Wednesday, 5 June 2013


We now have a Bandcamp account, so you can buy a number of our products there along with the digital downloads of several of the releases.

Liminal Noise Bandcamp

Check out the new Now release.

Saturday, 1 June 2013

Any Love is Good Love

We proudly present 'Any Love is Good Love', a CD compiled by singer/songwriter and gay rights activist Ste McCabe and Emma Reed (Lost Harbours). Aimed at challenging homophobic and transphobic attitudes and showing solidarity with people who have been at the sharp end of discrimination, this is a collection of 18 songs from various artists encompassing indie, riot grrl, punk, lo-fi, electronica, spoken word, Americana and folk.  Any proceeds will be donated to  grassroots organistaion LGBT Youth North West which is a cause close to Ste's heart. The tracklisting is as follows:

  1. Ste McCabe - Huyton Scum
  2. Death of the Elephant - Locas
  3. Mary Cigarettes - I'm not a Bad Girl
  4. SaltyLips - Valentine's Day
  5. The Get - You Gotta Wear a Dress
  6. Art Gruppe - I Will Not Survive
  7. Karmadillo - Listen to George Takei
  8. Toska Wilde - Hard as Nailvarnish
  9. Das Wanderlust - Sailors
  10. Stella Zine/Pagan Holiday - Freak Faggot
  11. The Lovely Eggs - Don't Look at Me (I Don't Like It)
  12. Pocket Gods - Me Pablo and Duran Duran
  13. Zorras - Nest
  14. Lost Harbours - Feed the Birds (New version)
  15. Ten Tigers - Any Love is Good Love
  16. Bearsuit - When Will I be Queen?
  17. DragChrist - VixXxen N Beat
  18. Tumbledryer Babies - Don't Spoonfeed my Heart
The artwork was produced by Luis Drayton and the CD was mastered by John Hannon at No Recording.

Level 4 magazine described the compilation as 'Playful as a poodle', 'niftily curated' and 'a winner in every way'. 

The project has its own Facebook page which can be found HERE.


Saturday, 25 May 2013

NOW - The Liminal Mix

Next out on Liminal Noise is a cassette by regular players on the London scene NOW. Celebrating 15 years of their existence this year, they've played with notables such as Damo Suzuki, A Hawk and a Hacksaw and Faust. Their release is entitled the 'Liminal Mix' and brings together a collection of tracks pursuing their particular brand of Kosmiche influenced experimental pop. Here is a track:

Yeah I Know It Sucks review of Kostoglotov

Thanks to Yeah I Know It Sucks for this review of Kostoglotov's 'Louis Althusser Knows Why My Heart Is Asunder'.
"Awhile back I reviewed an album by Kostoglotov titled The Worst Love Songs Ever Written, which was a blatant lie of a title if ever there were one… the pieces as part of that collection were truly some of the most amazing and lovely love songs I’d ever heard, and I came away with the definite impression that Kostoglotov was brilliant and worth as much of your attention as you can afford. Today, I’m writing another review of this London-based artist for Yeah I Know It Sucks. The title of the work, released on tape by the wonderful Liminal Noise Tapes label, is Louis Althusser Knows Why My Heart Is Asunder. Oh… and, as you might expect it is a beautiful album too!
The first half begins with a shimmering ambient feel, warm chords swell in the background while an abstract synth sequence sparkles up the mix. Strings swell in, and the melodies, harmonies of sound are so nice! I can see why the artist receives comparisons to Vangelis. It feels like an unheard Tangerine Dream album, maybe early Jean Michel Jarre even or some obscure post-Kosmische electronica. While it’s very dreamy, there’s a subtle urgency to it. I could be on a monorail in a cyberpunk dystopia, attempting to evade agents who are after the chip I’m carrying in my briefcase, or something like that. But the lens of the mind’s eye refocuses and I’m able to see this too as the perfect soundtrack to life’s many micro-pleasures, like laying in the back of a vehicle during a gentle rain and watching the drops as they trail slowly down the windows. When the chords change, I detect a low bass tone… there are several layers to this that are impressive and very gorgeous, highly textural but crisp, from the brilliant strings to the popcorn-like synth sequence. The piece moves, evolves, developing complications while remaining stunningly simple and heartfelt. As the sounds blur and trail off, a distorted, wailing bit of electronics comes in and repeats, the mantra of a damaged machine. The sonic frequencies pull you through a portal into a vast realm of sound. There’s what might be an organ modulation, there are several bright noises and a stringlike dirge in the background, plus bass sequences. I hear liquids, a light touch of 303 acid, though it’s still very ambient. There are choirs, like the sound of the wind singing to us, carrying us through this world. Strings surge back into the mix toward the end, accompanied by low bass feedback and subtle undulations, and the sound is enchanting and mystical…
… then we come to the second side of this work, which begins with a synth sequence of chords with very low decay so that it sounds very clipped. As it goes, you fall under hypnosis… after a little while, the release is lifted on the sounds, or perhaps more reverb is added so that they sound more sustained. A perfect blend of iciness and warmth. The ambiance of the background surrounds us, like a choir of subdued timbres. The shifting chords carry you along… it’s tangential love. There’s a rhythmic click, like an 808 kick with only a trace of presence at first, but it gradually brings itself more to your attention as the sweeping pads fly through and the swells of ambient textures grow. Then there’s a hat on every off beat for a little while, but disappearing quickly with many of the other sounds as the music changes. There’s a clap, some electronic bubble magic brewing. These modular sequences are amazing, engaging you sensorially until all else disappears. There’s a harplike quality to them. For a moment the mix turns solely to deep liquid sounds, then a bell pad creeps in, a lush synth horn pad as well that’s very pretty… this is very sci-fi! A light popcorn sequence starts up. It ends very softly, with ambient textures.
It would be worth it to have this on cassette, I am sure. I can envision listening to it on a walkman while leisurely taking a stroll through isolate back alley streets… and there would be an accompanying feeling that a gathering of cosmic love is lifting your feet, that your heart is beating to the world pulse. Naturally, I’m going to strongly suggest you grab yourself a copy of this one while the supplies last!"

Monday, 18 February 2013

Crow verses Crow / Yeah I Know It Sucks

Online radio show Crow verses Crow have featured one of Umez's tracks from their Liminal Noise  cassette along with a whole host of other awesome musics.

Listen here: Crow Verses Crow


Blog 'Yeah I Know It Sucks' posted this complimentary review of the Umez cassette:

"London must be a merrier place with UMEZ in it… the fog is lifting, the tea is boiling over into the streets. Love & Anarchy in the UK! You can blame it on UMEZ, an experimentally awesome Japanese noisepop group. We had this short album that is also available on tape sent to us for review recently, and I have to say… I’m in love with it! I listened to the first track probably two or three times. Speaking of…

… ‘Good Bye My Friend’ begins with some fuzzy guitar, some acoustic guitar and what sounds like it could be a simple 606 rhythm track. The guitars filter out and then back in, and the music starts picking up, sounding like a beautiful day, a day of wild energy spent on recreation. We hear some kind of crazy guitar solo stuff that begins with what might have been a scream-ish sort of thing. The vocals are all very pretty and dreamy, adding a feel that is almost like shoegaze, subdued and introspective, and it works very well with the more uptempo style of the music. Toward the end the drums start getting more intense, like someone is just slamming down on some toms.

‘Hello Pt1′ surprises the ears with blasts of sonic noise! Weird electro sounds are bonking around amidst the chaos. Then there’s a repeating low bass hit, followed by more audio harshness. This is really great! Screams are happening here. It’s like a soup of frequencies, most of them in the highs and mids. Very effective use of filtering and effects, panning especially in one section. I think a flock of menacing pigeons are attacking my head, and for some reason I’m enjoying myself.

The next track, ‘Z Fighters 2 With C6.1′, kicks off with a low synth sequence with amp distortion… some white-noise static modulation… the vocals seem to have a slight touch of tremolo and are really nice! It’s like listening to a lullaby run through a distortion pedal. The synth/violin lead is really cool, it sounds as if the key it’s in is meant to disorient the senses. This track has an uptempo throb to it that I find hypnotic as well. Suddenly, bell tones shriek their way into the mix, disrupting everything else, and then when the track gets back to where it was there’s a really beautiful arpeggiated synth that’s been added. The vocals shift for a bit, sounding like they’re coming from another place in space and with more reverb.

Then there’s a bouncing ball thing happening that gives way to screaming noise on ‘Hello pt2′. Laser resonance, harsh signal tones everywhere. A voice pans back and forth for a time, yelling in each of our ears. Several contraptions seem to be malfunctioning at once, throttling, exploding. The vocals emulate this… screaming and harsh.

Then, unfortunately, it ends… but it was a lot of fun to listen to."

Sunday, 3 February 2013

Umez and Kostoglotov now on sale - plus reviews

The Kostoglotov and Umez tapes are now for sale from the paypal buttons on the right, plus Kostoglotov's tapes 'Louis Althussar knows why my heart is asunder' has already received two favourable reviews from A Closer Listen and Soundblab, see below:

Louis might be aware of Kostoglotov’s malady but having died in 1990, the French philosopher isn’t really in a position to say. The music on this tape captures a mood of ineffable sadness though, so we are definitely aware that hearts are asunder, even if we’re not sure exactly why. Opening with the mournful arpeggio of an analogue synth, he gradually introduces layers of texture into the arrangement; a drone, a bassline, the clang of percussion, which reaches a swell of sound before swiftly dissolving. The second side unveils a puttery keyboard pattern that seems to be playing the rhythm, but not the tune of “The Gonk” from, before splitting amoeba-like into multiple synths which eventually coalesce into a beat and a swirling cloud of atmospheric texture. The tape takes us on some journey, for despite remaining fairly downbeat and introspective throughout, it’s an immensely pleasurable listening experience. If you love cassette releases, grab this now, to these ears it’s an early contender for tape of the year. 

A Closer Listen

London-based knob-twiddler, Dalston clubnight maven and (full disclosure) Soundblab contributor Kostoglotov aka Daryl Worthington gained some exposure last year with a plethora of releases. He kicks off 2013 with this new one on Liminal Noise Tapes. Divided into two long pieces of music, each one split into three sections,Louis Althusser knows why my heart is asunder is, as its title suggests, inspired by the life of post-modern Marxist philosopher Louis Althusser, although I don't think you necessarily need to know that to enjoy the music. 

'Side A', then, begins with twinkling, utopian synths and warm washes, very much in the vein of Vangelis, and stays like this for a good few minutes before some unsettling rhythms emerge, leading to a new section where desolate pads underpin an echoing siren-sound. Kostoglotov expertly builds the music here, layering textures to maximise both an emotional depth and a sense of a wide, barren space. After the flat emptiness comes what sounds like a brief evocation of a busy city-scape, which in turn gives way to a longer final section of recurring chimes and burbling synths, recalling Cluster at their most pastoral. 

'Side B' continues this bucolic theme, beginning with airy, vapour trail synths chuntering along in a blue sky. Here, the music unwinds and builds slowly, again adding textures in the style of Tangerine Dream at their most 70s kosmische. Eventually, this falls away as the music moves into a sparser, stiller phase, with only minimal, clict thking beats to give a sense of movement. The following section, however, feels as though it begins almost arbitrarily, with no build-up. It's the one time Kostoglotov's production skills seem to fall short. That said, the music itself remains lovely, so it's not a huge deal. 

Overall, the music on 'Side B' is cinematic, widescreen, with a travelogue feel that recalls Dam Mantle. It feels like a sincere attempt to filter some 70s progressive influences through a modern lens and in this it succeeds.Louis Althusser knows why my heart is asunder could maybe do with a few more peaks and troughs throughout, but 'Side A' is a never less than interesting listen while 'Side B' is simply gorgeous. Definitely an artist worth keeping an eye on.


Wednesday, 30 January 2013

Diu Pii

For our forthcoming Umez and Kostoglotov releases Russian artist Diu Pii has created a series of pictures from which they picked their favourites to use as covers, there are some examples below, but more of her art can be seen here: Diu Pii Tumblr

Tuesday, 8 January 2013

A taster of what is to come.

We have three new releases coming up over the next month or so, here are some samples:

LN005 - UMEZ - Good Bye My Friend
C-20 Cassette

LN006 - Kostoglotov - Louis Althusser knows why my heart is asunder.
C20 Cassette

LN007 - NOW
C20 Cassette

LN008 -