Jan 302017
 
Out Now!
CD and Digital verisons of the DESIDERII MARGINIS “Songs Over Ruins” are now available.
LP version has been delayed at the pressing plant, we will ship all orders as soon possible!
DESIDERII MARGINIS
“Songs Over Ruins” CD / LP / Digital
Release Date: January 27 2017
Label: Cyclic Law
Cat No: 89th Cycle
File Under: Dark Ambient
CD In 6 Panel Digipack – 500 Copies
LP with Printed Inner Sleeve – 250 Copies
LP Color: 100 in Green & 150 In Black
CD UPC: 089902506889
LP UPC: 089902506896
TRACK LISTING
1. Songs Over Ruins I
2. Scintillate II
3. Ephemeral
4. Chrism
5. Entombment
6. Ashes
7. Solemn Descent
8. The Core Of Hell
9. Embossed In Bones
10. Songs Over Ruins
11. Chreston (Not on LP)
 
Upcoming Titles:
PETER BJÄRGÖ “Animus Retinetia” CD (90th Cycle)
PHURPA “Gyer Ro” 2CD (91st Cycle)
VACCUM AETERNUM “Project Darkscapes” CD (92nd Cycle)
Jan 252017
 

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In a relatively short span of time, the brilliant Kazhak composer, pianist and singer Angelina Yershova released two great albums, “Piano’s Abyss” and its ideal sequel “Resonance Night,” (both labeled by Twin Paradox) two sonic gems in which she developed her interesting and deeply introspective aesthetics, in between vague semblances of Lustmord-like coldwave/dark-ambient, electroacoustic searching and some of the highest peaks of electronic contemporary music (Scanner, Alva Noto and so on). Besides comparisons and similarities, the best way to get an idea of Angelina’s sound is to listen to it. In the meantime, let’s get to know her better. All pictures are courtesy of  Ilya Shamuratov.
Chain D.L.K.: Hi, Angelina, how are you?

Angelina Yershova: Very well, thank you!

 

Chain D.L.K.: Could you introduce yourself to our readers in your own words?

Angelina Yershova: Hi to all readers! I am very happy to be here with you all! I am a pianist and composer from Kazakhstan, and I currently reside in Italy.

 

Chain D.L.K.: I read you graduated with the maximum score and honor at the Kazakh National Conservatory of Music Kurmangazy in Almaty, an academy I’ve never heard of, to be honest. You’ve also attended other academic environments. What are the main differences in the ways/manners of speaking about harmony, melody, rhythm and so on in all the academic places you’ve been?

Angelina Yershova: I formed myself as a musician and composer in a classical music environment. I then got my degree at the National Conservatory of Kazakhstan, but later I also obtained a degree in electronic music at the Rome Conservatory “Santa Cecilia”, and I must say that there are indeed differences in how harmony, melody, and rhythm are approached dialectically, but we are talking more about differences in the language which is used within a given environment, and not about actual conceptual differences in those subjects.

 

interview picture 1Chain D.L.K.: Getting deeper into music makes people perceive it in a different way. It’s a sort of process that (I say luckily) makes people more particular… did you experience such a process? Would you refuse a ticket for a concert or a gig of some commercial band?

Angelina Yershova: I have always been very particular, but as time went by I have gotten even worse!! I love quality music, and especially when behind a project or a track there is a concept, there is a true artist, and when he/she wants to share his art. I am also choosy in regards to sound and the context I hear it in.

 

Chain D.L.K.: Improvisation and composition… are they opposite poles or meeting intersections in your way of making and perceiving music?

Angelina Yershova: In my case, I often unite these two opposite poles: I could write a score before playing, without even touching the instrument’s keys, imagining the notes, the structure of the track, its evolution, its idea, everything, just in my thoughts. But I can also put my hands on the keyboard and let free thoughts fly elsewhere, or play a graphical score, leaving a lot of space to improvisation. Improvising stimulates me the most; it makes me feel more ecstatic, and I love that feeling.

 

Chain D.L.K.: In your remarkable release “Piano’s Abyss,” piano is considered as a sort of spiritual medium for listeners. Would you say other composers or artists made a similar connection? If so, which ones are the closest to your way of exploring the possibilities of a piano?

Angelina Yershova: I have never followed anyone, in particular, save for my passion for classical music giants Johann Sebastian Bach and Sergey Rachmaninoff. I like the enigmatic and mysterious charm in the music of Gyorgy Ligeti, Arvo Pärt, Olivier Messiaen and Klaus Schulze. There are several artists that, in my opinion, have contributed to enlarging the vision of the piano sound, from John Cage’s prepared piano till today: Experimental Bowed Piano Ensemble, Hauschka, Mario Bertoncini, Simone Pappalardo and others. Ultimately I think every artist is always in search of new possibilities to increase their freedom of expression.

 

Chain D.L.K.: Do you remember the exact moment when you started listening to piano in a different way?

Angelina Yershova: Yes, I remember that particular moment: it was a long time ago, I was in my home in Kazakhstan, and I was living a very peculiar moment. During a cold winter night, all of a sudden the lights went out in the whole city. It was a total blackout that lasted around 90 minutes. In the total darkness, it seemed to me that something was taking me elsewhere from my thoughts. I approached the window. Darkness was burning my eyes, and everything seemed surreal. Watching up towards the sky, I was amazed by the spectacular view that appeared in front of me…. a giant score made of stars! Riding the wave of this emotion, I started improvising in the dark and it was beautiful; I was playing the stellar score, and I remember this indescribable sensation, but in my imagination, at that moment, something was lacking in the sounds and the piano keys and the chords… I was feeling an intense desire to expand the sound, to go “beyond the real sound of the instrument”… so I wrote a track called “Stellar Sky” that maybe one day I will publish…

 

interview picture 2Chain D.L.K.: Do you think that the current academic teaching of piano acts as a sort of mask of the power of this instrument?

Angelina Yershova: I believe that academic education helps in acquiring a basic knowledge of the instrument, but after having done that, in my opinion, to do a serious research one must forget everything that one has studied and must try to imagine oneself as if one is “an alien on an unknown planet in search of the monolith hidden somewhere.”

 

Chain D.L.K.: Let’s examine “Piano’s Abyss” extensively… how many years did you work on it?

Angelina Yershova: “Zooming” the sound of the piano has always been my obsession. Jumping into the sound of the instrument and enlarging the timbric perception of the single note. I am honestly not able to exactly quantify it in terms of time, but I did go through a long period of maturation and growth of the idea, of the research of the synthesis of the sound of the instrument. Then all the improvised piano parts were played impromptu in one evening. So it took a very long and a very short time!

 

Chain D.L.K.: Is it a metronome providing that ticking element that could be heard in the opening, Immersion?

Angelina Yershova: In the track “Immersion,” the intention was to create a constant and hypnotic rhythmic flow, and that metronome effect is actually the superposition of two sounds of slightly different frequencies, perceived as a periodic variation in volume whose rate is the difference between the two frequencies. In acoustics, it’s called the “beat phenomenon,” and I’ve also worked a lot with the creation of binaural beats that increase the feeling of immersion even more.

Chain D.L.K.: The following track “Suspense” reminded to me of some releases in the collaborative album by Fennesz and Sakamoto, but it seems to be a connection to your experience as a soundtrack composer… related to this last aspect, what’s your approach to score? Do you analyze plots and characters before composing?

Angelina Yershova: The collaboration between Fennesz and Sakamoto is wonderful, very cinematic!! Usually when I compose music I “visualize the sound” and “I live it” through the sensation of the color, the form and the emotion of the moment, so the sound for me is alive and real, just as if it was a true character. I could say that my approach is in some way similar to the “Live the character” of Stanislavkij’s Method Acting: “Live the sound.”

 

Chain D.L.K.: A short parenthesis… I read your compositions are often used by RAI and Mediaset, the main ItalianTV broadcasting networks… I haven’t watched TV in ages, as I am easily bored, but can you tell us how your music became embedded in their programming?

Angelina Yershova: I like to create different pieces of music exploring different styles and genres, without fear of stepping away from known territories, and above all, I like to surprise myself, and sometimes to push myself to the limit, changing the sound radically but always working with quality in mind. I don’t turn the TV on often myself, but for me, it is always a great challenge to create music for visuals.

 

Chain D.L.K.: Are there any tracks in “Piano’s Abyss” inspired by Italian or Kazakh places?

Angelina Yershova: They are unknown spaces, with immense and imaginary places. They are “inner” areas, somewhat connected with my passion for the cosmos and astrophysics.
Surely in Kazakhstan’s open nature, it is a lot easier to experiment and experience solitude in the midst of the shamanic steppe.

 

Chain D.L.K.: The central piece, “Icy Breath,” actually renders what the title says…how did you extract those sonorities using a piano?

Angelina Yershova: They are two sonic levels: the first one is a “frozen” prepared piano. They are pizzicato strings in the high register with reverb and a very specific equalization. The second level is “spatial and atmospheric,” made through synthesis and the elaboration of some partials of the piano sound spectrum. There are also other technical details that regard the spectrum analysis of the frequencies chosen as the main ones.

 

Chain D.L.K.: There’s a recurrent breath-like sound in your tracks… how did you make it? Is there a reason why you often include it in your compositions?

Angelina Yershova: That breath-like sound is a key element, since it was created specifically to “humanize” the piano sound. I wanted to give breath to the instrument, creating a sort of alter ego to the real character (the natural piano sound). In the album, there are two levels of piano sound: the real one and the processed one. The breath of the piano is obtained through a specific electronic synthesis and extreme sound stretching.

Chain D.L.K.: Have you performed “Piano’s Abyss” on live stage yet? If so, any interesting feedback or reactions?

Angelina Yershova: I would very much love to perform this project live, but it would require more than two hands! 2 for the real-time elaborations and another 2 to play the keys and the strings – but I believe nothing is impossible! Pragmatically, I think that I would simply need to create controllable automation for some of the elaborations. I am currently experimenting with all the relevant possibilities.

Chain D.L.K.: Are you going to explore the abyss of other instruments sooner or later?

Angelina Yershova: Absolutely YES! I would be very enthusiastic to discover other “sonic abysses” too.

Chain D.L.K.: Just after “Piano’s Abyss,” you released “Resonance Night” on Twin Paradox, whose availability has been scheduled for next February… any word about this forthcoming album?

Angelina Yershova: “Resonance Night” can be seen as a second chapter of the artistic adventure that began with the critically acclaimed previous album, “Piano’s Abyss,” and it is a journey on the “resonant train” riding in the mystifying darkness of the night.

 

interview picture 3Chain D.L.K.: I obviously pre-listened to “Resonance Night”… and I can recommend it to our readers! Superb work! What’s the main difference between it and the album we’ve extensively talked about, in your words?

Angelina Yershova: It is an album with a totally different concept. If in the previous album, the central idea is the sense of suspense, the endless “falling into the abyss” and the final total disorientation, in this album the central idea is the rhythmic pulsation. Even on a sonic level this album, compared to the previous one, offers more contrasts and features different techniques.

 

Chain D.L.K.: “Resonance Night” has been described as a journey from darkness to light…was this the intent from the beginning, or did it come while working on it?

Angelina Yershova: This intent was not planned or specifically pre-conceived, since it is more of an evolution process and an exploration of the experience. “Resonance Night” is another part of the journey that began with “Piano’s Abyss”; it is a development of the story.

 

Chain D.L.K.: Why did you decide to title the final track “Start of the Journey”?

Angelina Yershova: When one listens to an album from beginning till end, one is somewhat guided by the music, but when it ends one remains in the silence of one’s emotions and sensations. In other words, what remains is the person that has lived that unique experience. So it is an actual journey that one takes when the sound is no longer there. One is not guided anymore, but goes into the elsewhere that was composed by the artist. It is also a metaphorical/symbolic way of saying that every end is only a good beginning!

 

visit Angelina Yershova on the web at: www.angelinayershova.com

Jan 242017
 

We are VERY excited to be reissuing the early demos of Martial Canterel. We plan to release the Navigations Volumes II and III of Sean McBride’s early work as standalone LPs as well as a very special triple gatefold LP that will include Navigations Volumes I-III.We are also teaming up with German label Anna Logue Records to co-release a lost NDW gem Monopol Weltweit.  This LP is a complete German synthwave pop masterpiece and has been LONG out of print since it’s inception in the early 80s.

Troy // Medical Records, LLC

Martial Canterel
Navigations Volume I-III
Medical Records
20 January 2017
Medical Records proudly presents a special limited edition of all 3 “Forgotten Tracks, Sketches and Unfinished Work 2002-2004” by Martial Canterel as a triple gatefold set. Volume I was released previously in 2013, and Volume II and III are simultaneously being released by Medical Records as standalones. Sean McBride has been producing work under the Martial Canterel moniker dating back to 2002 as well as working as half of Xeno And Oaklander. These tracks capture the allure and depth of Sean’s early work exploring rhythms and perfectly crafted pop songs using a very early incarnation of limited instrumentation. Fans of Martial Canterel’s early work (think “Austerton” and “Sister Age”) will be instantly elated. This is the first time these tracks have been released on vinyl and have been remastered for this release by Martin Bowes at the Cage, UK. Contains special bonus insert with lyrics.  Fans of early Martial Canterel as well as other cold wave icons such as A Blaze Color, Snowy Red, and the like will need this collection. Presented on high-quality 180gram classic vinyl in a triple gatefold pack.

Monopol
Weltweit
Medical Records
20 January 2017
Medical Records collaborates with their good friends Anna Logue across the pond in Germany to present the long out of print Neu Deutsche Welle cult classic album Weltweit by Monopol. Released in 1982, Weltweit was the sole output of the band. It has appropriately become quite rare and difficult to find with the resulting high prices to obtain an original copy. Inspired by the greats such as Kraftwerk, YMO and Klaus Schulze, the three members crafted an exquisite collection of pop songs played on a very impressive collection of analog synthesizers, self-builds and drum machines that were considered cutting edge at the time. The band would have recorded a second album but split up before that was possible. Members of the band continued to be involved in the music industry at least peripherally but didn’t participate in further collaborations or bands. Also interestingly, Monopol was basically a studio-only project and actually never played live (despite some TV appearances). The album has been remastered by Martin Bowes at the Cage, UK. Contains a special bonus insert with lyrics and photos. Definitely a must-have for fans of NDW such as Grauzone, Reingold and the like.  Presented on high quality 180gram classic black vinyl.  Limited edition.
Jan 192017
 
Cold Spring Newsflash – 19th January 2017

OUT 6th FEBRUARY:

– SKULLFLOWER –

SKULLFLOWER ‘THE SPIRALS OF GREAT HARM‘ 2 x CD (CSR225CD)

The new sprawling double disc from black noise classicists Skullflower – referencing Inferno 17, Dante and Virgil’s spiralling descent into the abyss on demon Geryon. Full of harsh beauty and hymns for lost Albions, battle songs against the homogenisation of modern ‘lyfe’ – fuck the new estate!

“Hedgerows, tapestries, dream woods, dragon lands. After “Draconis”, we have been released to roam through the multiverse, fashioning trinkets and ornaments from jewelled sounds, and leaving them as waymarkers on our astral travels. We seem to be circling, encountering familiar territories, yet always changed, because these circles, from a true perspective; are all part of a great averse spiral, our pattern, our map, which is the terrain itself. You will hear hints and echoes of native keening, lush prog romanticism, and the charcoal textures of noise, but all subsumed within our alchemy, the unmistakable wellspring of sound that is SF”.

6-panel digipak.

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OUT 6th FEBRUARY:

– LA BREICHE –

LA BREICHE ‘LE MAL DES ARDENTS‘ CD (CSR224CD)

LA BREICHE (“the witch”) features two well-known musicians: Arexis and Lafforgue of Stille Volk – a band best known since 1994 as one of the pioneers of Pagan Folk in Europe – and of Pagan Black French band Sus Scrofa.

“Le Mal Des Ardents” (“Holy Fire”) is a concept album about fears, terrors, about the balance between folklore and reason, myth and common sense, light and darkness, past and present, modernity and archaism. The album marries minimalism, purity, a fine approach and ancient instruments: traditional music (hurdy gurdy, shawm, polyphonies, percussion, gongs); the gloom of oppressive dark ambient; the slow pace of ritual music, wavering between modernity and archaism. Voices rise towards beauty, lifting it away from some occult mud. Holy Fire takes us back to a forgotten world – a primal, ancient, wild and free world, pervaded by secret dances of sorcerers’, unfathomable forests, remote and lifeless places. 6-panel digipak.

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ZOS KIA / COIL ‘TRANSPARENT‘ CD / 2LP (CSR230CD/LP)

** CD IN STOCK NOW! **


***2LP SHIPS FROM 26th JANUARY***

** T-SHIRT IN STOCK NOW! **

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OUT NOW:

× TREPANERINGSRITUALEN ×

TREPANERINGSRITUALEN ‘DEATHWARD, TO THE WOMB‘ CD / LP (CSR222CD/LP)

Trepaneringsritualen’s long out of print debut release: Deathward, To The Womb finally sees a proper reissue on CD, and limited edition 12″ vinyl.

CD in 6-panel matt digipak.
LP in matt sleeve with 6mm spine. Ltd x 500 copies with download card.

An invocation not so much of BABALON Herself, but of the tormented elemental of Frater T.O.P.A.N., and his fervent attempts to usher in the Æon of Horus.

In the lyrics – based on the texts of Frater T.O.P.A.N. on the Babalon Working – the perilous flame that is BABLON is called upon to ravage creation. She is asked to scorch the earth clean for the coming cosmic renovation. The Eternal Virgin would spring from Her womb. From Her love, the new divine man would be born. 70 years after the Bablon Working was deemed successfully concluded, its utter failure is painfully apparent.

»All love songs are of me« She says. This is certainly true of the first five songs of Deathward, To The Womb. The final songs, All Hail The Black Flame, seem different altogether. In this guise, BABALON brings not solely love, but cataclysm; a holocaust brought upon the domain of Man. Manifested as the Black Flame, She reaches from a time before time, formless chaos, and rips apart the very fabric of the created worlds. Such is Her nature: two opposing principles; that of the nurturing mother, and that of the callous destroyer.

“She is flame of life, power of darkness – She destroys with a glance – She may take thy soul. She feeds upon the death of men.”

Appended to the six original songs is a specially commissioned 12 minutes and 57 seconds long ritual work entitled “I Remember When I Was God” (included as download for the vinyl edition), and attributed to Teeraal Räum Pheynix. BABALON was summoned at Winter Solstice 2015 under the sign of ?, with assistance from Alone In The Hollow Garden, A.I.L of Arktau Eos, Michael Idehall, KzR of Bölzer, Nÿland ii of Hadewych, and Æther. To destroy and to give life. We declare this ritual concluded and successful.

f × n × h – × | ×

    

CD £10.50        LP £15        COMBO CD + LP £23                                         Soundcloud



OUT JANUARY:

ZOS KIA / COIL ‘TRANSPARENT‘ CD / 2LP / T-SHIRT (CSR230CD/LP/TS)

ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min – with guest Peter ‘Sleazy’ Christopherson (THROBBING GRISTLE). Their one and only album, Transparent, was released August 23rd 1983 in a cassette only edition on the now defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. The entire recordings are now released on CD/vinyl for the first time and are completely remastered from the unedited tapes. Includes two previously unreleased bonus tracks by AKE (pre-ZOS KIA).

The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed; ‘Scatology’. An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle.

Double vinyl edition in a sumptuous gatefold sleeve with 12″ booklet of unseen images. Ltd 500 white vinyl edition for COLD SPRING mailorder only. Both editions come with download card.

CD edition presented in a 6-panel digipak with booklet containing all images.

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CD £10.50
2LP BLACK £16
2LP WHITE £18
SHIRT £15
COMBO 1:
CD & 2LP BLACK £23
COMBO 2:
CD & 2LP WHITE £25
COMBO 3:
CD & 2LP BLACK & 2LP WHITE & SHIRT £50

RECENT RELEASES:

MERZBOW • BALÁZS PÁNDI
‘Live At FAC251’
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The King of Japanese Noise, Merzbow, was joined on stage by Hungarian drummer extraordinaire, Balázs Pándi. The special event took place under the roof of the legendary FAC251 building, the original home of Factory Records HQ. An exemplary performance of Masami Akita’s trademark Japanoise, but the addition of Balázs Pándi’s improv drumming gives the whole evening an almost musical, jazz feel. Ltd x 500 copies in a gatefold digisleeve.
Rare and out-of-print vinyl releases from Horror Electronics maestro Burial Hex. Collecting his sides from the split 7″ with Sylvester Anfang on Aurora Borealis, the split 12″ with Iron First of the Sun on Cold Spring, and taking a side each from “Bagirwa Hymn” on VON Archives and “From The Rites Of Lazarus” on Urashima, we experience the death industrial roots of this expansive project. Artwork by Nathaniel Ritter (Kinit Her).
Tunnels Of Ah’s third album, ‘Surgical Fires’ is a dense, fermentative working. Asemic vocals are sunk beneath an alienated electronic landscape of seismic drones and paranormal frequencies. Loss, gain, conflict, resolution, decay and transformation as an initiatory path is the current running through ‘Surgical Fires’; the surgery alluded to in the title being psychic surgery. Guest vocals from ritual artist Soror Anji Cheung.
Officially licensed from Irwin Chusid of the SUN RA estate, Cold Spring’s Justin Mitchell negotiated rare and unreleased tracks from the SUN RA archive to be remixed and treated by Masami Akita. The tracks incorporate the jazz power of SUN RA, carried into brutal excess by the legendary Japanese artist, MERZBOW. Matt laminated digipak CD / 180gm black vinyl with download code. Please note that both formats have completely different music!
CD – £8
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CD – £10.50 / LP – £15
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Over n` out!!

Justin / COLD SPRING

Jan 132017
 
Cold Spring Bi-Weekly Newsletter – 13th JANUARY 2017

OUT NOW:

× TREPANERINGSRITUALEN ×

TREPANERINGSRITUALEN ‘DEATHWARD, TO THE WOMB‘ CD / LP (CSR222CD/LP)

Trepaneringsritualen’s long out of print debut release: Deathward, To The Womb finally sees a proper reissue on CD, and limited edition 12″ vinyl.

CD in 6-panel matt digipak. LP in matt sleeve with 6mm spine. Ltd x 500 copies with download card.

An invocation not so much of BABALON Herself, but of the tormented elemental of Frater T.O.P.A.N., and his fervent attempts to usher in the Æon of Horus.

In the lyrics – based on the texts of Frater T.O.P.A.N. on the Babalon Working – the perilous flame that is BABLON is called upon to ravage creation. She is asked to scorch the earth clean for the coming cosmic renovation. The Eternal Virgin would spring from Her womb. From Her love, the new divine man would be born. 70 years after the Bablon Working was deemed successfully concluded, its utter failure is painfully apparent.

»All love songs are of me« She says. This is certainly true of the first five songs of Deathward, To The Womb. The final songs, All Hail The Black Flame, seem different altogether. In this guise, BABALON brings not solely love, but cataclysm; a holocaust brought upon the domain of Man. Manifested as the Black Flame, She reaches from a time before time, formless chaos, and rips apart the very fabric of the created worlds. Such is Her nature: two opposing principles; that of the nurturing mother, and that of the callous destroyer.

“She is flame of life, power of darkness – She destroys with a glance – She may take thy soul. She feeds upon the death of men.”

Appended to the six original songs is a specially commissioned 12 minutes and 57 seconds long ritual work entitled “I Remember When I Was God” (included as download for the vinyl edition), and attributed to Teeraal Räum Pheynix. BABALON was summoned at Winter Solstice 2015 under the sign of ?, with assistance from Alone In The Hollow Garden, A.I.L of Arktau Eos, Michael Idehall, KzR of Bölzer, Nÿland ii of Hadewych, and Æther. To destroy and to give life. We declare this ritual concluded and successful.

f × n × h – × | ×

    

CD £10.50        LP £15        COMBO CD + LP £23                                         Soundcloud

SHIPPING FROM 26th JANUARY:

ZOS KIA / COIL ‘TRANSPARENT‘ 2LP WHITE (CSR230LP)

ZOS KIA / COIL ‘TRANSPARENT‘ 2LP BLACK (CSR230LP)


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ZOS KIA / COIL ‘TRANSPARENT‘ CD (CSR230CD)
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ZOS KIA / COIL ‘TRANSPARENT‘ T-Shirt (CSR230TS)