HEAVY MOON: 13 (digipak)

09/08/2018

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Styles: Space rock, acid rock, prog, kosmische, psychedelic, desert rock, retro proto-metal
Probably blatant influences: King Crimson, Pink Floyd, Hawkwind, Sabbath, Nebula, Erkin Koray.

>>>Order here: $7 CAD + regional shipping<<<

Released on Friday the 13th, at 13:00pm, it’s the 13th instalment by the long-running psychedelic/space-rock project, and the “proggiest and foggiest” Heavy Moon to date. Thirteen trips through acid-fuzzed desert doom guitars, elfin flutes, acoustic daydreams, mellow mellotrons, cosmic synths and eastern visions.

 


PARTLI CLOUDI: Pet Smells cassette

25/01/2018

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C30, real time pro-duped high-bias cassette, urine tinted shell, insert card, dimebag of genuine pet hair to sniff whilst listening. 

6$ CAD (+ region shipping). Order HERE.

Styles: Psychedelic, sound collage, left-field hip-hop, trip-hop, musique concrete, cut-up, sampladelic

RIYL: De La Soul going lo-fi folk rock, Sunburned Hand of The Man with two turntables and a sampler, The Beatles’ White Album and Beach Boys’ Pet Sounds playing at the same time in different rooms, DJ Shadow falling far down a DMT rabbit hole

Periodically, Vancouver Island librarian Partli Cloudi emerges from the periodicals stacks and offers up another cut-up, broke-down, sideways look at the world through the textual magic of sound. Pet Smells finds PC stretching his muscles a little, in his words:

“I was purposely trying to tap into more of a Three Feet High and Rising meets Smiley Smile type of record, and questioning if humour and joy can have a place in music versus more ‘acceptable’ emotions like angst, sadness, and ironically… melancholy. I guess when i said ‘music’, i meant like boring indie/underground/experimental music… putting the mental back in experimental. Don’t quote me on that tho.”

Oops, quoted indeed, but we couldn’t have described this aural trip better ourselves.


Moonwood / Stargoon split tape

21/11/2017

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Split Infinities ,Volume 13 of our split tapes series, features two improvised, mind-melting, long-form psychedelic and kosmische odysseys by Toronto-based cosmic rockers MOONWOOD and STARGOON on sides 25 and 26 respectively.

Order HERE. $6.00 CAD (+ regional shipping)

MOONWOOD

Toronto psychedelic space-rock jam band MOONWOOD have been playing as a quartet since 2013 (husband and wife team Jakob Rehlinger, guitar/synths, and Jacqueline Noire, vocals/synths, backed by Matthew Fava, bass, and Luca Capone, drums). Their live shows consist of a few songs with standard verse/chorus structures, but also at least one extended mind-expanding and face-melting improvised jam. Though they’ve released some of these instrumental freak-outs on live mixtapes, “Cosmic Ghosts” is their first attempt to capture one of these singular experiences in the studio. Nine months pregnant with their baby, Jacqueline’s water actually broke while recording her overdubs for the track. Once her synth parts were duly completed, they called the midwife.

STARGOON

Named after an imaginary paint colour created by a neural network (it’s the same banal beige featured on the cassette’s J-card), STARGOON began as a collaboration between ambient droner Heraclitus Akimbo (aka sound archivist at the Mechanical Forest Sound blog, Joe Strutt) and Moonwood drummer, Luca Capone (who also records sound-collages as Radio Samson di Maria). On this 20-minute track, cobbled together from an hour’s worth of improvisations, they’re joined by Moonwood guitarist Jakob Rehlinger on bass who also recorded the session. Like the name STARGOON itself, “Bylfgoam Glosd” is taken from Janelle Shane’s AI’s list of paint names


Interred Views: Sister Ray

31/08/2017

Sister Ray performing at the &Loan Gallery

Nanaimo BC’s Sister Ray were a band that shouldn’t have existed and shouldn’t have ceased to be. Circa 2007 the local underground scene was, as so many such scenes perpetually are, obsessed with loud, fast, punk-inspired indie rock. Mel Mundell and Jakob Rehlinger were both in reasonably popular loud, fast bands (The Sheds and The Clap respectively), and wanted something different. Something slow and quiet. Something the audience could lay down on the floor and nod off to. That is, if they dared lay on any of the grime-covered, pre-gentrification floors of Nanaimo’s decaying downtown venues and DIY spaces. Intended as either a challenge or an affront to their audience, Sister Ray’s somnolent tempos and soft-spoken whispers tamed the beast for a short time, earning them a loyal following and respect as one of the city’s top talents, destined for greater things. Like many bands full of promise, they broke up too soon when life tore the duo in opposite directions and different parts of the continent (Jakob to Toronto and Mel to Portland). Sister Ray left behind one album, several unrecorded and forgotten songs, and a lot of unrealised plans as their legacy.

To celebrate the 10th anniversary expanded reissue of their seminal album on Arachnidiscs Recordings, Jakob and Mel reconvened via Facebook to reminisce about the rise and fall of Sister Ray.


Jakob: It was ten years ago we started the band in Nanaimo [a small city on Vancouver Island]. What are you memories of that time and place?

Mel: I remember us both having Internet girlfriends that we were pining over. I remember walking to your apartment for practice and Nanaimo feeling vaguely desolate.

Jakob: It was a wasteland we both wanted out of. Those were the peak meth epidemic years. So much boarded-up commercial space. Between the skeleton of the abandoned Malaspina Hotel and the giant pit that would become the convention centre, downtown looked like Syria.

Mel: And I remember us playing a show at the Queens and the stage seeming ridiculously high up for some reason and it altogether being a ludicrous venue for us.

Jakob: Yeah, the Queens show was ridiculous. Probably a Tuesday or something too. I think only Adrienne and Breen showed up?

Sister Ray at The Queens

Mel: Yes, we could always count on Adrienne and Breen, our super supportive fans. I remember you being in lots and lots of other music projects, ha. Is this the case still?

Jakob: I am still in a bunch of projects. I actually just put an end to BABEL which I guess was becoming my main solo project back then. I’m in Moonwood with my wife and two nice dudes and somehow I might be currently playing bass—the one you used in Sister Ray!—in a band called Stargoon with some of the same people. And I always have too many solo studio projects, like King Pong Dub System which is credited with one of the remixes on the reissue. What about you? Have you been keeping up with music?

Mel: I played in a surf-y low-fi band Bushtit for four years or so but members moved away and I haven’t done anything since. Yikes that was like three years ago! I miss it but I don’t drink and smoke anymore, a.k.a. go to bars, so I tried joining a community choir as my new band last year. And then we sang Grease songs and I had to leave.

Jakob: Ugh. No doubt. I’d heard of Bushtit. Though did I know you were even in Bushtit? Anyway, you guys were great! I don’t actually remember how Sister Ray even came into existence. Despite being fond of each other, the idea of us just getting together to make music seems absurd to me in a way. Yet, it was a serendipitous, magical pairing. Do you remember how it came to be?

Mel: Once we formed Sister Ray I wondered why we hadn’t played music together sooner. But when did we make a set plan to do so? I have no memory of the actual logistics and I too find it hard to believe. Did someone else suggest it? Did we connect over a particular band?

Jakob: Well, Nick Cave was big for both of us. Huge. The first Grinderman album had just come out and we liked it. But, no, I think that came out well after we were playing together. We were both into Swans, I think. You got me more into Teenage Jesus at the time. But nothing that really sounded like Sister Ray, exactly. We never talked about Low or slowcore bands I don’t remember. And I don’t think we were like, “Hey what if Kim Gordon or Lydia Lunch had fronted Mazzy Star?!” Do you remember being into any bands like what we were doing?

Mel: Not really. I was definitely into all of the above, including Low to some degree, but the darkwave-y stuff much more. I think Sister Ray was derived from the mood of all the music we liked in common stripped and slowed way, way, way down.

Jakob: Way down. One of our initial intentions was to be slow and quiet, which we definitely were, at least compared to what everyone else in town was doing at the time. I think I wanted to chance to play guitar a little more atmospherically than my other bands had allowed.

Sister Ray at Fascinating Rhythm

Mel: I agree, the goal was to play music as slowly and atmospherically as possible. I wanted us to play shows where the audience was laying on the floor, I wanted us to play while laying on the floor. I wanted to be able to take a complete deep breath in between notes. I remember feeling a deep sense of calm after our practices.

Jakob: I remember us both almost falling asleep by the end of practice. We’d rate it as a success if one of us was nodding off. I’ve played a few Moonwood and BABEL drone sets that almost achieve that. In some ways I keep trying to go back to Sister Ray. Have you listened to the songs recently?

Mel: I hadn’t listened to the songs recently, but I listened to the reissue all last night finally and although I cringed at times at my own timidness, it sounded better than I remembered.

Jakob: Ha! Yeah, I think you we purposely trying to not scream like in The Sheds. I guess it could come off as timid, in a way. But I hear more tender or delicate or… a better word I can’t quite place.

Mel: Ha, it’s true! There is an understated quality to the whole project that allowed for a lot of intensity I think. The bass playing is basic beyond belief, but l hope I’ve improved since then.

Jakob: I liked the super basic almost brutalist quality to the bass playing.

Sister Ray news paper clipping

Mel: I’m glad. I liked it too just think it needed to be rougher and more defined with effects maybe. Playing with you was a dream come true. Sister Ray is my favourite project I’ve ever been in. It’s the music I’ve always wanted to make.

Jakob: . It’s one of the most pure things I’ve ever done. We were really making music for ourselves, no concessions to genre or popularity, almost throwing two fingers up at everyone else at the time playing uptempo punk-inspired music. But everyone loved it. I often wonder if we’d have kept it pure or what would’ve happened if we’d carried on. I know you wanted to put down the bass and start playing guitar and I was really nervous about that. I think now, it’d have been the right choice. Get rid of the drum machine too. But will we ever know?

Mel: I wonder that too. Sister Ray was a very healing project for me and playing that way did feel more about a personal need and a lot less about popularity or accessibility. In terms of where it could/would have gone? I honestly feel like we had 10 more albums in us, ha. I can hear the drum machine holding us back at times, but I also think it kept us awake at others. I think more confident bass playing or guitar on my part would have worked. Your playing, for me, is guitar at its best and we would have needed to keep that. Reunion show! I need a project like Sister Ray in my life again. Now wish me all the luck finding a Jakob in Vancouver.

Jakob: Good luck. I’m one of a kind! As are you. Hopefully we can work together in some capacity someday.


The reissue of Sister Ray releases on 9/11 2017.

 

 

 


BABEL: “Sacred Fire” sessions

29/07/2016

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The culmination of years of time spent in the studio, BABEL presents four complete albums released on two 2xCD sets. The four volumes of kosmische drones and noise-jazz improvisation explore similar themes but follow divergent psychedelic paths to adjacent destinations. The four-disc cycle forms a cohesive whole while each volume stands own as a thematically contained album.

Limited edition, numbered, individually hand-stamped discs, chipboard wallets. $9.99 (CAD) + regional shipping each. Click titles below to purchase.

>> Ceci n’est pas le feu sacré (Nos. 1 & 2)

Recorded 2014-2015. Kosmische drones, no-wave jazz, fake gamelan and psychedelic-folk improvisation.

>> This Is The Sacred Fire (Nos. 1 & 2)

Recorded 2015-2016. Synths pulse and drone under plaintive reeds, guitars and psychedelic bells.

 

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HEAVY MOON 7

14/03/2016

Heavymoon-7-2016On Extra Limited Run cassette and CD-R ($6 CAD) and unlimited digital download ($5 CAD). Released 2016-03-14.

〈〈〈〈〈〈Order Here〉〉〉〉〉〉

Active since 2006, HEAVY MOON is the instrumental space fuzz rock solo jam of Jakob Rehlinger, guitarist of psychedelic space-rockers MOONWOOD. On every #MoonMonday leading up to this release, Rehlinger has uploaded each of the previous six Heavy Moon albums to the Heavy Moon Bandcamp site.

This seventh Heavy Moon album is a collection of cosmic instrumental space rocks stolen from the planets Hawkwind, Floyd and Harmonia.

Available as three unique formats:

  1. Cassette has exclusive cross-faded collage mixes of 9 of the tracks.
  2. CD is presented as 10 individual tracks, including the bonus track “Schütteln, klirren und aufrollen”
  3. Digital Download comes with it all! (Both CD and Cassette come with the full download so no one misses anything).

 

 

 


Store Updated

15/01/2016

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Ever since we started our Bandcamp site as our online shop for ease and convenience, we’ve been meaning to get the older in-print titles that predated the shop up there. Most notably the first few volumes in the Split Tapes Series and Moonwood‘s River Ghosts LP were missing (available on this site, but buried way, way, way down in the store page listings where people fear to tread).

Now ALL our available stock is easy to browse at
https://arachnidiscs.bandcamp.com/merch!

Also note the prices are in CAD, so with the plummeting Canadian dollar (at time of posting this) being at a mere 68 cents on the American dollar (or €0.63) you might want to take advantage of our economic collapse and score some deals.

In addition, some out-of-stock items are now back in-stock having retaken possession of some stock from a downsizing/relocating distro, so if you thought you missed out on something, maybe you didn’t!


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