<?xml version="1.0" encoding="us-ascii"?>
<label id="alien8" href="http://www.electrocd.com/fr/boutique/alien8/">
  <name>Alien8 Recordings</name>
  <shortname>Alien8</shortname>
  <recording id="alien_53" href="http://www.electrocd.com/fr/cat/alien_53/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/53_ALIEN.gif" />
    <title>Blank Field</title>
    <catno>ALIEN 53</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Blank Field is a program of
    experimental music that was curated by Francisco L&#243;pez for the event &#8220;Cit&#233; des
    ondes&#8221; organized by Champ Libre in Montr&#233;al from September 16 to 23, 2002. This
    collection of excerpts features performances by Oren Ambarchi, Daniel Menche, Merzbow,
    Shunichiro Okada, Manon Anne Gillis and Michael Northam. The live material has been mixed,
    edited and mastered by Francisco L&#243;pez.</description>
  </recording>
  <recording id="alien_14" href="http://www.electrocd.com/fr/cat/alien_14/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/14_ALIEN.gif" />
    <title>Coalescence</title>
    <catno>ALIEN 14</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_06" href="http://www.electrocd.com/fr/cat/alien_06/">
    <artist>[va]</artist>
    <artistdetail>Aube, Knurl</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/06_ALIEN.gif" />
    <title>Split</title>
    <catno>ALIEN 06</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_08" href="http://www.electrocd.com/fr/cat/alien_08/">
    <artist>[va]</artist>
    <artistdetail>Kristian, Sian</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/08_ALIEN.gif" />
    <title>Tacoma Narrows Bridge / Someday Anywhere</title>
    <catno>ALIEN 08</catno>
    <year>1998</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_34" href="http://www.electrocd.com/fr/cat/alien_34/">
    <artist>Acid Mothers Temple</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/34_ALIEN.gif" />
    <title>Electric Heavyland</title>
    <catno>ALIEN 34</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Alien8 Recordings continues to invade
    different areas of psychedelia and is pleased to present the most groove-heavy release yet by
    Osaka&#8217;s Acid Mothers Temple. Electric Heavyland graces the areas of extreme stoner-rock,
    full-on psych freak-out and even heavy metal. Acid Mothers Temple have become the most
    spoken-of in the new wave of Japanese bands that are breaking into European and North American
    markets, due mostly to their relentless touring and release schedule. Over the last couple of
    years the band has performed in Japan, UK, Scotland, USA and Canada. Electric Heavyland is one
    of the most over top releases to come out of the Temple so far, and is perhaps Kawabata
    Makoto&#8217;s heaviest groove-oriented material since the classic Mainliner debut, Mellow Out.
    The recording is made of three tracks that at times will have listeners reminiscing over the
    likes of early Mudhoney and Monster Magnet&#8217;s Spine of God era sound. It&#8217;s the one
    of the catchiest records from the incredibly prolific psych unit in recent times and can be
    best compared to the heavier tracks on Absolutely Freak Out Zap Your Mind or the
    bordering-on-metal sound the band often seems to take on in live situations. Atomic Rotary
    Grinding God opens up the recording with Cotton Casino&#8217;s droning vocals and spacey
    electronics which slowly build momentum and eventually give way to an explosion of High
    Rise-paced mayhem that will have even the most jaded rockers bobbing their heads. While the
    rock and psych influences are the most obvious, closer attention reveals beautiful kraut rock
    inspired patterns. Comparisons to Mainliner hold especially true during Electric
    Heavyland&#8217;s second track, Loved and Confused. This track wastes no time building up - it
    is heavy grooving rock from start finish, 17 minutes of pure psychedelic bliss. The record
    closes with Phantom of Galactic Magnum, which closes the record the same way it opened:
    slow-building electronic drone with treated vocals. Speed guru Kawabata Makoto leads the way
    with his trademark solo drone guitar sound which again is taken over by phases of electronic
    washes eventually dissolving into another hard rock assault at the five minute mark. The
    release is beautifully housed in our custom cardstock double gatefold packaging. The artwork on
    this release veers off the usual path of bright colors, naked women and flying saucers to pay
    homage to King Crimson&#8217;s highly regarded Earthbound bootleg. The packaging is also quite
    similar to that of the Mainliner&#8217;s Mellow Out release. The inside of the gatefold sleeve
    features a classically psychedelic photo of the band in full color for maximum effect. The Acid
    Mothers Temple are on a tour of North America which will include the record release party and
    only Canadian show in Montr&#233;al. Then they will be off to perform shows in the UK. This
    will mark our first of two planned releases with the Acid Mothers Temple. The other is a
    forth-coming split release with Montr&#233;al-based collective set fire to
    flames.</description>
  </recording>
  <recording id="alien_44" href="http://www.electrocd.com/fr/cat/alien_44/">
    <artist>Acid Mothers Temple</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/44_ALIEN.gif" />
    <title>Mantra of Love</title>
    <catno>ALIEN 44</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Alien8 Recordings has been exploring a
    more melodic brand of psychedelia recently through releases with Shalabi Effect, Soft Canyon,
    and Tanakh. We are now pleased to continue our work in this direction with &#8220;Mantra of
    Love&#8221; by Japan&#8217;s Acid Mothers Temple. &#8220;Mantra of Love&#8221; will be the
    feature release for Acid Mothers Temple&#8217;s North American tour that begins on May 21,
    2004. &#8220;Mantra of Love&#8221; is destined to be a classic release in the expanding
    catalogue of one of today&#8217;s most exciting psychedelic ensembles. It is beautifully
    recorded, featuring the group&#8217;s cleanest production thus far. Cotton Casino&#8217;s
    vocals been beautifully captured, rivalling the &#8220;Univers Zen ou de Z&#233;ro &#224;
    Z&#233;ro&#8221; release on France&#8217;s Fractal label. Our previous release by the band,
    &#8220;Electric Heavyland,&#8221; became one of their most notorious efforts due to its
    over-the-top intensity. While &#8220;Electric Heavyland&#8221; served AMT diehards with more of
    their patented psyche mayhem, it also struck a chord with the metal set due to its undeniable
    heavyosity. The recording is made up of two tracks. &#8220;La Le Lo,&#8221; a traditional
    Occitan piece, is somewhat similar to the classic &#8220;La Novia&#8221; release. It is largely
    based around the very melodic vocals of Cotton Casino. Halfway through the track speed guru
    Kawabata Makoto let&#8217;s the thunder roll, giving the feeling of an entirely new track until
    it becomes melodic again towards the end. &#8220;Mantra of Love&#8221; is the perfect release
    for those who enjoy the more melodic, drone-out, hippy elements of the band, but also want the
    piece to let loose from time to time. The recording&#8217;s fifteen minute closing piece,
    &#8220;L&#8217;Ambition dans le Miroir,&#8221; starts of with Casino&#8217;s gurgling synth
    washes panning from left to right, and then a beautiful guitar melody reminiscent of
    &#8220;Lady Pink Lemonade&#8221; is introduced. This track remains incredibly melodic and
    easy-listening throughout, with spacey electronics and great guitar lines. Once again on center
    stage is lead vocalist Cotton Casino. Our obsession with the psychedelic genre can be traced
    back to our involvement with Japanese noise. One of the main attractions to the noise of fellow
    Japanese artists such as Haino Keiji, Masonna and Merzbow has been the psychedelic elements
    layered within the barrage of sound. When it comes to documenting Japanese artists we are very
    pleased with our roster, and Acid Mothers Temple have been one of Japan&#8217;s most exciting
    exports over the last few years. The recording will be beautifully package in our custom
    gatefold packaging.</description>
  </recording>
  <recording id="alien_62" href="http://www.electrocd.com/fr/cat/alien_62/">
    <artist>Acid Mothers Temple</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/62_ALIEN.gif" />
    <title>Starless and Bible Black Sabbath</title>
    <catno>ALIEN 62</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Starless and the Bible Black Sabbath,
    our third release with the Japanese psychedelic ensemble known as Acid Mothers Temple sees the
    band paying homage to Black Sabbath. With respect to its heaviness this release has
    similarities to Electric Heavyland our first release by Acid Mothers Temple, however this
    recording is richer, clearer and less harsh.</description>
  </recording>
  <recording id="alien_26" href="http://www.electrocd.com/fr/cat/alien_26/">
    <artist>Artificial Memory Trace, Brume</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/26_ALIEN.gif" />
    <title>1st Encounter</title>
    <catno>ALIEN 26</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] An electroacoustic masterpiece which
    unites the talents of France&#8217;s Christian Renou [Brume] and Belgium&#8217;s Slavek Kwi
    [AMT]. Each artist has constructed and deconstructed the other&#8217;s original material, and
    through this process they have created beautiful fluid collaborations. These two sound artists
    fit perfectly together and truly demonstrate a clear understanding and appreciation of each
    other&#8217;s ideas. 1st Encounter was completed in 1996 and is part of an ongoing series of
    releases by Artificial Memory Trace. The sound on this particular installment is as one would
    expect given the backgrounds of the two artists: a mixture of electro-acoustic and
    concr&#232;te sounds. The two artists are forced to create their music using the other&#8217;s
    music as the principle source material, and it really changes both of their sounds quite a bit.
    Often people think of collaborations in the same sense as split records, but this is not a
    split release. There is really is a good sense of the interplay between AMT and Brume. It is
    difficult to classify the works of these two gifted composers, because their work is clearly
    void of the academic rigidness that defines much of the electro-acoustic scene. There also
    seems to be a greater flexability in terms of sounds being employed and more freedom to really
    let loose in terms of intensity. Brume has released solo efforts for the likes of Korm
    Plastics, Crowd Control Activities, Relapse/Release, ND, Old Europa Caf&#233; and others, and
    has been included on far too many compilations to mention. In the time it has taken to prepare
    this recording for release, Christof Renou aka Brume has stopped recording under the name of
    Brume and now releases work that focuses more in the direction of techno, under his own name.
    Artificial Memory Trace has recorded and released works for Lowlands, Sonoris, Selektion, Swill
    Radio, RRR, Staalplaat and Xerxes. 1st Encounter is packaged exquistly in a digi-pack with full
    colour artwork and is a limited edition and will not be repressed.</description>
  </recording>
  <recording id="alien_02" href="http://www.electrocd.com/fr/cat/alien_02/">
    <artist>Aube</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/02_ALIEN.gif" />
    <title>Cardiac Strain</title>
    <catno>ALIEN 02</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_21" href="http://www.electrocd.com/fr/cat/alien_21/">
    <artist>Aube</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/21_ALIEN.gif" />
    <title>Sensorial Inducement</title>
    <catno>ALIEN 21</catno>
    <year>2000</year>
    <format>
      <code>LP</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_18" href="http://www.electrocd.com/fr/cat/alien_18/">
    <artist>Bastard Noise</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/18_ALIEN.gif" />
    <title>The Analysis of Self-Destruction</title>
    <catno>ALIEN 18</catno>
    <year>2000</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] In the works for nearly a year and a
    half, Bastard Noise&#8217;s The Analysis of Self-Destruction marks our second release with an
    American artist. We are the first Canadian label to document this super unit, featuring
    multiple members of the almighty Man is the Bastard [M.I.T.B.], including Barnes, founding
    member of the Amps for Christ project. Bastard Noise come from California and for a long time
    were considered a side project of the legendary sludgers Man is the Bastard. During the
    production of The Analysis of Self-Destruction things came to a halt for Man is the Bastard.
    The line up for the recording is main man Wood with participation from Barnes [Amps for
    Christ], Connell [M.I.T.B.] and Baker. The Analysis of Self-Destruction serves perfectly as the
    soundtrack for man&#8217;s destruction of the earth, with an orchestra of home spun instruments
    and loads of lo-fi electronics, field recordings and power electronics. Bastard Noise are in
    top form on this recording and the production is excellent. Throughout this six track odyssey
    they coax the sounds of animals and birds out of cheap electronics, fused with cascading washes
    of ambient noise to create imaginary rain forests. It also features voice samples and an
    absolutely terrifying use of seemingly inhuman vocals. Brotherhood - Execution Style features
    Bastard Noise at their smallest yet, with only Wood contributing to the track. An Obstacle to
    Murder bears a very strange resemblance to the dark minimal piano parts in the Eye&#8217;s Wide
    Shut soundtrack, but is perhaps the hidden gem on The Analysis of Self-Destruction. Repeated
    listening reveals a multitude of layers and previously unnoticed sounds. Bastard Noise have
    released material on quite a few different labels often splitting releases with other artists.
    They have only released a couple of full length releases thus far and have collaborated with
    the likes of Merzbow, Spastic Colon, Bizzare Uproar and Hermit. Exquisitely packaged in a shit
    brown card stock gatefold jacket, with the Man is the Bastard and Bastard Noise trademark skull
    logo printed in blood red foil.</description>
  </recording>
  <recording id="alien_60" href="http://www.electrocd.com/fr/cat/alien_60/">
    <artist>Books on Tape</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/60_ALIEN.gif" />
    <title>Dinosaur Dinosaur</title>
    <catno>ALIEN 60</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Dinosaur Dinosaur is the latest release
    by Los Angeles based Books on Tape, Todd Drootin&#8217;s project dedicated to the style he
    terms &#8220;beatpunk.&#8221; The tag is definitely apt as Drootin has gained a reputation for
    fusing hip hop and electronic beats with the energy and mayhem of punk rock. Dinosaur Dinosaur
    further cements this style by incorporating more of the rock spirit of his animated live
    performances. This release comes in a standard jewel case with cover art by Nick Diamonds ofThe
    Unicorns.</description>
  </recording>
  <recording id="alien_52" href="http://www.electrocd.com/fr/cat/alien_52/">
    <artist>Et Sans</artist>
    <artistdetail>St-Onge, Tellier-Craig</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/52_ALIEN.gif" />
    <title>Par noussss touss les trous de vos cr&#226;nes!</title>
    <catno>ALIEN 52</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
  </recording>
  <recording id="alien_45" href="http://www.electrocd.com/fr/cat/alien_45/">
    <artist>Les Georges Leningrad</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/45_ALIEN.gif" />
    <title>Deux hot dogs moutarde chou</title>
    <catno>ALIEN 45</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] [Not available from this site; point to
    www.alien8recordings.com for further information.] Alien8 Recordings is excited to announce the
    re-issue of &#8220;Deux hot dogs moutarde chou&#8221; from Montr&#233;al&#8217;s most notorious
    post-punks, Les Georges Leningrad. Hailing from one of the most fertile scenes in North America
    of late, Les Georges Leningrad&#8217;s completely over-the-top stage show and totally unique
    sound has made them one of the city&#8217;s most beloved bands. Described on their press kit as
    a three-headed monster who perform &#8220;petrochemical rock,&#8221; Les Georges Leningrad have
    become one of Montr&#233;al&#8217;s most popular bands. They have also made a major impact in
    the United States following successful touring stints with the Le Tigre, Locust and Numbers.
    Recently they made their mark in the UK by landing a track on the &#8220;Rough Trade Shop: Post
    Punk&#8221; compilation on Mute alongside pioneers ESG, 23 Skidoo, DNA, Gang of Four, The Fall,
    the Pop Group and hipster newcomers the Rapture, Erase Errata and Chicks on Speed&#8212;an
    incredible feat for a band with a self-released LP and CD with minimal distribution outside of
    Canada. Our edition of &#8220;Deux hot dogs moutarde chou&#8221; has been re-mastered and
    re-packaged. Also exclusive to this release is the addition of a bonus track not included on
    the original release. The sound captured by this band is an indescribable mix of demented
    electro-noise-post-punk backed up with their own invented language. Plans are already in the
    works for their follow-up that will be available exclusively on Alien8 Recordings in the fall
    of 2004. Also expect to see Les Georges Leningrad on another Rough Trade comp entitled
    &#8220;Counter Culture 2003&#8221; plus covering a Birthday Party song on a forthcoming Three
    One G compilation. Les Georges Leningrad will be touring France and the UK during the month of
    April, including a stop at the prestigious Domino festival in Belgium. They will return in May
    to perform a month&#8217;s worth of shows throughout the United States with Trans
    Am.</description>
  </recording>
  <recording id="alien_49" href="http://www.electrocd.com/fr/cat/alien_49/">
    <artist>Les Georges Leningrad</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/49_ALIEN.gif" />
    <title>Black Eskimo</title>
    <catno>ALIEN 49</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Les Georges Leningrad&#8217;s sophomore
    album is without a doubt catchier than their debut release, boasting a number of potential
    hits. Black Eskimo mixes elements of post-punk and noisy improv to deliver a completely unique
    hybrid. Now operating as a trio, they are leaner and more dangerous than ever. On this album,
    Poney, Bobo and Mingo present Black Eskimo with disconcerting homage of rare and sadistic music
    resonating from the purebred lineage of petrochemical rock.</description>
  </recording>
  <recording id="alien_03" href="http://www.electrocd.com/fr/cat/alien_03/">
    <artist>Keiji Haino</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/03_ALIEN.gif" />
    <title>So, Black is Myself</title>
    <catno>ALIEN 03</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_27" href="http://www.electrocd.com/fr/cat/alien_27/">
    <artist>Keiji Haino</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/27_ALIEN.gif" />
    <title>Abandon all words at a stroke so that prayer can come spilling out</title>
    <catno>ALIEN 27</catno>
    <year>2001</year>
    <format>
      <code>2xCD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] We are very pleased to announce two new
    recordings by Keiji Haino, focusing on hurdy-gurdy and wave drum. Continuing in the vein of our
    previous release with Haino (the 66 minute drone So, Black is Myself ) this double CD remains
    very dark and very ambient for the most part. Each disc features one long piece using one of
    the two different instruments and each is individually titled. The main title as well as the
    individual track titles perhaps give the best insight into the mind of this enigmatic performer
    and the message he is trying to convey. Keiji Haino is easily one of the most exciting live
    performers of our time, exuding a passion and an intensity rarely matched. He has become
    well-known as a solo artist, most often working with guitar and vocals, as well as the ring
    leader of the psychedelic power trio Fushitsusha, not to mention countless other offshoots with
    the likes of Derek Bailey, Boris, Peter Brotzmann, and Loren MazzaCane Connors. The two discs
    come off like the soundtracks to dark rituals; both are incredibly spiritually heavy. The
    emotion most often displayed here is very dark and sad; a period of mourning occasionally
    interrupted with moments of rage. Disc One [hurdy-gurdy] 47:13: Whereto can I cast away this
    fragrant echo called The End, so that I may summon an awakening from the other side? This solo
    piece for hurdy-gurdy is an absolute gem. It is among the most gentle and beautiful pieces of
    work we have been graced with by His Darkness. At times comparable with elements of the
    Affection recording that came out PSF in the early nineties and like disc two recalls the work
    of Nijiumu, another project of Haino. Of course comparisons can also be made with Haino&#8217;s
    two previous efforts for hurdy-gurdy. Mind you, this one is far more subtle than the previous
    two and includes lots of vocals. At times Haino&#8217;s softer vocals remind one of some of
    Arvo Part&#8217;s compositions. Disc Two [wave drum] 44:18: I have decided to tear you to
    pieces Whether you become darkness or light depends on you I wonder, which shall you choose?
    This disc starts off really quiet with metallic resonation, slices of treated voice fragments
    and loops of feedback. It continues with rattling and bursts of vocal shrieks, with periods of
    absolute silence shattered by jarring belches of sound. It then settles down to some percussion
    and dark chanting. The outcome is very similar to Haino&#8217;s quiet project, Nijiumu. Haino
    uses the wave drum to generate electronic drones, which are quite unusual sounding for him, and
    layers them with vocals. The level of intensity is constantly fluctuating, occasionally
    becoming quite intense. What works most effectively however, are the stretches of electronic
    drone that are guaranteed to stick out in anyone&#8217;s Keiji Haino collection. This is
    certainly one of Keiji Haino&#8217;s most psychedelic sounding solo releases, at times
    reminiscent of early works by Amon Duul&#8217;s Psychedelic Underground and Experimante
    recordings and at times it recalls some of the work by pioneering psychedelic ensembles from
    Japan such as Kawabata Mokoto&#8217;s Acid Mothers Temple, East Bionic Symphonia and Taj Mahal
    Travellers. This double CD is exquisitely packaged in beautiful black card stock gatefold
    jacket with purple and silver metallic ink artwork.</description>
  </recording>
  <recording id="alien_59" href="http://www.electrocd.com/fr/cat/alien_59/">
    <artist>Glen Hall, William Hooker, Lee Ranaldo</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/59_ALIEN.gif" />
    <title>Oasis of Whispers</title>
    <catno>ALIEN 59</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] A journey in free improv performed by a
    trio comprised of Lee Ranaldo (Sonic Youth) on guitar, audio collages and effects, free jazz
    legend William Hooker on drums, and multi-instrumentalist Glen Hall on tenor sax, soprano sax,
    flute, piccolo, bass flute, bass clarinet, and percussion. The set was performed live at the
    Tralfamadore in Buffalo, NY in September of 2001 and represents the first recorded document by
    this formidable unit.</description>
  </recording>
  <recording id="alien_47" href="http://www.electrocd.com/fr/cat/alien_47/">
    <artist>Tim Hecker</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/47_ALIEN.gif" />
    <title>Mirages</title>
    <catno>ALIEN 47</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Tim Hecker&#8217;s Mirages is the
    follow-up and succession to the critically acclaimed Radio Amor (2003) and his somewhat more
    sentimental Haunt Me (2001). Mirages further erodes the vapid predispositions of electronic
    music, uncovering a terrain where dissonance and melody coincide in a near-bohemian unison.
    Hecker has indeed developed a unique approach to music in an increasingly overcrowded and
    generic field. This is a challenging work, which reconciles a highly experimental approach to
    song craft that is at once beautiful and unnerving.</description>
  </recording>
  <recording id="alien_66" href="http://www.electrocd.com/fr/cat/alien_66/">
    <artist>Tim Hecker</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/66_ALIEN.gif" />
    <title>Radio Amor</title>
    <catno>ALIEN 66</catno>
    <year>2007</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Originally released on Mille Plateaux
    in 2002, and out of print for two years now, Radio Amor is a key release in Hecker&#8217;s
    discography, bridging his output between our Haunt Me, Haunt Me, Do It Again (2001) and My Love
    is Rotten to the Core (2002) releases and 2004&#8217;s Mirages.</description>
  </recording>
  <recording id="alien_09" href="http://www.electrocd.com/fr/cat/alien_09/">
    <artist>Kengo Iuchi, MSBR</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/09_ALIEN.gif" />
    <title>One</title>
    <catno>ALIEN 09</catno>
    <year>1998</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] We are finally releasing our long
    spoken of collaboration between Tokyo&#8217;s Koji Tano, AKA M.S.B.R., and Kengo Iuchi. The
    release features three live duets nested between a solo studio track from each artist.
    Tano&#8217;s Molten Salt Breeder Reactor opens the disc with the epic Psychic Blue. Excellent
    harsh noise with strong influences of musique concr&#232;te and electro-acoustic. The great
    production on this 22 minute track makes it so powerful that it is frightening at times. Kengo
    Iuchi&#8217;s style is the polar opposite to that of M.S.B.R. He describes it as death folk. It
    incorporates maniacal guitar clanging and insane banter in a style comparable to elements of
    Keiji Haino or Diamanda Galas in their most demanding moments. During the collaborative work
    M.S.B.R. lays low providing spacy electronics with streaks of noise between the insane banter
    of Kengo Iuchi.</description>
  </recording>
  <recording id="alien_23" href="http://www.electrocd.com/fr/cat/alien_23/">
    <artist>Tomas Jirku</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/23_ALIEN.gif" />
    <title>Variants</title>
    <catno>ALIEN 23</catno>
    <year>2000</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] We are very pleased to introduce Tomas
    Jirku, a fantastic newcomer to the IDM and minimal techno movements. Jirku&#8217;s sound is an
    excellent and really fresh approach to the minimal techno genre. At times it seems highly
    influenced by the Cologne scene, with very slow throbbing minimal dub and plenty of electronic
    glitches, scratches, noises and echoes. It&#8217;s also reminiscent of material from the Chain
    Reaction label, only far more enjoyable for people who find that imprint&#8217;s style too
    housey much of the time. Jirku works solely with computers, giving him a very rich and modern
    sound, with a lot of punch. We discovered Jirku via MP3 label, Notype (www.notype.com), and
    were lucky enough to be passed one of only 20 copies of his CDR release, Immaterial. The
    Immaterial MP3s were generating so much attention, that even Spin mentioned notice of Jirku and
    the Notype site. After Immaterial, Jirku started experimenting with pieces he called
    &#8220;variants&#8221;. As he would complete new pieces, or rather, new variants, he would
    upload them to the Notype web site. Throughout this process, Jirku created 59 compositions at a
    furious pace and just as quickly deleted them, making it difficult for people to keep up with
    the project. Each &#8220;variant&#8221; within a &#8220;group&#8221; is a
    remake/restructuring/refinement of those that preceded it, while the first piece in each group
    is a new idea all together. Jirku undertook the project to expose his creative process. We
    approached Tomas about the idea of releasing some of his work and he came up with the idea of
    reworking his favourite results from the Variants research. At times Variants is reminiscent of
    Pole, with dense production and dub-like beats, but the end result is not nearly as dubby as
    that overly hyped German act. Imagine if Mego artists started doing minimal techno and then
    you&#8217;re beginning to get the idea. Jirku&#8217;s work is all the more enjoyable for his
    restraint: he doesn&#8217;t over-work his tracks, or feel the need to keep adding extra sounds
    to them. Rather, he manages to construct really solid bouncy bass backgrounds, that are very
    rich in sound. The minimal nature of the recordings are what really makes Variants interesting
    on a more experimental electronics level, with beats that are really catchy and current.
    Variants is recommended for fans of SND, David Kristian, Pole, Porter Ricks, Senking, and
    Vladislav Delay. The Variants launch marked Tomas Jirku&#8217;s Montr&#233;al debut, when he
    performed live withThomas Brinkmann and Triple R at the very hip Mutek festival which took
    place in Montr&#233;al June 7 through the 11.</description>
  </recording>
  <recording id="alien_55" href="http://www.electrocd.com/fr/cat/alien_55/">
    <artist>Kiss Me Deadly</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/55_ALIEN.gif" />
    <title>Amoureux cosmiques</title>
    <catno>ALIEN 55</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
  </recording>
  <recording id="alien_57" href="http://www.electrocd.com/fr/cat/alien_57/">
    <artist>Kiss Me Deadly</artist>
    <title>Misty Medley</title>
    <catno>ALIEN 57</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Kiss Me Deadly is a Montr&#233;al-based
    quartet that has progressed from an early Dischord influenced emo/math-rock sound to an epic,
    deeply melodic, danceable style of music. Their sophomore effort, &#8220;Misty Medley,&#8221;
    is brimming with intoxicating pop songs that blend the anthemic power of indie rock with dance
    music. Kiss Me Deadly consists of Emily Elizabeth on vocals and guitar, Adam Poulin on guitar,
    vocals and programming, Mathieu du Montier on bass and vocals, Erik Petersen on drums and
    Sophie Trudeau on violin. This year saw the release of the tour-only EP &#8220;Amoureux
    cosmiques&#8221; and the band has just completed a well-received American tour with UK
    sensations Bloc Party. The release of their new full length will be sure to fuel the escalating
    buzz surrounding this talented young band.</description>
  </recording>
  <recording id="alien_12" href="http://www.electrocd.com/fr/cat/alien_12/">
    <artist>Knurl</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/12_ALIEN.gif" />
    <title>Torus</title>
    <catno>ALIEN 12</catno>
    <year>1998</year>
    <format>
      <code>CDR</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_05" href="http://www.electrocd.com/fr/cat/alien_05/">
    <artist>David Kristian</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/05_ALIEN.gif" />
    <title>Cricklewood</title>
    <catno>ALIEN 05</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_15" href="http://www.electrocd.com/fr/cat/alien_15/">
    <artist>David Kristian</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/15_ALIEN.gif" />
    <title>Woodworking</title>
    <catno>ALIEN 15</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_16" href="http://www.electrocd.com/fr/cat/alien_16/">
    <artist>David Kristian</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/16_ALIEN.gif" />
    <title>Beneath the Valley of the Modulars</title>
    <catno>ALIEN 16</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_19" href="http://www.electrocd.com/fr/cat/alien_19/">
    <artist>David Kristian</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/19_ALIEN.gif" />
    <title>Room Tone</title>
    <catno>ALIEN 19</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_28" href="http://www.electrocd.com/fr/cat/alien_28/">
    <artist>David Kristian, Sam Shalabi, Alexandre St-Onge</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/28_ALIEN.gif" />
    <title>Kristian, Shalabi, St-Onge</title>
    <catno>ALIEN 28</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Alien8 Recordings is releasing the
    studio recordings from the trio of David Kristian on EMS VCS-3 synthesizer, Sam Shalabi on
    guitar and oud, and Alexandre St-Onge on upright bass. The material on this recording was
    recorded at David Kristian&#8217;s Mermaid Room during the winter 1998-99. Alien8 Recordings
    has released 4 full-length CDs with David Kristian (Cricklewood, Woodworking: Cricklewood
    Remixes, Beneath the Valley of the Modulars, and Room Tone) and a split CD with Sian. Sam
    Shalabi is a member of both Molasses and Shalabi Effect, as well as close to a dozen other
    projects. He is hands down Montr&#233;al&#8217;s busiest improviser. Following this trio
    release, Sam&#8217;s main project, Shalabi Effect will release the follow up to their very
    successful debut double CD. Alexandre St-Onge is also a member of Shalabi Effect and he
    appeared on Fly Pan Am&#8217;s first record. He has also released a solo CD for Alien8
    Recordings entitled Image/N&#233;gation and a second solo release for Switzerland&#8217;s
    Namskeio label. The sound of these three musicians is a mixture of electronics with bowed bass
    and prepared guitar and oud. The results are quite impressive. Many may consider it unlikely
    that such a combination of instruments could successfully blend into something interesting and
    enjoyable. However, a precedent may have been set by projects like Otomo Yoshihide&#8217;s
    I.S.O. and his Cathode release, not to mention a number of Europeans who are blending
    electronics with their free jazz and avant-garde music, to an extent not yet seen here in North
    America. The trio presents a rather unique sound and the instruments blend beautifully
    together. At times it is reminiscent of Euro improvisers such as Polweschel [2]; a gentler Konk
    Pack or AMM come to mind. On pieces like Dirt Well, Building a Rope and My Name is Lemuel,
    Kristian keeps the electronics quite sparse and in the mix, with Alexandre St-Onge providing
    much of the track&#8217;s texture by bowing his upright bass, and at times Sam is doing the
    same on oud and guitar. The Heart of a Mouse features Kristian using a lot of sounds similar to
    those found on his Alien8 debut, Cricklewood, a tribute to Louis and Bebe Barron&#8217;s
    soundtrack for the sci-fi classic, The Forbidden Planet. Another track that really stands out
    in terms of its shape is Insistent Falls; Kristian is playing with repetitive sounds that swell
    in and out of the piece every 20-30 seconds, with Sam and Alex layering the track with oud and
    bass drones. This track really boasts how well this trio actually performs and listens to each
    other. The sounds Kristian is employing are not far off from what you would expect to hear on
    records by Mika Vainio or Ryoji Ikeda. The trio performed in the winter of 1998 opening up for
    Loren MazzaCane Connors and godspeed you black emperor! at the hotel2tango and again there in
    late spring with Martin T&#233;treault and Monstre. The trio surprised many people, sounding
    like they had lots of experience performing together, when in fact they had performed live on
    only two occasions. The only problem with this project live was the lack of silence available
    in live situations; this was one of driving forces that sent these guys into the studio. We
    will try and persuade this trio to do another live show to celebrate this release, but all of
    the members have become incredibly busy in other projects and in Kristian&#8217;s case, working
    as a sound designer.</description>
  </recording>
  <recording id="alien_51" href="http://www.electrocd.com/fr/cat/alien_51/">
    <artist>Lesbians on Ecstasy</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/51_ALIEN.gif" />
    <title>Lesbians on Ecstasy</title>
    <catno>ALIEN 51</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] LOE hijack the back catalogue of
    popular lesbian anthems, dragging them kicking and screaming out of the folk festivals and onto
    the drugged up revelry of the dance floor. They pillage shamelessly from the likes of Tracy
    Chapman and Melissa Etheridge, juxtaposing them against Tribe8 or Team Dresch, not forgetting
    the lesbian standards of the Indigo Girls and others. LOE don&#8217;t sample these artists, but
    cheekily reference their themes and lyrics, creating booty shaking dance hits that maintain the
    politically infused edge of these Sapphic songstresses.</description>
  </recording>
  <recording id="alien_56" href="http://www.electrocd.com/fr/cat/alien_56/">
    <artist>Lesbians on Ecstasy</artist>
    <title>Giggles on the Dark: The Remixes</title>
    <catno>ALIEN 56</catno>
    <year>2005</year>
    <format>
      <code>LP</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Announcing &#8220;Giggles in the
    Dark&#8221; - the Lesbians On Ecstasy (LOC) remix album. After a year of touring in North
    America and Europe in support of the debut self-titled album, Lesbians On Ecstasy, this
    vinyl-only release of remixes is guaranteed to keep the party raging. Featuring tracks by le
    tigre, Tracy and the Plastics, Scream Club, Sean Kosa, 1-Speed Bike, Katastrophe, DJ A&#239;,
    Jody Bleyle and Kids On TV.</description>
  </recording>
  <recording id="alien_20" href="http://www.electrocd.com/fr/cat/alien_20/">
    <artist>Francisco L&#243;pez</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/20_ALIEN.gif" />
    <title>Untitled #104</title>
    <catno>ALIEN 20</catno>
    <year>2000</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Alien8 Recordings has undertaken a
    return to the extreme with an explosive new offering from Spain&#8217;s Francisco L&#243;pez.
    Finally, a studio recording that captures the awesome power of his live performances, without
    the requirement a massive pa. Generally speaking Francisco L&#243;pez falls into the school of
    sound being referred to as silent or quiet music. In fact up until this point L&#243;pez could
    go head to head with the likes of Bernhard G&#252;nter for the crown of silence. Both artists
    participate in a genre that requires plenty of attention, ear phones and absolute silence in
    order to make sense of the nearly inaudible soundscapes. To the untrained ear many of their
    recordings wouldn&#8217;t even register. We can assure you that this is not the case with
    untitled #104. This release has more resemblance to our releases by Masonna and Merzbow, not in
    terms of sound, but power. Untitled #104 was premiered in Barcelona this past summer at the hip
    Sonar event to a completely stunned audience. Onlookers that were expecting to have to strain
    themselves to hear L&#243;pez&#8217;s ultra silent environmental collages were shocked by what
    turned out to be the most intense performance of the festival. His releases rarely indicate
    which particular sound sources are being used. He is very open about the fact that he is often
    working with the sounds of insects, rain, wind and industrial spaces etc., but rarely reveals
    what sources are being used on which recordings. In fact the artist feels strongly about the
    idea of sound itself being the only thing of real importance within his work. During his live
    performances, L&#243;pez demands that all lights are turned off and blindfolds are then passed
    out to members of the audience. The outcome of the performance is an unforgettable listening
    experience. Keeping with the idea held by L&#243;pez that the less the listener knows the
    better, we have decided to not blow the surprise. Untitled #104 features a similar approach to
    many of his recorded works, although he is using a radically different sound source, not
    comparable with any of his previous efforts. Francisco has the very same opinions about artwork
    and packaging for his music. He would prefer to have his music released with absolutely no
    artwork, other than the essential information found on the cd itself. Respecting the vision of
    this incredible artist we have packaged Untitled #104 in a slim jewel case, with no
    artwork.</description>
  </recording>
  <recording id="alien_31" href="http://www.electrocd.com/fr/cat/alien_31/">
    <artist>Francisco L&#243;pez</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/31_ALIEN.gif" />
    <title>Untitled #123</title>
    <catno>ALIEN 31</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Announcing our second and latest
    release with Madrid, Spain&#8217;s Francisco L&#243;pez. &#8220;Untitled #123&#8221; follows
    the very successful &#8220;Untitled #104&#8221;, his death metal release, which appeared on
    Alien8 Recordings just over a year ago. While &#8220;Untitled #123&#8221; is devoid of any
    connection to metal, it has the same power and intense climaxes found in &#8220;Untitled
    #104&#8221; and in Lopez&#8217;s live performances. This latest outing by Spain&#8217;s most
    prolific experimental artist was prepared with sounds recorded in Grain Silo #5, in
    Montr&#233;al, Quebec. Last year the experimental duo known as [the user] began the Silophone
    project, transforming an abandoned grain silo into a gigantic instrument. The project ran for a
    year and artists from around the world were invited to Montr&#233;al to use the instrument.
    Participants included Aube, Carsten Nicolai, Martin Tetreault, [the user], Jaap Blonk and many
    others. Without question the year&#8217;s highlight was the live performance by Francisco Lopez
    that took place in an abandoned foundry with telephone links to the Silophone. &#8220;Untitled
    #123&#8221; is not simply a recording of Lopez&#8217;s live performance using the Silophone;
    the piece uses source material that was harvested in Silo #5 and then further developed at the
    Centre Cr&#233;ation Musicale Iannis Xenakis in Paris, France. &#8220;Untitled #123&#8221;
    starts off with a minute of silence, forcing the listener to pay close attention, like on many
    of Lopez&#8217; recordings. Incredibly subtle changes and fluctuations in volume and body begin
    to take place. The piece begins to display the Silophone sounds more clearly at the 10-minute
    mark, dark metallic resonation that feels strangely gothic. This continues until sharp piercing
    slices of mechanical sounds cut in an out of the piece every few seconds (imagine being
    subjected to giant blasts of machinery). This continues until the 19-minute mark where all
    audible sounds dissolve and all that is left is some of the most demanding low-end ambiance one
    is likely to experience. Later, sounds begin to take shape again and if you were not aware of
    the sound source you would swear this was the soundtrack to a very dark and frightening place.
    At the 43-minute mark, with the power constantly mounting your heart pounding, trembling with
    fear, you wonder what lies ahead. You imagine being in absolute darkness and something
    incredibly loud, a mechanical drone is approaching and you have absolutely no idea of what it
    could be. Finally after an incredible 14-minute climax the piece falls into near silence. For
    the next 8 minutes the piece continues with just a murmur of sound deep below the surface, is
    it really that low? Are your ears just not picking up sound due to what has just transpired?
    The end result is an incredibly unique listening experience that bears many of the qualities of
    the stunning concerts of Francisco Lopez. As far as we are concerned Francisco Lopez is the
    reigning king of what is being marketed as lowercase sound and we are incredibly delighted to
    be documenting another one of his glorious achievements. Packaged as one might expect at this
    point, slimline jewel case with next to no artwork. There is a photo of the Silo where the
    sounds were originally harvested accompanying &#8220;Untitled #123&#8221;.</description>
  </recording>
  <recording id="alien_35" href="http://www.electrocd.com/fr/cat/alien_35/">
    <artist>Francisco L&#243;pez</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/35_ALIEN.gif" />
    <title>Addy en el pa&#237;s de las frutas y los chunches</title>
    <catno>ALIEN 35</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] At this point an introduction hardly
    seems necessary. Madrid, Spain&#8217;s Francisco L&#243;pez has developed his art over the last
    20 some years to the point that he is rarely met or challenged. Much of this due to his
    ever-burgeoning collection of incredible releases on labels all over the world as well as a
    relentless schedule of concert, festival appearances and collaborations. We have already
    presented two separate releases by L&#243;pez in his on-going series of untitled recordings:
    &#8220;untitled #104&#8221;, the death metal release, and &#8220;untitled #123&#8221;. We are
    very pleased to be able to announce the availability of the artist&#8217;s most astonishing
    recorded work yet! &#8220;Addy en el pa&#237;s de las frutas y los chunches&#8221; was
    originally released in an edition of 500 copies on the ND label in 1997. This release is most
    comparable to efforts that centered more on the environmental aspects of artist&#8217;s work
    and is somewhat comparable to releases such as &#8220;La Selva&#8221; and &#8220;Untitled Music
    for Geography&#8221;. &#8220;Addy&#8230;&#8221; was the first American release by L&#243;pez
    and to this day remains the artist&#8217;s favorite release. The sound world created and
    captured by Francisco L&#243;pez on this recording is absolutely incredible, a beautifully
    horrifying listening experience. This could very possibly be one of the most important ambient
    records of the last 10 years and truly reinvents the concept of field recordings. Without a
    doubt, this could easily serve as some of the most effective soundtrack music ever. This
    recording transcends mundane aural experiences. The listener will recognize many sounds but
    will have never quite heard them like this. It is environmental music without even the
    slightest influence of New Age. Far from it, this is much more in the area of massive drone
    music or even at times dark ambient. It should also be an important release for fans of
    electro-acoustic music. It is astonishing how many sounds are perceivable and coming from every
    direction. Listening to this in the dark would probably prove to be too mind bending for many
    people. As you know by now, Alien8 Recordings greatly admires the work and vision of Francisco
    L&#243;pez. Having already released two previous recordings and having presented five live
    events, we couldn&#8217;t be happier than the prospect of re-issuing one the artist&#8217;s
    most substantial recorded offerings. We have reworked the packaging with the input of
    L&#243;pez and are pleased to that the reissue will be one of the few L&#243;pez release to
    feature full-colour artwork.</description>
  </recording>
  <recording id="alien_54" href="http://www.electrocd.com/fr/cat/alien_54/">
    <artist>Francisco L&#243;pez</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/54_ALIEN.gif" />
    <title>Live in Montr&#233;al</title>
    <catno>ALIEN 54</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] This live offering marks our fourth
    release with Madrid, Spain&#8217;s Francisco L&#243;pez in as many years. Over the same period
    we have organized nearly a dozen live events with the artist. This release documents an
    especially memorable performance from 2002. While it may be a little difficult to relive the
    evening, this recording, packaged with a blindfold will allow one to come as close as possible
    to actually having attended this event.</description>
  </recording>
  <recording id="alien_07" href="http://www.electrocd.com/fr/cat/alien_07/">
    <artist>Masonna</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/07_ALIEN.gif" />
    <title>Frequency LSD</title>
    <catno>ALIEN 07</catno>
    <year>1998</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Maso Yamazaki a.k.a. Masonna is
    undoubtedly the most over the top player in the field of extreme noise. He has been dominating
    the Japanese underground since 1987 with his barbaric mix of vocals and noise. The results on
    Frequency L.S.D. are incomparable to other noise makers, due to Maso&#8217;s obsession with
    Sixties and Seventies pyschedelia. Only in the last couple of years has Masonna come to
    prominence here in North America. Much of this attention is due to the success of Inner Mind
    Mystique on Release/Relapse. At the same time Beck, Sonic Youth and most recently Faust have
    all hand picked Masonna to open for their Japanese appearances. Frequency L.S.D. is highlighted
    by tripped out tonal works intertwined within its overall chaos, giving it a much different
    feel than past efforts. This recording features 14 ear wrenching tracks and is beautifully
    packaged in a limited edition special packaging (5 1/4&#8221; by 7 1/4&#8221;).
    &#8220;Frequency L.S.D. is the best Masonna CD ever, and one of the top five noise albums of
    all time.&#8221; - Matt Kaufmann, Exile Osaka.</description>
  </recording>
  <recording id="alien_11" href="http://www.electrocd.com/fr/cat/alien_11/">
    <artist>Loren MazzaCane Connors</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/11_ALIEN.gif" />
    <title>In Twilight</title>
    <catno>ALIEN 11</catno>
    <year>1998</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Like many of the artists we have been
    working with here at Alien8 Recordings, Loren MazzaCane Connors is a rather prolific musician.
    Over the last twenty or so years this gifted guitar player has been documented, upwards of 40
    recordings. While he has always maintained a rather regular profile, it seems lately he is
    quite possibly at the apex of his career. In Twilight is made up of two parts. In Twilight Part
    One features Connors solo, recorded live in Olympia, Washington. The opening track begins with
    indecipherable silence, eventually building both texture and volume, occasionally swelling up
    revealing beautiful guitar chords. In Twilight Part Two displays the work of the recent pairing
    of LMC and bass player Matthew Heyner of the No Neck Blues Band. The duo formed under the
    suggestion of Thurston Moore and the results were recorded live at the Cooler in New York City
    9/21/98. While this track hovers over the same ground as the previous one, the bass really adds
    quite a lot in terms of texture and nuance to give it a very different feel. The first half of
    the cd gives further exploration into very quiet area&#8217;s of Connors sound, reminiscent of
    the sparser moments of Evangeline and The Bridge. Throughout In Twilight, Loren MazzaCane
    Connors works with very subtle sounds and showcases his great ability to allow resonance and
    distortion to take shape. Listening to this recording, especially part two, comparisons could
    be drawn to Keiji Haino&#8217;s psychedelic trio Fushitsusha Considering that the two have
    already released two collaborations, this may come as no surprise. In Twilight is handsomely
    packaged in a jewel case with textured card stock paper with silver ink.</description>
  </recording>
  <recording id="alien_50" href="http://www.electrocd.com/fr/cat/alien_50/">
    <artist>Mecha Fixes Clocks</artist>
    <artistdetail>C&#244;t&#233;</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/50_ALIEN.gif" />
    <title>Orbiting With Screwdrivers</title>
    <catno>ALIEN 50</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
  </recording>
  <recording id="alien_36" href="http://www.electrocd.com/fr/cat/alien_36/">
    <artist>Daniel Menche</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/36_ALIEN.gif" />
    <title>Beautiful Blood</title>
    <catno>ALIEN 36</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Daniel Menche is one of the most
    exciting experimental music artists currently active in North American. His live performances
    and numerous recordings have earned him a growing following around the world. Recently Menche
    came out of a two year hiatus to resurface with some of his best work, both live and recorded,
    including his recent releases Face of Vehemence and October&#8217;s Larynx, and now the much
    anticipated Beautiful Blood. A collaboration between Alien8 Recordings and Daniel Menche has
    been in the works for years and we are finally able to present one of the artist&#8217;s most
    accomplished recordings, Beautiful Blood. The sound on this recording is what one might
    expect?insanely powerful drone based music composed of the richly layered sounds of different
    instruments and field recordings, allowing the listener to pick up on new sounds and subtleties
    with every listen. This is incredibly unusual music that takes influence from both ambient and
    noise circles and blends the two to fantastic results. The final product is a very unique style
    of drone music that has incredibly rich and powerful sound. This work can be compared to works
    and stylistic approaches taken by the likes of Francisco Lopez, Phil Niblock and Hermann
    Nitsch, in terms of their use of layering massive drones to create portions of their work.
    Early on in his career Menche developed a reputation for creating a different type of noise
    that relies more on the human body than various types of electronic instruments. While issuing
    countless CD and vinyl releases on labels such as Trente Oiseaux, Soliel Moon, Tesco, Ant Zen
    and Touch, Menche constantly gained more and more control over his art. More recent efforts
    such as the Crawling Towards the Sun CDEP (Soleilmoon) and October&#8217;s Larynx (Alluvial)
    have focused on the more ambient aspects of his work. It is only &#8216;Beautiful Blood&#8217;
    that truly manages to capture the power and beauty of both the more ambient elements as well as
    some of the most brutally powerful moments to surface from Menche thus far.</description>
  </recording>
  <recording id="alien_01" href="http://www.electrocd.com/fr/cat/alien_01/">
    <artist>Merzbow</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/01_ALIEN.gif" />
    <title>Akasha Gulva</title>
    <catno>ALIEN 01</catno>
    <year>1996</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Masami Akita, possibly Japan&#8217;s
    most respected and prolific extreme artist, delivers his debut release for both Alien8
    Recordings and Canada. Akasha Gulva was recorded live in Tokyo on June 29, 1996. The seventy
    minute-plus piece is relentless and without pause. Akasha Gulva demonstrates many of
    Merzbow&#8217;s trademark techniques in creating extreme soundscapes. This recording marks the
    premiere release for Alien8 Recordings and is limited to 1000 copies.</description>
  </recording>
  <recording id="alien_04" href="http://www.electrocd.com/fr/cat/alien_04/">
    <artist>Merzbow</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/04_ALIEN.gif" />
    <title>Space Metalizer</title>
    <catno>ALIEN 04</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_10" href="http://www.electrocd.com/fr/cat/alien_10/">
    <artist>Merzbow</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/10_ALIEN.gif" />
    <title>Aqua Necromancer</title>
    <catno>ALIEN 10</catno>
    <year>1998</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_17" href="http://www.electrocd.com/fr/cat/alien_17/">
    <artist>Merzbow</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/17_ALIEN.gif" />
    <title>Door Open at 8 am</title>
    <catno>ALIEN 17</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
  </recording>
  <recording id="alien_38" href="http://www.electrocd.com/fr/cat/alien_38/">
    <artist>Merzbow</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/38_ALIEN.gif" />
    <title>Animal Magnetism</title>
    <catno>ALIEN 38</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] After an extended period of four years
    since our last release by the artist, Alien8 Recordings is pleased to announce a new recording
    from Masami Akita&#8217;s Merzbow. No musician has so completely ruled a genre for as long as
    Merzbow has and Animal Magnetism is another gem in the discography of this incredible artist.
    Alien8 Recordings came to life with our first release, Akasha Gulva, by Merzbow and to this day
    it remains one the artist&#8217;s most brutal affairs. But Merzbow has never been happy merely
    himself. Rather than continuing to try to test the limits of how harsh his followers are
    willing to go, he has changed gears and now works with more subtle qualities of sound. In some
    respects the music of Merzbow has taken on more of an electroacoustic angle, playing with the
    spatial aspects of sound. While comparisons can be drawn to the electronic and tape music works
    of Iannis Xenakis, the work remains incredibly catchy and is full of tricks and turns that keep
    the music invigorating. On Animal Magnetism Akita blends his passion for guitars and more
    rhythmic elements of progressive rock, metal and his love for animals, even bringing to life
    the sounds of his very own pet chickens to mind bending results. It is truly incredible when
    the chickens appear amidst dense layers of ambient noise and actually add the percussive
    elements to the piece. Aside from the title track, pieces like Super Sheep continue with the
    animal theme and add a sense of humor to the music. While a lot of people have criticized Akita
    for not changing his sound and style, this charge is completely false. Over the last decade,
    since moving away from his custom-made instruments and concentrating much more on laptop as his
    main instrument, Akita has come up with some of his best recordings. At this point Alien8
    Recordings can be fully trusted with regard to our Merzbow releases as our back catalogue with
    the artist speaks for itself. Many critics have cited both Aqua Necromancer and Door Open at
    8am as among his very best material. This marks our fifth release with Merzbow and will
    certainly not be our last. We are also very pleased to offer this release in our beautiful
    custom designed gatefold packaging, featuring artwork of the chickens that appear on the
    record.</description>
  </recording>
  <recording id="alien_25" href="http://www.electrocd.com/fr/cat/alien_25/">
    <artist>Christof Migone</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/25_ALIEN.gif" />
    <title>Quieting</title>
    <catno>ALIEN 25</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] &#8220;In 1996 I recorded the cannon
    that is fired every day at noon in Halifax, Nova Scotia, all pieces here are based on that
    recording or inspired by the shock of the shot.&#8221;Christof Migone, 2001. Alien8 Recordings
    brings you the fourth solo recording from conceptual sound artist Christof Migone, presenting
    Quieting. Perhaps this is the recording people were expecting us to release from Francisco
    Lopez, incredibly minimal indeed. Quieting is a fine example of the artist&#8217;s ability to
    pay attention to minute detail. The record runs just over 40 minutes and features 18 different
    tracks that play in and out of each other in a similar vein to Ryoji Ikeda&#8217;s +/- cd.
    Sounds on the recording range from pulsing electro glitch popularized by the likes of Pan
    sonic, Rehberg &amp; Bauer and Migone&#8217;s own duo Undo with Alexandre St-Onge. It features
    field recordings and experimentation with periods of silence, reminiscent of projects by folks
    like Brandon LaBelle, Steve Roden, Achim Wollscheid and Tokyo&#8217;s WrK collective of Minoru
    Sato, Atsushi Tominaga and Toshiya Tsunoda. Christof Migone, currently residing in NYC, has
    been active in the sound art scene quite regularly for the last decade and generally operates
    out of Montr&#233;al, Quebec. Migone has released his previous solo full-length works with
    Avatar, ND and Squint Fucker Press. Christof Migone has performed at Experimental Intermedia,
    Khyber Arts Center, Resonance FM, Musique Fragile, KunstRadio, Radio-Canada, Ars Electronica,
    and has had installations exhibited at the Banff Center, Gallery 101, Studio Five Beekman, Art
    Lab, eyelevelgallery and the Forest City Gallery. He is the co-editor with Brandon LaBelle of
    the book and cd project Writing Aloud: The Sonics of Language (Errant Bodies Press, 2001).
    Quieting is packaged in beautifully in a digi-pack with very sharp minimal artwork, designed by
    Migone himself.</description>
  </recording>
  <recording id="alien_46" href="http://www.electrocd.com/fr/cat/alien_46/">
    <artist>Molasses</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/46_ALIEN.gif" />
    <title>Trouble at Jinx Hotel</title>
    <catno>ALIEN 46</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] We are extremely pleased to announce
    the release of &#8220;Trouble at Jinx Hotel,&#8221; the fourth album from sprawling
    Montr&#233;al ensemble, Molasses. This inspired example of the group&#8217;s utterly original
    music displays the raw, world-weary voice of old Americana, the abandon of improvisation and
    experiment, the spiritually-charged atmosphere of church music, and the adventure of the
    avant-garde... all swirling around the musings of singer-songwriter Scott Chernoff, whose
    poetic confessionals have been compared to illustrious songwriters like Leonard Cohen, Tom
    Waits, Nick Cave and Will Oldham. Molasses itself also gets many disparate comparisons, best
    illustrated by this line from the Boston Phoenix: &#8220;Sweepingly cinematic, cracked-dry
    arrangements take in everything from disembodied bowery guitar orgies to lonesome whistles
    &#8216;round the bend, tracing an unlikely path from Skip James to Sonic Youth.&#8221; But make
    no mistake: this is not music caught between worlds -- it is music made in a world of its
    own... ...Music for guitars, strings, banjo, oud, percussion, piano, organ, harmonium, singing
    saws and voice. Thirteen titles and ten tracks from some of North American underground
    music&#8217;s brightest lights, featuring members of the Shalabi Effect, set fire to flames,
    GY!BE, Codeine, Come, Boxhead Ensemble and the Bonnie Prince Billy band. &#8220;Trouble at Jinx
    Hotel&#8221; didn&#8217;t begin as a Molasses record so much as it evolved into one. Scott
    initially went alone into the studio at Montr&#233;al&#8217;s infamous Hotel2Tangoto record a
    handful of sparse guitar songs. Then, just to see what would happen, he invited fifteen
    Molasses musicians in to improvise arrangements around the loose compositions. The result was
    some of the most exciting and adventurous music this collective of friends has ever made. But
    there was also misadventure, strange and ugly circumstances that inspired Trouble&#8217;s name
    and which are all tragicomically recounted in the liner notes. &#8220;Trouble at Jinx
    Hotel&#8221; opens with the spine-chilling music of an Iraqi air-raid siren and ends 43 minutes
    later with &#8220;Songs From the Basement,&#8221; a dissonant finale whose lyrics refer to all
    the music which precedes it: songs of love and hate; songs of sorrow and hope; songs sacred and
    profane: There&#8217;s the choral protest of &#8220;La La La, Amerika,&#8221; sarcastically
    borrowing words from the inscription on the Statue of Liberty; the sultry and slow-creeping
    &#8220;Saint Christopher&#8217;s Blues,&#8221; awash in tremolo and violin; the strangely
    Middle Eastern &#8220;You Can&#8217;t Win,&#8221; written on the road to New York City in the
    wake of September 11, 2001; the mournful bowed-piano ballad, &#8220;No Love Lost&#8221;; and
    the quietly lovely little lullaby, &#8220;Lynn Canyon Wedding Song.&#8221; There&#8217;s also a
    ferocious version of the old blues &#8220;Trouble in Mind,&#8221; a massive, haunting rendition
    of the 1930s Kid Prince Moore gospel, &#8220;Sign of Judgment&#8221;; and &#8220;Miss
    Peach&#8217;s Pawnshop,&#8221; Scott&#8217;s eerily autobiographical adaptation of a prayer by
    acclaimed Canadian poet Hilary Peach. Cut among these songs are some stunning drone-driven
    outros and four instrumental interludes culled from field-recordings, found sounds and
    makeshift instruments. Molasses receives lavish praise from around the world for its music and
    for the exquisite hand-crafted packaging of its albums. Most recently, the esteemed French
    music and culture journal Les Inrockuptibles named their spectacular third album, A Slow Messe,
    among the fifteen best releases of 2003. Trouble is a stellar addition to Molasses&#8217; fine
    discography, well-deserving of new accolades. It is housed in a beautiful tea-green gate-fold
    sleeve featuring a hotel photograph by viola player David Michael Curry; inside is a
    startlingly intricate lyric sheet, hand-lettered by Scott in Tokyo, where he is temporarily
    living and recording new songs with Molasses co-vocalist Jennifer M&#233;nard.</description>
  </recording>
  <recording id="alien_24" href="http://www.electrocd.com/fr/cat/alien_24/">
    <artist>Monstre</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/24_ALIEN.gif" />
    <title>Sucre 3</title>
    <catno>ALIEN 24</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Montr&#233;al boasts quite an exciting
    improvised/underground music scene these days, popularized by the likes of GYBE!, Shalabi
    Effect, Fly Pan Am, Martin T&#233;treault, David Kristian, Mitchell Akiyama, One-Speed Bike,
    Alexandre St-Onge and many others. Leading the second generation of experimenters we are very
    pleased to introduce Philippe Lambert, aka Monstre, with his debut full-length release, Sucre
    3. Monstre is one of the most interesting live acts currently operating in the bustling local
    underground, with performances ranging from full-on noise assaults, to Balinese style jams,
    quirky electro-pop to psychedelic-style freak outs! The recording is constructed mainly with
    voice-based sounds, processed, looped, treated as well as various toy instruments, primitive
    drum machines and samplers. We will refer to Monstre&#8217;s sound as &#8220;harsh pop&#8221;.
    In this respect it may remind some people of the beautiful music of Slap Happy Humphrey, a
    supergroup fronted by Alchemy/Hijokaiden&#8217;s Jojo Hiroshige. They released a record years
    ago on the Public Bath label that remains to this day one of finest mixtures of noise and pop.
    Monstre has a very interesting approach to music-making, not to mention a gift for creating
    incredibly catchy songs. Sucre 3 is certainly the most playful release to surface on Alien8 so
    far, but fits quite nicely with our output from the likes of Masonna, David Kristian and
    Shalabi Effect. It may seem like a stretch comparing Monstre to those three artists, but noise,
    psychedelic and techno are some of the main ingredients here. After all, we are talking about
    an artist who is making pop under influence of folks like Demetrio Stratos, vocalist of
    Italy&#8217;s 70s avant-garde group Area that also featured Walter Marchetti. Monstre is also
    influenced by the likes of Robert Ashley, Henri Chopin and more current sound artists as well.
    Comparisons can definitely be drawn to Boredoms main man Eye, with regard to the abstract style
    of Monstre&#8217;s methods of sound construction, and also to the later work from Richard D.
    James which experiments with voice. Tracks like Sugar Rainbow and Moonlove really evoke past
    memories of Aphex Twin and Boards of Canada despite the fact that you can&#8217;t really refer
    to what Monstre is doing as techno. There is also a perceptible influence of trance, Balinese
    and Kraut style movements on Sucre 3, but always remaining playful. Littlestars is an awesome
    vocal drone that is quite similar to masterpiece vocal drone between Eye and John Zorn, called
    Bad Hawkwind. Sucre 3 is handsomely packaged in a glossy digi-pack with full color artwork done
    by the artist himself as a child.</description>
  </recording>
  <recording id="alien_58" href="http://www.electrocd.com/fr/cat/alien_58/">
    <artist>Nadja</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/58_ALIEN.gif" />
    <title>Truth Becomes Death</title>
    <catno>ALIEN 58</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Finally a full-fledged metal release on
    Alien8 Recordings. Alright, perhaps that&#8217;s a bit of an exaggeration but the music of
    Nadja comes pretty damn close. Nadja is an ambient doom metal monster fronted by multi-talented
    Toronto musician and writer Aidan Baker. Formed in 2003 as a solo project, it has since been
    augmented by bassist Leah Buckareff. The music of Nadja will certainly be name-checked with
    current rulers of the genre Sunn(O))) and with good reason. Having said this, Nadja is
    different than the bulk of bands operating in the outsider metal movement these days as they
    employ a much heavier use of ambient aesthetics and influences that help forge their
    sound.</description>
  </recording>
  <recording id="alien_30" href="http://www.electrocd.com/fr/cat/alien_30/">
    <artist>Set Fire to Flames</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/30_ALIEN.gif" />
    <title>Sings Reign Rebuilder</title>
    <catno>ALIEN 30</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] set fire to flames are a collective of
    thirteen musicians from the musical community of Montr&#233;al. Brooding and beautiful, haunted
    and haunting, sings reign rebuilder is so stunningly / lovingly played and skillfully
    assembled, infused throughout with a massive sense of slow-burning tension and periods of
    weighty, rousing release. Initially the idea was to gather a group of folks together in a
    members Montr&#233;al apartment and record as much as they could over a five day period. As set
    fire to flames explains, &#8220;...[we wanted] to conduct the whole five day recording session
    like a series of experiments--- to get lost in the sound as it was actually happening---to make
    the whole recording an exploded intense event---to push tolerance levels and limitations with a
    group of people sonically---to become shut-ins---to operate on no sleep/confinement/
    intoxication---some of us were interested in seeing what would actually happen if we attempted
    to record improvised drones and textures under those conditions---and what impact that might
    have on yr. head---how individual/collective tension would play out---and what the end result
    would sound like---so a lot of experimentation with tolerance, repetition and
    duration---drones...&#8221; &#8220;And so these set fire to flames recordings happened---we
    piled all of the gear into the first floor (kitchen/living room) of this old, falling down
    apartment in Montr&#233;al (the place has a crazy history to it...built in 1878...used to be a
    10&#162; shoe shine parlour and a brothel in the forties)--- the control/mixing room was in a
    bedroom on the second floor (up a rickety wooden staircase)---you can hear the house all over
    the recording---(the staircase/ groaning floorboards/creaking chairs/traffic and police cars
    outside/men coming out of the mosque downstairs)--- all of these sounds became an important
    part of the final recording...&#8221; &#8220;Five days of continuous recording netted us
    roughly twelve hours of raw sound---all of it was hacked apart and later rebuilt---and the
    final document of that five day period (which was magic and the fucking house was
    levitating.....) now makes up &#8216;sings reign rebuilder&#8217;---the record is about 60%
    improvised and 40% composed---the five-day recording stint turned into something more than
    originally intended---it wasn&#8217;t just thirteen people droning aimlessly to
    infinity---things worked out somehow and we got lucky...&#8221; Packaged in beautiful
    full-colour gate-fold heavy paper jacket, including a 24 page booklet. Available as a single
    compact disc or a double vinyl. This title is being released by Alien8 Recordings for the
    territory of North America only. A new label by the folks at Fat Cat will release the CD and
    vinyl for Europe and the UK. P-Vine will release the CD for Japan.</description>
  </recording>
  <recording id="alien_39" href="http://www.electrocd.com/fr/cat/alien_39/">
    <artist>Set Fire to Flames</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/39_ALIEN.gif" />
    <title>Telegraphs in Negative / Mouths Trapped in Static</title>
    <catno>ALIEN 39</catno>
    <year>2003</year>
    <format>
      <code>2xCD</code>
      <price>28.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Following the critical success of set
    fire to flames&#8217; 2001 album, &#8216;sings reign rebuilder&#8217;, the 13-piece
    Montr&#233;al-based collective return with an eagerly anticipated follow-up. Forming a double
    album, &#8216;telegraphs in negative / mouths trapped in static&#8217; is a haunted, intense
    and highly diverse collection of material. Continuously shifting off at tangents, its slow
    sprawl creeps from heartbreaking guitar melodies to sparse string compositions; concrete
    flickerings and modified machine-crunch to tranced-out kraut-ish rhythm-pieces; cyclical
    minimalism to awe-filled drone-spaces; free-flowing improvised skitter and spark to raw
    location / life recordings. Beautifully played and composed, and far more than merely a
    follow-up, &#8216;telegraphs...&#8217; sees set fire to flames pushing beyond the gains made on
    that previous effort and forging an increasingly autonomous space for the group. Once again,
    the album was founded in a situation of self-imposed isolation, with the band operating both
    individually and communally in states of little or no sleep, in varying levels of intoxication,
    and in physical confinement. Where the previous album was recorded within the band&#8217;s
    home, a creaking, rickety, semi-collapsing 19th century building (whose atmosphere seeps
    deeply, palpably throughout the release), the recordings for &#8216;telegraphs...&#8217; again
    took place within the confines and strongly influential character of a specifically chosen
    environment. Having located a huge, cathedral-like barn at an old, abandoned farm in rural
    Ontario, the band rented and hauled a mammoth twenty-four track machine and a cube truck full
    of gear out to this desolate site and set up to record. Audible throughout the album are the
    building&#8217;s creaking doors and timber frames, the clanking of chains, birdsong outside,
    the shuffle of feet and the movement of bodies. The recording process is honestly rooted in the
    recording location itself - accepting and openly admitting the sounds of life around, rather
    than eliminating this element and disappearing entirely into the abstract
    &#8216;perfection&#8217; of the mixing desk. This foregrounding of architecture and willingly
    experimental approach to recording is a wholly integral part of the band&#8217;s mode of
    existence, and leaks heavily back through their music. To some members, settling on the barn as
    a single location was actually a compromise. Originally they had intended to rent a couple of
    generators, build a mobile recording studio inside a van, and then drive from Montr&#233;al to
    the Pacific Ocean - along the way looking for interesting pieces of abandoned/isolated
    architecture (derelict drive-in movie palaces / barns / silos / factories / gas stations /
    etc.) within which to record - attempting to draw out their ghosts / histories; allowing the
    different sonic characteristics of each space to dictate what or how they played. This idea of
    leaving things to chance, of journeying cross country in a cramped van as a magnet for strange
    occurrences was eventually rejected and discarded as a blueprint for disaster. In compromise,
    they eventually settled on a single location - the collapsing barn - and in July 2002 spent
    five days playing, improvising, and recording there. Some additional recordings occurred back
    at 15 Ontario (the aforementioned house that played host to the recordings on
    &#8216;sings...&#8217;), before the following month was spent mixing down the twelve hours of
    sound they&#8217;d accrued. Finally, this material was obsessively pored over, hacked apart,
    reduced and rebuilt via computer in the same isolated shack on Vancouver island in which
    &#8216;sings reign rebuilder&#8217; was eventually compiled. Whilst most of these recordings
    were born of extended periods of group improvisations, some were the results of calculated
    compositions, and others the product of roughly drawn charts. Again, the alchemical attempt to
    reach into different states, to communicate together and zone into some kind of collective
    magic through intensely-focussed continual playing was sought. Beyond a previously-stated
    interest in the duration-experiments of 1960s New York experimentalists like Tony Conrad and La
    Monte Young, set fire to flames reach back to past ancestors like Harry Partch (the self-built
    or modified instruments; the autodidactic, wandering spirit), Harry Smith (the importance of
    documenting/archiving a time and place), the minimalists, Gyorgi Ligeti, and to a present
    conceptual connection with groups like AMM, Jackie O Motherfucker, or the Boxhead Ensemble.
    &#8216;telegraphs...&#8217; utilisies a wide range of instruments - guitars, electric bass,
    double bass, strings, horns, glockenspiel, marimba, bass clarinet, drums and other percussion,
    saw, cymbalon, hurdy gurdy, music boxes, audio fishing tapes, modified electronics, and contact
    microphones. Whilst the product of an equally intense and gruellingly-focused recording
    process, the results of &#8216;telegraphs...&#8217; are undeniably sparser and more tempered
    than before, allotting far more space and time for the music to work its magic, evolving slowly
    and revealing itself over time as a beautiful, richly varied and stunningly played series of
    pieces. There is a deeper studio sorcery at work here, and more tape manipulation / composition
    this time around. Drifting between a beautifully radiant, elevated drone-shimmer and a totally
    tactile, dirt-grained grounding in location, the album is perhaps even scarier / more abrasive
    than its predecessor, and confirms set fire to flames as one of the most adventurous, skilled
    and ambitiously creative groups of their generation.</description>
  </recording>
  <recording id="alien_29" href="http://www.electrocd.com/fr/cat/alien_29/">
    <artist>Sam Shalabi</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/29_ALIEN.gif" />
    <title>On Hashish</title>
    <catno>ALIEN 29</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Sam Shalabi is the most active player
    in Montr&#233;al&#8217;s blossoming improv scene. Over the last couple of years has been
    documented on releases by Shalabi Effect, Detention, Molasses and A Silver Mt. Zion. In the
    next six months Alien8 Recordings will also be releasing the follow up effort by Shalabi Effect
    as well as the third cd by Klaxon Gueule, which features guest appearances by Christof Migone
    and Sam Shalabi. Sam Shalabi has played or collaborated with the likes of Evan Parker,
    Alexandre St-Onge, David Kristian, Tim Berne, Charles Papasof and Frank Gratkowski among
    others. On Hashish is dedicated to German historian Walter Benjamin and highlights
    Shalabi&#8217;s compositional skills. Here he has enlisted the help of a dozen musicians from
    the local scene, recorded them at the Hotel 2 Tango, then spliced and diced their playing and
    shaped it into his own compositions. We are very proud to be the first label to document the
    vision and beauty of one of Montr&#233;al&#8217;s most exciting improvisers. The recording is
    broken up into three sections; one very long piece at 27 minutes and two others averaging 7
    minutes each. The sound here is comparable in some respects to the sounds of legendary
    euro-improv super group AMM. The first track is long piece that weaves piano, bowed bass,
    flutes, percussion, distorted voice samples and other sounds. The peace moves along quite
    smoothly until the eleven minute mark, when the piece takes a psychedelic twist, due to the
    bizarre tape splicing of flutes. Following the flutes unusual voice samples burp in and out of
    the track until quieting down at the eighteen minute mark after which the piece then slowly
    comes to an incredible finish. The sound on this recording is based largely in the free jazz or
    free improv tradition and also incorporates a very strong use of space and silence. The second
    track is a much shorter piece at 5:41, a chaotic symphony of sorts that brings to mind some of
    Hermann Nitsch&#8217;s orchestral aktions. The third and final track weaves field recordings of
    various forms of static with sparse piano. The piece gently glides with increasing static type
    distortion before dissolving just under the eight-minute mark. The following people played on
    the record: Thierry Amar (GYBE!, Molasses), Serge Boisvert, Jacques Gravel, Corinna Hagel,
    Bryan Highbloom, Norslola Johnson (GYBE!, Molasses), Anni Lawrence, Kate Lawrence (Molasses),
    Gabriel Levine (Sackeville), Sean &#8220;Fluffy&#8221; McDonald (Molasses), Delphine Measroch,
    Samuel Roy-Bois, Alexandre St-Onge (solo, Shalabi Effect). Packaged beautifully in Alien8
    beautiful custom gate-fold packaging.</description>
  </recording>
  <recording id="alien_37" href="http://www.electrocd.com/fr/cat/alien_37/">
    <artist>Sam Shalabi</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/37_ALIEN.gif" />
    <title>Osama</title>
    <catno>ALIEN 37</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] We are very pleased to present Osama,
    Sam Shalabi&#8217;s &#8220;protest music about arabophobia in a Post 9-11 World&#8221;. Sam
    Shalabi is the hardest working person to emerge from Montr&#233;al&#8217;s vibrant music scene,
    appearing in over a dozen projects including Shalabi Effect, Molasses, Detention, and a trio
    with David Kristian and Alexandre St-Onge, among others. Musically, Osama takes quite a leap
    from the territories occupied by Shalabi&#8217;s last solo outing, On Hashish, which comprised
    field recordings, tape music and improv sewn together to fantastic results. Osama features
    contributions from over thirty Montr&#233;al musicians and takes a straight-ahead hard rock,
    psyche and pop approach, but still utilizes many improv and experimental techniques. Osama
    opens with &#8216;The Wherewithall&#8217;, a track that mixes elements of hard progressive rock
    with mysterious vocals and then breaks into spoken word segments that include references to
    such things as rare guitars and Keiji Haino, among others. &#8216;Der El-Bahri from the
    Air&#8217; features one of Shalabi&#8217;s other projects, Poseidon Council, taking the lead on
    this incredible psychedelic pop piece. It features vocalist Billy Mavreas sounding quite a bit
    like solo-era Syd Barrett and some incredible guitar soloing, as well as cat sounds. The
    recording&#8217;s closing and golden moment is the incredibly beautiful seventeen minute epic,
    Guantanamo Bay, which begins with an eerie similarity to Soft Bulletin-era Flaming Lips. Once
    again the blissful pop elements fade and dissolve into layers of sound. This track builds into
    an incredible crescendo driven by static, brushes, crackles, noise and the distant sound of
    muffled epic soundtrack music. Here are some thougths that Sam wrote down about his new record:
    This album was started, in earnest, as &#8216;Protest Music&#8217; about arabophobia in a
    &#8216;Post 9-11 World&#8217;. I wanted it to be auto-biographical (my given name is Osama) and
    somewhat clear in its intended dissent. After about six months of working with these goals in
    mind, things turned ugly... The whole notion of &#8216;artistic dissent&#8217; felt like a very
    slippery form of self-aggrandizement. I began to think about how this all &#8216;fit
    into&#8217; both marginal and mainstream culture. Why was I doing it? Who was it for? What was
    it supposed to do? And, what does it mean to say &#8216;I&#8217; or &#8216;We&#8217; in this
    context? The fact that over one year later very few of our &#8216;artists of dissent&#8217; had
    anything to say, in their own work, about what was and is happening, darkened the mood of the
    album. After September 11, 2001 it really seemed like there was a semantical Crisis Point - an
    actual, little opening, the kind that &#8216;artists of dissent&#8217; spend their lives
    dreaming about, and very few of them (and us) dared or cared enough to step through it. It was
    another year and the same song... So, when I started to work on the album again my original
    &#8216;themes&#8217; had turned ugly, frustrated and absurd. All of this was filtered through
    my own personal experiences (or vice-versa, maybe). Then, Voila! The album &#8216;pretty
    much&#8217; finished itself... My friend Adam Frank&#8217;s description of the album as being
    about &#8220;the shit that doesn&#8217;t say or do anything ? that has no meaning&#8221; is
    very apt. All I can say is that the album was done under a cloud of anger, joy, sadness and an
    involuntary absurdity. I don&#8217;t think it&#8217;s cynical. I didn&#8217;t feel cynical when
    I was putting it together. I tried to make it an index, to let these voices (no matter how
    cryptic) speak for themselves. Beyond that, I don&#8217;t think the album &#8216;means&#8217;
    anything, there&#8217;s no univocal message to it. It was a response to a difficult year and,
    as such, has no intellectual, political or artistic agenda. Hopefully, it &#8216;says
    something&#8217; though; about &#8216;arabophobia in a Post 9-11 World&#8217; in an inormative,
    entertaining and rockin&#8217; kind of way. - Sam Shalabi</description>
  </recording>
  <recording id="alien_22" href="http://www.electrocd.com/fr/cat/alien_22/">
    <artist>Shalabi Effect</artist>
    <artistdetail>Eizlini, Seck, Shalabi, St-Onge</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/22_ALIEN.gif" />
    <title>Shalabi Effect</title>
    <catno>ALIEN 22</catno>
    <year>2000</year>
    <format>
      <code>2xCD</code>
      <price>28.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Originally slated for release as the
    flip side of a split cd/lp with godspeed you black emperor! entitled Aural Florida, this
    release just kept growing and growing. Now finally finished and ready to go, the Shalabi Effect
    present their debut with a staggering 131 minute psychedelic blow out! On this debut double CD
    somewhere in the vicinity of forty instruments have made their way onto the recordings. It is
    very difficult to describe Shalabi Effect, because the sound is varied and changing so
    frequently, but we can definitely trace influences of AMM, Organum, and Pink Floyd, and
    psychedelic music. In terms of Psych, we are talking about the brand perfected by the likes of
    Acid Mothers Temple, No Neck Blues Band and Ghost, as well as more pioneering projects such as
    Amon Duul, Popul Vuh and the Taj Mahal Travellers. Anthony Seck, Sam Shalabi, Alexandre St-Onge
    and Will Eizlini are joined by various guests, including members of Godspeed You Black Emperor!
    and Strawberry, filling in on violin, vocals, Tibetan bowls and sax. Together they blend middle
    eastern influenced folk with spacey electronics and really beautiful trippy guitars. The
    overall experience is incredible; sounds and styles change drastically and seamlessly, bringing
    you to a new place with each new movement. Shalabi Effect went all out, spending nearly a month
    in the studio recordings and mastering on 1/2 tape to capture the warmth of the music. We
    thought they were kidding when they said they were setting out to create the ultimate drug
    record. Now we know that they were serious. The first of the two discs opens up with a
    beautiful display of early electronic drones, Muslimgauze styled tablas, Oud, guitar, scraped
    metal and bowed instruments. The sound is so incredibly rich and organic, you could swear this
    was recorded somewhere beautiful outdoors. Aside from the Shalabi Effect, Sam Shalabi either
    anchors or at least plays in the following projects: a trio with David Kristian and Alexandre
    St-Onge, and more... Shalabi&#8217;s free jazz duo Detention performed at this years Festival
    International de Musique Actuelle de Victoriaville and he immediately returned to Montr&#233;al
    the following day to perform with Kevin Drumm and Pillow, as member of Molasses. Anthony is the
    other driving force in the project and is a film maker and video producer. Shalabi Effect are
    one of the most important projects in the Montr&#233;al underground for the sole reason that it
    is Sam Shalabi&#8217;s main project. During the last few years Alien8 Recordings have been
    setting up challenging evenings of live music at a loft space run by GYBE!, the Hotel 2 Tango,
    as well as at other spaces. During that time only David Kristian comes close to having played
    in as many live scenarios as Sam Shalabi. We have had Shalabi Effect perform with the likes of
    Aube, Kevin Drumm, Pillow, Fly Pan Am, Godspeed You Black Emperor!, Government Alpha, David
    Kristian, Sabir Mateen, Loren Mazzacane Connors, M.S.B.R., No Neck Blues Band, Pillow, Royal
    Trux and Martin T&#233;treault. Occasionally Shalabi will even book his own shows, including
    gigs with Tim Berne and Brandon Labelle. We are very happy to finally be able to share the
    music of the Shalabi Effect with people outside of the Montr&#233;al underground.</description>
  </recording>
  <recording id="alien_32" href="http://www.electrocd.com/fr/cat/alien_32/">
    <artist>Shalabi Effect</artist>
    <artistdetail>Eizlini, Seck, Shalabi, St-Onge</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/32_ALIEN.gif" />
    <title>The Trial of St-Orange</title>
    <catno>ALIEN 32</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Following the success of Shalabi
    Effect&#8217;s staggering self-titled debut double CD, a 131-minute epic, we are excited to
    present their full-length follow up &#8220;The Trial of St-Orange&#8221;. Made up of six tracks
    and with a duration just shy of an hour, this disc continues in the exploration of Middle
    Eastern-influenced psychedelia. Between their two releases the band has become more radical in
    terms of their experimentation with different sounds, and this is clearly evident on this
    sophomore disc. Without a doubt Montr&#233;al boasts one of the most interesting and versatile
    music scenes currently operating in North America, comparable to that of Chicago and New York
    City. There are many concomitant factors: decent venues paying attention to the local scene,
    motivated promoters and people who actually bother to check out bands on a regular basis
    contribute to an incredibly vibrant underground scene. Usually the bulk of attention when
    speaking about Montr&#233;al focuses on godspeed you black emperor!, but not far behind you
    will find Shalabi Effect. This past year the band had an opportunity to play alongside the
    likes of John Zorn&#8217;s Bar Kokhba, Fantomas, Otomo Yoshihide&#8217;s Cathode and Francisco
    L&#243;pez among others at Canada&#8217;s most notable experimental festival, FIMAV, which
    takes place every spring in Victoriaville, Quebec. The band performed a 70-minute set, which
    could be best described as drug rock. They are constantly changing and no live performance ever
    resembles the last. At Victo, Shalabi Effect resembled Seattle&#8217;s metal drone masters
    Earth as much as their first recording. Shalabi Effect is made up of Sam Shalabi [Molasses,
    trio w/ David Kristian and St-Onge, Detention] on electronics, guitar, prepared guitar and oud,
    Anthony Seck on electronics, guitar and moog, Alexandre St-Onge [Et Sans, Undo] on electronics
    and upright bass and Will Eizlini on percussion. The sound on the &#8220;Trial of
    Saint-Orange&#8221; is incredibly rich in texture and boasts a very organic feel. This is
    psychedelic music done in a way that is incredibly rare these days; the band is more about
    creating lush texture than rocking out. A good comparison would be the more ethereal side of
    the Acid Mothers Temple, the La Novia recording in particular. There also seems to be influence
    drawn from the style of horror/drama soundtracks conducted by Ennio Morricone and much of the
    accompanying music to Argento&#8217;s more memorable films. This is most notable in the
    recording&#8217;s closing epic piece, which has a duration of over 20 minutes. &#8220;The trial
    of St-Orange&#8221; opens with the sounds of nature, birds, leaves rustling in the wind; even
    the sound of tree sap dripping into a bucket is layered in there somewhere. The third track,
    &#8220;Mr.Titz [The Revelator]&#8221;, may shock people as it enters the area of techno. The
    backbone of this track is an incredible loop of pulsing low-end bass constructed with a mini
    moog and a break-neck paced oud solo, joined by what can best be described as a
    drum&#8217;n&#8217; bass beat. As horrible as this may sound the results are really quite
    amazing. Shalabi Effect will be doing a European tour in support of this record and have
    already secured a date at the prestigious Taklos festival in Switzerland, where they will share
    the bill with the aforementioned GYBE. The band is also planning select dates throughout North
    America. &#8220;The Trial of Saint-Orange&#8221; is handsomely packaged in our custom gatefold
    packaging with beautiful psychedelic photographs by Guylaine B&#233;dard.</description>
  </recording>
  <recording id="alien_42" href="http://www.electrocd.com/fr/cat/alien_42/">
    <artist>Shalabi Effect</artist>
    <artistdetail>Eizlini, Seck, Shalabi, St-Onge</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/42_ALIEN.gif" />
    <title>Pink Abyss</title>
    <catno>ALIEN 42</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Shalabi Effect refer their latest
    effort, Pink Abyss as their &#8220;pop record&#8221;&#8212; an apt description in comparison to
    their two previous releases. While Pink Abyss retains elements of those efforts, there is
    decidedly more emphasis placed on melody on this release, with more use of vocals and more
    prominence given to the guitar. Without a doubt, it is Shalabi Effect&#8217;s most rocking
    effort thus far, featuring impeccable musicianship and a brilliant and powerful recording
    quality that will blow away the band&#8217;s loyal following. Pink Abyss continues to solidify
    Alien8 Recordings&#8217; growing interest in the psychedelic milieu and fits rather well
    alongside label mates Acid Mothers Temple, Set Fire to Flames, Soft Canyon and Tanakh. Since
    the band&#8217;s inception back in 1996, Shalabi Effect have become one of the pillars of
    Montr&#233;al&#8217;s free improv community and established a solid reputation in both the
    much-ballyhooed post rock and more recently-flourishing psychedelic scenes. The band has toured
    Europe twice and played select festivals and Canadian concerts. Over the last seven years Sam
    Shalabi has established himself as one Canada&#8217;s most important music artists, known for
    his talents on guitar, oud and various electronics. Alien8 Recordings has proudly documented
    his work both as a solo artist on 2001&#8217;s On Hashish and this year&#8217;s Osama
    recordings and in a trio setting with electronic musician David Kristian and band mate
    Alexandre St-Onge on their eponymous recording from 2001. Shalabi was also a member of folk
    noir ensemble Molasses, with whom we have released three albums in conjunction with Fancy
    Records, and he has participated in many free jazz ensembles and made countless guest
    appearances. Alexandre St-Onge is also a highly regarded Montr&#233;al talent. With three solo
    recordings under his belt (one on Alien8 Recordings) and a fourth on the way, he is also a
    member of both the improv ensemble Klaxon Gueule and a project with Roger Tellier-Craig (Fly
    Pan Am, gy!be) called Et Sans. Anthony Seck is Shalabi Effect&#8217;s guitar player and much of
    the band&#8217;s more psychedelic side can be attributed to his often reverb-soaked guitar
    stylings. He is set to throw down with his first solo release early in 2004 on Toronto&#8217;s
    Arts and Crafts label. Will Eizlini plays tabla and various percussion for Shalabi Effect, and
    he is also a member of Land of Cush, a project that plays Eastern ensemble compositions by Sam
    Shalabi. Some highlights on Pink Abyss include Bright Guilty World (track 2), which features
    beautifully seductive vocal work of Elizabeth Anka Vajagic who will be releasing a long-awaited
    solo record on Constellation early next year. This piece moves along gently at a slow patter,
    with an unusual combination of cracked electronics, guitar and jazz-styled percussion giving it
    a very cinematic feel. The somber chanting on I Believe in Love (track 5) lends an deep
    eeriness to the piece, also bearing a certain resemblance to the outsider folk that is booming
    in the United States of late. Another absolute gem is the &#252;ber-poppy Blue Sunshine (track
    4), featuring a beautiful guest appearance from Charles Spearin of Broken Social Scene and Do
    Make Say Think on trumpet. This track recalls the over-the-top sensibility that seems to have
    informed many seventies TV show theme songs or the hits of Burt Bacharach. The closing piece,
    The Kinder Surprise, has a very gentle, ambient feel and could blend in on a release from the
    Boards of Canada or Mogwai. Other guests on Pink Abyss include Sophie Trudeau (gy!be, set fire
    to flames, a silver mt. Zion), Genvieve Hiestek (Hanged Up, set fire to flames) and Gabriel
    Levine (Sackville). We have handsomely packaged this releases in our beautiful cardstock jacket
    equipped with photographs taken by various members of the group.</description>
  </recording>
  <recording id="alien_61" href="http://www.electrocd.com/fr/cat/alien_61/">
    <artist>Shalabi Effect</artist>
    <artistdetail>Eizlini, Seck, Shalabi, St-Onge</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/61_ALIEN.gif" />
    <title>Unfortunately</title>
    <catno>ALIEN 61</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] This fourth and latest offering from
    Shalabi Effect was recorded over three consecutive evenings during the band&#8217;s recent
    residency at the Montr&#233;al arts interculturels institute in Montr&#233;al, Quebec. The
    practice and performance sessions in front of a live audience resulted is a record that truly
    represents the band&#8217;s appetite for experimentation and their desire to keep things
    interesting for their loyal following as well as for themselves. Following last year&#8217;s
    critically acclaimed and more accessible &#8220;Pink Abyss,&#8221; some will see
    &#8220;Unfortunately&#8221; as a return to Shalabi Effect&#8217;s earlier sound and many will
    be happy to follow them on another journey into paths unknown.</description>
  </recording>
  <recording id="alien_40" href="http://www.electrocd.com/fr/cat/alien_40/">
    <artist>Soft Canyon</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/40_ALIEN.gif" />
    <title>Broken Spirit, I Will Mend Your Wings</title>
    <catno>ALIEN 40</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Announcing Alien8 Recordings&#8217;
    latest signing and the first release from Montr&#233;al&#8217;s very own Soft Canyon, Broken
    Spirit, I Will Mend Your Wings. We are incredibly pleased to announce the beginning of this
    incredible band that has risen from the ashes of Tricky Woo. The band takes cues from across
    the music spectrum, but unlike many of the rock bands to achieve success recently, they shape
    their sound into something fresh and personal. Soft Canyon borrows heavily from the Laurel
    Canyon sound that spawned the likes of producer, arranger and musician Jack Nietzsche as well
    as absurdist popster Van Dyke Parks, not to mention the great influence it had on Arthur
    Lee&#8217;s Love and former Canadian Neil Young. This is most evident on the anthem style track
    Hope&#8217;s Great Divide, a track that is incredibly catchy and chock full of studio trickery
    that will have you thinking it must be one of those lost gems from the 70&#8217;s. Soft Canyon
    layers the sound of two or three guitars with keyboards with incredible depth in the vocal
    department and a drum sound that recalls the studio wizardry of Phil Spector. The band also
    blends heavy influences of Pink Floyd&#8217;s Atom Heart Mother era, with early Grateful Dead
    and Allman Brothers, but without falling into the trap of ripping off or rehashing the same old
    sounds. In this respect they are comparable to Royal Trux or Acid Mothers Temple in the sense
    that they are paying homage to their influences but still changing the face of rock at the same
    time. One listen to Broken Spirit&#8217;s epic track We Threw Our Love Into The Universe will
    have the listener traveling back in time recalling the glory days of prime-era Floyd. This
    track, through the use of incredibly powerful orchestration and unbelievably psychedelic
    flavored vocals, comes closest to matching that band&#8217;s undeniable live power. Soft Canyon
    blend in incredibly well with the more psychedelic side of Alien8 Recordings&#8217;s roster and
    would make excellent touring companions along side acts like Acid Mothers Temple, Shalabi
    Effect, Tanakh and newcomers The Unicorns. The recording is gorgeously housed in our custom
    glossy gatefold card stock jacket with beautiful artwork courtesy of Soft Canyon&#8217;s front
    person Andrew Dickson and his brother. Broken Spirit will also be released on the vinyl format
    with a beautiful printed insert. Much like many records from the glory days of
    rock&#8217;n&#8217;roll Soft Canyon elect to keep things brief, 11 tracks with no filler, that
    will keep the listener hungry and eagerly awaiting the next release.</description>
  </recording>
  <recording id="alien_13" href="http://www.electrocd.com/fr/cat/alien_13/">
    <artist>Alexandre St-Onge</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/13_ALIEN.gif" />
    <title>Image/N&#233;gation</title>
    <catno>ALIEN 13</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] We are very pleased to announce the
    debut solo release from one of Canada&#8217;s most exciting free music/experimental artists,
    Alexandre St-Onge. The three track debut experiments with extremely subtle changes, with great
    importance being placed on the contrasts between noise and silence. Admirers of sound sculptors
    such as Bernhard Gunter, Alan Lamb and Francisco Lopez should enjoy this body of work.
    St-Onge&#8217;s debut can be compared to, or at least resembles in some respects some of Jim
    O&#8217;Rourke&#8217;s electroacoustic outings, such as Terminal Pharmacy and others. At the
    same time it displays a very subtle ferocity, comparable to that of John Duncan, Daniel Menche,
    and the gentler side of Knurl. Image/N&#233;gation is a concept recording right down to
    it&#8217;s unusual packaging. It is packaged in a jewel case with a transparent acetate tray
    card and including a 4" piece of 1/8 inch copper wire. The packaging was inspired in part by
    Table of the Elements&#8217; untitled release by Francisco Lopez. The idea of including an
    actual tangible object was that of the artist. This recording will be our first to focus on
    concrete music, the parallel universe to harsh noise. We are very pleased and equally confident
    to debut in this area of sound with Alexandre St-Onge. Also look for his contribution of bowed
    bass, as part of the Shalabi Effect, on the new upcoming split cd release with
    Constellation/Kranky&#8217;s Godspeed You Black Emperor! St-Onge has already recorded and
    performed with the likes of David Kristian, Martin T&#233;treault and Christof Migone and
    begins a tutelage with AMM&#8217;s Keith Rowe in Paris, this spring. Also, Klaxon Guelle, a
    free jazz trio featuring Alexandre St-Onge will perform this spring at the very prestigious
    Festival Musique Actuelle in Victoriaville, Quebec. Image/N&#233;gation opens with an epic
    track of incredibly dense mixture of rhythmic rumbles and various field recordings beautifully
    sewn together. An absolutely moving experience on headphones or very powerful sound systems.
    The remaining two tracks are less subtle in their sensory attack. Strong influences of
    electroacoustic and musique concrete intertwined with a positive use of noise, result in a very
    rewarding listening experience.</description>
  </recording>
  <recording id="alien_33" href="http://www.electrocd.com/fr/cat/alien_33/">
    <artist>Tanakh</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/33_ALIEN.gif" />
    <title>Villa Claustrophobia</title>
    <catno>ALIEN 33</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Introducing Tanakh, an incredible new
    project headed by Richmond, Virginia&#8217;s Jesse Poe. Tanakh is a layering of sound and
    structure that combines songwriting sensibilty and improvisational abstractions that are as
    thick and rich as they are minimalist. These two seemingly opposed forms fluidly combine to
    forge dark sweet lulling gypsy melodies dug from middle-eastern sands that have been knuckled
    across Appalachian washboards that shadow the city in which they live. Villa Claustrophobia
    marks the debut of this new project and features an all-star ensemble including Mick Turner
    (Dirty Three), Jessica Billey (Lofty Pillars), David Lowery (Cracker), Ned Oldham (Palace) and
    Nirmal Bajekal (Ravi Shankar&#8217;s band) amongst others. Between them they bring vocals,
    violin, viola, cello, bass, percussion, electric and acoustic guitars, flugel horn, trumpet,
    clarinet, and various ethnic and home made instruments to the recording. Villa Claustrophobia
    is undoubtedly the most accessible release to surface on Alien8 Recordings thus far. While not
    a pop record by any stretch of the imagination, most of the recording is made up of actual
    songs, which for the most part is new territory for us. Yet Tanakh&#8217;s debut certainly fits
    in quite nicely alongside our releases by set fire to flames and Shalabi Effect in the sense
    that it blends middle-eastern influenced improv alongside drone based composition and
    improvisation. It is an organic marriage between structured songwriting and free-floating
    improvisation beginning with Bajekal&#8217;s beautiful and ethereal Carnatic vocal stylings,
    which both open and close the recording, bringing a sense of both infinite circularity and
    completion to Villa Claustrophobia. They interweave the warp and weft of Indian folk upon
    western minimalism&#8217;s loom. Disappearing into free form abstractions that lead into the
    rich timbre of Poe&#8217;s voice, which starts lonely and low singing of real life human
    obsession, desire, and the shifting of power in relationships while Bajekal&#8217;s disembodied
    female vocals float, ebb over and under the course you are drifting drown. As the recording
    progresses Poe takes over the floating drone styled vocals. Gently Johnny stands as a great
    example of Poe&#8217;s vocal abilities, as well as his talent for creating simple but very full
    and rich arrangements. This track is an English folk song whose original lyrics had been
    censored and sterilized over the years. Poe brings the standard back to life unadulterated and
    newly empowered. As well as performing on others&#8217; recordings, such as Bonnevill
    (Pelican), Anomoanon (Monster), and Koester (Oh! Turpentine), to name a few, Poe has worked
    extensively in the recording studio as an engineer recording tracks for Pelt (Ayahuasca) and
    the Iditarod (The Ghost, the Elf, the Cat and the Angel), amongst others, and his skills in
    this area are very evident on this release. However, for the majority of this recording he gave
    up that control in order to benefit from the experience of Brian Paulson (Slint, Royal Trux,
    Beck) and John Morand (Labradford, Sparklehorse). This recording will also be available on both
    CD and LP. The LP will include a bonus CD of six songs, five of which are only available to
    those who purchase the LP. The sixth is from the Villa Claustrophobia recording, which due to
    space limitations on the LP format, was omitted on the Villa Claustrophobia LP but is included
    on the bonus CD.</description>
  </recording>
  <recording id="alien_43" href="http://www.electrocd.com/fr/cat/alien_43/">
    <artist>Tanakh</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/43_ALIEN.gif" />
    <title>Dieu Deuil</title>
    <catno>ALIEN 43</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Tanakh&#8217;s newest record, Dieu
    Deuil, commands a nautical embrace of wet boots and November days filled with rain. It sings
    stories of loss, hope, and transcendence amidst the swirling cyclone of mundaneness. Dieu
    Deuil, which takes it name from the architecture of Daniel Libeskind, successfully integrates
    improvisation and song writing, and communicates an interior intimacy, which previously was
    only hinted at in the drifting exterior world of Villa Claustrophobia. Dieu Deuil is a small
    warm caf&#233; in the cavernous arcades of Villa Claustrophobia, where the air is moist with
    smoky teas and steam hoarfrosts the windows. Dieu Deuil maintains the outer-national feel of
    Villa Claustrophobia but focuses less on a pneumatic exotica and more on a rich interior
    journey that communicates the warmth of human touch and the frigid burn that such contact can
    leave when it is taken away. Dieu Deuil captures a particular gentleness of the 70s-era folk
    psychedelia inspired by the likes of John Martyn, Tim Buckley, Fairport Convention and
    Pentangle, both in it&#8217;s inventive orchestration and in it&#8217;s vocally charged
    delivery. Dieu Deuil begins with the unassuming lushness of November Tree, which moves in like
    a slow fog and as this fog lifts, the stripped down intensity of Exegesis is revealed, an
    absolutely incredible psychedelically charged song that through unbelievably passionate vocals
    achieves an amazingly intense impact while remaining soft and subtle. And so forth, the record
    takes its journey through the interior like a Basho Haiku, recalling points of reference from
    Villa Claustrophobia and then exploring entirely new ports of departure. One such point of
    reference to Villa Claustrophobia, both in its lush arrangements and physical obsessions, is
    the fecund rosary of a love song, Lady Eucharist, which follows well the wake of the ancient
    English folk song Gently Johnny, recorded on Villa Claustrophobia. And as the groves spiral
    inward to the closure of the record it ends in a tumultuously decadent self-destruction, Lock
    the Door When You Leave, that shows a snapshot of the entirety of the record Dieu Deuil in one
    song. Despite the project&#8217;s recent relocation to Florence, Italy, Tanakh is definitely
    still a major voice in the outsider folk movement that is currently flourishing in North
    America. They fit nicely alongside former collaborators and friends Pelt and Six Organs of
    Admittance, as well as a slew of other folk heroes staking their claim in the American Folk
    Renaissance, yet sharing many characteristic ties to their Montr&#233;al label mates, Molasses,
    Set Fire to Flames, Shalabi Effect and newcomer Harris Newman. With a clarity of sound and love
    of things beautiful and grandiose, Tanakh bring a unique voice to this movement that glides
    ever towards the dark lambency of the setting sun. Dieu Deuil is gorgeously packaged in our
    custom sleeve with an illustrated booklet. All artwork was created and designed by Chia-chi
    Charlie Chang.</description>
  </recording>
  <recording id="alien_48" href="http://www.electrocd.com/fr/cat/alien_48/">
    <artist>Tanakh</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/48_ALIEN.gif" />
    <title>Tanakh</title>
    <catno>ALIEN 48</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Our third release with American
    singer-songwriter Jesse Poe&#8217;s project Tanakh strays from structured songs and resides
    much more in the regions of the avant-garde. This double CD features more drone-oriented
    elements comparable to the debut Tanakh release, Villa Claustrophobia, and the collective
    ensembles of the Mile End music scene of Montr&#233;al. It is based around a unique hand-made
    instrument constructed from the salvaged ruble of a destroyed piano. This instrument resonates
    with a deep sonorous drone heard throughout the recording.</description>
  </recording>
  <recording id="alien_63" href="http://www.electrocd.com/fr/cat/alien_63/">
    <artist>Tanakh</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/63_ALIEN.gif" />
    <title>Ardent Fevers</title>
    <catno>ALIEN 63</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Tanakh&#8217;s fourth release finds
    Jesse Poe and company continuing to delve deeper into the world of psychedelic pop music. On
    Ardent Fevers the listener is treated to a beautiful array of lush compositions that capture
    the listener with memorable choruses and well thought-out orchestration. Over the last couple
    of years Tanakh leader Jesse Poe has been living in Florence, Italy, resulting in a temporary
    hiatus in the band&#8217;s touring schedule. Poe is now planning to return to his native U.S.
    soil this Spring, in order to play this year&#8217;s edition of the prestigious Terrastock
    festival which will take place in Providence, RI.</description>
  </recording>
  <recording id="alien_65" href="http://www.electrocd.com/fr/cat/alien_65/">
    <artist>Think About Life</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/65_ALIEN.gif" />
    <title>Think About Life</title>
    <catno>ALIEN 65</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <availability>hors-catalogue</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Announcing the self-titled debut from
    Montr&#233;al&#8217;s Think About Life. Think About Life have been causing panic on dance
    floors and concert halls alike since the word began to spread quicker than avian flu following
    their first couple of shows. Think About Life bring the party like no other band currently
    operating in Montr&#233;al area and their debut consists largely of party anthems from start to
    finish.</description>
  </recording>
  <recording id="alien_41" href="http://www.electrocd.com/fr/cat/alien_41/">
    <artist>The Unicorns</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/41_ALIEN.gif" />
    <title>Who Will Cut Our Hair When We&#8217;re Gone?</title>
    <catno>ALIEN 41</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Get yourself ready and put your hands
    together for the &#8220;blow-up&#8221; sensation of the rest of your lives: The Unicorns,
    Alien8 Recordings&#8217; latest addition, have arrived to save you, to let you save them, and
    consequently make-up the face of modern music. Having blossomed in Montr&#233;al, Quebec, The
    Unicorns have packed their things and are heading to all the roads in all the world for an
    unforeseeable amount of time, backing up their reputation as being Canada&#8217;s most
    promising new band, and planet Earth&#8217;s next big thing. FACT: The Unicorns have a gift for
    blending a morbid sense of humour with irresistible pop melodies caked with beautiful vocals
    employing thoughtful, near-sacred lyrics. FACT: The Unicorns don&#8217;t push the envelope,
    these assholes sign, seal and deliver their work to the north, south, east and west, in limited
    edition holographic 3-D! Upon seeing this band live, it&#8217;s impossible to deny that there
    are supernatural forces at play. You&#8217;ll never know what you are in for &#8212; a
    performance (i.e. a puppet show, a homeless person hired to impersonate the band, bizarre
    costumes, a bloody fight between band members) or simply sweet boys delivering the sweet goods.
    But regardless of what shape their live performance takes on, it never fails to be deeply
    moving and highly entertaining. You will leave a believer. &#8220;Who Will Cut Our Hair When
    We&#8217;re Gone?&#8221; features thirteen tracks deeply rooted in careful songwriting and
    lo-fi pop experimentalism that scream &#8220;FRESH&#8221;, &#8220;INCOMPARABLE&#8221;,
    &#8220;AHEAD OF ITS TIME&#8221;, &#8220;HAUNTING&#8221; &#8220;CHARMING&#8221;
    &#8220;SEXY&#8221;, &#8220;FUNNY&#8221; and &#8220;FUCKING BRILLIANT&#8221;. The recording
    opens with &#8220;I Don&#8217;t Wanna Die,&#8221; a plea to the makers of the universe to
    &#8220;grant me one more breath&#8221;, setting the tone for the overall theme of the album.
    &#8216;Tuff Ghost&#8221; takes the intensity up a notch with The Unicorns&#8217; attempt to
    cash in on the disco punk sound. &#8220;Ghost Mountain&#8221; is a lyrical tale of colonialism
    blanketed in a taut metaphor of one journey to the top of a haunted mountain, boasting classic
    lines like &#8216;There was heat from the fire, but I still froze when I saw the ghost&#8217;.
    Completing the ghost trilogy, &#8220;Sea Ghost,&#8221; a pithy pop tune in the purest form,
    will stick with you for days, eating at your insides and turning your skin green, not unlike a
    parasite attached to your leg at the bottom of the ocean. In terms of sonorous diseases,
    &#8220;Jellybones&#8221; is maybe the most infectious pop tune on the record, ending too soon,
    but sticking around so long. Analog synthesizers never sounded this good. But suddenly, the
    smoking urgency of &#8220;The Clap&#8221; re-awakens the unsettling undercurrent of the album,
    in a wiry, unforgiving 1:25. The band&#8217;s sing-along Motown-inspired &#8220;I Was Born a
    Unicorn&#8221; serves as the band&#8217;s confrontational anthem, flatly asking: Are you a
    believer?. &#8220;Tuff Luff&#8221; will make Jay-Z wet his pants when he hears it! The
    song&#8217;s hook comes in the form of a penny whistle, but the impact remains in the wry
    critical observations of U.S.A. foreign policy. And then, just as you&#8217;ve embraced the
    Unicorns as your favourite band... it&#8217;s over, sharply abrupt and sad (like slipping off a
    cliff to one&#8217;s demise) with &#8220;Ready to Die&#8221;, a naive dirge, relenting to the
    unavoidable reality of mortality. Recently the Unicorns added a third permanent member on drums
    to fill out the group&#8217;s sound, which has proven to be a tremendous help in live
    situations. The trio completed a countrywide tour of Canada in August with label mates Soft
    Canyon. More plans for touring North America, and the World are in the wo