SHANE PARISH - 'AUTECHRE GUITAR'

Formats

• PAL095LP - 2xLPs

  840526501786

• PAL095CD - CD

  195269398583

Details

This record shouldn’t, strictly speaking, be possible at all. It’s not just that Autechre’s music is electronic and Shane Parish’s is acoustic. It’s not just that Autechre come from electro and techno, while Shane’s solo guitar music is rooted in jazz, folk, and the blues. Those borders, between mediums and genres, are as porous as you want them to be. But Autechre are synonymous with difficulty, opacity, inscrutability—known for unparseable rhythms, cryptic riffs, and shapeshifting timbres. Even on their early records, before they’d begun building out the mind-bending software systems that have defined the past quarter-century of their music, the duo of Sean Booth and Rob Brown were working at the very limits of their machines: eking melodies out of drum sounds, programming intricate polyrhythms of superhuman complexity, and writing sequences that defy attempts to decipher them. I’ve been listening to “Yulquen” for 31 years, and I still couldn’t tell you just what is happening between the melody and the beat; try as I might, I simply can’t count out the steps. Now take Shane: one guy, one guitar, two hands. Six strings. Ten fingers. (Throw in a tapping foot for when the timekeeping gets tricky.) That’s the sum total of what he’s working with. These are not the kinds of tools you’d think would be equipped for Autechre’s music. But if anyone could take on a project like this, it’s Shane. Informed by his years spent playing standards as a working musician in supper clubs and resorts around Asheville, North Carolina, he’s been arranging music for solo fingerstyle guitar for decades—much of it material originally written for and recorded on other instruments. On his astonishing 2024 album Repertoire, he tackled songs by Ornette Coleman, Charles Mingus, Eric Dolphy, Alice Coltrane, and even Kraftwerk and Aphex Twin, zeroing in on the essence of each and rendering it into his own sure-footed yet exploratory style. The origins of Autechre Guitar run deep. Last year, Shane posted a low-key nylon-string performance of “Slip,” recorded in his living room, on YouTube. But his first attempt at the song was actually way back in 2004, when he notated his first rudimentary transcription of its serpentine melody—a 29-beat phrase that seems to slip and slide over a 4/4 pulse, to subtly unsettling effect. He had returned to the song over the years, with a vague idea of eventually doing something more with it; finally, after Repertoire’s Kraftwerk and Aphex Twin covers—and with the urging of his wife, a die- hard Autechre fan—he decided to try his hand at an entire album of Autechre covers, and sat down to begin notating songs, one by one. Puzzling out the sequences. Arranging the counterpoints. Translating shades of pewter and graphite into something resembling a 12-tone scale. And, most importantly, finding ways to distill Autechre’s seemingly limitless details in ways that could be played by just 10 fingers without losing the soul of the song. It was, in essence, a kind of sleight of hand. The material on Autechre Guitar is drawn entirely from the 1990s—specifically, from the albums Incunabula (“Maetl,” “Eggshell,” “Bike,” “Lowride”), Amber (“Slip,” “Nine,” “Yulquen”), Tri Repetae (“Eutow,” “Clipper”), and LP5 (“Corc”). The reason is simple: That’s the melodic golden age of Autechre, when Booth and Brown were writing hooks that would go down as some of the most enduring, and emotionally satisfying, in the past three decades of electronic music. Shane has done a remarkable job of capturing those melodies and translating them for the steel strings of his Taylor 214E-G. Anyone who knows Autechre’s “Bike,” a dreamy highlight of their debut album, will instantly recognize the melody Shane has pulled out of it, high notes drizzling down like raindrops on the windshield while octaves in the bass swish back and forth, steady as wipers. But what I find even more fascinating are the examples where the connection isn’t so clear. Where the melody in the original song isn’t so obvious, say—like “Clipper,” with its droning pads and rigid bursts of arpeggio, or “Corc,” with its gamelan shimmer and open-ended riffs. “Eutow” is another one that stops me in my tracks every time: How on earth did Shane get from the original’s smear of supersaw pads, arcing glissando, and whipcrack electro beat to what he gives us here: a somber, Faheyesque report from the depths of solitude? Or just listen to “Nine,” whose portamento attacks he turns into pitch-bent blue notes straight out of the American South. (The album version of “Nine” is actually the original demo recording Shane made of the song; it’s the only take where he feels like he really captured the magic of that song.) Listening to Shane’s versions of these tracks, you intuit the way he’s had to reach deep inside each song, working by feel alone, to grasp its contours and come back with something that communicates its ideas, even if it sounds all but unrecognizably different. Ultimately, Autechre Guitar works on multiple levels. It’s a celebration of Autechre’s music, shining a spotlight on the durability and flexibility of their songwriting. At the same time, it’s an invitation to listen deep inside the music, to take part as active listeners in the process of translation and interpretation. And while it hardly needs to be said, it’s an invitation to simply get lost in Shane’s astonishingly fleet playing, which takes these songs of unfathomable difficulty and makes them seem practically effortless. –Philip Sherburne 

Tracks

1) Maetl
2) Eggshell

3) Eutow
4) Slip
5) Bike
6) Nine

7) Y ulquen
8) Lowride

9) Corc
10) Clipper

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DISCIPLE BC - 'THE HOMECOMING'

Formats

• CC009 - LP

  5061041821615

Details

ON LTD GREY SPLATTER VINYL W/ HAND SCREENED 12" PRINT Creepy Crawl kicks off the 2026 in a suitable way…unleashing the new LP by Disciple BC. Titled 'The Homecoming' this really is music for the world as it is today - Continuing the blood soaked saga, The Homecoming documents the bands return to the UK, with 9 tracks of the finest horror crust punk, each one telling tales of crime, punishment, revenge and retribution. Is this the end, or a new dawn? Featuring members of SORE THROAT, DOOM & AGNOSY and featuring the enigmatic and mysterious Rev Schneider on vocals and faith healing. Disciple B.C. has been described as “Jello Biafra fronting Motorhead” & like “Dave Vanian singing with Bathory playing Anti Cimex songs”. Coming at you wrapped in a deluxe gatefold sleeve, grey splatter vinyl and a hand screened 12” print done inhouse here at Creepy Crawl and limited to 300 copies. Join us. Support the underground.

Tracks

1. BC March (The Return) 2. The Dignity Of Labour 3. Down Into Hell 4. D.I.S.C.I.P.L.E.B.C. 5. The Hammer Comes Crashing Down 6. The Troubled Troubadours of Tomorrow 7. Catch Me If You Can 8. Whole In The Scene/The Nordic Light

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MOTORPSYCHO - 'THE GAIA II SPACE CORPS'

Formats

• NFGS0126LP - LP

  9008798703128

• NFGS0126CD - CD

  9008798703111

Details

Motorpsycho has always been of the opinion that the most interesting stuff happens in any art form before it is formatted and settled. In rock music, this phenomenon peaked in and around 1970, and it is in this period that the best heavy music was made, simply because the rules weren’t set, there were not ropes yet, and there were no clichés to fall back on. The Gaia ll Space Corps is an album of tunes that don’t quite sound like heavy metal or hard rock, but clearly is reaching for some of the same qualities. It is post-psychedelic, pre-metal music, and is probably as close to making a true blue ‘classic hard rock’ album Motorpsycho ever will come. The Gaia ll Space Corps is a short, concise, catchy and exciting album, continuing where Motorpsycho’s Stanley and The Come back left off. The instrumentation is mostly guitars, guitars and some more guitars, but there is quite a bit of singing in there too, and even an occasional keyboard sound or two as well. But mostly this is guitar music that ...well, rocks! Hard!! The first single is the album’s lead off track Fanny Again Or. This Bent sung fable is a shot of adrenaline that fairly reeks of the Osmonds (and comes with a faint whiff of the Hammer of the Gods). It is a riffy proposition that can’t help but get the blood up in any and every true rocker! Snah then sings the tragic-but-groovy psych rocker The Great Stash Robbery, a Freak Brothers-esque tall tale of the ‘pot will get you through times of no money better than money will get you though times of no pot’-variety. Other stand-outs are the bluesy, nervy juggernaut TSMcR where the band, with Reine in the lead, almost derails as it channels the sci-fi blues of the mighty Groundhogs, and the title track, an exciting 60’s stomper celebrating the proud feats of the titular organisation. It features Snah on electric sitar. The Hornet choogles briskly along (‘...and don’t forget to boogie!’), before the epic, Snah sung ballad The Oracle lets the sun in for a breath of air. Light and shade, right? This version of the band (Ryan / Sæther, with Fiske and Olsen) then tops it all by delivering an epic, knock-out version of the old Frost classic Black As Night to end proceedings in appropriate Detroit style. ‘They don’t make records like this anymore’ the band thought, then went and did something about it. Recorded both at the Old Cheese Factory in Trondheim and in Amper Tone in Oslo, The Gaia ll Space Corps proudly sounds like it was recorded in 1970 and makes up in excitement for what it might lack in subtlety. And sometimes you just gotta let it rip, dontcha? Motorpsycho certainly thinks so, and offers up The Gaia ll Space Corps as an answer to the acoustic jangle of Yay! [NFGS0223] and the epic workouts of Motorpsycho [NFGS0125]. Made with love and respect for a dying art form, it’s energy will leave you reeling, deaf and happy, socks rocked well and truly off! Rock is dead, long live rock!

Tracks

1. Fanny Again, Or 2. The Great Stash Robbery 3. TSMcR 4. TheHornet 5. The Gaia II Space Corps 6. The Oracle 7. Black As Night

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JOHN CHOWNING - 'STRIA'

Formats

• IMPREC478 - LP

  93447547817

Details

Dr. John Chowning (b. 1934) is a pioneering computer musician,composer and professor who, in 1967, discovered the FM synthesis algorithm. This breakthrough in electronic music allowed for simple,yet rich timbres described as sounding "real." With this discovery,Chowning composed singular, dramatic electronic music and changed thetimbre of music forever.Chowning utilized the potential of computers to synthesize sounds according to programmed instructions. The composer's use of his own FM algorithms, digital synthesis with computers and the new compositional concepts offered by a programmable musical structure combine to create some of the most original and unique electronic music ever created.The compositions on this LP were realized between 1966 and 1981 and the music on this LP, with the exception of Stria, was originally released on CD in Germany (Wergo, 1988). The version of Stria included here contains a section not included on the Wergo CD. Thus, this version of Stria is complete. This is the first time these purelydigital recordings have been released on an analog medium. The original dynamics of these groundbreaking compositions have been preserved on this LP. As a result, listeners are advised to increase volume with caution.In 1975, John Chowning founded the CCRMA - Center For Computer Research In Music and Acoustics at Stanford University. Through Stanford, Chowning licensed his groundbreaking algorithms to Yamaha resulting in numerous new instruments including the iconic DX seriesof keyboards. In 1972, his composition Tureens which is included onthis LP, was the first to create the illusion of continuous 360-degreespace using four speakers.Technical NotesAll pieces on this LP are originally quadrophonic. The illusion ofmoving sound sources is thus projected from the surrounding environment given by four loud-speakers on the stereo-basis.STRIA was composed using Chowning’s own program to compile the musical structure into note-lists and MUSIC 10 (by D. Poole/Tovar) to generate the sounds in software-synthesis. The original quadrophonic version utilized 12 bits, two different sampling rates being used to accommodate the enormous amount of data on the magnetic disc-packs available at that time. The original sound-data was processed by sampling-rate conversion and digital mixes to achieve the stereoversion presented on this CD.SABELITH and TURENAS were synthesized originally using Smiths’ SCOREand MUSIC 10. However, their format was changed from direct sound-samples to a command stream for a special purpose computer, the SystemConcepts Digital Synthesizer, designed by Peter Samson, one of the first large-scale digital synthesizers for real-time sound processing- one was designed for CCRMA in the late seventies. For this recording the sounds were recorded directly from the synthesizer computing thesamples in real-time.PHONE was realized with the System Concepts Digital Synthesizer using again Chowning’s own program to create the note list.The master tape of this CD was made directly from the computer system at CCRMA which generated and stored the sound data in digital format.No analog recording was involved at any stage of the production andediting process.JOHN M. CHOWNING was born n Salem, New Jersey, in 1934. He studied composition in Paris for thee years with Nadia Boulanger. In 1966 hereceived the doctorate in composition from Stanford University, wherehe studied with Leland Smith. With the help of Max Mathews of BellTelephone Laboratories and David Poole of Stanford in 1964 he set up acomputer music program using the computer system of Stanford’sArtificial Intelligence Laboratory. This was the first implementation of an on-line computer music system ever.In 1967, John Chowning discovered the frequency modulation (FM)algorithm in which both carrier-frequency and the modulating-frequencyare within the audio band. This breakthrough in the synthesis oftimbres allowed a very simple yet elegant way of creating and controlling time-varying spectra.Over the next six years he worked toward turning this discovery into a system of musical importance. In 1973, he and Stanford University beana relationship with Yamaha (Nippon Gakki) in Japan, which led to the most successful synthesizer series in the history of electronicmusical instruments.John Chowning has received fellowship grants from the National Endowment for the Arts and was artist-in-residence with the Kunstlerprogramm des Deutschen Akademischen Austauschdiensts for the City of Berlin in 1974, and guest artist in IRCAM in 1978-79, in 1981and in 1985. John Chowning currently teaches computer-sound synthesis andcomposition at Stanford’s Department of Music and is director of the Center for Computer Research in Music and Acoustics (CCRMA), one ofthe world’s leading centers for computer music and related research in the world

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File under: Early computer music / Electronic / Avant garde

Audio & Video

NZY - 'N2_M15t'

Formats

• SAUNA77 - MC

  69791984936

Details

NYZ (David Burraston) presents this collection of generative music pieces carefully extracted from a PreenFM2 gifted to him by Aphex Twin. PRN2_M15t is being released at the same time as an LP titled Stria from Dr. John Chowning who invented the original FM synthesis algorithms which were sold to Yamaha and used in the creation of the DX series of keyboards. An interview with Chowning, conducted by David Burraston, will be published at the same time.David Burraston is an award winning artist/scientist working in theareas of technology and electronic music, operating Noyzelab as anindependent art/science music studio since 1981. Numerous research publications include a 2006 PhD thesis Generative Music & Cellular Automata, which developed and applied fundamental new concepts from generative music practice to a key problem in complex systems theory.His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis and electronic music. He performs, lectures, conducts workshops and creates art installations in Regional NSW and around theworld. David also designs and builds sound synthesizers based on his theories of chaos/complexity science. He was recently interviewed by Bandcamp Daily and The Wire Magazine.David has worked with many diverse collaborators such as Aphex Twin,Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi,Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MITMedia Lab and the Australian Broadcasting Corporation. In 2014 he independently published the legendary "SYROBONKERS!", the most technical and in-depth interview ever given by Aphex Twin

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REDD KROSS / HARD ONS - 'TOUR SPLIT'

Formats

• CRT335 - LP

  742978168695

Details

Two titans of power-pop and punk rock reunite this March. LA cult legends REDD KROSS, celebrating 45 years of dayglo hooks, sly wit and sky-high choruses, join forces once again with Aussie icons THE HARD-ONS, fronted by the incomparable Tim Rogers, for a long-awaited tour across Australia. With new music in tow and a shared history of high-volume brilliance, the two pioneer bands are set to light up stages from Queensland to Victoria. Expect high-voltage singalongs, fuzz-drenched anthems, and a masterclass in melodic brilliance from two of rock’s most enduring and prolific forces. REDD KROSS & THE HARD-ONS. From LA and Sydney respectively. Separated by an ocean, but with ties that go back to when they were label mates on the US Big Time label in 1987 and maybe even further. Beyond that the connections are plentiful; both started playing out on their respective punk scenes when they were very young - Redd Kross as pre-teens and mid-teens in '79-80, The Hard-Ons as mid-to-late teenagers in '82-83 - and both ruffled plenty of feathers when they did. Both bands transgressed the accepted boundaries of punk, and both pushed audience excitement buttons with high energy, great tunes, an outrageous visual element and a willingness to not only include '60s pop influences into their punk sounds, but also flashy and trashy '70s hard rock. Indeed, two bands were arguably the first two to understand the musical thread that joined Kiss and the Ramones, and in doing so they together helped make the world a brighter place. Current Hard-Ons singer Tim Rogers goes back decades with Redd Kross too - a young You Am I were on the bill when Redd Kross toured Australia with the Hoodoo Gurus back in 1994. REDD KROSS & THE HARD-ONS have also recently both celebrated anniversaries and received the kind of kudos that only occasionally comes with their levels of dedication and perseverance. Redd Kross last year marked their 45th anniversary with their most acclaimed album to date (a self-titled double LP on In The Red Records), as well as a revelatory movie documentary and book. The Hard-Ons celebrated their 40 years with a film of their own - a sequel to that is doing the rounds now - and continued their run of Top 40 records (which began in 2021 with their first album with Tim Rogers and their first for Cheersquad Records & Tapes, the #4 album I'm Sorry Sir, That Riff's Been Taken) with last year's I Like You a Lot Getting Older.

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THE SPACE LADY - 'GREATEST HITS 2026 REPRESS'

Formats

• LSSN020W - LP (COLOURED)

  5061041821905

Details

**FROSTED CLEAR VINYL WITH ORIGINAL BOOKLET** Transcendentally beautiful, The Space Lady's music is returning to Earth. Transmitting messages of peace and harmony, The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter and headset mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its leading exponents ever since. "Utterly unique and radiant with a universal love that courses through The Space Lady’s re-shaping of 20th Century counterculture, these songs lament time past while suggesting a mode of living for the future. Now celebrating its 13th Birthday, The Space Lady’s Greatest Hits has firmly earned its place as not an “outsider” classic (whatever that means) but as a Classic full stop. Originally recorded in 1990 by Susan Dietrich to document her time on earth as The Space Lady, it enjoyed niche, underground fandom until Night School Records released it as Greatest Hits in 2013. Play these songs to anyone and the distance between them seems to shrink." - Michael Kasparis

Tracks

Tracklist: 1. Humdinger 2. Synthesize Me 3. Major Tom 4. Ghost Riders in the Sky 5. Domine, Libra Nos/Showdown 6. Fly Like an Eagle 7. Born to Be Wild 8. I Had Too Much to Dream (Last Night) 9. From the Womb to the Tomb 10. Ballroom Blitz

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Audio & Video

COIL - 'ASTRAL DISASTER (PRESCRIPTION VERSIONS)'

Formats

• IF127LP - 3xLP

  710473185905

• IF127CLEAR - 3xLP COL

  710473186384

Details

BLACK AND COLOURED VERSIONS AVAILABLE Dedicated vinyl-only edition focusing exclusively on the Prescription versions. • Includes new Astral Disaster II artwork by Steven Stapleton. • Remastered for vinyl by Grammy-nominated Jessica Thompson. • Perfect for collectors interested specifically in Coil’s Prescription / Threshold House era

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COIL - 'ASTRAL DISASTER (TTH VERSIONS)'

Formats

• IF126LP - 2xLPs

  710473185899

• IF126CLEAR - 2xLP (COLOURED)

  710473186377

Details

BLACK AND COLOURED AVAILABLE • Original Threshold House (TTH) edition presented as a standalone 2LP gatefold — faithful to Coil’s own reissue vision. • Long unavailable and highly sought-after version of Astral Disaster, originally following the ultra-rare subscription-only release. • One of the very few Coil albums (alongside Musick to Play in the Dark) featuring the combined lineup of Balance, Sleazy, Drew McDowall, and Thighpaulsandra. • Deeply tidal / lunar sound work — immersive, slow-building compositions blending drone, kraut, and ritual electronics. • Includes key Coil compositions such as “The Avatars” and “I Don’t Want to Be the One”, central to their late live performances. • Essential vinyl edition for collectors seeking the historically accurate Coil catalogue outside the larger boxset.

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Audio & Video

HEAVY AXE - 'A QUIET BAY'

Formats

• FC68 - LP

  5061041822131

Details

First full length of its final year for Feral Child, sees the most wonderful LP from Sussex based duo HEAVY AXE. 11 gorgeously slow building, subtle krautrock infused nuggets all of which have a beautiful earthy, peacefulness at its core- recalling perhaps, the collaborative work Eno undertook with Cluster and Harmonia, tho’ more on that later. This is a truly epic record; in equal measure mind-blowingly beautiful, truly up-reaching kosmische music, consistently maintaining an intoxicating warmth and knowing grasp of where truly great ambient music can transport the listener. Whilst other pieces such as “Enhancer” or “Clusters” break impressively from ambient start points into wonderfully fresh sounding, driving motorik grooves…. The duo themselves fill in a little background; “Heavy Axe is synth devotee and producer Neil Correlations and multi-Instrumentalist Khaled Lowe. Taking their cue from the atmospheric textures of ambient and the Kosmische experience, this is their debut LP entitled “A Quiet Bay” released this February via Feral Child. The duo started recording together after Neil visited Khaled’s home and toured his studio, which contained an array of vintage synths, guitars, FX, and other exotic instruments, many of which can be heard in their subsequent output. Throughout the day, Khaled played a marathon session of Kraut/ Kosmiche and other outlandish electronic fare, which further piqued Neil’s interest, with the pair planning to record together as soon as possible. This culminated in their first release for Feral Child Recordings in the shape of The Goat Is Cold EP, which garnered a number of plays on BBC6 music- most notably Gideon Coe. The acoustic instruments played by Khaled (gong, flute, hand drum and waterphone, to name a few) for these sessions were recorded with the help of sound artist Simon James (The Simonsound / Black Channels, etc), who mixed the EP and “A Quiet Bay” here. Simon’s work with his trusty Buchla 200e Electric Music Box also underpins one of the record’s highlights in “Everything”. Recorded at Neil & Khaled’s studios between mid 2024 and early 2025 and utilising additional recordings from ‘The Goat Is Cold’ sessions, “A Quiet Bay” is guided by their love of the more pastoral sounds emanating from the music of Popol Vuh, Eno, Cluster, Ash Ra Tempel, Michael Rother, to name but a few. Indeed, Khaled’s interpretation of the driving, sustained Rother guitar sound looms heavy throughout the record, perfectly complementing Neil’s often understated synth motifs. Esteemed session drummer Francesca Prattico joins the LP on “Clusters” and “Enhancer” with Donato Panaccio on Mastering duties” A superbly consistent record, (for which film clips have been made for every track) that is released as a one time vinyl pressing on Crouch End based label Feral Child.

Tracks

1. A Quiet Bay 2. Arp Interlude 3. Not Swimming 4. Snow Drift 5. Honduras 6. Enhancer 7. Hills Of Denham 8. Clusters 9. Everthing 10. Solina 11. There Is Not Enough Time

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