ANNOUNCING: A Cocojoey twofer – out November 6th!!!

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STARS REROLL (HAUSMO160):

A team of HausMo producers reimagine Cocojoey’s 2025 album STARS. Includes remixes from Fire-Toolz, d’Eon, Trust Fund Ozu, RXM Reality, Mukqs, MrDougDoug, and two self-remixes from Joey too! Available on CD and digitally.

First single “TINY SPRITE (COCOJOEY DANCE MIX)” available for your listening pleasure right now on Bandcamp & beyond! For more info head to the STARS REROLL catalog page

COCOJOEY’S WORLD (HAUSMO161):

Hausu Mountain is delighted to return COCOJOEY’S WORLD to the physical world with a proper tape / CD reissue that features a bonus track and updated artwork / packaging from HausMo Max. The 2022 album demonstrates that Meland’s spellbinding omni-genre production style, hyper-intricate vocal and keyboard performances, and earworm hook sensibilities were all there from the jump – a culmination of a lifetime of musical exploration and personal growth that manifests in grand fashion from the project’s earliest material.

forthcoming on tape, CD, t-shirt w/ DL code, and digitally. We’re also pleased to present all of Cocojoey’s in-print albums as discounted bundles organized by format.

for more info, head to the COCOJOEY’S WORLD catalog page.

ANNOUNCING:

Kill Alters

We Can Rot Together

To be released on October 16th on tape, CD, digitally, and t-shirt + DL code.

First single “DOUBLE-SLIT” now streaming on Bandcamp & beyond!

Kill Alters returns to Hausu Mountain with We Can Rot Together, the project’s third album in the label’s catalog. Spearheaded by Bonnie Baxter since the project’s inception, Kill Alters has previously featured drummer Hisham Bharoocha (Lightning Bolt, Black Dice, Boredoms) and Baxter’s husband Nicos Kennedy (a frequent collaborator of Machine Girl, Femtanyl, and Lustsickpuppy) as performing band members.

In its most recent configuration, Kill Alters has shifted to focus on Baxter as the composer, producer, and lead vocalist propelling her ballistic solo work from a command center of hardware and software instruments – with Kennedy handling the mixing and mastering of Baxter’s music. Bonnie Baxter’s work has appeared in the HausMo catalog on two solo albums under her given name, and on five releases as half of the duo Prolaps with Machine Girl’s Matt Stephenson.

On We Can Rot Together, Baxter offers us a thrilling program of her most direct and dancefloor ready bangers under the Kill Alters umbrella to date as she channels energy from various flavors of 90s-to-Y2K-era rave music. She has honed her practice both as a sculptor of polyrhythmic webs of technoid electronics and as a frontwoman shapeshifting on a dime through diverse vocal styles and personas. As with all Kill Alters music, Baxter weaves archival recordings of her own childhood and her upbringing with her mother into the chaos of We Can Rot Together – yet the tenor of these diaristic flashes has shifted from cathartic self-examination into the realm of celebration. As we hear flashes of Baxter singing karaoke as a child and her mom brashly proclaiming “I’m gonna dance,” we get in the spirit with them; we get on the floor and we headbang to the sounds that Baxter has conjured for us.

hey HausMoNauts! We’ve got some particularly exciting news to share! Sound the bugle: there’s a new HausMo artist on the scene. Introducing Crying Laughing from Baltimore!

Crying Laughing –

Talking

out 09/10 on HausMo

The debut album from the new Baltimore quintet explores Reich/Riley/Glass style minimalist composition in the context of wiry post-punk. two saxes, keyboard, bass, drums. music for your mind & your body. First track “Toppled Column” streaming now on Bandcamp & beyond. Talking is available for pre-order on tape, CD, digitally, or t-shirt with DL code from the HausMo Bandcamp!

Melvin Gibbs returns to Hausu Mountain with the single “Lift Every Voice and Sing” – his first new recording to be released after the publication of his first book How Black Music Took Over the World, presented in concert with the central themes and overlapping personal histories that he explores in his writing and his scholarship. For the single’s artwork, Melvin Gibbs selected a photograph of his father Rufus Gibbs Jr. holding him on a New York City sidewalk as a baby.

In Gibbs’s own words:

“My Anamibia Sessions records are based around electronics, sound design, and sound manipulation. And the music, overtly on Anambia Session 1: The Wave, and covertly on Amasia: Anamibia Sessions 2, has been highly conceptual. To balance that out, I wanted to drop something that really got to the point, something that is just about the song and what I bring to the table as a bassist.

This solo electric bass arrangement of “Lift Every Voice And Sing”, the song written by the brothers James Weldon and J. Rosamond Johnson that the NAACP officially declared “the Negro National Anthem” in 1919, was commissioned by the National Society of Black Physicists. I first performed the piece at the opening of their 2019 conference. I’ve played it at my solo performances since then. My thinking was that I’d hold off releasing a recording of it until I dropped an album that was solely solo electric bass pieces. But the discussions I’ve had in wake of the release of my book How Black Music Took Over The World prompted me to release something under my own name that points directly to the musical heritage of Black Americans. So I’ve decided to record and release my arrangement of the Negro National Anthem now.”

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“Lift Every Voice and Sing” is now available on Bandcamp as a digital single, where you can also pick up Melvin’s book directly from us, as a standalone hardcover and as a bundle with his most recent album Anamibia Sessions 2: Amasia.

ANNOUNCING: Mukqs – Juckport

To be released on June 12th, 2026 on Tape, CD, digitally, and tank top w/ DL code.

First single “Octopascal” – now streaming on Bandcamp and all the other steamy streamy situations

Max Allison co-founded Hausu Mountain with Doug Kaplan in 2012 and serves as the label’s resident visual artist and designer. Since 2013 he has made solo music under the moniker Mukqs, which finds him twisting elements of ambient music, noise, techno, video game music, and free-for-all sample collage into rapidly shifting productions united under the banner of his strictly live, hardware-focused practice. Mukqs releases have appeared on labels including Orange Milk, Patient Sounds, Husky Pants, Jacktone, No Rent, Midwich, Doom Trip, and Umor Rex. Allison performs as a member of projects including free music trio Good Willsmith, rock band BBsitters Club, noise duos Tasha’s Hideous Laughter and Manual Pollination, and a number of collaborations with musicians and friends based in his home of Chicago. In 2022 Allison started the Hausu Mountain satellite label Blorpus Editions, home to a growing catalog of dozens of releases by an international cadre of contemporary experimental artists.

Juckport, Mukqs’s first album in nearly two years, is animated by a duality of glitched-out abstraction and intangible bliss. Synthesizer pads stretch beyond the imagination’s horizon line, counterbalanced by a churn of clipped samples that scatter across the stereo field like rapidfire psychedelic flashbacks. Cohesion emerges through textural continuity and development rather than repetition or pattern-making. Blink and innumerable details might slip by unnoticed, and the landscape might have shifted entirely. Still, as more viscous sounds enfold the listener, they communicate a calm, settled mindset, reflecting the motion of a creative mental state; large amounts of information cohere into a focused stream that reacts intuitively with the introduction of each new complicating element.

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.”