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Forced Exposure New Releases for 11/17/2014

New music is due from Loscil, Sote, Jon Mueller and Duane Pitre, Keiko Harada, and while old music is due from Julee Cruise, Jon Hassell and Brian Eno, Faust, and Scientist.


Einstürzende Neubauten, "Lament"

cover imageThis month, Germany marks two anniversaries of note. The 100th anniversary of the start of the first World War represents one of the darker moments of their history whereas the 25th anniversary of the fall of the Berlin Wall represents a beacon of hope. Einstürzende Neubauten were there for the latter and channel the energy that ran through the divided city of Berlin even still. Through this new project, they connect the dots between the conflicts of today and those of the past while marking the passing of all those who have fallen under the relentless combat and struggle that has plagued mankind since its beginning.


Bright Lights and Cats With No Mouths - The Art of John Balance Collected,255,255&extension=.JPG&imageSource=im/articles/couvfrontgeff.jpg&largeurOrigin=594&hauteurOrigin=630&largeur=283&hauteur=300Published by Timeless - 2014 - France
29 x 29 cm - 248 pages in full colors - Hardcover

The first ever extensive overview of art (drawings, paintings and sketches) created by John Balance.
The artworks featured in the book are both finished elaborate hallucinatory pieces as well as quick sketches with a good sprinkling of Balance’s often underestimated humour.
Homages to idols and inspirations next to idiosyncratic magical dreamscapes
executed in a wide variety of styles and mediums

Compiled by Liam Thomas and Thighpaulsandra - with text by
Val Denham and Jeremy Reed.

First edition of 500 copies

a video preview is available here:



Peter Christopherson Photography,255,255&extension=.JPG&imageSource=im/articles/slzregularcouv.jpg&largeurOrigin=708&hauteurOrigin=850&largeur=250&hauteur=300Published by Timeless - 2014 - France
27 x 33,5 cm - 284 pages - Hardcover

The legendary unpublished photographic work of Peter Christopherson from Throbbing Gristle, Coil and Hypgnosis.

The b/w photos featured in the book run the gamut from personal fetishes to social commentary on 1970s UK, portraits of bands , friends and strangers.
There are both snapshots and highly staged scenarios.

Approximately 95% of this material is published here for the first time ever.

Foreword & short personal reminiscence by Thighpaulsandra.

Regular edition of 500 copies

a video preview is available here:



IRM, "Closure..."

cover imageConcluding a trilogy of releases that began with 2008's Indications of Nigredo and 2010's Order4, Closure... is a dense, operatic work of noise and harsh electronics.  Tied together as an album and an overarching narrative, it is a bleak and grating disc that conveys violence throughout. It is a challenging and complex work, but a multifaceted one that takes multiple playings to deconstruct and fully appreciate.


Vessel, "Punish, Honey"

cover imageI have been following Vessel since 2012's Order of Noise album, as Seb Gainsborough always seemed like one of the most consistently compelling and distinctive forces in Bristol’s Livity Sound/Young Echo scene.  Somehow, however, his albums always fell just short of being something I could get truly excited about.  Punish, Honey admittedly continues that trend in some ways, but it is a huge evolution in others, as Gainsborough has largely untangled himself from current underground dance trends and embraced some very unhinged, adventurous, and heavy new textures.


Human Greed, “World Fair”

cover imageThis latest album is astonishing even by the high standards I would have held Michael Begg to. Combining the normally distinct worlds of theology and thermodynamics, World Fair is a formidable work that rewards careful listening and engagement with the material. The heavy and daring philosophical musings are lifted by the stunning music created by Begg and his friends (including the return of Deryk Thomas to make Human Greed a duo once more). Altogether, they have made manifest an album of rare power that feels like it has years of epiphanies buried within it.


Anatomy of Habit, "Ciphers + Axioms"

cover imageFollowing up their debut LP and EP, Chicago’s post-everything supergroup Anatomy of Habit (featuring members of Bloodyminded, Tortoise, and Indian, amongst many other projects) continue their penchant for dramatic, expansive rock-tinged music.  For their Relapse debut, they provide two lengthy, side-long pieces that distill everything that was great about their early releases into a cohesive, rich album that stays faithful to their previous work, while adding an extra layer of polish.


Grouper, "Ruins"

cover imageLiz Harris is becoming an increasingly complex and compelling artist, as her discography has started making unexpected leaps into the past that feel like leaps into the future.  Originally recorded in Portugal in 2011 with only a four-track and a piano, Ruins feels like a bold yet natural progression from last year's excellent The Man Who Died in His Boat (itself recorded from 2008 and 2010).  Consequently, it is completely unclear whether Liz is moving towards a simpler, more naked approach in general or if this is just a one-off experiment before she unleashes another salvo of reverb-soaked dreaminess à la Alien Observer/Dream Loss.  Regardless of its place in Grouper's continued evolution, however, Ruins is yet another fine album, boasting several of Harris's strongest compositions to date.


I Love You But I've Chosen Darkness, "Dust"

cover image The last time I Love You But I’ve Chosen Darkness released a record, George W. Bush was president, Twitter was the latest social networking innovation, Burial was a new buzz word on everyone’s lips, and James Brown was still alive and touring. The Knife were riding high on the success of Silent Shout and Brainwashed readers were placing records by bands like Wolf Eyes, Comets on Fire, and Xiu Xiu high atop the annual reader’s poll. I Love You But I’ve Chosen Darkness won some recognition that year too. According to Plan nabbed a spot in the top five singles of the year and “The Owl” nearly beat out Boards of Canada’s “Dayvan Cowboy” for Brainwashed’s best loved music video of 2006. Then a seemingly terminal eight-year silence ensued. Now the band has returned with Dust, as if nothing happened. Their lineup is unchanged, Ministry’s Paul Baker is still behind the mixing board, and the artwork is as austere as before. And though much in the music is also familiar, the group’s focus has changed. They cast a wider net on Dust. There’s more variety and the songs are denser this time around, layered thick with circular melodies and crisscrossing guitars.

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