|
|
|
|
viewing 1 To 25 of 113 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
Cassette
|
|
HOS 622CS
|
$18.50
PREORDER
RELEASE DATE: 2/15/2019
New cassette by Geography Of Hell, the cult industrial collective from the Hospital Productions roster, dealing with the crisis at hand. A portion of the proceeds go to AYOK civil society volunteer organization for earthquake relief in rural Mexico. Cassette comes in oversized package; includes fold-out poster.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
HOS 629CS
|
$18.50
PREORDER
RELEASE DATE: 2/15/2019
Opium Crop Airstrikes is a Vatican Shadow EP with long-form industrial tracks in the style known from Jordanian Descent (2012). A portion of the proceeds go to AYOK civil society volunteer organization for earthquake relief in rural Mexico. Cassette comes in oversized package; includes fold-out poster.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
HOS 624EP
|
Autoerotichrist is the noise enigma of R Mason from Enemy Soil and Anjilla. They did three classic split 7" in the '90s with Richard Ramirez, Japanese Torture Comedy Hour, and Incapacitants. This is their first release in nearly 15 years and doesn't disappoint! Pure arcane and explosive noise in the way that is gone from our terrible world now. Prurient's side is "Black Medieval Grind" short burst tracks of electronic prayers from 2001 in the style of mater dolorous and the split 7" with Mindflayer. USA noise! Metallic silver on black covers.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HOS 604LP
|
At the threshold of its 20-year anniversary, Akitsa presents Credo, the band's sixth full-length and their most focused, furious and hypnotic album to date. Throughout its history, the band has operated unconstrained, willing, and capable of simultaneously exploring divergent paths. The accretion of Akitsa's sprawling array of influences finds its most comprehensive expression on this album. Musically, O.T. handled the writing for the album, and there is a compositional coherence to it, despite the shifting moods of the tracks. The lyrics, however, were a shared endeavor; O.T. furnished the lyrics for two tracks as did Néant. Additionally, longtime Akitsa associate and visual artist Valnoir provided lyrics for another track. The drum programming on the title track, is supplied by Kris Lapke of cult industrial enigma Alberich, lending a barbaric strength to the title track. A critical component for the album, adding clarity to the sound without sacrificing the raw violence that has long characterized Akitsa's music, is the visceral mixing, mastering, and post-production by revered producer Arthur Rizk (Prurient, Pissed Jeans, Power Trip). Credo opens with "Siécle Pastoral", a driving, mid-paced riff before shifting into more tortured territory as O.T. delivers the lyrics, a poem by French poet, Jean-Baptiste-Louis Gresset. "Voies Cataclysmiques," is a physical attack, its belligerence standing in contrast to the atmospherics of "Siécle Pastoral", and "Le Monde Est Ma Bile", which showcases the band's unfolding of sorrowful melodies. "Espoir Vassal" is a vicious track featuring soaring, agonizing riffs with hints of Norwegian influence, before the frenzied and tense "Vestiges Fortifiés". The album closes with the title track, combining the most salient elements that define Akitsa's work to date. Across ten minutes, Néant's lyrics, bellowed out in French by O.T., are a pure manifestation of poetic nihilism. The track is thus the metric by which Akitsa will be recognized. That a band would produce its finest work so deep into an already sensational career is an undeniably rare achievement in metal, and in Akitsa's case, it is a testament to the band's tenacity and versatility. After three years of total silence from Akitsa, Credo is a culmination of the band's catalog and rise in cult status and arguably the finest representation of its pure underground devotion. LP in deluxe metallic print sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
HOS 604CS
|
Cassette version. At the threshold of its 20-year anniversary, Akitsa presents Credo, the band's sixth full-length and their most focused, furious and hypnotic album to date. Throughout its history, the band has operated unconstrained, willing, and capable of simultaneously exploring divergent paths. The accretion of Akitsa's sprawling array of influences finds its most comprehensive expression on this album. Musically, O.T. handled the writing for the album, and there is a compositional coherence to it, despite the shifting moods of the tracks. The lyrics, however, were a shared endeavor; O.T. furnished the lyrics for two tracks as did Néant. Additionally, longtime Akitsa associate and visual artist Valnoir provided lyrics for another track. The drum programming on the title track, is supplied by Kris Lapke of cult industrial enigma Alberich, lending a barbaric strength to the title track. A critical component for the album, adding clarity to the sound without sacrificing the raw violence that has long characterized Akitsa's music, is the visceral mixing, mastering, and post-production by revered producer Arthur Rizk (Prurient, Pissed Jeans, Power Trip). Credo opens with "Siécle Pastoral", a driving, mid-paced riff before shifting into more tortured territory as O.T. delivers the lyrics, a poem by French poet, Jean-Baptiste-Louis Gresset. "Voies Cataclysmiques," is a physical attack, its belligerence standing in contrast to the atmospherics of "Siécle Pastoral", and "Le Monde Est Ma Bile", which showcases the band's unfolding of sorrowful melodies. "Espoir Vassal" is a vicious track featuring soaring, agonizing riffs with hints of Norwegian influence, before the frenzied and tense "Vestiges Fortifiés". The album closes with the title track, combining the most salient elements that define Akitsa's work to date. Across ten minutes, Néant's lyrics, bellowed out in French by O.T., are a pure manifestation of poetic nihilism. The track is thus the metric by which Akitsa will be recognized. That a band would produce its finest work so deep into an already sensational career is an undeniably rare achievement in metal, and in Akitsa's case, it is a testament to the band's tenacity and versatility. After three years of total silence from Akitsa, Credo is a culmination of the band's catalog and rise in cult status and arguably the finest representation of its pure underground devotion. Cassette in deluxe metallic print fold-out sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
HOS 612EP
|
Silent Servant's Harm In Hand 12" single, includes exclusive bonus track "Death Of Decadence" for destroying the club. Juan Mendez has evolved to more aggressive and stripped-down acid punk electro dance attacks on Silent Servant's equally vital follow-up, Shadows Of Death And Desire (HOS 613CD/LP, 2018), from which "Harm In Hand" comes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HOS 602LP
|
$22.00
PREORDER
RELEASE DATE: 12/7/2018
Linekraft is the premier industrial performance unit arising from today's contemporary Japanese underworld. Although active in the industrial stratosphere for many years, Linekraft has quickly developed a reputation as the leading industrial act from Japan through a series of stark, violent, and nihilistic live actions. The roots of these activities surround the lost tradition of "metal junks", a succession of organized and disorganized physical strikes on various oil drums and canisters with long and short metal bars. This existential scrapyard is sped up, slowed down and stained through tape manipulation and layered, replayed, cut apart and reversed in psychic torment of old school analog processes. From this Kafka-esque cage of uninhabitable obstacles an alien and dehumanized voice of pure oscillations cries out equally in anger and despair. Resembling moments of Pacific 231 live recordings from the early 80's. Engineering Analysis of Inner Death is the first full length for Linekraft and it shows he has arrived on record with the same atmosphere of his brilliant performances in the flesh. For fans of Esplendor Geometrico, Vivenza and White Hospital. Deluxe vellum sleeve; clear vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HOS 613CD
|
Silent Servant returns with Shadows of Death and Desire. Now-legendary producer, DJ, and art director Juan Mendez arguably reset techno at least twice. Once with his surreal and Europe-by-way-of-LA '80s apocalypse culture aesthetics for Sandwell District, and again as Silent Servant capturing the youth-driven mutation of crossover electronics and dark parties churning in the American underground, which followed directly in the wake of his game-changing modern classic, Negative Fascination (2012). Mendez has evolved to more aggressive and stripped-down acid punk electro dance attacks Shadows of Death and Desire. Mendez took his time to deliver a more raw --yet refined-- brutalism on this, his second album. The otherworldly guitar feedback of opener "Illusion" is cut short with a relentless bass sequence erasing any preconceptions of softening with time. Stereo-panned dusty snares drag along concrete and break apart with without a past or future. The introductory hypnotic sprawl is hastily dissected and left behind for the systematic tension of single "Harm In Hand." Cold drum machine rolls that could have been removed with a laser from early Ministry are offset with a vocal delivery not felt in techno since Suicide. The narrative is constantly disrupted by caustic guitar stabs, its naked urgency like slamming on the brakes while inertia thrusts you forward in space but decidedly not in time. In his own words, "The record is a product of a significant life change that wasn't a benefit," which is eerily felt from the start but is surprisingly washed away with album closer, "Optimistic Decay" (which has become a mission statement from Mendez's visual ideology). "Optimistic Decay" sees Mendez reuniting with vocalist Camella Lobo (Tropic Of Cancer). Lobo's voice rises from spectral vocal delays beyond dub. A subtle nod to Silent Servant's initial Maurizio-leaning EPs but with the grandiosity and opioid slow-motion haze of My Bloody Valentine. Also a student of cinematic deconstruction, the album looks inward from the exterior of LA's untold stories in the netherworlds on the edge of the city, a rapid crash course in confidence games and subsequent letdowns. Shadows of Death and Desire sets the standard in electronic post-punk. Mixed and mastered by Josh Eustis. Designed by Silent Editions.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HOS 613LP
|
LP version. Includes poster. Silent Servant returns with Shadows of Death and Desire. Now-legendary producer, DJ, and art director Juan Mendez arguably reset techno at least twice. Once with his surreal and Europe-by-way-of-LA '80s apocalypse culture aesthetics for Sandwell District, and again as Silent Servant capturing the youth-driven mutation of crossover electronics and dark parties churning in the American underground, which followed directly in the wake of his game-changing modern classic, Negative Fascination (2012). Mendez has evolved to more aggressive and stripped-down acid punk electro dance attacks Shadows of Death and Desire. Mendez took his time to deliver a more raw --yet refined-- brutalism on this, his second album. The otherworldly guitar feedback of opener "Illusion" is cut short with a relentless bass sequence erasing any preconceptions of softening with time. Stereo-panned dusty snares drag along concrete and break apart with without a past or future. The introductory hypnotic sprawl is hastily dissected and left behind for the systematic tension of single "Harm In Hand." Cold drum machine rolls that could have been removed with a laser from early Ministry are offset with a vocal delivery not felt in techno since Suicide. The narrative is constantly disrupted by caustic guitar stabs, its naked urgency like slamming on the brakes while inertia thrusts you forward in space but decidedly not in time. In his own words, "The record is a product of a significant life change that wasn't a benefit," which is eerily felt from the start but is surprisingly washed away with album closer, "Optimistic Decay" (which has become a mission statement from Mendez's visual ideology). "Optimistic Decay" sees Mendez reuniting with vocalist Camella Lobo (Tropic Of Cancer). Lobo's voice rises from spectral vocal delays beyond dub. A subtle nod to Silent Servant's initial Maurizio-leaning EPs but with the grandiosity and opioid slow-motion haze of My Bloody Valentine. Also a student of cinematic deconstruction, the album looks inward from the exterior of LA's untold stories in the netherworlds on the edge of the city, a rapid crash course in confidence games and subsequent letdowns. Shadows of Death and Desire sets the standard in electronic post-punk. Mixed and mastered by Josh Eustis. Designed by Silent Editions.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 601LP
|
Low Jack and Equiknoxx join Dominick Fernow's Rainforest Spiritual Enslavement on a new double vinyl expansion of Red Ants Genesis, originally issued on limited cassette in 2018. Recorded in winter 2017, Red Ants Genesis finds the Hospital Productions boss discovering strength in collaboration following the triumph of his classic Ambient Black Magic (HOS 498CD/LP, 2017), which was conjured with the crucial assistance of Juan Mendez aka Silent Servant. Here, he works with Phillippe Hallais aka Low Jack and of Editions Gravats, who also tags in his pals Gavsborg and Time Cow from Jamaican digidub futurists Equiknoxx for a killer new version of the title track. On the tape's original four tracks, Low Jack transmogrifies Fernow's high volume microphone recordings of synthetic field ecologies with masterful sleight of hand in-the-edits, resulting in a hyperreal detachment and realignment of spatial proprioceptions executed with exquisite textural tactility. It's far more oblique and desiccated than the relatively lush Ambient Black Magic outing, rendering the stark durational immersion of their 30 minute "Red Ants (Mics)" split over the first disc, while Low Jack's percussive edits really come into play on the utterly gutted "Shields Ferns / Brown Pine Magic" and the slow, febrile push of "Papua Land (Live Edit)." No doubt one of the biggest attractions here is the curveball of an Equiknoxx remix of "Red Ants Genesis". Surely one of the first meetings of Jamaican dancehall and dark ambient in existence, it's a spellbinding piece of dub physics that demonstrates the endless, mutable imagination of Gavsborg and Time Cow in haunting and deeply mystic effect. Unmissable. Cut at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 606LP
|
The Disappearer story is an abstract and conflicted one, loosely based around moral codes handed down through generations, reinterpreted, debated and enforced, followed and broken. What happens when a threat is posed? Is the answer diluted to the simple fact of survival by any and all means necessary? Does instinct take precedence over all? This cycle is full of contradiction, feeding back in its most primitive animalistic and oft brutal of levels, with many questions left unanswered. Who becomes the disappeared and who becomes the disappearer? Two years since his last releases for Hospital Productions -- A Gathering Together (HOS 477CD/LP, 2015) -- L.I.E.S. Records boss Ron Morelli returns with Disappearer, his third full-length. Disappearer claws and tears its way through 13 tracks at 54 minutes long, touching upon everything from cold, stripped-back electronics, to hints of 1990s Hague scum techno, to grim passages reminiscent of early tape minimalists, the amalgamation forming a nasty sonic narrative that reaches an explosive unsettling apex. This is a definitive return to tense, urgent punk roots; the minimal beat construction, unexpected acid burned vocals, and stark atmospheres touch upon Morelli's full spectrum of influences with his signature rusted razor production. Composed over the last two years in various foul states, the album is a fusion of base level hardware programming, open room mic recordings and extensive computer processing, all finalized in the Paris studio of Krikor Kouchian. Compositionally, Morelli has fused the brute immediacy of his then-controversial now-cult debut album Spit (HOS 407 CD/LP, 2012) with intricate compositional cut-ups of cassette culture, the updated crushing production the product of having circled and lived Europe's nightclub circuit for close to a decade. Presented here as a double LP with new artwork, re-sequenced and edited from its original cassette format.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 605LP
|
Hospital Productions presents a reissue of K2's The Rust, originally released in 1996. From its imposing cover featuring massive Japanese characters fading from red to orange to yellow in a descending gradient to the title itself, rust would not have been enough for this edifice of decay. It is the rust, the final rust, the purest rust. The presentation only reiterates that this work is process driven, that it does not stop moving, clinging, falling, eroding, and covering its subject. As moisture turns metal to dust, this is Kimihide Kusafuka's grand mastering of decay. The Rust is a four-part cut-up metal junk noise classic. Not to be confused with the typical high octane '70s psych rock-obsessed outpourings by many of Japan's more well-known noise elite, K2 has settled on a physical process of his own that gets at the inner workman surrounded by the urban accumulation of not-so-precious metals. Like the towering waterfront refinery, or the wrought iron fence outside one's door that they may pass on their way to a busy morning routine, The Rust grinds away and piles on multi-track recordings that are violent and caustic and physical yet totally arcane in their construction. How was this made? Was K2 the executor of a junkyard? Has he lived among the ruins of automobiles, or perhaps locomotives based on the sheer dynamic range and scale of the rust? But that would be too misleading as when the gates open, naked moments are heard of isolated scraping and the unmistakable clutter of metal on metal sounds, pounded by human fists. The beating of metal is coated in feedback solvents and slashed with flange by Kusafuka's self-described "Friktor" device that apparently exhumes the soul of any aluminum, steel, and cast-iron sheets. These liberated industrial 'neighbors' that we live among and construct our dwelling places with ascend to spheres and cities of their own. The rust will crush you with its weight, it will question the scale of your body, and it will cut away at your patience of watching water erode metal to dust. Recorded 1996 in Chiba, Japan for Kinky Music Institute, The Rust appears here on vinyl for the first time, faithfully remastered by Kris Lapke (Alberich). Gatefold sleeve with the original artwork; Edition of 250.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
HOS 595CS
|
Northern California producer Fred Welton Warmsley III's solo work as Dedekind Cut has evolved from fractured industrial design into increasingly subdued and sublime ambient meditations across two years of dedicated activity. His second full-length collection Tahoe -- so named after the mountain lake town he now calls home -- swells with widescreen grandeur, evoking vistas both inner and outer. There are echoes of his earlier, more tempestuous mode in tracks like "MMXIX" and "Spiral" but overall the album skews panoramic and pensive, muted synthetic mists contoured with choral melody, field recordings, and radiant drone. His compositional instincts feel alternately classical, contemporary, and conflicted, befitting an artist whose discography spans divergent labels. Warmsley characterizes Tahoe as a "time peace", sifting through "the past, the present, future, and fantasy". Recorded in New York, Berlin, Cambridge, and Placer County, California. Includes cassette-only exclusive bonus track. Art by Micki Pellerano.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 496LP
|
Hospital Productions finally compile some of Matthew Folden, aka Dual Action's most sought-after material, a set of forays into distorted ambient, mutant house, and jungle -- even grime and footwork variants -- as released on his hard-to-find Babe, Beer, Bar, and Car tapes, issued between 2014-2016 and compiled here for the first time on vinyl. A core figure on Prurient's label, affectionately described by Dominick Fernow as an "uninvited guest' sort of figure who travels around fucking shit up on the lonely", Folden has appeared on numerous and seminal Prurient recordings including the demo version of the groundbreaking Bermuda Drain album (2011), the final tape recordings made at the original hospital productions brick and mortar store as Prurient's Oxidation (2012), and the new released seven-LP of doom electronics Rainbow Mirror (HOS 597LP) which arrived to commemorate the 20 years of the project. Babe Beer Bar Car takes in signature sluggers that sound like The Haters gone house, through to rolling D&B and footwork rhythms fringing on the grey area, each half-lit by patented atmospheric pollutants. The set builds a murky picture of a character who spends long nights with his drum machine -- it's hard to shift the feeling that this is the kind of music -- numbly expressive, rudimentary and bluntly driven by urges that someone befitting of the great American lounge-lizard/drifter stereotype might make, or at least listen to, after dark. It's a quintessentially Hospital Productions sound -- deeply satisfying in its mix of black humor laced with flashes of demonic genius.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3CD
|
|
HOS 589CD
|
Triple-CD reissue. Originally released as a triple cassette of only 66 copies. Âmes Sanglantes means "bloody souls". Nowhere else in Âmes Sanglantes' sprawling and massive wild/punk/junk discography has this idea been more focused than on the epic and original Chindia Tower Impalements, as well as on cult tapes like Anti-Anti (1999), Mega Star Barbies, Violation, and the immense and impossible 12-hour-long Crackdown cassette box from Hospital Productions last year. This newly remastered version is the definitive document revealing the cruelty of the Wallachian landscape myths and realities. Dracula vs. Vlad Tepes... Caustic, brittle, and eerie, the six long-duration tracks secure Âmes Sanglantes as one of the most original and overlooked extreme electronic monikers of the '90s North American cassette underground. Distorted but textural where the voices of young androgynous screams mingle together with chirping birds and wolf breath. It's the subtle layering and tape splicing structure beneath the crust that elevates this above the average "noise" recording. You will have to dig and claw past the walls built out of clay bricks, but beyond that is a rich and subtle world of loops equal parts Georges Braque and William Basinski, like collapsing scaffolding melting and crumbling on top of each other. This is rotting electro-acoustic studies where one can see a portrait float to the surface in the rippling and muddy puddles. Shockingly, after nearly 100+ cassette-only release since 1996, this comes forward as the first Âmes Sanglantes compact disc. A true student of the '90s, you'll find a stunning presentation that is equal parts in reference to Cold Meat Industry as well as Japan's Alchemy Records. So open up the old CD changer, light a few candles, and a pour the red wine for an epic that revives the imagination of times lost and losses yet to come. RIYL: William Basinski, Incapacitants, Brighter Death Now, and the early works of Rainforest Spiritual Enslavement. Remastered by Paul Corley (Oneohtrix Point Never, Ben Frost, Prurient). Eight-panel, foil block digipack.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 594LP
|
Hospital Productions present a vinyl reissue of Merzbow's Noisembryo, originally released on CD by The Releasing Eskimo in 1994. Noisembryo is a holy grail, not only of Merzbow's obsessive discography, but of the entire '90s noise movement. You've heard the stories surrounding the infamy of this release, but beyond that stands the depth and wild energy that Noisembryo encapsulates over two decades later. High-speed loops, roving automotive bass, and cacophonic drum machines gel together with the surprising inclusion of a sound rarely heard within Merzbow's many years... Masami Akita's own voice. Akita's surrealism of the past stands prominently relevant to this day. Includes the bonus track "Travelling" from the equally as infamous Noise Forest compilation (1992), appearing here for the first time on vinyl. Edited and remastered for vinyl by Masami Akita. Includes insert featuring unseen classic paintings and collages of Masami from the original Noisembryo sessions. Deluxe foil-stamp gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HOS 598LP
|
Originally released as a bonus cassette to Prurient's Rainbow Mirror (HOS 597LP, 2017), Unknowns appears here on vinyl as two side-long collaborative tracks from Dominick Fernow, joined by longtime producer Kris Lapke (Alberich), with Patrick O'Neal (Skin Crime). Hanged Mans Orgasm was the earliest project from O'Neal starting in the late '80s and early '90s that could be a rural American counterpart to England's Nurse With Wound middle period. Consisting of unrecognizable, discomforting electric acoustic noises mixed with radiation noise, Prurient fills the void with sub-bass electronics and a caustic reading of the Rainbow Mirror short story written in collaboration with Scott Bryan Wilson. A vocal counterpart to the otherwise instrumental Rainbow Mirror album. The B side is a reworking of field recordings and woodland screams recording in Rhode Island and reworked in New York City around the time O'Neal and Fernow first met. Housed in a deluxe sleeve with manual artwork by visual artist Adam Marnie, whose works have been featured previously on Prurient's epic Frozen Niagara Falls (2015). Foil-stamped cover; Edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HOS 581CD
|
Ghosts I Have Been is the first album from the supreme atmospheric noise band Skin Crime since their colossal 20-CD box set collection on Hospital Productions in 2015. Anyone who attended the Hospital Productions 20 Years Festival in New York City and saw Skin Crime perform their first live show in nearly 15 years will understand the deep masterful balance of tension, texture, and dynamism that has been the signature since the early '90s of this cult and collectible project. A defining characteristic is the fact that Skin Crime is a band with multiple members which brings live space and intricacy to a genre otherwise isolated to the confines of stagnation. Ghosts I Have Been exhibits the usual mix of concrete sounds with raw electric noise slowly and seamlessly building into crescendo. Unlike the early obsession with various forms of butchery, Ghosts I Have Been shows the darker more austere side of the subject matter of decay, small rural towns, an antique shop with an uncanny selection of dusty old books of stories you might rather not know about, or an old library which seems eager to open its doors to readers but reluctant to open them. Edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 585LP
|
After a series of cassette-only releases detailing the major natural and manmade disasters of the world, Geography Of Hell, a mysterious collective with an international cast of members completes their debut and arguably most immersive work yet, Hiroshima 1945/Nagaskai 1945. While their refusal to answer questions or make their identities known, the dedication to familiar subjects presented without explanation makes this band and their debut live performance in New York City in the fall of 2017 (as one of the highlights of the Hospital 20 Years Festival). Members were concealed behind bizarre homemade masks while frantic and mesmerizing multi-screen videos played of drawings and footage pre- and post-atomic attacks on Japan. This tragic and controversial moment is explored on two LPs ranging from insane martial loops to the most distant rumblings and shore breeze. Hailing in reverse order, the intensity and rhythmic sequencing on this LP defines expectations by slowly reducing and eliminating its compositions as the album closes with sub ambience. The anticipated vinyl release following the collectible and scarce nature of a series of tape releases, Hiroshima 1945/Nagaskai 1945 is the master work of one of most true contemporary industrial collectives, in that it is a group effort with accreditation or compromise. It easily fits into cinematic compositions as well as contemporary avant-garde electronics and even the nether regions of neoclassical punk. Prepared and mastered for vinyl by Kris Lapke (Alberich). Gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
HOS 591CD
|
After a series of committed live performances in Germany, Berlin-based producer Liziuz delivers his stunning debut album for Hospital Productions, Geschichten Des Lebens. Presented on two discs with two interpretations of the same epic track with one in ambient form and one in techno form. Geschichten Des Lebens is an album that requires patience with deep rewards. Liziuz is a new name emerging from the contemporary Berlin electronic underground. Unlike many of his contemporaries, Liziuz has isolated himself in solitude, meticulously crafting long-form landscapes simultaneously industrial and psychedelic. Photography by Alexandra Ismalone. RIYL: Dedekind Cut, Gas, Lussuria. Edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7LP BOX
|
|
HOS 597LP
|
Prurient announces Rainbow Mirror, in addition to the vinyl reissue of Buddha Strangled In Vines (1997), released as a four-CD through Profound Lore and as a seven-LP box set here on Hospital Productions, to coincide with 20th anniversary of the project.Rainbow Mirror is a release exceeding three hours in length, consisting of new material that delves into the glacial, meditative, and ambient side of Prurient creating an epic of pure "Doom Electronics". Rainbow Mirror, which coincides with the 20 year anniversary of Prurient, a project that is steeped in history and origins. The cover art for Rainbow Mirror is the first collage created in the pre-recording era of Prurient. Like the first Prurient live performance 20 years earlier, the Rainbow Mirror lineup consists of three members. For this exhausting work, Dominick Fernow called upon Matt Folden (Dual Action) and Jim Mroz (Lussuria) to form the trio. All of the material was recorded live at Hospital Productions and later meticulously mixed and produced by Shifted in Berlin. Rainbow Mirror stands as another singular work amongst the vast repertoire that Fernow has amassed under the Prurient moniker. While familiar moments from the Frozen Niagara Falls (2015) album can be found within the massive scope of Rainbow Mirror, through the three-plus hour duration of this rural ambient industrial creation, Rainbow Mirror proves to be a monolithic, crawling psychological noisescape of time-stretching electronics, layered counterpoint feedback, machine loops, and maximalist pulsating synth passages. Like the infinite and distorted reflections produced by a hall of mirrors, Rainbow Mirror is a portrait in perpetual tension. Track listing for Rainbow Mirror, which will also include a short story of the same name written by Scott Bryan Wilson and Fernow in the spirit of violent dreams. Expert mastering by Paul Corley. Comes housed in a sturdy black-linen wrapped and pigment-stamped, debossed box with tip-on cover; Each record in its own individual printed jacket; Includes large format two-sided poster; Includes download code.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
HOS 586CS
|
Repressed. Post Self is simultaneously inventive and classic Godflesh. The blue and icy atmosphere of Post Self can reach levels touched on in the happenings of early '90s Norway innovations. From the opening track, it's clear that the vocal performance is Justin Broadrick's best in ages, utilizing new approaches ranging from higher tortured screams to truly brutal and barbaric low roars not heard since Streetcleaner (1989). Within those extremes, mystically effected vocals coming from an industrial corner support the classic "post punk" style voice that became a hallmark dating all the way back to "Head Of David" as well as the bonus tracks heard on the Streetcleaner CD version and the ultimate hypnotic Godflesh track "Flowers". Throughout the whole of the record is a pervasive cold that settles into the atmosphere of Post Self under which nasty and vile machine rhythms create an '80s nighttime rainy streets groove. Dark, hard, heartbreaking, and beautiful, Post Self feels like the culmination of all of Broadrick's various musical interests and achievements in his 30 years of dedication to subcultural music: industrial, noise, post punk, ambient, extreme metal, bass music, and more-- but it is also quintessential Godflesh in its monumental and timeless feeling of existentialism and the human condition. A World Lit Only By Fire (2014) was Godflesh's mortal return, but Post Self feels like Godflesh's immortal soul. Cassette with foil stamped cover.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 493LP
|
First ever vinyl edition of Justin Broadrick's crushing industrial turns as JK Flesh for Hospital Productions, combining the Suicide Estate and Antibiotic Armageddon releases for a greyscale spectrum of brutalist techno, abyssal acid dub, tramadol tribalism, and noxious noise textures that's highly recommended if you're into Regis, Birmingham at night, Kareem... It's an unflinchingly bleak representation of the world described in hard-edged techno and shot through with moments of affective, synthy pathos. In sonic and literal tone, the record forms a stark reflection on Justin K Broadrick Brummie stomping grounds, using demolished tower blocks as cues for some of the album's most affective moments, such as the wrecking ball assault of "Bayley Tower (New Mix)", the rubbled roulage of "Stoneycroft Tower", or the 'marish zumby techno lurch of "Bromford Bridge Estate", and all in a way that surely dovetails with the perceptions of anyone who has lived in a built up British area, or anywhere else with lots of concrete and little sunlight. The other half of the tracks are taken from and titled in reference to Antibiotic Armageddon, the inevitable point when pill-gobbling citizens of the world are no longer protected against old viruses, and new ones. The tone of these cuts is understandably bleak as fuck, too. "Tamiflu" dry-wretches a windswept passage of bummed-out dub techno breaks, where "Squalene (New Mix)" glumly follows suit with the clammy synth malaise of "Ethylene Glycol" and the knee-buckled crawler "Thimerosal", which sounds like one of his Godflesh tracks in the process of terrifying itself to death. Cut at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HOS 493CD
|
Solo rhythmic electronics from Justin Broadrick of Godflesh, aka JK Flesh. Suicide Estate captures the urban legends and hard truths of Birmingham's notorious Bayley Tower. Suicide State makes the case for minimal austerity and maximal crush in productions that are both raw and precise. Propulsive rhythms and saturated sequences build, demolish, and investigate the pavement and skyline in proper industrial heritage. The atmosphere rolls in from nowhere and another ghost is born at Bayley Tower. Originally a cassette on Hospital Productions in 2016, this CD reissue sees a new reworking of "Bayley Tower" that is both functional and brutalist in nature. Eight tracks of cold bass electronics and drum machine from Justin Broadrick. Extreme music forefather Justin Broadrick is unilaterally regarded as one of the pioneers of Britain's late '80s burgeoning collision of punk, grindcore, and electronic movements, his unmatched creation of ethereal metallic atmospheres, stark existential lyrics and crushing dance rhythms credited only as "machine" are what makes his works stand alone, timelessly. Broadrick inimitably weaves industrial aesthetics into corners of music otherwise left untouched. The fearless and constantly innovative world that Broadrick cultivates reaches across musical barrier after barrier, and continues to influence decades of artists has earned him a throne in a genre of his own.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HOS 494LP
|
Redeemer is the brutally seductive debut album by Phase Fatale, a key player in the recent charge of EBM and post punk-informed industrial techno infecting 'floors from his home city, New York City to his DJ residency at Berghain, Berlin. In Dominick Fernow's Hospital Productions, Hayden Payne, aka Phase Fatale, finds a fitting home for his personalized brand of clinical, rictus rhythm programming and searing synth and guitar lines, adding a vital streak of black-and-blue electric energy to the legendary label in its 20th year of cultish operation. In seven parts, Redeemer follows the direct, jagged lines of his 12"s for Jealous God and Unterton (UTON 011EP, 2017) to a deeply personal realization of weaponized sonics, upholding a strong tradition of techno as a prophetic exercise or ritual to gird dancers and listeners for the onset of future war. It presents Phase Fatale as an ultimate emissary of electronic violence and domination in the process, steeling the limbic system and muscle memory through a fine-tuned disciplinarian approach to pharmacokinetics and biomechanics. Picking from the leather-bound cadaver of industrial dance music past, Phase Fatale reanimates his influences with pointillist precision and unapologetic force. Alloying muscular bass and metallic percussion with wire-combed 16th note synth lines and a barbed perimeter of guitar distortion, his sound can be heard as a metaphorical representation of holding your line against the attrition of a degenerated present. Each track dances concisely around the five minute mark, unfolding a series of densely packed and subtly rendered minimalist/maximalist structures. The shuddering tension of "Spoken Ashes" opens with banks of rotted chorales against a coalface of hacking stabs, establishing a pent vibe that vacillates precariously thru the adrenalized battery of "Operate Within", to the clenched funk of "Human Shield" and the bombed-out, Alberich-like "Interference", seeming to resolve slightly with the supple roll of "Order Of Severity", before "Beast" bottoms out into immolating synth distortion, and "Redeemer" brings up the rear with a coolly-tempered, stoic form of industrial ecstasy. RIYL: Silent Servant, Ancient Methods. Artwork by Silent Servant. Master and lacquer cut at Dubplates & Mastering.
|
viewing 1 To 25 of 113 items
Next >>
|
|