Hello everyone, we’re at the start of 2016, a year that holds special meaning for us: it’s the 10th year anniversary of our label. This may come as a surprise for some of you, but our first releases took place in 2006. Our way of celebrating this will be simply –for now- to continue down our path and to start off with a new batch of cassettes that include our old friend M. Geddes Gengras, a collaboration between Steven Hess and Rutger Zuydervelt, and a split by Shapes and Melfi.



We are also now taking pre-orders for the second LP by Chicago’s Good Willsmith, titled Things Our Bodies Used To Have, a formidable album that confirms their prowess in the fields of collage and cosmic abstraction. The official date for this release is February 19, so if you’re interested in pre-ordering this along with any of our previous titles, keep in mind that the records will be delivered until the official date of release for Things Our Bodies Used To Have, (before if possible). If you don’t want to be kept waiting, please make the pre-order for Good Willsmith’s new album in a separate order. More information and streams for this LP will be made available shortly. An extra tip: if you haven’t already bought Good Willsmith’s first LP The Honeymoon Workbook, it’s now or never, there are only 10 copies left.

Our last newsletter was written in October 2015, on the occasion of the release of Different Forces by Phantom Horse (which is almost sold out by this point).  We didn’t get a chance to give you proper thanks for your support in 2015. So we’ll take this opportunity to send you warm regards and to wish you luck in this new year. Thank you, to all the folks who follow our work and who support us this way or the other.

M. Geddes Gengras
Two Variations

Two Variations marks the return to Umor Rex of the Los Angeles based musician & producer M. Geddes Gengras, following his two volumes of “Collected Works” LPs from 2013 and 2014. The two pieces here are the result of Gengras’ continuous exercises and obsession with his modular synthesizer, —technique apart—, Two Variations is a new statement, the reinforcement of MGG’s prowess in this area, and how through these machines, he is able to build harmonic music pieces, contours between the electronic collage and concrete music. (read more)


Shapes / Melfi

Split album of the Berlin based artists Shapes a.ka. Niklas Dommaschk (member of Phantom Horse) and Oliver Koch as Melfi. There’s some peculiar mutuality in the works of Melfi and Shapes that add an unexpected kind of conceptuality to that split tape on hand. Both artists work with machines that are older than themselves, and it is obvious that their approach alleges some kind of antiqueness that sets the listener on the wrong track. There’s an inheritable sadness to all of these tracks, friendly and compelling in the same way, and there’s a vision of dusty, blurry glances of reclusive silence. These tracks transport an evidence of sound and melody as fundaments for themselves – sometimes krauty, old-fashioned in some way, making the synth a speaker. The kosmische road is only seen as a signpost, and the drunken comets still dither above your heads and ears and in your brain: This is a tape you should listen to while being alone or broke or drunk, and you know why.


SR Hess + RM Zuydervelt

Re:collecting is the first collaborative album of Steven Hess (member of Locrian, Cleared, Pan•American, Haptic, and Innode) and Rutger Zuydervelt (also known as Machinefabriek). Over that past years, Steven Hess has recorded piles of cassettes on an old four-track and classroom desktop tape players, going through a chain of pedals and loopers and then back into the cassette recorders again. Besides his usual drum kit and cymbals, the sound sources include guitar, bass, AM/FM radio chatter and wood floors. After sifting through the big archive of recordings made over the years, he sent the best material to his collaborator. Rutger Zuydervelt further processed these recordings, keeping the mysterious murkiness intact, but subtly adding extra sounds, creating a complex palette of textures, and working on an overall structure. Despite their dark nature, there’s openness to interpretation and an appealing seduction. The tracks on Re:collecting are different ‘states’ or ‘environments’, converted in fascinating ambient/drone and minimalistic songs.

P R E - O R D E R

Good Willsmith
Things Our Bodies Used To Have

Things Our Bodies Used to Have, the second LP by Chicago-based trio Good Willsmith, explore possible intersections of textural noise collage, cosmic synth meditation, and abstract music in a live suite of layered improvisations.

Things Our Bodies Used to Have, documents a 36 minute session of structured improvisation, presented without overdubs, that sends the band's dense multi-instrumental performances spiraling off into new trajectories through the noise, drone, and free music disciplines. Vocalist/synthesist Natalie Chami traces a complementary path to her solo work under the TALsounds moniker, building layers of choral loops in real time through effects pedal manipulation. Doug Kaplan and Maxwell Allison, who explore strange corners of the experimental underground as heads of the label Hausu Mountain, lock into a state of symbiosis with Chami and each other as they pour guitar, drum machine, and electronics into swelling arcs of textural detail. Good Willsmith piece together a uniquely hybridized vision of extreme music just as capable of confounding on a moment-to-moment scale as when taken in as a seamless whole. To listen to their sinuous live explorations is to follow the path of their seemingly telepathic communication from person to person, gesture by gesture, as they shift through discrete atmospheres and instrumental configurations in a mutual pursuit of overwhelming self-expression. (READ MORE).

Limited clear vinyl edition packaged in uncoated stock jackets with double sided insert, black inner sleeve & free download coupon. In-house design featuring original photographs by Sam Prekop.


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