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2017 Playlist

Aosoth – The Inside Scriptures
Wailin’ Storms – Sick City
Dmitry Evgrafov – Comprehension of Light
Alessandro Cortini – AVANTI
Chelsea Wolfe – Hiss Spun
Natasha Barrett – Puzzle Wood
Nine Inch Nails – Add Violence
Cavernlight – As We Cup our Hands and Drink from the Stream of Our Ache
False – Hunger
Ryuichi Sakamoto – async

Artificial Brain – Infrared Horizon
Elder – Reflections of a Floating World
Nightbringer – Terra Dannata
Kendrick Lamar – DAMN.
Second Woman – S/W
Emptyset – Borders
Dodecahedron – Kwintessens
Grischa Lichtenberger – Spielraum Allgegenwart Strahlung (2016)
Kainskult – Trepaneringsritualen
Bibio – Phantom Brickworks
Belief Defect – Decadent Yet Depraved

David Bowie – No Plan EP
Bonobo – Migration
Lusine – Sensorimotor
Altarage – Endinghent
Krallice – Loüm
Impetuous Ritual – Blight Upon Martyred Sentience
Full of Hell – Trumpeting Ecstasy
thys – Tetris, Mon Amour
A.M. Architect – Color Field
Cyclo. – Id
Otto A. Totland – The Lost

Surachai – Asymmetry Codex / Temple of the Weakening Sun

It is always a guess, an experiment and an art to try to capture a glimpse of it. All the equipment, time and obsession is an attempt to translate and capture an emotion I can come back to and evoke. The production and release of Asymmetry Codex and Temple of the Weakening Sun was a way to process then archive several versions of loss – it has served its purpose with me – I hope it can somehow find a way to serve you.

The album was released a week early on Bandcamp, Friday September 22, the autumn equinox, because there are actually no rules to this and we’re flexible to do what feels right. Streaming services will activate September 29th and vinyl will begin shipping early/mid November. All Wax Mage Editions and Test Pressing Editions have sold out, Standard Editions are in stock and everything will ship early/mid November. Every record, shirt, and piece of merch has been shipped personally, I’ve read every e-mail and note you’ve sent, and know many of you by name from the orders. Thank you for supporting a challenging artist to follow and keeping me busy with something I love doing.

Alessandro Cortini, Richard Devine, Hypoxia, and Surachai will be playing in at Berghain in Berlin, October 5th. More shows and announcements coming soon. Hope to see you around.

Recording
The centerpiece of Asymmetry Codex is the Nord Modular G2. I acquired the G2 five years ago and was seduced by its clarity, dynamics, and general smooth sonics. For months I found distinct sounds that I could pinpoint to some of my favorite albums, though most of the time was spent scanning and dissecting several hundred patches that Richard bestowed upon me. I made dozens of terrible patches and while I admired the G2 and was happy to have it, I knew it wasn’t something I was ready for at that very moment and so, for the next few years, I loaned it out to people. In those years, I released albums that focused around the modular synthesizer and various hardware pieces, and became increasingly aware of how saturated the modular scene was becoming. I made a conscious decision to move away from my hardware modular trajectory and to finally become acquainted and focused on the Nord Modular G2. After a lot of studying and programming dozens of patches between a few songs, I recorded the G2 into the Thermionic Culture Vulture Super 15 and that fed into a RME UFX. Aside from the recording signal chain, Asymmetry Codex is mostly digitally composed and Temple of the Weakening Sun was created with analog tools.

Arrangement & Mixing
After all the patterns and stems were recorded to audio, I arranged them into Pro Tools. All of the editing was done with dozens of plug-ins including: Valhalla DSP, INA-GRM, Sound Toys, Izotope, Soundhack, UAD and a few Richard told me to keep under wraps. I recorded and mixed the album using a pair of headphones that I was not familiar with which is a direct result of the heavy bass – something I normally wouldn’t have done but have grown to love. I have to thank Josh Eustis, Deru, Richard Devine, and John Hughes for guidance and advice and insight into my own mixes.

Mastering
Shawn Hatfield of Audible Oddities helped me tame these two projects into one cohesive experience. My mixes weren’t in the best form and we worked together to get the album to sound as rich as it could.

“We approached the mastering a little differently for Asymmetry Codex / Temple of the Weakening Sun, as the first set of mixes I mastered ended up shedding some light on an unintended overall aesthetic in the mix that was much too bright. Rather than apply heavy processing to reverse that, Surachai went back to the mix and returned with a new set of files. From there, the process began in typical fashion with gear selection and careful gain staging. I experimented with several different pieces of equipment and order, and eventually chose a mostly tube-based setup for this record. The main pieces were a Knif Vari-Mu II compressor, Hendyamps Michelangelo EQ, and a tube preamp called a Creamliner 2 from Sonicfarm. With these main pieces, I carefully balanced and enhanced the overall frequency range, while controlling various areas of both micro and macro dynamics to give them that final glue and polish. The various tube stages driven at carefully chosen levels imparted really sweet additional harmonics that I felt helped the many small detailed layers that live and breathe in each song. This was all captured cleanly into the workstation where the final limiting was applied.” – Shawn Hatfield.

Artwork
Francis Kmiecik and I storyboarded a video for Asymmetry Codex and as time was running out, and our lives became increasingly busy – we decided to roll it back to a few shots for the album artwork. We shot on a stage in Portland, OR with Katrina Mishler who was tolerant, patient with us and overall a pleasure to work with. Francis spent the weeks leading up to the shoot designing the set pieces and we used some of his chainmail jewelry he created but never utilized. The wardrobe and jewelry was provided by Hvnter Gvtherer. Laura of Hvnter Gvtherer has a visual and sensory aesthetic that I subconsciously envision when planning out images. I knew from Francis’ work, the shots would be very studio and staged and clean, so I enlisted Moe Espinosa to take our selects and run it through a circuit bent video machine. Anj Puglise and I then overlapped the studio images and the pixelated assets and pieced it all together. Essentially the same core team that worked on Temple of the Weakening Sun created the visuals for Asymmetry Codex. Overall, two covers were chosen, an elegant version to grace the physical vinyl copy and a harsh digital treatment for the digital version.

Lacquering and Vinyl
Off of the recommendation of Joshua Eustis and former Hefty label owner John Hughes, I got in touch with Jason Ward of Chicago Mastering Service and will say that this is the best possible sounding record it can be. Gottagroov handled the pressing and printing and as always, its always beautiful to hold a complete project in your hands. Wax Mage does what they do and created some of the best looking records I’ve ever seen, the pictures don’t do it justice and only some of you will be lucky enough to see it in its full glory.

Temple of the Weakening Sun
For more information about the creation of the soundtrack and video go: HERE

Asymmetry Codex / Temple of the Weakening Sun
Hvnter Gvtherer
Audible Oddities
Chicago Mastering Service
Temple of the Weakening Sun Production Notes

Instinct and Memory – Visual Artist Statement

1. Cover Final Web

We still are holding several images until the release date. Emilie Elizabeth, one of the primary visual artists of Instinct and Memory, in her own words…

When we first started discussing the concept for this shoot, Surachai had a few reference images floating around and had become interested in somehow incorporating Sex Magic. After a bit of research (I was vaguely familiar with the practice thanks to a very informative yoga retreat), we started putting together some ideas that were loosely inspired by the core concept of Sex Magic: focusing sexual energy into transcendence or an intention.

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The photos don’t represent any specific ceremony or spiritual practice, but there were definitely nods to the Great Rite and a ganashakra in the posing and set design. The Great Rite is traditionally a Wiccan/Pagan practice that can be physical (intercourse) or symbolic using a chalice/cauldron and dagger/staff. The act represents the union of the God and Goddess and was historically used to promote fertility of the land and womb. In modern Wicca, it is used to unify the feminine and masculine energy within oneself. In Hinduism and some sects of Buddhism, “ganashakra” is a broad term used to describe a gathering involving a tantric circle ritual. These ceremonies generally involve dancing, geometric designs drawn on the ground with powders, some sort of feast and of course, sexual yoga or symbolic intercourse. The intention is to reach a heightened state of consciousness which some believed could also involve temporary possession. Instinct and Memory could easily serve as the soundtrack to a frenzied spiritual enlightenment or at the very least, an incredibly powerful orgasm.

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Briana Gonzales’s set was an inspiration in itself. The colors and textures photographed beautifully. The props allowed the women to interact with the set instead of simply posing. Briana also choreographed some of the scenes, which made the women feel like they were actually taking part in some kind of ceremony. It was amazing to watch them delve into it. Most of the women didn’t know each other and some had very little experience modeling nude. Despite that, there was a lot of laughing and I think it was pretty exhilarating for everyone involved.

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Over the last ten years or so, I’ve shied away from shooting women topless or nude. I generally shoot fashion so it happens on occasion, but it almost always feels gratuitous. For this project however, shooting these amazing, confident women with different body types felt right. It felt more like a celebration of the human body, feminine energy and collaboration than exploitation. Briana has done some groundbreaking work with Peaches and Margaret Cho and with the recent social and political climate, I’ve also become a lot more focused on feminist issues involving the body and sexuality – whether it be the “Free the Nipple” campaign and nursing in public, women posting “empowered” nude selfies online, Planned Parenthood and the laws placed on women’s bodies or the double-standards of how we view the sexual activities of men vs. women. Coincidentally enough, I attended a screening for the film The Witch with one of the women featured in this project a few weeks after we shot. We were both pleasantly surprised to see the fear of female sexuality being tackled in an aesthetically related, albeit much more sinister way.

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Despite women’s bare breasts often being treated as pornographic no matter what the context, I was still caught off guard when I found out that the cover artwork was being censored in some music publications and completely rejected from others. I have no idea whether it was solely based on the bare breasts of the woman in the foreground, their proximity and pose, or because the style of the photo was unlike what’s typically used for electronic music. Either way, I can’t help but wonder whether we would have faced the same censorship if it had been two shirtless men. Thank you to the publications that displayed the unaltered image instead of treating it as offensive or explicit.

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Emilie & Briana would also like to thank:
Surachai for trusting us and the other visual artists you collaborate with to to play and create unique work inspired by your music. The amazing women that posed for this project, including Anna Calloway, Corinne Loperfido, Nadia Kiyatkina, Lisa McNeely and Rachel Musgrave. James Mori for bringing your two beautiful snakes and hanging out all day on set with us. Adrian Espinoza for your tireless photo assistant hustle. Amber Kerns for your help with makeup, Steff Walk, and Ian Miyazaki for lending us your otherworldly designs. Rachel Hsiung for the witchy props, Kate Van Asten/WULFKA for the epic cloak and HvnterGvtherer for the stunning neckpiece and jewelry.

Emilie Elizabeth
Briana Gonzales
Instinct and Memory

4. Back Cover Web

Instinct and Memory Shirt

New design & shirts available now. The album doesn’t come out for a couple months but why not look good until then?

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Instinct and Memory Shirt

2015 Playlist

Second half of 2015. No order. What have you been listening to?

Devouring Star – Through Lung and Heart
Krieg – Transient
Cattle Decapitation – The Anthropecene Extinction
Arca – Mutant
November Novelet – The World In Devotion
Hope Drone – Cult of Ash
Paramnesia – S/T
Cult Leader – Lightless Walk
Bosse de Nage – All Fours
Autechre – Live Set Recordings
Grischa Lichtenberger – LA DEMEURE; il y a peril en la demeure
Venetian Snares – Your Face
TCF – 415C47197F78E8
Mgla – Exercises in Futility
Alessandro Cortini – Risveglio
William Basinski – The Deluge
Stephen O’Malley – Gruides
Ossia – Red X
Mutoid Man – Bleeder
Chelsea Wolfe – Abyss
Akhlys – The Dreaming I
AFX – Orphaned Deejay Selek 2006-2008
The Weeknd – Beauty Behind the Madness
Thomas Brinkmann – What You Hear (Is What You Hear)
Devouring Star – Through Lung and Heart
Abyssal – Antikatastaseis
Lera Lynn – True Detective Soundtrack
Akatharsia – S/T EP
Predatory Light – MMXIV
Predatory Light / Vorde – Split
Sannhet – Revisionist
Woman Is The Earth – Depths
Pissgrave – Suicide Euphoria
Nine Inch Nails – The Fragile Instrumentals
Nine Inch Nails – With Teeth Instrumentals
Krallice – Ygg Huur
Kelela – Hallucinogen

1st Half of 2015
Sons of Magdalene – Move to Pain
Peder Mannerfeldt – EP1/EP2
Otto A Totland – Pino
Klara Lewis – Msuic
Deaf Center – Recount
James Hoff – Blaster
Sarah Davachi – Barons Court
Mortals – Cursed to See the Future
Retox – Beneath California
Koichi Shimizu – Otolary
Body / Thou – You, Whom I Always Hated
Bjork – Vulnicura
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Lusine – Arterial
Leviathan – Scar Sighted
Alessandro Cortini – Forse 3
Slumberman – Mono Acidic
Royal Thunder – Crooked Doors
Rob Clouth – Clockwork Atom EP / Deep Field
Drudkh – A Furrow Cut Short
Squarepusher – Damogen Furies
Vorde – Vorde
Run The Jewels – RTJ2
Alva Noto – Xerrox Vol. 3
Pale Challice – Negate The Infinite and Miraculous
False – Untitled
Vanum – Realm Of Sacrifice
Jaga Jazzist – Starfire

Meshuggah – I (Reissue)
Nirvana – Bleach (Reissue)
Deathspell Omega – Manifestations 2000 – 2001 (Reissue)
Deathspell Omega – Manifestations 2002 (Reissue)
Deathspell Omega – Infernal Battles (Reissue)
Deathspell Omega – Inquisitors of Satan (Reissue)
Deathspell Omega – Si monvmentvm reqvires, circvmspice (Reissue)

Surachai – Heavy Mask

Digital release date: July 7th, 2015. Estimated vinyl ship date: mid-August 2015.
Surachai Bandcamp

Weight In Minimalism
Leaving Heavy Mask sparse left me in doubt for several weeks. Every layer I added seemed to take away from its initial severity and grit, and wash away the detail of the foundation tracks. I eventually surrendered to its simplicity and worked with maximizing the details. As a result of its simplicity, it’s been called a grower and not a show-er. Heavy Mask was written, mixed, and organized with vinyl as the preferred listening method.

Thermionic Culture Vulture Super 15
Everything on this album went through a Thermionic Culture Vulture Super 15. The Culture Vulture Super 15 is a very strange piece of processing gear that I have trouble recommending to anyone. The TCVS15 is a very specific tool for a very specific person – and apparently, I don’t know any of these people. The Cwejman S1 MKII was fed into the Eventide Space and into the Thermionic Culture Vulture Super 15 and was sequenced by the Make Noise RENE. If you’ve listened to Ritual or read its accompanying article, this should sound familiar. Except for the TCVS15, the signal flow is identical to how Ritual was recorded. If you want an extreme comparison, listen to how clean and dynamic Ritual is and come back to listen to Heavy Mask. On the flip side, Form Volume II was pre-mastered with the TCVS15 and was cleaned up and sparkly by the time it hit mastering.

Drums
The drums were performed by Charlie Werber during this past brutal Chicago winter. You may remember Charlie from Embraced where I’m still in awe of his performance. In the Heavy Mask recording sessions, Charlie simplified and complimented the existing tracks I brought in. In an active rehearsal space, I recorded Charlie using 4 microphones: 2 Earthworks QTC40’s for the overheads, 2 SM57’s on the kick and top of the snare, everything went directly into the RME UFX. UAD’s Neve 88RS, UA1776, and LA2A were heavily used.

Artwork
Sarah Sitkin. I’ve known Sarah for almost 10 years and I’m probably her biggest fan. She’s responsible for the artwork on To No Avail a few years ago and how much she’s evolved in that time is breathtaking. Hell, how much she’s evolved since creating the Heavy Mask cover just over a month ago is amazing.
John Crawford is the only person you need to follow on Instagram. Together, John and Emilie created the Ritual artwork last year and I needed John’s aesthetic on Heavy Mask as well. He’s been essential for creative input as well as execution and his instinct overrule mine.
Caspar Newbolt was responsible for the entirety of the artwork on Embraced and helped lay out Ritual. He graciously lent a hand again with making sure the vinyl packaging and general layout was consistent with our combined high standards.
A quick word about censorship: Heavy Mask will not appear anywhere that censors the human body, so far this only includes iTunes and its services.

Mastering
Shawn Hatfield of Audible Oddities. Again, always. The versions Shawn send back make me feel like I’m listening to a fully formed thought as opposed to just a number of tracks I made and ordered. Shawn brought Heavy Mask to a level clarity and brutality I’ve rarely heard before.

“When I first heard these songs, I immediately thought about how they’d benefit from being pushed a bit harder than normal through my chain, to bring in some subtle saturation and harmonics. I felt this really showed off the exceptional work Surachai had already done at the mix stage. I focused mostly on getting the gain staging for each piece of equipment just right to get the optimal sound for each song. In these various stages, the songs passed through several transformers, starting with Carnhill, into a pair of amorphous core Lundahl’s and then into a pair of Cinemag’s. I used two different tube stages along the way; one for transparent vari-mu compression using the Knif Vari Mu II, and the other a colorful class A tube pre-amp called a Creamliner II that adds some great detail by adding triode harmonics. At the end of the chain, a Dangerous BAX EQ was used to help balance the lows and highs just prior to capture.”

Lacquering, Plating, and Printing
The signal flow was the same as Ritual: Roger of SAE handled the lacquering which is then sent to Metalworks for plating and then to Gottagroov for the printing. The records are 180 grams and the jackets are thick tip-on boards with a matte finish that makes the artwork particularly menacing.

BL_K NOISE
This is the fourth vinyl release on BL_K NOISE. Moe Espinosa / Drumcell, who runs the label with me, described BL_K NOISE perfectly, “a small label to release music that is not restrained by genre or expectations. An open format label to release whatever music we feel like whenever we want.” What Moe left out is that all of our releases have been DIY, we go through great lengths to be involved in every step of the process and stand proudly behind out releases artistically on all levels. Anyone that has bought our vinyl can speak to the high quality.

We don’t pay for PR, promotion, or print and somehow we sell out of our releases. It’s equally humbling as it is confusing. Thank you for the support, it means more than you’ll ever know.

Sarah Sitkin
John Crawford
Shawn Hatfield
Caspar Newbolt

Reference 1
heavy mask outtake 3

Reference 2
heavy mask outtake 1

Deep Dream submitted by Jordan Paschke
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2015 Playlist – Halfway Point

What I’ve been listening to. No particular order.

Sons of Magdalene – Move to Pain
Peder Mannerfeldt – EP1/EP2
Otto A Totland – Pino
Klara Lewis – Msuic
Deaf Center – Recount
James Hoff – Blaster
Sarah Davachi – Barons Court
Mortals – Cursed to See the Future
Retox – Beneath California
Koichi Shimizu – Otolary
Body / Thou – You, Whom I Always Hated
Bjork – Vulnicura
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Lusine – Arterial
Leviathan – Scar Sighted
Alessandro Cortini – Forse 3
Slumberman – Mono Acidic
Royal Thunder – Crooked Doors
Rob Clouth – Clockwork Atom EP / Deep Field
Drudkh – A Furrow Cut Short
Squarepusher – Damogen Furies
Vorde – Vorde
Run The Jewels – RTJ2
Alva Noto – Xerrox Vol. 3
Pale Challice – Negate The Infinite and Miraculous
False – Untitled
Vanum – Realm Of Sacrifice
Jaga Jazzist – Starfire

Meshuggah – I (Reissue)
Nirvana – Bleach (Reissue)
Deathspell Omega – Manifestations 2000 – 2001 (Reissue)
Deathspell Omega – Manifestations 2002 (Reissue)
Deathspell Omega – Infernal Battles (Reissue)
Deathspell Omega – Inquisitors of Satan (Reissue)
Deathspell Omega – Si monvmentvm reqvires, circvmspice (Reissue)

2014 Favorites

No order.

Barnett + Coloccia – Retrieval
Black Narcissus – “Varla” WeMe313​.​15
Poemss – Poemss
Twilight – Beneath Trident’s Tomb
Lord Mantis – Death Mask

Murmur – Murmur
American Folk Anthology
Ecker Koenraad – Ill Fares The Land
Marissa Nadler – July
Millie & Andrea – Drop The Vowels

Vessel – Order of Noise (2012)
Drop – Vasundhara EP
Pan Sonic – Oksastus
Impetuous Ritual – Unholy Congregation of Hypocritical Ambivalence
Christopher Bissonnette – Essays in Idleness

Howlround: The Ghosts of Bush (2012)
Atom ™ & Marc Behrens – Bauteile
Alessandro Cortini – Sonno
Shampoo Boy – Licht
Artificial Brain – Labyrinth Constellation

William Basinski – Melancholia
Koen Holtkamp – Motion
Deru – 1979
Clipping – CLPPNG
Hildur Gudnadottir – Saman

Rainforest Spiritual Enslavement – Folklore Venom (2013)
Klara Lewis – Ett
Klara Lewis – Msuic
Diamond Version – CI
Killing Sound – Killing Sound

Recollection GRM – Traces 3
Mark Fell / Miles / Some Truths / Joane Skyler – Live
Alraune – The Process of Self Immolation
Bastard Sapling – Instinct is Forever
Bolzer – Aura (2013)

Moon Zero – Tombs
Black Rain – Dark Pool
Mica Levi – Under The Skin
Yautja – Songs of Descent
Peder Mannerfelt – Lines Describing Circles

Emperor – In The Nightside Eclipse 20th Anniversary
Winterfylleth – The Divination Of Antiquity
Aphex Twin – Syro
Demdike Stare – Liberation Through Hearing / Forest of Evil / Voices of Dust
Grouper – Ruins

Andy Stott – Faith In Strangers
Woulg – Thin Veil
American Heritage – Prolapse
Dieselboy – The Destroyer
Young Widows – Easy Pain

Sd Laika – That’s Harakiri
Gridlink – Longhena
Youth Code – A Place To Stand

Surachai – Form Volume II

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Form Volume II consists of four archived performances and four new recordings. Form Volume II can be found on Bandcamp. The vinyl is shipping out around December 16th, 2014. Since most time, effort, and money went into the physical product – I’ll start there and work backwards.

Vinyl
As a response to the deluxe presentation of Ritual and because Form Volume II wasn’t supposed to exist, I decided to keep the theme of non-existence with the vinyl and artwork by calling it the Void Presentation. Firstly: there is no artwork. The vinyl is clear and with no center sticker making it an entirely transparent vinyl record. Again, the record is pressed at GottaGroov Records. The transparent information card was manufactured by Offbeat Press and the reference I gave them was the winning ticket to Fhloston Paradise from The Fifth Element. The clear jacket is also clear and originally intended for picture discs. If you’re not looking for this album, you’re not going to find it – basically its a marketing nightmare.

Pre-Master & Mastering
Because all tracks were recorded in single takes to stereo or mono tracks and mixing was performed on the fly, the results were raw, hugely dynamic, and sometimes lackluster. All tracks were mixed afterwords and pre-mastered with the Thermionic Culture Vulture Super 15 with a couple dynamic processing UAD plug-ins. I turned these pre-master versions into Shawn Hatfield of Audible Oddities to officially master the album and tame the inconsistencies between the tracks while preserving the dynamics.

“In general, I used all the different input/output transformer stages on my gear, driven just enough to saturate a little. Dave Hill Titans were used to add weight and body, Knif Vari-Mu II mid/side compression to glue things together and further enhance the stereo information followed by a BAX EQ to help open things up a little more where needed. And I also ran them through some custom op amps built around a 1970’s design that impart a smooth character.” – Shawn Hatfield of Audible Oddities.

Recording
Despite the length of time between recordings, the recording sessions were almost identical to each other: construct a patch, tweak the patch anywhere from 5 minutes to 2 weeks, record the patch, keep the 1st or 23rd take. There were no limitations of modules used and as you can tell in the videos, there were plenty – although the last track is using only one module.

Background
Form Volume II is not supposed to exist. The album started with Aaron Funk requesting source audio files from a few Form session videos. That was an easy ask: track down the sessions folders, zip up a few bounced files, and send them over Dropbox – that should have been the end of the transaction. But this small request spiraled into obsession to the point where I found myself finishing an album I hadn’t known I was working on for more than two years – in the mountains of Tennessee. The first four tracks were previously recorded from June, 2012 to August, 2014 in Chicago and the last four tracks were recorded in a weekend with Richard Devine and his live system in Tellico Plains, Tennessee in August, 2014.

Release
I’m writing this a day before the official release and am confused after looking at Bandcamp’s best seller’s column for electronic vinyl. Currently, Make Noise Records: Shared System Series – Surachai 7” is number 1 and Form Volume II is in third place. What does this mean? For Make Noise Records, its makes a bit of sense – We’ve released some of the top names in experimental music on our short 5 record, 2 year stint and mine being the last, the momentum is expected. As for Form Volume II, for me, its incomprehensible at best. I haven’t utilized active PR for the past 3 vinyl releases and am constantly hopping labels and switching musical styles. The only thing I can think of is that I know who you all are. I order, assemble, pack and ship the vinyl to you and that must mean something. Whatever it is, thank you for all the support over the years.

Form Thirty Recorded in Chicago, IL. June 9 2012
Form Thirty-Two Recorded in Chicago, IL. November 12, 2013
Form Thirty-Four Recorded in Chicago, IL. May 3, 2014
Form Thirty-Five Recorded in Chicago, IL. August 12, 2014
Form Thirty-Six Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Seven Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Eight Recorded with Richard Devine in Tellico Plains, TN. August 31, 2014
Form Thirty-Nine Recorded in Tellico Plains, TN. August 31, 2014

Limited to 250 copies of vinyl
Mastered by Shawn Hatfield of Audible Oddities
Released by BL_K NOISE

Surachai – Form Volume II

To No Avail Shirts

Limited run of To No Avail shirts are at the Bandcamp page. Artwork by Sarah Sitkin for the To No Avail album. Printed by Offbeat Press.

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To No Avail Shirt