Here’s the packaging:

And here’s a sample of the sounds:

A release show is happening In Montreal on May 30th as well: Café l’Artère, 7000 avenue du Parc. 8pm.

Facebook event HERE.

Three track EP of avant electric guitar improvisations. A prepared Fender Telecaster thwacked with mallets and layered with loop and delay effects. Recorded live, direct to two-track in late 2012 by Jakob Rehlinger.

Side 15 – Chik White: I Am Muck. You Are The Wind.

CHIK WHITE is the recording alias of Darcy Spidle, star and co-writer of the Canadian cult film, Lowlife, and the guy behind Canadian indie institution Divorce Records. Playing almost like a possible alternative soundtrack to Lowlife, I Am Muck sucks you into a starfish licking world of bizarr0 psych improvisations and avant soundscapes created from “experimental jews harp and acoustic guitar”. Exciting and fearless stream of consciousness music/noise/sound making—like the wind and tides blowing and flowing.

Side 16 – Holiday Rambler: It Lasted A Hundred Years, It Will Last A Hundred More.

“More like coal than gasoline”, HOLIDAY RAMBLER (aka D. Alex Meeks of Hooded Fang infamy) is one of those young men you meet where you simply know they have a time machine buried in their backyard. They’re just too comfortable wearing the attire and diction of yesteryear for it to be entirely an act. The title of this set of songs and sounds, It Lasted A Hundred Years, It Will Last A Hundred More, could be a reference to the timeless/old-timey nature of the Rambler’s American gothic folk-blues. Despite being a relatively young sprout, there’s a lot of gravelly down-home wisdom woven throughout the set of bluegrass and gospel informed tunes with a decidedly end-times feel. Kind of like a Smithsonian Folkways recording from the backwoods of Virginia in an alternate universe where the Great Depression never ended.

Release Date: April 1st, 2013.

Side 15 – Chik White: I Am Muck. You Are The Wind.

Side 16 – Holiday Rambler: It Lasted A Hundred Years, It Will Last A Hundred More.

CHIK WHITE is the recording alias of Darcy Spidle, star and co-writer of the Canadian cult film, Lowlife, and the guy behind Canadian indie institution Divorce Records. Playing almost like a possible alternative soundtrack to Lowlife, I Am Muck sucks you into a starfish licking world of bizarr0 psych improvisations and avant soundscapes created from “experimental jews harp and acoustic guitar” (that’s how Darcy sold me on the project but there’s other instruments and objects involved too). Exciting and fearless stream of consciousness music/noise/sound making—like the wind and tides blowing and flowing.

“More like coal than gasoline”, HOLIDAY RAMBLER (aka D. Alex Meeks of Hooded Fang infamy) is one of those young men you meet where you simply know they have a time machine buried in their backyard. They’re just too comfortable wearing the attire and diction of yesteryear for it to be entirely an act. The title of this set of songs and sounds, It Lasted A Hundred Years, It Will Last A Hundred More, could be a reference to the timeless/old-timey nature of the Rambler’s American gothic folk-blues. Despite being a relatively young sprout, there’s a lot of gravelly down-home wisdom woven throughout the set of bluegrass and gospel informed tunes with a decidedly end-times feel. Kind of like a Smithsonian Folkways recording from the backwoods of Virginia in an alternate universe where the Great Depression never ended.

Arachnidiscs Recordings has a new logo (which is easier to read as a small thumbnail/Twitter icon/on cassette spines, etc.) that will  begin showing up on our releases beginning with Split Tape 15/16, due out in March. It doesn’t necessarily replace the old “Spider Shiva” logo which will remain as our mascot and probably show up from time to time (or at least until our current mailing labels and business cards run out).

A new short film featuring tracks from the Nick Kuepfer/Khôra split tape and the Silent Land Time Machine/Moonwood split tape. Shot and edited on an iPhone. I recommend not doing that.

Video track list:
Nick Kuepfer: “Grackles”
Khôra: “Foris”

Silent Land Time Machine: “the contours of perfect distance”
Moonwood: “Introlude”

Tapes available HERE.

MOONWOOD put up a new rehearsal session on their Soundcloud.

It was recorded on Christmas Even in preparation for a Dec 28th show in Montreal and Jan 3rd in Toronto (captured by Mechanical Forest Sound).

A similar set will be recreated  on Sat, Jan 26 @Placebo Space (2877 Lake Shore Blvd W., Toronto).

MOONWOOD (cosmic-tribal psych-rock)
BLACK WALLS (sweet doom balladeer)
LORDE AWESOME (Toronto’s krautful dead)
End of night jam?

More details to follow.

C44 // edition of 50 // pro-duped // DL code // full-colour insert // special custom poly sleeve packaging

Side 13 — SILENT LAND TIME MACHINE

Track listing: Many Many Happy Returns / The Contours Of Perfect Distance.

They say everything’s bigger in Texas. That includes the mind-expanding tones coming out of out of Silent Land Time Machine’s epic looped violin compositions that weave and drone like tumbleweeds on crack’d black asphalt. Good sounds from bad lands. “Many Many Happy Returns” recorded LIVE at Marigold Studios (R.I.P.) in London, ON “The Contours Of Perfect Distance” recorded LIVE at Le Cagibi, in Montréal, QC, with additional amenities provided by Khôra & Nick Kuepfer.

BIO: SLTM; an inadvertent aural accumulator; a fractured signal; a concerted, compassionate memory resistor; the IN/OUT of an organic circuit experiencing itself for the first time; a starry-eyed-bliss-transformer; nerves attaching, detaching, strengthening, and severing; aimed at the clearing of neural circuitry with the frequency of white wind.

Side 14 — MOONWOOD, Soul Oaks

Track listing: Introlude / Drone #3 / Cardamom #2 / November /Cardamom #1 / Woodpecker

Moonwood guitarist, Jakob Rehlinger, works through six electric and acoustic solo guitar improvisations trying to get somewhere in the Easts (Far- and Middle-) while remaining rooted in the Americas. Lyrical, soaring airs played over dark, oily drones. Recorded direct to 2-track live in Moonwood’s rehearsal studio between Nov 2011 and May 2012.

BIO: Moonwood is the psych-improv project of Toronto (ON) guitarist Jakob Rehlinger, often joined by Jacqueline Noire on percussion, vocals and woodwinds. Solo or as a duo, Moonwood’s music is informed by (while not necessarily adhering to the traditions of) Tibetan funeral chants, krautrock, Balinese gamelan, classic psychedelic rock, traditional Japanese and South Asian music, dub, free-jazz and the usual grab-bag of avant-folk styles

Side 11—Nick Kuepfer, Tape Test For A New Year / Audrey’s Asprin / Grackles: Grinding string harmonies drone from the celestial abyss. Birds sing, forests crumble. A ghost trains thunders across the prairies, hammers on tin roofs as it passes. Somewhere to the south, a bank robber dies in the tumbleweeds, clutching a satchel full of money with a dusty hand. An entrancing, cinematic soundscape; a travelogue of the spaces between light and shadow.

BIO: Montreal-based guitarist Nick Kuepfer weaves nylon string and electric guitar pieces with live-sampled tape loops, recordings of animals, and drones from various sources. His predominantly wordless music ranges from subtle and static to frantic and abrasive, with a methodical, vigilant sense of experimentation guided by the search for consonance and dissonance with the sounds of “nature”.

Side 12—Khôra, Foris: Ringing in the shadows of a European cathedral, tones weave behind a camel train on the spice road and twist like smoke beyond the bazaars of Turkey before erupting like an Icelandic volcano, black ash on white snow.

BIO: Matthew Ramolo’s Khôra project is based chiefly on acoustic/electric guitar and field recordings, with extensive signal processing and digital interventions conditioning these sources to create an immersive soundworld of drones, chimes, rings and other pointillistic sonics. His longform compositions contain lovely stretches of relatively unprocessed and fully recognisable guitar work, with picking patterns and chord sequences that evolve/devolve into more signal-bent and DSP soundscapes. The results are highly organic and meditative while retaining plenty of icy shards, bubbling distortions and passages of controlled monumentalism, making this anything but an ambient listen.

And you can hear to audio samples below.