• Record/Vinyl + Digital Album

    7" pressed up in a hand-screened jacket on transparent red, opaque blue, and black vinyl. According to Wikipedia, "the basic parameters of the music single were made in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12-inch/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.

    The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.

    With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. The breakthrough came with Bob Dylan's "Like a Rolling Stone", although CBS tried to make the record more "radio friendly" by cutting it in half and spreading it over both sides of the vinyl, both Dylan and fans demanded that the full six-minute take be placed on one side and that radio stations play the song in its entirety. The subsequent success of "Like a Rolling Stone" played a big part in changing the music business convention that singles had to be under three minutes in length."

    Thanks Wikipedia. This single runs about 4:50 on the A Side, and boasts a killer remix from one of the most consistently engaging percussionists in creative rock music, Doug Scharin, on the B Side.

    Includes unlimited streaming of Sephfus 7" via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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Sephfus 04:50


In the midst of writing their second long player, avant rock trio Hyrrokkin rerecorded three of their earliest pieces with engineer Jason LaFarge (Swans, Devendra Banhart, Haitian Rail, Angels of Light) at Seizures Palace in Brooklyn. A celebration of the band's inception- vital days marked by endless of hours of practice and pontification, with at least one member living in the practice space- the group invited friends and influences to remix and re-compose the three pieces. To cap off the project, New Atlantis Records will release the music as 7" singles in hand-screened jackets, with their remixes on the B-Side.

Sephfus, the first release of the series, is a dynamic piece with an electric backbone, marrying odd-time signatures to free-time, scattershot bursts of searing improvisation. The tune bears the influence of both the discordant rock music of the Washington DC/Chicago underground, and the climactic formulations of free jazz/energy music. Hyrrokkin, in their welcome abundance of angularity and dissonance, offer something genuinely new to the devout consumer of new music- through eschewing repetition and embracing a broad range of influence, the trio are expanding the compositional lexicon of free-ranging rock music. Meanwhile, the name 'Sephfus' was gleaned from a decrepit mailbox in front of a camper in Ohio's amish country.

Sephfus is bundled with Same Size in the Sky on the flipside- a reinterpretation of the piece by the mighty percussionist Doug Scharin under the Activities of Dust moniker. The fluid timekeeping for which he is best known (with legendary creative rock units June of 44, Codeine, Rex, H.I.M., and more) is on full display here… The remix offsets the churning rhythm of the initial piece with electronic accents on the upbeat, and the guitar is filtered through a wall of dubbed-out sound.

Grip your copy on September 23 via New Atlantis! In fact, why not go ahead and snag it on transparent red vinyl while you can. Such is the nature of consumption.


released September 14, 2014

Brett Nagafuchi: Drums
Edward Ricart: Guitar
Paul Larkoski: Bass

Recorded & Mixed by Jason LaFarge @ Seizures Palace
Masted by Bob Weston @ Chicago Mastering Service

Remix by: Doug Scharin's Activities of Dust
Mastered by: Nathan Q. Moore

Art Direction & Design: The Designer's Republic
Printing: Little Monster Print Shop


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New Atlantis Records Yellow Springs, Ohio

New Atlantis Records is an independent record label documenting exceptional creative music, from avant jazz and free improvisation to vanguard rock music, and beyond. The ever-blossoming catalog features contributions from Elliott Sharp, William Hooker, Microwaves, Paul Dunmall, Blind Thorns, Dave McDonnell Group, Thollem McDonas + Sara Lund (Unwound), Hyrrokkin, Haitian Rail, Keir Neuringer, etc ... more

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