2xCD edition available late June 2009 and packaged in a full color custom made book bound 10 panel sleeve. A double vinyl version, "Chalchiuhtlicue" will also be issued with three mixes by Nadja and one mix by Edward Ka-Spel from the 2xCD version. That's right kids! Yes you can mix your own Nadja album! “Night and day, you are the one. Only you beneath the moon or under the Jaguar Sun…” Now you’re messing with a sun of a bitch. Let’s count backwards. The second disc in this set “Quetzalcoatl” diffuses into the air an alien vocabulary of electronicesque gargles and hums. A soundtrack made from the residue left after a subterranean dowsing for the echoes of collapsing stars. These disembodied post-transmissions form up in a Minerva’s Web of sunken Titanic ghosts, slow moaning as from distant caverns. Disc one of the set, “Tezcatlipoca” is the actual collapsing of stars. Or, perhaps the exploding majesty of every day’s new sun being reborn, as it once again defeats those Xibilba’s and rises to arc through its dominion again.  This monstrous soul goes from grumbling angrily to mowing the heavens. Parts even cross into early Swans territory with aggressively fractured pacing. But all roads lead to the final track which is an epic length doom metal anthem of sweating proportions. Wave after wave of crushing fuzz slowly pummel speakers into diamonds and rust. A relentless solar rotorvating blasterpiece. Which brings us to part 3 of this 2 CD set. Both CD’s have been composed to also be played simultaneously, in a much more useable fashion than the Zaireekas of the world. So, if “Tezcatlipoca” is overground and “Quetzalcoatl” is underground (or, more likely, the reverse) their combination must be all things….and no things. Maybe the sound of the end of things. The resultant juxtaposition is a colossal celestial being smiling down on all he tramples.  

Original Material by NWW. Recorded 2001-2003. Dismantled, raped and set fire to by Cyclobe (Ossian Brown and Stephen Thrower). Hurdy Gurdy by Cliff Stapleton. Bells performed and recorded by Ossian Brown and Thighpaulsandra in St. John's Church, Gdanska, Poland. Flute and sax by Hansi Fischer and Tim Belbe of Xhol Caravan. Completed Material mastered by Cyclobe at Strange Hotel. Apocalyptic guitar by David Tibet. Original material mastered by Denis Blackham. Cover Paintings by Babs Santini. Beautifully photographed by Neville B. Tough. This album is dedicated to Tim Belbe who passed away on August 8, 2004.

Jewel Case edition. Our most beloved resident Nurse has finally worked his way up to a Doctorate Of Madness (DOM). All those years of musical dissection have paid off & have revealed a sonic surgeon skilled at sewing sounds into solid sentience. NWW isn't afraid to bring the pain & play that beat as his krautrock konstruktions kontinue to klimb.<br>

Repress of the album packaged in a custom made gatefold case. Available late April 2009. A shalabast'r tyde, like unto pantent leather shoes, really doth shyne up. Reflected in the waves are twinkling stars; a smirking harvest moon; herds of passing clouds & hazey pink dots, like legends burned against eyelids after a long stare into an errant brightness. Ka-Spel's penchant for musical procreation is further fathered via this, another outst&ing experimental recording. Fading into a subatomic rumble, 'Shalabast'r' sneaks into a quiet Edwardian waltz that sneaks into a fragmented sampling autoclave. If nothing else, Edward's always been a little sneaky. Maybe that's why he wears sneakers. <br>

Available late May 2009. Edition of 200 copies on 220 gram vinyl and BlRR will have only 60 available for sale as the other copies are reserved for Records are not for Baking subscribers with bonus 12" picture disk. Terra Firma flags. Sky burns electric. Fauna flee for fear. The second coming of Christus is here. 8 new stations of the cross oscillate wildly between bristling electronic noise pyres and sizzling, solemn song-forms. “From Atop This Hill” is a study in the transcendental possibilities of synthesis couched in the form of a mystery play. The jilted narratives just glisten, rich with pulsating electrocycles that alternately coil into instrumental pythons. Form and function fuse in a flux of devotional experimentalism paired with a sort of weird pop. Christus' strangely wrought onomatopoeic lyrics are compelling, wrapped as they are in his classic coldwave croon amid slo-mo motorik surges of minimal wave. Drag thy cross upon yon hill and embrace the passion of the Christus.
   Christus & The Cosmonaughts May Well Be: The progressive, psychedelic musical excursions of an ever-changing band of performers fronted by yours truly, Scot Solida. A strange and unique hybrid of live jamming and cut-and-paste techniques form the basis of the songs. From space rock to prog rock to blatant experiments in sound, you will find something new in the sonic explorations of Christus And The Cosmonaughts. To understand the reasons for its existence, we must go back nearly a quarter of a century to the turn of the nineteen-eighties, when a pair of singular events occurred which would shake the very foundations of even the strongest psyche. First, I would face the death of my father, who was brutally murdered at the hands of a gunman, and left to die in a desolate field. I will not go into details here, but if you would like to learn of my very personal feelings regarding the matter, consult the track "Famine" from the extended play recording called The Four Whore's Men. I was plunged into despair and madness, and the results were that I would spend far too many of my formative teen years behind the locked doors of one institution or another. It was an embarrassingly predictable response to a tumultuous and unfathomable event. They never caught the murderer who stole my father's life and my sanity. The other event, which occurred at roughly the same time, but necessarily later, was a performance by a skinny Brit on the television. The fellow was Gary Numan, and I was enthralled by the mysterious sounds he and his band were producing. This began my lifelong love affair with synthesizers, which would become a hobby, then a career. Like so many solitary people, I spent the better part of my years seeking out music and art that I deemed to have been as strange and unusual as I myself was becoming. That art usually had something to do with science fiction or other flights of the imagination. I didn't care for the "real" world with any amount of conviction. I also became obsessive about pursuing the art of synthesis, first with my simple monosynths, and later with more elaborate and sophisticated gear. By the mid part of the decade, I was supporting myself as an illustrator, all the while recording my own (admittedly embryonic) music, and eventually wound up working with a brilliant studio owner called David Nichols, who taught me the finer techniques of engineering. Christus & The Cosmonaughts was born during this time, as an excuse to write and sing my lyrics (usually short stories) and to experiment with the fabric of sound. Fast forward to the present: Christus And The Cosmonaughts now happily resides alongside some of my favorite artists on the utterly superb independent record label called Beta-lactam Ring Records, whose head honcho shares my penchant for elaborate and artistic packaging. For the most recent LP, I have been joined by an extraordinary guitairst and bassist who goes by the unlikely name of Har, the ever-stalwart Ant Graham and 54-year-old Nashville session drummer and Colorado resident Wayne Cunningham. As for myself, I am a professional sound designer and writer. If you use a computer for your music, you have probably read any number of my articles in the UK magazine called Computer Music, or the stateside Grooves magazine. You may even have used my sounds in your software synthesizers (I have patched a great number of them), or dragged one of my loops into an arrangement, via the samples I do under the name The Electronic Garden. I have put many of them to use myself. </p>

CD issued early May 2009 as an edition of 500 copies in a full color gatefold sleeve. A split album with Volcano the Bear and La STPO. VTB tracks 1-5 and STPO tracks 6-9. Bears and Birds, oh my! One side keeps the hot hot. And the other keeps the weird weird. VTB’s typically atypical entomological set scratches like a hive that has evolved just to the point of thumping out tribal fealties to its giant insect God-Thing. Environmentally ritualized sub-rhythms mix musique-concrete with actual concrete, forming freakishly minimal foundations for the hive of whatevers to swarm within. Noise, once again, for heroes. All this, of course, juxtaposed against France’s hidden reverse: La STPO, who absolutely let it blurt. Their pounding system of post-post-punk-neo-Zeuhl cracks the mantle, with bass lines thicker than Sequoias. And louder than screaming  Sequoias. La STPO vacillates between two extreme extremes: something approximating a kind of industrial strength nouveaux bâtiments s'effondrants (German buildings are not the only ones susceptible to collapse), and crushing riffs ala SunnO))). Pascal Godjikian’s fierce grunts and barks keep the hive on the other side believing he is their God-thing. He is someone’s God-thing, that’s for sure.

Available late May 2009 and issued as an edition of 500 copies. Packaged in a heavy book bound LP sleeve with 180 gram vinyl. Warning: not recommended for listening in buildings without earthquake retrofitting: Nadja’s doom-fuzz may crack foundations and/or reduce nearby objects to jelly. However, Nadja, here performing a quartet of solo Aidan Baker covers, maintains a certain melodic balance within the throat-clearing guitar lurches which levitates the heavy, like the most graceful pterodactyl-flying-off-with-a-dead-baby-Icthyasaur you have ever seen. Especially when his voice cuts in, the low-end maraud transforms into a sweet continuo that seems like stoner-metal chewing on 4AD’s ear. A grinding thump into the clouds which proves there ARE beautiful uglies.

Available late May 2009 and issued as an edition of 500 copies in a full color book bound sleeve with 180 gram vinyl. All pre orders will receive a signed insert. 3 Decades of sound tracking the secret psychedeli-sphere has found Edward scoring an imaginary film. Edward’s music for the movie flows with measured, stygian force; the groaning rises punctuated by that old black magic that only Ka-Spel can conjure with the smallest of sounds permeating every wave. Loops trill and sigh within virtuoso keyboard cameos. A myriad of miniature minuets thread backwards and beneath the main thematic pulses. Edward’s dark ambience is non-ambivalent, however, which gives it a life’s breath beyond the realm of film music. The album certainly generates excitement as to what images might accompany such a skewed, sonic construction. But no movie is needed to find prophet from these starry sounds.

Available late April 2009 in a full color book bound 8 panel cd sleeve. Featuring Aaron Moore (Volcano the Bear), Alexandre Bellenge, Arnaud Rivière, Dan Warburton. Orchestral massacres in the dark. Textile’s percussive grenade bursts like Mani Neumeier threw Han Bennink at Milford Graves. TOR!!! From subtle to superlative, The Textile Orchestra lays concrete like Duchamp fixes plumbing: what remains in the smoldering ruins is pure art. Like a de-horned AACM, this monster snakes around with soft scratching sounds, whirs, squeaks, yells and electronic blurts (when it is not bearing down like the free jazz cavalry). Two long suites read like topographic maps tattooed on the backs of thoroughbreds in full gallop over a cliff (don’t worry, they have wings). A beautiful blur of fearless, precision sound sculpting with the occasional explosion.

CD plus the bonus album "Abhijňâ" issued in an edition of 500 copies in a full color deluxe gatefold book bound cd case available mid April 2009. Design, layout and artwork by Stephen O'Malley. Welcome to the Thunderdome. Troum’s bone-cracking reverbera Welcome to the Thunderdome. Troum’s bone-cracking reverberations respirate with such ferocity that all non-Troum molecules are blown away. Eald-Ge-Streon is a massive, rising beauty. It is a great becoming, and we are nothing but an ant in the afterbirth. Troum has set its controls beyond the heart of the Sunn. The pulsating inferno of these 7 drone concertos may require an insurance adjuster, but what a lovely way to burn. It is in your nature to do one thing correctly. Before Troum, you rightly tremble. But fear is not what you owe Troum. You owe Troum awe!

An edition of 500 numbered copies. Thank Expo ‘70, O Lord, for the drones you are about to receive. A deep quivering of transcendental electronic mantras pulsates to the patient beat of the third Bardo. Slow, shape-shifting ambiences expand like groaning baritone crystals crawling out from sub-oceanic ooze. Psix pstring psychedelic pspews bisect the curve of extraterrestrial buzz with a surprising terrestrial fluidity until bioluminescent fish gather to choke out quiet hymns around the then sinking sepulcher of gurgling synthetics as they pierce to the deepest part of inner space. From Ohms to Oms. Amen.

Justin Wright’s EXPO ‘70 has been very prolific this past year, having released a hand full of CD-r’s that were picked up by Aquarius Records late Summer caused quite a buzz with favorable reviews. Wright conceptualized EXPO ‘70 while playing guitar in Living Science Foundation (Second Nature Recordings; GSL50 Compilation). Initially, the group also included Wright’s friend, Paul Kneeje (The Pope, The Manifolds, Bipolar Bear, SXBRS). After the break up of LSF at the end of 2004, Wright moved back to his home town of Kansas City, Missouri and further developed the project.
Having been compared to Brian Eno, Ash Ra Tempel, A.R. & Machines, SunnO))) and Earth, Wright’s music is an eclectic mix of krautrock, ambient drone, space exploration and minimal compositions, most of which are performed with heavily effected guitar in alternate tuneings. Releases have varied from a 3 piece performing vocal drones, Fender Rhodes, guitar, bass, sitar, reel-to-reels of old ethnic music delayed to single guitar and moog improvisations. “Center of the Earth”, Wright’s first solo venture, compiles heavily effected and layered guitar drones that pushed textures sonically into a mesh of cynical rhythms, a recent review from The Wire in U.K. cites “There’s a crossword puzzle cleverness to the weave of riffs...”, which is true to most of Wright’s natural playing. <br> 2007 brings EXPO ‘70’s first official CD release, “Animism”, collecting improvised guitar tracks, an improvisation of 3 gongs and a layered acoustic & synthesizer track with saxophone, this album is truly varied and quite a unique blend of aggressive and psychedelic drone compositions, every track takes the listener on a unique journey. <br> Wright continues to release CD-r’s with the popularity and cult following gained after the induction to Aquarius Records and will be playing select cities through out the states this year. He also designs and packaged all releases himself.

2xCD housed in a full color custom made book bound sleeve and printed inner sleeve. Chemical Playschool Volumes 8 and 9 documents the largely unseen universe of The Legendary Pink Dots between the years 1990 and 1995. History has been amended where necessary.  The cast for this voyage: The Silverman, Niels Van Hoornblower, Edward Ka-Spel, Martijn de Kleer, Father Pastorius, Cevin Key, Elke Skelter, Raymond Steeg, Ryan Moore, Maria, a brass band and Calyxx.

2xCD housed in a full color custom made book bound sleeve and printed inner sleeve. Chemical Playschool Volumes 8 and 9 documents the largely unseen universe of The Legendary Pink Dots between the years 1990 and 1995. History has been amended where necessary.  The cast for this voyage: The Silverman, Niels Van Hoornblower, Edward Ka-Spel, Martijn de Kleer, Father Pastorius, Cevin Key, Elke Skelter, Raymond Steeg, Ryan Moore, Maria, a brass band and Calyxx.

All copies ordered from BlRR and TeKa will receive a bonus CD "Dream Logik X (a small voyage in three parts)". A numbered edition of 400 copies issued as a 4 LP 180 gram wax set housed in a black hard bound box with embossed silver foil artwork by witchbeam.com and  matte oil inner sleeves with artwork by Jesse Peper. "Dream Logik Parts 1-2" on 3 x LPs plus the bonus LP "Dream Logik 3333333333333/Burning Church". Continuing off from "Dream Logik Part One", "DL2" reaches further into outer space. Eyes flutter open from their deeply entrenched nocturnes only to question the truth of the new haze before them. “Dream Logik Part Two”, like its predecessor, is a beautiful blurring of colours that weaves in and out of consciousness. Dark electronics etch out concrete foundations to a skyline of melodious transmissions from Planet Ka-Spel. Hither and non are sprinkled classic Edwardian song-forms, but anything approaching convention is lovingly broached within or followed quickly thereupon by a viscous miasma of electro-acoustics, field recordings, drones, cavernous yawns, hiss, feedback, loops, near-silence and other fractured attacks and decays. These sonic disturbances are conducted like an enormous lysergic philharmonic whose bizarre expertise and precision is utterly captivating. New found voices sneak out with each pass; while those angelically anchored song-forms slowly but surely rouse the soul to a somnambulant waltz. Cum on, feel the noize!

Side A and B : DL 1
   Side C and D: DL 1/DL 2
   Side E and F: DL 2
   Side G and H : DL 3333333333333/Burning Church
Bonus CD: Dream Logik X (a small voyage in three parts)

Available in a full color custom made book bound sleeve. Acid. Meet LSD. LSD. Meet Acid. The reigning lords of the new psychedelic church cross guitars for a super-electric cosmic jam that causes even hurricanes to don ear plugs. More like the paintings of crazed banshees than songs, this shape-shifting set’s loud-quiet-loud transforms the spaciousness of the axe duel into a growling canvas of thunder. Walls of feedback and distortion moan like sinking U-boats. Fuzzed tones collide into cavernous micro black holes that seem to engulf the Earth. Bigger bangs birth savage suns of massive noise. A fierce metallic martini, best taken shaken AND stirred! Play loud!

First edition of 1200 copies packaged in a full color Japanese style gatefold case. Starship trooper, go sailing on by...cuz Bass Communion will squelch you into a throbbing mass of well-armed gristle .  “II” and “III” were conceived as separate and autonomous satellites of BC’s galactic empire, but rather reeking of Castor & Pollux, they have been umbilicalled together. “II’s” earliest days go back to the mid to late 90’s, from which it enjoyed a couple of releases through small labels. “II” steps through the door hissing with deep space halitosis. Quietly eclipsed by slow, subtly melodic breaths of solar wind, “II” finds its ellipses crossing long, glowering belts of ambience and majestic rings of thick, bass-heavy electro-pulses. Miniature terrestrials appear as stringed acoustics and other Earth-bound instrumentation peeks up through the crackling electronic mists. Hardly a truer music of the spheres, but then there is still the brother to contend with. “III” began its days at the same time as its kin, originally as leftover pieces, tv music, and failed experiments recorded between 1995-99 from the first 2 BC albums and then briefly released as a made-to-order CDR. “III’s” lustmord for global communication moans out in a series of lonely alien drones. As its orb’s orbitals draw circles near the light-hemorrhaged Cygnus X-1, devastating dub destruction launches this little craft well beyond the infinite, clothed in the flesh of gods. Don’t worry the good ship lands safely, but is, much like the listener, forever altered. </p>