Following a split 7" and a trilogy of defining cassettes, Food Pyramid emerges with their debut full-length LP, "Mango Sunrise". A tireless Minneapolis trio, the three members (C. Farstak, C. Hontona and M. Weather) collaborate to materialize synthesized monoliths; ranging from percolating, ambient rivers to various weirdo strains of dancehall jams. "Mango Sunrise" is an eclectic and spanning look into their overall aesthetic headspace. It conjures movements of kosmische-propelled euphoria, deep-space house and even their style of affected future-dub. On tunes like "Orange Alert" and "Oh Mercy", we find the trio drifting into druggy long-form dance grooves alongside rippling psych guitar and a bewildering saxophone. As much of a refined culmination as it is a hard step forward in their ever-evolving sonics, "Mango Sunrise" has arrived with all the majestic grandeur its title evokes.

For our 40th release, we are pleased to bring together two synth masterminds and mutual admirers, Xander Harris & Dylan Ettinger. Their split 7” begins energetically, popping off with Xander Harris’ cut, “The Driver”. The pulsating, eruptive synths make this a perfectly danceable tune if you weren’t busy accelerating through a neon-outlined metropolis, wreaking gleeful havoc along the way. As the high-speed pursuit comes to a close, we are greeted to Dylan Ettinger’s more methodical, more insidious cadence of the flip-side “Tipoff”. There's a surreal whirring and blur afoot on the synth-work which is reinforced by his ominous, otherworldly incantations. Together, Harris and Ettinger present dual-sides of synthetic, pixelated violence in all its gratuitous glory.

Few pairings are as intuitive & fulfilling as the synthesized monoliths of Food Pyramid & Deep Earth. For Food Pyramid's first tune on vinyl, "Kollider" perfects their crescendo. They've coalesced the insistent beat of Chicago house with an otherworldly fuzzed-out guitar to ultimately finalize its mass with a glorious percussive smear. Deep Earth's side, "Kontraband", relies upon sleek movements & heady atmospherics to conjure a new glossy noir. Moon Glyph is pleased to present their parallel works released in unison on "Kollider / Kontraband".

In 2010, Buffalo Moon brought you “Wetsuit,” their debut release that made everybody want to go to the beach and get drunk and fall in love. More than a year later — after a stop at the gorgeous melodic shores of the “Black Magic/Low Tide Moon,” 7" — the Buffalo are leading you away from the coastline, waving a pennant that reads Bienvenido a la Selva. If “Wetsuit” was playing love games in the sand, “Selva Surreal” (Surreal Jungle)— the new LP we are proud to release on Moon Glyph— is five young pranksters splashing euphonious paint in the Rainforest, trading in their cool blues for deep velvet and crimson. Fires are blazing. Cannons are blasting. Machine guns are pounding. And that’s just in the first single, “Chica de Luna". “Salt in my Mouth” and “Amores Perros,” take you back to those sandy beaches but with tighter craftsmanship and more sophisticated swagger. “Raspberry Sorbet” and “Moses Baby” consult sexophone aficionado Michael Lewis to accomplish their schmoozy bedroom peccadillos. Indeed, in these hallucinatory wetlands, genre shifts hit you like catapulted coconuts, but if you can duck all the madness and sonic booby traps, you find the album for what it is: a feral portrait of a Blakean Innocence expiring before our ears. The Kids of Irony are alright, America, they’re just entering the Jungles of Experience. And it’s wild out there.

Amidst pilfering of collective bargaining rights, the storming of public buildings in union protests, and subsequent recalls of elected officials, a bubbling of proletariat discontent in Madison, WI has shed light on a region of the country often overlooked. Emerging from this unrest comes Dead Luke’s second full length and first Moon Glyph release, "Meanwhile… In The Midwest", which takes the portentously hazy half-songs contained within his debut LP and solidifies them into a raw, lysergic-crystalline acid cocoon. In the album’s final moments we are greeted to the triumphant drifting of “Endless High,” a fuzzed-out call to arms for the No Coast. On “God Of Nothing” Luke conjures a hymnal drone of weaving elements peaking into a self-contained nihilist jam. While harkening back to the nebulous "American Haircut", Luke now unleashes his vexed voice in parallel with a movement currently percolating to a once apathetic surface.

"Warmy Girls", Velvet Davenport’s third release with Moon Glyph, locates the band’s sonic architect and chief songwriter Parker Sprout displaying a rainbow of talents – talents only winked at on previous, briefer releases. Recorded in Sprout’s apartment studio last winter, the album became an effervescent brew of guitar-and-organ character sketches. Named after a feeling of affection and love, "Warmy Girls" is populated with men and women in a manner reminiscent of Ray Davies’ best Kink songs. The music itself is also well-populated - featuring more players per song than any of Velvet Davenport’s previous outings. The result: a collection of tunes Sprout has been preparing his listeners for since he began releasing music. Layered on a four-tracker, the sounds gambol and flit, trip and shimmer beneath a mélange of bright-eyed vocal harmonies. Each of the twelve songs is an illustration of the group’s mushrooming confidence in their craft – a warmy patchwork of reclaimed riffs, wily lyrics and a tangle of ideas that surprise on first listen and reward with every return.

We are pleased to announce the release of our first 7” – Buffalo Moon’s “Black Magic / Low Tide Moon”. It’s not summer forever, but the band successfully captures the season on this humid recording. From the first needle fall to the last warm strains, they conjure a nightlife not experienced since the souring of America’s relationship with Cuba in the late 1950s. Equal parts propellant and leisurely, this 7” improves on the already fully formed sound of their previous outing – tugging at different threads of their bossa nova / lite-psych weave to produce fresh resonations.

“Regolith” is a term used by lunar scientists to describe the loose scree of stones covering the solid rock of the moon. From the scrappy fuzzabilly of the Leisure Birds’ “Burn the Beach” to Moonstone’s pontificate-n-jam, Moon Glyph have found an apt title for their first compilation of local bands. Regolith Vol.1 is a wide sampling of songs scattershot across a solid foundation of rock by artists committed to the exploration of new vibrations and frequencies. The listener will find all forms of psychedelia on this record: laid back odes to laid-back women from Magic Castles and Velvet Davenport (with a little help from Ariel Pink and Gary War), a rave-up from Vampire Hands, a spaced out war-drum workout from the Daughters of the Sun, and a pair of face-melters courtesy of The Blind Shake and Skoal Kodiak amongst others.

FWY! is the apt solo moniker of San Francisco resident Edmund Xavier. Under the name he fabricates buoyant landscapes; first crafted in construction paper and then converted into aural passages of soft-synths, pulsing drum machines and glistening guitar flourishes. These are the kind of tunes to softly cruise along with as their melodic euphoria blossoms in the palm of your hand. For our thirty-ninth release, Moon Glyph is very pleased to present "San Clemente". Get bored and drift with us.

At a contemplative pace, Angel Eyes (Melbourne's Andrew Cowie) invites the freaks into his distinctly lush and warbled mirage. Spelunking into his technicolor cave reveals slow-burnt loner jams; woozy alien synths atop tripping drum machines. "Vice to Vice", his sophomore release, utilizes pensive melodicism and droned-out pop to navigate this singular terrain. Angel Eyes is a unique voice in a sea of many, harnessing the transportive qualities of the best ambient music alongside the dysmorphic pop of codeine dreams.

"No Man Moves" is the introduction & dismissal of the fog as crafted by Beyond, the moniker of one J. Shaver from Deep Earth. Conquering terrains of intricate tribal synthetics, deep noir-disco & eternal ambience, Beyond seeks comfort in the shadowy undercurrents. With "Untitled III" the gradual ascent leads us to the twitching machine; the centralized workings of the unseen, formidable whole. With great pleasure Moon Glyph presents our 37th release & Beyond's sophomore cassette, "No Man Moves".

Hailing from NJ/NY, The New Lines are a special breed of sound-conjurers; as dexterous with their space age pop as they are with their effervescent and drifting interludes. That knack for infectious melody is complemented by sonics that balance on the line between influence and progression, harnessing the wonder and psychedelic density of library records or occult film soundtracks. The splendor of "La Réciprocité" comes from its naturalistic fluidity; the splashes of guitar color atop spectral overpouring synths and gently crashing symbols. Following their fabulous debut LP, a single & split 7" with Still Corners, Moon Glyph is very proud to set free their new EP, "Witches' Milk".

Alex Gray is a man who's been burning up the west coast with his subtle & euphoric psychedelics, either alongside Sun Araw or in his solo project, Deep Magic. For Moon Glyph's 35th release we're pleased to liberate Deep Magic's nuanced drifting as a cassette entitled "Altars of Veneration". Recorded at home in Los Angeles, "Altars" consists of the kind of wide-eyed panoramic ambience usually reserved for introspective & naturalistic time/space films. Infused with Gray's particular sense of spatial relations, he fills his multi-colored spheres with flickering synths, glossy bottomless guitar ripples & shaded, abstract loops. Rapturous in its execution & cleansing for the spirit "Altars of Veneration" is a life-affirming, intimate expression of our universal vision.

With his first Moon Glyph release, Roy Orb D.MT. beckons you to a peaceful, pleasurable synthetic journey. A certified practitioner with countless years of metaphysical therapy, Roy gives great attention to the hues and textures he prescribes, conjuring sonic salves to balance body and soul alike. Close your eyes, breathe deeply and drift away as Oberheim soundwaves carry you to realms of health and wholeness heretofore unimagined. Admittedly no sorcerer, but certainly no common “doctor”, Roy Orb D.MT. materializes healing tones for ailing minds.

Slow gauze of eternal hypo-presence is the ultimate microwave ooze that settles post-plastic baking. Seems this vibe was in the thick air of the basement Radical Cemetery laid this set of tunes down in, a murky, deeply retro-active wormhole where deposits of alkaline and asbestos brew in a coldrun of familiarity. Lurking in the shadows of doom sludge, "N.N.E." represents a wholly defiant concoction, as indebted to the harsh realities of "Dopesmoker," as it is the sentient mist of a screwed free jazz.

Geometric minimalism is an inherent component in synthesist Dylan Ettinger's latest release, "Pattern Recursion" – a collection of side-long scapes produced using solely square wave forms. A work as indebted to concept, as it is enabled by it, Ettinger's square precession is largely based on his connection with analogue machines–specifically, a Moog Rogue, Korg Poly 61 and Funkhouser 1. In turn, "Pattern Recursion" is machinist music for the 21st century, replacing mammal intuition with mechanical ingenuity to create a wholly new definition of "computer musick."

"I can see you very clearly from here,” Daniel says between songs on "Ultraterrestrial Harvest Hymns", his voice a whisper under a hoarfrost of tape sound. As a synecdoche, the moment demonstrates the album’s extra-aural qualities, making sound beyond sound, pushing statements beyond artifice. Moon Glyph is honored to present to the listeners Higgs’ latest (MG25), an album of maundering banjo ragas, paeans, carols and canticles. There’s also a didgeridoo at one point. A shambolic drum machine, as well. Throughout runs its creator’s oftentimes overlooked mirth, a reverent and theandric mirth threaded into heirloom melodies and proclamations that sound neither bumptious nor inauthentic, but dutiful and vatic. An hour in length, "Ultraterrestrial Harvest Hymns", was recorded directly to tape in Northern California, Autumn 2010 and “is offered unto The Divine."

Assembled on the fly (“real-time performative production” according to artist Jon Davis), Ghostband’s "Verdical" is a construction of fetishized “glitch(es) and groove(s)” – individual compositions that transfigure through repetition, syncopation and red herring noises. It's uncertain whether Davis has tapped into a contemporary mania or synthesized a manic – and, at times, maniacal – electronic sound response to the times. Either way, the album waxes feverish and never wanes, building and razing its pockets of pop catharsis in whims that appear both well-studied and fresh-eared.

If Camden’s last outing, "Songs of Devotion", asked a lot of its listeners, "Living Image" is a great pay-off – albeit a pay-off on Camden’s Cole Weiland’s own terms. The noise-layer signifiers of a Camden release remain, but every characteristic impacts on a richer, more textural level. Above a generative percussion, Weiland smears each song with a stratum of aberrant synth lines and grotty tape loops over which he adds his boldest and most crepitative vocalizations yet. The outcome: the sound of wild electricity being manipulated with a deft hand.

Given the levels of precision present on this outing by Tender Meat, we must state that, yes, "Live At the Ritz (The Ritz on the Fritz)" is what it says it is – a live recording. Recorded straight to the board on 29 May 2010, LATR(TROTF) is as a much a document of the evening as it is testament to the dense, rapid-fire musical dialogue that occurs between the instrumentalists, (Andy Fritz: korg electribe sx, sequential circuits prophet 600, stylophone) and (Jonathan Coe: percussion). Over five untitled jams, Tender Meat pitches their frenetic electronic onrush to the rafters, discharging earworms at a pace that could only exist in a digital epoch such as ours.

Velvet Davenport returns with White Blue, their first release following a collaboration with Ariel Pink and Gary War that led to a well-praised 7” in addition to a tune featured on Moon Glyph’s very own Regolith Vol. 1. Starker in production than its predecessors, White Blue calls attention to the group’s contemplative side - evident in the wistful tracks “Never Ending Days Beginning” and “White Blue.” While the lyrical content on Velvet Davenport’s previous MG release, Lemon Drop Square Box, concerned itself with the mythical, this release captures fragments of the Human Relationship, processing the timeless songwriter trope through a haze that is more crystalline than it is vaporous. Ever the craftsmen, Parker Sprout continues to refine his palate of vivid pop wonder.

PC Worship is a seven-piece band out of Brooklyn. They live together in a warehouse called Le Wallet where they are surrounded by hundreds of musical instruments – and it shows on Dune of Heroin/Godless Love. Acoustic guitars, contrabasses, violins, tenor saxes, pianos, bowed saws, bass clarinets and drums coalesce and fragment, collide off each other in a way that showcases a nimble touch when it comes to lawless and maelstromic music-making.

Percolating out of the ether, Capricorn Vertical Slum's "Various Portals..." materializes within a wash of sonic detritus. The record feints at racket and din before emerging with the glam stomp of "Palatial Estates in Wallpaper." And from then on the album subverts expectations and matches every haywire moment with a songwriting gem. An unwanted love child of Ian Hunter and a CB radio, Colin Johnson (formerly of Vampire Hands) sneaks feral and fun hooks that pop in weird places, enriched by a stratum of roiling noise. At 24 minutes, Vol.1 is hopefully a wink at more to come - it has to be, we need more music like this.

Larry Wish makes outsider pop, even if the term “outsider pop” is a complete contradiction of terms. But judging from the music on Crazy Taxi Cool, one might imagine that terms or tags or descriptions mean very little to somebody as uncompromising in their unconventionality as Mr. Wish. Over 80 minutes in length, "Crazy Taxi Cool" is a stellar exemplification of oddball concentration showcasing art-damaged hurdy-gurdies, pitch bent synth lines, uneasy drones, canned percussion and claustrophobic intonations. Crazy Taxi Cool is not for everyone, hell, it might not be for anyone, but that is exactly what makes this music incredibly special and important.

Somewhere, in some alternative reality, there is a film to correspond with Jonathan Delehanty's "Prisms Opposed to Prudence" - an art-house movie heavy on beautiful imagery, light on narrativity (like a good art-house flick should be). "Prisms", Moon Glyph's 7th release, began as Delehanty's response to a near failing grade he'd earned in a Philosophy of Music class at a local university. But what started as an act of revenge, crystallized into a korg-damaged opus that can be described as a noise-baroque cycle of synth auto-didacticism.