ANNOUNCING: M. Geddes Gengras – Guest List

To be released on June 26th, 2026 on LP, CD, digitally, and various shirt options with DL codes.

First single “The List Is Millions Long” – now streaming on Bandcamp and all the other streamy zones:

M. Geddes Gengras returns to Hausu Mountain with Guest List, his fourth entry in the label’s catalog since 2019 and the first to be issued on vinyl. His albums for HausMo have ranged from the topographical ambient synth networks of I Am The Last of That Green and Warm-Hued World (HAUSMO88, 2019), to the dense technoid beat experiments of Time Makes Nothing Happen (HAUSMO109, 2020), to the lush post-rock-adjacent harmonic architectures of Expressed, I Noticed Silence (HAUSMO127, 2022).

On Guest List, Gengras composes the most ambitious and omnidirectional song cycle that he has ever captured in the context of one album, weaving his own synths and electronics into a dense tapestry of contrasting genres and ideas all animated by the presence of an enormous cast of collaborators. In Gengras’s hands, the infinite-limbed drum performances of Greg Fox, the ecstatic guitar explorations of Ben Chasny (Six Organs of Admittance), the soaring vocalizations of Christina Carter (Charalambides), and the contributions of many more artists become individual brushstrokes to paint across the canvases of his dense mixes. Channeling sonic details from his wide circle of friends, Gengras broadens his range of expression and composes the most communal and ultimately personal program of music in his bottomless catalog.

We’re so very proud to share the debut release from California-based duo Ragger – coming out February 10th, 2026 on CD, tape, and digitally:

Marc Riordan and Jon Leland make music together under the name Ragger. Each are multi-instrumentalists and avid collaborators in their wide artistic practices: Riordan performed and collaborated with the likes of The Cairo Gang, The Red Krayola, Xiu Xiu, Owls, and Joshua Abrams before moving from his longtime home of Chicago to LA, while Leland performed with Janka Nabay and the Bubu Gang, Glasser, Amen Dunes, Steve Gunn, and Skeletons before moving from New York to LA and then to the Bay Area to begin a career in video game development. The two began collaborating in 2017 after being invited by Cameron Stallones to form the current trio lineup of his long-running luminary experimental project Sun Araw, with Riordan handling bass and lead synth parts and Leland on electronic drum kit. They formed Ragger shortly after meeting, performing as a duo for a bi-weekly residency in the front café of the noted experimental venue Zebulon in LA, with a very specific scope of material in mind: the ragtime compositions of Scott Joplin and his contemporaries, presented in synthetic tones for synthesizers and electronic V drums. Hausu Mountain is proud to introduce Ragger to the world with their first album of recordings in this style, Euphonic Sounds.

While Hausu Mountain has always highlighted an interest in “carnivalesque” music, from the gonzo cyborg experiments of Wobbly to the sideshow psychedelia of Mondo Lava to the tongue-in-cheek freneticism of Jetski’s sample collages, Ragger’s Euphonic Sounds sets the carnival trapeze higher than anything else in the label’s catalog, while also honoring HausMo’s abiding love for 16-bit video game sounds and imagery. For label heads Doug Kaplan and Max Allison, Ragger’s own elevator pitch for their music as “Scott Joplin in Super Mario World” seemed too good to be true on paper – somehow too dialed into the label’s aesthetics to ever land successfully in practice. But guess what? Riordan and Leland nailed it. Euphonic Sounds overflows with whimsy and joy as much as a brand of casual virtuosity in service of the intricacies of music composed over a century ago. While ragtime might nominally be catalogued closer to “classical music” by today’s listeners, its deep roots weave into the origins of jazz, blues, pop, and dance music. We hear Ragger tease these threads out while transplanting the style into modern tones and ideas from the perspective of the avant-underground, attesting to the passion that the duo has for this music and the lengths they were willing to stretch themselves both mentally and physically to perform it at this level.

Hello HausMoNauts and hope you’re having a supremely gratifying day in the world we live in,

We’re here to share the wonderful news that Eartheater has returned to the label with a new single celebrating the 10th anniversary of her dual HausMo albums Metalepsis and RIP Chrysalis, released all the way back in 2015!

______Eartheater – “8”______

To celebrate the tenth anniversary of Metalepsis and RIP Chrysalis, Eartheater presents a newly recorded version of her song “Infinity” – the track that lit the spark for the project back in its infancy. Retitled “8,” turning the infinity symbol on its side, the 2025 incarnation of “Infinity” trades the original’s intimate production for a widescreen sound closer to contemporary pop or rock music, with layered guitar lines and kinetic drum loops supporting a new vocal performance from Eartheater. By slightly modifying the melody and lyrics of the original song in its new iteration, she presents her bespoke musical practice as a body of work that can be reshaped and reimagined – channeling ten years of experience as an internationally acclaimed artist into a new permutation that exhales a fresh breath into her decade-old composition.

______Eartheater – Metalepsis (Tenth Anniversary Edition)______

Hausu Mountain proudly celebrates the tenth anniversary of Metalepsis and RIP Chrysalis, which established an early body of work that still proves revelatory as a showcase of Drewchin’s boundless inventiveness as a singer, songwriter, and producer, all the more illuminated by the far-reaching music that has filled the rest of her catalog to date. The addition of the new single “8,” a complete reworking recorded in 2025 of Eartheater‘s song “Infinity,” joins the 10th anniversary edition of Metalepsis to further the conversation between Drewchin’s earliest work and her contemporary musical practice.

Hausu Mountain proudly presents Melvin Gibbs’s Amasia: Anamibia Sessions 2. The avant-jazz odyssey finds him operating in the many-tendriled roles of composer, arranger, collagist, performer, and bandleader — all while merging together recordings that span two decades, featuring an interdisciplinary array of collaborators, into a composite whose overflowing amalgam of ideas transcend genre and categorization. The album draws primary inspiration from the production of Miles Davis and Teo Macero on Davis’s 70s fusion output, with Gibbs timing his LP’s release to coincide with the 50th anniversary of Davis’s landmark Agharta.

Amasia: Anamibia Sessions 2 lands on October 14 on LP (clear and black), CD, digitally, and a few merch options with download code. First single “Felonious Monk” kicks off the album with a burst of percussive energy that threads in Pete Cosey’s guitar, John Medeski’s organ, Chris Williams’s trumpet, & more. Streaming on Bandcamp & beyond:

Grammy-nominated composer / producer / bassist Melvin Gibbs has a beyond-diverse background in jazz, rock, punk, and freeform experimentalism — anchored by mentors including Ornette Coleman and Gil Evans, encompassing work with Arto Lindsay, dead prez, and Sonny Sharrock, stints in Defunkt and the Rollins Band, and collaborations in ensembles including Power Tools alongside Bill Frisell and Ronald Shannon Jackson and the cooperative Harriet Tubman. Within the last few years, Gibbs released solo works on Editions Mego and Northern Spy. Gibbs plays bass in the band Body Meπa, whose two albums to date – 2021’s The Work Is Slow (HAUSMO120) and 2024’s Prayer in Dub (HAUSMO145) – were released by Hausu Mountain.

ANNOUNCING: Pulse Emitter – Tide Pools

to be released on LP, CD, and digitally on September 26th, 2025. Clear aqua blue vinyl limited to 300 copies worldwide. First single “Energy Flying” blowing minds on our Bandcamp page along with the album pre-order:

We’re overjoyed to be working with Daryl on a spellbinding new LP that finds him dipping his toes into progressive synth composition, jazz-inspired harmonies, & intricate rhythmic swirls.

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Portland based producer / synthesist Daryl Groetsch composes music under the moniker Pulse Emitter. Channeling his love and mastery of styles ranging from new age to Berlin school kosmische to drone to progressive electronic music to noise akin to junk floating through deep space, Groetsch crafts emotionally resonant synth pieces teeming with diverse melodic architectures and textural details.

A mainstay of the American experimental underground for over two decades, he has released dozens of albums of his exploratory and ever-evolving output as Pulse Emitter, while self-releasing music under his given name and as his dungeon synth side project Endless Fog. , Groetsch’s new LP on Hausu Mountain, follows the relatively more languid ambient strains of his work found on Swirlings (HAUSMO92 – 2020) and Dusk (HAUSMO128 – 2022) with a dizzying excursion into kinetic rhythms and fast-morphing song structures.

Groetsch himself describes the album as an attempt “to explore the deep emotions possible from jazz harmony, manifest the rhythmic complexity always chattering around in my head, and push my music somewhere I haven’t.”

Ladles and jellybeans — we’re so happy to announce a new artist joining the HausMo Family!

Everyone wish a warm welcome to Jetski, who will be releasing his HausMo debut The Radiant Radish on September 2nd, 2025. Let’s take a closer look:

Peoria, IL-based producer Ian Ostaszewski makes music under the name Jetski. His gonzo sample-based output manifests as overwhelming plunderphonic collages of juxtaposed sounds charged by complex webs of overlapping rhythms and head-spinning shifts in mood and timbre, all meticulously laid out to the point that it feels like you’re hearing a live band burn through a set of hyper-progressive music. The Radiant Radish, his first album on Hausu Mountain, follows his debut Reflex Engine (released on HausMo satellite label Blorpus Editions in 2022) with an awe-inspiring song cycle of freewheeling sample assemblage. He injects numerous fragments drawn from royalty-free sound libraries and public domain films – by his estimation somewhere between 4000 and 4500 samples – into composite takes that jitter with constant activity, performed live on his network of samplers running on iPads and iPhones. For all of his album’s ballistic sample-churning pandemonium, Jetski surprises us more with the sophistication and dream-logic organization of his arrangements rather than their disarray. With his relatively anonymous sources providing the constituent parts of The Radiant Radish, the album draws its manic power not from the potential of listeners pinpointing the origins of sounds or contextualizing them along a cultural timeline, but from the mind-bending narrative and morphing rhythmic reality of Jetski’s collages themselves on a moment-to-moment basis. We recognize the tones of individual instruments but can’t determine exactly what they’re playing as they crash into the mix in a disfigured fashion for a few seconds, just as we come to trace brief passages of rhythm made from staccato samples that speed by too fast to even attempt to identify. Before long, we give up trying to pick out anything at all and let Jetski’s tidal wave of sounds wash over us.

Greetings HausMoNauts Worldwide! We’re blasting the bugle horn and blasting sweet melodies that symbolize the happy news we’re about to share. We’re beyond thrilled to announce that Mondo Lava is returning to the label for the first time since 2018 with Utero Dei – to be released on August 12th on tape, CD, and digitally.

You can check out / pre-order the album on Bandcamp and learn more about it on the catalog page.

James Ketchum and Leon Hu record under the name Mondo Lava. Their music channels the prismatic psych-pop of 1970s tropicália and compositional frameworks from dub, free jazz, and new age music into the hazy atmospheres and the homespun production quality of lo-fi straight-to-cassette recording in the spirit of the US experimental underground. With band spearhead Ketchum living in Pamplona, Spain and Hu residing in Davis, California where the band was formed, their project which has existed in various forms since 2006 blesses the world with new material whenever Ketchum and his collaborators flesh out a new program of beautifully fried excursions into their humid rainforests of sound. Following 2014’s Parrot Head Cartridge (HAUSMO26) and 2018’s Ogre Heights (HAUSMO77), Mondo Lava returns to Hausu Mountain with the sprawling 75-minute album Utero Dei. While the band has always stretched their releases to mind-altering durations to give their spiraling keyboard lines and hand-performed percussion room to blossom through cycles of ecstatic repetition, Utero Dei sets a new high watermark for their output with its diverse menu of transportive sonic biomes. While the tenets that have defined the project since its inception — the exploitation of tape-deck production quality to otherworldly ends, the freewheeling jouissance of lead-instrument improvisation coupled with the zoned-out potential of loop-based rhythmic foundations — remain firmly intact, Mondo Lava presents Utero Dei as a camp nestled deeper out into the vegetation than ever before. They offer us the aural equivalent of pushing aside giant palm fronds to discover an amusement park waiting for us in the clearing ahead — wooden roller coasters, derelict sideshow game booths, flickering neon signs, all still functioning with no other signs of life around. Who built this here, of all places, and how long ago?

We’re so thrilled to announce a new addition to the Hausu Mountain roster – please welcome Cocojoey with open arms and a tunnel of high fives.

ANNOUNCING: Cocojoey – STARS – coming out on June 20th on CD, cassette, and digitally… as well as various merch options with download codes.

Chicago-based composer/producer Joey Meland makes music under the moniker Cocojoey. Treating genre conventions and ostensible barriers between disparate musical vocabularies like playthings to gleefully smash and reshape at will, Meland channels decades of experience as a polymathic professional musician adept in styles like metal, jazz, synthpop, and experimental sound design into their infinitely combinatory compositions. STARS, their first album on Hausu Mountain, follows the self-released COCOJOEY’S WORLD (2022) with a spellbinding burst of heart-on-sleeve self-expression. The album finds Cocojoey indulging their most adventurous impulses in production and technical instrumental performance, launching into a constantly morphing program that contrasts day-glo earworm hooks against cathartic moments of screaming intensity. Describing their work as an outlet to navigate difficult emotions and negative experiences through overwhelming bursts of absurdity, Meland’s music exudes warmth and finger-wagging mischief as it exhumes the depths of their psyche with the pure-hearted goal of making their audience smile — when those listening find a chance to breathe within the ecstatic overstimulation.

You can read even more about the album HERE and head over to the Bandcamp page in the embed above or HERE. 

ANNOUNCING:
Erica Eso
Songs In My Pocket Like Grains Of Sand

coming out on May 27 on CD, tape, and digitally! First track “Look Around You” streaming on our Bandcamp and all the other zones.

Kingston, NY-based composer / vocalist / producer Weston Minissali makes music under the moniker Erica Eso. Minissali’s work as Erica Eso injects strategies associated with the electronic avant-garde, including microtonal note voicings and advanced synthesis, into ornate compositions shaped in the idiom of art pop and focused on the keyboard as a primary instrument. Since forming in 2015, Erica Eso has shifted through diverse personnel configurations for live performances and their studio recordings released with NNA Tapes and Ramp Local, before settling into a quintet for their Hausu Mountain debut 192 (HAUSMO124, 2022).

For his new album Songs In My Pocket Like Grains Of Sand, Minissali approached composition as a solo process, honing in on the granular details of his own songwriting and electronic production. Bolstered by the experience gained over the years he spent experimenting in his elaborate self-constructed home studio, Minissali sought to tie his artistic practice holistically into his daily life, cutting away inessentials and focusing inward both in sound and in lived experience. Songs In My Pocket offers us Minissali’s most adventurous songwriting and his most ornate production to date, pushing the Erica Eso project into new realms of complexity characterized by complete freedom in electronic arrangement. What once could have been called “DIY bedroom pop” now showcases Minissali’s time-earned studio expertise, brought to life by what he describes as “a much better (but still limited) understanding of just how expansive a studio-based process can be.”

ANNOUNCING: Bill Orcutt Guitar Quartet – HausLive 4 – out April 29 on cassette and digitally.

Hausu Mountain continues the HausLive series of live show recordings that capture some of the headiest moments in Chicago underground music. On HausLive 4, we rewind the clock approximately one year to May 3rd, 2024 at Constellation, where the all-star Bill Orcutt Guitar Quartet (featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish) made their barn-burning Chicago debut. The series channels the spirit of the informal bootlegging and tape trading of audience recordings as pioneered by the community surrounding the Grateful Dead, honing in on the raw live energy and in-the-moment emotions that can make any show stand out in the stream of time. Selected as part of the label’s ongoing collaboration with the prolific Chicago taper and HausMo mega-friend Joel Berk, HausLive 4 catches the Bill Orcutt Guitar Quartet in a sublime state of tour-hardened synergy with one another as they tear through the four-string guitar compositions that Orcutt wrote for his album Music for Four Guitars (Palilalia Records, 2022) with dialed-in fingers-on-fretboard precision, while also letting those songs evolve into flights of improvisation and extend into solo and duo passages led by each of the four guitarists. As Orcutt says on tape during one of the show’s interludes, “that record is thirty minutes; this show is an hour, so we’re improvising.” The resulting free-wheeling moments combine with the rigidity of Orcutt’s meticulous four-guitar compositions to form a program of music that draws power in equal measure from the forces of chance and discipline.