rising bears the band's signature crushing heft and cathartic force. However, it also finds Neurosis delving into increasingly psychedelic effects and twisted, inventive song structures. Much of the dramatic lull of recent works is forgone in favor of full-on attack. While it's reflective of the band's signature aggressive pummeling, Given To The Rising is not just an exercise in Wagnerian thunder. Neurosis instead takes an exploration into psychoactive prog-rock and eviscerating symphonic thud that moves well beyond anything that might fit snugly within a particular genre. It's as though the band has taken cues from such psych-noise predecessors as Hawkwind, Faust, Skullflower and Chrome, merged those elements with the sickening frequency assault of Throbbing Gristle and then submerged them within Neurosis' saturated sonic strata.\u003cbr\u003e\u003cbr\u003e\"We stand encircled by wing and fire\" growls vocalist\/guitarist Scott Kelly, opening the album and its title track, the band's heels already dug deep in the dirt, blasting forth in all directions at once. It's as though we join the battle already in progress, and by all means we have -- Neurosis has fought hard to maintain its sovereignty not just in the music business, but as a boundlessly creative entity consisting of Kelly, guitarist\/vocalist Steve Von Till, bassist\/vocalist Dave Edwardson, drummer Jason Roeder and keyboardist Noah Landis. The band brought keyboards to heavy punk. It brought experimental noise to metal. It merged antique droning folk with Black Flag's desperation. All the while, forging onward toward new means to explore the infinite realms of catharsis and self-transformation, while myriad bands simply follow in its wake.\u003cbr\u003e\u003cbr\u003eThe guitars grunt and groan like sinister beasts on \"Fear and Sickness\", propelled by Roeder's clever rhythmic shifts delivered by thunderous, rollicking tom beats that lunge into half-time thumping kick drum and snare blasts. \"To The Wind\" opens with a deceptively delicate, albeit forlorn melody unlike anything we've come to expect of the band, which is abruptly choked off at the 2-minute mark by one of the most brutally sudden shifts of mood and tempo. A slight, barely audible growl hints at the change to come, but when a wall of chiming bent-notes and drop-tuned sludge guitars, paired with a stomping beat erupt over the melody, it's truly monolithic in impact. Edwardson slings heavy low-end distortion over the top with howling bent notes adding powerful harmonic overtones.\u003cbr\u003e\u003cbr\u003eBut, perhaps the highlight of the song comes during a brief respite, when Kelly lets out an astounding 29- second-long throat-curdling scream at the song's climax. Von Till's rasping whisper sounds downright haunting over the rhythmic churn and Landis' syrupy tones on \"Hidden Faces\" prove ample evidence to the band's latest evolutionary step. \"Through eyes of the wheel I will see you coming,\" Von Till howls, the band erupting in consensus.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e01. Given To The Rising\u003cbr data-mce-fragment=\"1\"\u003e02. Fear And Sickness\u003cbr data-mce-fragment=\"1\"\u003e03. To The Wind\u003cbr data-mce-fragment=\"1\"\u003e04. At The End Of The Road\u003cbr data-mce-fragment=\"1\"\u003e05. Shadow\u003cbr data-mce-fragment=\"1\"\u003e06. Hidden Faces\u003cbr data-mce-fragment=\"1\"\u003e07. Water Is Not Enough\u003cbr data-mce-fragment=\"1\"\u003e08. Distill (Watching The Swarm)\u003cbr data-mce-fragment=\"1\"\u003e09. Nine\u003cbr data-mce-fragment=\"1\"\u003e10. Origin\u003cbr\u003e\u003c\/span\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"BLUE GALAXY","offer_id":45122923397385,"sku":"MUS-41463-02-BG","price":34.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/neurosis-given-to-the-rising-2xlp-6721420.jpg?v=1774108391"},{"product_id":"ufomammut-fenice-lp","title":"UFOMAMMUT \"Fenice\" LP","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eItalian alchemists and power trio Ufomammut return with their ninth studio album, Fenice via Neurot Recordings.\u003cbr\u003e\u003cbr\u003eBut not as we’ve heard them before, now “more intimate, more free.”\u003cbr\u003e\u003cbr\u003eFor over 20 years, the band has combined the heaviness and majesty of dynamic riff worship with a nuanced understanding of psychedelic tradition and history in music, creating a cosmic, futuristic, and technicolor sound destined for absolute immersion.\u003cbr\u003eFenice (meaning Phoenix in Italian) symbolically represents endless rebirth and the ability to start again after everything seems doomed. The album is the first recording with new drummer Levre, and truly marks a new chapter in Ufomammut history.\u003cbr\u003eWhilst the band are well-known for their psychedelic travels into the far reaches of the cosmos, Fenice is a much more introspective listening experience. Fenice was conceived as a single concept track, divided in six facets of this inward-facing focus. Sonic experimentations abound in the exploration of this\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ecentral theme; synths and experimental vocal effects are featured more prominently than ever before as the band push themselves ever further into the uncharted territory of their very identity.\u003cbr\u003e\u003cbr\u003eThe towering synths on the opening track ‘Duat’ evoke an almighty machine rising from the depths of primordial ooze. There’s a shift to a frenetic garage-psych pace before mellowing out into a more familiar doomy stomp. ‘Kepherer’ is a respite, albeit a slight one, returning to the pulsing rhythms of the album’s intro before plunging the listener into the menacing build and release of ‘Psychostasia’ next.\u003cbr\u003e\u003cbr\u003eThe second half of the record brings with it an even greater sense of dynamic exploration. ‘Metamorphoenix’ oozes with curious synth patterns and noises, before descending into sinister chords and an oddly choral chant. An explosion of emotion heralds the beginning of ‘Pyramind’, all-encompassing in its riff worship and quasi-religious climax of mantra-esque vocals . ‘Empyros’ is groovy yet irregular, with rhythms interplaying and more chanting voices, bringing the records to its end with a sense of dedication and purpose.\u003cbr\u003e\u003cbr\u003eEach oscillation of this extraordinary album feels inevitable - Ufomammut are after all, masters of their craft, and when it comes to creating enveloping sonic journeys into the unknown, it’s their uninhibited sense of exploration that breaches new sonic ground.\u003cbr\u003e\u003cbr\u003eFenice is the sound of a band whose very essence has been rejuvenated, and are welcoming the chance to create music in the way they know best; by unfolding carefully and attentively, by melding those extreme dynamics which render Fenice as a living and breathing creature - and by writing gargantuan riffs that herald their very rebirth.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Duat\u003cbr data-mce-fragment=\"1\"\u003e02. Kheperer\u003cbr data-mce-fragment=\"1\"\u003e03. Psychostasia\u003cbr data-mce-fragment=\"1\"\u003e04. Metamorphoenix\u003cbr data-mce-fragment=\"1\"\u003e05. Pyramind\u003cbr data-mce-fragment=\"1\"\u003e06. Empyros\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"RED W\/ BLACK SPLATTER","offer_id":45122939126025,"sku":"MUS-41465-02-RWB","price":9.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/UFOMAMMUT-Fenice.jpg?v=1766065629"},{"product_id":"great-falls-objects-without-pain-2xlp","title":"GREAT FALLS \"Objects Without Pain\" 2xLP","description":"\u003cp\u003eRead any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist\/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS. The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eprior to the release of their exhilarating, cacophonous 2023 EP, FUNNY WHAT SURVIVES.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation – a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn “TRAP FEEDING,” we see the main character indulging in “dreams of alone” by scrolling apartment listings in secret. \"Alone” is exciting in theory: He can be free to be himself in a new space, finding solace in records, comic books, and video games. But when faced with the reality of filling out forms and credit checks, “alone” shapeshifts into a terrifying concept signaling imminent heartache and unendurable loneliness. He finds himself paralyzed, unable to stomach the decision. “OLD WORDS WORN THIN” considers the logistics of how a move would play out, how they would divide their belongings, what memories each object would trigger. Who gets the records? Who gets the friends, for that matter? In a rare moment of comic relief amid the emotional turmoil and discordant riffs, Johnston screams, “I know I did not make the cut \/ but I can drive the truck.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe tale ends with the 13-minute existential pulverizer “THROWN AGAINST THE WAVES.\" While the other songs mostly explore the impending turmoil of a future separation, the closer looks back on the destruction after the split of two people who became “sad shelters” to one another rather than loving partners. In a particularly dramatic moment, there’s a returns to the former home one last time: \"I slide the key under the door \/ I don’t want the weight,\" Johnston shrieks in anguish, anxiously underscored by Mehling's frenzied rumbling and Parks' intuitively precise pummeling. Suddenly, everything goes silent for a few seconds, allowing time to process before launching into an agonizing rollercoaster of palpable grief and release. The song brings the album to a close with an emotionally crushing barrage of riffs -- giving a glimpse of what the trio is capable of in the live setting.\u003c\/span\u003e \u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e01. Dragged Home Alive\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e02. Trap Feeding\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e03. Born As An Argument\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e04. Old Words Worn Thin\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e05. Spill Into The Aisle\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e06. Ceilings Inch Closer\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e07. The Starveling\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e08. Thrown \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"peekaboo-text\" id=\"package_description_0\"\u003eAgainst The Waves\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"RED","offer_id":45123530653961,"sku":"MUS-41467-02-R","price":31.99,"currency_code":"EUR","in_stock":false},{"title":"LIGHT BLUE","offer_id":55466147086601,"sku":"MUS-45152-02-LB","price":31.99,"currency_code":"EUR","in_stock":true},{"title":"CLEAR","offer_id":55466147119369,"sku":"MUS-45152-03-C","price":31.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/GREATFALLS-ObjectsWithoutPain.jpg?v=1766065629"},{"product_id":"great-falls-objects-without-pain-cd","title":"GREAT FALLS \"Objects Without Pain\" CD","description":"Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist\/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS. The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eprior to the release of their exhilarating, cacophonous 2023 EP, FUNNY WHAT SURVIVES.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation – a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn “TRAP FEEDING,” we see the main character indulging in “dreams of alone” by scrolling apartment listings in secret. \"Alone” is exciting in theory: He can be free to be himself in a new space, finding solace in records, comic books, and video games. But when faced with the reality of filling out forms and credit checks, “alone” shapeshifts into a terrifying concept signaling imminent heartache and unendurable loneliness. He finds himself paralyzed, unable to stomach the decision. “OLD WORDS WORN THIN” considers the logistics of how a move would play out, how they would divide their belongings, what memories each object would trigger. Who gets the records? Who gets the friends, for that matter? In a rare moment of comic relief amid the emotional turmoil and discordant riffs, Johnston screams, “I know I did not make the cut \/ but I can drive the truck.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe tale ends with the 13-minute existential pulverizer “THROWN AGAINST THE WAVES.\" While the other songs mostly explore the impending turmoil of a future separation, the closer looks back on the destruction after the split of two people who became “sad shelters” to one another rather than loving partners. In a particularly dramatic moment, there’s a returns to the former home one last time: \"I slide the key under the door \/ I don’t want the weight,\" Johnston shrieks in anguish, anxiously underscored by Mehling's frenzied rumbling and Parks' intuitively precise pummeling. Suddenly, everything goes silent for a few seconds, allowing time to process before launching into an agonizing rollercoaster of palpable grief and release. The song brings the album to a close with an emotionally crushing barrage of riffs -- giving a glimpse of what the trio is capable of in the live setting.\u003c\/span\u003e \u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e01. Dragged Home Alive\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e02. Trap Feeding\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e03. Born As An Argument\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e04. Old Words Worn Thin\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e05. Spill Into The Aisle\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e06. Ceilings Inch Closer\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e07. The Starveling\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e08. Thrown \u003c\/span\u003e\u003cspan id=\"package_description_0\" class=\"peekaboo-text\" data-mce-fragment=\"1\"\u003eAgainst The Waves\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan class=\"lightweightBreak\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45123532128521,"sku":"MUS-41468-02-R","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/GREATFALLS-ObjectsWithoutPain_8e3dba30-7ad1-4c7c-a028-f6b27a49e046.jpg?v=1766065630"},{"product_id":"harvestman-triptych-part-one-lp","title":"HARVESTMAN \"Triptych: Part One\" LP","description":"At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.\u003cbr\u003e\u003cbr\u003eReleased periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is Harvestman’s most ambitious undertaking yet. But it’s also the distillation of a unique approach that finds a continuity amongst the fragmented, treating all its myriad musical sources and reference points not as building bricks, but as tuning forks for a collective ancestral resonance, residing in that liminal space between the fundamental and the imaginary, the intrinsic and the speculative.\u003cbr\u003e\u003cbr\u003eDrawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003cbr\u003e\u003cbr\u003eWoven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth” orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.\u003cbr\u003e\u003cbr\u003eIf “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Psilosynth\u003cbr\u003e02. Give Your Heart to the Hawk\u003cbr\u003e03. Coma\u003cbr\u003e04. Psilosynth (Harvest Dub)\u003cbr\u003e05. How to Purify Mercury\u003cbr\u003e06. Nocturnal Field Song\u003cbr\u003e07. Mare and Foal","brand":"NEUROT RECORDINGS","offers":[{"title":"BONE WHITE \/ BLACK GALAXY","offer_id":45143176511753,"sku":"MUS-41510-02-BW\/","price":19.99,"currency_code":"EUR","in_stock":false},{"title":"OPAQUE GREY","offer_id":55676320612617,"sku":"MUS-45350-03-OG","price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/HARVESTMAN-Triptych-Part-One-Cover.jpg?v=1766065629"},{"product_id":"harvestman-triptych-part-one-cd","title":"HARVESTMAN \"Triptych: Part One\" CD","description":"At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.\u003cbr\u003e\u003cbr\u003eReleased periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is Harvestman’s most ambitious undertaking yet. But it’s also the distillation of a unique approach that finds a continuity amongst the fragmented, treating all its myriad musical sources and reference points not as building bricks, but as tuning forks for a collective ancestral resonance, residing in that liminal space between the fundamental and the imaginary, the intrinsic and the speculative.\u003cbr\u003e\u003cbr\u003eDrawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003cbr\u003e\u003cbr\u003eWoven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth” orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.\u003cbr\u003e\u003cbr\u003eIf “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. 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But it’s also the distillation of a unique approach that finds a continuity amongst the fragmented, treating all its myriad musical sources and reference points not as building bricks, but as tuning forks for a collective ancestral resonance, residing in that liminal space between the fundamental and the imaginary, the intrinsic and the speculative.\u003cbr\u003e\u003cbr\u003eDrawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003cbr\u003e\u003cbr\u003eWoven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze. \u003cbr\u003e\u003cbr\u003eA filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament\u003cbr\u003e\u003cbr\u003eIf “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. 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Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze. \u003cbr\u003e\u003cbr\u003eA filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament\u003cbr\u003e\u003cbr\u003eIf “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. 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Risolve Studio is 100% solar powered and uses low-energy printers.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eAt its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. 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Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze. \u003cbr\u003e\u003cbr\u003eA filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament\u003cbr\u003e\u003cbr\u003eIf “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. 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Risolve Studio is 100% solar powered and uses low-energy printers.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eAt its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.\u003cbr\u003e\u003cbr\u003eReleased periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is Harvestman’s most ambitious undertaking yet. 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It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003cbr\u003e\u003cbr\u003eWoven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze. \u003cbr\u003e\u003cbr\u003eA filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament\u003cbr\u003e\u003cbr\u003eIf “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. The Hag of Beara vs. the Poet\u003cbr\u003e02. The Falconer\u003cbr\u003e03. Damascus\u003cbr\u003e04. The of Hag of Beara vs. the Poet (Forest Dub)\u003cbr\u003e05. Vapour Phase\u003cbr\u003e06. Galvanized and Torn Open\u003cbr\u003e07. The Unjust Incarceration\u003cbr\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003c!----\u003e\u003c!----\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45653833154825,"sku":"MUS-43058-02","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/HARVESTMAN-CD-Bundle_ed2b45ff-ca4d-491f-a278-003f49a921e6.jpg?v=1766065449"},{"product_id":"harvestman-triptych-part-one-cd-art-print-bundle-1","title":"HARVESTMAN \"Triptych: Part One\" CD + Art Print Bundle","description":"\u003cp\u003e\u003cstrong\u003eThis bundle contains;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1x HARVESTMAN \"Triptych: Part One\" CD\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e1x HARVESTMAN \"Triptych: Part One\" Art Print\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eArt Print Info:\u003c\/strong\u003e Limited edition 11” x 11” exclusive risograph art print of original cover art by Henry Hablak.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePrinted by Risolve Studio in Lancaster, Pennsylvania on sustainable Mohawk Via Vellum Bright White 80lb Cover paper using eco-friendly rice based inks. Risolve Studio is 100% solar powered and uses low-energy printers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.\u003cbr\u003e\u003cbr\u003eReleased periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is Harvestman’s most ambitious undertaking yet. But it’s also the distillation of a unique approach that finds a continuity amongst the fragmented, treating all its myriad musical sources and reference points not as building bricks, but as tuning forks for a collective ancestral resonance, residing in that liminal space between the fundamental and the imaginary, the intrinsic and the speculative.\u003cbr\u003e\u003cbr\u003eDrawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003cbr\u003e\u003cbr\u003eWoven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth” orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.\u003cbr\u003e\u003cbr\u003eIf “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Psilosynth\u003cbr\u003e02. Give Your Heart to the Hawk\u003cbr\u003e03. Coma\u003cbr\u003e04. Psilosynth (Harvest Dub)\u003cbr\u003e05. How to Purify Mercury\u003cbr\u003e06. Nocturnal Field Song\u003cbr\u003e07. Mare and Foal\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":45657781076233,"sku":"MUS-43061-02","price":22.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/HARVESTMAN-Triptych-Part-One-CD_ArtPrintBundle.jpg?v=1766065450"},{"product_id":"harvestman-triptych-part-three-lp","title":"HARVESTMAN \"Triptych: Part Three\" LP","description":"\u003cp\u003eAt its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.\u003c\/p\u003e\n\u003cp\u003eDrawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003c\/p\u003e\n\u003cp\u003eWoven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of \"gather[ing] from the air a live tradition\". Elsewhere, \"Herne's Oak\" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.\u003c\/p\u003e\n\u003cp\u003eIf Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.\u003c\/p\u003e\n\u003cp\u003eCover art is by Henry Hablak, who also designed the art for Part One and Part Two.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Clouds Are Relatives\u003cbr\u003e02. Snow Spirits\u003cbr\u003e03. Eye the Unconquered Flame\u003cbr\u003e04. Clouds are Relatives (The Bug - 'Amtrak Dub Mix' )\u003cbr\u003e05. The Absolute Nature of Light\u003cbr\u003e06. Herne’s Oak\u003cbr\u003e07. 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It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003c\/p\u003e\n\u003cp\u003eWoven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of \"gather[ing] from the air a live tradition\". Elsewhere, \"Herne's Oak\" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. 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Risolve Studio is 100% solar powered and uses low-energy printers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAt its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.\u003c\/p\u003e\n\u003cp\u003eDrawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003c\/p\u003e\n\u003cp\u003eWoven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of \"gather[ing] from the air a live tradition\". Elsewhere, \"Herne's Oak\" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.\u003c\/p\u003e\n\u003cp\u003eIf Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.\u003c\/p\u003e\n\u003cp\u003eCover art is by Henry Hablak, who also designed the art for Part One and Part Two.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Clouds Are Relatives\u003cbr\u003e02. Snow Spirits\u003cbr\u003e03. Eye the Unconquered Flame\u003cbr\u003e04. Clouds are Relatives (The Bug - 'Amtrak Dub Mix' )\u003cbr\u003e05. The Absolute Nature of Light\u003cbr\u003e06. Herne’s Oak\u003cbr\u003e07. 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Risolve Studio is 100% solar powered and uses low-energy printers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAt its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.\u003c\/p\u003e\n\u003cp\u003eDrawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.\u003c\/p\u003e\n\u003cp\u003eWoven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of \"gather[ing] from the air a live tradition\". Elsewhere, \"Herne's Oak\" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.\u003c\/p\u003e\n\u003cp\u003eIf Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.\u003c\/p\u003e\n\u003cp\u003eCover art is by Henry Hablak, who also designed the art for Part One and Part Two.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Clouds Are Relatives\u003cbr\u003e02. Snow Spirits\u003cbr\u003e03. Eye the Unconquered Flame\u003cbr\u003e04. Clouds are Relatives (The Bug - 'Amtrak Dub Mix' )\u003cbr\u003e05. The Absolute Nature of Light\u003cbr\u003e06. Herne’s Oak\u003cbr\u003e07. 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Identifying with people that have a similar world perspective, who are channeling their angst and frustration into the creative outlet of art and music — that was important.”\u003c\/p\u003e\n\u003cp\u003eJosh Graham isn’t just talking about his decades-long career in heavy music, which has included A Storm of Light, Battle of Mice, and many years as the one-man visual department for Neurosis. He’s also talking about the formation of Guiltless, his new band with bassist Sacha Dunable (Intronaut), drummer Billy Graves (Generation of Vipers) and guitarist Dan Hawkins (A Storm of Light).\u003c\/p\u003e\n\u003cp\u003eGuiltless released their debut EP, Thorns, via Neurot Recordings in early 2024. Crushing and cheerless, it seemed to welcome the apocalypse looming on our collective horizon. “The EP had a pretty narrow focus starting from my ideas,” Graham explains. “I wrote the basic outlines for the songs and then reached out to the guys to see if they’d actually want to play on it. With this record, my main goal was to really collaborate with Sacha and Dan and Billy because those guys are great songwriters. The new album is meant to open up the sonic palette and explore more territory.”\u003c\/p\u003e\n\u003cp\u003eThat new album is Teeth to Sky, the band’s first full-length. Even more pulverizing and focused than its predecessor, the album’s collaborative songwriting approach was paired with an adjustment to the lyrical content. “On the EP, the lyrics are as bleak as possible,” Graham points out. “I wanted to try to turn that around a little bit for Teeth to Sky. It’s a more introspective record. The overarching theme is taking advantage of your life while you have it. It's a crazy thing to really just be alive, floating through space on this little planet. Of course the lyrical content is still dark in nature, but somewhat less bring-on-the-apocalypse.”\u003c\/p\u003e\n\u003cp\u003eYou can hear it on “One Is Two,” which channels a tightly controlled Meshuggah churn through the more visceral lo-fi approach of Kiss It Goodbye or Swedish noise rock legends Breach. “The song explores the duality of human nature and how it relates to our time on Earth,” Graham says. “We are inherently moral as individuals, but as a species we bulldoze through everything we can get our hands on or drills in. Our species is both good and bad, one and the same.”\u003c\/p\u003e\n\u003cp\u003eOn “In Starless Reign,” Guiltless blend dissonant black metal and thundering doom while Graham invokes humanity’s inability to see the forest through the trees. “The rich focus on getting richer as the planet becomes less habitable from year to year,” he says. “No concern for the wellbeing of others, just, ‘Let’s cut more jobs, maximize profit and buy another superyacht.’”\u003c\/p\u003e\n\u003cp\u003eThen there’s the bruising title track, which combines the gnarled sensibilities of The Jesus Lizard, Cherubs and Barn Owl into a rumination on Mother Nature’s revenge. “The title track represents a surrender to nature’s unstoppable force,” Graham says. “As climate extremes continue to grow and impact virtually everyone on earth, we are now facing the impact of our forefathers’ actions, and our children will live through a new and unprecedented future.”\u003c\/p\u003e\n\u003cp\u003eTeeth To Sky was recorded remotely by the members of Guiltless—except for the drums, which were recorded by Travis Kammeyer (Generation of Vipers) at Fahrenheit Studios in Johnson City, Tennessee. The album was mixed by Kurt Ballou at God City in Salem, Massachusetts, and mastered by Brad Boatright at Audiosiege in Portland, Oregon.\u003c\/p\u003e\n\u003cp\u003eThe album will be released by Neurot Recordings in early 2025. - J. Bennett\u003c\/p\u003e\n\u003cp\u003eGUILTLESS\u003cbr\u003eBilly Graves: Drums\u003cbr\u003eDan Hawkins: Guitar, Noise\u003cbr\u003eSacha Dunable: Bass, Noise\u003cbr\u003eJosh Graham: Guitar, Vocals, Noise\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003cbr\u003e01. Into Dust Becoming\u003cbr\u003e02. One Is Two\u003cbr\u003e03. In Starless Reign\u003cbr\u003e04. Teeth To Sky\u003cbr\u003e05. Our Serpent In Circle\u003cbr\u003e06. Lone Blue Vale\u003cbr\u003e07. Landscape of Thorns\u003cbr\u003e08. 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He’s also talking about the formation of Guiltless, his new band with bassist Sacha Dunable (Intronaut), drummer Billy Graves (Generation of Vipers) and guitarist Dan Hawkins (A Storm of Light).\u003c\/p\u003e\n\u003cp\u003eGuiltless released their debut EP, Thorns, via Neurot Recordings in early 2024. Crushing and cheerless, it seemed to welcome the apocalypse looming on our collective horizon. “The EP had a pretty narrow focus starting from my ideas,” Graham explains. “I wrote the basic outlines for the songs and then reached out to the guys to see if they’d actually want to play on it. With this record, my main goal was to really collaborate with Sacha and Dan and Billy because those guys are great songwriters. The new album is meant to open up the sonic palette and explore more territory.”\u003c\/p\u003e\n\u003cp\u003eThat new album is Teeth to Sky, the band’s first full-length. Even more pulverizing and focused than its predecessor, the album’s collaborative songwriting approach was paired with an adjustment to the lyrical content. “On the EP, the lyrics are as bleak as possible,” Graham points out. “I wanted to try to turn that around a little bit for Teeth to Sky. It’s a more introspective record. The overarching theme is taking advantage of your life while you have it. It's a crazy thing to really just be alive, floating through space on this little planet. Of course the lyrical content is still dark in nature, but somewhat less bring-on-the-apocalypse.”\u003c\/p\u003e\n\u003cp\u003eYou can hear it on “One Is Two,” which channels a tightly controlled Meshuggah churn through the more visceral lo-fi approach of Kiss It Goodbye or Swedish noise rock legends Breach. “The song explores the duality of human nature and how it relates to our time on Earth,” Graham says. “We are inherently moral as individuals, but as a species we bulldoze through everything we can get our hands on or drills in. Our species is both good and bad, one and the same.”\u003c\/p\u003e\n\u003cp\u003eOn “In Starless Reign,” Guiltless blend dissonant black metal and thundering doom while Graham invokes humanity’s inability to see the forest through the trees. “The rich focus on getting richer as the planet becomes less habitable from year to year,” he says. “No concern for the wellbeing of others, just, ‘Let’s cut more jobs, maximize profit and buy another superyacht.’”\u003c\/p\u003e\n\u003cp\u003eThen there’s the bruising title track, which combines the gnarled sensibilities of The Jesus Lizard, Cherubs and Barn Owl into a rumination on Mother Nature’s revenge. “The title track represents a surrender to nature’s unstoppable force,” Graham says. “As climate extremes continue to grow and impact virtually everyone on earth, we are now facing the impact of our forefathers’ actions, and our children will live through a new and unprecedented future.”\u003c\/p\u003e\n\u003cp\u003eTeeth To Sky was recorded remotely by the members of Guiltless—except for the drums, which were recorded by Travis Kammeyer (Generation of Vipers) at Fahrenheit Studios in Johnson City, Tennessee. The album was mixed by Kurt Ballou at God City in Salem, Massachusetts, and mastered by Brad Boatright at Audiosiege in Portland, Oregon.\u003c\/p\u003e\n\u003cp\u003eThe album will be released by Neurot Recordings in early 2025. - J. Bennett\u003c\/p\u003e\n\u003cp\u003eGUILTLESS\u003cbr\u003eBilly Graves: Drums\u003cbr\u003eDan Hawkins: Guitar, Noise\u003cbr\u003eSacha Dunable: Bass, Noise\u003cbr\u003eJosh Graham: Guitar, Vocals, Noise\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003cbr\u003e01. Into Dust Becoming\u003cbr\u003e02. One Is Two\u003cbr\u003e03. In Starless Reign\u003cbr\u003e04. Teeth To Sky\u003cbr\u003e05. Our Serpent In Circle\u003cbr\u003e06. Lone Blue Vale\u003cbr\u003e07. Landscape of Thorns\u003cbr\u003e08. Illumine\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":48933452579081,"sku":"MUS-44167-02","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/1200xGuiltless-Teeth-To-Sky_14606a82-5b72-49a1-8e7d-49460267a2ab.jpg?v=1766065093"},{"product_id":"steve-von-till-alone-in-a-world-of-wounds-cd","title":"STEVE VON TILL \"Alone In A World Of Wounds\" CD","description":"\u003cp\u003ePhysically enveloping, forebodingly beautiful, and drawing on the animistic spirit of the natural world, Steve Von Till announces his seventh solo LP arriving on May 16th via Neurot Recordings.\u003c\/p\u003e\n\u003cp\u003ePloughing a different furrow, Alone in a World of Wounds is an album of sweeping gothic tinged Americana, tripped out drones, beautiful world-weary vocal melodies and slowly unfurling cello arrangements. Initially inspired by the harmonic resonance of piano and synths and his long-standing love of ambient music, Alone in a World of Wounds follows 2021’s No Wilderness Deep Enough in reflective ambience. Opening up his voice in ways he has never done before, the album's genesis came via intuitive Improvisations.\u003c\/p\u003e\n\u003cp\u003e\"The complex overtones of upright piano and synthesisers really inspired me to sing out more, to seek out the implied harmonies, and to find unique approaches within the limitations of my voice.\" says Von Till\u003c\/p\u003e\n\u003cp\u003e‘It is the transcendent nature of music, the cathartic healing process where I can leave everything behind and become one with sound. When you allow yourself to go beyond the ordinary you might be fortunate enough to find a moment where you are creating in alignment with the flow of the river of the universe.\u003c\/p\u003e\n\u003cp\u003e’The search for deeper connection, living with the sorrow of our separation from the natural world, and relying on gut level intuition to get closer to the primal creative state are all key to Von Till’s creative process.\u003c\/p\u003e\n\u003cp\u003eRecorded mostly at his barn studio at home in Idaho and mixed at Circular Ruin in Brooklyn, NY, with storied producer Randall Dunn (Jóhann Jóhannsson, Sunn O))), Earth, Jim Jarmusch), Alone in a World of Wounds also boasts cover artwork from Spokane, WA based alternative process photographer Brian Deemy - who works with colloidal wet plate ‘tintype’ aesthetics, which compliment Von Till’s uniquely ancient yet grounded aesthetic, and one that perfectly matches his desire to reimagine the connection between the human and the more than human world.\u003c\/p\u003e\n\u003cp\u003e‘I often wonder where the psychological break was that caused the fatal delusion that we have dominion over the natural world, how it is reduced to existing solely for our benefit. Whenever that disconnect was - I believe it to be the root of most of our problems as a society, in relationships, and even within ourselves and our own minds. It always comes back to the fact that we must have a conscious shift back to understanding that we’re all part of a living animate earth: and that we need to think of the rivers and the mountains and the weather as part of us and us as part of the world. We are wild things but we’ve forgotten. Without this shift in consciousness we’re screwed. That’s the overarching theme. And when I look back on my life it’s becoming more explicit and more clear that this is always what I’ve been singing about’\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eCredits\u003cbr\u003eAll songs written by Steve Von Till\u003cbr\u003eSVT - voice, piano, synths, acoustic and electric guitars\u003cbr\u003eBrent Arnold - cello on 1, 2, 3, 4, 5, 6, 8Randall Dunn - synths on 1, 2, 3, 5, 7\u003cbr\u003eEric Davis - french horn on 1, 4\u003cbr\u003eScott Evans - synth on 2\u003cbr\u003eLuke Bergman - bass on 3, 4, pedal steel on 5\u003cbr\u003eBen Greenberg - drums on 4\u003cbr\u003eBen Chisholm - field recordings, processing, and electronics on 5\u003cbr\u003eDave French - keys on 7\u003cbr\u003eFoundational tracks, vocals, synths, guitars, electronics and treatments recorded by SVT and Randall Dunn at The Crow’s Nest, Spirit Lake, Idaho\u003cbr\u003ePiano and additional vocals recorded by Scott Evans\u003cbr\u003eat Antisleep Audio, Oakland, California\u003cbr\u003eProduced and mixed by Randall Dunn\u003cbr\u003eat Circular Ruin, Brooklyn, New York\u003cbr\u003eCello and french horn arranged and recorded by Brent Arnold in Brooklyn, New York\u003cbr\u003eMastered by Bob Weston, Chicago Mastering Service, Chicago, Illinois\u003cbr\u003eTintype photography by Brian Deemy\u003cbr\u003eAll hand lettering on front and back cover by Niela Von Till\u003cbr\u003eLayout by SVT and Orion Landau\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. The Corpse Road\u003cbr\u003e02. Watch Them Fade\u003cbr\u003e03. Horizons Undone\u003cbr\u003e04. Distance\u003cbr\u003e05. Calling Down the Darkness\u003cbr\u003e06. The Dawning of the Day (Insomnia)\u003cbr\u003e07. Old Bent Pine\u003cbr\u003e08. River of No Return\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":50204439478537,"sku":"MUS-44564-01","price":13.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/SVT-Alone-In-A-World-Of-Wounds-Cover_080bf4c2-12f8-4958-ab90-068ca83c1779.jpg?v=1741183246"},{"product_id":"steve-von-till-alone-in-a-world-of-wounds-lp","title":"STEVE VON TILL \"Alone In A World Of Wounds\" LP","description":"\u003cp\u003ePhysically enveloping, forebodingly beautiful, and drawing on the animistic spirit of the natural world, Steve Von Till announces his seventh solo LP arriving on May 16th via Neurot Recordings.\u003c\/p\u003e\n\u003cp\u003ePloughing a different furrow, Alone in a World of Wounds is an album of sweeping gothic tinged Americana, tripped out drones, beautiful world-weary vocal melodies and slowly unfurling cello arrangements. Initially inspired by the harmonic resonance of piano and synths and his long-standing love of ambient music, Alone in a World of Wounds follows 2021’s No Wilderness Deep Enough in reflective ambience. Opening up his voice in ways he has never done before, the album's genesis came via intuitive Improvisations.\u003c\/p\u003e\n\u003cp\u003e\"The complex overtones of upright piano and synthesisers really inspired me to sing out more, to seek out the implied harmonies, and to find unique approaches within the limitations of my voice.\" says Von Till\u003c\/p\u003e\n\u003cp\u003e‘It is the transcendent nature of music, the cathartic healing process where I can leave everything behind and become one with sound. When you allow yourself to go beyond the ordinary you might be fortunate enough to find a moment where you are creating in alignment with the flow of the river of the universe.\u003c\/p\u003e\n\u003cp\u003e’The search for deeper connection, living with the sorrow of our separation from the natural world, and relying on gut level intuition to get closer to the primal creative state are all key to Von Till’s creative process.\u003c\/p\u003e\n\u003cp\u003eRecorded mostly at his barn studio at home in Idaho and mixed at Circular Ruin in Brooklyn, NY, with storied producer Randall Dunn (Jóhann Jóhannsson, Sunn O))), Earth, Jim Jarmusch), Alone in a World of Wounds also boasts cover artwork from Spokane, WA based alternative process photographer Brian Deemy - who works with colloidal wet plate ‘tintype’ aesthetics, which compliment Von Till’s uniquely ancient yet grounded aesthetic, and one that perfectly matches his desire to reimagine the connection between the human and the more than human world.\u003c\/p\u003e\n\u003cp\u003e‘I often wonder where the psychological break was that caused the fatal delusion that we have dominion over the natural world, how it is reduced to existing solely for our benefit. Whenever that disconnect was - I believe it to be the root of most of our problems as a society, in relationships, and even within ourselves and our own minds. It always comes back to the fact that we must have a conscious shift back to understanding that we’re all part of a living animate earth: and that we need to think of the rivers and the mountains and the weather as part of us and us as part of the world. We are wild things but we’ve forgotten. Without this shift in consciousness we’re screwed. That’s the overarching theme. And when I look back on my life it’s becoming more explicit and more clear that this is always what I’ve been singing about’\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eCredits\u003cbr\u003eAll songs written by Steve Von Till\u003cbr\u003eSVT - voice, piano, synths, acoustic and electric guitars\u003cbr\u003eBrent Arnold - cello on 1, 2, 3, 4, 5, 6, 8Randall Dunn - synths on 1, 2, 3, 5, 7\u003cbr\u003eEric Davis - french horn on 1, 4\u003cbr\u003eScott Evans - synth on 2\u003cbr\u003eLuke Bergman - bass on 3, 4, pedal steel on 5\u003cbr\u003eBen Greenberg - drums on 4\u003cbr\u003eBen Chisholm - field recordings, processing, and electronics on 5\u003cbr\u003eDave French - keys on 7\u003cbr\u003eFoundational tracks, vocals, synths, guitars, electronics and treatments recorded by SVT and Randall Dunn at The Crow’s Nest, Spirit Lake, Idaho\u003cbr\u003ePiano and additional vocals recorded by Scott Evans\u003cbr\u003eat Antisleep Audio, Oakland, California\u003cbr\u003eProduced and mixed by Randall Dunn\u003cbr\u003eat Circular Ruin, Brooklyn, New York\u003cbr\u003eCello and french horn arranged and recorded by Brent Arnold in Brooklyn, New York\u003cbr\u003eMastered by Bob Weston, Chicago Mastering Service, Chicago, Illinois\u003cbr\u003eTintype photography by Brian Deemy\u003cbr\u003eAll hand lettering on front and back cover by Niela Von Till\u003cbr\u003eLayout by SVT and Orion Landau\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. The Corpse Road\u003cbr\u003e02. Watch Them Fade\u003cbr\u003e03. Horizons Undone\u003cbr\u003e04. Distance\u003cbr\u003e05. Calling Down the Darkness\u003cbr\u003e06. The Dawning of the Day (Insomnia)\u003cbr\u003e07. Old Bent Pine\u003cbr\u003e08. River of No Return\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"GRAPHITE ECO MIX","offer_id":50204475490569,"sku":"MUS-44565-01-GGE","price":28.99,"currency_code":"EUR","in_stock":true},{"title":"ORANGE MARBLE","offer_id":55989643182345,"sku":"MUS-45718-02-OM","price":28.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/SVT-Alone-In-A-World-Of-Wounds-Cover.jpg?v=1741183200"},{"product_id":"great-falls-objects-without-pain-tour-cd","title":"GREAT FALLS \"Objects Without Pain - Tour\" CD","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eRead any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist\/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.\u003cbr\u003e\u003cbr\u003eBut the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS. The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band\u003cspan class=\"bcTruncateMore\"\u003eprior to the release of their exhilarating, cacophonous 2023 EP, FUNNY WHAT SURVIVES.\u003cbr\u003e\u003cbr\u003eOBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation – a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?\u003cbr\u003e\u003cbr\u003eOn “TRAP FEEDING,” we see the main character indulging in “dreams of alone” by scrolling apartment listings in secret. \"Alone” is exciting in theory: He can be free to be himself in a new space, finding solace in records, comic books, and video games. But when faced with the reality of filling out forms and credit checks, “alone” shapeshifts into a terrifying concept signaling imminent heartache and unendurable loneliness. He finds himself paralyzed, unable to stomach the decision. “OLD WORDS WORN THIN” considers the logistics of how a move would play out, how they would divide their belongings, what memories each object would trigger. Who gets the records? Who gets the friends, for that matter? In a rare moment of comic relief amid the emotional turmoil and discordant riffs, Johnston screams, “I know I did not make the cut \/ but I can drive the truck.”\u003cbr\u003e\u003cbr\u003eThe tale ends with the 13-minute existential pulverizer “THROWN AGAINST THE WAVES.\" While the other songs mostly explore the impending turmoil of a future separation, the closer looks back on the destruction after the split of two people who became “sad shelters” to one another rather than loving partners. In a particularly dramatic moment, there’s a returns to the former home one last time: \"I slide the key under the door \/ I don’t want the weight,\" Johnston shrieks in anguish, anxiously underscored by Mehling's frenzied rumbling and Parks' intuitively precise pummeling. Suddenly, everything goes silent for a few seconds, allowing time to process before launching into an agonizing rollercoaster of palpable grief and release. The song brings the album to a close with an emotionally crushing barrage of riffs -- giving a glimpse of what the trio is capable of in the live setting.\u003c\/span\u003e \u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e01. Dragged Home Alive\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02. Trap Feeding\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03. Born As An Argument\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e04. Old Words Worn Thin\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e05. Spill Into The Aisle\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e06. Ceilings Inch Closer\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e07. The Starveling\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e08. Thrown \u003c\/span\u003e\u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003eAgainst The Waves\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"peekaboo-text\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003ePressing Information:\u003c\/strong\u003e\u003cbr\u003e100 - Hand numbered CDs\u003c\/span\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":55466044686601,"sku":"MUS-45150-01","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/GREATFALLSObjectsWithoutPainHandmadeTourCD-1copy.jpg?v=1766064609"},{"product_id":"harvestman-music-for-megaliths-cd","title":"HARVESTMAN \"Music For Megaliths\" CD","description":"\u003cp\u003e\u003cspan\u003eRuins, monuments, and ancient sites of worship are multi-sensory experiences – at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOver the course of three albums, Steve Von Till has, under the guise of Harvestman, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the ‘kosmische’ outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003egreater whole. Utilizing repetition, manipulation and modulation, it’s a hallowed frequency dial that ranges across the pulse-regulated drone of The Forest Is Our Temple, revving up like a generator powered by arcane currents, the blissful gaze of Ring Of Sentinels, Sundown’s ominous waves of interference and White Horse’s rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision.\u003cbr\u003e\u003cbr\u003e- Jonathan Selzer\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist: \u003c\/strong\u003e\u003cbr\u003e01. The Forest Is Our Temple\u003cbr data-mce-fragment=\"1\"\u003e02. Oak Drone\u003cbr data-mce-fragment=\"1\"\u003e03. Ring of Sentinels \u003cbr data-mce-fragment=\"1\"\u003e04. Cromlech\u003cbr data-mce-fragment=\"1\"\u003e05. Levitation \u003cbr data-mce-fragment=\"1\"\u003e06. Sundown \u003cbr data-mce-fragment=\"1\"\u003e07. White Horse\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":56347204681993,"sku":"MUS-46255-02-W","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/files\/HARVESTMAN-MusicForMegaliths.jpg?v=1766063890"},{"product_id":"yob-clearing-the-path-to-ascend-cd","title":"YOB \"Clearing The Path To Ascend\" CD","description":"\u003cp\u003eClearing The Path To Ascend is the long awaited brand new album from Northwestern doom icons YOB. 4 epic songs of profoundly deep guitar heroics YOB's Clearing The Path To Ascend is guaranteed to be a fixture on tons of this year's top 5 lists. Quite possibly the best effort yet from one of the most popular and important bands in heavy music today!!\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. In Our Blood\u003cbr\u003e02. Nothing To Win\u003cbr\u003e03. Unmask the Spectre\u003cbr\u003e04. Marrow\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":56347269234953,"sku":"MUS-46257-01-GN","price":13.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/a1217604988_10.jpg?v=1535997774"},{"product_id":"ufomammut-8-cd","title":"UFOMAMMUT \"8\" CD","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e8 is Ufomammut’s 8th album, comprised of 8 tracks that flow into each other without interruption. \u003c\/span\u003e\u003cspan\u003eThis flow can also be seen when you tip 8 horizontally, thus it morphs into the leniscate from algebraic geometry – ∞ – a plane curve that meets at central point – or more commonly known as the infinity symbol. \u003c\/span\u003e\u003cspan\u003eA continuous stream of movement reflective of the uninterrupted nature of the album but also the continued togetherness of the essential elements of the band – Urlo, Poia and Vita – since the beginning of the band’s history in 1999. ∞ tipped vertically sees us return to the number 8. \u003c\/span\u003e\u003cspan\u003eIt must be stressed there is no singular pronunciation of the title, 8 is to be spoken in every language e.g. “eight” in Engish, “otto” in Italian, “acht” in German, huit in french and so on. \u003c\/span\u003e\u003cspan\u003e8 is a continuous flux of music, a singular entity, which can be defined in micro measurements by its 8 satellite songs. \u003c\/span\u003e\u003cspan\u003eEach track expands upon the preceding song, unfolding into an exceedingly dense and malevolent journey, resulting\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ein this being Ufomammut’s most extreme venture yet, with no permittance for breathing space in the 48 minutes. UFOMAMMUT’s status as one of the most potent, powerful and artistic contemporary doom artists in existence continues to captivate the masses, and the band’s worldwide grasp grows wider with each release. Ufomammut’s live show is supported by the internationally acclaimed video and graphic art of Malleus, a rock artists’ collective of which Poia and Urlo form a part, who conjure the entirety of Ufomammut’s visual impact.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003e\u003c\/strong\u003e01. Babel\u003cbr\u003e02. Warsheep\u003cbr\u003e03. Zodiac\u003cbr\u003e04. Fatum\u003cbr\u003e05. Prismaze\u003cbr\u003e06. Core\u003cbr\u003e07. Wombdemonium\u003cbr\u003e08. Psyrcle\u003c\/p\u003e","brand":"NEUROT RECORDINGS","offers":[{"title":"Default Title","offer_id":56347278377225,"sku":"MUS-46258-01-B","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2244\/7843\/products\/UFOMAMMUT-8.jpg?v=1766063890"},{"product_id":"ufomammut-oro-opus-alter-cd","title":"UFOMAMMUT \"Oro - Opus Alter\" CD","description":"\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e01. Oroborus\u003cbr\u003e02. Luxon\u003cbr\u003e03. Sulphurdew\u003cbr\u003e04. Sublime\u003cbr\u003e05. 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