URASHIMA - Forced Exposure

$23.50 PREORDER RELEASE DATE: 12/6/2019

Marco Corbelli's artistic journey began in the early '90s. Under the pseudonym of Marco Rotula, he started to release a series of fanzines in A5 format. The first was The Pleasure Agony, followed by Sick and Murders. The aesthetics of these first fanzines were very sophisticated and the content deals with topics that will follow Marco Corbelli throughout his artistic career: sadism, schizophrenia, insanity, murder, psychosis, necrophilia, diseases, and most importantly death. In 1993, heavily influenced by his obsessions, he began his musical activities creating the Slaughter Productions label and the Atrax Morgue project. Greatly inspired by Italian power electronics act The Sodality, with their 1987 LP Beyond Unknown Pleasures and from projects as Whitehouse and Brighter Death Now, pioneers of a minimal, evil and visceral electronic, Atrax Morgue released his first tape In search of death which will be followed by a series of amazing cassettes in the following years. In 1996, with the only help of his analog synthesizer Sequential Circuits Six-Trak, Marco Corbelli recorded four tracks of pure improvisation for the legendary noise label BloodLust! run by Mark Solotroff. The tracks are released in cassette with the title of Autoerotic Death and limited to 50 copies. The putrescence is palpable, and one could almost smell and taste the miasma of decay that pervades the entire work. The psychopathological sound is white, painful and horrific. Crosses terrifying rooms lit by neon lights, corridors filled with gruesome tools, machines of blood and bits of human tissue floating in jars of formalin. The hum of the synth is often repeated loops, where each track has a compact structure, following the main theme (of autoerotic death). 140 gram vinyl; black inner sleeve and comes in a deluxe black cardboard sleeve with logo in silver silk screen plus double side pictures (from original tape cover art) fixed on front cover LP and a small insert; Edition of 199.

$23.50 PREORDER RELEASE DATE: 12/6/2019

Japanese sound artist Kimihide Kusafuka, better known as K2, originally came onto the scene in 1981, in order to explore the possibility of noise. The activities at that time were only the creation of cassette works and actions in the world of mail art with no live performance. A few years later, he suspended his music activities to concentrate on his studies and returned in 1993 after having just graduated as a pathologist. K2 perceives no alteration between the act of making noise and the act of science and he practices a kind of alchemy through his noise. Hepatopolitika, an ultra-rare work released in 1994 on transparent vinyl by German label Praxis Dr. Bearmann in only 125 numbered copies, represents in an exemplary way the idea just expressed. He sets one's sights of metamorphosize himself with both the awareness he gets from his scientific experiments and the emotional strength he obtains from performing and listening to noise. The work is essentially a cut-ups noise oriented in its most exhausting form and in its rawest form. The sound is exceptionally lo-fi; the actual aggression of sound deconstruction in both sides leaves you astonished and consists in amazing assemblage of crashing, creaking, and scraping sounds made with pieces of junk metal plus concrete music and voice, edited in a jarring, unpredictable style. 140 gram black vinyl; black inner sleeve in a deluxe black cardboard sleeve with logo in silver silk screen plus obi that include art collage from original vinyl label; Edition of 199. "Noise cannot be refused by either ears and heads!"

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Controlled Death is the new project by the Japanese noise legend Masonna and Symphony For The Black Murder was first official work released in April 2018 in a vinyl edition of 199 copies. The activities of Controlled Death are like archaic revival to the music experience before Masonna. You can also find the pathology image of the early industrial period and the shadows of Vienna activism such as Hermann Nitsch. The existence and art that pierces through conspicuous consciousness and dives to areas of unconsciousness due to death and pleasure. The tracks on the album are based on obsessive and compulsive synth drones with voice, effects, and tapes. The smell of death is soaked in every sound produced by the brilliant mind of Maso Yamazaki. Anxiety, alienation, and hypochondria turn into a deep paranoia in pain. Without hesitation, the bodies are emptied, leaving the field to an electronics purulence of rare power disconcerting: a perfect Symphony For The Black Murder. This CD issue includes a 30-minute bonus track recorded live during "Black Murder Gig" at Namba Bears Osaka on September 1, 2018. Digipack; edition of 199.

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Urashima present a reissue of Merzbow's Metalvelodrome, originally released in 1993. Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by Dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage "The Cathedral of Erotic Misery" or "Merzbau". Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary avant-garde collages, so too would Akita challenge the contemporary concept of what is called music. Merzbow would draw further influence from the futurist movement. Not only would he embrace the futurists' love of technology and the machine civilization, he would push their fondness for noise to the very boundaries of the extreme. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. By the '90s, Merzbow had a significant underground reputation for creating harsh and power electronics album. Metalvelodrome was released in 1993 by the fabulous Japanese label Alchemy in a four-CD box. The tracks fall right in-between the atmosphere of Merzbow's early '90s work and his more hyper-aggressive mid-90s power electronics work and it's a charming mix, presenting the listener with some of the best elements from each phase of his evolution. Along with Noisembryo (1994), Venereology (1994), and Pulse Demon (1996) represent the top of the immense artist's production. All tracks performed using cheap electronics and junk, no use for synthesizer and midi sampler. Remastered and revised without the two tracks live and with four bonus tracks at Munemihouse in 2019 by Masami Akita. This reissue comes in a silver wooden box with laser engraving of original artwork cover on front (and inside) and Urashima logo on back. Each single CD inside wooden box comes in cardboard wallet with new artwork by Masami Akita; includes foldable and individually numbered certificate; edition of 500.

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Urashima present a reissue of Toshiji Mikawa's Radio Code, originally released on cassette in 1989. Toshiji Mikawa started his musical activities in the late 1970s and joined the legendary and notorious Japanese noise legend Hijokaidan. In 1981 he formed Incapacitants to pursue his interest in pure noise, in contrast to the more performance art oriented Hijokaidan at that time. Initially a solo project, later he was joined by Fumio Kosakai to make Incapacitants a duo that has been widely acknowledged for their extreme sound and intense live performances. Still active member with both groups nowadays, Mikawa has only made very few solo works without the participation of other parties. Radio Code is one of the rare opportunities to hear in his own personal element. Performed on black box electronics designed and built by Mikawa and destroyed in use. Recorded in 1988 and released the follow year in C60 cassette on AQM, label started in 1978 and run by John Duncan, at first in Los Angeles, then later in Japan, finally ending when Duncan moved to Holland. Comes in special hand-made package made by plate of black foam laser engraved, black tissue paper and string; includes an insert in special paper that replicates the original credits. Edition of 199.

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Incapacitants are the best noise band to ever come out of Japan; the group was formed in 1981 in Osaka, the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Mikawa, a bank employee who later became manager of one of the largest securities brokers in Japan, later moved to Tokyo, where he joined with government office worker Fumio Kosakai (also an occasional member of Hijokaidan, as well as a former member of C.C.C.C.) to make Incapacitants a duo. Mikawa and Kosakai are no ordinary salarymen, though. They've been making some of the most unremittingly ear-shattering racket for decades as Incapacitants, one of the most significant noise outfits to emerge from the Japanese scene in the early 1980s, and still one of the most radical and powerful. They've consistently been responsible for some of the most complex, chaotic, loud, and downright fun releases in the genre. Extreme Gospel Nights is a shocking cassette from 1993, released by one of the Japanoise-defining labels, Vanilla Records, whose sound is particularly exciting, agonizingly dense and full of detail. "Gospel" refers to the studio where the recordings were made; don't expect traditional spirituals, but rather some truly alien performances, complete with sporadic screaming of vivisected baboons drowning in the sonic sludge. There are two tracks here "Bitter Insect" on and the super lo-fi "Accelerated No(i)sebleed," in all probability recorded directly from the soundboard. Just pure, unadulterated electronic distortion of the highest quality done by two of the masters of all who have ever turned the knob on a distortion pedal. This is fun, terrifying, hypnotic, and fascinating all at the same time; their noise takes root not in violence or gimmickry, but in pure energy. It also serves as great example of just what makes well done noise so great: the layers of complexity that build upon each other reveal new and different textures and patterns on subsequent listens. Mastered by Mikawa and reissued for the first time on vinyl, with black label and black inner sleeve. Edition of 300 in deluxe silver silkscreen on black cardboard sleeve with an image of the Tomyodai lighthouse in the late Meiji era as cover art, insert on classic ultra-bright paper with glossy plastic coating with replica of original. Wrapped in tissue golden paper to replicate original tape release, includes sticker.

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Cascades of electronic noise, a psychedelic touch, and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna. Maso Yamazaki founded his project in 1987, with a charismatic and glamorous personality who become a cult figure in "Japanoise" scene. Predating the era of digital domination, there was a time where artist-run labels putting out primarily, if not exclusively, tapes were legion: Toshiji Mikawa's own Pariah Tapes, Masami Akita's ZSF Produkt, Koji Tano's MSBR Records, Masaya Nakahara's My Fiance's Lifework Productions, Akifumi Nakajima's G.R.O.S.S., Kimihide Kusafuka's Kinky Musik Institute, Hiroshi Hasegawa's Endorphine Factory, Hiroshi Hashimoto's SSSM, and Maso Yamazaki's Coquette are just a few examples from Japan alone. Masonna's abundant productions on his own legendary and astonishing label were presented in very limited edition, sometime totally confidential (one sole copy), and reflect his predilection for '60s psychedelic music revisited in its own very peculiar way. Maso Yamazaki transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts became clipped bursts of overloaded sound, doubled and extended by a delay that displaced the sounds into stuttered blasts of static. These vocal sounds fuse into a rattling background of harsh metallic fuzz, which was created by frantically shaking a highly amplified box filled with coins. Bursting Absolute Moods should have been the 1989 debut LP album on Vis a Vis Audio Arts, the legendary label run by Juntaro Yamanouchi, but it's never been released. All tracks were recorded live, at home, with no mixing and no overdubs. Album is full of very rough harsh noise that's mostly made up of lots of distorted screaming. This early work is very loud, noisy, and has lots of angry energy. The distortion and effects on the vocals are top notch, they in combination with his awesome screaming create a complete audio assault. Divided into two parts of twenty minutes each that focuses an electrically overcharged universe, punctuating the electric and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to these tracks. 140 gram vinyl; comes in a deluxe silver silkscreen on black cardboard sleeve; Includes full-color postcard in 300gr, foldable in A4 size and business card with art cover replica of Coquette tape All Live Recording At My Room (1989); Edition of 300.

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Vomir announces the cover box, with laser engraving on black wood, who is the best HNW artist around. HNW stands Harsh Noise Wall, better known as Wall of Noise, and Vomir is Romain Perrot, who's best known for his habit of wearing a black bag over his head when playing live. Six solid CDs that comes with a wooden box, which resolutely occupy a narrow and strictly defined dynamic band, with shifting textures of distortion and heavy low end. In retrospect it's surprising it's taken noise artists this long to notice the appeal of stasis -- its ear-fooling potential amplifies minor structural changes and renders small sound events disproportionately large, as well as allowing them to generate a genre variant which is both intensively aggressive and strangely calming. Nothing is progress. Everything repeats itself endlessly and nothing stands out as important. Nothing more should be undertaken. We will never arrive at the final destination. The truth is over, comes the loneliness. These are definitive new CDs of total static harsh noise, crusting, crushing, crackling of 75 minutes each by the master of the HNW Romain Perrot. No ideas, no changes, no development, no entertainment, and no remorse. Urashima continue the tribute of the genre with more than seven-and-a-half hours of monolithic HNW on six-CD set with an astonishing black wooden box. Each single CD comes in black wallet with no graphics plus individually numbered certificate in 200 copies and foldable color poster with picture and text in French and English.

$46.00$39.10 IN STOCK

Ten years after its first release in an eight-cassette box in 2009, The Rita's masterpiece The Nylon of Laura Antonelli is reissued on Urashima. Comes in a black wooden box with laser engraving that includes four-CD wallet with full color artwork, original 2009 insert, a foldable color poster, and a certificate numbered in 300 copies.

"Here we have The Nylons of Laura Antonelli, a multi-item release by The Rita, Sam McKinlay. The version you have here is its third issue. This release is the sound of different models of nylon for legs used according to Sam's own purposes. If filled with a spirit of non-literalism, what is 'Laura Antonelli'? Forward movement-wise I think of it as a series of inhibitors of varying volume. You can conceive of silence being the underlying reality on this release, and it allows you to feel each cell of the nylon fabric for what it is, which is basically a player in an offensive line guarding the object, the leg. Each sound could be received as a tiny scrum with the mic or the hand and the nylon. The dimension (paradoxically) is added by the flatness of the nylon. What in forward movement is received as a struggle along tiny cells is properly interpreted when considering both forward movement and thickness of contact as a rappel against the flatness of the nylon. It's each of these things at once continually for the length of the release. It's perfect. The sound and duration are perfect. It's impossible to stop thinking about the paradox I described. Everything I said in the last two paragraphs is everything I feel about The Nylons of Laura Antonelli, excepting the content of this paragraph. When something is perfect and there is a finite amount to say, that's what you say, and this paragraph, where I describe the recordings as being perfect, is also necessary, and terminal. Sound work is unique and necessary and it provides a result that is affectively different from everything else." --Gabrielle Losoncy, 2019

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Controlled Death is a new project by the Japanese noise legend Maso Yamazaki, aka Masonna. In April 2018, he decided to make a shudder debut with first album, Symphony For The Black Murder. In this release, Maso Yamazaki tried to commit to the dark side of psychedelia deepest in his own projects history and surprised the fans, but as soon as it gets excited, it is the second work the wooden black box Journey Through A Dead Body (LP) and Deathwish Tapes 1-3 (CD + two cassettes). Cracked minimal electronic sound by Korg MS-20, unclear and disturbing voice, corroded drone effect, with the influence of primitive black metal and dark ritual in Journey Through A Dead Body LP which developed a moisturized doom world while wearing a raw material texture. Anxiety, alienation, and hypochondria turn into a deep paranoia in pain. Without hesitation, the bodies are emptied, leaving the field to an electronics purulence of rare power disconcerting: a perfect journey through a dead body. And the sound contained in the CD and two cassettes called Deathwish Tapes 1-3 are direct feeling which developed the idea at the time to making Journey Through A Dead Body. In order to record it, it is said to be connected to a microphone at the input of the Korg MS-20 and recorded on a cassette tape with a single recording. It is nothing to call it mindfuck, its freshness is only fear. The activities of Controlled Death are like archaic revival to the music experience before Masonna. You will also find the pathology image of the early industrial period and the shadows of Vienna activism, such as Hermann Nitsch. The existence and art that pierces through conspicuous consciousness and dives to areas of unconsciousness due to death and pleasure. While taking death as the strongest drug, the season of second summer of death industrial is coming. About two hours and 30 minutes of astonishing storm of echoes that bangs it into your head. The wooden black box comes with LP, CD digipack, and two cassettes plus postcard, insert, business card, and sheet with notes in Japanese by Tamotsu Mochida (noise/industrial music critic in Japan, the organizer of "Anatano Kikanai Sekai" connect spiritualism and occultism to music and the author of Industrial Music for Industrial People). Edition of 199.

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MSBR (Molten Salt Breeder Reactor), aka Koji Tano, was one of the most respected noise artists to arise from Japan's exciting noise/experimental music scene of the 1990s. Much of his material was self-released on his own label, the astounding MSBR Records, which was dedicated to the production of limited-edition releases with incredible artwork. MSBR present a music elaborated with previously chosen source of sounds, whose origins are either naturel or artificial, with use of Korg guitar synthesizer and some effects, working in analog sounds. Oscillating between grappling electro noise (as he describes his musical style) and pure noise, the really surprising quality of the sound research leads to a tremendous kind of noise-texture. Ultimate Ambience is his debut album, recorded in February 1991 and released the following year on its label in 400 copies (the first one hundred copies in special edition with in unique fold-out handmade covers using foil, paint, and collage elements). Tano's Molten Salt Breeder Reactor divided record into two long tracks filled with excellent harsh noise with strong influences of musique concrete and electro-acoustic. The great production on this LP makes it so powerful that it is frightening at times. Layout by Yoshihiro Nakano. Original audio master from Denzatsu. 140 gram vinyl; black label and black inner sleeve; comes in a deluxe silver silkscreen on Fedrigoni black cardboard sleeve; Edition of 199 copies with insert on Rembrandt deluxe paper.

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Marco Corbelli's artistic journey began in the early '90s. Under the pseudonym of Marco Rotula, he started to release a series of fanzines in A5 format. The first was The Pleasure Agony, followed by Sick and Murders. The aesthetics of these first fanzines were very sophisticated and the content deals with topics that will follow Marco Corbelli throughout his artistic career: sadism, schizophrenia, insanity, murder, psychosis, necrophilia, diseases, and most importantly death. In 1993, heavily influenced by his obsessions, Marco Corbelli began his musical activities creating the Slaughter Productions label and the Atrax Morgue project. Greatly inspired by Italian power electronics act The Sodality, with their 1987 LP Beyond Unknown Pleasures and from projects as Whitehouse and Brighter Death Now, pioneers of a minimal, evil, and visceral electronic, Atrax Morgue released his first tape In Search Of Death which will be followed by a series of amazing cassettes in the following years. Tape after tape, with the help of an analog synthesizer Sequential Circuits Six-Trak, a microphone connected with a Yamaha multi-effect, tape decks, and a mixer, Marco Corbelli blows up emotions and delusions, cutting out the hard way inspired portraits of phobias and deviation. With this minimal equipment Marco has created all his shocking releases, excluding 1995's Cut My Throat (UMA 124LP), where he used the Crumar Spirit and in the latest works before he died, as for the collaboration with M.B., he also used RE-201 Space Echo (the only other machines he had used were Crumar Bit One and the Roland 909, both of which were used only for the Mörder Machine project). The main manifesto of Atrax Morgue is the analysis of the death, his perfection, and complete habituation: injections of death to continue to live. The hum of the synth, the roar of noise and fights razor are often repeated loops, where each track has a compact structure, following the main theme (of death). Urashima present a red wooden box with five CDs that include reissues of eleven terrific titles from his legendary label Slaughter Productions: In Search Of Death (1993), Exterminate (1995), Esthetik Of A Corpse, Catch My Agony (1995), Collection In Formaldeide (1994), Mechanic Asphyxia (1997), Death-Orgasm Connector (2003), Sweetly (1996), Woundfucker (1998), HomicidalI (1997), and An Expression Of Psychic Masochism (1995). Each single CD comes inside cardboard wallet with credits and new artwork; Edition of 300 (numbered).

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Along with Merzbow and Hijokaidan, Masonna is one of the best (known) Japanese noise projects. A psychedelic touch, cascades of electronic noise, and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé (1993), the double-barreled named for Masonna. Yamazaki "Maso" Takushi created Masonna in 1987 and he started recording for his own legendary label Coquette. His plentiful productions were presented in an ultra-limited edition, sometime totally confidential (one sole copy), on cassette, 7" acetate disc produced by a portable cutting machine, and Minidisc. They contributed to create a mythology based above all on the astonishing intensity with which "Maso" devastates and reprocesses the vocal cords, in a true "total electronic song". In his impressive live performances, he created and electrically overcharged universe, punctuating the electric and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to his pieces. Studio recordings are making full use skillfully editing how to edit cut-up, in which elaborate lump-sum making has been performed, the psychedelic taste for each track of time is taken into consideration, Yamazaki extends musical width. Masonna is an emblematic figure of Japanoise, who shines by a personal approach and an immediately recognizable style. A zenith in the noisy Japanese landscape. Urashima present seven amazing Coquette tapes for the first time remastered digitally on four CD in an exclusive black wooden box with laser-engraving: Like A Vagina (1988), All Live Recording At My Room (1989), Mad Onna (1989), Maso + Onna = Masonna (1989), Hate (1995), Freak (1995), and Filled With Unquestionable Feelings (1995). Each single CD comes in a cardboard wallet with credits and new artwork; individually-numbered certificate in 199 copies. Inside the chaos: the God of noise!

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Marco Corbelli's artistic journey began in the early '90s. Under the pseudonym of Marco Rotula, he started to release a series of fanzines in A5 format. The first was The Pleasure Agony, followed by Sick and Murders. The aesthetics of these first fanzines were very sophisticated and the content deals with topics that will follow Marco Corbelli throughout his artistic career: sadism, schizophrenia, insanity, murder, psychosis, necrophilia, diseases, and most importantly death. In 1993, heavily influenced by his obsessions, Marco Corbelli began his musical activities creating the Slaughter Productions label and the Atrax Morgue project. Greatly inspired by Italian power electronics act The Sodality, with their 1987 LP Beyond Unknown Pleasures and from projects such as Whitehouse and Brighter Death Now, pioneers of a minimal, evil, and visceral electronic, Atrax Morgue released his first tape In Search Of Death (1993) which was followed by a series of amazing cassettes in the following years. Tape after tape, with the help of an analog synthesizer Sequential Circuits Six-Trak, a microphone connected with a multi-effect, tape decks, and a mixer, Marco Corbelli blows up emotions and delusions, cutting out the hard way inspired portraits of phobias and deviation. The main manifesto of Atrax Morgue is the analysis of the death, his perfection and complete habituation: injections of death to continue to live. The putrescence is palpable, and one could almost smell and taste the miasma of decay that pervades the entire box. Anxiety, alienation, and hypochondria turn into a deep paranoia in pain. Without hesitation, the bodies are emptied, leaving the field to an electronics purulence of rare power disconcerting. The psychopathological sound is white, painful, and horrific; it creates a mental alteration that initiates brutal operation of psychic surgery, neuroses, and split personality. The hum of the synth, the roar of noise and razor are often repeated loops, where each track has a compact structure, following the main theme (of death). Urashima continue the tribute to the degenerate art of Atrax Morgue with an astonishing black wooden box with four CDs that include reissue of nine terrific titles: Black Slaughter (1993), Necro-sintesi (1993), Basic Autopsy Procedure (1995), Necrophiliac Experience (1994), New York Ripper (1994), Lesion 22 (1996), Spasmosynthetics (1997), Cut My Throat (1996), Homicidal Texture (1996). Each CD comes in a cardboard wallet with credits and new artwork; Edition of 199 (numbered).

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Urashima present a reissue of Atrax Morgue's Cut My Throat, originally released in 1995. Atrax Morgue is anxious and psychotic side of the power electronics and industrial music. With the help of an analog synth, Marco Corbelli blows up emotions and delusions, cutting out the hard way inspired portraits of phobias and deviations. Cut My Throat is recorded straight off and in a day. The first CD of the artist contains two paths based on typical analog drones that characterize all the first production of Atrax Morgue. The tracks on here are monolithic machines of industrial death that are portrayed in lovingly grating and rasping detail, with engines of soul rapine and pulsating contraptions eager to slice their way through soft flesh. The putrescence is tangible, and one could almost smell and taste the miasma of decay that pervades the entire vinyl. A seminal power electronics masterpiece for this unforgotten cult artist. Reprinted for the first time on LP. Includes bonus CD with all the LP tracks, plus all tracks from Atrax Morgue's Homicidal Texture tape (1995). 140 gram vinyl; Comes in a deluxe silver silkscreen on black cardboard; Black label and black inner sleeve; Includes an insert and a poster; Edition of 199.

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Urashima present a reissue of Necrofilia's Sein Zum Tode, originally released in 1997. In the early nineties, Slaughter Productions released two masterpieces of Atrax Morgue with Necro-sintesi (1993) and Necrophiliac Experience (1994), both splits with Lunus, the noise project of Devis Granziera and a very close friend of Marco Corbelli, aka Atrax Morgue. This partnership is only the prelude to what will happen a few years later. In 1996 Marco Corbelli and Devis Granziera decided to resume a bizarre project by Devis Granziera called Nekrophilia. After two years of work -- the two changing the name of the project to Necrofilia -- comes the result of their collaboration titled Sein Zum Tode (1990), out on tape again for Slaughter Productions. The tape is brutal -- harsh tones that cut through the air with manic male agonizing voice moving into a lyrical attack. Each track contains hypnotic storm of sounds with dense noise pattern that bangs it into your head. Reprinted for the first time on LP and remastered from the original tape. 140 gram vinyl; Comes in a deluxe silver silkscreen on black cardboard; Black label and black inner sleeve; Edition of 199.

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The Horror of Fang Rock is a continuation of Skin Crime's fascination with the theme of gothic horror as it relates to 18th and 19th century lighthouses. An audible soundtrack to a tale of terror for an unreleased lighthouse keeper's memoir. Dark drones, scarecrow electronics, and nightmare ambience ebb-and-flow over the entire opus. There are no track titles just a wall of sound to let the listener's own experience fill in the voids of the nightmare of, The Horror of Fang Rock. The recording process involved Skin Crime sending Wilt sound sources through the mail. Wilt would then add sounds and send back for review. This process extended over several months. Once completed Wilt did the final mix and mastering and final art. 180 gram vinyl; black inner sleeve and deluxe silver silkscreen on black cardboard outer sleeve; Edition of 199 (hand-numbered).

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With his flagship project, The Rita, Sam McKinlay has, for nearly two decades, explored and distilled into sound various permutations of fetish and vice. Recognized as the creator of wall noise, McKinlay's conceptual intent and the singular intensity of his focus established something novel and profound. McKinlay's compulsive reverence for noise is a fetish of sound. Frequently, McKinlay utilizes field recordings and other sounds sourced from the objects of interest before encrypting them in an opaque shell of noise. Listening to McKinlay's recordings, it's often difficult to determine whether one actually hears the sounds of the source material or if the power of suggestion is so strong that the listener extracts phantom sounds. In recent years, McKinlay has increasingly focused on the female form, particularly the modes of body augmentation that define classical femininity, such as make up, nylon stockings, etc. The progression of this focus culminated with the most archetypal projection of femininity in Western Culture: the ballerina, her feet, and her pointe shoes. The foot of a woman has long been identified as the most common source of unusual sexual preoccupation. Toe Cleavage is the most comprehensive expression of McKinlay's recent endeavors. For the uninitiated, the term "toe cleavage" refers to the display of the upper portions of toes in low cut shoes -- an essential detail for many shoe designers. Across the seven tapes in this set, McKinlay, through his music, dissects, indulges, illustrates, and worships the feminine foot. To that end, McKinlay worked with Los Angeles based visual artist Olivia Burr and recording artist Kristin Hayter (Lingua Ignota). In addition to photographic contributions, Burr and Hayter provided much of the source material for McKinlay including: dance studio floor recordings; contact mic'd ballet shoes; and the repeated unboxing, unwrapping, trying on, walking in, and re-boxing of various designer shoes (Valentino, Miu Miu, etc.). Adding depth to the overall experience, McKinlay interspersed interludes throughout the recordings featuring audio samples derived from discussions and tutorials about pointe shoes, toe cleavage, and various designer ballet flat and stiletto reviews. This set of recordings is arguably McKinlay's most focused and obsessive effort to date and perfectly embodies the cultivated stylistic traits that have defined his work through the years. Seven-tape set come in a wooden box with a 16-page book, a colored poster, an insert drawn by Sam McKinlay in Ivory paper, and a sheet with notes. Edition of 99 (hand-numbered).

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Marco Corbelli's artistic journey began in the early '90s. Under the pseudonym of Marco Rotula, he started to release a series of fanzines in A5 format. The first was "The Pleasure Agony", followed by "Sick" and "Murders". The aesthetics of these first fanzines were very sophisticated and the content deals with topics that would follow Marco Corbelli throughout his artistic career: sadism, schizophrenia, insanity, murder, psychosis, necrophilia, diseases, and most importantly, death. In 1993, heavily influenced by his obsessions, Marco Corbelli began his musical activities creating the Slaughter Productions label and the Atrax Morgue project. Greatly inspired by Italian power electronics act The Sodality and projects such as Whitehouse and Brighter Death Now, pioneers of a minimal, evil and visceral electronic, Atrax Morgue released his first tape In Search Of Death (1993) which would be followed by a series of amazing cassettes in the following years. In 1995, the activity of the Slaughter Productions became more and more frantic, releasing countless tapes. At the end of the same year they produced two important works by Atrax Morgue. The first was titled An Expression Of Psychic Masochism, with one only track that was based on unique white, painful, and horrific synth drones; generating a mental alteration that initiates brutal operation of psychic surgery, neuroses and split personality. The second was titled Catch My Agony with two tracks that were founded on abrasive synth drones; the harsh and glacial sound atmosphere melts with murder, necrophilia, and dead bodies forming a macabre collage. Work was inspired by novel written by Hugh Fleetwood The Order of Death (1976), which has also been put on the screen by the Italian director Roberto Faenza (1983). It was originally packed in an outstanding bundle, literally stuck in a real mousetrap. The smell of death is saturated in every sound produced by the brilliant and twisted mind of Marco Corbelli in these two works. Anxiety, alienation, and hypochondria turn into a deep paranoia in pain. Without hesitation, the bodies are emptied, leaving the field to an electronics purulence of rare power disconcerting. Comes in a deluxe silver silkscreen on black cardboard sleeve; Includes a sheet with credits and art from first original Slaughter Productions logo (from the first fanzines); Black inner sleeve; Remastered from the original tapes; 140 gram vinyl; Edition of 199.

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In 1995, Marco Corbelli shaped an interesting side-project, Progetto Morte, in collaboration with Walter Piano. The outcome of these twisted minds was a tape with the same title of the project recorded at Corbelli's home on June 10, 1995 and released the same year on Slaughter Productions with a booklet with the lyrics of the seven tracks, wrote by Walter Piano in Italian, and with the first Progetto Morte proclamation (translated in English too) revealing the nihilistic concept of this new alliance: the total sense of no-existence. The tracks on cassette are monolithic machines of industrial death that are portrayed in lovingly, grating, and rasping detail, with engines of soul rapine and pulsating, paranoid words eager to slice their way through soft flesh. The putrescence is tangible, and one could almost smell and taste the miasma of decay that pervades the entire vinyl. A blood and thunder, bass-heavy assault on the senses. Cold and surgical power electronics inspired by death, diseases, and suicide. Reprinted for the first in LP, tracks were remastered from the original tapes. Comes in a deluxe silver silkscreen on black cardboard sleeve; Includes booklet with lyrics (in Italian) and flyer from the first USA concert in 1996; Black inner sleeve; 140 gram vinyl; Edition of 199.

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Among artists released on cassette in the 1980s was the great Maurizio Bianchi, one of the primary architects of Italian industrial music, whose early experimental works were almost entirely constrained to small run self-issued tapes, and, in this case pertinently, a handful of equally limited LPs. Urashima present REMS/MECAT Complete Discography Vol. I, a beautiful seven-cassette box set drawing on this remarkable era in Maurizio's output. Maurizio Bianchi's early period of musical productively was relatively brief, between 1979-1983, after which he withdrew for religious reasons. The period produced around 40 releases, roughly half of which were self-released, and nearly all of which were conceived for cassette. Whether by necessity or design, it is the format through which his work is best understood. In addition to the inception of Italian industrial and noise music, Bianchi represents one of that scene's most concise links to similar movements across the globe, during this period finding himself in regular contact with members of Throbbing Gristle, GX Jupitter-Larsen, SPK, Nocturnal Emissions, and Whitehouse, among many others. REMS/MECAT, stretching across seven cassettes, draws most of its material from Bianchi's slim output on LP, originally issued on his own imprints Mectpyo Sounds and M.B., or with other labels, such as William Sharp's Dys, and Gary Mundy's Broken Flag. This is the first time that most have been issued on cassette. Each album presents a writhing sea of abrasively brilliant sound. Brittle and creatively brilliant, these are the utterances of a new movement and its position in culture and society, birthed in the shadowy spirit of punk, and from the death of the countercultural idealism which defined the era before. Electronic music, with music at large, conceived entirely anew for a generation of disillusioned ears. Across each, creative singularity erupts; the organization of sound is pushed to unknown depths. As the critic Vittore Baroni noted in 1984, Bianchi's work is defined by "long magnetic suites in which the sound particles seem to have an independent character, stagnating and reproducing themselves with infinitesimal variations, and with a never lacking tension and 'logic to the absurd'." Includes: Regel (1982), Menses (1982), Symphony For A Genocide ‎(1981), Mectpyo Bakterium (1981), Endometrio (1982), Carcinosi (1983), and The Plain Truth (1983). This is an essential release for fans of Italian avant-garde, industrial, and noise music. Produced in a stunning wooden box; Edition of 99 (hand-signed).

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"It feels like I've been writing about Dead Body Love for as long as I have been recording harsh noise. What else can be said? I can't express enough how much of an influence Italian harsh noise has had on my own personal works, but It also lets me and several peers investigate the techniques and styles of the 1990s harsh noise and the atmosphere that was created expressed from different regions of the world. The more I listen and revisit the material of '90s Japanese harsh noise, the '80s UK power electronics, and the celebrated rougher tendencies of '90s Americanoise, the Italian material and different projects flare up that dictate a powerful 'Coles Notes' of harsh noise and how it can be deconstructed and eventually materialized into vivisected lines and layers of crumbling, throbbing, cracking and creaking sound. I always trail back to Mauthausen Orchestra and its insurmountable importance to abrasive sound and its developments, especially in sub sect harsh noise genres of the 2010s... Then you take the obsessions and the lines of moving sound and have them expressed by something like the fanatical Atrax Morgue. Fearsome concentration and jarring meditation on lines of warbling and predatory analog synth work portray something invariably real about the obsession acted out from the Italian project Atrax Morgue. A different display of penetrative and studied sound seethes from Atrax Morgue as now the listener and 'fan' of Italian industrial and harsh noise is confronted with another genre defining sound that pits throbbing and rough synth against haunting and manic vocalizations, disturbing the listener with its undeniable dedicated concentration. The resulting split tape with material from Dead Body Love and Atrax Morgue isn't as black and white as one might think. Dead Body Love makes use of dark and rough early industrial-like lines and meld into the eventual crushing forces that he is known for. In the vein of Atrax Morgue, samples are also manipulated and drawn out for the listener reminding us of his more delay heavy work. Atrax Morgue's material works with DBL's material almost seamlessly via further haunting and throbbing dark material, slowly churning and deconstructing into his own distinct sound of heavily concentrated focus and mania for singular sounds and how they can repeat, move and create total atmosphere." --Sam McKinlay.

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The intrinsic fandom tendency toward Eurotrash actress Edwige Fenech has possibly been one of the most encompassing examples of "obsession" translating into layers of pummeling abrasive sound, especially in the building block heyday of the heavier OVMN and Incapacitants inspired style of international contemporary, early '00s, harsh noise artists. Edwige Fenech - just the name sends the educated into a whirlwind of her cinematic stylizations, objectification, and glorious portrayal and generator of mandates for various Eurotrash genres: The inconceivable layered work with Rosalba Neri in The Seducers (1969); The awe inspiring bobbed haircut and mannerisms of Gently Before She Dies (1972); The sex worker apparel and curly blonde wig from Taxi Girl (1977); The slicked and pinned back hair and nylon worship of Dr. Jekyl Likes Them Hot (1979); The crew cut haircut and bare feet glimpses from Strip Nude For Your Killer (1975); The '70s wavy, curly hair and the stockings during the sultry couch scenes from Lover Boy (1975); The courtesan role intense leg worship and playful mannerisms of Giovannona Long Thigh (1973); The sun-tanning and fetish exercise programs of Vices In The Family (1975) acting alongside Susan Scott; The medieval maiden and mistress aesthetic of Ubalda All Naked And Warm (1972). Not unlike the pornography and the extreme lifestyle fascination of the '90s Americanoise, the interests continued to be deconstructed and melded into harsh noise as the conscious and studious harsh noise artists of the '00s continued to study the European cult film and its objectified actresses and fetish driven aspects. The experience is cumulative the more you watch, collect, and study the various genres that Edwige Fenech was featured in and that inspired the cumulative and layered aspects of the harsh noise project Edwige with the original line-up of Keith (Mania), Sam McKinlay (The Rita), and Dan Johansson (Sewer Election), and later Nolan Throop (Kakerlak) filling in for Keith on a 2008 American tour. Between the sets on the 2008 tour from The Rita, Sewer Election, Kakerlak, and Dog Holocaust, the '90s rough American style, harsh noise worship was palpable. It's only natural that a tape was generated as exemplary from the tour days of 2008. Comes on 140 gram vinyl; Comes in a deluxe silver silkscreen on black cardboard sleeve; Includes a black and white poster; Edition of 199 (hand-numbered).

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"... From ephemera, from tulle and satin, The Rita has assembled a fantasy woman; a ballerina, a fairy, a sex worker - violently she is animated into existence as a sonic monolith dense and menacing as Richard Serra's looming steel. With the double LP set The Lilac Fairy, The Rita reach an apex of fixation on the dancer's body... The Lilac Fairy records the ritualized construction of a garment, The Lilac Fairy is a costume, a tutu empty of body altogether... The sanctity of ballet as elite aristocratic high art has always been a thinly-veiled facade for blatant eroticism, where women are interchangeable pieces of scenery arranged in colonnades for the pleasure of the male gaze. The Lilac Fairy herself was originally choreographed by Imperial Master Marius Petipa for his unskilled but beautiful daughter Marie as a mime part, but has been modified over the past century to become one of the most taxing characters in the female dancer's repertoire... The Lilac Fairy is a ricochet between fabrication and obliteration, degradation and ritualized exaltation... Only within the noise does she ascend, within the inimitable walls of The Rita that choke every frequency, devour all and drown all, shatter every object. Everything is reduced to geometry, a cello attempts to accompany and is pulverized. Within the abstraction of harsh noise, The Rita simultaneously brings to life and annihilates the total fetish object, and in this performance of gestures she is elevated to the realm of non-objectivity, the Black Square of Malevich, Vessel and Void - pure. Listeners would be wise to note that Sam McKinlay has transcended the trope of the romanticized cult of genius surrounding solitary harsh noise, and The Rita is now half-woman, with the integral presence of Arlie Doyle as both the embodiment of the objectified form/performative feminine and collaborator in the sonic deconstruction of her own body. Additionally, The Lilac Fairy utilizes the contributions of several skilled craftspeople and musicians, with the tutu constructed by Katherine Hotmer and fittings to Doyle's body performed by Rachel Hayward, Luke Tandy's assiduous recording of the process of construction, and cello accompaniment by Leila Bordeuil. The sound that has made McKinlay a modern master of harsh noise remains intact, but the expansive critical and collaborative scope of The Lilac Fairy makes it a hallmark in the oeuvre of The Rita." --Kristin Hayter

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Atrax Morgue, the brainchild of Marco Corbelli, is a sound project that started in the early nineties and focused in various areas related to the field of psychopathology: murder, violent death, sadism, necrophilia, schizophrenia and insanity. The primary influences come from projects as Brighter Death Now and Whitehouse, pioneers of a minimal, evil and visceral electronic; and from the legendary projects Mauthausen Orchestra and The Sodality. The main manifesto of Atrax Morgue is the analysis of the death, his perfection and complete habituation: injections of death to continue to live. Ripper Box follows shortly after the immediately sold out Necro Box (UMA 103LP, 2016) and continues the tribute to the degenerate art of Atrax Morgue, one of the greatest exponents of industrial/power electronics in Italy. The first LP is New York Ripper, originally released in 1994 on Slaughter Productions. It is a work from sounds obsessed with the use of very low frequencies, synthetic and disturbing - the psychopathological sound is white, painful and horrific, creating a mental alteration that initiates brutal operation of psychic surgery, neuroses and split personality. The second LP is Lesion 22, originally released in 1996 on Less Than Zero. The tracks on Lesion 22 are monolithic machines of industrial death that are portrayed in lovingly grating and rasping detail, with engines of soul rapine and pulsating, screaming contraptions eager to slice their way through soft flesh. The third LP is Spasmosynthetics, originally released on tape in 1997 on Labyrinth. The four tracks on Spasmosynthetics are based on obsessive synth drones - anxiety, alienation and hypochondria turn into a deep paranoia in pain. The Ripper Box comes in a deluxe silver silkscreen on Fedrigoni constellation black cardboard and includes: three records on 140 gram vinyl that come in three deluxe silver silkscreen on black cardboard sleeves with new artwork for each title, two CDs that include all tracks of the three LPs plus all tracks from Black Slaughter (1993), a sixteen page booklet in A5 size with credits, replica of original tape artwork and more. Box and covers handmade in Italy; All tracks have been remastered for this release; Edition of 199 (hand-numbered).