alien communication and wildly non-sensical conspiracy theories. If you experiment by altering the volume levels of the WHITE NOISE SYSTEM, you’ll discover a plethora of differing results. We’ve also thoughtfully included a UK Bonus Track, "White Noise System (30m)," just for collectors... or the certifiable. 
"The Outer Limits" is the advance single from the upcoming reissue release of the 3rd LP by Art Jackson's Atrocity, 1977's Tribute To Sun Ra. This preview is a rare club performance recorded in 1976 at the Spot Me A Five Club in East St. Louis, just prior to the album's official studio sessions. Which, by the way, features vocal contributions from Mr. Sun Ra himself (recorded exclusively by Mr. Art Jackson himself). It drops soon, so save your allowance money.
"The Horror" is part of a larger work that was originally commissioned for use in the Ken Burns documentary, The Vietnam War. For the project, we recorded over 7 hours for the soundtrack, but the deal would eventually fall through - partly because 6 hours of what we submitted consisted of nothing but crickets. So that's on us. We also failed to read the contract's fine print, which we thought guaranteed us $4,180, only to learn that we were supposed to pay $4,180. But what really soured the negotiations was when Ken Burns arose from his chair during the listening preview, opened the window of the 8th floor PBS conference room and - without saying a word - tossed the still playing CD player into the parking lot below. Our only regret was not being able to record the noisy smash (and resulting alarm) when the device landed on an expensive Aston Martin One-77...which was sitting in Ken Burns' parking space. It might have fit in nicely with this release's second offering, "The Coriolis Effect," so named as to attract the attention of DJs in the land down under - otherwise impervious to payola and our collective charms - to broaden our appeal beyond our listening stronghold... grandma's house at Thanksgiving. Another 23 minutes you won't get back (and can't sue for).
A spiffy, galaxy-sized, vacuum-packed box o' space compiled for your smoking jacketed pleasure. 13 overtly cosmic space epics and spontaneously stoned dirges - nearly 4 hours worth of mind-bending, patience-testing, brain-frying sound excursions - compiled for those who lack the stamina to weed through our overgrown catalog looking for the spacier, pseudo-psychedelic, often disembodied improvisations we tend to wallow in when the tapes are running. We hope you enjoy this bulbous soundtrack to our wasted lives. It even comes with a fake gatefold CD cover for your amusement. Space Box, like all our releases, is available for free @320 below. But, those whose ears require higher quality WAV, AIFF or FLAC files can download it at Bandcamp, or from the streaming player below, all for a mere $1. Righteous, huh? Well... if nothing else, you’ll still have some Bitcoin left over for Cheetos® and Snapple®. It is the final frontier, after all.
The long-lost second LP from Art Jackson's Atrocity. Recorded live in Germany, just months after Gout (the band's 1974 debut album for Columbia Records) was shelved, deemed unsellable by the label's corporate hierarchy. Turning down a January, 1975 invitation to support Miles Davis in Tokyo, The Atrocity decided instead to blitzkrieg Germany, finding a receptive audience for their incendiary style of improvisational jazz/noise/rock. First issued as an independent LP in St. Louis, circa 1975, Live In Europe is the only known live document of Art Jackson's Atrocity - though… all of the Atrocity's work was recorded live as it happened. Live In Europe, however, captures the frenetic energy that can only be found in a live setting, as artist and audience face off for an anticipatory clash of unknown expectations and improvisational possibilities. The enthusiastic response from the jazz-hungry Germans in both Düsseldorf and Berlin provides an exhilarating backdrop to The Atrocity's only overseas performances. Now, for the first time in over 40 years, a new generation of listeners has the opportunity to hear the musical madness of a close-knit collective of anti-social misfits with no corporate goals. What might have been... had label indifference, drug abuse and multiple incarcerations not derailed one of the 1970's more unpredictable forebears of a futuristic musical dystopia few were willing to believe could possibly exist.
"This is the tale of one of the great lost experimental jazz/rock albums. According to legend, Gout was bankrolled by Miles Davis in 1974, delivered to Columbia Records and pressed for promotion… then summarily abandoned by the label. Reasons, besides its lack of commercial potential, are unclear. Though theories range from guitarist Art Jackson’s already developed heroin addiction to Columbia’s desire to distance themselves from a band that may have included a few radical Black Panthers. Reportedly, when Miles (with his own drug problems) began withdrawing into seclusion, so did the desire to release Gout. Specializing in free form, live-in-the-studio, jazz/rock experimentation, The Atrocity was a chaotic, 8 to 11 piece collective fronted by the 20-year-old Jackson – whose guitar explorations were prone to both violent outbursts and spacey sonic excursions. No charts, no songs, no rhyme or reason. Driven by heavy-propulsion drumming, the musical interplay between the players suggests a drug-fueled free for all." - Willard, Never Get Out Of The Boat
Reconstructed through highly advanced technologies as a vast space-faring artificial organism, VGER was augmented with a three-dimensional data collection and storing apparatus magnitudes beyond anything previously known to Federation science. Likewise providing it with effectively immeasurable defensive and sensory capabilities, the inhabitants of the machine planet gave VGER the ability to fulfill its programming in a far more complete fashion than the scientists who originally built and launched the vessel at its core ever imagined. Recorded live and made up on the spot. As if you couldn't tell.
So it is written, that in this, the year of our Lord, we reconvened to celebrate the 4 year anniversary of "The Premiere And Final Performance Of Jazz From Outer Space" (#35), a ten minute shock to the nervous system that should have ended the possibility of any future encores. Well, this Jazz From Outer Space music has nothing to do with the first Jazz From Outer Space. We just thought we'd toss another "series," or marketable brand, up against the wall and see if it sticks. You never know, one of Johnny Depp's or Tom Hanks' daughters might tweet "those Jazz From Outer Space guys are cool," and we'll become internet sensations, able to call our own shots at the next Comic-Con... or maybe, some Westinghouse Appliance Trade Show Convention gig.
