Search results for "TROUM"
"TROUM" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| ALDINUCCI, GIULIO |
Shards of Distant Times |
CD |
ALDINUCCI's extremely elevated "sacral drones" seem to come directly from the sky, high pitched voice choirs and granular particles along with melancholic and yearnful harmonies spread out, reminding on a mixture of most spheric TROUM and TIM HECKER..." explores the liminal areas of the contemporary soundscape that are characterized by the presence of human voice coming from old and timeworn recordings.." - CD version, cardboard cover
|
2020 |
€13.50 |
 |
| |
Shards of Distant Times |
LP |
ALDINUCCI's extremely elevated "sacral drones" seem to come directly from the sky, high pitched voice choirs and granular particles along with melancholic and yearnful harmonies spread out, reminding on a mixture of most spheric TROUM and TIM HECKER..." explores the liminal areas of the contemporary soundscape that are characterized by the presence of human voice coming from old and timeworn recordings.." - 300 copies
|
2020 |
€19.00 |
|
| ASIA NOVA [=ASIANOVA] |
Burns Alive! |
CD |
re-issue of a rare CDr from 2008 with finest quality live recrodings from their 2007 tour with TROUM through Europe; 70+ minutes of deeply ethereal, heavenly melancholic handplayed psychedelic / transcendental drone ambience, incl. the long "Arabian Aria" bonus impro session from Trieste... - ASIA NOVA is: the two members from VOICE OF EYE, plus URE THRALL - 4 panel digipak with numbered inlay card, lim. 100 only !!
|
2023 |
€14.00 |
|
| BAKER, AIDAN |
Gathering Blue |
do-LP |
gatefold-cover lim. 444 copies designed by ALAN MC CLELLAND, coming in three vinyl colours! Feat. new material, a JOY DIVISION cover-version of "Twenty-four hours", the CICATRICE mCDR (Dreamland Rec.), THE TASTE OF SUMMER ON YOUR SKIN mCDR (Taalem), and two remixes of tracks by BUILDING CASTLES OUT OF MATCHSTICKS and TROUM that appeared before on the "Remixes" CDR (Arcolepsy). A wonderful collection of introspective & poetic drone-ambience !
|
2009 |
€24.00 |
|
| BARAKA[H] |
ILLUMINESCENCE |
maxi-CD |
first ever solo-release by the TROUM and ex MAEROR TRI member and special jubilee release for TAALEM, a 4 track, 5" 'minimax' EP with 'songlines' of ethereal, melancholic guitar drones... " a yearning for something that is absolutely not 'visible' or tangible. i don't know what it is, but there must be something hidden in the air, in the sounds, in the sensations..." - standard ed. of 200 copies; master: STEPHAN MATHIEU; artwork: HITOSHI KOJO
|
2020 |
€9.00 |
|
| BRANT, JACOB |
Rainmaking |
mCD-R |
highly recommended newcomer creating multi-layered, shimmering dronescapes with powerful washes of winds & harmonics - somehow guitarish, 'post rock' elements are involved, , truly elevating! For fans of TIM HECKER; TROUM; etc... filed under: energetic beauty drones & overtunes; 22 min. in mCD box
|
2013 |
€6.00 |
|
| BU.D.D.A. |
All Der Guten Dinge Drei |
CD |
the new project of B*TONG and EMERGE, named "Bund des Dritten Auges" ("League of the Third Eye") with first release, here also joined by DIETER MAUSON (of NOSTALGIE ETERNELLE and nowadays OCCUPIED HEAD) => three tracks of very dense and punctuated drone-ambience, highly recommended! "For those who need names, it may sound like Troum meets Earth together with Eno." - fabric pressed CD, lim. 100 copies only !
|
2019 |
€10.00 |
|
|
Diese Anmut von Trophäen |
MC |
"Think of EARTH meets TROUM together with BRIAN ENO on LSD... " - stunning new album of the experimental ambient / drone project founded by B'TONG & EMERGE with lots of surprising elements, feat. guest musicians from COMMON EIDER / KING EIDER, DREKKA and BEBAWINIGI... - the cassette version is limited to 70 copies - bronce C-65 cassette, packed in ivory case, full colour fold out cover, DL code
|
2022 |
€10.00 |
|
| |
Diese Anmut von Trophäen |
CD |
"Think of EARTH meets TROUM together with BRIAN ENO on LSD... " - stunning new album of the experimental ambient / drone project founded by B'TONG & EMERGE with lots of surprising elements, feat. guest musicians from COMMON EIDER / KING EIDER, DREKKA and BEBAWINIGI... - the CD version lim. 300 in double cardboard sleeve with three insert
|
2022 |
€13.00 |
|
| CLOUWBECK |
Wolfrahm |
CD |
behind CLOUWBECK we find RICHARD SKELTON (also active as A BROKEN CONSORT), who spreads here beautifully poly-layered violin-drones, always shifting & waving and building organic landscapes of metallic shining acoustics.. . absolutely stunning & highly recommended if you like multi-layered drone-harmonics as TROUM, VOICE OF EYE, CISFINITUM, ULTRA MILKMAIDS, etc..
|
2009 |
€13.00 |
|
| D-EFFECTS |
No. 3 |
mag |
music, philosophy, literature, texts, cinema, art, german language. KONRADIN LEINER, TRANSGRESSIVE CINEMA, ASIA ARGENTO, JÜRGEN PLOOG, ZOMBIES, DICTIONNAIRE CRITIQUE, the history of COUM transmissions, TROUM-Interview, SARDH, RITUALMUSIK UND AKUSTISCHE INNENRAUMFAHRTEN, WOLFGANG MÜLLER-Interview, etc..
|
2005 |
€3.50 |
|
| DAVID [TIBET] |
Ferelith |
CD |
first ever solo-album of DAVID TIBET from CURRENT 93 - this is also the first in a series of 5 albums from him => two side-long pieces of transcendental ambience, mysterious and harmonic underneath (did someone say "sounds like MAEROR TRI or early TROUM?") ... ; the CD version comes in a mini LP sleeve with 'Japanese style' transparent paper insert.
|
2021 |
€16.00 |
|
| DISFATUM |
Death Instinct |
CD |
impressive debut CD for this female Russian dark ambient & emotional drone project from Novosibirsk => yearnful chants and guitars, synths, big reverberation clouds and noises, slow percussive elements from far away, lonely melodies drifting through endless spaces... inspired by FREUD's Death Drive theory, this music searches for the deepest (purest) point of the mind, where all structures disappaer... imagine a mixture of / sounds similar to GROUPER, TROUM, TAPHEPHOBIA or MONOCUBE..
|
2019 |
€12.00 |
|
| E/I MAGAZINE |
MUSIC ELECTRONIC AND OTHERWISE - Issue Seven (Summer 2006) |
mag |
articles on JOHN DUNCAN, TROUM, MUSLIMGAUZE, CHRISTOPHER WILLITS, RADBOUD MENS, INFRACTION, RUNE GRAMMOFON, 'ellipsis' by COLIN NEWMAN, 150+ reviews... great full colour mag from the US |
2006 |
€8.00 |
|
| EXIT IN GREY |
Nowadays Warm |
CD-R |
re-edition of the first EIG-album from 2004; highly melancholic ambient drones from Russia; comes in full colour cardboard cover, compared to guitarish TROUM or AIDAN BAKER solo; BACK IN STOCK!
|
2006 |
€9.00 |
|
| FARGUE |
Ruines, Irradiees |
CD |
one of the most surprising releases on Cyclic Law (new sublabel CAVSAS) lately is this album by the Swiss/Finnish band FARGUE with hardcore and black metal roots, who combine ambient, rock and impro influences for their vision of "DRONE ROCK" - using handplayed drums, heavy guitars, synths.. think of OISEAUX TEMPETE, SAVAGE REPUBLIC, FRANK VIGROUX, TROUM, or even VIBRACATHEDRAL ORCHESTRA! ... - 300 copies
|
2021 |
€13.00 |
|
| FEAR DROP |
No. 16: LA ZONE GRISE |
mag & CD |
finally a new FEAR DROP (best french mag for ambient & experimental music) issue, on the theme "GREY AREA"; feat. two long essays by publisher DENIS BOYER, plus articles about COILs ANS-work, HUMAN GREED; STEVE RODEN, BERNHARD GÜNTER, and the very first interview / article about our 10" series SUBSTANTIA INNOMINATA! + compilation CD with mentioned artists and CISFINITUM, TROUM, YANNICK FRANCK, L. MARCHETTI, M. DELPLANQUE, etc.. a definite MUST HAVE, highly recommended!!! Exclusive material only !
|
2012 |
€12.00 |
|
|
No. 17: Arctic Antiphon - L'imaginaire musical des glaces |
mag & CD |
new volume of the best French magazine for ambient & experimental music, this time on the theme "Imaginary Ice Soundscapes"; feat. interviews with THOMAS KÖNER, JANA WINDEREN and A. TEDESCHI (GLACIAL MOVEMENTS), diverse articles & reviews (TROUM & AIDAN BAKER / BIOSPHERE / S. MATHIEU, etc..) and a CD with exclusive tracks recorded for this issue by KÖNER, WINDEREN, COH, MARC NAMBLARD, FINAL, NETHERWORLD, etc.. highly recommended, French language
|
2014 |
€12.00 |
|
| |
No. 18 (Les Pistes Sauvages) |
mag & CD |
incredible edition about the "Chants of the Waters, Forest and Night" with long articles about the symbolism / romanticism of these notions (feat. W. BASINSKI, TROUM) and features about MICHAEL BEGG, MANINKARI, O YUKI CONJUGATE, COIL [+ long exclusive live track on the CD), THE CURE, + CD with exclusive material by most of the same artists and: ZOVIET FRANCE, F. LOPEZ, TOY BIZARRE, LAWRENCE ENGLISH, JANA WINDEREN, MARC NAMBLARD, MARTYN BATES, STEVEN WILSON, Y. DAUBY - if you only buy ONE music mag this year it must be this!!!
|
2020 |
€12.50 |
|
| FINAL |
It comes to us All |
LP |
first new FINAL album since 2015 (JUSTIN K.BROADRICKs solo project for experimental / ambient tunes), orchestral / epic drone noise with great harmonic undertones, melancholic and emotional...- "Rather than channelling the angst of early power-electronics, the noise here rumbles along blissfully through 8 untitled tracks, sombre in tone and at times beautiful... an exploration of the decay of all living things that we face collectively, day after day.." - reminds on TIM HECKER, TROUM, etc.. - lim. 400
|
2022 |
€28.50 |
|
| |
It comes to us all |
CD |
first new FINAL album since 2015 (JUSTIN K.BROADRICKs solo project for experimental / ambient tunes), orchestral / epic drone noise with great harmonic undertones, melancholic and emotional...- \\\"Rather than channelling the angst of early power-electronics, the noise here rumbles along blissfully through 8 untitled tracks, sombre in tone and at times beautiful... an exploration of the decay of all living things that we face collectively, day after day..\\\" - reminds on TIM HECKER, TROUM, etc.. - lim. 200
|
2022 |
€16.00 |
|
| FOSCA, ANA |
Poised at the Edge of Structure |
CD |
impressive debut CD by this female Danish artist, somewhere between PUCE MARY and the industrial side of MAEROR TRI / TROUM, says the info, a dark & violent trip, which is also a suggestive , surrealistic one, pointing to the Unconscious.. "Cyclonic patterns of oppositional forces, searing noise, and ominous drone, bellowing repetitive chants deep in the mix; a cathartic incantation where meaning can be found within all of this agony and despair."
|
2022 |
€15.00 |
|
| LINGUA FUNGI |
Flowery Dreams |
CD |
FOR YOU, LITTLE SEED - the debut album of this Finnish "subconscious ethno/folk drone" project, mainly created with real instruments (flutes, guitars, bass, mandolin, various percussion tools).. "Magical journey through the strange dreams in beautiful flowery scenery, drifting and melting. No sharp line between sorrow and joy, dark and bright moments".. long waving organic ambience for fans of ALIO DIE, JÜPPALA KÄÄPIO, ORIGAMI ARKTIKA, ethereal TROUM, etc..
|
2006 |
€13.00 |
|
| MERNAGH, SIOUXZI |
THE DANGERS. The most dangerous Plaything is Woman |
DVD-R |
short film with soundtrack by TROUM & VOICE OF THE SEVEN WOODS; a great surrealistic piece by this female Australian film-maker, who developed the concept of a "Subconscious Narrative". For fans of DAVID LYNCH, etc. Australian import
|
2009 |
€10.00 |
|
| NIMH & ANTIKATECHON |
Out Hunting for Teeth |
CD |
a very dark and at times noisy work for NIMH, who teamed up with ANTIKATECHON (ex ORNAMENT)... repetitive synths and guitar sounds and a background wall of noises build the main basis for this trip into deepest unconscious areas, a mixture of harmonic guitar drone & symphonic dark ambient, like AIDAN BAKER or TROUM meeting DESIDERII MARGINIS or ARCANA ? 4 tracks, 47 min.
|
2013 |
€12.00 |
|
| NORTHERN VALENTINE |
The Distance brings us closer |
CD |
band from Philadelphia doing mellow / warm guitar-driven ambient drone spheres with an experimental edge, feat. BEN FLEURY-STEINER (LIGHT OF SHIPWRECK); sounds similar to LABRADFORD, ULTRASOUND, ULTRA MILKMAIDS, AARKTICA, more quiet TROUM... very nice
|
2009 |
€12.00 |
|
| OLHON |
 Lucifugus |
10inch |
processed field recordings from an abandoned water tank; first vinyl release for the project of BAD SECTOR & WHERE !! lim. 500 on orange vinyl, artwork by TILMANN BENNINGHAUS known from the CISFINITUM - Devotio 10" (SUB-04) and IGNIS SACER LP (TROUM vs. NID)
|
2009 |
€12.00 |
|
| ONDO |
Sol |
CD-R |
very limited CDR-release from this Swedish "doom drone"-project, here more experimental & dark eerie droning.. excellent one-tracker, compared to OMENYA, RAISON D'ETRE, TROUM.. lim. 100, nice full colour sleeve
|
2010 |
€9.00 |
|
| ORSI, FABIO |
Qui Vicino |
CD & booklet |
the Italian master of subtle "intimate daydream ambience" encharms with a melancholic 33 min. piece based on a most sublime & harmonic evolving guitar drone, soft as a summer breeze and going round in slow circles...think of: ULTRA MILKMAIDS, early AIDAN BAKER, STARS OF THE LID, TROUM.... comes with 16 page A4 booklet with b/w pictures taken by ORSI himself, showing the lonely moments of daily life....lim. 250
|
2014 |
€15.00 |
|
| PEAL GRIM |
same |
CD |
side project of Russian artist DMITRY SHILOV (maybe better known as NEZNAMO) with overwhelming, nicely distorted guitar drones, hyper minimal & full of orchestral overtunes and layered guitar melodies expressing an endless yearning... think of NADJA, 'N', or TROUM... lim. 100
|
2015 |
€12.00 |
|
| PERISTALITH |
same |
CD |
the label from Essen, Germany, became a great place to discover new names of the international drone scene, who often use guitars as their priority instrument.. - PERISTALITH from San Franccisco performs on various (self build) objects and instruments with bows, creating at times massive, at times very harmonic and beautifully resonating "full drones", think of MUHAMMAD, TROUM, FENNESZ or DANIEL MENCHE's best drone works.. - lim. 250, highly recommended !!
|
2022 |
€13.00 |
|
| PHANTOM SHIP |
Spheres |
CD-R |
Italian emotional ambience and melancholic / orchestral / industrial drone, everything is drowned in heavy effects and stirring noises & slowly waving resonances and feedbacks, but keeps a harmonic basis in the massive ghost-scapes (often based on guitar sounds it seems)....reminded us on MAEROR TRI / early TROUM, VOICE OF EYE or RAISON D'ETRE, highly recommended !
lim. 150, professional duplication & digipack cover
|
2015 |
€12.00 |
|
| SEEMANN |
Fluss |
CD-R |
recommdened ambient solo-album by the TUMORCHESTER member who uses piano, bowed bass and multiple effects and creates a dark oceanic, harmonic one-tracker (25 min.), beautiful shimmering sound waves rise to the surface, and ebb away, inside this huge and waving amorph drone ocean... think of TROUM, TIM HECKER, MOLJEBKA PVLSE, etc..:: comes in handmade / full-colour cardboard cover
|
2019 |
€6.00 |
|
| |
Klamm |
CD-R |
the second solo album for the TUMORCHESTER member, the titles of the tracks, "KELLER" (cellar), "KATAKOMBE" (catacomb), and "KLAMM" (clammy) show already the direction: these are dark droning resonances with cold metallic effects, reminding on old ASMUS TIETCHENS, enriched with lighter droning spheric ambient passages a la TROUM.. excellent stuff again !
|
2018 |
€7.00 |
|
| SIJ & ITEM CALIGO |
Queer Reminiscence |
CD |
very peaceful ambient-collaboration mainly based on perfectly arranged synths, neo-classic elements meet drone ambient minimalism, but also more broad waving atmo clouds appear.. always harmonic and slow, full of nostalgy and melancholy, music for peaceful, isolated landscapes... for fans of CELER, ALIO DIE, or more harmonic TROUM.... lim. 200
|
2017 |
€13.00 |
|
| SPECIMENS |
Sculptures |
LP |
great debut LP by a new "experimental drone" project from London, working mainly with guitar feedbacks, resonances and overtunes (but also with other sources like piano, gongs, field recordings, etc..), creating amorph sculptures with sound, without loosing a harmonic and often subtle basis... think of AUN, PETER WRIGHT or TROUM.... a lift into timelessness and day-dreaming spheres.. mastered by LAWRENCE ENGLISH
|
2016 |
€18.00 |
|
| |
In the Dust of Idols |
LP |
difficult to find second LP by the London based "Drone-Mind" compilation artist, these are wonderful hazy, dusty atmospheric miniatures (based on guitars, voice, field rec., organ, synths, sax, cello..) full of beauty and melancholy, inspired by existentialist questions... recommended to fans of R.A. IRISARRI, TROUM, LAWRENCE ENGLISH (who did the mastering again); ed. of 300 copies on white-blue splatter vinyl, with inlay
|
2018 |
€20.00 |
|
| STROM NOIR |
Famadihana |
mCDR |
wonderful guitar drone muzak inspired by a funeral ritual of a tribe in Madagascar .- endless spaces, mildly distorted, slowly evolving/devolving overtunes & hisses.. think of FINAL, N, EXIT IN GREY, TROUM..
|
2012 |
€5.00 |
|
| SYNDROME |
Now and Forever |
LP |
last copies of the vinyl version of the third SYNDROME release, the project of MATHIEU VANDEKERCKHOVE (SEMBLER DEAH, AMENRA) form Ghent, Belgium => one long profound / philosophic piece of super minimal guitar-ambient drone folk with vocals, feat. JOSH GRAHAM (ex NEUROSIS, A STORM OF LIGHT) and COLIN VAN EECKHOUT (AMENRA), so slow, fragile and emotional, think of STEVE VON TILL (the voice) or TROUM (the polyphonic guitars)...
|
2013 |
€20.50 |
|
| TAPHEPHOBIA |
Escape from the mundane Self |
CD |
the emotional & melancholic side of dark ambience, using especially spheric guitar-based sounds & dark harmonies, the perfect soundtrack to an introspective inner journey, excellent new album reminding on TROUM/MAEROR TRI, DESIDERII MARGINIS, etc.. beautiful & desolate at the same time!
|
2013 |
€13.00 |
|
| URE THRALL |
Arabian Knightmares |
CD |
re-release of the CDR from 2004 / comes in specially designed cardboard-box folder & with 8 postcards (full-colour); feat. the two great tracks from the Drone Rec. EP - think of the marriage of ZOVIET FRANCE, VOICE OF EYE, TROUM.. |
2006 |
€8.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
Evolved As One - a Collection of emotional Ambient Drones |
CD |
we think: simply one of the best "emotional drone" compilations of all time! Last copies back in stock, now for special price, ed. of 500 copies, feat. exclusives from: MOLJEBKA PVLSE, DUAL, URE THRALL, ULTRASOUND, STEPHEN MEIXNER (CONTRASTATE, CATS OF TEL AVIV, and TROUM
|
2003 |
€13.00 |
|
|
INFERNAL PROTEUS |
BOOK / 4 x CD |
96-page-hardcover / full-colour book / w. J. COLECLOUGH, INADE, TROUM, CHAOS AS SHELTER, AUBE, MNORTHAM, YANNICK DAUBY, CHAOS AS SHELTER, etc etc |
2002 |
€45.00 |
|
|
The walls are whispering... |
CD |
lim. 525 copies in gold-printed 7"-cover, with exclusive material from: TOY BIZARRE, DIETER MUH, KALLABRIS, C.RENOU, VIDNA OBMANA, STEVE RODEN, SVEEN, PBK, INADE, TROUM |
2003 |
€12.00 |
|
|
IZNUTRI |
CD |
Russian compilation compiled by (and for) IVAN "ASTERIUS" NAPREENKO, "dedicated to the Happy End of Times", with exclusive material from HUM, CISFINITUM, REUTOFF, KRYTPOGEN RUNDFUNK, SAL SOLARIS, HYPNOZ, NEUTRAL, SEDATIVE, CYCLOTIMIA, MAJDANEK WALTZ, O PARADIS, OTZEPENEVSHIYE, QUATTRO BRAVO EBALLIEROS, ALLERSEELEN, RAPOON, and TROUM.
|
2007 |
€13.00 |
|
|
IDIOSCAPES |
CD |
"drone paradise" -compilation with JANEK SCHAEFER, KEITH FULLERTON WHITMAN, RAPOON, KK NULL, C PALESTINE, BASHO-JUNGHANS, TROUM, JAZKAMER, DANIEL MENCHE, and others.. low priced!
|
2007 |
€10.00 |
|
|
Listen to something different |
CD |
10th anniversary comp. for the record-shop from Rostock, who also organized many concerts on the MS STUBNITZ ship ! Mainly exclusives from MUSLIMGAUZE, BEEQUEEN, DITTERICH VON EULER-DONNERSPERG, HAFLER TRIO, ASMUS TIETCHENS, WINDFAHNENAMT, TROUM, INADE, COLUMN ONE, RAPOON, ETANT DONNES, AUBE, CONTROLLED BLEEDING. nice coverpackaging
|
2007 |
€13.00 |
|
|
Noise Factory Records Sampler Vol. 3 |
CD |
label-sampler with BEEF TERMINAL, HEXES & OHS, NYBBL, TINKERTOY, NAW, MINISYSTEM, NEON TETRA, ADCBICYCLE, AIDAN BAKER (TROUM-Remix)...
|
2007 |
€12.00 |
|
|
ESCAPING FROM COLOR: RAPOON RECOMPOSED & REMIXED |
CD |
RAPOON source material remixes from : FRANCISCO LOPEZ, TROUM, AIDAN BAKER, CISFINITUM & RAPOON, MACHINEFABRIEK, TV POW, STEVE RODEN, ANLA COURTIS, GERT-JAN PRINS, etc.. lim. 500 in nice raw cardboard-digisleeve
|
2008 |
€13.00 |
|
|
SACRAL SYMPHONY |
CD |
compilation around the theme "Sacral Symphony", compiled & mixed by CISFINITUM; exclusive material only by 1000SCHOEN, TROUM, RAPOON, FIRST HUMAN FERRO, and CISFINITUM. Nice silver / grey 7" silk-screen cover, edition of 300
|
2008 |
€13.00 |
|
|
Dark Ambient Radio Volume 2 |
CD |
back in stock the excellent 2nd compilation of exclusive tracks by (at that time) mainly unknown or newcomer acts from the Dark Ambient scene, collected by the excellent Online Radio programme from Hamburg: THOLEN, INNER VISION LABORATORY, ARKHITEKTUR NOIR, THERRADAEMON, ASPECTEE, PHELIOS, CREPUSCULAR, NAGUAL ART, TROUM, PHOBOS, FALSE MIRROR... subtle surrealistic realms to explore... A must for any dark ambient fan !!!
|
2009 |
€13.00 |
|
|
MOM |
CD |
Godspeed Mom! Tribute & benefit compilation for Chris Mc. Beths (label owner) mother Jeanine with exclusive material only; NURSE WITH WOUND, LEGENDARY PINK DOTS, VOLCANO THE BEAR, NADJA, LA STPO, TROUM, ANDREW LILES, EARTHMONKEY, and many others from the label; comes in thick oversized cover
|
2009 |
€13.00 |
|
|
VERNACULAR |
do-CD |
absolute lovely Japanese ambient compilation curated by YUI ONODERA presenting various atmospheric acts from experimental to minimal, from known to unknown, all exclusive material by 15 sound artists: STEVE RODEN, SIMON SCOTT (SLOWDIVE), YUI ONODERA, JANEK SCHAEFER, TROUM, DALE LLOYD, KIM CASCONE, JOHN GRZINICH, LAWRENCE ENGLISH, etc.. long tracks & extensive 16p. booklet
|
2013 |
€14.00 |
|
|
In Progress II |
CD |
Polish compilation with acts that performed in Gdansk at the great art-centre LAZNIA, many exclusive tracks by: RAPOON, TROUM, ANDREW LAGOWSK, FEINE TRINKERS BEI PINKELS DAHEIM, AKI ONDA, Z'EV & HATI, ROBERT PIOTROWICZ, MATS LINDSTRÖM, etc.. special price !!
|
2013 |
€8.00 |
|
|
EIDOLON. A Tribute to REUTOFF |
CD |
exclusive remixes and re-workings of REUTOFF material by: ATRIUM CARCERI, CISFINITUM, DESIDERII MARGINIS, WERMUT, DEUTSCH NEPAL, TROUM, SVARTSINN, SAL SOLARIS; etc... plus a collaboration track by DEUTSCH NEPAL & REUTOFF; excellent stuff from the dark ambient, drone and post-industrial regions of the current underground scene, lim. 400
|
2014 |
€13.00 |
|
|
Your Reality is broken |
LP |
for the 30th anniversary of the band, CONTRASTATE invited several artists who worked with them in the past to cover, re-interpret or collage their material, the result is this compilation with exclusive tracks by CONTRASTATE, RLW, TROUM, GENOCIDE ORGAN, BAND OF PAIN and ETAT D'URGENCE; a great document for one of most orginal "post industrial" bands from UK! lim. 300
|
2017 |
€20.00 |
|
|
TIME ENDS - A Tribute to J.G. Ballard's Tetralogy of Transformation (special ed.) |
do-LP / CD |
not just 'another tribute' to the great British writer, this release focuses in form and content one BALLARDS four early "disaster" novels from the 60's, each artist created about 20 min. of material inspired by one book: DESIDERII MARGINIS, TROUM, MARTIN BLADH (IRM) & KAROLINA URBANIAK, ANEMONE TUBE - finally the SPECIAL VINYL edition is out, numbered 150 copies with huge signed A2 poster of the cover art, booklet, and CD version of the album; comes on N EON YELLOW vinyl
|
2022 |
€36.00 |
|
| |
TIME ENDS - A Tribute to J.G. Ballard's Tetralogy of Transformation |
do-LP |
not just 'another tribute' to the great British writer, this release focuses in form and content one BALLARDS four early "disaster" novels from the 60's, each artist created about 20 min. of material inspired by one book: DESIDERII MARGINIS, TROUM, MARTIN BLADH (IRM) & KAROLINA URBANIAK, ANEMONE TUBE - standard version lim. 250 copies, neon yellow vinyl, printed inner sleeves with lots of background info and essay by MICHAEL GÖTTER (African Paper, etc.)
|
2022 |
€27.50 |
|
| WE WAIT FOR THE SNOW |
Lullabies from our Dreams |
CD |
"for fans of raw, occult and lo-fi recordings, Fursaxa, Troum, Current 93, Islaja, drone music and neo psych-folk, folk noir, field recordings, concrete noise and acoustic melodies..." [Cold Current info] digipack, lim. 600
|
2007 |
€13.00 |
|
| WHALESONG |
Disorder Deconstructed |
do-CD |
remixes of the first album by the Polish industrial metal band, exclusive tracks by TROUM, SANFORD PARKER (BURIED AT THE SEA), HERR LOUNGE CORPS, SUBMERGED, HOROLOGIUM, MOAN, and many more (20 tracks in total) - a must for everyone into GODFLESH like industrial dub and experimental metal..
|
2018 |
€13.00 |
|
| 1000SCHOEN |
Moune |
CD |
"MOUNE is a very old word for MOON, comes out of a old language that was spoken in Germany. But it’s not german, it’s friesisch. Anyway, the moon theme is one of favourite topics in mystic circles around dark ambient genre. For Helge Siehl, who is the driving force of 1000schoen since the time he split his way with the other two former Maeror Tri members, it’s definitely one of the most important subject - in his paintings, photos and music. This album, presenting the program of his first ever russian tour in December 2010 (with Troum and Feine Trinkers Bei Pinkels Daheim), shows more ambient side of 1000schoen, leaving rhythmic path aside in favor of menacing sounds of highly personal moon rising visions. Moreover, it’s actually debut CD of this prominent german artist, who previously released his music mostly on limited/private edition CDRs. Featuring 3 tracks, with total running time of 45 minutes.
1000schoen is a trained artist, certified art therapist and surround sound acoustician. A native of Fries country, he is currently living in Bremen, where he participated in various art projects. As soundartist, he worked since 1994 in Turin (I), Amsterdam (NL), Zurich (CH), Ghent (B), Never (F), Nuremberg, Hamburg, Munich and Cologne, to name a few. Since 1995, he also created many pictorial and graphic works. For instance, he invented the famous Maeror Tri "wheel" logo, and designed some of their album covers, as well as others (Oophoi "Potala" etc)." [label info]
"The symbol of 1000schoen reflects the celestial bodies of Sun and Moon in inseparable symbiosis, which we can see (at least) in all that we can imagine. The world of 1000schoen art and experience moves in this continuum as well." - Helge Siehl
www.nitkie.ru
"Troum came from Maeror Tri. A trio reduced to a duo, so what happened to the third person? Helge Siehl started his own project, 1000schoen, and has had a few releases as such. This might very well be his first real CD release. Its not easy to review this and not to think of Maeror Tri or Troum, simply because there is a similarity between all three. Now if Siehl would have picked up the acoustic guitar and sang songs, it would have been easy: it would be very different. But in the three pieces, two long one short, Siehl continues to explore his own version of his own legacy. He does that in a slightly different way than Troum. Whereas Troum offers a very dense sound of atmospheric sound, layering many sounds together, to put the icing on the cake, it seems to me that Siehl likes a less crowded palette of sounds, stripping and reducing until he is left with a handful of sounds to work. In the final short track it seems that he is using voice only and for me it broke with the natural flow of the two longer pieces. In those he chooses to work with guitars and synthesizers, along with a bit of sound effects, but throughout in a more minimal field. The opening piece 'Moune Rising' moves along those bass lines, field recordings and finds itself eventually taken over by some more synthetic sounds, whereas 'Moune' is more a piece of gentle processed guitar sounds and rusty field recordings of large, empty factories. Not entirely surprising in the world of drone music, but then perhaps so isn't Troum either, but its quite exciting to hear this album and if Maeror Tri and Troum are close to your heart, then you'd should be lending 1000schoen an ear too. Equally good, I'd say." [FdW/Vital Weekly]
|
2010 |
€13.00 |
|
| AEOGA |
Coav |
CD |
Erstes Album eines neuen finnischen Projekts mit organischer Ritualmusik, die uns hervorragend gefällt....... stehende, teils rückwärtige Klangmassen, voller ätherischer Schwere. surrealistisch & hypnotisch loopig, dunkel und von sakraler Tiefe, irgendwo zwischen VOICE OF EYE, TROUM & URE THRALL vielleicht.. Das ganze im 8eckigen Spezialcover.
Very recommend debut – album of this finnish project with organic ritualistic dronemusic !
“ The debut album of Aeoga, titled as 'COAV ', presents very original and haunting material based on spiralling dark drones, eerie guitar feedback textures, archaic drum and cymbal patterns, atonal / tonal vocalizations and distant / peculiar sample layers. The 8 tracks of the album offer material from organic dark ambient / archaic & ascetic horizons to dark and haunting tribal/ritual atmospheres. "To exhaust mind and body in order to obtain a condition of non-consciousness and thus receive, realize and create material based on both primal and absent vision". (total time: 65:52). Comes in a special octagon shaped cardboard covers including an 6 panel textured cardboard sleeve. Limited to 1000 copies.”[label info]
|
2004 |
€13.00 |
|
| BAD ALCHEMY |
No. 81 (Juni 2014) |
mag |
"BA 81 bringt FREAKSHOWs mit LA STPO und AY; NATE WOOLEY QUINTET und PETER BRÖTZMANN - STEVE NOBLE im W 71; Reviews von Alexander Pehlemanns GO OST!, CHICAGO UNDERGROUND DUO, JAMIE SAFT, CHRISTY DORAN'S BUNTER HUND, STIAN WESTERHUS PALE HORSES, BARRY GUY NEW ORCHESTRA, WOLFGANG 'FADI' DORNINGER, TROUM, von neuen Scheiben bei ATTENUATION CIRCUIT, MEGO, STREAMLINE u.v.m.; dazu MUSICA POLSKA von FOR TUNE, MONOTYPE REC., KASIA GLOWICKA ..." [Verlagsinfo]
www.badalchemy.de
|
2014 |
€3.50 |
|
| BAKER, AIDAN |
Green & Cold |
CD-R |
Hier zeigt AIDAN BAKER seine Songwriter-Seele: er singt, sehr sanft, flüstert manchmal eher, dazu spielt er "richtige" Stücke, die aber durchaus experimentelle Anwandlungen und "Dronifizierungen" erfahren... ultra-sanfter dream'n'drone songwriter-Pop mit viel Emotion, auch das gelingt AIDAN wieder traumwandlerlisch & sicher...
"The innovative master of ambient guitar returns with a breakthrough album. At its core 'Green & Cold' is a a mix of drone, post-rock, and what the artist calls appropriately "deconstructive dream-pop." Memorable hooks combine with Baker's trademark huge wall of guitar constituted atmospherics. Baker's shoegazey croon floats among the stuttering clicks and cuts permeating the layers of catchy riffs and slow, intoxicating beats. As 'Green & Cold' unfolds the listener is coaxed familarly inward only to be washed over in waves of wispy, warming drones: An album of uncommon intelligence and artistry." [label info]
"Aidan Baker is back, still vying for the most prolific man in show business award (well, at least underground, free drone show business) with a double shot of washed out dreamy droniness. There's the latest from Nadja, reflecting his more metal side, and then there's this, the follow up to last year's Pendulum, which was a fantastic slab of glistening disembodied dronemusic. Green & Gold follows suit but with an interesting twist. Vocals. Lots of 'em. Baker is no stranger to singing, his whispery croon has graced more than a few of his releases, but on G & G, the vocals are a big part of the songs, and the songs are actual songs, with drums, and verses and choruses and everything. Well, sort of.
Some tracks, like the untitled opener, are indeed still just wispy slow shifting expanses of fuzzy dreamlike sound, which we can NEVER get enough of, but others, like "Chainsaw", are actual lowercase, slow motion, dark and dolorous slowcore pop songs. Simple murky guitar riffs, wreathed of course in all manner of reverb and soft focus fuzz, hovering over stripped down shuffling rhythms, while Baker croons softly over the top, a hushed almost whisper, sounding not entirely unlike Iron & Wine's Sam Beam actually. Even the music sounds a little like a blissier tarpit version of Iron & Wine. There is some definite twang there, subtle, but it's there, nestled amidst the delicate folky strum and the glistening sonic glimmer. Imagine an
even more somnambulant Low, or Spacemen 3 at 16 rpm, a ultra druggy
(druggier?) Galaxie 500, each track a pop song mumbled and murky, a moonlit crawl through a hazy landscape of shuffle and shimmer, of strum and twang, all wrapped up in soft swirls of shimmer. Essential for fans of all things Jeck and Tim Hecker and Jasper TX and Machinefabriek and Grouper and Troum and Main and the like, but also worth a listen for more adventurous fans of Iron & Wine, Spacemen 3, Galaxie 500, Low and other slowcore drugrock dreaminess..." [Aquarius Records]
label: www.gearsofsand.net
|
2006 |
€13.00 |
|
| |
Exoskeleton Heart |
CD-R |
"Following up his amazing Periodic disc that was issued through Crucial Bliss two years ago, acclaimed Toronto drone-guitarist Aidan Baker is back with Exoskeleton Heart, his newest entry into our ongoing Crucial Bliss series. And this 2-track, hour long excursion into deep feedback bliss is stunningly beautiful. Split into two halves, "Interior" and "Anterior", Baker once again taps into his visions of the bodycage using only his electric guitar, performed and recorded live; the result is an evocative feedback-heavy dronescape drifting with the gritty hum of the amplifier, layers of shimmering, chiming feedback, crushing distorted ambient dirge that borders on Sunn O)))-levels of sonic weight, and shafts of elegiac melody breaking through the stormclouds of Baker's cavernous rumbling like rays of sunlight. Aidan Baker is without question the North American counterpart to the Teutonic guitar drones of Troum, and Exoskeleton Heart delivers some of his most massive, meditative, crushing, and beautiful subterranean drift yet. Hell, the final 10 minutes of "Anterior" is without questions one of the most beautiful things we have ever presented through this label, an angelic glacial melody that builds inexorably into a wall of blissed out fuzz a la something you'd expect from Aidan's dronesludge band Nadja. Essential. The disc comes in a full-color signature Crucial Bliss foldover sleeve with the disc affixed to a plastic hub on the interior of the sleeve, and has been pressed in a limited edition of 300 copies" [label info]
label: www.crucialblast.net
|
2007 |
€10.00 |
|
| B°TONG (B*TONG / B-TONG/ BTONG) |
Hostile Environments |
CD |
"B°TONG is Chris Sigdell, former member of the German experimental industrial group NID (1995 – 2005).
With B°TONG he reaches for the nether regions of experimental electronic sound and has established himself as an acknowledged and known professional soundscape artist. His music is a choice of dark, brooding layers of sound, high-pitched tones and weird electronic sounds that give birth to images of darkness and tranquillity, the solitude of an icy polar night or the equivalent of an underwater journey into a bottomless pit. To create these soundscapes, he uses found samples and self-made recordings and processes these on the computer together with recordings of his own voice and other vocal samples. There are no traditional instruments involved. In a live-situation Chris Sigdell relies on playing metal-sheets, electric toys and various kitchen utensils. The sounds thus generated are put through various effect-pedals giving him that trademark sound.
.
B°TONG has played over 200 concerts all around Europe and in Russia, Canada and the U.S.A. He has shared stages with Aun, Batur Sönmez, Column One, Dave Phillips, Frontline Assembly, Michael Northam, Origami Galaktika, Sudden Infant, The (Law) Rah Collective, To Live And Shave In LA, Troum, Zbigniew Karkowski.
.
Sometimes B°TONG collaborates with other artists, as he has done with: Alain Courtis, Batur Sönmez, Diskrepant, Origami Galaktika, PS Stamps Back, TBC, and Tamagawa. Two new project are Tongdisklaktika, a together with Benny Braaten (Origami Galaktika) and Per Åhlund (Diskrepant) and Thee Secret Society with Jürgen Eberhard (F.T.PB.P.D.), Helge Moune (1000schoen) and Melvin Neumann (Vibrae). B°TONG has also been part of installations (“Polarkreis” & “95°“ by Brigitte Gierlich & Camilla Schuler) and video-projects (“Images” by Ulrich Fischer). He video-clips have been shown at the 2007 Miami Art Fair as part of the Urban Nomad film-festival, and in Beijing. His videos are made in collaboration with video artist Silvia Bergmann." [label info]
www.greytone.eu
"We first discovered Chris Sigdell, aka B-Tong (which, by the way, is usually written with a little circle, you know, the degrees sign, not a dash, but our website doesn't like it, so hence the hyphen), via a four way split called One Man Drone, which as you may have surmised, was a collection of one man drone-groups, and our favorite of the bunch happened to be B-Tong, whose sound was weirdly cinematic, and fantastically and psychedelically noisy and chaotic. We compared the sound to Philip Jeck mixing Goblin and Wolf Eyes! We later discovered that Sigdell played in NID, another group who utilized drones, but wove those drones into something much more cacophonous, and expansive and lushly layered. But still, ultimately, it was all about the drone.
We had always hankered for more B-Tong, and while apparently there have been a bunch of full lengths, this is the first we've managed to get our hands on, and it's just as good as we remember; and yeah, if there was ever any doubt, Sigdell firmly establishes himself as an aQ-pantheon-worthy dronelord.
The opener, is ominous and cavernous, laced with weird crackles and gritty crunch, kindred spirits with our own Jim Haynes for sure. The sounds oozing a sort of sonic decay, and some deft and subtle sample placement, makes the opener even more chilling. It's almost like some industrial doom, stripped down to its skeletal core. A moody, muted melody, playing out like foghorns in the distance, echo drenched chimes, and tinkling percussion, buried under grey washes of softly undulating thrum, lots of constantly shifting textures, and some seriously harrowing sound design reminiscent of Ben Frost. And the sound continues to drift southward as the record progresses, a virtual journey through dark caverns, toward whatever lurks below, fields of deep resonant rumbles, dripping water, distant billows of thunder, stretched out into weird glossolallic shimmers, thick chordal blurs that ooze and bleed ominously, splashing water doused in FX and transformed into a sort of garbled alien language. Plenty of barely there lowercase ambience, but also super active sprawls of electro static gristle, ultra creepy moans and gasps, sonar pings that disappear into the abyss, short wave broadcasts from beyond, lumbering behemoth beats, dulled into barely perceptible pulsations, smears of almost dub like throb, and keening high end tones dulled into bleary shimmery sonic ripples, all locked in a sort of hazy stasis, while all around, billowing clouds of black hum drift malevolently, and beneath this black soundworld, hushed melodies, and dreamlike sonic coloration, shift constantly creating an ethereally prismatic sonic backdrop. Fantastic. Essential dronemusic for sure!!" [Aquarius Records] |
2013 |
€13.00 |
|
| CINDYTALK |
Silver |
7inch |
"We dream in colour, is the title of the new Live music project, curetted by six d.o.g.s (www.sixdogs.gr) and Angelos Petroutsas (Prince of Poverty), that consists of seven live concerts in the Gig Space of six d.o.g.s venue in Athens Greece, starting from February 2011 and ending in December 2011 of seven music artists, and the release of seven 7” by Tourette Records, in which the artists shall contribute music for the project.
Each artist has been assigned with one colour in a “journey” from the moon to the sun, and each 7” is considered as a blooming coloured flower and as seen in the art work of the jacket a bee dancing in coordinates with the sun showing to other “bees” where the “nectar” music can be found and a solar clock pointing the time of each live concert taking place in Athens.
Each 7” vinyl shall be released in the colour assigned to each artist in 300 limited edition copies and the artistic direction is by Pindaros (www.arsondpi.gr), the first seven vinyls from each release will be all united in a limited edition box of seven copies in the form of a bee hive made from black non see through Plexiglas, with a surprised art work inside to be revealed to the ones that acquire them, plus as each box will be dedicated to each artist taking part in this will include also the test press for each one.
The artists that are participating in the project and their colours are as follows :
Silver - Cindytalk
Yellow - COH
Red - Οthon & Tomasini
Green - Troum
Violet - Mark Spybey (Dead Voices on Air) & Jochen Arbeit
Blue - Fabrizio Modonese Palumbo & Little Annie (USA)
Orange - ?" [label info]
www.touretterecords.com
|
2011 |
€10.00 |
|
| CLADE, |
Holonic Sadism |
CD-R |
limited edition compact disc.
screen printed on 4 panel 375GSM stock, hand-assembled, bound in crepe and sealed, edition of 100.
"the self can never be completely represented in its own awareness, nor can its actions be completely predicted by any conceivable information-processing device. both attempts lead to infinite regress." [website info]
"It's been a while since the first release by Clade, which was reviewed in Vital Weekly 821. Clade is from Oklahoma, but it says in the information that the recordings were made in 2010 in Chicago, and 'we apologize for the delay'. Perhaps Clade was on tour, and they stayed for a couple of days in Chicago, since the tracks are called 'Thursday III' and via Friday ends with 'Saturday III (Long)'. I am not sure, but I guess that they record this music also in one take, just like the previous release and that the instruments are still lots of guitars and electronics. Clade plays drone music, but there is a bit of difference with the previous release. Whereas then we found traces of noise/drone metal, that seems to be have disappeared here. The mood in these seven tracks is very subdued, calm and highly atmospheric. It's a wall of sound, but then of a relaxing nature, introspective. More Troum than Earth, if you catch my drift. It's however still not the most varied release that you could imagine, but these seven pieces, spanning some forty-eight minutes, are clearly various shades of the same color, and not many colors. The previous encouraged 'chemical accompaniment' - although not required - but then the forceful character of the music may have caused some damage. You'd better save those chemicals for this one, as this is the perfect music for such chemical enhancement. I thought this was the better release of the two I heard so far and I would certainly hope they would continue to explore these roads further." [FdW/Vital Weekly]
www.cladistic.org
|
2013 |
€10.00 |
|
| CLOSING THE ETERNITY & AD LUX TENEBRAE |
Nearby Being |
CD |
Collaboration des durch die Drone 7" hoffentlich etwas bekannter gewordenen sibirischen Projekts CLOSING THE ETERNITY mit den uns bisher unbekannten AD LUX TENEBRAE, der "cosmic black hole" Sound von CTE gewinnt dadurch an Variation. Hier wurde ausschliesslich mit asiatischen Original-Instrumenten gearbeitet, also Glocken, Gongs, Klangschalen, das Ergebnis ist aber weitaus droniger & dark ambienter, als z.B. bei HATI...
Sehr behutsam umgesetzt ergeben sich Obertöne & Resonanzen, die manchmal fast wie wispernde Stimmen klingen, und man kann sich ganz den Schwällen von sanft vibrierenden Drone-Sounds hingeben, die sich in langsamen Wellen ausbreiten...
"Wonderful cooperation of two Uralian projects CLOSING THE ETERNITY and AD LUX TENEBRAE. Fascinating ritual shamanic drone ambient changing your consciousness. Real delicacy for lovers of Alio Die, Troum, Sostrah Tinnitus... Limited edition of 500 copies in digisleeve." [label info]
|
2006 |
€13.50 |
|
| DEAD VOICES ON AIR & SIMON FISHER TURNER |
MzMzLaLaLa |
7inch |
"This single is a double A side and is the first of the DVOA@20 series.
Side A is entitled, ‘MzMzLaLaLa for Peace,’ and Side A is entitled, ‘MzMzLaLaLa Sing-Song-Sing.’
Simon Fisher Turner
Simon had a highly successful career as a child/young hopeful actor, appearing in movie and TV roles from Black Beauty, Tom Brown’s Schooldays to The Big Sleep (re-made with Robert Mitchum). Aged 17 he signed to Jonathan King’s UK Records and released the album “Simon Turner” in 1969. He then discovered tape recorders and ended up playing with the legendary Portsmouth Symphonia with musicians such as Brian Eno.
Simon first worked as a runner on the sets of films by Derek Jarman, before becoming Jarman’s favoured soundtrack composer. Simon’s association with Jarman was lasting and massively fruitful. “Caravaggio”, “The Last Of England” (with contributions from Barry Adamson and Diamanda Galas), “The Garden” (with the Balanescu Quartet), and “Edward II”, were amongst the most innovative film sound projects of the ’80s and early ’90s, most of them surfacing as CDs though Mute. His final film with Jarman was the powerful, poignant “Blue”, where a soundscape recorded by Simon at Eno’s country house, plus Jarman’s AIDs inspired spoken words, stood in for the visuals - only a blue screen was projected. Simon also worked under the name of The King Of Luxembourg and has collaborated extensively. He has released many albums and in addition to his work with Jarman has contributed to numerous other film soundtracks for directors such as David Lynch.
Simon and Mark Spybey first met backstage at a Can concert at the Barbican in London in 1999. They work together, in spurts and fits, under the name MzMzLaLaLa and this single is their first release. They recently played a concert in London together under a railway arch.
DVOA @ 20 Anniversary Series
Since leaving :zoviet-france: in the late eighties Mark Spybey has released fifteen albums as Dead Voices On Air. He’s appeared on over 80 releases in the past twenty years. When the late Michael Karoli, the seminal guitarist, put together a band in the late nineties to celebrate the 30th anniversary of Can, it was Spybey who he asked to help him.. He has made a career out of collaborating extensively with a wide range of musicians, film- makers and visual artists. He was a member of Download and formed Beehatch with Phil Western of Download and Reformed Faction with ex-:zoviet-france: members, including Robin Storey of Rapoon. Between 1992 and 2000 he lived and worked in Vancouver, Canada and has toured extensively around the world with a variety of collaborators including Karoli and Damo Suzuki of Can, The Legendary Pink Dots, Pigface, Michael Rother of Neu! and Dieter Moebius of Cluster. He’s remixed Neu! and Faust amongst others. His has worked with labels such as Kranky, Nettwerk, Soleilmoon Recordings, Invisible, Spoon, Scratch, Cleopatra, Lens and for the 20th anniversary seven inch single series, Tourette Records of Houston Texas." [label info]
www.touretterecords.com
"To celebrate twenty years of existence, Dead Voices On Air, also known to mankind as Mark Spybey, will release a bunch of 7"s in collaboration with people who he has worked with in those years. The series kicks of with Simon Fisher Turner, perhaps best known for scoring soundtracks for the films of Derek Jarman (Caravaggio", "The Last Of England", "The Garden" and "Edward II") and also with David Lynch. he met Spybey at a concert of Can in 1999 and worked together since as MzMzLaLaLa, but this 7" is their first release. I am in a bit in the dark wether this 7" is t45 or 33 rpm, and I decided for 33. One side has an interesting tape collage of sounds and spoken word in a very film noir like style, while the other side ('MzMzLaLaLa Sing Song Sing') is more a pop like track with a very sparse guitar, a wacky percussive sample and a sad voice. This side did less for me, I think, maybe its too short, or perhaps too vague, but the other side is in fact very good. In the future there will be 7's with James Plotkin, Troum, Edward Ka-spel, Cevin Key, Robert Hampson, Robin Storey, Jochen Arbeit, Dave Wright, Ryan Moore and Orbit Service, which me thinks looks a promising series. Great cover too." [FdW/Vital Weekly]
|
2011 |
€10.00 |
|
| FEINE TRINKERS BEI PINKELS DAHEIM (F.T.B.P.D.) |
A Bug's Life |
CD |
"Jürgen Eberhard aka Feine Trinkers Bei Pinkels Daheim celebrates 25 years of his artistic activity with the first full-length album on Zoharum entitled "A Bug's Life". keen observers of our activity certainly know his name, for instance from a common vinyl 7-incher entitled "Both Sides of The Looking Glass" shared with Bisclaveret duo or from the composition "Enigmatic Visions", which appeared on a commemorative compilation "07|100|15".
"A Bug's Life" is the tenth full-length album in the discography of Feine Trinkers Bei Pinkels Daheim. It was being created, like the previous ones, for several years and is another conscious artistic statement. Seven compositions included here are of a collage nature and combine echoes of post-industrial ambient, drone music, musique concrete, field recordings and even plunderphonics. On his first studio album since "Die Legende vom Heiligen Trinker" from 2011, Jürgen Eberhard consciously continues his sonic quest on a depleted terrain and he manages to avoid traps of empty experiments. "A Bug's Life" is at the same time an atmospheric, and even accessible, album, and sonically elaborate and demanding of the listener." [label info]
www.zoharum.com
"FEINE TRINKERS BEI PINKELS DAHEIM ist ein Projekt, das ja eher unregelmäßig in der Musiklandschaft auftaucht, dabei aber bereits recht langlebig ist. Das letzte reguläre Album von JÜRGEN EBERHARD unter diesem Banner erschien 2011. „A Bug’s Life“ – so hieß übrigens auch der Pixar-Film „Das große Krabbeln“ im Original – widmet sich dem Namen entsprechend den Geräuschen von Insekten, die Grundlage für die Soundgestaltung des Albums gewesen sein sollen. Hierbei sollte man aber kein dauerndes, möglichst naturnahes Gezirpe oder Gesirre im Kopf haben – quasi ein Field-Recording-Overkill, sondern Klänge, die extrem stark bearbeitet und verfremdet wurden, wobei am Ende dennoch der Charakter von Sounds, die von Insekten erzeugt werden – auch knisternde, schabende Geräusche –, erhalten bleibt.
Tatsächlich ist der Sound auf „A Bug’s Life“ aber relativ vielschichtig, teils auch wuchtig und massiv oder mit Drones durchsetzt, sodass das Ganze recht gut funktioniert und eben nicht an einen Abend auf der Terrasse erinnert. Auch Stimmen werden – verfremdet oder nicht – eingesetzt und Abwechslung kommt zusätzlich durch Stücke ins Spiel, die mit weiblichen Gesangslinien, die quasi als Zusatzinstrument fungieren, ausgestattet sind. Hier wäre wohl auch der Punkt, an dem man die Unterstützung von diversen Gästen wie u.a. MISS POLYESTER, FRL. LINIENTREU oder GENEVIÈVE PASQUIER erwähnen könnte. Das Klangspektrum reicht letztendlich von orientalisch angehauchten Sounds inklusive Rhythmus („Metallifekuwagamon“) bis hin zu düsteren Soundcollagen, die auch aufgrund der Bilder, die im Kopf entstehen, Unruhe auslösen können. Somit ist „A Bug’s Life“ eine spannende Sache für Freunde des Ambient oder der experimentellen Elektronik. Idee und Ausführung passen in jedem Fall hervorragend zueinander und die Qualität stimmt hier sowieso."
[Tony F. für nonpop.de]
"In der Geräuschmusik und überall sonst, wo mit Samples gearbeitet wird, sind Tiergeräusche eine beliebte Soundquelle, und zu den gefragtesten Geräuschproduzenten zählen seit jeher Insekten – was wäre ein sommerliches Kitschkolorit ohne das Zirpen von Grillen und Zikaden, und dass man aus dem Summen fliegender Insekten Noise und elektroakustiche Musik machen kann, ist hinlänglich bekannt.
Beliebt sind Feldaufnahmen, bei denen die Sounds weitgehend naturbelassen bleiben und nur gelegentlich etwas Struktur eingebracht wird wie bei Dave Phillips’ und Hasegawa Hiroshis “Insect Apocalypse” oder “The Progeny of Flies” von Daniel Manche und Andrew Liles. Seltener sind Aufnahmen, bei denen die Sounds so stark verfremdet sind, dass man ohne Hintergrundwissen die Quelle kaum erkennen kann. Etwas derartiges hat der feine Pinkel, ähm: Trinker Jürgen Eberhard vor Kurzem unter dem Titel “A Bug’s Life” zustande gebracht.
Die komplette CD wirkt wie ein Zoom, bei dem die Kamera dem lebenden Objekt so nah auf den Panzer rückt, dass man nur noch kleinteilige Strukturen in Übergröße erkennt, während größere Zusammenhänge nur noch zu erahnen sind. Vieles klingt wie ins Monströße vergrößert: Maschinell klingendes Summen, dass zeitweise in Noisewände übergeht, Detonationen, verursacht von einem enormen Insekt, das gegen eine überdimensionierte Scheibe knallt. Zirpen und Flattern, das eher nach einem Vogel klingt, und dem Tier, dessen rhythmischer Flügenschlag gegen Ende zu hören ist, möchte ich nicht im Dunkeln begegnen. So furchteinflößend es hier zugeht, hat die bizarre Szenerie auch irrsinnig Komisches zu bieten.
Neben all dem gibt es zahlreiche Stellen, an denen kaum zu erkennen ist, ob die Aufnahmen ganz unkenntlich gemacht wurden oder anderen, z.B. elektronischen Ursprungs sind. Dies gilt für geschliffenen Ambientsound und zirkushafte Melodien ebenso wie für den entspannten Ethnosound, der irgendwann ganz überraschend eine Sängerin begleitet (die meisten Stimmbeiträge von Geneviève Pasquier, Allseits vs Troum, Frl. Linientreu und Joke Lanz sind spoken words). Ebenso gilt dies für monströses Brüllen, dass hoffentlich von einem Wirbeltier stammt.
Aber warum eigentlich? Im Unterschied zu naturbelassenen Insektensounds lassen die Aufnahmen hier die Tiere enorm groß erscheinen und brechen so mit gänigen Wahrnehmungsgewohnheiten. Die nachhaltige, über den bloßen Schock weit hinausgehende Wirkung, kann im besten Fall in einem veränderten Blick auf das Tierreich münden." [J.G./U.S./African Paper] |
2016 |
€12.00 |
|
| FIVE ELEMENTS MUSIC |
Solumpremoterra |
CD-R |
Great stuff again from this (new?) russian project, mainly hyper-deep earthquake sounds, rather silently moving, revealing amazing detail-sounds also....the real earth-drone !! jewel box with sandpaper inlay and photos (on face and back).
“The second album of FEM is entirely dedicated to the earth element – completely low-frequency drone, to some extent close to the collaboration album of Troum & Yen Pox.“ [Zhelezobeton]
|
2005 |
€9.50 |
|
| GOREHALLREIDER |
A Blow to the Head |
CD-R |
Collaboration von JOHN GORE (KIRCHENKAMPF), STEVE HALL (YEN POX-Hälfte und VEIL OF SECRECY) und C. REIDER (auch solo aktiv), 7 Stücke zwischen elektronischem dark ambient, minimaler Elektronik mit bedrohlichen / fremdartigen Untertönen, und puren backwards-drone-Sphären. Die Stimmung ändert sich mit jedem der sieben Stücke, sehr gut ! Handpainted coversleeves...
“It seems to me that Cohort Records is becoming more and more active these days, and so are the musical activities of their boss, John Gore, aka Kirchenkampf, aka The Oratory Of Divine Love and aka >wirewall<. Here he teams up with Steve Hall, aka Yen Pox and aka Veil Of Secrecy and the more unknown C. Reider, who runs the Vuzh Music label. All three delivered sound material for this release, which was then 'arranged, effected and mixed' by John Gore. He calls this 'psychedelic ambient', which is an appropriate tag. 'Violent Drone' might also be appropriate, as in all seven tracks drones of whatever nature (radio static, analogue synth and perhaps even field recordings) play an important role, but a likewise important role is played by all the applied effects that Gore adds to this. This gives this drone music a top heavy character, sounds bursting in and out everywhere, from the depths of the earth and stardust from the sky. A sizzling mix of static sounds that never sounds static. Everything seems to be moving around all the time, with small changes of color and texture, like a Yves Klein painting or a Steve Reich piano piece, ever so apparent in 'I Hear Voices'. Powerful drone music, along the lines of Troum, but more musical... by which ever definition music of course.” [FdW / Vital Weekly]
http://cohortrecords.0catch.com
|
2005 |
€9.00 |
|
| JARL |
Akatisi / Somnolens Part I-VI |
CD |
"Advanced Experimental Drone"-Musik von ERIK JARL (eine Hälfte von IRM), das grossartige TANTRIC-Album (aufgenommen bereits 2003); schwelende Geräuschfelder, wummernde Klangflächen, elektro-magnetische Mikrodetail-statik, zwischen Ent- und Anspannung, voller interessanter Sounds & kontemplativer Kraft !
"Solo material from soundartist Erik Jarl known by his works with power electronics monster IRM. Sustained static fields and repetitive patterns construct expressive layers of sound in contrasting colours. Delicately and ambitiously put together to a transcendental cycle - this is music for occidental meditation. Limited to 499 copies." [label info]
"....Over the 6 tracks and 45+ minutes Erik has taken the concept of drone music and revitalised and buffed this sometimes staid and boring music into a shimmering gossamer sheen. Drifting pastoral passages are continually looped into hypnotic rippling waves of sound that appear almost ethereal in structure. Slight faint jarring effects are carefully layered into the mix along with flecks of faint Industrial and ritualistic bias that reaches out towards black malevolent ambience before being drawn back clutching despondently at the air. "Akatisi / Somnolens" is music to meditate to. To dream sweet dreams to. To fully immerse yourself and lose all track of time to. Time becomes totally irrelevant, a non event, when listening to music that bathes and cloaks the senses in full spectrum of a rainbow. Erik and his amazing Technicolor drone overcoat.
Around this part of a review I suppose I’ve got to try and mention like minded recording artists in case the words I’ve written haven’t conveyed the musical style adequately enough. Fair enough…though it will be a difficult task…so having had a quick trawl through my record collection I offer up the following: MRSA-16, Troum and Elektro Nova. Elements of each can be found ever so partially on "Akatisi / Somnolens" but Erik has retained a unique individuality and foresight which has been stamped firmly across this recording. If his earlier works were his evolution then "Akatisi / Somnolens" marks his re-birth as a genuine musical maestro. Artist and label in a marriage made just for each other." [Aural Pressure]
www.the-edge.ws/pretentious/tantric-harmonies
|
2005 |
€13.00 |
|
| KAVE |
Dismal Radiance |
CD |
"Monstrously deep dark ambient. Evolving structures and unsettling atmospheres with a somehow "cinematic" touch for all the fans of CAUL, YEN POX, AMON and for anyone else into menacing, profound black ambience." [label info]
www.eibonrecords.com
"Imagine that you are standing in total blackness. There are no people. It’s as if you are standing in a large, cylindrical hall of emptiness where the echoing sounds around you are endless. Haunting shapes whistle by quietly and ominously. Streams of sound blow through as if there’s a wind fuelling this vision of nothingness. There’s the occasional splash of water. Rumblings can be heard in the distance. There’s no passion, no emotion, just a spooky and mystical atmosphere of desolation and helplessness. This black ambiance is the world of Kave, a mysterious band from Holland.
The atmosphere changes very little. “Dismal Radiance” is minimalist, even in comparison to a Blut aus Nord production where a similar soundtrack-type atmosphere prevails. The droning, spooky style is in fact more akin to Yen Pox and Troum. It’s very marginal with this style but I think I prefer the evolving atmospheres which those bands generate. But this is impressive too. Here there is no beauty in this blackness, nor is there any deviation or sign of escape from the bleak and apocalyptic aspect. As this album progresses, we find ourselves deeper inside the chasm with no sign of a beginning or an end. As the rumbling winds continue, the sense of solitude is intensified. We find ourselves staring into space but it’s not a space we can see. This album will neutralise you in its empty blackness.
There are eight tracks but it’s not that you would notice. It’s not stasis but let’s face it – we’re stuck in a void here. Those track titles are revealing and appropriate: “Tomb of the Black Sand”, “Corridors under the Sea”, “Dark Monoliths Rising” and “Encompassing Emptiness” are among them. Of all of them, “Bleak Phantasm” develops the most spiritual quality but as ever it floats away before another set of shapes set in and we are enveloped further in the menacingly tranquil scene.
Yes, there is a subtle evolution over the course of the album but we remain in the same dark place. The power lies in the absence of apparent human control over these frightening and monolithic structures that epitomise the sounds of “Dismal Radiance”. It is a very lonely experience. It is monotonous and desolate. Yet in spite of being depressive, nightmarish and overwhelming in its weightiness, its mesmerising consistency gives it the paradoxical quality of being inspiring. Some of us will see it that way. Others, I suspect, will not want to stomach this ambient and despairing soundscape." [Andrew Doherty / AVE NOCTUM] |
2012 |
€13.00 |
|
| MAEROR TRI |
Yearning for the Secret(s) of Nature |
CD |
"Dass die Aufnahmen dieses in einer 300er Auflage wiederveröffentlichten Tapes schon fast zwanzig Jahre auf dem Buckel haben, hört man in keiner Sekunde! Da hat jemand eine wirklich sehr gute und feinfühlige Re-Mastering-Arbeit abgeliefert.
MAEROR TRI sind ja immer noch in reduzierter Besetzung als TROUM unterwegs und Herr Knappe betreibt das allgemein bekannte Drone-Label mit angegliederten Vertrieb. MAEROR TRI waren sicher damals eine der interessantesten und auch aktivsten Industrial-Bands der Kassettenszene, die schnell den Sprung auf Vinyl und später auch auf CD vollzogen und hervorragend gemeistert haben.
Ihre Musik ist sehr spirituell, meditativ und extrem fließend. Nicht wirklich Ambient, dafür gibt es einfach zu viele krachige Eruptionen, noch nicht Drone, was man heute darunter versteht, sondern eine Art psychedelisches Ritual, das positiv, neugierig und befreiend wirkt und in keinster Weise destruktiv oder mystisch verklärt ist, wie es ja seinerzeit sehr beliebt war.
MAEROR TRI sind sicher eine der Wiederentdeckungen dieser Zeit und heute noch genauso spannend und unberechenbar wie damals. Vielleicht auch die einzigen legitimen Nachfahren des Krautrocks? Leider auch schon wieder lange Geschichte ... Wunderbar ..."
[Carsten Vollmer, OX-Fanzine]
"Born as an obscure cassette on Fool's Paradise (London 1993), this exclusive and essential work by Maeror Tri made a brief appearance earlier as a CD-r on EE Tapes (Saint Nix 2001) before it quickly vanished into oblivion.
Due to popular demand it has finally been made available again as a limited CD release!
Repolished in sound and housed in a new designed jacket, 'Yearning....' has now
become of full value between such masterpieces as 'Myein' or 'Language of flames and sound'.
Don't miss it this time.......
Restoring/remastering work by Anders Peterson @ghostsounds.net
Art design by Alan McClelland @eyelyft.blogspot.com"
[label info]
www.myspace.com/eetapes
|
2009 |
€13.00 |
|
|
Multiple Personality Disorder |
CD |
"... this debut CD by the German trio Maeror Tri is a devastating experience in sonic art. In the realm of Soviet France, Cranioclast or The Hafler Trio, its's hard to call such constructed wedges of noise music, this is something else. In fact I think it just scared four people who entered the Ultima Thule shop, leaving with bewildered and perplexed looks on their faces! Be they atmospheric or intensive, Maeror Tri offer a challenging sound that defies description." [Alan Freeman, AUDIO, 1993]
"Maeror Tri als der J.G. BALLARD der Musik." [Vi-Va-Vogel, Auf Abwegen]
"Some music is related to a period, because of the sound of the amplifiers, recording possibilities, effects and synthesizers. The technic colors the sound during that period and gives is that time limit. I cannot say that about the re-release of the timeless sounds at the CD "Multiple Personality Disorder" (MPD) of the not anymore existing German group Maeror Tri. The groups existed from 1998 - 1996 and has the following members Stefan "Baraka [H]" Knappe, Martin "GLIT[s]CH" Gitschel and Helge Siehl. Stefan Knappe and Martin Gitschel continues to make music with the group Troum and releases music with the vinyllabel Drone Records. From 1998 - 1993 Maeror Tri released a lot of tapes. The music for the first CD Multiply Personality Disorder was recorded in 1991 and released in 1993 by Korm Plastics as a limited edition of 600 in the serial Introductionaire to promote the music of new musical artists. For now the re-release has been done by the Purplesoil from the Czech Republic. During the musical project the group examined the different states of mind and characters by means of music and they want to confront the listener with the totally different states of mind and feeling of people with MPD. The CD exist of five compositions, with different moods, from ambient and atmospheric to aggressive and anxious. And really I was confronted with the different moods some with MPD. The meaning of the album has been successful. During that same period I was working in a psychiatric hospital with people with so-called personality diseases. I worked also with people with MPD and they presented themselves with totally different characters, behaviour, clothing, sexual preference and sound of the voice. I was really very difficult to work with these people because I had to deal with one person, but sometimes during daytime with three or four different persons. Most of these people had very bad childhood experiences and they try to deal with the some treating or stressful reality with different personalities. For now MPD has become more on the background but this release is really a good flashback of that period and a successful experiment of Maeror Tri." [JKH / Vital Weekly]
|
2009 |
€13.00 |
|
|
Emotional Engramm |
CD |
"The reissue of a long-forgotten classic MAEROR TRI album with stunning new artwork and newly remastered sound. Back in 1997, it turned out to be the last album by this experimental trio of German droners composed of Stefan ‘Barakah’ Knappe, Martin ‘GLIT[s]CH’ Gitschel and Helge Siehl. The former two later formed TROUM (Zoharum releases: “Autopoiesis / Nahtscato” and “Seeing-Ear Gods” (A Continuous Journey
in Six Parts) and the latter 1000SCHOEN. During their nine-year existence, they recorded a handful of albums and cassettes with their unique mixture of minimalism, industrial, ambient and drone, exploring the brains of potential listeners. „Emotional Engramm” is MAEROR TRI's most refined effort to date. After years of experimenting, the group came to a characteristic sound composed of layers of
electrically/electronically-treated acoustic instruments. Their organic sound achieved the most accessible form on „Emotional Engramm”;. Clocking in at just under 80 minutes, the seven tracks presented here show Maeror Tri at its best.
The reissue is presented in a lavish 6-panel digipak designed by Marcin Lojek (Ibsen Design, New Nihilism label, Mantichora and Schmerz bands) with a foreword by Martyn Bates (EYELESS IN GAZA).
The album has been faithfully remastered by Lukasz Miernik (Dead Cat Mastering)." [label info]
www.zoharum.com
"Originally released in 1997 on the now defunct Iris Light imprint out of England, Emotion Engramm was the final album from Maeror Tri - the haunting, post-industrial drone trio that was the precursor to the equally haunting, post-industrial drone DUO Troum. This record - more so than any of the other Maeror Tri albums - engaged the complex structures that Troum would later push through their interlocking, shadowy melodies and slow-motion, effects-heavy drone. At the same time, the concepts that went into Emotional Engramm are more closely related to the clinical psychological themes of the Maeror Tri albums Multiple Personality Disorder or Language Of Flames & Sound, as referenced by the titular engram (purposefully misspelled in the title), a Scientology term for a mental image embedded into the brain by any type of trauma - physical, emotional, psychic, or otherwise. Far from prescribing the teachings of Scientology, Maeror Tri uses that concept as a jumping off point in conjuring "resonance of control, impact, fortuity, the randomly instigated yet inedibly etched emotional memory: Kodak ghosts." It's easy to read particular passages within the frozen din of washed-out guitar noise, spectral melodies, tectonic bass rumblings, and metallic slashes of grim electronics as the seizures within the psyche that might get caught in an infinite loop for the inner-mind. Some of those images provide an emotional resonance that's deeply sad and full of despair, while others are enraged with a blackened hostility. As we mentioned, many of the ideas and strategies that went into this album continued to develop through Troum; but even so, this stands as one of the best albums that either Maeror Tri or Troum had produced." [Aquarius Records]
"Recorded between 1993 and 1996, this is the final release of MAEROR TRI - packaged to suggest that this music is a kind of empty canvas for engrams, for letters, words, scribblings (both significant and insignificant) to emerge upon. "Engrams" somehow brings to mind Scientology; resonances of Control, Impact, Fortuity, the randomly instigated yet indelibly etched emotional memory: Kodak Ghosts...
The pure idea of Scientology is that of a beautiful catharsis; a steering thru the engrams, the 'de-control' of the mind and the re-acquisition of it's disparate componants...an insight...tools for your own endevour....for self-development......access towards some kind of re-affirmation of scattered aspects of being.
MAEROR TRI here paint an expanse of (admittedly low-fi) sheets of sound; abstraction that is only truly completed by the sensitized listener, adrift, in darkness, volume filling/consuming the room (it doesn't function as ambience, I found...), waver of rain in radioactivity, ether tears of trains of thought, the long forever letters of minutia that you hand-write to dear friends half a world away all flooding back now, into your mind's ear; books - someone else's thoughts.....worlds that consume, yet are mere cyphers, scribbles that are understood somewhere in an unthinking space within the mechanism of each individual's fleeting moment upon the 'wheel of the quivering meat conception'. This MAEROR TRI CD; non-representational, perhaps easily dismissed by anyone who has no time to 'stand and stare'..... ... .... well, for God's sake, stop ... and stand and stare ... put your ear to the world, and listen to the song of the nightingale ..... .. no; listen to all the birdsong .. ... know that words, and sounds, are but tokens."
[MARTYN BATES for SOFT WATCH for the 1st ed.]
|
2012 |
€12.00 |
|
|
Mort Aux Vaches: Hypnos/Transe |
CD |
"tracklist: 1 (mind) - initiation, 2 (mind) - alternation, 3 (mind) - expansion
upc 821272307822. photographs by salt. release date: 31october2k12
15 years after its original release, 17 years after its recording, raubbau is delighted to present the highly anticipated reissue of this classic maeror tri album.
history lesson part 1 - the band: maeror tri were a three-headed band from bremen who stemmed from the german diy tape scene of the 1980s. with their unique brand of music, which they performed on 'real' instruments but made it sound purely electronic, they stirred the attention of a wider audience and accomplished considerable crossover success. praised by the critics, their disbandment in 1996 was much bemoaned. nevertheless, ever since a number of archive and re-releases have compensated the fans for their loss, as well as the output of the maeror tri successors troum (still a major attraction in the drone/experimental ambient genre) and the audio & visual & paintings project 1000schoen.
history lesson part 2 - mort aux vaches: a long-running series of specially-packaged albums released by cult label staalplaat, all of them recorded as live sessions for a dutch radio station. mort aux vaches has so far featured around 70 artists, among them many big name acts such as merzbow, zoviet france, roger rotor and many others.
history lesson part 3 - the album: the aptly subtitled hypnos/transe (spelling deliberately chosen) was considered a magnificent legacy when it was posthumously released, combining all the elements that had made maeror tri special: their tracks sound strangely different anytime you listen to them, the elements never clearly reveal themselves but retain a fascinating secrecy, beautiful and demanding at the same time.
the track titles of hypnos/transe reveal the concept of music affecting and altering the mental state of the listener. the 'initiation' accordingly uses a long build-up structure, starting with soothing ambient sounds, but continually integrating more and more layers of drones and culminating in an entrancing shamanic rhythm. 'alternation' is in a darker mood, with low-end rumbling and sonorous mock chants appealing to the deeper realms of the psyche. 'expansion' is easily the noisiest track of the three, with eerie scraping thumps and squealing sounds (wind? whales? bombs?). the psychogenic trip comes to its conclusion after 55 minutes, and one thing is for sure: after this listening session, you won’t be the same person as you had been before. this fine reissue comes well right for a new generation of listeners to discover a musical gem which has long been a sought-after, high-priced collectors item - and also one may with good cause say that the new artwork is much easier on the eyes than the original’s bright pink." [label info]
www.raubbau.org
|
2012 |
€13.00 |
|
|
Meditamentum (I & II) |
do-CD |
After a successful reissue of a long-lost classic "Emotional Engramm", MAEROR TRI returns to Zoharum and New Nihilism with another album. This time it is a double, deluxe reissue of both volumes of "Meditamentum" (released previously on Holonom and Manifold respectively).
Unavailable for many years, "Meditamentum" is a collection of tracks culled from tape releases and rarities hidden on many compilations. It spans the whole existence of Maeror Tri, starting with 2 tracks from 1989 ending with 3 tracks from 1996. It is a sort of "best of" Maeror Tri, as it tells the story of the bands progress. From rough edges of "Peak Experience" to dreamy soundscapes of "The Beauty of Sadness".
"Meditamentum" is also a document of the underground tape scene of the 1980s and 1990s, and of a genius of MAEROR TRI as purveyors of mind-altering sonic experience. It's "Music for the Brain" at its best.
The release is presented in a lavish gatefold Japanese vinyl replica designed by Marcin Łojek (Ibsendesign, responsible also for the cover for Zoharum's reissue of "Emotional Engramm"). Each volume is extended with a bonus track making the whole collection 155 minutes long and comprising of 23 tracks. The sound is greatly enhanced by our remastering wizard Łukasz Miernik. "Meditamentum" is co-released by Zoharum and New Nihilism to give you the maximum sonic experience. This double CD is strictly limited to 500 copies." [label info]
www.zoharum.com
"Whenever there is no new music to digest, I return to my collection and see what I have - I guess a pretty normal activity if you love music. I tend to play music label or group-wise, so a while ago I pulled out all the Maeror Tri CDs I have - which I guess is pretty much all of them in their original released form - and had that on play for a couple of days. Not much later it was the turn for Troum, Maeror Tri successor - and I decided that I liked Maeror Tri better, even when the differences are pretty small. Just a matter of highly private opinion, but I am bringing this up, since today I got this double pack of the two 'Meditamentum' releases. The first volume was released by Holonom and then re-issued by Manifold, who also released a second volume of it. Both of these releases compile tracks that were scattered on compilation cassettes in the very early Maeror Tri, the years of inexpexerience and lots of experiment. It's years that I have close to my heart and very early on I was in contact with the band and liked their music straight away. I reminded me of Zoviet*France and was regarded back then as ambient industrial. Through all these twenty-three tracks (two are new bonus pieces, also from compilations, but on the previous volumes) you can follow their early steps from Maeror Tri on CD one which spans 1989-1992 and their more refined sound on CD two, 1992-1996, when their music gained more and more depth. Still all highly ambient, right from 'The Threat' (1989) to 'Res Magnifica' (1996) with endless sustaining sounds, drones, processed field recordings and harmonium/guitar/percussion sounds and sometimes bringing the sound back, deep into the earth. Tons of effects have been used, but all with the right amount. If you are a Maeror Tri fan you may have the original releases, but worth here for the bonus tracks and the excellent remaster. Or if you are curious what the hell all the fuzz is about this obscure band in it's day worth all these re-issues, then this is also your place to start." [FdW/Vital Weekly]
|
2013 |
€18.00 |
|
|
Sensuum Mendacia / Somnia |
CD |
"Musicians of the now-defunct Maeror Tri have already had many opportunities to work with Zoharum on both releasing their new recordings and reissues of their older material. Our catalog contains titles by Troum ("Autopoiesis / Nahtscato", "Seeing-Ear Gods" and "Dreaming Muzak"), 1000Schoen (double split with Polish Ab Intra), and also their original project Maeror Tri ("Emotional Engramm" and "Meditamentum"). Together with musicians we remove blank spots in their discography by restoring their older recordings.
Maeror Tri was a project operating since the mid-80s until 1997, when they released their last album entitled "Emotional Engramm." In their works they penetrated such genres as minimalism, ambient and industrial music, and borrowed drone aesthetic from classical music. In addition to seven regular albums on CD and LP, they released a number of cassettes. They contained much rawer recordings compared to those from the trio's regular albums.
One of these two tape albums is "Sensuum Mendacia" originally released in 1991 by the Welsh label Direction Music. It was the third tape in the discography of Maeror Tri. The following rerelease is expanded with 5 additional tracks lifted from the split tape with Nostalgie Eternelle duo released in 1990. All the recordings have been remastered for this release.
The album is released in a 2-panel ecopak in a strictly limited edition of 350 copies. The cover is designed by Marcin Łojek (rozpad.com). It is mastered by Łukasz Miernik. The whole production process is overseen by Michał Porwet." [label info]
www.zoharum.com |
2016 |
€12.50 |
|
|
Hypnobasia |
CD |
"Musicians of the now-defunct Maeror Tri have already had many opportunities to work with Zoharum on both releasing their new recordings and reissues of their older material. Our catalog contains titles by Troum ("Autopoiesis / Nahtscato", "Seeing-Ear Gods" and "Dreaming Muzak"), 1000Schoen (double split with Polish Ab Intra), and also their original project Maeror Tri ("Emotional Engramm" and "Meditamentum"). Together with musicians we remove blank spots in their discography by restoring their older recordings.
Maeror Tri was a project operating since the mid-80s until 1997, when they released their last album entitled "Emotional Engramm." In their works they penetrated such genres as minimalism, ambient and industrial music, and borrowed drone aesthetic from classical music. In addition to seven regular albums on CD and LP, they released a number of cassettes. They contained much rawer recordings compared to those from the trio's regular albums.
One of these two tape albums is "Hypnobasia" originally released in 1992 by the Italian label Old Europa Cafe. It was the fifth tape in the discography of Maeror Tri. The following rerelease is expanded with 3 additional tracks lifted from various artists compilations from 1989-1992. All the recordings have been remastered for this release.
The album is released in a 2-panel ecopak in a strictly limited edition of 350 copies. The cover is designed by Marcin Łojek (rozpad.com). It is mastered by Łukasz Miernik. The whole production process is overseen by Michał Porwet." [label info]
www.zoharum.com
"MAEROR TRI war ein Trio, das vom Ende der 80er-Jahre bis zum Jahr 1997 aktiv war. Nach einer Reihe von Veröffentlichungen, die sich in dem Rahmen Dark-Ambient, Industrial, Drone, Experimental einordnen lassen, war mit dem 1997er-Album „Emotional Engramm“ jedenfalls Schluss. Zwei Mitglieder, MARTIN GITSCHEL und STEFAN KNAPPE, machten danach mit TROUM weiter; HELGE SIEHL veröffentlichte in den Folgejahren als 1000SCHOEN.
Gerade zu Beginn der Existenz von MAEROR TRI wurden eine Reihe von Tapes veröffentlicht, von denen einige bereits auf CD wiederveröffentlicht wurden. Die noch vorhandenen Lücken möchte nun das polnische ZOHARUM-Label schließen, indem es zum einen „Sensuum Mendacia / Somnia“ und zum anderen „Hypnobasia“ wiederveröffentlicht. „Sensuum Mendacia / Somnia“ umfasst dabei das „Sensuum Mendacia“ Tape und die MAEROR TRI-Stücke des „Somnia Et Expergisci“ Split-Tapes, das damals zusammen mit NOSTALGIE ÉTERNELLE veröffentlicht wurde. „Hypnobasia“ wurde noch um drei Tape-Compilation-Stücke aus der Zeit ergänzt.
Gemeinsam ist beiden Veröffentlichungen, dass die Gitarre prägendes aber nicht wahrnehmbar dominierendes Element ist, wobei das Klangspektrum von Drones und Noise bis hin zu Akkorden und melancholischem Einzelanschlag der Saiten reicht. Die zupackendere, Richtung Industrial und Noise tendierende Seite von MAEROR TRI deckt hier definitiv „Hypnobasia“ ab, hier wird mit rhythmischen Elementen, Noise und bearbeiteten Stimmen gearbeitet. Ruhiger, flächiger, klanglich weitläufiger und auch melancholischer erscheint dagegen „Sensuum Mendacia / Somnia“. Der Klang erscheint bei beiden Veröffentlichungen als organisches, mit vielen Unebenheiten und Wendungen ausgestattetes Gebilde. Hochgezüchtete, digitale Soundwälle oder gar symphonische Elemente sucht man hier jedenfalls vergeblich. Im Klangbild mag man hier und da vielleicht den Staub der 90er-Jahre und die vielleicht noch nicht ganz ausgereifte technische Ausstattung erkennen; dennoch haftet dem Sound eine gewisse Zeitlosigkeit an, die das Wirken von MAEROR TRI auch aus heutiger Sicht als spannend erscheinen lassen kann." [Tony F. für nonpop.de]
|
2016 |
€12.50 |
|
|
Ultimate Time |
CD |
Musicians of the now-defunct Maeror Tri have already had many opportunities to work with Zoharum on both releasing their new recordings and reissues of their older material. Our catalog contains titles by Troum ("Autopoiesis / Nahtscato", "Seeing-Ear Gods" and "Dreaming Muzak"), 1000Schoen (double split with Polish Ab Intra), and also their original project Maeror Tri ("Emotional Engramm" and "Meditamentum"). Together with musicians we remove blank spots in their discography by restoring their older recordings. Maeror Tri was a project operating since the mid-80s until 1997, when they released their last album entitled "Emotional Engramm." In their works they penetrated such genres as minimalism, ambient and industrial music, and borrowed drone aesthetic from classical music. In addition to seven regular albums on CD and LP, they released a number of cassettes. They contained much rawer recordings compared to those from the trio's regular albums.
The fourth release in this series is "Ultimate Time" originally released in 1994 by the Italian label Old Europa Cafe. It was the tenth cassette in the discography of Maeror Tri. The following rerelease is expanded with an additional track lifted from the compilation "The Art of Marginal Talent" released in 1997. All the recordings have been remastered for this release.
The album is released in a 2-panel ecopak in a strictly limited edition of 350 copies.
https://zoharum.bandcamp.com/album/ultimate-time |
2018 |
€13.00 |
|
| |
The Singles |
CD |
Reissue of MAËROR TRI(...)'s full vinyl singles / EP's recorded from 1993-1996 (except for their first one, "Saltatrix" on Drone Records - DR01)
"Am Tag, als die Stil- und Genrebildung geprägt wurde, waren drei Nordlichter besonders aktiv. Unter der Bezeichnung Maeror Tri revolutionierten sie fortan Sound- und Hörerfahrungen. Zielgruppe der drei war stets die rechte Hirnhälfte. Wundervolle Edelsteine aus dem tiefen Ozean wurden fortan geborgen, auf 7“ gepresst und sind heute nur noch schwer erhältlich. So ist es im äußersten Maße begrüßenswert, dass den Hörern nun dies wieder zugänglich wird. Bleibt zweierlei festzuhalten. Zunächst steht unverrückbar, dass sämtliche in der Folge schier unzählige Epigonen lieber ihr Bestreben nach Ausdruck auf den Hobbykeller bzw. auf die Untermalung des letzten Urlaubsvideos richten sollten. Zweitens steht ebenso unumstößlich fest, dass Maeror Tri eine Ausnahmeerscheinung und somit eigentlich unvergleichlich waren!" [Leonie D./ TAUCHER Nr. 02]
What can I say? They were my fave Drone/Industrial unit in the nineties and when this came out 15 years ago, it didn't last for too long until it was completely sold out...
So by popular demand, here's the reissue, no more no less !!
May the Force be with You !!
Photography (unknown location) by Jan Kees Helms
Mastering at Illlektrik Toolz by Herman Klapholz
Design by Jan Van den Broeke
Tags: Drone - Industrial - Experimental
www.eetapes.be
"Probably there is only one group that started as a cassette only band, who will successfully release their entire back-catalogue on real CDs (not CDRs) and that is Maeror Tri. They started out in the late eighties as a three piece ambient industrial group, and released a whole bunch of cassettes and subsequently also 7"s and CDs. In the late nineties one of the three band-members left and the name was changed to Troum. Their 7"s are now collected on this CD, for the first time and complete as such (so the originals can go to Ebay now, although I have no idea how well sought there). One 7" is missing and that's the one that they released on their own label, Drone Records (which started the label) and which will be re-issued soon. It's good to see this released as last, as the music of Maeror Tri can best be enjoyed in the digital format, away from the scratchy, hissy vinyl, of which the duration was sometimes also too long for a 7". This collection starts out with quite a raw Maeror Tri, with metallic banging but as the CD progresses, some of the more classic Maeror Tri appear: dark and dense and intense, with much layering of sound effects, percussive sounds and many obscure sound-sources (I once saw them playing an accordion on stage, feeding it through a whole line of sound effects). These singles, three 7"s and one 10", can easily be classified among the best they ever did and with the enhanced quality of the CD, this is a much wanted item. Time to plunder their cassette releases and release those on CD. Do I hear the word 'boxset', anyone?" [Fdw/Vital Weekly - original review to the first ed. 2005] |
2020 |
€10.00 |
|
| MOLJEBKA PVLSE |
Sadalsuud |
CD |
SADALSUUD ist ein fantastischer one-tracker, über 69 Minuten lang, der mit diversen Gastmusikern und einem wahren Arsenal an verschiedenen Instrumenten und Soundquellen entstanden ist. Sanfte, "erdige" Drone-scapes, aber mit sehr düsterem Unterton, eine surreale Atmosphäre heraufbeschwörend, flüsternde Stimmen aus einem Zwischenreich sind omnipräsent, immer wieder tauchen neue interesante unbekannte Klangobjekte auf, es tönt sehr lebendig & mikro-dynamisch, zum Ende hin wirds noisig & komplexer...
Ein Drone-Meisterwerk, vielleicht das bisher beste Album von M.P., unsere besondere Empfehlung !!!
"....For this album, Mathias collaborated with a number of his colleagues who provided him various source sounds to work with. The name Sadalsuud refers to a star of the same name in the constellation of Aquarius. The name comes from an Arabic phrase meaning "the luckiest of them all". Nevertheless the album is rather earthy-sounding, yet mystical and surreal, almost claustrophobic at times. The sound is vaguely reminiscent of some works by Nurse With Wound, Maeror Tri or The Halfer Trio, but carries the trademark Moljebka Pvlse feel. An unsuspecting pre-listener described Sadalsuud as "a visit to a supposedly haunted house, though only once you've entered the house you begin to grasp the real meaning of haunting." CD in matt-varnished 4-panel digipak. Playing time 70 minutes." [label info]
" Latest disc of sonic exploration from this Swedish dronescaping ensemble. With such a darkly minimal sound, it's amazing that, at least for this recording. Moljebka Pvlse included ten members! Credited, with among other things, sounds (yep, just 'sounds'), no-input mixing board, synthesizers, melodica, field recording, cymbals, guitar, voices, flute, electric piano, text, didgeridoo, mbira and supercollider(!), this expansive ensemble takes all of that and manages to distill it into the darkest and simplest of sounds. A nearly seventy minute single piece, slowly sprawling out from a stretch of barely there shimmer into gradually more and more active low end minimalism. Long drawn out tones, mysterious bits of glitch and click, haunting voices, moaning and mumbling, chanting and intoning, bits of creaking and tiny swirls of FX, deep swells of synth and barely discernible rhythms, everything constantly shifting and gradually changing shapes, some parts almost coalescing into fragmented bits of actual pop (albeit stripped down and smeared), while others are mostly melody free, remaining stretched out and abstract. Quite sinister and lovely, dark and subtly intense, not all
that far removed from the sounds of Troum and Thomas Koner and other practitioners of the drone and drift. Which as avid AQ customers
should realize, is indeed a very good thing." [Aquarius Records]
www.someplaceelse.net
|
2007 |
€13.00 |
|
| |
In Love and Death You are Alone |
10inch |
"The Stockholm-based 'electroacoustic drone' & experimental ambient project is active since the beginning of the century (exactly: 1999) and has build an impressive discography of hypnotic sound expansions, while the main member MATHIAS JOSEFSON refined his technical and compositorical skills by finishing a study of sound art at the Royal Institute of Art and the legendary EMS Elektronmusikstudion.
After a longer period of silence MOLJEBKA PVLSE is back with two new compositions on this 10" vinyl with a quite existential title, using amplified objects, analogue synthesizers, guitars and field recordings made in Europe, Africa and the USA => an invitation to explore these unknown audio landscapes. Two dense & emotional drone tracks that form an existential unity!
This is a one time pressing of only 300 copies on transparent vinyl with incredible artwork by THOMAS DOHMEN using a "frozen bronce" metallic colour cover print.
"Moljebka Pvlse search for the place where everything you can imagine is real."
[press release]
"Thick, turbulent, and tearjerking dronemusik from the Swedish project Moljebka Pvlse, making for a pitch perfect contribution to Drone Records' 10" inch series. So many FX and organically accreted layers swirl together in these heavily processed tracks of unrecognizable field recordings, electronics, guitar, and voice. Within these long and drawn out shimmers of truly sad intonations Moljebka Pvlse sets forth waves of subtle melodies caught in deepwater, oceanic tides to arrive at a majestic pairing of sublime ambient tracks. One of the best things we've heard from Moljebka Pvlse, and one of the best from the always superb Drone Records, certainly on par with Troum, Tim Hecker, and Jonathan Coleclough." [Aquarius Records]
|
2015 |
€15.00 |
|
| MØHR & MAEROR TRI |
Hafenstadt |
CD |
" On “Hafenstadt”: This music was originally planned to form a part of the third tape box in the MØHR interpretation series of ZNS TAPES. In this series different artists got an individual 30-minutes-piece of basic material by MØHR to be interpreted it in any way: Using it as a backing tape and adding some more tracks, getting inspired and doing something unique in the spirit of the basic material, deconstruct and arrange it anew. The invited artists had any opportunity to re-work the source material. For the actual release the basic material was placed on side A and the interpretation on side B, enabling the listener to compare the basic and the final sound. Three tapes were compiled as one tape box linked by a loose theme. The first box, Bürokratie, contained works by DAS KONZENTRAT, BESTATTUNGSINSTITUT and SUICIDE COMMANDO (released in 1990), the second, Kulturschock, contained works by ANDREW CHALK/DARREN TATE, ECTOPLASMIC EMBRYO EXPERIENCE and FLAGRANTs D’ELI (released in 1991). The third one, which was to contain Hafenstadt by MAEROR TRI (as well as material of PBK and THE HATERS), has never been released due to the sudden end of ZNS TAPES. We’re convinced that this combination of basic stuff plus musical reworking is still an interesting and exciting experience for the audience, maybe especially after more than 20 years in the archives. (Andreaz Vogel)
MØHR biography
MØHR existed between 1986 and 1994 as the solo project of Andreaz Vogel. Previously he had been active as a bass player and drummer in various post punk and noise rock groups.Since its inception the main aim with MØHR was to create a dense and energetic sound without the use of conventional instruemnts. With this wall of sound the listeners were almost under attack and forced into a dark and brooding listening environment, both on the recordings and in the live situation. Andreaz also ran the important tape label ZNS TAPES.
MAEROR TRI biography
MAEROR TRI existed from April 1988 to the end of 1996, coming from the very north-western part of Germany. The three members were influenced by (post) industrial, noise rock and experimental ambient and found a way to establish their very own drone based style, using often guitars but also other instruments plus all kinds of (self build) objects and masses of sound effects. Their symbol, the triangle “Wheel” stood for ‘consciousness’, moving & shining in different colours and speed. The sound was meant as a tool for the listener to open the mind for transcension & sensitization: ‘We want to transmit a total openness, the bursting and overcoming of all mental barriers, the breaking out of the enforced subject “Tunnel-Reality” of modern society. ‘ Out of MAEROR TRI evolved the projects TROUM and 1000SCHOEN that are still very active." [label info]
www.aufabwegen.com
www.aufabwegen.com
"Mohr was the work of German avant tape-machinist Andreaz Vogel who ran the ZNS Tapes label in the late '80s and early '90s; and our introduction to this work dates way back to the very second Drone Records single, released in 1993. This was about the time when Vogel pretty much called it quits on sound construction; but given how many great artists had been introduced through the Drone Records series of singles, Mohr's work had always been intriguing even as it had been quite elusive in the global cassette underground at that time. By the end of Mohr's tenure, Vogel had embarked on three mail-art pieces in which various audio sculptors and sound destroyers would rework / deconstruct a 30 minute track from Mohr. The second in this trilogy was notable to those Andrew Chalk enthusiasts as an unknowable Ora cassette from 1992. The third - and never released - cassette was to include Maeror Tri, The Haters, and PBK. With Hafenstadt, we now have a glimpse back into the gristled, contorted, and mangled tape construction that Mohr had been producing in conjunction with a pretty stellar set of black hole implosion of x-ray drone courtesy of Maeror Tri. Vogel took something of a Fluxus approach to his industrially bent constructions, purposely avoiding musical instruments in favor of the found sound that got flung into orbit in a spiraling descent of his tape loop dub and squeaky wheel rhythmic errata. These are deliberately raw and malformed cyclical patterns for a DIY musique concrete. Maeror Tri's brain-crush of sustained reverb and backwards masked flares of dark energy bury much of the insistent hypnosis from Mohr well beneath their grim wall of leaden noise and nuclear winter drone. It's always a wonder to behold the early works from Maeror Tri, and here it's nicely paired with Mohr's mangled hypnogogia." (Aquarius Rec)
|
2015 |
€13.00 |
|
| N & BU.D.D.A. |
untitled |
LP |
https://aufabwegen.bandcamp.com/album/no-title
"When Helmut Neidhardt (also known as N), Chris Sigdell and Sascha Stadlmeier (collectively known as Bu.d.d.a., meaning Bund des dritten Auges) met for the first time in 2020, they booked studio time to record music together. Still, as spontaneous as this meeting was, it was also chaotic. Salvaged from the recording was Helmut's guitar, some of which served as a basis for Chris to re-record his guitar at home, adding some vocals, mailing it off to Sascha, and adding his violin and musique concrète. Back it went to Chris, who did the final mix. Since then, they have toured together and played three shows as a trio. Judging by the music, that is good because what they do here sounds natural, even with some distance between them. Both music projects labour with drones and do that slightly differently. The guitar and amplification are essential for N, sometimes with sharpish played notes, whereas Bu.d.d.a. has a denser approach, layering instruments and sound effects in one thick carpet. There is a point at which they both meet, and that's precisely where x marks the spot. Two pieces (well, three, but the two on side B blend easily together as one) of vast drones, moving and shaking, going places instead of staying in one place too long. The voices are, perhaps, not something I am not all too happy about, but I can see why they do it, and it's the music quite well. It adds further to the mysterious sound they play, and even with the addition of N's guitar, sounding at times like a steel guitar, which I thought was very nice, I am still very much reminded of Troum (as noted before, in Vital
Weekly 1347), but this trio has enough going for themselves. Ominous and dark, this is exactly the kind of all-immersive drone you'd expect these people to play. Maybe it's a pity they didn't choose a new band name and started fresh as a new group, but that's none of my business. I can imagine there will be some exciting trio work for them in the future. One could say this is a promising start, but with their shared history, it doesn't feel like a start." [FdW/Vital Weekly]
|
2023 |
€19.50 |
|
| NADJA / NETHERWORLD |
Magma to Ice |
CD |
10. Ausgabe in der FEAR DROP / FARIO - Split & Collaboration-Serie, diesmal sind die kanadischen Drone-Metal Überflieger NADJA und der italienische POLAR-AMBIENT Act NETHERWORLD in interessanter Kombination zu hören - 3 Stücke von NETHERWORLD, ein langes von NADJA welches eine einzige gigantische Drone-Blase darstellt, und eine fast 10minütige Zusammenarbeit). Kommt im überdimensionierten Vollfarb / Aufklapp-Cover! Eine Verbindung von "heissem" und "kaltem" Ambient wie man sie nur selten auf einer CD finden wird.
"Talented Italian ambient composer Alessandro Tedeschi runs the Glacial Movements record label and plays music as Netherworld. His fascination for polar landscapes and soundscapes makes him close to industrial ambient pioneers such as Thomas Köner, Rapoon, Biosphere and Lull. Icy, windy, droning and deeply "protomelodic" at once, his music is a poetic translation of the ice floe. For this record, he used processed fragments of classical music. Nadja is the drone / doom / ambient duo of Canadian musicians Aidan Baker and Leah Buckareff. Their behemoth of sound is a construction of heat, weight, loop and vapour. Here, they had to break Netherworld¹s ice and find a way to the red core of Earth. The common track brings heat onto ice, which warms up, crackles and soon melts. As a conclusion, the long piece by Nadja is total heat. This is Nadja "unrhythmed", which means pure lava. This CD features exclusive graphic concepts and artwork by Alan McClelland (www.eyelyft.com) " [label info]
"French label Fario is not very active: this is their tenth release in about as many years. The label is an off shoot of the excellent (but en Francais) magazine Fear Drop, whose only goal seems to release a CD with the meeting of two artists. They present each a couple of solo pieces and one collaborative piece. Lopez & Roden, Troum & Christian Renou, Rapoon & Desaccord Majeur and Vromb & Telepherique went ahead (among others) and here it's the turn for Alessandro Tedeschi, also known as Netherworld, and owner of the Glacial Movements label and Aidan Baker and Leah Buckareff, from Canada and best known as Nadja. Netherworld's three pieces are an excellent sound example of his own label: glacial movements. A very apt description. Still music of slow moving, utter deep movements. A turtle moves faster I think. A deep bass rumble in 'Closing To A Glacial Dawn'. Sounds like Biosphere or early Thomas Köner, but surely with a fine twist of his own, apparently all made with snippets of classical music. I skipped the collaboration to save that until the end and first heard the piece by Nadja, which spans nineteen minutes. A giant explosion takes place, and it sounds like a 180 degrees turn around from the Netherworld tracks. Yet that is only deceiving the listener. Yes, Nadja is much louder, but it's the same side of the ambient at work here: long sustaining sounds, feeding through effects, creating a ringing effect in your ear. Absense of rhythm is noted. How exactly their collaborative effort was recorded is a bit unclear but both ends meet up well here. There is the glacier like sounds of Netherworld, amplified of course to compete with the harsher sounds of Nadja, who mix in their own blend of guitars and electronics. Placed as the fourth track on the CD it makes perfect sense, forming a perfect bridge between the trio of silence of Netherworld and the solo outburst of Nadja. A perfect collaboration." [FdW / Vital Weekly]
labelwebsite FARIO: http://www.feardrop.net/fario.html
|
2008 |
€13.00 |
|
| NATURAL SNOW BUILDINGS |
Terror's Horns |
LP |
"Da ist es wieder, das französische Psychedelic Dronefolk Duo. Ihr 2013 wiederveröffentlichtes Album The Snowbringer Cult hat mich damals aus den Socken gehauen. Das war das reinste Hitfeuerwerk und in dem Jahr nicht umsonst als zweitbestes Album noch vor dem damaligen Release meiner Lieblingsband Troum plaziert. So konsequent hittig gehts diesmal nicht zu, aber dafür noch ein wenig verspulter. Hits gibts aber mit dem eher psychedelisch-folkig gehaltenen „Sun Tower“ und dem eher ambient-dronigen „The Rising Portal“ dann auch noch. Insgesamt so spannend und visionär, daß ich das nächste Album jetzt schon kaum erwarten kann." [Sibylle Bölling/Pretty in Noise]
"After a string of Natural Snow Buildings reissues, each more elaborate then the last, Ba Da Bing presents their first ever release of new material from the band. For a group known for its use of horror imagery and lyricism, perhaps the most shocking thing of all is that this album clocks in at just under 45 minutes. If there ever was a release that served as the proper entry point for Natural Snow Buildings, Terror’s Horns is it. It would be a stretch to call this Mehdi Ameziane and Solange Gularte’s pop record, for Terror’s Horns continues the duo’s tradition of combining many layers into sometimes blissful, sometimes contemplative, often menacing conditions. Stringed instruments trill, percussion gongs, feedback hisses and vocals maintain near monotone as if in a cultish trance. The songs still unveil themselves slowly, and the album’s progression lends the impression of descending down through the depths, past hidden cavities and chambers never to be unseen once experienced. Terror’s Horns features new artwork by Gularte that pays tribute to the backwoods horror of massacres involving chainsaws." [label info]
"Yes, there are a plethora of insanely limited editions published for and by Natural Snow Buildings and their satellite projects; but with their recent dealings with Ba Da Bing, the problematic availability has been alleviated somewhat. Of course, there was a tiny cd-r bonus edition that was coupled with this album but only available in pre-order direct from the label. No shops got any of those; so, we apologize in advance that we cannot offer that version. HOWEVER, we do have this amazing album itself, from aQ fave death-folk explorers Natural Snow Buildings.
There's long been a haunted thread that traces through all of the work from the French duo of Mehdi Ameziane and Solange Gularte, whose long-form tangles of ritualist drone-rock minimalism and sprawling, opiated psychedelia harks back to International Harvester, Flying Saucer Attack, and Kemialliset Ystavat. Here on Terror's Horns, Natural Snow Buildings plumb the depths of an emotional gloom and shuddering despair with this epic, cinematic album. The two have long specialized in expansive tracks of shimmering guitars, woodwinds, and bowed instruments that could be psalters, zithers, and / or violins, all of which blossom into sublime masses of dronological impressionism; and on Terror's Horns, Natural Snow Building engage in a sound far more elegiac and funereal and heavier than heard on any of their previous recordings. The freak-folk transcendence of NSB still will embrace the unsettling falsetto of Ameziane and the percussive clatter of Gularte, with the swirling psychedelia tumbling downward in lush cinematic collapse, with heavy minor-key chords and reverb saturated rhythmic plod providing plenty of parallels to the early days of Barn Owl and the latter days of Earth. Beautiful as always, these Natural Snow Buildings, if much darker than in days gone by." [Aquarius Records] |
2015 |
€20.00 |
|
| |
Terror's Horns |
CD |
"Da ist es wieder, das französische Psychedelic Dronefolk Duo. Ihr 2013 wiederveröffentlichtes Album The Snowbringer Cult hat mich damals aus den Socken gehauen. Das war das reinste Hitfeuerwerk und in dem Jahr nicht umsonst als zweitbestes Album noch vor dem damaligen Release meiner Lieblingsband Troum plaziert. So konsequent hittig gehts diesmal nicht zu, aber dafür noch ein wenig verspulter. Hits gibts aber mit dem eher psychedelisch-folkig gehaltenen „Sun Tower“ und dem eher ambient-dronigen „The Rising Portal“ dann auch noch. Insgesamt so spannend und visionär, daß ich das nächste Album jetzt schon kaum erwarten kann." [Sibylle Bölling/Pretty in Noise]
"After a string of Natural Snow Buildings reissues, each more elaborate then the last, Ba Da Bing presents their first ever release of new material from the band. For a group known for its use of horror imagery and lyricism, perhaps the most shocking thing of all is that this album clocks in at just under 45 minutes. If there ever was a release that served as the proper entry point for Natural Snow Buildings, Terror’s Horns is it. It would be a stretch to call this Mehdi Ameziane and Solange Gularte’s pop record, for Terror’s Horns continues the duo’s tradition of combining many layers into sometimes blissful, sometimes contemplative, often menacing conditions. Stringed instruments trill, percussion gongs, feedback hisses and vocals maintain near monotone as if in a cultish trance. The songs still unveil themselves slowly, and the album’s progression lends the impression of descending down through the depths, past hidden cavities and chambers never to be unseen once experienced. Terror’s Horns features new artwork by Gularte that pays tribute to the backwoods horror of massacres involving chainsaws." [label info]
"Yes, there are a plethora of insanely limited editions published for and by Natural Snow Buildings and their satellite projects; but with their recent dealings with Ba Da Bing, the problematic availability has been alleviated somewhat. Of course, there was a tiny cd-r bonus edition that was coupled with this album but only available in pre-order direct from the label. No shops got any of those; so, we apologize in advance that we cannot offer that version. HOWEVER, we do have this amazing album itself, from aQ fave death-folk explorers Natural Snow Buildings.
There's long been a haunted thread that traces through all of the work from the French duo of Mehdi Ameziane and Solange Gularte, whose long-form tangles of ritualist drone-rock minimalism and sprawling, opiated psychedelia harks back to International Harvester, Flying Saucer Attack, and Kemialliset Ystavat. Here on Terror's Horns, Natural Snow Buildings plumb the depths of an emotional gloom and shuddering despair with this epic, cinematic album. The two have long specialized in expansive tracks of shimmering guitars, woodwinds, and bowed instruments that could be psalters, zithers, and / or violins, all of which blossom into sublime masses of dronological impressionism; and on Terror's Horns, Natural Snow Building engage in a sound far more elegiac and funereal and heavier than heard on any of their previous recordings. The freak-folk transcendence of NSB still will embrace the unsettling falsetto of Ameziane and the percussive clatter of Gularte, with the swirling psychedelia tumbling downward in lush cinematic collapse, with heavy minor-key chords and reverb saturated rhythmic plod providing plenty of parallels to the early days of Barn Owl and the latter days of Earth. Beautiful as always, these Natural Snow Buildings, if much darker than in days gone by." [Aquarius Records]
www.badabingrecords.com
|
2015 |
€14.00 |
|
| NEZNAMO |
Aiwyâstô |
CD |
"If somebody still doesn't know, behind the Neznamo project stands the Moscow-based musician Dmitry Shilov who stepped on the path of ritual ambient music in 1996 under the stage name of Unknown. After releasing five albums on the "Strely Peruna" ("Perun's Arrows") label, the project temporarily fell in a lethargic sleep but woke up again in 2006 with a renewed name and approach.
As Neznamo Dmitriy has released several mini-albums on his own label Moonsun Productions, as well as a number of collaboration works with several other acts from the Russian drone underground: Misery, Bardo, Lunar Abyss, Siyanie, etc… For those interested in the project's roots and branches we can give some more keywords: Temnozor', Medve Na Meche, Peal Grim, Magickal Things.
"Aiwyâstô" is Neznamo's first full-length album and first "factory-pressed" CD. The album consists of one 42-min long composition recorded in a deep transcendental state. Covered in ornaments of unhasting vibrations, flickering and parallel sound layers, dense string drone permeates the whole track. This music is for lovers of deep inner self diving. Towards the depths of pitch-dark sound where one can see all forms dissolving in emptiness and being reborn by it again in an endless game of space and imagination." [label info]
zhb.radionoise.ru/eng/releases.html
"The shadowy figure behind Neznamo is the same Muscovite who offered up the Peal Grim cd from a couple months back. That was the album sporting the disclaimer "This record is not recommended to listening for depressively inclined persons" and Aiwyasyo is a blackened ambient record of a similar disposition. This album is not as exasperatedly bleak as the Peal Grim album, but it makes for another really amazing entry in the canons of contemporary Russian dark ambient works. Synth, guitars, and spectral emanations may or may not be in the mix for the bleak electrical pools of Aiwyasto. Sawtooth hums and buzzes gird the semi-melodic fugues that swirl, rumble, and brood over 40 minutes into this overwhelmingly sublime expanse of Ur-drone majesty that's not all that far from the likes of Troum / Maeror Tri, Aidan Baker's more turbulent solo works, and the cosmological grimness of Inade. Very nice, indeed." [Aquarius Rec.] |
2015 |
€13.00 |
|
| NINTH DESERT |
Collision h |
mCD-R |
The project of CYRIL HERRY, who also works as a film-maker (in example for TROUM). COLLISION H is a fabulous one-tracker using many layers of cloudy sounds & subdrones, evoking a haunting atmosphere. Comers in a nice oversized cardboard-cover, numbered ed. of 60.
"Collision h is made of various types of handled, stretched, retracted, skinned sound matters… Sequences extracted from sacred chants are confronted here with electronic frequencies and field recordings which collide and injure themselves but are forced to cohabit inside the same time and of the same space, similar to conflicting data assimilated by one and only memory." [label info]
" 'Collision H' enthält eine lange, 20 minütige Soundcollage die ziemlich dunkel und tief erscheint. Feld-Aufnahmen, rabenschwarze Ambiancen und schwere elektronische Frequenzen wabern und brodeln irgendwo ganz weit unten im Berg herum. Nur ein leichtes Drönen erinnert immer wieder an diesen Klangkanal, der so dunkel und trostlos ist, dass man, wenn man ihn entdeckt hat, auf keinen Fall hinuntersteigen möchte. Die Aufmachung hingegen ist hell und simpel. Die kleine 3 Zoll CD-R ist in eine schöne Kartonhülle zum aufklappen eingefasst. Eine gelungene Veröffentlichung." [Creative-Eclipse] |
2006 |
€9.00 |
|
| NOISES OF RUSSIA |
Experimental Structure |
CD-R |
Von dieser extrem interessanten russischen Performance-Gruppe sind Releases nur schwer zu bekommen. Hier ein Mitschnitt aus St. Petersburg vom Oktober 2008, als sie hinter TROUM auftraten und mit diversen Gastmusikern eine theatralisch-expressive Stimmung heraufbeschwörten, sehr dunkel & geräuschaft & voller Spannung..
"Nowadays Noises Of Russia is one of the most known groups on the Russian experimental post-industrial scene, mainly because of their numerous concerts and CDR-releases, published by their leader - Gosha Solnzev aka 1g0g ("Van Gog") - on his own label ElectroIndustria. This release has captured one of such concerts which took place at the Experimental Sound Gallery (ESG-21) in St. Petersburg in October 2008... This concert was peculiar because of the non-traditional band line-up which aside from 1g0g included some of his friends: musicians Nikolay Kalmykov (Hladna), M.M. (Kryptogen Rundfunk), Igor Potsukailo (Bardoseneticcube) and Evgeny Savenko (Lunar Abyss Deus Organum), and also VJ Alco (video projection) and Grigory Glazunov (ODDDance Theatre, butoh dance). By common efforts these comrades performed totally improvised material quite typical for the "St. Petersburg post-industrial wave" and combining elements of collage, industrial, noise and ambient. Field recordings and voice manipulations, metal percussion and rough analogue signals, guitar semi-melodies and various sound effects - all this is harmoniously blended in the unified psychedelic soundsphere." [label info]
http://zhb.radionoise.ru/
|
2008 |
€7.50 |
|
| NOSTALGIE ETERNELLE |
Krummhörn |
CD-R + BOOKLET |
Krummhörn was released in a limited cassette edition Krummhörn and as CDr (this), accompanied by a book that tells the story of this duo with the collaboration of Stefan Knappe, founding member of Maeror Tri and Troum, and owner of Drone Records, as well as Félix V. Díaz, owner of Lux Atenea, a blog where he publishes cultural reviews about records, films, TV series and books.
|
2023 |
€15.00 |
|
| ORIGAMI GALAKTIKA |
One |
CD |
"Everything is one, unique, peculiar – the message besides the new album from norwegian artist. Absolutely essential collection of his new works is released now on the CD in glossy and beautifully designed digifile.
Origami Galaktika is Benny Braaten, A.k.a. b9. Established in 1994 Origami Galaktika is celebrating 20 years of ambient soundscapes. A journey that has brought deep spiritual sounds to close to 20 countries. A variety of venues ranging from art galleries, pubs, punk places, churches, to concert halls etc.
How many ambient acts do you know that have played Sunset Strip, Los Angeles? Or the French quarter, New Orleans? A vinery in Aesch, Switzerland? In the woods outside of Gdansk, Poland? Everything from youth clubs to tea-houses in Slovakia? Vancouver, Toronto, the middle of the praries where hardly anybody has ever been?
Supported extreme metal bands, opening metal festivals? Supporting The Legendary Pink Dots more than 50 times and played with: I: wound, (r), Daniele Brusaschetto, The Angels Of Light, Dave Phillips, Nocturnal Emissions, Francisco Lopes etc…
In addition to Galaktika, Braaten is also working with the historical music projects Folket Bortafor Nordavinden (The People Beyond The North Winds) and Skvalthr. He is also having music history "lectures" where he tells us about and demonstrates ancient musical instruments… He is also hosting tonings and drum journeys. Braaten is also working on music for a dance performance to be performed in May 2014.
The new album "One" is a bridge between the "old" and "new" Galaktika. Featuring two older (previously unreleased) pieces and 6 brand new ones. After many years of mostly sample based live performances, Origami Galaktika today is mostly accustic and no sampler is used in the live performances these days." [label info]
www.monochromevision.ru
"Behind Origami Galaktika we find Norway's Benny Braaten, who has been doing music for a great many years. He toured with Nocturnal Emissions and The Legendary Pink Dots and releases his records around the world, albeit quite sparsely. I must admit I am never sure how this whole Origami business works, but it's a larger group of people working together, although it seems that Origami Galaktika's Braaten is mostly working solo. I saw him a couple of times and his music is highly atmospheric and generated on relatively lo-fi equipment: electronics, field recordings and four track cassette tapes. Atmospheric and drone like is what he offers us. There was a time when we called this ambient industrial music, when we played the cello bow on the guitar and added lots of reverb here and there. That is, essentially, what Origami Galaktika still does. On this grey, rainy day this is probably the perfect soundtrack for the mood one can find oneself in. A usual piece by Origami Galaktika starts with a drone and on its way gathers more drones in small variations and a box tricks is opened and small variations on a theme appear. I was thinking about the fact that it sounds like something I heard a lot, even when perhaps not very recently; if that the lack of innovation is a real 'problem' (to whom, I wonder). True, Origami Galaktika doesn't necessarily change tactics, but he does a great job in what he does. If you like say Troum or Maeror Tri, and you like your sub consciousness tickled than Origami Galaktika is surely something you must hear, if you don't know them already. 'One' is one great CD." [FdW/Vital Weekly]
|
2014 |
€12.00 |
|
| OTZEPENEVSHIYE / VIR' |
За Ножом / For A Knife |
CD |
"Otzepenevshiye were formed in 2006 and by now have already recorded a conceptual split-album with Allerseelen and Neutral (2008, Ewers Tonkunst / Indiestate), have taken part in a series of releases of the Heliophagia label and contributed to several compilations. The band consists of members of the well-known Russian post-industrial projects Sal Solaris and Reutoff... Vir' dates from 1996, having released some self-made demos, split-releases and two full-length albums: "Lower Forest" (2006, Indie-Go!) and "Horna" (2008, Mosquito Records)... The creation of a collaboration album was conceived by the members of both bands during their collective gig in Kazan'. Through the mutual exchange and editing of material they managed to record not just a split but something more that combined the planes of both acts and surpassed their traditional sound, not always resembling the individual works of both projects. The style of the album is really hard to define but to mark the relative field we could use such tags as sludge / drone doom / industrial / dark ambient... Roaring guitars and the powerful drive of a live drum kit turn into measured industrial drum-machine rhythms, a clatter of iron sheets, synthesizers and field recordings, then again giving room to overdriven strings and profound insane vocals of Sergey Milushkin (Vir')... Metaphysically this album is a kind of optical device, a magic lantern with opaque glass - matching the anguish and desperation of Russian life. However looking more closely one can distinguish amazing patterns on the black soot of this glass behind which shines the everburning living fire." [label info]
"There’s no surprise in that Otzpenevshiye and Vir’ succeed in producing together something fine and new: the latter is a well-established name by now, and the former constitutes from members of Sal Solaris and Reutoff. The album starts with dark ambient that turns into guitar-drone driven, almost doomy layer, to which is then added a set of matching drums and screaming vocals. The result is nevertheless not exactly doom metal, but something between that and ambient, and simultaneously something different from artists like Sunn O))). As the disc moves to the second track, a leap takes place, to instrumental, Megaptera-like post-industrial. After that comes guitar-led, spacey wave-sound, reminiscent of a mixture of Troum and drum machine. Later on there’s for example noise-spiced dark ambient, and at the magnificent end, the disc returns to the early doom moods. Everything is excellently done, but the jumps from one genre to another every track eat away the power of the record. It sounds more like a compilation from various bands than a singular album. Really good tracks, but more suitable for listening in small segments than as a whole." [Jiituomas @ Kuolleen Musiikin Yhdistys] |
2013 |
€12.00 |
|
| RE-DRUM |
S |
CD |
"An excellent piece of work by Pavel Aleshin whose drone soundscapes were released by Oophoi's record label Umbra and Slovakia-based Black Orchid Productions. The album explores the area of sacral and infinite, hence the title. S can be seen as the symbol of them.
Re-Drum was founded in 2002 by Pavel Aleshin. The sound of Re-Drum varies from deep drone/noise soundscapes on the first albums to light, warm, even melodic textures in the last works.
For fans of Robert Rich, Lustmord, Troum, Maeror Tri, Lull, Yen Pox
DISCOGRAPHY
'Fragments of the Faith Forgotten' MC 2003 (Black Orchid Productions)
'In the Shadow' CDR 2004 (Black Orchid Productions)
"_" CDR 2005 (Black Orchid Productions)
'Four Whispers for the Bees' CDR 2005 (Umbra)
'Inhalation' CDR split with Rattus 2008 (Black Orchid Productions / Minorlabel / Ambsine)
'S' CD 2009 (Zoharum)" [label info]
www.zoharum.com
|
2009 |
€13.00 |
|
| REUTOFF |
No One's Lullabies |
CD |
"No One's Lullabies" is the 9th album by Reutoff, one of the best-known Russian projects on the international post-industrial scene. Over the course of one hour they will be performing their "lullabies" which won't let you sleep though... The whole panopticon of borderline mental states will unfold before the eyes of our attention. Every track is a masterfully performed decadent dance of emotions and feelings. Steady industrial rhythms, an unhasting but assertive semi-drunk waltz, circus-like grotesque with wicked medieval shades, comatose jazz swinging in dark tones and epic electronic doom that could also fit well in the repertoire of their brother-project Otzepenevshiye - all imbued with remarkable spirit and slightly inflamed imagination.
The material entitled "No One's Lullabies" was initially produced as a cassette mini-album by the German label Sea State in 2014 in a small edition of 80 copies in unconventional handmade packaging. The extended version with four additional compositions was put out by Reutoff on their bandcamp page as a web-release. Now we're glad to present the CD version of the album for the happy owners of CD-players and optical drives! The CD-edition contains an exclusive bonus track with a live version of one of Reutoff's rare compositions. The disc is packed in a matte 4-panel cardboard digisleeve, artwork features paintings by Fabrice Billard, the chef of Divine Comedy Records.
http://zhb.radionoise.ru/
"If someone were to ask me, which post-industrial artist gives you the biggest pleasure when you listen to their music, I would never mention Reutoff. If somebody else were to ask me which project is in my opinion the most daring in its experiments or simply the most innovative in the scene, Reutoff wouldn’t be my pick either. But if you were to ask me about the musician who combines experimental with so-called “catchiness” the most effectively, well, I’d have to think about mentioning this Russian duo.
They’ve been active for about 18 years, releasing a variety of materials, also in collaboration with other artists in their famous Kreuzung series: a collection of names such as Deutsch Nepal, Troum or Der Blutharsch. “No One’s Lullabies” was originally released on tape, thanks to the Sea State label from Leipzig. Zhelezobeton gives us an extended edition on CD, with five additional tracks and a cover image painted by Fabrice Billard, the owner of the Divine Comedy label.
For many years Reutoff’s line of work and constructing additional sound structures has more or less been the same. They take a nicely crafted industrial background, a mid-tempo rhythm theme, often looped and encrusted with other trinkets and little diamonds, so that most of the tracks possess a slowly yet nicely building tension that leads to a culmination, abundant in sounds and atmospheres. Not all of the tracks though: Reutoff is not a project that always chooses the easy and proven ways – check this splendid dark ambient of a non-obvious feeling in “Nameless Tune With No Fate”.
This is also one of Reutoff’s huge advantages. That you can’t describe their atmosphere in one or two words. You need to build the whole story in your mind, different for each track. It may be dystopian sci-fi straight from Orwell or Bradbury novels; a dark yet epic, sometimes even strangely romantic story, similar to, say, “Blade Runner”. After all, titles like “New World Disorder” or “Requiem for Android” cannot be a coincidence. On the other hand in some track you may notice a somehow optimistic… no, not a good word – a note that breathes with hope. Saying that not everything is lost, that there are still new and mysterious worlds to explore even though our planet is lost.
I feel this modern sci-fi element is pretty solid in Reutoff’s works, which is even more interesting considering the fact that when it comes to technical matters a strong analogue vibe emanates over the whole of “No One’s Lullabies”. This is specific for many post-industrial artists coming from Russia, that while they’re faithful to classic samplers and synths, they’re able to achieve such a fresh effect. Reutoff, Cyclotimia, Sal Solaris, some Cisfinitum efforts. This offering is no different, and once again provides us with a certificate of the uniqueness of the Russian post-industrial scene." [Stark/Santa Sangre mag]
|
2015 |
€13.00 |
|
| SKY BURIAL |
Chapel Image |
CD |
Sky Burial’s fourteenth full-length recording marks a return to ‘epic’ length compositions fea-turing a single track spanning the length of the release. Firmly rooted in the kosmische ethos, ‘Chapel Image’ is a constantly shifting journey through the nebulous depths of drone and dark ambience with full-immersion being just held at bay by the uneasy dichotomy of low and high frequencies and punctuation of rhythmic and industrial elements.
Comes in digipack limited to 300 copies.
Note from the mastering studio: “Based in drone, Chapel Image encompasses the listener in abroad stereo field, engulfing you in so-und while elements play back and forth in the stereo mix. You can mention haunting or ethereal but this doesn't serve to define the full range or feel of the entire 45 minute piece. The mood changes throughout shifting from beautiful bell tones and diving into industrial dirges. It's not a recording that sits still for any time. It does repeat some themes eventually revisiting to the bell tones and reverb soaked synth tones or occasional rhythm, but the variation is paced and it paves the way for the liste-ner moving them along with the track.” –Chris Goudreau, Ninth Circle Studios
Sky Burial is Michael Page, a visual and sound artist living on Cape Cod, Massachusetts. After several years recording and touring in the power electronics/industrial/noise genre as Fire in the Head, Michael formed Sky Burial in 2006 as an outlet to explore the ambient side of industrial music, often citing esoteric, literary, esoteric, metaphysical and mythological subject matter as a muse. Much like the Tibetan ritual from which the project takes its name, Michael chose to work under the Sky Burial moniker as an act of freeing himself from artistic confines, providing an unfettered route for sonic expression and experimentation. Although initially inspired by early industrial music projects and electronic/ambient/kosmische acts of the 70's & 80's, the music of Sky Burial continues to evolve and blur genre boundaries.
Michael has released over 50 recordings since 2004 under various monikers and has collaborated on his releases with Mark Spybey (Download/Dead Voice on Air/Zoviet France), Nik Turner (Hawkwind), Jarboe (ex-Swans), Anni Hogan (ex-Marc Almond), Troum, Danny Hyde (Coil), Nigel Ayers (Nocturnal Emissions), Bridget Wishart (Hawkwind), Johann Eiriksson (Reptilicus, Gjöll), Nick Blinko (Rudimentary Peni), Gee Vaucher (Crass) as well as production assistance from James Plotkin (Khanate) and Justin Broadrick (Godflesh, Jesu).
www.wrotycz.com
|
2017 |
€12.00 |
|
| TARKATAK |
I II III IIII |
CD |
Die 4 Titel auf / // /// //// sind in ihrem Ursprung auf Reisen entstanden, an unterschiedlichen Orten oder auf dem Weg. Dann weitergeführt in unterschiedlichen Situationen an diesem festen Ort hier bis sie eine endgültige Form angenommen haben, die sich aber erst nach vielen Stimmungsschwankungen gefunden hat. Ein manchmal langer Weg dessen Resultat nur aus der Stimmung entscheidet, die die Musik in diesem Moment entgegenbringt.
Tarkatak
Ende 1981 war der Anfang: Punk und die Kassettenszene machten alles möglich. Unter dem Namen „Der Pilz“ erschienen die Geräusch-Collagen aus selbst geschnittenen Tonband-Loops und Kassetten-Overdubs. Das Harsche blieb bei „Der Pilz“, das Ruhige wurde zu „Tarkatak“, mit der ersten Kassette „slow“ (1999). Die Quellen und Wege blieben gleich (hören, sammeln, schneiden, unkenntlich machen), das Medium wurde Digital, obwohl es oft noch immer nach Kassette rauscht. Und immer wieder geht es tief in das dunkle, zähe Unbekannte – um sich dann vom Klang irgendwo erfüllt und umschlossen zu verlieren.
Neben zwei Kassetten, einer LP, div. 7“s bei Drone Rec. (z.T.Features mit Klangwart und Deep), CD/Rs (u. a. zusammen mit Anemone Tube und Florian Filsinger) und ein bisschen Digitales, gab es Konzerte oder Live-Kollaborationen mit Troum, A Thousand Vows, Melt Banana, Christina Kubisch, Kapotte Muziek, EA 80 etc."
https://aufabwegen.bandcamp.com/album/i-ii-iii-iiii
"You could think that is a label that hands me two new CDs, and one of these is new work by Asmus Tietchens, that would be the one first to hear. But a new CD by Tarkatak! Hold on. I can't remember I last heard or reviewed his music. I have known the musical project from Lutz Pruditsch since he started it in 1992. Before that, he had a cruder, industrial act, Der Pilz. As Tarkatak, he plunges into the world of ambient and industrial. 'I II III IIII" is his first release since the 2007 release 'Mormor' (not reviewed). There are four long pieces on this CD: ' I', 'II', etc. The pieces are from 2011, 2012, 2015 and 2017/2021. I have no idea what kind of instruments Tarkatak uses; only the piano is recognizable in 'IIII'. Otherwise, I think he uses electronics, effects, guitars, synthesizers and such. There is a robust drone approach in these pieces, of slowed-down tapes and rusty sounds, slowly evolving. With pieces between thirteen and twenty minutes, there is enough time to let them grow and develop naturally. This works best in the longest of the four pieces, 'II'. Tones arrive from nowhere, make a few slow and majestic moves and then disappear, replaced by new ones. The resulting music is dark, atmospheric and ambient. It ticks all the right boxes for me; I have been a fan since the early days, even when I am ashamed to say I haven't played many in recent years. Oddly enough, the one that didn't work well for me was 'IIII', with the piano sounds. Whereas the other was akin to amorphous clouds, the musical element of the piano, slightly unorganized, banging out slow
tones against a drone background, became after a while a bit boring. But a good hour of great music has passed by then, so nothing to complain about. Let's hope we don't wait another fifteen years for the next album." [FdW / Vital Weekly]
" „I II III IIII“ ist das erste neue Album von Tarkatak seit dem 2007 erschienen Album „Mormor“ auf Genesungswerk. Ende 2021 erschien ein starker Track auf einer Compilation. Die hier enthaltenen Aufnahmen entstanden zwischen den Jahren 2011 und 2021, geremixed wurden sie im Frühjahr 2021. Lutz Pruditsch, dessen Werk in den 80ern/90ern als Der Pilz stark von der Industrial Culture beeinflusst war und der das kleine Label Trümmer Kassetten betrieb, macht als Tarkatak eine ziemlich variantenreiche Musik, die sich im Drone verorten lässt.
Konzipiert während des Reisens und Unterwegsseins, bekommt man vier lange Tracks, die sich fortwährend entwickeln: So kommen auf “I” im Laufe der 16 Minuten zu dem in der Ferne anschwellenden Drone immer weitere Elemente hinzu, die sich nach und nach verdichten. Das ist eine sich langsam entwickelnde, aus zahlreichen Schichten bestehende Musik: Zwischendurch wird man an eine Sirene erinnert, Dissonanzen tauchen auf, es pulsiert, brummt und irritiert (und das ist durchaus positiv zu verstehen). “II” wirkt anfangs von der Stimmung wesentlich positiver, weniger dunkel. Man kann sich diesen weitgehend sehr melodischen Track zur Untermalung eines Sonnenaufgangs vorstellen. In der Ferne erklingen Pianotöne, die verhallen, im Rauschen gerade noch erahnbar sind. Dann glaubt man, Wellen schlügen gegen das Ufer, dann setzen dunkle, unheilschwangere Drones ein, um dann am Ende doch hoffnungsvoll zu enden. “III” ist wesentlich reduzierter, beginnt fast unhörbar, dann kommen seltsam-melodische Passagen dazu. Dem Track haftet ein Moment des Mysteriösen an, bevor der Rest Schweigen ist. Der das Album abschließende Track “IIII” beginnt dunkel, tastend, dann kommen Klavierpassagen dazu, die wesentlich dominanter als zuvor sind.
Diese vier langen, organisch wirkenden Tracks loten aus, was der Drone alles kann. Sehr schöne, auf 200 Exemplare limitierte Veröffentlichung mit einem zum Poster ausfaltbaren Siebdruckcover." [MG / African Paper]
"An edition of 200 copies only in silk-screened hand numbered poster-cover sounds nice and lovely but is in fact a bit unhandy, the poster folds out to more of the organic structure in bronze / brown / black. Thankfully a regular booklet is included here so at least some basic infos can be gained from the artwork.
Tarkatak is actually no new name to me, it's a project by Lutz Prueditsch (who was active as Der Pilz, run his experimental tape label Trümmer Cassetten and later Dachstuhl a.o. activities) I've listened to in awe years ago already when his album 'Mormor' appeared on the much missed Genesungswerk label, in a cardboard box with a CD on felt. Ambient drones for the thinking man or something like that I wrote back then. At least back then he gave the tracks some titles but for this collection, recorded between 2011 and 2021 and finally mastered in 2021 even those have left and the tracks are titled as the release, just four numbered sections. Well, freedom of speech, association or of thought or both this is.
The most recognizable instrument used here in small doses is a piano, spreading a few melodic highlights throughout these organic drones, built from field recordings and found but altered sounds and voices. Reworked over and over again the continuos movement and the flow hardly ever stops until everything is dissolving.
The mood is shifting from brooding to wallowing in various stages of post-romantisicm not completely unlike contemporaries Troum (f.e. with 'Mare Morphosis'). Maybe also reflection of a period of travels and changes in the artists life. A pleasure to listen to. Dreamy Movements in a deep wakefulness sleep." [CHAIN D.L.K.]
|
2022 |
€13.00 |
|
| THELXINOE |
Inner Subspace |
MC |
The first full-length album by Thelxinoe is re-released now for the first time on audio cassette.
This release continues developing a distinct Thelxinoe approach of creating high-quality drone ambient with the stringed and wind instruments involved. There are some slightly Maeror Tri/Troum-influenced moments such as light and a bit psychedelic, sometimes reversed guitar chords – especially in the shorter odd tracks which look like introductions or transitions to much longer even tracks. But the essence of Thelxinoe’s creativity is in the second track full of straight multilayered canvases of meditative drone ambient and particularly in the fourth 33-minutes track. This marvelous piece is called "Corona Borealis Void" and offers dark texture made of overwhelmingly long-resonating brain-blowing drones which goes as perfect background for sometimes melancholic and relaxing, sometimes psychedelic saxophone inclusions.
"Inner Subspace" was released digitally in 2012 on DNA Production.
Alexey Zakharov: alt-saxophone, baritone-saxophone
Peter L.: guitar, bass, sound processing
Kol Belov: cover art
https://thelxinoe-avalancheorganization.bandcamp.com/album/inner-subspace
|
2021 |
€9.00 |
|
| THISQUIETARMY |
Aftermath |
CD |
"Quite some time ago I reviewed 'Unconquered', one of the three previous releases by Eric Quach, also known as Thisquietarmy (see Vital Weekly 628). His fourth album is 'Aftermath', and released by Basses Frequences. Quach is not unlike his fellow country man Nadja (or perhaps like Aidan Baker), he plays guitar and lots of sound effects. To result is not too dissimilar to Nadja or Baker: highly atmospheric drone music, with a nice touch of melody here and there. In general the idea is to raise a wall of sound (as in built from many layers, not the noise type of sound) through loops created on the guitar and through the effects, and then, when everything is in place, he adds a guitar melody on top. Its a simple yet effective method to create such music, and Thisquietarmy does that well, I must say. Great moody music. But like with so many others, armed with guitars, loop stations and such like, there is also not much new under the sun. That should merely be noted. Not as a complaint,
but as a statement. If you are looking for something new, this might not be the place where it happens, so you know. If you are looking for more music along the lines of Troum, Nadja or Fear Falls Burning: Thisquietarmy is as good as them." [FdW/Vital Weekly]
www.bassesfrequences.org
|
2010 |
€13.00 |
|
| TWELVE THOUSAND DAYS |
Insect Silence |
CD |
"MARTYN BATES (Eyeless In Gaza) & ALAN TRENCH (Orchis, Howling Larsons) return after a long hiatus with the fourth TWELVE THOUSAND DAYS album. From the opening “Death Went Fishing” (a free translation of “vgíke o cháros na psarépsei”, the classic rebetiko by Giannis Papaioannou) to the closing, haunting notes of “Red And Golden Fire”, the listener is taken on a journey made up of a thousand journeys, a thousand side trips, a thousand destinations, hinging around the sprawling central trip of “Pathless”, in which the ramifications of choices made swim into hazy view. The 13 tracks that make up “Insect Silence” are a concatenation of dulcimers, whistles, guitars, synths, disturbing digital background noise (“Night Harmonium”) and other instrumentation with slices of pure, aching melody echoing through strange darkened corners, all enlivened and enlit by the wondrous tones of Martyn Bates.
MARTYN BATES is well-known for his brilliant long-time work with EYELESS IN GAZA, for his solo albums and for collaborations with MICK HARRIS and ANNE CLARK.
ALAN TRENCH: co-founder of World Serpent Distribution and musician with brilliant projects/groups ORCHIS, HOWLING LARSONS, TEMPLE MUSIC." [label info]
https://finalmuzik.bandcamp.com/album/twelve-thousand-days-insect-silence
"It's been quite some time since Martyn Bates (Eyeless in Gaza) and Alan Trench (Temple Music, Orchis) have come together as Twelve Thousand Days. It's fair to say much water has passed under the bridge since their last album From The Walled Garden in 2006. Insect Silence follows a ditched compilation release with the same title scheduled for release a number of years back. Insect Silence continues with the folk based music provided by Alan Trench and fronted by the distinctive voice of Martyn Bates but Insect Silence more so than their previous albums doesn't dwell solely in folk music. It may be its starting point but Insect Silence differs with passages of psych guitar and its layering of synths and electronics, as well as in the ambient interludes which feature throughout and often open up the tracks way beyond its grounding in folk music. Lyrically Insect Silence is couched in an English familiarity and in the eternal themes of life, love and death. Just shy of 70 minutes it's a long winding path of 13 tracks involving a large assortment of instrumentation which are woven into a complex and intricate tapestry of sound. You will be surprised by the pathways Twelve Thousand Days roam on .
Insect Silence opens to the spirited acoustic folk and percussive tambourine bashing of 'Death Went Fishing', outwitting death as it rushes onwards, weaving soaring psych guitars, which return throughout Insect Silence, as Bates implores that "he will return again". Its sets the scene for Insect Silence an album loosely based around folk music employing a rich multitude of instrumentation including guitars, dulcimers, harmonium, whistles as well as electronics. Twelve Thousand Days stretch the parameters of folk music with psych-guitar and ambient and instrumental interludes sprinkled throughout the 13 tracks. At times it likes listening to a Krautrock inspired psych-folk album with space rock leanings. In a good way, of course.
Opening to an ambient interlude 'Mad As The Mist' is the first of three musical settings of the words of Irish poet W.B. Yeats. Dreamy folk guitars entwine twang and strum, as Bates in his pure folk tones recalls philosophers such as Plato, Homer, Tully and Cicero, swelling into another passage of soaring solo of psych guitar and back again to dreamy folk song. More restless psych-guitar features on 'A Coat'. There's more of an experimental edge to the Yeats setting here pitching Bates' strained (and occasionally treated) voice to the fore, embellished by the pluck of guitar notes augmented by glinting electronics, bass throb and a needling guitar casting vibrations of psychedelic proportions. 'Arrow', the final piece in the Yeats trilogy is starker and played more straightforward with the beautiful folk voice over ringing acoustic guitar and warm synth backing.
Away from the Yeats tracks, a number of which Bates recorded with Troum in different musical forms, 'Errant Desires' moves to graceful ambience with flourishes of guitar notes. Bates' pure mournful tones add a sleepy lamentful melody, as faint electronics flicker behind the gentle flurry of guitar notes and assorted instrumentation. Beautifully atmospheric, it's one of my favourites on Insect Silence. Bates' voice is measured and melodic illuminating the sense of life passing in the evocative lyrics of rain falling, captured in our hands and gladly falling to the earth. More timeless folk arrives in the form of 'She Raises Her Eyes' where in captivating melodic tones Bates sings of a longing recalling long cold December months over duelling dulcimer chime.
One of the more surprising tracks appearing in the first half of the album is 'Invoke Hecate' where over passages of whistle and rousing, beating strum, Twelve Thousand Days sounding not unlike Ostara invoke the Goddess of Witchcraft, through an assortment of occult techniques. Alan Trench in past endeavours has facilitated many musicians in the apocalyptic folk genre but this rare sojourn, even with it blistering psych solo, can still raise an eyebrow and something of a smirk.
As mentioned earlier, Insect Silence is interspersed with instrumentals taking the music down alternate pathways, straying far off the beaten track. The first of these 'Night Harmonium' carries an air of arcane English mysticism with its loose folk stylings where strings chime and whistle billows merge over background synths and static clicks. The instrumental 'Old Ladies As Birds' is another brooding mystical moment where layers of whistles and flutes cast an age old melody over wheezing harmonium while loose guitar notes chime and ring out as distant electronics shudder underneath. While 'Old Ladies As Birds' is evocative of transforming souls and spirits, the jaunty folk offering of 'Fieldwork' is celebratory. Based on whistles and acoustic strum it comes across like a folk dance or Pagan procession. If 'Fieldwork' revels in a lost Englishness 'Descent' is dealing with nostalgia. A vintage crackling recording of 'See, The Conqu'ring Hero Comes' shrouds the descending organ scales of 'Descent'. Bates' voice is quiet, distant and softly murmured amidst the eerie disembodied voices of the choir as percussion rattles. You can almost picture the landscape on the pastoral 'Red and Golden Fire' another experimental offering mixing lulling electronics with whistles and flutes which closes the album.
Insect Silence hinges around 'Pathless' an epic experimental 16-minute musical and lyrical journey which we all make on our travels through life. Set in the middle of the album it continues the theme first introduced on the opener 'Death Went Fishing'. With the huntsman at our heels, we try to outwit death to no avail. Travelling from ringing guitar with Bates' voice, wrapped in layered accompaniment, veering between passages of Krautrock electronics and wavering synths to psaltery, whistles and location recordings. All the elements of Insect Silence emanate from and come together on this track to great effect. As it flows together seamlessly it's difficult to pinpoint where 'Pathless Part I' ends and 'Pathless Part II' begins but it may be when a heartbeat bass pulses and acoustic guitars ring out and the spoken word of Lisa (I think this is Elizabeth S who features on releases from Eyeless In Gaza) surfaces amidst guitars and layers of spacey synths which lull, crash and wail, before Bates returns, to close this epic track in high registered tones.
Insect Silence bustles with an immediacy, there's a sense of freshness of getting it all down on tape before the additional sound layers of instrumentation are added. Ambient, electronics, psych guitar, whistles, location recordings are all here embellishing the tracks making it intricate and complex. At the heart of it is an open-ended folk sound reflected in Bates' beautiful, distinctive voice which illuminate the timeless themes. Insect Silence is by far the best I've heard from Twelve Thousand Days and though the tracks are disparate there's an arching basis in folk music which traverses into other areas which holds it all together. As we said, Insect Silence is a journey, a pathway laid down just waiting for us to follow. Insect Silence is released digitally and on CD by Final Muzik in an edition of 500 copies. For more information go to Final Muzik and to download go to Final Muzik Bandcamp." [Compulsion Online]
"Man neigt gerne dazu, Bands, die sich nur alle Schaltjahre oder seltener zu neuen Aktivitäten zusammentun, als klammheimlich aufgelöst zu betrachten, erst recht dann, wenn es sich dabei um noch anderweitig aktive Musiker handelt – so wie Sänger Martyn Bates mit Eyeless in Gaza und seinem Soloprojekt und Instrumentalist Alan Trench mit seinen Folk- und Psychedelic-Gruppen Temple Music, Orchis und Black Lesbian Fishermen. Nachdem mit ihrem Duo Twelve Thousand Days wahrscheinlich nur noch wenige gerechnet hätten, steht mit „Insect Silence“ nun ganz überraschend ein neues Album in den Regalen, das fast da anknüpft, wo die beiden vor gut zwölf Jahren mit „From the Walled Garden“ aufhörten. Fast, denn gerade bei Alan sind doch ein paar Spuren seiner neuen Arbeiten herauszuhören.
Wie man es von früheren Aufnahmen her kennt, wechseln sich schmissige, fast frohsinnige Folksongs ab mit verträumt melancholischen Klageliedern und geheimnisvollen ambienten Soundscapes, und zusammen mit Bates’ unverkennbarer Stimme, die so klar und jugendlich wie eh und je klingt, kreiert die Musik ein verzaubertes Setting, das an ein langsam vor dem Auge verschwimmendes Jugenstilgemälde erinnert.
„Death Went Fishing“ und „Invoce Hecate“ zählen zu den eingängigen Folkstücken, die mit feurigem Geschrammel und ekstatischen Rasseln nach vorn galoppieren – mystische oder makabre Töne schleichen sich über sanft gesungene Textzeilen in die Szenerie und bilden mit der harmonischen Musik eine heikle Mischung, und schon mit den allerorts spürbaren heidnischen Untertönen sind die Stücke vor jedem Indie- und Pop-Appeal gefeit. Impressionistische Tableaus wie „Mad as the Mist“, dessen anfangs noch ziellos umhertastendes Gitarrenspiel sich erst nach und nach zu einem anmutigen Stimmungsbild zusammensetzt, bilden einen Gegenpol dazu, ebenfalls das aus einer balladesken Märchenwelt herübergewehte „Old Ladies as Birds“ und das mit Knacken und Knistern leicht verfremdete Zwischenspiel „Night Harmonium“ – beide Stücke gewinnen noch an Charisma durch Alans berührendes Flötenspiel.
In einigen dieser Tracks sind aber auch räudige Psych Rock-Elemente zuhören, die der Musik eine Kantigkeit verleihen, die in den klassischen Zeiten des englischen Folk nichts ungewöhnliches gewesen wären – zünftige E-Gitarrensoli und dröhnende Riffs, die die Folkmelodien, die sie spielen, gleichsam zerschreddern, als wären sie eine nationalhymne in Woodstock. Weder Eyeless in Gaza noch Orchis waren frei von solch rauen Beigaben, doch hier hat sich v.a. die Sprache jüngerer Temple Music in die Stilpalette geschlichen und gibt dem naturverbundenen Sound eine deutliche Prise Realismus.
Es gäbe einiges, das sich in den einzelnen Songs hervorheben ließ, die anrührende Melodie in „Errant Desires“, die cinematischen Verfremdungseffekte in „Red and Golden Fire“ und der melierte Orgelsound in „Descent“, der in ein verwehtes Sample des Liedes „Hail the Conquering Hero!“ (im Deutschen die Melodie von „Tochter Zion, freue dich“) übergeht, sind nur einige davon, doch alles in allem funktioniert „Insect Silence“ am besten als zusammenhängendes Werk, das mit mehrmaligem Hören immer mehr zu verzaubern weiß." [U.S., African Paper]
|
2018 |
€13.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
OEC 100 / THE OLD EUROPA CAFE |
7 x CD-Box |
OLD EUROPA CAFE fing wie einige andere heute noch existierende Experimental-Labels (z.B. ANT-ZEN, KORM PLASTICS) in den 80er Jahren als Cassetten-Label an, um später auch Vinyl & CDs herauszugeben... Nun gibt es das Label von Mastermind RODOLFO PROTTI bereits seit 25 Jahren, und das wird mit dieser irren Compilation eindrucksvoll zum Ausdruck gebracht. 101 Stücke von Gruppen, Musikern & Projekten die irgendwie mit OLD EUROPA CAFE in Verbindung standen oder stehen sind hier verewigt, und das Thema soll sein: EUROPA. Von Post-Industrial über Harsh Noise, Dark Ambient und Neo-Folk, das Spektrum des Labels reicht sehr weit, die Wurzeln liegen aber ganz klar in geräuschvollen Industrialsounds..
"This compilation was planed during 2007 for the 25th OEC anniversary. For celebrate the label and all the work done over all those years 101 artists / groups / projects which was / are / will be involved with OEC was invited to submit an unreleased or anyway re-worked / exclusive track devoted to the theme :
Europa !
Europe : from Portugal to Russia
Europe : his history
Europe : his culture
Europe : his cities
Europe : his beauty
…. At last, a true Old Europe Cafe soundtrack ....
Tracklisting / in Alfabetical Order :
1. A Challenge of Honour - Iberia
2. Aesthetic Meat Front – Twilight in Berlin
3. Ain Soph – Tra le Rovine
4. Albireon – Un Cavallo Senza Nome (Sonne Hagal’s Italian covered track)
5. Alessandro Pacciani – The Colour of the Human Ashes
6. All My Faith Lost … - Septembre 1871
7. Argine – Risveglio
8. Artefactum – The Night Waltz in Vienna
9. Asianova – Trieste
10. Astro - Old European Son
11. Autopsia & K.Rossmann – Fragment II
12. Bad Sector – Old Europa On Air
13. Beyond Sensory Experience - Fadren
14. Black Sun Productions – Gegen Verfuehrung / Grande Inno di Ringraziamento
15. Bleiburg – Europaean Heartbeat
16. Camerata Mediolanense - Guillotine
17. Circus Joy – Signora Europa
18. Claustrum – Penitential
19. Cristian Renou – U-Rop Impress (heavy version)
20. Cropcircle – The Balkan Doll will never Grow
21. D.B.P.I.T. – Lili Marlene
22. David E. Williams – Erlkönig
23. Dawn & Dusk Entwined – Occident
24. Dead Man’s Hill - Parc Abbey / The Heverlee Lakes
25. Deutsch Nepal – The Lonely Comming Down
26. Discordance – Jokela, Finland
27. Division S – Further Knowledge
28. Dogs Hate Monet - In This Dream
29. Dream Weapon Ritual – excerpt from The Mysteries Of E
30. Egida Aurea – L’Ardente Fiaccola della ragione
31. Folkstorm - United under a black sun of utmost splendour
32. Foreign Trade – With You
33. Foresta di Ferro – Europe Greets the Storm
34. Furvus – Evropa
35. Gerechtigkeits Liga – Controlled Europe
36. Grey Wolves – Decapitation Zone (Euro Carve Up)
37. GX Jupitter-Larsen – Norge Om Polybølge
38. H.E.R.R. – A Newer Rome (2007 Version)
39. Horologium – European Macht Muzik
40. Hybryds – Resistance (Old Europa Mix) with samplefood by Wejdas
41. 40.Jerome Deppe and Gentlemen Oscura – Song for Nero
42. K. Meizter – Prypiat
43. Kallabris – Holzweg , Scherzo for Scandinavian wood winds and tape manipulation
44. Kenji Siratori – Crusade 2007
45. Knifeladder – Warsaw , 4pm
46. Lark Blames – Small Cars
47. Lonsai Maikov & Dissonant Elephant – Occident : 111
48. Lt. Caramel – Estación de Princípe Pío
49. Macelleria Mobile di Mezzanotte- White Jazz (Excelsior Cafe Version)
50. Malato – EU
51. Mauro Guazzotti – Clockwork Europe
52. Moljebka Pulse – Avra
53. Musterion – Underneath Stockholm
54. MZ.412 - Overthrowing European Christianity
55. Naevus – The Petty Task
56. Nazi UFO Commander – Flying Dutchman
57. Ninth Desert – Oscript
58. Njurmannen - Music for an erotic TV show
59. Nocturne – Old Nocturne Cafe
60. Nordvargr - Facing the ghost of the past
61. Northgate – Brief
62. Ô Paradis – Contigo
63. Organisation Toth – Follow the L.ight O.V. .E.uropa
64. Pacific 231 – Mezquita
65. Peter Andresson – Kitchenscape
66. Post Contemporary Corporation – Il Martirio di Wagner (live attack !)
67. Rapoon – We Whisper Revolutions in the Cafe’s of Europe
68. Richard Ramirez – The Colours of Dark Clouds over Italy
69. Roma Amor – Der Treue Husar
70. Runes Order – In the Endless Regions of Europa (Hate IV)
71. S.Q.E. – Shards
72. Sacher Pelz – Pchearsezl
73. Sala Delle Colonne – Scilla e Cariddi
74. Second Amendment – The Stranger
75. Seelenblut – Sudden Light
76. Seelenlicht – Return to Summerisle
77. Selfishadows – Poison
78. Shining Vriel – Of Coin + Ruin
79. Siegmar Fricke - Euroceutik 2007
80. Simulacrum – Naturatum EU
81. Sleeping Pictures – Kiss the Dirt
82. Slogun - Palma:1986-2002
83. Space Alliance – Abduction of Europa
84. Spiritual Front – Funeral Blues
85. TAC - Sixth From Jupiter
86. Tam Quam Tabula Rasa – New Ropes Suffocate my Hopes (Rendhagyò Olasz Dallam)
87. Tears of Othila – Up our Banners ! (Special Old Europa version)
88. Teatro Satanico – Veneto Industrial in Europa
89. The Lindberg Baby – No Promises
90. The Soil Bleed Black - Thou Art Mine
91. Thomas Nola et Son Orchestre – Mother’s Ruin
92. Tribe of a Circle - Demokratür - Final Act
93. Troum / Asianova / Voice of Eye – Dream for a New Europa (Re-Entry Edit)
94. Ventral Metaphor – Lost in Pordenone
95. Vestigial – Substorm’s Curtains
96. Voice of Eye – Inside the Breath of the Adriatic
97. Vox Populi! – Soft entrance to nature’s camino de luz
98. Wermut – Maladia Europa II
99. Wertham – Which Way Western Man
100. Wheian – Europa
101. XX Century Zorro – Phelin Phelix
Cover art-work features reproductions of oil paintings by : Mass Inc.
As you can see this will be a true Mammoth compilation !
We didn't put limits to the sound stiles , so here you can really hear all the sounds
of the Industrial sub-culture featured on OEC !
A BIG document on OEC work ...
A BIG thank you to all the artists who was walking with OEC !!!
A BIG thank you to all who was supporting OEC for such a long time !!!"
[label info]
www.oldeuropacafe.com
|
2008 |
€36.00 |
|
| |
PYRE |
CD |
A Cold Spring label sampler, presenting 15 tracks of industrial, esoteric, dark ambient, ritual, Japanese noise, drone, power electronics, doom, death industrial and experimental sounds. Unearth the world of Cold Spring! Sealed card slip. TRACKS: 01. Troum - Outer Brain Outsourcing (Excerpt) 02. Khost [Deconstructed And Reconstructed By] Godflesh - Inversion 03. La Breiche - Le Mal Des Ardents 04. Skullflower - Furfur 05. Penny Rimbaud's L'Académie Des Vanités - What Did You Know, What Did You Care? 06. Tunnels Of Ah - Purging Process 07. Sutcliffe Jugend - Howl (Edit) 08. TenHornedBeast - All Fled (Excerpt) 09. Sun Ra | Merzbow - Granular Jazz Part 4 10. She Spread Sorrow - Crushed On The Pillow (Excerpt) 11. Coil - Fire Of The Mind 12. Common Eider, King Eider - A Wisp Of Smoke, And Salem Burns (Excerpt) 13. Trepaneringsritualen - All Hail The Black Flame 14. Henrik Nordvargr Björkk / Margaux Renaudin - Sunyata 15. Dave Ball · John Savage - Dead Neon |
2016 |
€4.00 |
|
| VOICE OF EYE |
Anthology 2 (1992-1996) |
do-CD |
"Since a few years Texan group Voice Of Eye are back. Their various new releases have been reviewed before. But its the second incarnation of the group, a duo, which existed before from 1989 to 1996. They were pretty active back then too, with lots of releases, like CDs, cassettes, 7"s (for Drone Records among others) and contributions to compilations. Last year Vinyl On Demand already released a double LP of that older stuff, but now Troum's Transgredient label goes out even more, with a double CD of material from 1992 to 1996 (and makes it the first non-Troum release on the label). To say that Voice Of Eye play ambient music is not entirely true. Their music is indeed based on all things 'atmospheric', using an array of drone like sounds, percussion and the heavenly voice of Bonnie McNairm, but what sets Voice Of Eye apart from so many others is their free flowing sound, almost psychedelic, always full of sound effects (the reverb is hard to avoid here), widely meandering ab out.
There is always a rough edge with Voice Of Eye that makes them a bit different from many other drone artists, which is perhaps due to the fact that they use many effects and maybe due to the fact that the recording medium is not the greatest. Also they use various bits of percussion, acoustic objects (one track is entirely made of bicycle wheels). Its great to have this collection of rare CD compilation pieces, 7" vinyl and long unreleased pieces - especially the very free floating space of 'Sonic Works Live Dress Rehearsal'. Two long CDs of highly weightless space music. Excellent stuff." [FdW/Vital Weekly]
|
2011 |
€10.00 |
|
| WYRM |
Divination Bones (2nd extended ed.) |
7 |
Excellent abstract drone-experimentalism by this mysterious project by the long active ALLAN ZANE, feat. LIZ LANG (AURACENE); this is second, revised & complete version of both tracks previously released as a picture-7", due to a pressing mistake an uncompleted version has been pressed before - which means everyone who bought already the pic-7" can get this second edition FOR FREE (excl. postage)!
"Während auf der Picture-7“ die Demoversionen zu finden sind, schob Drone Records nach
Betriebsschluss seiner 7-Zoll-Serie eine zweite Edition mit dem Original nach- und bildet
damit den Kreislauf zweier Kompositionen nach. Tradiert feldrekorderhaft und mit der
Betonung auf Troum’sche Harmonielehren setzen sich in zwei spitzenintendierten Stücken
geradezu vexierte Spiralen an Klang und schleichender Verdichtung in Gang, die in ihrer
schleifigen Ruppigkeit dem Trägermaterial Vinyl eine Menge abgewinnen- während die Demo
deutlich spurenarmer ausfällt, nimmt sich die Komposition im ausformulierten Zustand mehr
Zeit während die sonore Klangmechanik weitaus differenter ausgearbeitet ist. Der Gestus
beider Stücke fällt in den Zuständigkeitsbereich von irr. app. (ext.) und bietet neben dissonanten Saitenexperimenten Versatzstücke der Hauntologie in quälender Zeitlupe. Als letztes Signal von Drone Records eine wahrlich lohnende Investition: Käufer der Picture-Disc bekommen die Platte beim Bestellvorgang sogar umsonst dazu. 5/5" [Thorsten Soltau / AEMAG]
|
2011 |
€6.00 |
|
| WÄLDCHENGARTEN |
Distractions |
CD |
Trotz diverser hervorragender Releases sind die Dänen WÄLDCHENGARTEN weiterhin ein Geheimtip für Drone-Freunde. Elektronische, rauhe & majestätische Drones voller amorpher Elemente sind ihre Spezialität, Soundquellen sind kaum auszumachen, im Klang liegende Wellenbewegungen bestimmen das Bild. "Distractions" ist ihr drittes "full-length" Album.
"The senses are hit by a typhoon of charged electricity, which sends your mind into a cabinet of mirrors where darkness folds and unfolds. The sound image presents itself as an inseparable unity in which myriads of parallel sequences are constantly undergoing transformations. Transcend through ethereal radiation!" [label info]
"Since seven years Wäldchengarten exists as a lone but strong voice in the world of Danish experimental music. They have had a couple of releases (see for instance Vital Weekly 510, 465, 380, 338 or 265) which all can be noted for the strong love of noise and drones. Everything they do deals with electronics, from the samples they use to the sound effects and the analog electronics. Noise is never the end result: rather Waldchengarten use noise to create an effect that is trance inducing. Also Waldchengarten has no theme, it seems. No track titles, no obscured nazi images or any such things known to the world of noise, all they (the two brothers Hansen) care about is playing mind altering ambient industrial music, and they do a great job. They can easily be compared with the likes of Troum. Forcefully present, but twistin' the senses. With 'Distractions' they created an even finer balance in the music, moving slowly forward with their sound. Every new release is an improvement from the previous, slightly refining the music. Waldchengarten doesn't take big steps, nor are they in for a radical change, but with releases at this rather slow speed, it's quite alright. So far their best release." [FdW / Vital Weekly]
www.phisteria.com
|
2006 |
€14.00 |
|
| YEN POX |
Universal Emptiness |
10inch |
Finally NEW material by the "almost legendary" US-duo, working with deep e-bass sounds to create a really isolationistic mass of darkest cosmic ambience; artwork by the great artist & photographer EYELYFT (eyelyft.blogspot.com) feat. gloss spot printing parts; comes on BLACK vinyl, lim. 500, over 30 min. playtime! **extra NOTE: the original material was so massive that it needed 3 master-plates before it could be pressed - the original tracks had to be shortened & de-equalized as they were TOO HEAVY!
www.substantia-innominata.de
"Some ten issues ago I reviewed a CD by Blood Box, the solo project of Michael J.V. Hensley, who is a member of Yen Pox, and I wondered: do they still exist? It has been a while since I last heard Yen Pox, but they still exist: here is a brand new 10" with two pieces, 'Above' and 'Below'. Apparently with some problems to get it pressed, since the music of Yen Pox deals with much low end. Despite the alchemical titles ('as above so below', remember), I think this music is otherwise free anything remotely 'occult', 'magick', 'gothick', which sometimes sips in with this kind of music. Two pieces of utter dark ambient music, reverberating drones from the underworld. Hard to say what Yen Pox are doing though. Are these highly processed field recordings? Lots of analogue synthesizers? Digital ones? Just sound effects? Or, and that is perhaps the most likely thing, a combination of all of this. Slowly moving, hypnotic, trance like. Yen Pox sound like Troum here, and that, I think, is a big compliment. Very fine record indeed. Why is there so little Yen Pox out there?" [FdW/Vital Weekly]
"Soundmassen, schwarz und zäh wie Teer, wälzen sich durch Universal Emptiness (SUB-14, 10"). Die Urschlange und Mutter allen Dröhnens hat eine derartige Konsistenz. Auf dem Vinylmaster war das Klangbeben, das YEN POX einzufangen versucht, kaum zu bändigen. Aber wer wie Michael J.V. Hensley & Steven Hall seine universale Wahrheit zu verkünden versucht, muss bis an die Grenze des Machbaren gehen.
'Above' & 'Below' heißen die beiden urig pulsierenden, dröhnenden, grollenden, rauschenden Seiten der Medaille und erinnern damit an die hermetische Weisheit der Tabula Smaragdina. Demzufolge ist auch oben ein Abgrund, denn synästhetisch erfassbar ist nichts als eine dunkle Tiefe, eine tiefe Dunkelheit, Protuberanzen einer Schwarzen Sonne, Strudel der Ursuppe. Sie hat einen metallischen Beigeschmack, den Geschmack von Fanfaren. Der Wind aus der Tiefe bringt etwas mit, das in Götterohren Musik zu sein scheint, Stöhnen, Schreie, Rufen, vielleicht Gesang. De profundis. Aber Oben ist Unten, die Götter brüllen selbst. Wir hören sie als - Gedröhn." [Rigobert Dittmann / Bad Alchemy #72]
|
2011 |
€12.00 |
|
| |
Between the Horizon and the Abyss |
CD |
"Arriving on the scene in 1993 with their self-titled demo, Yen Pox immediately made their presence known with an ability to create monumental, light devouring soundscapes that transcended all that had come before it. Proceeding releases, including their debut CD, Blood Music, 2000’s New Dark Age, and the collaborative CD with Troum only solidified their standing and reputation. With Between the Horizon and the Abyss just being their first full length recording in over 15 years, Yen Pox will never be accused of being prolific. After all, with the two members spread out between Indiana and Washington State, creating new material doesn't exactly lend itself to convenience. But on the rare occasion that recordings do arise, it’s nothing short of masterful, reminding listeners why they’ve achieved such notoriety with such a limited discography, and why their recordings are consistently recognized as benchmarks within the dark ambient genre.
Time between releases has been well spent, with the new material taking the early template and expounding upon it greatly, adding layers of industrial churn and structure to the infernal kosmische sprawl they’re so adept at creating. And yet throughout its entirety, Between the Horizon and the Abyss is remarkably polished and fluid. Within its realm, no seconds feel wasted, and every sound feels purposefully placed, even as it moves and flows in perpetual motion; strains of a distant angelic choirs fall beneath a complex array of arcing tones, liquidous, molten textures, & harrowing orchestral shimmer, with fervent masses of malevolent atmospherics billowing forth in glorious detail.
While this technically falls under the banner of dark ambient, what Yen Pox has managed to create goes far beyond genre specifications and boundaries, crafting a new benchmark and adding a high water mark to an already stellar discography." [label info]
www.malignantrecords.com
"The year is 1995 and an extremely young label from Maryland has just begun to open its eyes to the world. Prior to this moment, its entire three-year existence had been dedicated to a ‘zine/compilation combination known as Audio Drudge, with a more official birth coming with a compilation of a different kind in 1994 that featured noise/industrial artists that ran the gamut from celebrated veterans in Illusion of Safety, Maeror Tri, and Contrastate, to what was at the time excruciatingly obscure in Söldnergeist, Vromb, and Kirchenkampf. It was an artist from the latter side of this list that was destined to give rise to one of the most important labels that post-industrial music has seen to this day—a label that, in the absence of Cold Meat Industry, has rightly taken its place at the helm as the leading name releasing the new generation of old-school industrial and dark ambient music today. That label is of course Malignant Records. And the artist? Yen Pox, the duo of Steven Hall and Michael J.V. Hensley, who tomorrow (May 5th) will be making their return after a full decade and a half of silence, save for a notable collaboration with another seminal dark ambient duo in Troum, Mnemonic Induction, and a little-known two-track 10″ on Drone Records, Universal Emptiness. This also requires one to overlook their respective solo projects in Veil of Secrecy and Blood Box, both of which have also been agonizingly slow to realize new music over the years.
Yes, this is the project that began the maelstrom of high-quality releases that would make Malignant the monolith of the genre that it has become today, and that in itself should leave expectations at an absurdly high level for any curious ear. For the uninitiated, the project’s name should be enough of a hint to bring about hallucinatory visions of slow-rolling drones and desperate metallic chatter. “Yen Pox” was famously written by William S. Burroughs in Naked Lunch as being “the ash of smoked opium,” which should immediately lead one towards assumptions of the surreal brilliance held therein. Indeed, “The Awakening” arrives with a bass-end rumble that moves with enough sluggish grandeur, complex drones, and vastly cinematic space that it warrants comparisons to some of the finest names in the genre including deep audio extraordinaire Bad Sector and the aforementioned Troum. It is with this impressive track that Between the Horizon and the Abyss opens with the full force of a black hole, slowing down time and stretching it infinitely over an unimaginably monstrous mass, ripping metallic atoms apart with the pulsing black heart of the cosmos. Even “Tomorrow in Ruins” somehow leaves a similar astral impression as that of Ben Frost‘s incredible recent work with A U R O R A.
There is a ritual edge present on some tracks as well, from the percussive clamoring and distant feedback howling of “Cold Summer Sun,” to the distant whispers and unnerving climaxing noise of “Grief Ritual.” However, this is only a minimal part of Yen Pox’s identity, as everything about Between the Horizon and the Abyss feels about as purely nihilistic as anything I’ve heard in recent years. The apocalyptic atmosphere present on the album is almost overwhelming at times, imparting an unforgiving amount of dread upon the listener as they float not through dreamy ethereal dimensions, but rather through the smokey black veils of what lies at the end of our journey. The intense album artwork and concise yet visionary track titles certainly don’t help one get an opposite impression though the radiant golds are an interesting and effective choice for such an atmosphere, but the music stands on its own as one of the most defining albums for dark ambient music of the past decade. Truly, at least to some degree, it sets a bar that leaves other modern releases from the genre sounding dry at best.
Between the Horizon and the Abyss is one of the few releases of the past few years that has simply come as advertised. It is a triumph of the genre and is destined to be a celebrated gem. One can only imagine that it is the lack of quantity that has provided such astounding quality on Between the Horizon and the Abyss, but with this reminder that there are still new levels to achieve, we can only hope that it isn’t another 15 years of near-dormancy before another full-length surfaces." [S.L.Weatherford / Heathen Harvest]
"A colossal record like this doesn't get made in a day, or even a year for that matter. It's actually been 15 years since Yen Pox has produced a new album. There was an excellent collaborative project the American industrial-ambient technicians did with the German pioneers Troum; and M.V. Hensley from Yen Pox has released a handful of albums under his moniker Blood Box. But, the last proper Yen Pox album, New Dark Age, arrived in the cold months of 2000. Not quite as slow in production as Giancarlo Toniutti, who took well over 20 years to issue a new solo album. But like Toniutti's immaculately conceived electro-acoustic wastelands, the records of Yen Pox are the stuff of epochal change, slowly revealing themselves through the dark veil between this world and another, or as the title implies between the horizon and the abyss. The scope of this work is suitably grandiose, following the template for the entire dark ambient genre that Yen Pox helped sculpt so many years ago alongside the likeminded projects Lustmord and Inade. The horror-laden drones that Yen Pox conceives are hardly static, as they spiral as if thrown from stable orbit by the all-consuming gravity of a black hole. The deep female vocal utterances are courtesy of the gothic siren Ruby Smith (aka Dark Muse) whose bellows and moans sporadically break through the dense clouds of Yen Pox' subterranean echo and reverb as the only ghosts of humanity to be found within this album. Bleak and heavy, to say the least." [Aquarius Records]
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2015 |
€13.00 |
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| [AD]VANCE[D] |
Flushing the Veins |
DVD |
The second release for the "post"-VANCE ORCHESTRA project is a DVD with four films & new music, combining colourful vivid & floating shapes with field recordings and electronic sounds & drones... lovely stuff, contemplative & little bit bizarrre as always...
Comes in nicely designed handmade DVD-box, with colour-booklet, lim. 300
"Hier auf dem Moskauer Kleinlabel für Sammlereditionen, das auch schon Merzbow, PBK, Troum, Maeror Tri und Telepherique veröffentlicht hat, folgt im reizenden Leinendesign mit farbigem Booklet dann die Kombination aus den beiden Interessen-schwerpunkten von Mars F. Wellink mit Support durch den audiovisuellen Produzenten Moreezz. Visuell erinnert mich das Ganze weitgehend an Derek Jarmans TG-Film "In The Shadow Of The Sun" - verfremdete, monochrome & fluktuierende Gebilde. Selbiges läßt sich fast ebenso vom musikalischen Teil sagen. Im Gegensatz zur Erstveröffentlichung von (Ad)Vance(d) geht es hier aber mit mehr Kontrast und Tiefenschärfe zur Sache. Verschiedene Geräusche des Alltags (Fieldrecordings in Deutsch) werden bewußt extrahiert, präsentiert und betont bis hin zur Aufdringlichkeit. Hier wird zielstrebig und kultiviert nach innen gebohrt in Bereiche, derer man sich vorher gar nicht bewußt war oder werden wollte, unterteilt in 4 Kapitel. [cs]
"...Wellink was one half of the Vance Orchestra, 'which lost after 10 years most of his magic', as we read in the booklet. We also read that Wellink was treated for cancer and that this new DVD 'symbolizes my feelings' and hence the title. The images and sounds were created by Wellink and processed by one Mooreezz. Like Telepherique (Ad)Vance(d) likes to use loops, but whereas they are simple in the 'Stahl Und Steine' release of Telepherique, with (Ad)Vance(d) they are produced on a wider scale and he takes the listener on a more coherent journey. Tinkling bells, animal sounds, voices, street sounds, they all rotate with a constant tempo. The images have a similar process: colored fields rotate about, return, change shape and color, and keep on rotating. Music and images have a hallucinatory effect if you watch and listen this closely on a TV screen and with the sound quite loud. Or it works as a nice ambient environment to which glance every now and then, while having the music. Many possibilities there." [FdW / Vital Weekly]
label-website: www.waystyx.com
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2007 |
€15.00 |
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