Release List

Is that jack-o-lantern laughing at your shirt? It is okay, the D. Rider debut album "Mother of Curses" knits your mind a sweater. Aaah, that's better, a little itchy, but you'll get used to it. Rock and roll presentation by Todd Rittmann, Andrea Faught, Noah tabakin, and a special friend. Okay virus, do your stuff.

Almost forgot to mention horseback riding on the moon with your "cool" aunt.

What do you get when you cross the prolific talents of Japan's 'Godfather of Noise' with the Midwest's genre-defying juggernaut Racebannon? Twelve inches of unrefined fury so severe that bandages and gauze pads should be supplied with each record. Merzbow takes Racebannon’s celebrated rock-opera ‘Satan’s Kickin’ Yr Dick In’ and reshapes it into twenty minutes of stunning auditory fierceness. Another delicacy for Merzbow and Racebannon fans alike to savor.

The initial pressing on white vinyl is out of print. Still available in classic black vinyl.

Debut project from Chicago noise pioneers: Miracle Condition reconciles the dissonant abrasiveness of U.S. Maple with sublime, spacey grooves, subdued vocal harmonies and swirling sounds. Limited edition LP from Mark Shippy (U.S. Maple, Marnie Stern) Pat Samson (U.S. Maple) and Matt Carson.


The initial pressing on blue vinyl is out of print. Standard black is still available.

First full length from Miracle Condition from Mark Shippy (U.S. Maple, Marnie Stern) Pat Samson (U.S. Maple) and Matt Carson.

Initial pressing is on RTI HQ 180 gram red vinyl.

Armageddon was conceived in 1958 and written down in 1963. After performing with Sun-Ra and benefiting from the teachings of the Honorable Elijah Muhammad, Phil Cohran's compositions changed decidedly, and he began to focus on cosmology and culture.
This particular performance was recorded live at the Afro Arts Theatre at 3900 S. Drexel, Chicago, IL on February 11th, 1968.

Here is how Kelan Phil Cohran explains each of his compositions on Armageddon:

THE MOTHERLESS CHILD - is one of the oldest melodies known to the human family. There is evidence that the Chinese, Peruvians, and several African cultures claim it as their own indicating that it came from an ancient time when all these nations were one. Rev. Spencer Jackson delivers the slave version of this melody and his wife, sister Ella Pearl Jackson delivers the version from ancient dust and enlightened future. Motherless Child is one of the greatest examples of cosmic language.

CREATION OF THE BEAST - in the long, long ago, a very enlightened people of a far away galaxy experimented with correcting mutational deficiencies. These experiments went awry and resulted in mental problems. The Elders recommended collecting the entire deficient breed and transplanting them in a far away galaxy. The sentinels were sent out to find a place and decided that our earth was the best candidate. So the experimental people were gathered and sent to this new home. The only problem was that the earth was closer to the sun and therefore warmer than they were accustomed to. They determined to place the colony in the mountains of earth where the temperature was more bearable and given the keys of rulership over the natives. The cosmic principal of enlightenment begins with #7. so the 7 meter was used as an indication of knowledge. The music demonstrates the cosmic order being improperly imposed on all facets of our environment.

THE WARNING - In 1945, the first atomic bomb was detonated in Hiroshima, Japan and this caught the attention of the enlightened people. Eventually, the subjugated people of earth began to explode from within and protest through various means effectively. This brought on demonstrations, rejection, and eventually riots which is the focal point of our conflict. It was determined that the experimental people had discovered ways of getting off the planet and into cosmic space. However, because they were not living according to cosmic law the sentinels were concerned that these people would disrupt the cosmic balance and affect the harmony of the cosmos - The soloists are painting musical pictures of the condition of unrest. Eugene Easton and Charles James Williams are the primary contributors.

THE WINDOW - The advanced nation who originated this problem sent the sentinels (UFO's) back to observe the condition of the experiment. What they saw were large population centers with negative influences and disruption. This brought about a very cautious approach to exercising their responsibility. They observed all of the population centers during the solstice and the equinox to see if any of the people were intelligent enough to understand the mathematics of their position in the universe. They also listened to the music to see if the people had declined or been enriched. Finally, they made the decision that the surface of the entire planet should be altered through magnetic applications of the sunspots.

The frankiphone represents time itself and the musicians interpret the various moods and concepts that developed as a result of the riots and attempts to suppress the opposition. The soloists represent the various energy fields that are produced as a result of the conflicts.

ARMAGEDDON - This act brought on unbearable climactic changes, earthquakes, and cosmic collisions. The people had to reform to the basic tenants of cosmic law for survival. Those who accepted the original concepts survived and those who continued to deteriorate were destroyed on both sides of the ledger. Therefore, those people who survived brought back peace, harmony, beauty, love and respect to the earth.

"The Spanish Suite” was written to magnify the contribution that Moorish Spain made on the European Rennaissance. The relationship of music to cosmic rhythms and harmony was altered from the original state of Spanish music, and eventually distorted down to the 12-tone equi-temperment system of tuning. The Artistic Heritage Ensamble was taught to play outside of the 12-tone system and to recognize natural tone relationships.

The musicians had to be dedicated to music for life in order to reach the level they obtained. “The Spanish Suite” represents the median effort in returning to our original music. It was written in 1965 and first performed in December of that year at an AACM performance at the St. John Grand Lodge located at 7349 S. ingleside in Chicago.

This particular performance was at the Afro Arts Theatre at 3900 S. Drexel in February of 1968

With a distinctly Midwestern work ethic, and an absolute refusal to bow down to the forces of status quo, adversity, or inferior riffage, Racebannon emerges a rawer, meaner, leaner killing machine, hell-bent on blowing out the ears and minds of listeners strong enough to stand the audioerradication. Acid Or Blood blasts raw and ruthless molten fury from the Cannon: Bannon into the unsuspecting heads of the musical elite worldwide, and shifts perceptions of what is "heavy," "cerebral," or "arty." The core creative nucleus of Racebannon has remained unchanged, but the music has become deadlier and more destructive. No wimping out, no breakdowns and no keyboards: just pure, unbridled aggression channeled through amplification, voice box, and drum set.


Just a few copies left of the initial pressing on white vinyl. Mailorder it while you can!! It will of course stay in print on classic black vinyl.

[RACEBANNON / Six Sik Sisters]
It's been a scant 3 years since the last salvo from the Racebannon camp, Acid or Blood, but that time has not passed without vengeful fruit. Offering a handful of 12" singlesreleases (most notably the Merzbow collaboration, Merzbannon, and the DJ-friendly Wrap The Body 12") the time draws nigh and the skies turn black for a new full-length from the venerable Bloomingtonian firing squad.

“Contaminate the air we breathe. It's a curse, it's a disease.”
With every subsequent release Racebannon continue to drop jaws and crack craniums with their mind-melt/sonic headfuck of genre-defying proportions, and show the listener that a band can continue to progress while still planting their sonic seed deep inside impure new soil. Acid Or Blood could not possibly prepare anyone for what would be foundon their latest contaminated offering of flesh and blood, Six Sik Sisters.


Akin to their 3rd full-length Satan's Kickin’ Yr Dick In insomuch as the newest Bannon offering is a sonic opus following the tale of a singular theme, this is where the comparisons to any of their previous output end. In 2011, we see Racebannon at the height of their game, simultaneously pro- and regressing, with a refined might indicative of a band in top form. Conventions have been abandoned. Paradigms have been revoked and rewritten. A new deal is on the table. In 2011, Racebannon drown out all life around.

“Many hearts will bleed and sing as the illness grows.”
Helmsed by executive soundscapist Kurt Ballou of Converge, SSS is a stripped-down affair, yet clear and massive sounding. Tempos drop to both their fastest ever, as well as their slowest and burliest ever, in the Racebannon catalog, and with impetuous results. Mark V Racebannon is a bile-soaked conjuration of warped speed-metal riffs colliding with Sabbathesque knuckle-drag, alongside breakneck warp-speed drumming that falls only a tad short of grindcore. As with Acid Or Blood, the "noise" facet of the band is now singularly incorporated into the songs themselves, and not a sonic afterthought. This is a focused beast that feasts solely to sustain itself on unlight, pain, and suffering. This is nowadays Racebannon…lock up your daughters.

“Six lives gone to waste. Like the dirt we place them under.”
Poisonous wasp-stings of riffs batter and ensnare the listener against pulse-pounding rhythms, while resident cult-leader Mike Anderson pushes his usual verbal exorcisms to new heights amidst the occult backdrop of a story cloaked in the black plague. One has to wonder whether resident riffsmith James Bauman has been reviling in Dark Angel, Exodus, and other classic Combat-core staples of his youth in exclusivity, as his speed-picked riffs attain intensity and ferocity never before witnessed on a Racebannon album. And the stalwart rhythm section of Chris Saligoe and Brad Williams plod, heave, ebb, and flow with a vigor that outclasses their own vaulted contributions of records past. Simply put: this is Racebannon at their hungriest, heaviest, and most venomous. This is the Ted Bundy of all Racebannon records. This…is death. (D.Britts)

“Wilt away beaming light. One by one they all begin to cry.”

- Recorded by Kurt Ballou (Converge, Torche, Young Widows)

- Mastered by Alan Douches (Mastodon, Baroness, Misfits, Bad Brains)

- Artwork by Tom Denney (Cannibal Corpse. Kylesa, Black Cobra)

- PR by Carl Schultz (Action! PR)

Presented here are parts from three solo concerts from the early 1970s. Roscoe Mitchell plays soprano, alto, tenor and bass saxophones. On of the tracks on this LP reissue includes an early version of Noonah, a composition that many of his followers will recognize, as he has has remained many times since this recording.

Originally released on Sackville recordings in 1974 as The Roscoe Mitchell Solo Saxophone Concerts, this historical reissue has been remastered and contains the same material as the original, which is primarily solo concerts from Montreal, Michigan and Pori, Finland recorded in 1973-1974.

It captures Roscoe Mitchell in a very important period in his development as a musician as he started exploring his own solo voice again after a very productive period with the Art Ensemble of Chicago. It beautifully displays his virtuosity and range on the different horns in the saxophone family, and many of the melodies he explores in these recordings were expanded on in his later works. It is truly a peek into how some of his elaborate compositions may have begun.

Cody Weigel – guitar, synthesizer, vocals, drum programming, orchestration
Adam Marx – bass, vocals, drum programming, orchestration
Freddy Votel – drums, percussion
Brady Lenzen – guitar, trumpet
Mike Selle – saxophone
Dale Crover – drums
Brian Chippendale – drums

The Seawhores are always changing, working in secret to develop new songs, new multimedia experiences, new technologies and new setups. They meticulously mastermind every move, carefully planning each new metamorphosis.They have more than paid their dues by extensively touring arthouse, basement, gallery and plain old rock venues all across America with musical brethren such as The Melvins, Phantomas, Lightning Bolt, Helios Creed, Gas War,Wolf Eyes, Heroine Sheiks, Pink and Brown, Vaz and The Thrones. They have extended their DIY roots, and are trying to wake up the tired indie rock masses with their own brand of orchestral doom-pop.

Originally comprised as a hyper-efficient two-piece, Cody Weigel and Adam Marx employed a wall of unexplainable amplifiers, multimedia interfaces and proprietary devices. Always interested in redefining the traditional rock experience, they incorporated visuals and film vignettes into their performances, even using a large-screen TV in place of a real drummer. Scary, funny and irreverent, some of these visual experiments were reminiscent of early German experimentalist Otto Muhl. Forest also includes two of Minneapolis’ finer musicians – Brady Lenzen and Freddy Votel (ex-Cows, TVBC) as well as Brian Chippendale (Lighting Bolt, Sightings) and Dale Crover of The Melvins!

One-sided vinyl release of this epic performance of Wreckmeister Harmonies featuring David Yow (Jesus Lizard/Scratch Acid) on vocals, Mark Shippy & Pat Samson (US Maple / Miracle Condition) Matt Carson (Miracle Condition) and Ken Vandermark. The performance was recorded at the Andy Warhol Museum in Pittsburgh and was originally released on Atavistic aside other performances. The Tizona vinyl pressing features an etching of an angular-lined pseudo-landscape with just a touch of a Ray Johnson, created by Wreckmeister mastermind J.R. Robinson.