An edition of 500 numbered copies. Thank Expo ‘70, O Lord, for the drones you are about to receive. A deep quivering of transcendental electronic mantras pulsates to the patient beat of the third Bardo. Slow, shape-shifting ambiences expand like groaning baritone crystals crawling out from sub-oceanic ooze. Psix pstring psychedelic pspews bisect the curve of extraterrestrial buzz with a surprising terrestrial fluidity until bioluminescent fish gather to choke out quiet hymns around the then sinking sepulcher of gurgling synthetics as they pierce to the deepest part of inner space. From Ohms to Oms. Amen.

Justin Wright’s EXPO ‘70 has been very prolific this past year, having released a hand full of CD-r’s that were picked up by Aquarius Records late Summer caused quite a buzz with favorable reviews. Wright conceptualized EXPO ‘70 while playing guitar in Living Science Foundation (Second Nature Recordings; GSL50 Compilation). Initially, the group also included Wright’s friend, Paul Kneeje (The Pope, The Manifolds, Bipolar Bear, SXBRS). After the break up of LSF at the end of 2004, Wright moved back to his home town of Kansas City, Missouri and further developed the project.
Having been compared to Brian Eno, Ash Ra Tempel, A.R. & Machines, SunnO))) and Earth, Wright’s music is an eclectic mix of krautrock, ambient drone, space exploration and minimal compositions, most of which are performed with heavily effected guitar in alternate tuneings. Releases have varied from a 3 piece performing vocal drones, Fender Rhodes, guitar, bass, sitar, reel-to-reels of old ethnic music delayed to single guitar and moog improvisations. “Center of the Earth”, Wright’s first solo venture, compiles heavily effected and layered guitar drones that pushed textures sonically into a mesh of cynical rhythms, a recent review from The Wire in U.K. cites “There’s a crossword puzzle cleverness to the weave of riffs...”, which is true to most of Wright’s natural playing.
2007 brings EXPO ‘70’s first official CD release, “Animism”, collecting improvised guitar tracks, an improvisation of 3 gongs and a layered acoustic & synthesizer track with saxophone, this album is truly varied and quite a unique blend of aggressive and psychedelic drone compositions, every track takes the listener on a unique journey.
Wright continues to release CD-r’s with the popularity and cult following gained after the induction to Aquarius Records and will be playing select cities through out the states this year. He also designs and packaged all releases himself.

Edition of 400 numbered copies. A kind of different album from A. Baker (Nadja) as it leans more into shoegazery and drone-pop songs. “Green & Cold” is the strength of strings proved by A. Baker. His soft lyrics suffuse weightlessly into a humming cloud of perfumed guitar scour. Yes, when gazed upon, these patent leather shoes really do reflect up. However, “G&C” is accomplishes much more than throwing Loveless lights back up to Heaven. An ass-load or so of previous avant-garde releases has developed in Baker a skill-set to be able to tweak normality. His 6 strings ring out like Echoes in a Shallow Bay in the year 4 A.D., but vox and drone are couched in subtly weird production. Over-emphasized Esses and Tees cross pollinate with the squeaking between-chord transitions, inventing a sort of clacking secondary dialog underneath the quieter songs. While other pieces play out into long, hyper-transcendent, cosmic vibes that end up in left field (see also Jim O’Rourke, Ben Chasney and Michael Gira). And, of course, there is other odd fragments sneaking around behind the curtain of each tune. Baker’s voice is calmly pleasing, and like Vini Reilly or Henry Frayne (Lanterna), his vocals often seem more like another frequency/rhythm than specific words. “G&C” is total radiance and not quite as heartbreaking as, say, Red House Painters, which is why it is still safe to listen with knives around. So, it turns out “Green & Cold” is neither. It is experienced and warm and suitable for disappearing into midnight to.

LP edition of 100 copies in a hand printed heavy gatefold sleeve. The inside gatefold sleeve is hand painted by Anakrid (each unique).  Anakrid a day keeps the doctor slurred in a trove of fish-tallowed sling slong. This is what it sounds like when doves cry because the mother ship crashes into their nest in the 6th dimension. With this symphony of sickness comprised of scraped palpitations, pitched whooshes, roaring cathodes and syncopated metallics, Anakrid have another breakthrough chart topper on their bruised hands! These avant-garde hit-makers have real crossover potential, combining the best, most dynamic experimental noise with the very latest drones. This exciting NOW sound is OUT OF THIS WORLD! The long awaited fusion of ritualistic tribalism with the tweaked electro-tech of ancient alien cultures is finally here. Hey kids! If you love Nurse With Wound, Genocide Organ, Hafler Trio, Muslimgauze, Pierre Henry, Nadja and Harry Bertoia and confusing your parents, then you’ll want to get in on the Anakrid craze before it’s too late. They’ve got a whole new way of kickin’ it old school. With electronics AND home-made instruments, Anakrid CREATES an exploratory atmosphere WITHOUT all those boring, go-nowhere improvisational hang-ups. Everything sounds fresh, progressive and weird!!! It’s just that good. Let’s face it; outsider music has gotten plain boring. Anakrid is just the electrodes to the testicles that left field music has been weeping for since, like, forever. Ex-punks hang up their Mohawks and make good mayhem.