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News December 08, 2017

Uma 123 Necrofilia – Sein Zum Tode LP available 19 €
In the early nineties, Slaughter Productions released two masterpieces of Atrax Morgue as Necro-sintesi and Necrophiliac Experience split with Lunus, noise project of Devis Granziera, a very close friend of Marco Corbelli. This partnership is only the prelude to what will happen a few years later. In 1996 Marco Corbelli and Devis Granziera decided to resume a bizarre project by Devis Granziera called Nekrophilia. After two years of work, changing the name of the project in Necrofilia, comes out on tape again for Slaughter Productions the result of their collaboration with the title of ‘’Sein Zum Tode’’. The tape is brutal! Harsh tones that cut through the air with manic male agonizing voice moving into a lyrical attack. Each track contain hypnotic storm of sounds with dense noise pattern that bangs it into your head!
Reprinted for the first time in LP, tracks were remastered from the original tape and the record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard in an edition of 199 copies.

Uma 124 Atrax Morgue – Cut My Throat LP+CD available 22 €
Atrax Morgue is anxious and psychotic side of the power electronics and industrial music. With the help of an analog synth, Marco Corbelli blows up emotions and delusions, cutting out the hard way inspired portraits of phobias and deviations. “Cut my throat” is recorded straight off on in a day. We are in 1996. The first CD of the artist contains two paths based on typical analog drones that characterize all the first production of Atraxt Morgue. The tracks on here are monolithic machines of industrial death that are portrayed in lovingly grating and rasping detail, with engines of soul rapine and pulsating contraptions eager to slice their way through soft flesh. The putrescence is tangible, and one could almost smell and taste the miasma of decay that pervades the entire vinyl.
Reprinted for the first time in LP, the record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard with cd bonus (that include all tracks from LP plus all tracks from Atrax Morgue ‘’Homicidal Texture’’ tape - total killer synth!), an insert and a poster, in an edition of 199 copies.
This is a seminal power electronics masterpiece for this unforgotten cult artist!

News October 31, 2017

Ura 030_036 The Rita – Toe Cleavage 7xTapes Wooden Box Set available 69 €
With his flagship project, The Rita, Sam McKinlay has, for nearly two decades, explored and distilled into sound various permutations of fetish and vice. He is recognized as the creator of Wall Noise (or Harsh Noise Walls/HNW), but that sound — massive and rich textural layers of relentless, monolithic fields of distortion — was nothing new, in and of itself. It was McKinlay's conceptual intent and the singular intensity of his focus that established it as something novel and profound. One recognizes in McKinlay's unwavering approach to his body of work the obsessiveness of the fetishist. McKinlay's compulsive reverence for noise — for the unyielding, deliberate weight of Wall Noise — is a fetish of sound. There is an aesthetic rigor often associated with the fetishization of form or object. Seen through the eyes of the most focused and obsessed, even sordid and sexual fixations often manifest in a manner that is highly refined, sculpted, concentrated, and even artistic. The line distinguishing the artist from the fetishist is always blurry and often non-existent.
Though his musical approach has remained more or less consistent, the subject matter inspiring McKinlay's work has periodically shifted through the years, mapping out the constellation of non-musical obsessions that occupy his mind: sharks, drag racing, Giallo cinema, skateboarding, and snorkeling, to name just a few. Frequently, McKinlay utilizes field recordings and other sounds sourced from the objects of interest before encrypting them in an opaque shell of noise. Listening to McKinlay's recordings, it's often difficult to determine whether one actually hears the sounds of the source material or if the power of suggestion is so strong in McKinlay's presentation that the listener extracts phantom sounds from the chaotic rumble.
In recent years, McKinlay has increasingly focused on the female form, particularly the modes of body augmentation that define classical femininity, such as make up, nylon stockings, etc. The progression of this focus culminated — perhaps inevitably — with the most archetypal projection of femininity in Western Culture: the ballerina, her feet, and her pointe shoes. The foot of a woman has long been identified as the most common source of unusual sexual preoccupation. It is a part of the body that is frequently utilized and easily damaged. In its immaculate form, it is rare and precious. The foot is the terminal point of the body, the most distant corporal destination from the seat of consciousness. McKinlay's music might be viewed in similar terms. HNW is arguably the terminal point of music itself, beyond which it's impossible to achieve greater or more effective minimalism and abstraction. It is a pure, visceral sound, untethered from intellectual and emotional composition.
Toe Cleavage is the most comprehensive expression of McKinlay's recent endeavors. For the uninitiated, the term “toe cleavage” refers to the display of the upper portions of toes in low cut shoes — an essential detail for many shoe designers and an aptly selected title for this collection. Across the seven tapes in this set, McKinlay, through his music, dissects, indulges, illustrates, and worships the feminine foot. To that end, McKinlay worked with Los Angeles based visual artist Olivia Burr and recording artist Kristin Hayter (Lingua Ignota). In addition to photographic contributions, Burr and Hayter provided much of the source material for McKinlay including: dance studio floor recordings; contact mic'd ballet shoes; and the repeated unboxing, unwrapping, trying on, walking in, and re-boxing of various designer shoes (Valentino, Miu Miu, etc.). Adding depth to the overall experience, McKinlay interspersed interludes throughout the recordings featuring audio samples derived from discussions and tutorials about pointe shoes, toe cleavage, and various designer ballet flat and stiletto reviews. This set of recordings is arguably McKinlay's most focused and obsessive effort to date and perfectly embodies the cultivated stylistic traits that have defined his work through the years.
— Jason Campbell

3 hours and 30 minutes of completely new material of superb Harsh Noise! 7 tapes come in an amazing wooden box with a 16 pages book (format 21 centimeter x 26 centimeter), a colored poster, an insert drawn by Sam McKinlay in Ivory paper, a sheet with notes, an insert with credit and a black cardboard with logo. Only 99 copies hand numbered!

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The Rita

Uma119 Edwige
Uma118 The Rita
Uma094 The Rita
Uma061 BA.KU./BT.HN.
Uma060 The Rita
Uma049 The Rita
Uma033 The Rita
Edwige LP
The Lilac Fairy 2xLP
Queen Sheets LP
Ritual Totemic Stone LP
Escorting 3xLP
Blood Into... CDr B/card
Women’s Vocals LP
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Uma028 VWBH
Uma023 Kay Lawrence
Uma016 Black Air
Uma011 Various Artists
Uma008 The Rita/Alo Girl
Uma005 VWBH
Ult001 The Rita
Part 5 7"
Gills Cut Into Women LP
Paris LP
HNW LP
Collaboration LP
Part III LP
Monica/Pamela 7"
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