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LP
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ROTOR 091LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
New studio album Backside by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa '80s, also released on CD in 2024. Cover art by Babs Santini. The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from "Bladder Flask", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus "Backside". Black vinyl.
"As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days'" --Alan Freeman.
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LP
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ROTOR 091C-LP
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$45.50
PREORDER
RELEASE DATE: 5/8/2026
LP version. Gatefold sleeve. Dark crystal color vinyl. New studio album Backside by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa '80s, also released on CD in 2024. Cover art by Babs Santini. The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from "Bladder Flask", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus "Backside".
"As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days'" --Alan Freeman.
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2LP
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ROTOR 090LP
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$52.50
PREORDER
RELEASE DATE: 5/8/2026
An expanded edition of one of Nurse With Wound's most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic lounge bizarre when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the "silver collection" at Rotorelief Records. Nurse with Wound's album Huffin' Rag Blues is unique in NWW's discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock n' roll abandon. This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film. It's brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin' Rag Blues incorporates more familiar musical elements -- including instruments (played live, even), rhythm and vocals -- than almost any other Nurse With Wound album to date. The album's main concern is, as always, to create environments for lucid dreaming rather than to create music as such. Black vinyl.
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2LP
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ROTOR 090C-LP
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$70.00
PREORDER
RELEASE DATE: 5/8/2026
Double LP version. Dark ice color vinyl version. Gatefold sleeve. An expanded edition of one of Nurse With Wound's most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic lounge bizarre when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the "silver collection" at Rotorelief Records. Nurse with Wound's album Huffin' Rag Blues is unique in NWW's discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock n' roll abandon. This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film. It's brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin' Rag Blues incorporates more familiar musical elements -- including instruments (played live, even), rhythm and vocals -- than almost any other Nurse With Wound album to date. The album's main concern is, as always, to create environments for lucid dreaming rather than to create music as such.
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LP
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ROTOR 089LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases. The track "Dadaˣ", goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title. The track "Futurismo", begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over-modulated electronic hum and rambling piano. Black vinyl.
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LP
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ROTOR 089C-LP
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$45.50
PREORDER
RELEASE DATE: 5/8/2026
LP version. Gatefold sleeve. Silver-grey and black vinyl. Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases. The track "Dadaˣ", goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title. The track "Futurismo", begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over-modulated electronic hum and rambling piano.
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LP
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VSP 003LP
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$35.00
PREORDER
RELEASE DATE: 5/8/2026
Vasopressin presents On the Edge of the Outside, collecting four works by Nurse With Wound -- three composed in response to texts by Kafka, Tzara, and Forneret, one previously unreleased -- on vinyl for the first time. Electroacoustic abstraction, minimalist drones, and grimy ambience. Vasopressin's second installment of their dedicated series bringing Nurse With Wound's contemporary output to vinyl -- and it is, if anything, even more extraordinary than what came before. On the Edge of the Outside gathers three works previously issued as 3" CDs alongside literary editions published by the French imprint Lenka Lente, each "conceived in intimate response to literary texts -- yet entirely self-sufficient as autonomous sonic experiences": "Kafka's Parachute" (2017), composed in dialogue with Franz Kafka's "Rapport à une Académie"; "On the Edge of the Outside" (2020), drawn from Tristan Tzara's "Minuits pour Géants"; and "We Are the Dead Men" (2025), accompanying Xavier Forneret's "Le Diamant de l'Herb". To these is added "None and a Star Stand (Untitled Lament)", a piece whose origins remain close to the same Lenka lente orbit -- appearing here, as does the entire collection, in its vinyl debut. Across two sides, the record maps a vast and quietly staggering emotional and sonic terrain. "Kafka's Parachute" opens proceedings with howling recitations and a knotted palette of electroacoustic abstraction, channeling something close to concrete poetry in its most visceral, unsettling form. The second side then opens with "None And A Star Stand" -- a breath of grimy, luminous release -- eleven minutes of shifting textures that feel restless and alive without ever resolving into event, before "We Are The Dead Men" descends deeper still, unfurling at glacial pace through overlapping drones and harmonics of rare, disquieting beauty. The closing title track moves from ripping feedback through swirling resonances and sparse piano tones before dissolving back into abrasion, completing a journey that feels as much literary as sonic. Featuring Steven Stapleton alongside collaborators Colin Potter, Andrew Liles, Matt Waldron, James Worse, and Quentin Rollet, On the Edge of the Outside stands as proof that after nearly five decades, Nurse With Wound remains one of the few forces in music genuinely capable of making the world sound like somewhere you have never been before. Issued by Vasopressin, the Milan-based label founded by Matteo Moschettoni. Black vinyl.
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CD
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UDCD 528CD
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NWW's Lung Oysters features the multi-instrumentalist Diarmuid Mac Diarmada, a heady free-range mix of krautrock, experimental and toe tapping psychedelia, leaning towards a slightly more rock orientated sound. Regular Nurse members Colin Potter, Andrew Liles, and Matt Waldron are all on board with the added voice and talents of Irish artist and poet, Tara Baoth Mooney. Artwork by Babs Santini.
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CD
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UDCD 169CD
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$17.50
PREORDER
RELEASE DATE: 2/20/2026
With Mr. Stapleton returning to publishing through his United Dairies imprint, he has collected various studio outtakes from over the years and compiled them into this exceptional body of NWW ephemera. Immediately, Nurse fans will recognize vastly mangled variations of "Black Is The Colour Of My True Love's Hair" from She And Me Fall Together Into Free Death, "Cold" from Thunder Perfect Mind, and "Rock 'N Roll Station" from any number of those sessions. Stapleton has long recycled themes in a kaleidoscope of distortions, permutations, and hallucinations, and hearing such favorites all over again, brings a smile to all.
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3LP BOX
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LOGAB 10000LP
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Please note all copies have seam split on box cover, sold as is. "Ever since Brian Eno developed the concept of ambient music, there seems to be a concerted effort to turn music into the equivalent of a backrub: something purely contextual that functions as an emotional salve if applied properly. Since the early '80s, Nurse With Wound has been pushing the opposite concept. Steven Stapleton's music is not made to make you feel better, or as something upbeat to play while doing crunches. Stapleton's music is designed for active, deep listening. You simply can't just play it in the background as you converse with friends. Even his most ambient pieces are not meditative; they are designed as a complex drama to make you FEEL something. Steven Stapleton's newest release is a full-length LP on the incomparably interesting Beta-Lactam Rings label. She and Me Fall Together in Free Death is probably the most approachable, largely 'musical' album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate. The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his 'Kratrocksampler.' Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad 'Black is the Color of My True Love's Hair.' This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Underground's 'Venus in Furs.' It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites."
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2CD
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DPROM 113CD
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Re-press of the long sold-out deluxe re-issue of this 80's classic from Nurse With Wound. Expertly re-mastered by Denis Blackham. Now packaged in six-panel matt laminated digipac, with special matt 12-page booklet with artwork by Babs Santini. Includes a bonus disc of outtakes, unreleased material and remixes.
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PIC. DISC
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DPROM 164LP
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2024 restock. It could be argued that Brained and Cooloorta are the definitive Nurse With Wound EPs. Both classic and timeless fan favorites appear for the first time together on one single album. Both EPs marked a distinctive change in the NWW sound. Brained from 1984 showcases NWW at their mid-80s finest. The relentless churning and uncompromising music of "Brained by Falling Masonry" is complimented by the eccentric mania of JG Thirlwell's vocals. "A Short Dip in Glory Hole" takes you into the murky depths of a David Lynch influenced nightmare, a lysergic unhinged movie for the ears, which greatly influenced the Peter Strickland film Berberian Sound Studio. "Cooloorta Moon" from 1989 takes you in a whimsical direction and further highlights the boundless originality of NWW. The evolution of NWW utilizing more traditional instrumentation and bordering on the verge of song structures started coming to the fore on this EP. In addition to all the original songs from the Cooloorta and Brained EPs, the 2010 track, "Sarah's Beloved Aunt" perfectly closes this collection. Lovingly remastered by Andrew Liles. Again, this arrives in a beautiful die-cut sleeve with Babs Santini artwork.
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PIC. DISC
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DPROM 161LP
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1988 saw the release of several timeless and remarkable EPs from Nurse With Wound, one of those classics is Alas The Madonna Does Not Function. Madonna in some respect was a turning point for NWW. It's a record that whilst unmistakably retaining that ineffable NWW character brought rhythmic and almost "musical" elements into play. Madonna could be seen along with the Soresucker and Cooloorta Moon EPs as the bridge between the old and the new, the natural precursors to Thunder Perfect Mind and Rock 'n Roll Station. Some 34 years later Madonna still sounds fresh and unique, a true one off, proving NWW to be one of the few genuinely enduring and uncompromising artists of their time. Added to this reissue is the fan favorite, "I Am The Poison". With its plodding cyclical bass, minimalist sound and distorted vocal lines it could be argued that "Poison" is a forgotten, yet divergent, post punk classic. Beautifully remastered by Andrew Liles. Beautiful die-cut sleeve with Babs Santini artwork.
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2LP
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ROTOR 080LP
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The long-running and infamous project known as Nurse With Wound -- essentially Steven Stapleton joined by a rotating cast of characters -- mixes the overly serious chin-scratching of the contemporary avant-garde with a healthy dose of absurdist humor and wit. Often unfortunately branded with the industrial's tag, Stapleton's music actually reflects elements of musique concrète, ambient, and free improvisation juxtaposed against more traditional forms. No one pigeonhole can adequately describe this diverse and immense catalogue: only by diving in can one truly appreciate the varied sonic possibilities of Stapleton's unfettered imagination. He's that weird, and he's that good. In the mid-1980s, Nurse With Wound existed as a live band for only eight shows, of which only five were in front of an actual audience. Live at Bar Maldoror, released in 1991, documents these various live incarnations. Having been remastered by Andrew Liles, the diverse and lengthy pieces (which were actually recorded in disparate locales, none of which are named "Bar Maldoror") sound rather contemporary. Sparse percussion, tape manipulation, loops, noise, dark drones, improvised semi-musical instrumentation and strangled glossolalia all expose the many facets of Stapleton's oeuvre. In 2023, as part of the silver editions, Rotorelief Records released Bar Maldoror as a double vinyl album, in a luxurious gatefold with four panels of artwork by Babs Santini.
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2LP
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ROTOR 080SIL-LP
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Double LP version. Silver vinyl. The long-running and infamous project known as Nurse With Wound -- essentially Steven Stapleton joined by a rotating cast of characters -- mixes the overly serious chin-scratching of the contemporary avant-garde with a healthy dose of absurdist humor and wit. Often unfortunately branded with the industrial's tag, Stapleton's music actually reflects elements of musique concrète, ambient, and free improvisation juxtaposed against more traditional forms. No one pigeonhole can adequately describe this diverse and immense catalogue: only by diving in can one truly appreciate the varied sonic possibilities of Stapleton's unfettered imagination. He's that weird, and he's that good. In the mid-1980s, Nurse With Wound existed as a live band for only eight shows, of which only five were in front of an actual audience. Live at Bar Maldoror, released in 1991, documents these various live incarnations. Having been remastered by Andrew Liles, the diverse and lengthy pieces (which were actually recorded in disparate locales, none of which are named "Bar Maldoror") sound rather contemporary. Sparse percussion, tape manipulation, loops, noise, dark drones, improvised semi-musical instrumentation and strangled glossolalia all expose the many facets of Stapleton's oeuvre. In 2023, as part of the silver editions, Rotorelief Records released Bar Maldoror as a double vinyl album, in a luxurious gatefold with four panels of artwork by Babs Santini.
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CD/BOOK
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ROTOR 077CD
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Deluxe art book CD of 24-pages, sewn; all artworks by Babs Santini. "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
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2CD
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DPROM 163CD
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2025 repress. A welcome re-release, as an expanded version, of one of Nurse With Wound's most notable albums. Originally recorded in 2002 by Steven Stapleton and Colin Potter, the piece "Salt" was a limited-edition release to accompany an exhibition of Stapleton's artwork at The Horse Hospital in London. The following year Salt Marie Celeste was released as a single 61-minute-long piece of droning atmospheric sound that manages to be both minimal and maximal at the same time. A parade of strange, often unlikely, sounds appear and disappear during the voyage from Z to A. Described by many as being one of the most unsettling and/or engaging NWW recordings, it went on to feature in many "albums of the year" lists of 2003. This new edition comes in a six-panel digipack with stunning all-new artwork by Babs Santini.
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CD
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ICR 094CD
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Contains the full Opium Cabaret album plus an additional 40 minutes previously unreleased studio material. Housed in deluxe, full-color digipack with new art by Santini. Nurse With Wound are: Steven Stapleton, Andrew Liles, Colin Potter. Tracks 3 and 4 reassembled by Colin Potter and mastered at IC Studio, London 2021.
Review of the original Opium Cabaret album from Discipline Magazine (listed as no. 2 "album of the year"): "Over two drone-afflicted tracks, this album harkens back to the moods explored and perfected in the drone masterpiece, Soliluquoy For Lilith. But rather than falling further down the endless spiral of Lilith, Opium Cabaret functions as a distorted simulation of a familiar experience. The loud, colorful, and psychedelic album cover (with NWW's signature collage work) seems fitting enough to represent a cabaret themed event. Although, a step inside reveals that the sounds present are a distant inebriated haze from any kind of conventional performance. This is a record that moves in slow motion. It unfolds into a floating nothingness to appease broken minds so drenched in opiates, time and place are but frivolous footnotes in a wider narrative of distorted reality. More than his other recent works, Stapleton's latest effort hits a similar note to that of his '80s output. Speaking of this era, as the surviving acts from England's esoteric underground of industrial stalwarts get fewer and fewer, the importance of new Nurse With Wound music cannot be understated."
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2CD
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DPROM 072LTD-CD
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Long out-of-print and much in-demand, this classic Nurse With Wound CD is now back as a double-CD. This double-CD set includes a CD of a completely unreleased alternate mix. Packaged in a stunning matte digipak, with all the information in a clear gloss spot varnish. This is only visible from certain angles! Nurse With Wound playing The Surveillance Lounge were and are Steven Stapleton, Andrew Liles, David Tibet, Nadja Belabidi, Lynn Jackson, Ollie Mathura O'Keeffe, Freek Kinkelaar, Miranda Kinkelaar, Melon Liles, and Maude Swift.
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2LP
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ROTOR 077LP
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2022 restock. "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
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2LP
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ROTOR 077SIL-LP
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2022 restock; double LP version. Silver vinyl. "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
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PIC. DISC
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DPROM 113LP
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Sylvie & Babs as a picture disc LP, with new Babs Santini artwork. Originally released in 1985. Was it always supposed to be this way? Who knows? But it won't be around for long. One pressing and that's it, buy or die -- you know the drill. "Sylvie & Babs is one of the most memorable, playful, and fascinating albums in the NWW oeuvre (though a decidedly unrepresentative one) ... few (if any) other artists could've woven capricious contrarianism, low humor, bad puns, endless non-sequiturs, and chaos into such a satisfying whole" --Anthony D'Amico.
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CD
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UD 004CD
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Originally released on LP by United Dairies in 1980. Originally recorded June 1980. Long awaited CD reissue of Nurse With Wound's classic third album, remastered, in a six-panel digipak, with new original Santini artworks and secret, previously unheard audio.
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CD
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UD 003CD
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Remastered reissue of the 1980 LP from the original analog tapes. Released in six-panel digipak, with new, original artwork by Babs Santini and additional secret, unpublished audio. Originally recorded June 1980.
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2CD
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UD 111CD
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This music is to be played in whichever order the listener wants to. The CD version of Trippin' Musik is a double-CD set. It features 35 minutes of extra material not available on the vinyl release.
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