Blectum From Blechdom
DeepBone

The filthiest of dungeon crawling synth-noise acts has returned. Let the universe howl in despair, Robedoor is delivering to us their 'Negative Legacy'. This is the duo's 1st full length album for Deathbomb Arc, on the heels of decades worth of one offs and comp tracks for the label (including a collaboration with Grammy and Tony winning member of clipping, Daveed Diggs). On 'Negative Legacy', Robedoor dive deeper into murky beats than they ever have before, while introducing a new element of melodic vocals to resonate through their unlit caves of hopelessness. Let the dark eternity begin.

smilingc: "Jim and I met at university in Liverpool in nineteen seventy-five and immediately began making music together. We both had rooms in the same big Victorian house in the centre of town and our evenings were spent hanging out in the nightclubs of Toxteth, like Dutch Eddie's where the DJ played Trinidadian music all night long.Liverpool has always been somewhere with its own distinctive culture, poetry, and music. In the nineteen seventies it was absolutely magical. The city was still bathed in the afterglow of the Beatles and there was a kind of creative anarchy about the place. There was this band called Death Kit who used to put on multi-media events with people in fancy dress and random bits of theatre. We'd turn up completely out of our heads and it felt like we were deconstructing ourselves as individuals.After we left college, Jim began living in Cambridge and I returned to London where I'd grown up, but our musical relationship continued. We knew people who were making commercial sounds and having success with them but that wasn't what we wanted to do. We performed occasionally, albeit very erratically, mostly as a duo but sometimes with other musicians.What we were really interested in was musical exploration. Jim built a studio in his back garden, bought some multi-track recording equipment, and began experimenting. We wanted to produce something that was just for ourselves. We were undoubtedly very naïve but naivety and innocence were hallmarks of that time.In my childhood, I'd been fascinated with the story of Aladdin. Now that fascination began to be reflected in the music we were making. Here was a story about a boy who transforms his world and enters the magical realm. That seemed to be exactly what was happening to me. For all sorts of reasons, I hadn't particularly enjoyed my childhood but now I had managed to step out of the everyday reality, to find a place where I belonged and where I had a kind of power.The name we used for the band came from a song recorded in 1949 by a singer called Mel Torme. There's a line in that song that goes, "Careless Hands don't care when dreams slip through." That seemed appropriate since dreams were part of the territory we were exploring.I had got married immediately after leaving college and by now I had a daughter who was afraid to go to sleep at night. She wanted me to be present in her dreams with her. That became the inspiration for a period during which Jim and I tried to recreate the shifting landscape of the night-time imagination.Unfortunately, the choice of name turned out to be horribly prophetic when in a freak accident Jim fell into a lake and was drowned. It seemed to me that for some time, he had not been paying enough attention to his own life. So I wasn't exactly surprised when I heard the news but I was completely devastated. After Jim's death, I put away his guitar and never played again. I went on to make a career as a novelist.Most of the recordings we produced were lost over the years. A bunch of master tapes was accidentally thrown into a dumpster and others were left in the attic of a house I lived in at some time during the nineteen nineties. This album has been pieced together from fragments that somehow survived the cull."

Limited Edition Purple Vinyl. Only 300 copies!Existing in the liminal space between Bon Iver, James Blake, and Imogean Heap, "Beamorose" builds upon the signature shapeshifting vocals of Penelope Antena (heir to the famed synthpop band Antena and Marc Moulin's "Placebo") by twisting Americana, Gospel, and Folk through a Kaleidoscopic lens, crafting a unique & soulful form of Avant-Pop.Penelope Antena is the heiress to a musical legacy of mythical stature, living and creating on a mountaintop in the Occitanie region of southern France. Her grandfather, Belgian pianist and Jazz-Rock Pioneer Marc Moulin (Placebo, Telex, Aksak Maboul) and mother, founding member of the 80s electro-samba group Antena, Isabelle Powaga, played a tremendous role in supporting and inspiring Penelope to shine in the shadow of their creative heritage.

ORANGE MILK RECORDS: ... Annulus is Ryu Yoshizawa’s third release on Orange Milk as Koeosaeme. His 2019 LP Obanikeshi was a barrage of high resolution abstract compositions, and Annulus picks up from there, refining the style and adding an extra layer of inspiration from the Southeast Asian folk music of Burma, Thailand, China, etc. He inserts music concrete with silky repetition, making you feel as if you are walking through parts of Asia, contemplating experimental music. Annulus is peaceful, melodic, atonal, and flows together as one big piece. Part 1 of the record is concrete music, and Part 2 is described as abstract music. It is distinctly Japanese despite other western influences like Steve Reich and Jon Hassell; music meant for a documentary that will be made in the distant future. Annulus features collaborations with Hidekazu Sakamoto, Seth Graham, and LXV.Koeosaeme is Ryu Yoshizawa. From 2004, he has been a member of the sound artists group “OFFICE INTENZIO” under Yellow Magic Orchestra’s Yukihiro Takahashi. In addition, he is in charge of live event backup support and recordings for Ryuichi Sakamoto, Yukihiro Takahashi, Kyoka and many others. He also produces music commercially for Lotte and Square Enix.

ORANGE MILK RECORDS: ...Headbanging In The Club is an ode to the Pittsburgh underground electronic music community. In a small city with very few recognized club spaces, we make our own clubs in the underground on our own terms. We celebrate our unique intersections of noise, punk, breakcore, IDM, and DnB as we headbang and thrash around. What defines a club space? Who says we can't bring the club to the punk venue? We challenge the frameworks of club culture and what it means to dance in the club. This album is the essence of a hardcore dance experience on the fringes of the Burgh. && we headbang in the club.with love,W00dyAll tracks were written for live performance and have been played all over the US in the past three years.