RECEIVER

Music as architecture. 
Based in London, UK. 

Limited edition vinyl of our debut album Sidpa Bardo is out now!! Support music and buy a copy..
https://blackmoon1348.bandcamp.com/


Tibetan DoomCore, Industrial Hip-Hop/ Doom, 

From the depths of a clandestine Tibetan cave, lying high on a mountain peak BlackMoon1348 was reincarnated.

If Jesus and Mary chain had a demented child with Sunno)))

Also Find us at, 
https://www.facebook.com/BlackMoon1348

29th Century Sonny & Cher

Dom Gourlay, Drowned In Sound says:
“industrial rhythms, nascent electronica and feedback heavy drones with pop sensibilities not that dissimilar to The Raveonettes or The Kills. Except louder, much louder” 

Buy our stuff from http://thedeathline.bandcamp.com/

“All throbbing phallic guitar lines, dirty electronica and moody telephone-line vocals” 
Bizarre

“Fusion of smutty electronica, suicide-esque atmospherics and post-punk vocals” 
Artrocker

"Hypnotic post industrial beats, a relentless guitar riff combined with nods to The Velvets & Nico, Einsturzende Neubauten and the Mary Chain is pretty much guaranteed to get our toes a-tapping " 
The Von Pip Musical Express

“Noir Rock with grinding drums that spit out short sharp burst of venom and a broody as hell bass give this duo a minimal Jesus and Marychain like vibe”   Artrocker

“…touches of the band Suicide but mix it with a 60s psychedelic sleazy sound” 
Music Week

“Deathline should probably come packaged in a leather jacket and shades and instantly give you an inferiority complex.” 
Sounds XP

“Short, sharp and sledgehammering home the point, the plethora of layers contained in the grungy burst drift around within the track, at times overlapping and at others crashing into each other spectacularly” 
Shout 4 Music

“Their unceremonious mash-up of guitars and technology sounds like the grinding in the gearbox of the modern world. Remember when bands had to be electronic or guitar driven, but not both? Kraftwerk or The Clash, you had to choose. These days, you can be bits of both.” 
Nemesis To Go

Jennie (Vocals/Bass) | Kaoru (Guitar/Programming)


A native-born Texan, John Michael Pekowski, PhD (b. 1975) began composing music at age 11. Simple improvisations on the family upright piano were followed by electronic compositions in BASIC code on the TI-99 computer.

In Junior High (1988) he was elected President of the Science Club, served as Social Chairman of the band, was awarded the John Philip Sousa Award, and was a featured soloist on trumpet. In High School (1994) John was section leader, co-principal trumpet of LYSO, Jazz One soloist (TTU Band Camp), and TMEA All-State Concert Band participant.

He was a member of the Texas Tech University Jazz One, Symphonic Band (1994-2002), recorded with the fee-improvisation ensemble YATE, his dissertation greatly advanced our understanding of the hierarchical organization of pitch-interval cycles within a voice-leading context, and was in contention for the Graduate Achievement Award.

The world premiere of his composition Jest of Moonlit Point for Pierrot Quintet, took place in 2024 and was performed by the Texas New Music Ensemble conducted by Bill Tacket. In 2021 Forest of the Birdsong for soprano sax (David Dees) and piano (Nataliya Sukhina) was premiered at Crickets Theater / Buddy Holly Hall.

Dr. Pekowski continues to compose classical instrumental. Recent works include String Quartet Suites No. 1-9 (2019-2022), Jest of Moonlit Point for Pierrot Quintet (2024), Brookhollow Bayou for Solo Flute (2024), and Suite for Orchestra No1-No2 (2023-2025).

RECEIVER

Broken Wires