Heat Crimes Vinyl, CD & Tape 3 Items

Born from the fractal innerworld of Vymethoxy Redspiders, better known as Urocerus Gigas from Leeds-based xenofeminist crisis energy rock duo Guttersnipe, The Ephemeron Loop's debut is a synaesthetic acid bath that cracks open the doors of perception to reveal a sonic landscape of ineffable beauty, divine femininity and continual transformation. "Psychonautic Escapism" sublimes Guttersnipe's teeth-gnashing spacegrind aesthetic leaving washes of dream pop ambience, dilated speedcore fusillades and shapeshifting psychedelic dub effects. It's an album that lodges itself creatively between Cocteau Twins, Arca, Basic Channel and Napalm Death, lysergically fluxing imperceptibly between seemingly contradictory sonics and philosophies. Miss VR took 14 long, difficult years to write the album, which developed cautiously as she broke through the misery of her pre-transition life with shoegaze music, rave and psychedelic drugs in Leeds' queer underground. An existence languishing in negativity, soundtracked by extreme music was replaced with the opportunity to experience euphoria, elation and ecstatic freedom, emotions that coalesce sensually on "Psychonautic Escapism". These formative experiences are the album's initial building blocks, assembled between 2007 and 2018 as Miss VR came to grips with her reality as an autistic/ADHD trans woman and the multi-dimensional psychotropic experiences that assisted that realization. And as V's worldview expanded and shifted as she lived a fresh life, the music itself developed spiritually. In 2018, after being impressed with producer Ross Halden's work with Guttersnipe, Miss VR asked him to assist her with developing The Ephemeron Loop's fragmented songs and visions. "I learned a lot about why people don't usually combine various kinds of sounds or styles in music," she admits. "It is very difficult to get it to all work together!" But after two-and-a-half years of the duo navigating a "labyrinth of fragmented Reason 5 and Logic projects," re-recording and processing, and workin...

For over two decades Jonathan Katsav has used his Crave project to fray rap at its fringes, using Memphis and Houston's low-and-slow legacy to inform sounds that have as much in common with Merzbow as they do Tommy Wright III.Working under a variety of different monikers such as Lieu Noir, Sniper Bait and Soul Collector, the French producer is most prolific as Crave, and "Inner War Delirium" is a substantial and broadly cinematic addition to his canon. Katsav approaches each track as if it's a scene from a movie, using real life experiences to explore separate characters and contrasting emotions. Using different narrators and disparate vocal styles, he navigates grim, blown-out landscapes, driving neon drenched trap synths and horror choirs against overdriven kicks and waterlogged industrial atmospheres.Mangled field recordings, squealing static and gurgling synthesized bass opens 'PHYLLIS', goading the cautious with serrated, carnival synths and cacophonous vocals that sway lugubriously between rap and grindcore.The relationship between dark and light, death and rebirth, is at the heart of "Inner War Delirium", rippling through every track's oozing amalgamation of inebriated hip-hop and buzzsaw noise.Katsav's sounds are an attempt to subject us to the physicality of his own life's puzzle, and he cuts them into vignettes like a director. On the album's final track, listeners are swiped from in front of the speakers and bundled into the trunk of a car, rain rattling on the metal and the album playing on in the distance. It's a way for the producer to turn the camera back on the audience and ask them to consider their own complicated reality - it's Crave's story, but everyone's a part of it.

From 1984 until 1987, Greek artist Costis Drygianakis and a ramshackle assembly of friends and collaborators produced a slew of recordings under the name Optiki Mousiki, or Optical Musics. Their first full-length "Tomos 1" was released in 1987 and documented a prolific early period, combining grizzly industrial noise elements with dizzying electro-acoustic experiments and wild instrumental stings. "Tomos 2" is a collection of work taken from the band's second epoch after a brief hiatus; released in 1994, it arrived after a long period of self-reflection from Drygianakis about not only what his own music represented, but what avant-garde art might be useful for in general. A very different album from its predecessor, it attempts to question popular ideas of taste, folding together "non-serious" musical ideas with traditional elements while tentatively drawing from the spiritual world both near and far, from the lives of the Christian saints to tales of Tibetan Buddhism, Sufism and Hinduism. Drygianakis started the process by recording performances from his collaborators such as Sokratis Sinopoulos, Kostas Tsianos, Dimitris Yiagas, Ross Daly and Konstantinos Karagounis. He had been working as a studio engineer in Larissa but the work had been grueling and the financial side of the business was painful. In contrast, his work as Optical Musics became more passionate and deeply personal, and the creation of the album took on a life of its own as he channeled his melancholy and frustration into four long tracks that melted together his inspirations, impulses and desires. Since the project was primarily electronic, driven by Drygianakis's interest in synthesizers and computers, there needed to be a bridge between the acoustic world and the digital. That came from a revolutionary piece of gear: the legendary Akai S-1000 sampler. This tool allowed Drygianakis to pull sounds from across the musical spectrum and tailor it to his needs, fusing dreamy, far-off sounds with ideas recorded closer to home. The result is an album that neatly pulls creative air from its influences - Tangerine Dream's "Zeit" and Diamanda Galas' "The Divine Punishment", for example - and forms it into defiantly unique sonic clouds that signal towards the East without uprooting themselves from the West. The opening quarter layers ornate strings over a hiccuping electronic rhythm and submerged synthesizers, allowing hypnotic vocals - sung, chanted and spoken - to suggest the album's religious themes without overstating it. On the second segment, Drygianakis reduces his sounds to a whisper, with faint, minimal piano and gentle atmospheres that slowly shift from acoustic to electronic, touching the boundaries of new age music without crossing it. Dense instrumental drones characterize the epic, cinematic third chapter, while the fourth and final section offers us Drygianakis' most crushing treatment, burning religious vocal techniques and Balkan string flourishes into searing noise and dissonant electro-acoustic wails. Listening almost three decades later "Tomos 2" sounds almost prophetic, picking up on themes and concepts that have only become more relevant. By consciously questioning the logic of world music, new age and the avant-garde, Drygianakis managed to formulate a narrative that continues to draw breath with each passing day.