12XU
Powered by Big Cartel
en-us
12XU
125
125
Water Damage - 'Repair' 2XLP (12XU 174-1) - $33.00
/product/water-damage-repair-2xlp-12xu-174-1
/product/water-damage-repair-2xlp-12xu-174-1
Fri, 07 Aug 2026 02:07:28 +0000
<img src="" title="Water Damage - 'Repair' 2XLP (12XU 174-1)" align="left" style="margin:0 10px 10px 0;" />ships on or before October 23, 2026
UK/EU orders :
Water Damage were always destined to be veterans. It’s not only that its members are themselves veterans of a daunting roll call of groups, but that this particular juggernaut was born to birth a solid-to-the-core set of dispatches. The four performances that make up Repair rank among their best. The m.o. of listing their track titles “Reel 45,” “Reel 38,” etc. now registers as a clearsighted, long-game approach and a wise sidestepping to the nuisance and potential for distraction of giving these workouts programmatic titles. They’ll tell us the order in which they were laid down, but what else do you really need to know in advance?
Because “in advance” with Water Damage seems largely irrelevant. It’s what happens when the sticks are clicked and the band lurches into gear, whether ten players or twice that number. In the case of Repair, it’s an even ten plus simpatico pals Wendy Eisenberg and Ricardo Dias Gomes.
Repair what? Repair to where? Reel 45 charges out of the gate at what you might imagine to be peak intensity. But not yet. A frenetic beating of the traps—no slow burn here—becomes a mutated thrash beat and summons Mari Maurice’s Shepard tone-ish climb. Cymbals swell,
everybody join in, safe to call it one of the group’s new high water marks. Also sounds like they’ve been doing cardio. Where do you go after that? Reel 38 is boppy garage rock with sneaky cellular subdivision, a splinter group let loose inside the broader band. Fiddle appropriately takes the wheel. Reel 43 tips its hat to the Stooges’ “Down On The Street,” sharpening that guitar msound and sounding awfully spry in the process—a big dog of a band mauling a classic of swagger. Reel 41 refocuses to some kind of Water Damage golden mean, sad that an LP sideM can’t last a full hour. I’m left readier than ever to see these geniuses again shoehorn themselves onto a stage. - David Grubbs
Water Damage is:
Mari Maurice, Thor Harris, Jonathan Horne, Nate Cross, Danielle Hills, George Dishner, Travis Austin, Mike Kanin, Greg Piwonka, and Jeff Piwonka.
Special Guests:
Ricardo Dias Gomes: Electronics on Reel 45, 38 & 31. Electric Bass on Reel 43.
Wendy Eisenberg: Electric Guitar on Reel 45, 38, 43 & 31.
Engineered by Max Deems at Diseased Tapes Billion Dollar Studio.
Mixed by Travis Austin
Mastered by Chris Hardman
Art & Design by Greg Piwonka
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">Repair by Water Damage</a></iframe>
photo by Angela Betancourt
Water Damage - 'Repair' 2XLP (12XU 174-1) - $33.00
ships on or before October 23, 2026
UK/EU orders :
Water Damage were always destined to be veterans. It’s not only that its members are themselves veterans of a daunting roll call of groups, but that this particular juggernaut was born to birth a solid-to-the-core set of dispatches. The four performances that make up Repair rank among their best. The m.o. of listing their track titles “Reel 45,” “Reel 38,” etc. now registers as a clearsighted, long-game approach and a wise sidestepping to the nuisance and potential for distraction of giving these workouts programmatic titles. They’ll tell us the order in which they were laid down, but what else do you really need to know in advance?
Because “in advance” with Water Damage seems largely irrelevant. It’s what happens when the sticks are clicked and the band lurches into gear, whether ten players or twice that number. In the case of Repair, it’s an even ten plus simpatico pals Wendy Eisenberg and Ricardo Dias Gomes.
Repair what? Repair to where? Reel 45 charges out of the gate at what you might imagine to be peak intensity. But not yet. A frenetic beating of the traps—no slow burn here—becomes a mutated thrash beat and summons Mari Maurice’s Shepard tone-ish climb. Cymbals swell,
everybody join in, safe to call it one of the group’s new high water marks. Also sounds like they’ve been doing cardio. Where do you go after that? Reel 38 is boppy garage rock with sneaky cellular subdivision, a splinter group let loose inside the broader band. Fiddle appropriately takes the wheel. Reel 43 tips its hat to the Stooges’ “Down On The Street,” sharpening that guitar msound and sounding awfully spry in the process—a big dog of a band mauling a classic of swagger. Reel 41 refocuses to some kind of Water Damage golden mean, sad that an LP sideM can’t last a full hour. I’m left readier than ever to see these geniuses again shoehorn themselves onto a stage. - David Grubbs
Water Damage is:
Mari Maurice, Thor Harris, Jonathan Horne, Nate Cross, Danielle Hills, George Dishner, Travis Austin, Mike Kanin, Greg Piwonka, and Jeff Piwonka.
Special Guests:
Ricardo Dias Gomes: Electronics on Reel 45, 38 & 31. Electric Bass on Reel 43.
Wendy Eisenberg: Electric Guitar on Reel 45, 38, 43 & 31.
Engineered by Max Deems at Diseased Tapes Billion Dollar Studio.
Mixed by Travis Austin
Mastered by Chris Hardman
Art & Design by Greg Piwonka
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">Repair by Water Damage</a></iframe>
photo by Angela Betancourt
ebby - abcde LP - $25.00
/product/ebby-abcde-lp
/product/ebby-abcde-lp
Tue, 07 Jul 2026 22:55:22 +0000
<img src="" title="ebby - abcde LP " align="left" style="margin:0 10px 10px 0;" />The bare-bones guitar songs of Ebby are equally ramshackle and motorik groove. Inspired by the freedom of a child playing an instrument for the first time - their sound is deliberately unpolished, with a sense of almost falling apart. Rough edges and unfinished thoughts are an essential part of the creative process - like sketches captured in the moment.
The debut album ‘abcde’ was quietly released on cassette in February 2025. Slowly but steadily it has been finding its audience through word-of-mouth, online radio shows and a growing live reputation with support slots for acts like Horsegirl, The Bug Club, Preoccupations and Tortoise. It has lead to a much needed vinyl edition of ‘abcde’.
Started as the solo outlet of Doortje Hiddema, Ebby became a trio with Michiel Klein (Lewsberg) on guitar and Casper van der Lans on bass guitar and rhythm box.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">abcde by ebby</a></iframe>
ebby - abcde LP - $25.00
The bare-bones guitar songs of Ebby are equally ramshackle and motorik groove. Inspired by the freedom of a child playing an instrument for the first time - their sound is deliberately unpolished, with a sense of almost falling apart. Rough edges and unfinished thoughts are an essential part of the creative process - like sketches captured in the moment.
The debut album ‘abcde’ was quietly released on cassette in February 2025. Slowly but steadily it has been finding its audience through word-of-mouth, online radio shows and a growing live reputation with support slots for acts like Horsegirl, The Bug Club, Preoccupations and Tortoise. It has lead to a much needed vinyl edition of ‘abcde’.
Started as the solo outlet of Doortje Hiddema, Ebby became a trio with Michiel Klein (Lewsberg) on guitar and Casper van der Lans on bass guitar and rhythm box.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">abcde by ebby</a></iframe>
Sproton Layer - 'Press Your Hand And The Whole Room Fluctuates' LP 12XU 175-1 - $24.00
/product/sproton-layer-press-your-hand-and-the-whole-room-fluctuates-lp-12xu-175-1
/product/sproton-layer-press-your-hand-and-the-whole-room-fluctuates-lp-12xu-175-1
Thu, 18 Jun 2026 04:25:28 +0000
<img src="" title="Sproton Layer - 'Press Your Hand And The Whole Room Fluctuates' LP 12XU 175-1" align="left" style="margin:0 10px 10px 0;" />(ships on or before July 17, 2026)
The Miller Brothers, Roger (Mission of Burma, etc. etc. etc.), Laurence (Destroy All Monsters, etc. etc. etc.) and Benjamin (Destroy All Monsters, etc. etc. etc.) grew up in Ann Arbor, Michigan in a musical family. When the Beatles hit in 1964 Roger was 12 and Laurence and Benjamin were 10, all three ready to rock. Their first band, which covered 13th Floor Elevators, Love, Kinks, Yardbirds, etc., performed two shows summer 1967 (ages 15 and 13). In 1969, their spontaneous improv. session "Freak Trio Electric" sealed the fate towards Sproton Layer. With a complete belief in weed as the doorway to an alternate universe, Roger began a furious bout of composing that spring. There was a lull in the summer, but in the fall, with the addition of Harold Kirchen (brother of Bill Kirchen, Commander Cody, etc. etc. etc.) on trumpet, they were off and running again. A few recordings were made in 1969 with one mic on the ping-pong table, and Mark Brahce (who recorded "With Magnetic Fields Disrupted" eight months later), set up his first session with the band. The best of these recordings make up the "1969" side of "Press Your Hand and the Whole Room Fluctuates."
At the end of August 1970, Mark Brahce recorded their album "With Magnetic Fields Disrupted" in the Miller family recreation room, and the band promptly folded when they got no notice or response. Their brand of psychedelia was on the wane. They reformed briefly in 1971 as an instrumental trio (see the "1971" side of "Press Your Hand and the Whole Room Fluctuates") but played only two shows before disbanding in that incarnation.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">Press Your Hand And The Whole Room Fluctuates by Sproton Layer</a></iframe>
Strangely enough, With Magnetic Fields Disrupted' was released in 1991 on New Alliance Records, and, in 2013 to much greater notice on World in Sound Records. They reformed for a series of 5 shows in 2013 with Steve Smith on trumpet.
The "1969" side of "Press Your Hand and the Whole Room Fluctuates" consists of songs that didn't make it onto 'With Magnetic Fields Disrupted', and the "1971" side are all spontaneous Free Rock/Space Jams, with their very unique take on this matter.
After Sproton Layer folded, all brothers kept extremely active and continue creating music to this very day. In chronological order, after the demise of Sproton Layer: The Fourth World Quartet, Empool, Destroy All Monsters, Mission of Burma, Nonfiction, Birdsongs of the Mesozoic, GKW, M3, Larynx Zillion's Novelty Shop, No Man, Mister Laurence and his Play Money Band, The Alloy/Anvil Orchestra, Solo Multiphonic Guitar, Binary System, The Mister Laurence Experience, Third Border, M2, Transistor, Trinary System, The Sensorium Saxophone Ensemble, Exploded View, Porcelain Hammer, The Sensorium Chamber Ensemble, Tinn Parrow and his Clapfold Platune, Solo Electric Guitar Ensemble, and many many more. All these bands have releases.
rogerclarkmiller.com
laurencebondmiller.yolasite.com
benmiller.info
Roger Miller : Bass guitar, vocals
Ben Miller : Guitar, vocals
Larry Miller : Drums (vocals in improvs)
Harold Kirchen : Trumpet on "Ozonic Temple"
RACKS 1, 2 recorded in 1117 basement with one microphone. “Heavy in the Basement” session, November 1969.
TRACK 3 recorded in 1117 basement with one microphone. “Christmas Trees” session, December1969, Collective Improvisation.
TRACK 4 recorded live at The First Congregational Church, Ann Arbor, Michigan, with one microphone. December 1969.
TRACKS 5-7 recorded sound-on-sound by Mark Brahce (Session I), 1117 basement and his bedroom.
TRACK 8 recorded in 1117 basement with one microphone. “Storm” session, Fall 1971. Collective Improvisation based
on a painting.
TRACKS 9-11 recorded in 1117 basement with one microphone. “Pull Down the Force” session, Fall 1971. Collective Improvisations.
COVER DESIGN: Joanne Kaliontzis, with original art by Arnold Lelis, Roger C. Miller and Benjamin Miller
Sproton Layer - 'Press Your Hand And The Whole Room Fluctuates' LP 12XU 175-1 - $24.00
(ships on or before July 17, 2026)
The Miller Brothers, Roger (Mission of Burma, etc. etc. etc.), Laurence (Destroy All Monsters, etc. etc. etc.) and Benjamin (Destroy All Monsters, etc. etc. etc.) grew up in Ann Arbor, Michigan in a musical family. When the Beatles hit in 1964 Roger was 12 and Laurence and Benjamin were 10, all three ready to rock. Their first band, which covered 13th Floor Elevators, Love, Kinks, Yardbirds, etc., performed two shows summer 1967 (ages 15 and 13). In 1969, their spontaneous improv. session "Freak Trio Electric" sealed the fate towards Sproton Layer. With a complete belief in weed as the doorway to an alternate universe, Roger began a furious bout of composing that spring. There was a lull in the summer, but in the fall, with the addition of Harold Kirchen (brother of Bill Kirchen, Commander Cody, etc. etc. etc.) on trumpet, they were off and running again. A few recordings were made in 1969 with one mic on the ping-pong table, and Mark Brahce (who recorded "With Magnetic Fields Disrupted" eight months later), set up his first session with the band. The best of these recordings make up the "1969" side of "Press Your Hand and the Whole Room Fluctuates."
At the end of August 1970, Mark Brahce recorded their album "With Magnetic Fields Disrupted" in the Miller family recreation room, and the band promptly folded when they got no notice or response. Their brand of psychedelia was on the wane. They reformed briefly in 1971 as an instrumental trio (see the "1971" side of "Press Your Hand and the Whole Room Fluctuates") but played only two shows before disbanding in that incarnation.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">Press Your Hand And The Whole Room Fluctuates by Sproton Layer</a></iframe>
Strangely enough, With Magnetic Fields Disrupted' was released in 1991 on New Alliance Records, and, in 2013 to much greater notice on World in Sound Records. They reformed for a series of 5 shows in 2013 with Steve Smith on trumpet.
The "1969" side of "Press Your Hand and the Whole Room Fluctuates" consists of songs that didn't make it onto 'With Magnetic Fields Disrupted', and the "1971" side are all spontaneous Free Rock/Space Jams, with their very unique take on this matter.
After Sproton Layer folded, all brothers kept extremely active and continue creating music to this very day. In chronological order, after the demise of Sproton Layer: The Fourth World Quartet, Empool, Destroy All Monsters, Mission of Burma, Nonfiction, Birdsongs of the Mesozoic, GKW, M3, Larynx Zillion's Novelty Shop, No Man, Mister Laurence and his Play Money Band, The Alloy/Anvil Orchestra, Solo Multiphonic Guitar, Binary System, The Mister Laurence Experience, Third Border, M2, Transistor, Trinary System, The Sensorium Saxophone Ensemble, Exploded View, Porcelain Hammer, The Sensorium Chamber Ensemble, Tinn Parrow and his Clapfold Platune, Solo Electric Guitar Ensemble, and many many more. All these bands have releases.
rogerclarkmiller.com
laurencebondmiller.yolasite.com
benmiller.info
Roger Miller : Bass guitar, vocals
Ben Miller : Guitar, vocals
Larry Miller : Drums (vocals in improvs)
Harold Kirchen : Trumpet on "Ozonic Temple"
RACKS 1, 2 recorded in 1117 basement with one microphone. “Heavy in the Basement” session, November 1969.
TRACK 3 recorded in 1117 basement with one microphone. “Christmas Trees” session, December1969, Collective Improvisation.
TRACK 4 recorded live at The First Congregational Church, Ann Arbor, Michigan, with one microphone. December 1969.
TRACKS 5-7 recorded sound-on-sound by Mark Brahce (Session I), 1117 basement and his bedroom.
TRACK 8 recorded in 1117 basement with one microphone. “Storm” session, Fall 1971. Collective Improvisation based
on a painting.
TRACKS 9-11 recorded in 1117 basement with one microphone. “Pull Down the Force” session, Fall 1971. Collective Improvisations.
COVER DESIGN: Joanne Kaliontzis, with original art by Arnold Lelis, Roger C. Miller and Benjamin Miller
The Hobknobs - 'Helmets Off' LP (12XU 177-1) - $24.00
/product/the-hobknobs-helmets-off-lp-12xu-177-1
/product/the-hobknobs-helmets-off-lp-12xu-177-1
Tue, 28 Apr 2026 20:38:55 +0000
<img src="" title="The Hobknobs - 'Helmets Off' LP (12XU 177-1)" align="left" style="margin:0 10px 10px 0;" />SHIPPING ON OR BEFORE JUNE 26, 2026
(FOR ORDERS OUTSIDE NORTH AMERICAN :
)
'Helmets Off' can be described as an honest attempt at honesty. Although all options are open at the moment of conception, the end result often remains bare. Instruments come in when they are needed, but the songs apparently don’t need that much at all. Every word and every strum sounds like it’s placed in exactly the right moment. Perhaps it is this bareness of the songs, that makes it feel as if The Hobknobs are speaking to the listener directly. It is clear that they don’t want anything to cloud this human interaction.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">Helmets Off by The Hobknobs</a></iframe>
Yaël Dekker, whom you may also know as the singer of The Klittens, and Arie van Vliet, who used to spread his word through the band Lewsberg, were once described as loving misanthropes. Listening to 'Helmets Off', this description seems rather accurate. A consoling song like “The Mind” sounds haunting. Even words seem to have lost their meaning in “Dictionary”. Songs that seem cheerful and naive at first appear to be pleadings on second listen. And is “Enarmoured” a pro-war protest song? What war do they want to fight?
Dekker and Van Vliet’s voices seem to know each other well, in a way that magnifies the songs on 'Helmets Off' beyond their deceptive simplicity. Together with the minimal production by Jaap van der Velde, it makes that the album hits the sweet spot somewhere in the middle of ‘instantly familiar’ and ‘no one else sounds quite like this’.
'Helmets Off”'will be released on June 26th, 2026. In North-America, the album will be available through 12XU. In the rest of the world, the album will be available on vinyl and cd through Cargo Records distribution and on all major digital streaming platforms.
The Hobknobs - 'Helmets Off' LP (12XU 177-1) - $24.00
SHIPPING ON OR BEFORE JUNE 26, 2026
(FOR ORDERS OUTSIDE NORTH AMERICAN :
)
'Helmets Off' can be described as an honest attempt at honesty. Although all options are open at the moment of conception, the end result often remains bare. Instruments come in when they are needed, but the songs apparently don’t need that much at all. Every word and every strum sounds like it’s placed in exactly the right moment. Perhaps it is this bareness of the songs, that makes it feel as if The Hobknobs are speaking to the listener directly. It is clear that they don’t want anything to cloud this human interaction.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">Helmets Off by The Hobknobs</a></iframe>
Yaël Dekker, whom you may also know as the singer of The Klittens, and Arie van Vliet, who used to spread his word through the band Lewsberg, were once described as loving misanthropes. Listening to 'Helmets Off', this description seems rather accurate. A consoling song like “The Mind” sounds haunting. Even words seem to have lost their meaning in “Dictionary”. Songs that seem cheerful and naive at first appear to be pleadings on second listen. And is “Enarmoured” a pro-war protest song? What war do they want to fight?
Dekker and Van Vliet’s voices seem to know each other well, in a way that magnifies the songs on 'Helmets Off' beyond their deceptive simplicity. Together with the minimal production by Jaap van der Velde, it makes that the album hits the sweet spot somewhere in the middle of ‘instantly familiar’ and ‘no one else sounds quite like this’.
'Helmets Off”'will be released on June 26th, 2026. In North-America, the album will be available through 12XU. In the rest of the world, the album will be available on vinyl and cd through Cargo Records distribution and on all major digital streaming platforms.
You-On - 'New Side' LP (12XU 169-1) - $24.00
/product/you-on-new-side-lp-12xu-169-1
/product/you-on-new-side-lp-12xu-169-1
Fri, 06 Mar 2026 03:45:45 +0000
<img src="" title="You-On - 'New Side' LP (12XU 169-1)" align="left" style="margin:0 10px 10px 0;" />(SHIPPING ON OR BEFORE JUNE 12, 2026)
You-On is a collaboration between Masami Tomihisa andJim White
Three sessions, all improvised consisting of keyboard and drums were recorded at Jim’s in April and May of 2024. Guy Picciotto mixed, edited and sequenced the recordings comprising ‘New Side’, the duo’s first album together.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">New Side by You-On</a></iframe>
You-On is two Japanese characters put together, asobu which means to play or to have fun and on which means sound.
‘New Side’ is a work of precise, at times otherworldly beauty. The interplay between Tomihisa and White is nothing short of uncanny — it seems hard to believe these are the results of their first recordings together.
A debut You-On show in New York will be announced shortly, will other appearance to follow, hopefully.
Masami Tomihisa is a pianist, composer and improviser based in New York City. Prior to this, her most recent release was the ‘Invitations’ cassette released by Purplish in 2024.
She is also one half of the duo Masaaki.
Environmental concerns prevent us from publishing drummer Jim White’s entire associated discography ; his most recent solo album, his second such LP for Drag City, ‘Inner Day’ was released in the Autumn of 2025.
fig 2 photo by Tran Huynh
You-On - 'New Side' LP (12XU 169-1) - $24.00
(SHIPPING ON OR BEFORE JUNE 12, 2026)
You-On is a collaboration between Masami Tomihisa andJim White
Three sessions, all improvised consisting of keyboard and drums were recorded at Jim’s in April and May of 2024. Guy Picciotto mixed, edited and sequenced the recordings comprising ‘New Side’, the duo’s first album together.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">New Side by You-On</a></iframe>
You-On is two Japanese characters put together, asobu which means to play or to have fun and on which means sound.
‘New Side’ is a work of precise, at times otherworldly beauty. The interplay between Tomihisa and White is nothing short of uncanny — it seems hard to believe these are the results of their first recordings together.
A debut You-On show in New York will be announced shortly, will other appearance to follow, hopefully.
Masami Tomihisa is a pianist, composer and improviser based in New York City. Prior to this, her most recent release was the ‘Invitations’ cassette released by Purplish in 2024.
She is also one half of the duo Masaaki.
Environmental concerns prevent us from publishing drummer Jim White’s entire associated discography ; his most recent solo album, his second such LP for Drag City, ‘Inner Day’ was released in the Autumn of 2025.
fig 2 photo by Tran Huynh
Lupo Cittá - 'Inverno' LP (12XU 168-1) - $24.00
/product/lupo-citt%C3%A1-inverno-lp-12xu-168-1
/product/lupo-citt%C3%A1-inverno-lp-12xu-168-1
Fri, 27 Feb 2026 03:59:54 +0000
<img src="" title="Lupo Cittá - 'Inverno' LP (12XU 168-1)" align="left" style="margin:0 10px 10px 0;" />(ships on or before April 24, 2026)
The title track for Lupo Città’s second LP, INVERNO (‘winter’ in Italian), was born in January 2023. Written in waking sleep at 4 am. Looking out the window at the winter world below when it's too quiet, no one is around, but anything and everything feels possible. Lupo Città wrote the songs for INVERNO by instinct: each song, in viscera, a life and personality of its own. Chris, Jenn, and Sarah each brought in songs at different stages, in different forms and moods. Some came together fast, others took long. Some songs had to be stripped, slowed down or sped up, while others were completely gutted and rebuilt. A hard coming out of post-COVID lockdown, trying to relearn to live outside of isolation. Moving from the dark of winter into light, a jarring shift, the world was changing so fast in such stark contrast between the quiet isolation we settled into with close friends and family. We couldn’t look away anymore, in the light of day, escalating political and social chaos happening outside, now rapidly closing in.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">Inverno by Lupo Citta</a></iframe>
While Lupo Città’s debut was melodic, energetic, world-weary, sometimes chaotic, INVERNO is out on a limb, taking a risk, and not caring at all how it turns out. INVERNO is a snapshot of the bad and good, trying to stay awake and be present, fighting off the sleep of winter and the lure of time standing still, so we can create the world we want instead of trying to survive the world we're in. Writing, playing, listening to music is essential, now, more than ever, for our survival amidst uncertainty, doubt, dystopia, grief, loss, blindness, vision, and love. This is INVERNO.
Lupo Città is Sarah Black (guitar, bass), Chris Brokaw (guitar + vocals) and Jenn Gori (drums + vocals).
All songs by Lupo Città. "Wandering Eye", "Something Else", "Can’t See", "Satisfy", "Inverno", "Profile" and "Nap at Dawn", recorded by Spenser Gralla at The Record Co., Boston, MA. "Wandering Eye", "Something Else", "Satisfy", "Inverno", "Profile", and "Nap at Dawn" were mixed by Chris Brokaw and Pete Weiss at Q Division Studios, Cambridge MA. "Southern Forests", "Red and Yellow", and "To the Last Look" recorded by David Minehan at Wooly Mammoth Sound, Waltham MA. "Red and Yellow" and "To the Last Look" mixed by David Minehan. "Can’t See", "Southern Forests" and added vocals on "To the Last Look" were mixed by Spenser Gralla.
Cover art by Jenn Gori. Layout by Angela Betancourt. Mastered by Carl Saff.
sound recording P&C 2026 Lupo Cittá under license to 12XU
Lupo Cittá - 'Inverno' LP (12XU 168-1) - $24.00
(ships on or before April 24, 2026)
The title track for Lupo Città’s second LP, INVERNO (‘winter’ in Italian), was born in January 2023. Written in waking sleep at 4 am. Looking out the window at the winter world below when it's too quiet, no one is around, but anything and everything feels possible. Lupo Città wrote the songs for INVERNO by instinct: each song, in viscera, a life and personality of its own. Chris, Jenn, and Sarah each brought in songs at different stages, in different forms and moods. Some came together fast, others took long. Some songs had to be stripped, slowed down or sped up, while others were completely gutted and rebuilt. A hard coming out of post-COVID lockdown, trying to relearn to live outside of isolation. Moving from the dark of winter into light, a jarring shift, the world was changing so fast in such stark contrast between the quiet isolation we settled into with close friends and family. We couldn’t look away anymore, in the light of day, escalating political and social chaos happening outside, now rapidly closing in.
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">Inverno by Lupo Citta</a></iframe>
While Lupo Città’s debut was melodic, energetic, world-weary, sometimes chaotic, INVERNO is out on a limb, taking a risk, and not caring at all how it turns out. INVERNO is a snapshot of the bad and good, trying to stay awake and be present, fighting off the sleep of winter and the lure of time standing still, so we can create the world we want instead of trying to survive the world we're in. Writing, playing, listening to music is essential, now, more than ever, for our survival amidst uncertainty, doubt, dystopia, grief, loss, blindness, vision, and love. This is INVERNO.
Lupo Città is Sarah Black (guitar, bass), Chris Brokaw (guitar + vocals) and Jenn Gori (drums + vocals).
All songs by Lupo Città. "Wandering Eye", "Something Else", "Can’t See", "Satisfy", "Inverno", "Profile" and "Nap at Dawn", recorded by Spenser Gralla at The Record Co., Boston, MA. "Wandering Eye", "Something Else", "Satisfy", "Inverno", "Profile", and "Nap at Dawn" were mixed by Chris Brokaw and Pete Weiss at Q Division Studios, Cambridge MA. "Southern Forests", "Red and Yellow", and "To the Last Look" recorded by David Minehan at Wooly Mammoth Sound, Waltham MA. "Red and Yellow" and "To the Last Look" mixed by David Minehan. "Can’t See", "Southern Forests" and added vocals on "To the Last Look" were mixed by Spenser Gralla.
Cover art by Jenn Gori. Layout by Angela Betancourt. Mastered by Carl Saff.
sound recording P&C 2026 Lupo Cittá under license to 12XU
The Sleeves - 'The Sleeves' LP (12XU 176-1) - $24.00
/product/the-sleeves-the-sleeves-lp-12xu-176-1
/product/the-sleeves-the-sleeves-lp-12xu-176-1
Fri, 06 Feb 2026 04:41:36 +0000
<img src="" title="The Sleeves - 'The Sleeves' LP (12XU 176-1)" align="left" style="margin:0 10px 10px 0;" />(SHIPS ON OR BEFORE MAY 8, 2026)
The Sleeves are the duo of Jack Cooper and Tara Cunningham, both likely known to you as one half of Modern Nature. Following an all-instrumental Mossy Tapes release last November, Cooper and Cunningham have recorded 10 new songs showcasing their vocal and guitar interplay with only the faintest echoes of prior efforts (individually or collectively), representing a fully realized leap forward from their largely improvised debut.
'The Sleeves' is a somewhat counter intuitive take on the guitar/vocal duo formula (provided you think there is such a thing) though it's not nearly as simplistic as "the space between the notes" -- it would be the height of exaggeration to say an album this simultaneously expansive and incandescent is unprecedented. But it doesn't happen nearly often enough, either.
The Sleeves have London and NYC dates planned for this July and September respectively, with further touring to be announced in the coming weeks.
“What I initially found so familiar and exciting about playing guitar with Jack - and continually do - is that our approach to music is pretty much exactly the same. And that is - to celebrate the space that frames ideas, embraces silence, to play simply, simultaneously championing our respective unembellished guitar sounds, whilst looking for sounds that aren’t like a guitar at all - bells, birds, switching between radio stations etc. It’s rare to find someone who - whatever this means to you - ‘gets it’ - and I think when we started playing guitar together, we both knew the other had something of whatever our ‘it’ was.”
“‘The Sleeves’ is the sum of our shared musical journey thus far, an exciting mix of familiarity and uncharted territory in its approach to structure and how we use our guitars and voices. It feels to me like we are both citing shared references and traditions, whilst floating in our own, single-cell world that is completely genre-less. That grey area is where we seem to thrive. As Jack says, it feels like music that really couldn’t be made by anyone else.” - Tara Cunningham
“Tara and I started playing guitar together at the start of 2024. It was an improvised music night in a railway arch in South London. The set was great but there was a couple of minutes in particular where Tara and I really sort of locked in. We made a record a few weeks later. There was something in the way we played together that felt very intuitive from the start. We recognised a shared approach right away and an affinity to the way each other played.”
“During the summer we got stuck in a traffic jam coming home from a show in Glasgow. We spent a few hours singing along to the Mamas & The Papas and Simon & Garfunkel and over the course of the day, like magic we became The Sleeves."
“We're excited about it because it feels like music that really couldn’t be made by anyone else. We don’t bring different elements to it. We both bring exactly the same things. It’s the result of our similarities.” - Jack Cooper
credits
releases May 8, 2026
The Sleeves are Jack Cooper and Tara Cunningham
Written, performed and produced by The Sleeves
Mixed by Jim Wallis
Mastered by Carl Saff
Pressed at Smashed Plastic, Chicago IL USA
P&C 2026 The Sleeves under license to 12XU
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">The Sleeves by The Sleeves</a></iframe>
The Sleeves - 'The Sleeves' LP (12XU 176-1) - $24.00
(SHIPS ON OR BEFORE MAY 8, 2026)
The Sleeves are the duo of Jack Cooper and Tara Cunningham, both likely known to you as one half of Modern Nature. Following an all-instrumental Mossy Tapes release last November, Cooper and Cunningham have recorded 10 new songs showcasing their vocal and guitar interplay with only the faintest echoes of prior efforts (individually or collectively), representing a fully realized leap forward from their largely improvised debut.
'The Sleeves' is a somewhat counter intuitive take on the guitar/vocal duo formula (provided you think there is such a thing) though it's not nearly as simplistic as "the space between the notes" -- it would be the height of exaggeration to say an album this simultaneously expansive and incandescent is unprecedented. But it doesn't happen nearly often enough, either.
The Sleeves have London and NYC dates planned for this July and September respectively, with further touring to be announced in the coming weeks.
“What I initially found so familiar and exciting about playing guitar with Jack - and continually do - is that our approach to music is pretty much exactly the same. And that is - to celebrate the space that frames ideas, embraces silence, to play simply, simultaneously championing our respective unembellished guitar sounds, whilst looking for sounds that aren’t like a guitar at all - bells, birds, switching between radio stations etc. It’s rare to find someone who - whatever this means to you - ‘gets it’ - and I think when we started playing guitar together, we both knew the other had something of whatever our ‘it’ was.”
“‘The Sleeves’ is the sum of our shared musical journey thus far, an exciting mix of familiarity and uncharted territory in its approach to structure and how we use our guitars and voices. It feels to me like we are both citing shared references and traditions, whilst floating in our own, single-cell world that is completely genre-less. That grey area is where we seem to thrive. As Jack says, it feels like music that really couldn’t be made by anyone else.” - Tara Cunningham
“Tara and I started playing guitar together at the start of 2024. It was an improvised music night in a railway arch in South London. The set was great but there was a couple of minutes in particular where Tara and I really sort of locked in. We made a record a few weeks later. There was something in the way we played together that felt very intuitive from the start. We recognised a shared approach right away and an affinity to the way each other played.”
“During the summer we got stuck in a traffic jam coming home from a show in Glasgow. We spent a few hours singing along to the Mamas & The Papas and Simon & Garfunkel and over the course of the day, like magic we became The Sleeves."
“We're excited about it because it feels like music that really couldn’t be made by anyone else. We don’t bring different elements to it. We both bring exactly the same things. It’s the result of our similarities.” - Jack Cooper
credits
releases May 8, 2026
The Sleeves are Jack Cooper and Tara Cunningham
Written, performed and produced by The Sleeves
Mixed by Jim Wallis
Mastered by Carl Saff
Pressed at Smashed Plastic, Chicago IL USA
P&C 2026 The Sleeves under license to 12XU
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">The Sleeves by The Sleeves</a></iframe>
Rump State - 'Psychic Sidekick' LP (12XU 173-1) - $24.00
/product/rump-state-psychic-sidekick-lp-12xu-173-1
/product/rump-state-psychic-sidekick-lp-12xu-173-1
Fri, 06 Feb 2026 04:38:02 +0000
<img src="" title="Rump State - 'Psychic Sidekick' LP (12XU 173-1)" align="left" style="margin:0 10px 10px 0;" />(SHIPS ON OR BEFORE MARCH 27, 2026)
Mark Morgan (formerly of Sightings and Silk Purse) and Gaute Granli first met in Brooklyn at The Glove in 2017 while Granli was on tour from his home country of Norway. The following year, Morgan embarked on a solo European tour and he and Granli did three shows together in Norway. Ultimately finding each other reasonably tolerable and able to agree to disagree on punk versus prog, they soon thereafter toured together in the fall of 2019 in Europe for 50 days with each playing solo. As the tour progressed, both found themselves influencing and being influenced by the other and by the end, they decided they should do a band together (easier to book one act rather than a package deal). Plans were made to reconvene in 2020 to record and possibly tour but then Covid threw a wrench into the works.
A couple of years later, Rump State finally started playing and recording together in 2021 at Entropy Studio in Redford, Michigan (notably the childhood home of Ted Nugent who purportedly refers to it as "Tedford"). Outside of agreeing that there should be a strong focus on duo vocals and that Morgan would play guitar and Granli electronics, not much else was discussed in advance of first playing together. From these sessions, their first LP "Retaliation Aesthetics" was cobbled together and eventually released on the Parisian No Lagos label in March 2023. Since then, Rump State has toured the USA once and Europe multiple times.
'Psychic Sidekick', Rump State's second album, is a jarring, dizzying (even!) collision ; prior notions of song disassembly and aural properties being repossessed-then-sold-for-scrap were already due for reassessment. Morgan and Granli have rendered such arguments moot, and if you prefer "discussion" to argument, CONGRATS ON BEING SO (fucking) civilized. That's not gonna diminish this album's impact one iota.
Is this the most challenging album of 2026? How in blazes should I know, it's only February.
Mark Morgan resides in Queens, NY and Gaute Granli in Brussels, Belgium.
Mark Morgan - vocals, guitar
Gaute Granli - vocals, electronics
Carl Saff - mastering
Claudia Franke - cover art
Recorded at Entropy Music in Redford, Michigan USA and Pizza House Studio in Stord, Norway
P&C 2026 Rump State under license to 12XU
<iframe style="border: 0; width: 100%; height: 120px;" src="" seamless><a href="">Psychic Sidekick by Rump State</a></iframe>
Rump State - 'Psychic Sidekick' LP (12XU 173-1) - $24.00
(SHIPS ON OR BEFORE MARCH 27, 2026)
Mark Morgan (formerly of Sightings and Silk Purse) and Gaute Granli first met in Brooklyn at The Glove in 2017 while Granli was on tour from his home country of Norway. The following year, Morgan embarked on a solo European tour and he and Granli did three shows together in Norway. Ultimately finding each other reasonably tolerable and able to agree to disagree on punk versus prog, they soon thereafter toured together in the fall of 2019 in Europe for 50 days with each playing solo. As the tour progressed, both found themselves influencing and being influenced by the other and by the end, they decided they should do a band together (easier to book one act rather than a package deal). Plans were made to reconvene in 2020 to record and possibly tour but then Covid threw a wrench into the works.
A couple of years later, Rump State finally started playing and recording together in 2021 at Entropy Studio in Redford, Michigan (notably the childhood home of Ted Nugent who purportedly refers to it as "Tedford"). Outside of agreeing that there should be a strong focus on duo vocals and that Morgan would play guitar and Granli electronics, not much else was discussed in advance of first playing together. From these sessions, their first LP "Retaliation Aesthetics" was cobbled together and eventually released on the Parisian No Lagos label in March 2023. Since then, Rump State has toured the USA once and Europe multiple times.
'Psychic Sidekick', Rump State's second album, is a jarring, dizzying (even!) collision ; prior notions of song disassembly and aural properties being repossessed-then-sold-for-scrap were already due for reassessment. Morgan and Granli have rendered such arguments moot, and if you prefer "discussion" to argument, CONGRATS ON BEING SO (fucking) civilized. That's not gonna diminish this album's impact one iota.
Is this the most challenging album of 2026? How in blazes should I know, it's only February.
Mark Morgan resides in Queens, NY and Gaute Granli in Brussels, Belgium.
Mark Morgan - vocals, guitar
Gaute Granli - vocals, electronics
Carl Saff - mastering
Claudia Franke - cover art
Recorded at Entropy Music in Redford, Michigan USA and Pizza House Studio in Stord, Norway
P&C 2026 Rump State under license to 12XU
<iframe style="border: 0; width: 100%; height: 120px;" src="" seamless><a href="">Psychic Sidekick by Rump State</a></iframe>
Winged Wheel - 'Desert So Green' LP (12XU 172-1) - $23.00
/product/winged-wheel-desert-so-green-lp-12xu-172-1
/product/winged-wheel-desert-so-green-lp-12xu-172-1
Fri, 17 Oct 2025 04:10:32 +0000
<img src="" title="Winged Wheel - 'Desert So Green' LP (12XU 172-1)" align="left" style="margin:0 10px 10px 0;" />(shipping on or before January 6, 2026)
“So, how did this band even happen?” That’s the question most often asked of Winged Wheel, a creatively and geographically scattered collective who have somehow congregated to make a noise that’s unexpected but undeniable. The band includes Whitney Johnson (Matchess, Circuit des Yeux), Cory Plump (Spray Paint, Rider/Horse, co-owner of the dream venue Tubby’s), Matthew J. Rolin (solo guitar wizard and half of the Powers/Rolin Duo), Steve Shelley (Sonic Youth), Lonnie Slack, and Fred Thomas (Idle Ray, Tyvek), each player living in a different city and bringing their own unique element to the group’s chain reactions. Early long distance file-trading between a few members yielded 2022’s No Island, a debut album that was accidentally really good. Good enough for the band to expand their membership and meet in person for the sessions that became 2024’s 'Big Hotel', a surgically-assembled murk of high energy kosmische rock with jammed-out tendencies. Fast forward just a little and all of a sudden the band that started out as a passing idea has completed multiple tours, become a taper’s dream with sets that drift through structure and improvisation, and ridden the momentum to places unforeseen on their third album, 'Desert So Green'.
After a run of shows across the Midwest in the spring of 2025, the group settled into a studio on the outskirts of Chicago to track their next record. Though the full lineup had only been solidified for a little over a year at this point, time together on stage led to a quickly-expanding sound and a unified vision of always going somewhere new. To this end, Winged Wheel abandoned the play-now-sort-it-out-later approach of Big Hotel and instead spent hours refining flashes of inspiration into coherent songs. Full-blast, krautrock-informed jamming took a backseat to deeper experimentation, and the band found new dimensions, different atmospheres. The arrangements are still dense with layers of synths, noisy disruptions, and glowing orbs of alien sound, but every shift is considered and intentional. It’s an album that spends its duration struggling to balance a scale with excitement on one side and anxious tension on the other. Things move a little slower and the aftershock hits harder than the initial adrenaline rush.
While 'Desert So Green' is defined by a newfound restraint, there’s also an intensity that never lets up. “Bird Spells” pulsates perpetually at the edge of a breaking point, moving through various storm systems before finally, momentarily, finding a break in the clouds. Can-esque rhythms, scrapes of viola, and Throbbing Gristle-level decay all get dubbed into infinity on the absolutely demonic “Canvas 2.” Rolling waves of percussion and treated instruments try fruitlessly to climb their way out of a slippery well on the churning closer “The Suite Goes Quiet.” At times, some ripping weirdness cuts through the simmering. Syncopated dual guitars lock in on “Speed Table” while Shelley destroys the kit as only he can, and Slack’s greasy steel guitar riffing of “I See Poseurs Every Day” evokes scenes of a truck stop showdown between ZZ Top and the Silver Apples. “Beautiful Holy Jewel Home” is the closest Winged Wheel has ever come to straightforward melodic tuneage, and it still arrives in a form that’s uneasy and fragmented.
'Desert So Green' represents yet another transformation for Winged Wheel, one that takes them into a space of sharpened dynamism and more nuanced expression. The energy that arrived all at once in loud explosions on earlier albums is refracted here, and all the more powerful when broken down. It’s a set of strange songs that demand close inspection and reward this attention with a clearer view of the band’s individual personalities, and the separate alchemical presence that emerges when these personalities come together. 'Desert So Green' changes gears, defies probability, confounds in strains of joy and confusion, and leaves us wondering, once again and still without answers, how did this band even happen?
Winged Wheel :
Whitney Johnson
Cory Plump
Matthew J. Rolin
Steve Shelley
Lonnie Slack
Fred Thomas
Recorded at Rec Room Studios, Chicago IL bu Eric Block, May 2025
Cover art by Abel Burger
Mastered by Carl Saff
P&C Winged Wheel 2026 under license to 12XU
Winged Wheel - 'Desert So Green' LP (12XU 172-1) - $23.00
(shipping on or before January 6, 2026)
“So, how did this band even happen?” That’s the question most often asked of Winged Wheel, a creatively and geographically scattered collective who have somehow congregated to make a noise that’s unexpected but undeniable. The band includes Whitney Johnson (Matchess, Circuit des Yeux), Cory Plump (Spray Paint, Rider/Horse, co-owner of the dream venue Tubby’s), Matthew J. Rolin (solo guitar wizard and half of the Powers/Rolin Duo), Steve Shelley (Sonic Youth), Lonnie Slack, and Fred Thomas (Idle Ray, Tyvek), each player living in a different city and bringing their own unique element to the group’s chain reactions. Early long distance file-trading between a few members yielded 2022’s No Island, a debut album that was accidentally really good. Good enough for the band to expand their membership and meet in person for the sessions that became 2024’s 'Big Hotel', a surgically-assembled murk of high energy kosmische rock with jammed-out tendencies. Fast forward just a little and all of a sudden the band that started out as a passing idea has completed multiple tours, become a taper’s dream with sets that drift through structure and improvisation, and ridden the momentum to places unforeseen on their third album, 'Desert So Green'.
After a run of shows across the Midwest in the spring of 2025, the group settled into a studio on the outskirts of Chicago to track their next record. Though the full lineup had only been solidified for a little over a year at this point, time together on stage led to a quickly-expanding sound and a unified vision of always going somewhere new. To this end, Winged Wheel abandoned the play-now-sort-it-out-later approach of Big Hotel and instead spent hours refining flashes of inspiration into coherent songs. Full-blast, krautrock-informed jamming took a backseat to deeper experimentation, and the band found new dimensions, different atmospheres. The arrangements are still dense with layers of synths, noisy disruptions, and glowing orbs of alien sound, but every shift is considered and intentional. It’s an album that spends its duration struggling to balance a scale with excitement on one side and anxious tension on the other. Things move a little slower and the aftershock hits harder than the initial adrenaline rush.
While 'Desert So Green' is defined by a newfound restraint, there’s also an intensity that never lets up. “Bird Spells” pulsates perpetually at the edge of a breaking point, moving through various storm systems before finally, momentarily, finding a break in the clouds. Can-esque rhythms, scrapes of viola, and Throbbing Gristle-level decay all get dubbed into infinity on the absolutely demonic “Canvas 2.” Rolling waves of percussion and treated instruments try fruitlessly to climb their way out of a slippery well on the churning closer “The Suite Goes Quiet.” At times, some ripping weirdness cuts through the simmering. Syncopated dual guitars lock in on “Speed Table” while Shelley destroys the kit as only he can, and Slack’s greasy steel guitar riffing of “I See Poseurs Every Day” evokes scenes of a truck stop showdown between ZZ Top and the Silver Apples. “Beautiful Holy Jewel Home” is the closest Winged Wheel has ever come to straightforward melodic tuneage, and it still arrives in a form that’s uneasy and fragmented.
'Desert So Green' represents yet another transformation for Winged Wheel, one that takes them into a space of sharpened dynamism and more nuanced expression. The energy that arrived all at once in loud explosions on earlier albums is refracted here, and all the more powerful when broken down. It’s a set of strange songs that demand close inspection and reward this attention with a clearer view of the band’s individual personalities, and the separate alchemical presence that emerges when these personalities come together. 'Desert So Green' changes gears, defies probability, confounds in strains of joy and confusion, and leaves us wondering, once again and still without answers, how did this band even happen?
Winged Wheel :
Whitney Johnson
Cory Plump
Matthew J. Rolin
Steve Shelley
Lonnie Slack
Fred Thomas
Recorded at Rec Room Studios, Chicago IL bu Eric Block, May 2025
Cover art by Abel Burger
Mastered by Carl Saff
P&C Winged Wheel 2026 under license to 12XU
Naoki Zushi - III 2XLP (World Of Echo) - $36.00
/product/naoki-zushi-iii-2xlp-world-of-echo
/product/naoki-zushi-iii-2xlp-world-of-echo
Tue, 26 Aug 2025 00:03:45 +0000
<img src="" title="Naoki Zushi - III 2XLP (World Of Echo)" align="left" style="margin:0 10px 10px 0;" />(SHIPS ON OR BEFORE 09/05/25)
World Of Echo announces the reissue of two remastered albums by Japanese guitarist and songwriter Naoki Zushi, 1988’s Paradise, and 2005’s III. Two classics of Japanese psychedelia, both Paradise and III were originally released on Org Records, the imprint of Shinji Shibayama of acid-folk group Nagisa Ni Te, with whom Zushi has guested on second guitar for decades. Both intimate and expansive, rich with revelatory songwriting and blasted, sky-scouring guitar, these reissues return these albums to print for the first time since the 2000s. It’s the first time III has been officially released on vinyl, with an extra, previously unreleased track, “Under The June Moonlight.”
<iframe style="border: 0; width: 100%; height: 42px;" src="" seamless><a href="">III by Naoki Zushi</a></iframe>
Recorded in Kyoto’s Townhouse Studios in mid 1987 and released in limited-to-500 vinyl pressing in 1988, Paradise emerged from a scene in Kansai, Japan that was embracing the idiosyncracies of 1970s singer-songwriters, the soaring solos of early seventies psychedelia, and the DIY impulse of 1980s post-punk. While Zushi’s musical history stretched back to the early eighties – he was a founding member of Jojo Hiroshige’s noise outfit Hijokaidan – he found his feet with groups like Hallelujahs, whose dream-pop collection Niku O Kuraite Chikai Wo Tateyo was recently reissued by Black Editions, and Idiot O’Clock.
Paradise appeared two years after that Hallelujahs album and share much the same membership – Zushi’s backing band on several of the songs includes Shibayama on drums and Ken-Ichi Takayama (aka Idiot) on electric guitar, though just as often, Zushi plays all the instruments himself. The coordinates here are wide-reaching – you can hear the volume and intensity of Neil Young & Crazy Horse (on “Hallelujah: Left Side” and “Paradise: Midday”), the slow-motion magic of Galaxie 500, the idiosyncratic spirit of The Only Ones, all mixed up with tender guitar miniatures and stumbling garage-psych-pop moves.
Seven years later, after the transitional album Phenomenal Luciferin, Zushi released III. Perhaps his masterpiece, it’s already been bootlegged on vinyl, but this reissue is the real deal. The album was recorded at Studio Nemu over seven years, and sees Zushi backed by Shibayama (bass) and Masako Takeda (drums), his erstwhile bandmates in Nagisa Ni Te. By this stage, Zushi had started to really stretch out, and many of the songs on III swoon languorously, taking their sweet time to say what they need to