Cassette Label
Image of Now In Darkness World Stops Turning

Now In Darkness World Stops Turning


Pre Order:: I've all paid up on these & they are on their way from US shortly - we aim to ship within 14-21 days of 8 August

by Now In Darkness World Stops Turning

All a bit special this one! Over to Jason at No Rent Records:

Packaged in a 20x4-inch poster tube, with a 19x13 poster carefully rolled and concealed. The tube is filled with red, white, pink, and orange fake flowers mixed with black tissue. A C-90 and C-80 are packed in regular norelcos and placed in a double cassette slip case, then taped in more soft black tissue and black roses. We consider the 20x4 tube part of the packaging, so there's a front sticker. I hand-numbered them from 1/50, which is how they will ship.

Opening the tube requires some precision; I found it easiest to open with the back of a hammer, ensuring the contents remain unharmed. As the tube opens from the top, aligning with the recipient's name on the label, the unveiling begins. The poster, spanning most of the tube's length, awaits its moment, and before pulling it out, a few floral adornments and tissue paper must be delicately removed. We suggest you remove the poster at the end.

There were 50 produced, 42 are available to ship. This is the last home dub project we do for a while and our final release for the summer.

Now In Darkness World Stops Turning was a harsh noise project by Josh Banke (Okha) and Jason Crumer from 2001-2003. This contains all existing recordings made from 2001-2003. Josh was making some of the best harsh noise there was. He made the noise song with my favorite title, the brilliant Prone, Conditioned

At that time I was deciding whether to go under my own name or a project name. I was obsessed with the Hank Williams / Luke The Drifer dichotomy. Former was the drunk band, latter was the hangover band.

NIDWST was definitely the drunk band (the "hungover" band was called Amazing Grace, a collaboration between myself and David Sullivan , then of the wildly underrated project Magwheels. This album is currently available via

Okha, named after an obscure and inefficient Yokosuka MXY-7 Ohka fighter plane, released some to small but notable fanfare, including the great Land of Dead Expectations as well as my favorite Power Cannot Conquer Heaven which we re-issued and have available in our digital archive

He then performed on the Okha, Macronympha Prurient LP which also has another favorite title of mine Perpetual Motion (Sucking and Fucking) . People started to kiss his ass after that but Josh made pure noise - pure in the sense that he never followed a trend or tried too hard to be in scenes; he just did his thing. The main criticism of him was that he was simply good but not reinventing the wheel. Like the Rolling Stones ahaha. That all washed off because he was doing it for himself anyway; his fundamental desire was to make the most obscure music and continue on his path has a lot to do with why he stood the test of time so well.

About the recordings:

“DreamMachine” was our first album, released on Cathartic Process (2001) in an unknown but small edition. We were going for American Masonna; very harsh, psychedelic sound. We wanted to go so far over board with the psychedelic to the point of cruelty while never being wacky or squeaky. Fine line to walk in retrospect. Recorded mostly live (song a night, not marathon) with a couple samples.

“Tie Die” was an attempt to record for 24 hours non-stop. We made it to 9 and were just too fucked up to continue. Neither of us remembers who pressed stop. The recording is presented in four (19:45) sections. There are no edits other than quick fade out at the very end. Released by the Verato Project in Germany in an edition of 65. I think I typed the years late in the original liners. I think it’s 2002 not ‘03. This is my favorite NIDWST, by a lot. Our focus was on a broad and diverse but electronically powerful 24 hour chunk of very harsh noise. Then we passed out.

I made “The Album” myself and never released it. Mostly because A - it sucked, and B - I got better fast (first solo came year later). So this is probably the only scenario it makes sense to release it. Its not even like early cut up, its early … bad cut up. Made by editing hours of amazing Okha source material. A hacky attempt, the songs are short. So. You’re welcome. I really wish I still had the six CDs of raw Okha source…. It does have a naive charm, plenty of foreshadowing and benefits most from cassette. It is better than I remembered.

I'd also like to think Josh and David for teaching me hands on, their patience, and how much work with them improved my work

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