Search results for "cisfinitum"
"cisfinitum" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| 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 |
 |
| CODACHROM |
Plastinka |
10inch |
project of EVGENY VORONOVSK (CISFINITUM) and the long active electronic musician MIGUEL A. RUIZ from Spain => incredible dry old school rhythm electronics, retro-futuristic lounge muzak for fans of very early analogue sounds, drum machines, vocoders... lim. 500
|
2013 |
€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 |
|
| HYPNOZ |
Breath of Earth |
CD |
russian drone-project from Fryazino (Moscow-region) on the fine-label from St.Petersburg; basic material rec. in collab. with CISFINITUM; lim. 500
|
2008 |
€12.00 |
|
| KONRAD KRAFT |
Temporary Audiosculptures and Artefacts |
CD |
first release since 15 years by this German artist from Düsseldorf who once ran the SDV-Tonträger label there; excellent electronic and concrete sound based "audio sculptures" that reminded us on earlier works of ASMUS TIETCHENS, but he's also compared with ILLUSION OF SAFETY or CISFINITUM; lim. 300 in special carton folder box
|
2011 |
€13.00 |
|
| KRCFHL |
same |
do-CD |
this short lived project named KRCFHL is a special delicacy for the connaisseur of the Russian drone ambient & experimental electronic scene: CISFINITUM, HLADNA and KRYPTOGEN RUNDFUNK recorded a floating, expanding studio set together in Moscow Sept. 2005, using various electronic devices and synths plus violin; the second CD collects remixes of the "next generation of artists": NOTUM, BEZVLASTJE (she's also in DRONE LIBERATION FRONT), SVETLO111, and SYMPHOCAT; lim. 200
|
2022 |
€16.00 |
|
| MOSCOW HOLOCAUST SOUNDTRACK |
same |
CD |
the early experimental project of E. VORONOVSKY (CISFINITUM) and IVAN TIHOMIROV, recorded in Moscow in 1998 and released as cassette on INSOFAR VAPOUR BULK => rough and droning low-fi experiments with microphone, reverb, voice & feedbacks, one of the first signs of the Industrial / Drone scene in Russia at that time!! "Self-explaining title. Dronning misanthropea. Female vox, feedbacks, samples. Post-industrial desert, ambient wind, sand in your ears and eyes and gothic sadness in both hemispheres."
|
2018 |
€13.00 |
|
| NEW BLOCKADERS & VARIOUS ARTISTS |
Viva Negativa! A Tribute to the New Blockaders Vol. II - Europe |
do-CD |
tributes to the legendary anti-music group from UK with tracks by ASMUS TIETCHENS, RLW, RUNZELSTIRN & GURGELSTOCK, SUDDEN INFANT, CISFINITUM, DAS SYNTHETISCHE MISCHGEWEBE, KOMMISSAR HJULER, FREIBAND, LASSE MARHAUG, JEROME NOETINGER, CHRISTIAN RENOU (BRUME), G. TONIUTTI, KARKOWSKI, etc.. most tracks taken from the V.o.D-vinyl-box, but some tracks are previously unreleased! Lim. 500
|
2010 |
€17.50 |
|
| NEW BLOCKADERS (THE) |
VIVA NEGATIVA Vol. 1 |
4 LP - Box |
Full-Colour box w. 4 LPs containing TNB remix-material from ASMUS TIETCHENS, SRMEIXNER, DANIEL MENCHE, CISFINITUM, FREIBAND, HATERS,KARKOWSK,ASHTRAY NAVIGATIONS, MSBR, CONTROLLED BLEEDING, OREN AMBARCHI, DIETER MUH, Z'EV, KK NULL, etc.etc. first part of this monstrous compilation project !! lim. 500 - only 250 for free distribution |
2006 |
€55.00 |
|
| 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 |
|
| OTZEPENEVSHIYE (Оцепеневшие) |
Razryv Svyazi (Disconnection) |
do-CD |
this is the first proper full length release for this Russian 'supergroup' of post-industrial and experimental working ambient-drone artists, with members from CISFINITUM, SAL SOLARIS, HYPNOZ and nowadays REUTOFF, very powerful and dark aggressive 'industrial metal' or 'drone-doom', these tracks were gathered in a period of the last 10 years and feature many collaborations on the second CD: "Otzepenevshiye know how to get to the very depths and see the blackness that contains the infinite cosmic absolute"
|
2017 |
€15.00 |
|
| RAPOON |
Seeds in the Tide Vol. 5 |
do-CD |
collection of the rare & beautiful Vol.5 - tracks taken from compilations, small or limited formats, remixes, rare bonus tracks or live material: 17 tracks from the period 2008-2011, incl. collabs with CISFINITUM, VAZHES and MARK SPYBEY, a remix for J. ROEDELIUS, etc. etc. - nice double digipack, lim. 500
|
2017 |
€16.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
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 |
|
|
Thalamus II |
CD |
comp. dedicated to the 2nd Thalamus-Festival May 2005, each 2 tracks by CISFINITUM, LUNAR ABYSS DEUS ORGANUM, EKRAN, MAJDANEK WALTZ, SHUMY ROSSII (NOISES OF RUSSIA). Special bound cardboard-cover and many insert-cards, lim. /numb. 500
|
2005 |
€12.00 |
|
|
Table For Six: All Quiet? |
CD |
comp. in 7" sleeve with long pieces by TARKATAK, CISFINITUM, CIVYIU KKLIU, KENDO NAGASAKI, THE [LAW-RAH] COLLECTIVE, 33 MHZ. ed. of 300 copies only
|
2006 |
€13.00 |
|
|
How to stay young & healthy in a modern world |
do-CDR |
lim. 222 w. KRYPTOGEN RUNDFUNK, EXIT IN GREY, CISFINITUM, HALO MANASH, AEOGA, BARDOSENETICCUBE, VELEHENTOR, etc etc..
|
2006 |
€14.00 |
|
|
Roulette Russe pour un peu de Caviar |
CD |
russian compilation for the "Bruit de la neige"-Festival April 2007: NOISES OF RUSSIA, KRYPTOGEN RUNDFUNK, HUM, INSTANT MOVIE COMBINATIONS, CISFINITUM, EXIT IN GREY, BARDOSENETICCUBE, MOSCOW LAPTOP ORCHESTRA, ALEXEY BORISOV, INTERIOR DISPOSITION, CD-R, KOLPAKOPF...
|
2007 |
€13.00 |
|
|
MUZYKA VOLN |
CD |
back in stock, this fabulous "Russian drone" compilation with only Russian acts, could be the sister release to the 'EVOLVED AS ONE' CD a great collection of transcension drones.. with EXIT IN GREY, CLOSING THE ETERNITY, HUM, CISFINITUM, LUNAR ABYSS DEUS ORGANUM, BARDOSENETICCUBE, POLARIS, KSHATRIY, NECROPOLIS, ANTHESTERIA feat.KAJ?, INSTANT MOVIE COMBINATIONS, REMOTEBAND. Numbered edition of 500, digipack, highly recommended!
|
2008 |
€13.00 |
|
|
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 |
|
|
Red Square |
CD |
compilation with KRYPTOGEN RUNDFUNK, CISFINITUM, NOISES OF RUSSIA, LINIJA MASS, COMFORDEBT, NAZI BASTARDS FROM ALDEBARAN, RUPOR UDARA, and many more russian acts. Edition of 500
|
2005 |
€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 |
|
|
TESLA : Werkstatt Klangapparate |
DVD |
documentation of 4 performances happening in Berlin 2006 & 2007 using historical sound apparatuses, by STEVE RODEN & MARTIN RICHES, THILGES, FRANK BRETSCHNEIDER, BENZO (consisting of OLEG KORNEV & RICHARDAS NOVILA, who was once a member of CISFINITUM!). Comes with colour-booklet, bonus material (video documentation feat. WOLFGANG MÜLLER) and PDF files, really nice!
|
2007 |
€12.00 |
|
|
SUBSTANTIA INNOMINATA STARTER SET : 10 SUBS (your choice) as SET |
10 x 10inch-SET |
SPECIAL OFFER! You can choose 10 SUB- releases of our 10" series for a special price! A good starting point if you decide late to collect the SUBs! still available (04.2023) are (many down to absolute last copies + only available inside this set): ASIA NOVA, NOISE-MAKER'S FIFES, CISFINITUM, RLW, OÖPHOI, HUM, VOICE OF EYE, MNORTHAM, OLHON, KALLABRIS, YEN POX, [AD]VANCE[D], LUNAR ABYSS DEUS ORGANUM, ILLUSION OF SAFETY, COLUMN ONE, BRUME, THOMAS DIMUZIO 2 x 10"(counts as 2), TOY BIZARRE, HITOSHI KOJI & YANNICK DAUBY, BASS COMMUNION, IRR.APP.(ext), JEREMIE MATHES, DEISON, TAUMEL and JOE COLLEY... start to collect it NOW !!
|
2022 |
€105.00 |
|
|
Avtogen-Shaitan |
do-CDR |
Russian compilation packed in a totally handmade 7" or A5 collage cover, each cover is completely different, with tracks by MISERY, CISFINITUM, BARDOSENETICCUBE, FLUTWACHT, KRYPTOGEN RUNDFUNK, FIRE IN THE HEAD, and many many more unknown acts..
|
2007 |
€12.00 |
|
|
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 |
|
|
MV X : Monochrome Visions 2004 - 2014 |
3 x CD |
the 10th anniversary of this important Russian label is celebrated with this crazy compilation containing 48 exclusive tracks from all so far appearing artists of the label (almost 4 hours of music), we can only name few: CISFINITUM, VOX POPULI, ASMUS TIETCHENS, BARDOSENETICCUBE, FRANCISCO LOPEZ, TBC, IF BWANA, ARTIFICIAL MEMORY TRACE, MAURIZIO BIANCHI.... everything from past & present combined, sound collages, post industrial, musique concrete, etc. etc. fantastic !!
|
2014 |
€20.00 |
|
| |
Bookwar Records - Famous Lathe Cuts |
LP |
this wild compilation collects very limited lathe-cut 7"es that were released in the past years by this obscure experimental / electronic / psych noise / punk / rock label from Moscow - a wide range of styles and unknown projects from the Russian underground, and few more well known names are presented, a crazy blast of UNADAPTED stuff: CISFINITUM, DAO DE NOIZE, YAO 91404 D, BOOKWAR, ELECTRO-HARAM, POST MATERIALISTS, GRAZHDANSKAYA OBORONA, etc.. lim. 100 copies only (black vinyl), surely last copies!!
|
2017 |
€18.00 |
|
| VEPRISUICIDA |
Heavy Metal Cyclothymia / Science Friction |
CD |
recordings from 1996 and 1999, "Heavy Metal Cyclothimia" was originally released on a split-tape with CISFINITUM, "Science Friction" as ULTRA U32 (split with COMFORTER) - these noise compositions are filled with machine-like samples, raw found sounds and more collage-like eruptions, all assembled to a fast changing stream of low fi industrial noise that you can hardly find these days....
|
2018 |
€12.50 |
|
| BARDOSENETICCUBE |
The Other Heaven |
CD |
Zweite fabrikgepresste CD für BARDO.. und wieder klingen sie anders als noch zuvor, hier setzen sie auf monotone loops die mit rituell oder sakral anmutenden Sounds versetzt werden - eine unheimliche, beschwörende, z.T. auch sehr religiöse Stimmung wird erzeugt... wieder sehr gut ! Neben REUTOFF, CISFINITUM und LUNAR ABYSS QUARTET z.Zt. wohl die beste russische „post-industrial“ oder „experimental ambient“-Band !
“ Fascinating second opus from the russian (St Petersburg) dark ambient masters. This time atmospheres are developed in a less abstract way than the first CD on Athanor. Bardoseneticcube use of percussions, bowls, bells and ritual chants are mixed with strange ambiance to give it an exquisite and mysterious martial and virile mystical touch. The progression of the album invites us to be a part of the mystery, like we were witnessing the surrouding and the heart of an ancient religious secret society order, whose place could be the monastery hidden in the blue fogged forest depicted on the cover. A new sound approach for BSC, not far away from some early ritual Coil or Deutsch Nepal recordings.” [label info]
|
2003 |
€13.00 |
|
| RAPOON & PROMUTE |
Machine River |
CD |
"Not only is Robin Storey aka Rapoon a very prolific solo artist, but also he collaborates with many musicians from all over the world. He has already worked with Mykel Boys, Wyrm, Pas Musique, Kinder Atom, Cisfinitum, Pacific 231 et al. This time he teamed up with Shaun Sandor aka Promute to create 8 haunting tracks.
The CD is housed in an ecopak sleeve and is strictly limited to 500 copies. The cover is based on paintings by Shaun Sandor's daughter and was designed by Maciej Mehring. "Machine River" was mastered by Maciej Bartkowiak. The whole production process was overseen by Michał Porwet." [label info]
www.zoharum.com
|
2014 |
€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 |
|
| THE [LAW-RAH] COLLECTIVE & CINEMA PERDU |
Invocation |
CD |
"in our lives we meet various people and we get to spend some quality time with a couple of them. depending on who we spend our time with and in what state of mind the time together is spent, we talk about friendship. and the more honest and unconditional this friendship is, the more it adds to the quality of our respective lives. it's a rare thing when you meet someone and right from the first moment you know you add to each others lives. it only happens a few times - and maybe not even that often - but we have all been there and we all recognize those moments; as well as the people it concerns. and yes, those times bring back a warm and fuzzy feeling. but then there are the many ways a friendship can end: a wrongfully interpreted word, a misunderstood thought, incompatible visions or simply because it started to cost more energy then it gave back. as incomprehensible a friendship can begin, it can also end. sadly there are also true and deep friendships that have never ended, even when said friend has left this dimension. the feeling that we're left with is just about the worst feeling ever ... with 'invocation' the [law-rah] collective and cinema perdu present a split album with personal views and interpretations of the emptiness that remains. finding closure in a process of grief. not the most happy of feelings, but it's a feeling we all recognize, an emotion we can all relate to and maybe the one thing we all have problems with giving it a place in our lives. the process of composing, writing, producing and finishing 'invocation' has helped us seeing things in perspective again after loosing loved ones. 'invocation' - simply to have that final conversation, to share that final drink, or just to say you care ..." [label info]
"So today we will be looking at (and listening to, of course) some darkly pulsing ambient and asking, “just what is it about this music that makes it so great for processing inarticulate emotions?” Well before I answer that, and while I try not to ‘zone out’ entirely, let me just articulate my feelings right now by saying: This... Is... Great. And, furthermore, it pulses darkly and in all the right places. Ahhh…
It’s a collaborative effort, this, between The [Law-Rah] Collective (Bauke van der Wal) and Cinema Perdu (Martijn Pieck) -- each performing and contributing two individual tracks and a fifth track wherein they combine their compositional efforts. Opening track, ‘1’, by [Law-Rah], pleasantly and gently throbs like the aural equivalent of a deep red Rothko painting. For musical touchstones, think Nurse With Wound and Locust. His second individual track, ‘5’, drones slightly more ominously and is accompanied by a glitchy ‘popping’ sound which is not unlike that made earlier when we were preparing the post here at Norman and a trolley rolled over a long sheet of bubble wrap. These sounds phase in and out and pan woozily to leave the listener a little disorientated.
Cinema Perdu similarly explores the empty psychological spaces which remain once you are all cried out. Really, this is perfect for the final part of the day when this reviewer has precious little more strength to muster. The two tracks Martijn Pieck brings to this disc are as sublime as the previous two by Bauke, in that the music is the contemplative, irresistible, seemingly boundless evocation of space, of internal conflicts easing and resolving themselves outside of time. Plus, his second track features metallic chiming under mallets. I’m a sucker for resonating metal and mallets.
Martijn and Bauke’s collaborative track, ‘4’, is possibly the most affecting of all. What sounds like a sample from a long lost choral masterpiece is used as a bed for found sounds and plucked electroacoustic instruments, with an industrial throb underpinning it all… there’s an organ playing. For a minute there, I thought it was coming from the cathedral in my mind. Then silence. The CD whirrs its death throes and I feel a little more alive." [Norman Rec.]
"THE [LAW-RAH] COLLECTIVE ist ein mehr oder weniger loser Zusammenschluss von Künstlern rings um den niederländischen Musiker BAUKE VAN DER WAL, der das Projekt mit dem enigmatischen Namen um das Jahr 2000 herum gründete. Bevorzugt tummelt man sich im Experimental-, Drone- und Dark Ambient-Sektor, zeigt aber auch keine Berührungsängste mit harscheren, ja dezidiert noisigen Spielarten, was exemplarischen Ausdruck in Kollaborationen mit NAVICON TORTURE TECHNOLOGIES (Box Edition von "The Gospels Of The Gash" und "Your Suffering Will Be Legendary") findet. Überhaupt ist man, was die stilistischen Details betrifft, um relativen Abwechslungsreichtum bemüht, und so reicht das bei discogs aufgespannte Genre-Spektrum von "Elektronik, Pop" über "Experimental, Abstract" bis hin zu "Dark Ambient, Drone". Seiner Grundrichtung bleibt das Kollektiv nichtsdestoweniger treu; nicht umsonst hat man schließlich – nomen est omen – der eigenen Homepage die Adresse "darkambient.net" verpasst. Entsprechend gerne arbeitet man freilich mit stilistisch benachbarten Künstlern wie CISFINITUM oder eben CINEMA PERDU zusammen. Der Mann dahinter, MARTIJN PIECK, ist langjähriger Freund VAN DER WALs, seit 2008 Vollmitglied von THE [LAW-RAH] COLLECTIVE und seit 2011 unter dem nom de guerre CINEMA PERDU aktiv, unter dem er bislang mehrere Alben im File- und Tape-Format veröffentlicht hat.
Die vorliegende CD "Invocation" ist nach dem gemeinsamen Split mit WOODBNDR, "Blue Ruins Under Yellow Skies" von 2014, die zweite dezidierte Zusammenarbeit mit CINEMA PERDU und folgt stringent jener kontemplativen Drone-Programmatik, die im Großen und Ganzen das Leitmotiv für die Arbeit VAN DER WALs mit dem [LAW-RAH] COLLECTIVE abgibt, hier allerdings in ganz besonders vielschichtiger, facettenreicher Form zelebriert wird. Das Thema der CD fordert eine gewisse Besinnlichkeit freilich nachgerade heraus, beschäftigt sich die inhaltliche Ebene von "Invocation" doch mit dem Zerbrechen, Erlöschen, in jedem Fall aber mit dem Ende intensiver Freundschaften und enger Beziehungen, sowie insbesondere mit jener gähnenden Leere, die eine solche, mehr oder weniger gewaltsame Trennung einer tiefen emotionalen Verbindung nach sich zieht – egal, ob sie "nur" einem menschlichen Zerwürfnis, einer individuellen, existenziellen Krise oder gar dem physischen Ableben eines der Beteiligten geschuldet ist: "Invocation" versteht sich, so führt der Promotext aus, als "split album with personal views and interpretations of the emptiness that remains. Finding closure in a process of grief." Vor diesem Hintergrund erschließt sich denn auch ganz zwanglos der Hintersinn jener Sentenz, die sich auf der Innenseite des CD-Kartonschubers findet: "Some things were never meant to change but here we are" ...
Das beim Berliner RAUBBAU-Label erschienene Album enthält sechs unbetitelte, lediglich durchnummerierte Tracks zwischen knapp acht und knapp zwölf Minuten Länge – etwas Zeit, Muße und Geduld sollte der interessierte Hörer also schon mitbringen, möchte er sich mit dieser, ohne Worte auskommenden, "conversation about what really matters" auseinandersetzen. Wer nun allerdings vom leidlich bekannten, sich über die komplette Laufzeit spannenden, mediokren Einheitsgebrumme ausgeht, das so betrüblich oft unter der Bezeichnung "Dark Ambient" firmiert, wird erfreulicherweise eines besseren belehrt: Lediglich das erste und das letzte Stück, beide von THE [LAW-RAH] COLLECTIVE eingespielt, präsentieren sich als ausgesprochen dronige, tiefenentspannte, einzig durch allerlei Rascheln, Knistern und anderweitige Störfrequenzen in minimale Regung versetzte, dabei jedoch niemals langweilige Soundmeditationen, während die von CINEMA PERDU beigesteuerten Beiträge 2 und 3 deutlich experimenteller und collagenhafter daherkommen – streckenweise fühlte sich der Rezensent durchaus ein wenig an NURSE WITH WOUND erinnert. Die eigentliche Zusammenarbeit zwischen den beiden Outfits, Track Numero 4, gibt denn auch das interessanteste Stück des Albums ab und entwickelt sich, ausgehend von einem sakralen, durch rotorartiges Flattern fragmentierten Choraleinstieg, hin zu einem, schon fast treibend-rhythmischen Mittelteil, um schließlich in einem amorphen, alle Strukturen wieder einschmelzenden Klangbad zu verhallen. Nicht alles auf "Invocation" ist also gar so meditativ, wie es auf den ersten Eindruck und nach Lektüre des zitierten Begleittextes scheinen mag – nach einigen Hördurchgängen entpuppt sich das versammelte Material in der Gesamtschau vielmehr als erfreulich abwechslungsreich und immer wieder für das eine oder andere überraschte "Oho!" gut.
Fazit: THE [LAW-RAH] COLLECTIVE & CINEMA PERDU legen mit "Invocation" ein rundum gelungenes Werk vor, das routiniert mit den Genregrenzen spielt, sie ausweitet und bisweilen beinahe transzendiert, ohne dabei jemals bemüht zu klingen, sich in Beliebigkeiten zu verheddern oder in akademischen Frickeleien zu verlieren. Beide Projekte interagieren perfekt miteinander und realisieren so ein bemerkenswertes, ebenso meditativ-hypnotisches wie dramatisch dichtes Album, das durch seine implizite Programmatik und die unprätentiöse Art & Weise, in der diese präsentiert wird, noch zusätzlich punktet: "the process of composing, writing, producing and finishing 'invocation' has helped us seeing things in perspective again after loosing loved ones. we hope it can do the same to you." – Irgendwie ist die ganze Veröffentlichung ... einfach ... sympathisch. Und wer kann schon etwas gegen sympathische Musik haben? Der Autor dieser Zeilen jedenfalls nicht." [Endsal/NON-POP]
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2016 |
€13.00 |
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| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
TROUM TRANSFORMATION TAPES: The 20th Anniversary Celebration (1997-2017) |
do-CD |
with: ALLSEITS, CONTRASTATE, V.O.S.(YEN POX), VANCE ORCHESTRA, TARKATAK, RAISON D'ETRE, NADJA, MARTYN BATES w. TROUM, MULTER, QST (Frans de Waard/KAPOTTE MUZIEK), URE THRALL, MYRRMAN (SAL SOLARIS), INADE, DUAL, BAD SECTOR, CISFINITUM, REUTOFF, MOLJEBKA PVLSE, and MARKOW C.
ORIGINAL INVITATION:
"Dear Friends and Dreamers,
Troum did the very first performance under this name (after the demise of Maeror Tri) in March 1997, so this year we reach our 20th anniversary. We have never done any anniversary "celebration" or "remix" projects of Troum material before, so we thought maybe it's the time now!
You can choose any existing Troum material (also taken from multiple tracks) to cover, re-interpretate, re-work/process/arrange or collage it. You can also add your own sounds, create a new track-title, watever comes to your mind! (We are certainly NOT looking for a standard "remix", so we don't send out any specific material to everyone!).
This invitation goes out to various musicians that have worked with us over the 20 years, which became friends or important for our evolution as a band." TROUM, March 2017
2. TRACKLIST:
CD 1
1. ALLSEITS - Times
2. CONTRASTATE - The Silent Fish
3. INADE - The innermost Sun
4. VANCE ORCHESTRA - Giascei
5. TARKATAK - vs. Brinnan
6. RAISON D'ETRE - Ananke
7. NADJA - Mirrored in You
8. MARTYN BATES w. TROUM - An Untitled Protest
9. [MULTER] - Sela Saiwala MNX
CD 2
1. QST - Kapotte Muziek by Troum (QST remix 2017)
2. URE THRALL - Krypte
3. 016 vs. MYRRMAN - Sen №350 (Psychic Automaton Rework)
4. V.O.S. (Steve Hall/YEN POX) - Breath Again
5. DUAL - TTN (Ursprung)
6. BAD SECTOR - Signedumiroir
7. MARKOW C. - Chaneism
8. CISFINITUM - Skaun[ei]s
9. REUTOFF - Hypoxia (Troum Spirare Cover)
10. MOLJEBKA PVLSE - Ennoia
Liner Notes from JIM HAYNES:
It was 1996 when the German industrial project Maeror Tri disbanded, and I recall being deeply saddened by the news. A few years earlier, I had discovered the project while working at a now-defunct distribution company in San Francisco. Fittingly released through Korm Plastics 'Introductions' series, Maeror Tri's Multiple Personality Disorder reflected an interested in psychological pathology as channeled through raw sound. Industrial culture has long used the metaphors of disease as a mirror to shine a light on any number of ills in contemporary society. This particular album addresses four aspects of the titular disorder, itself the most extreme form of schizophrenia which fractures the discrete personalities, which Maeror Tri identified in the general dissociative characteristics: The Administrator, The Anaesthetizer, The Revenger, The Protector. With each of these tracks, Maeror Tri orchestrated dense layers of heavily effected, sustained noise, back-masked growlings, and shimmering drones as emotionally resonant portraits to those four personality traits. With Industrial culture's penchant for sensationalized horror of autopsy and abbatoir footage, Maeror Tri's constructs were uniquely sympathetic to those who suffered from this debilitating disease.
With the posthumous release of Emotional Engramm in 1997, Maeror Tri's compositional complexity began to blossom, relying less on the hypnogogic dislocation of time-lag effects and more on the poetics and the portent of the underlying melodies that rippled through their ghostly accretions for drone and noise. Right as they called it quits, the ideas of Maeror Tri had expressed a maturity that had much more to say through the collapse of sound into an crushed, all-encompassing, cathartic tsunami.
What was to emerge in the wake of Maeror Tri's dissolution did not immediately seem clear. Founding member Stefan Knappe had already established his impeccably curated Drone Records, which initially focused on the improbable medium of the 7" single to release long-form works of dark ambient, heavy drone, and industrial din. Many of these artists that landed on Drone were unknown or under-appreciated projects, but without fail, these proved to be impressive documents and demanded that they be acquired upon sight with or without any idea of who exactly was behind the project. In this series, Knappe did commisson work from a number of highly acclaimed musicians including Inade, Francisco Lopez, Cranioclast, Aidan Baker, The Lotus Eaters, etc. but there were the lesser known acts such as the Hungarian experimental project Hideg Roncs, Holland's esoteric ambient outfit Indra Karmuka, and the hermetic tape machinist Abner Malaty. Drone released exactly 100 singles between 1993 and 2010, at which time the format switched to a four-way split LP format under the Drone-Mind // Mind-Drone banner, in addition to the 10" Substantia Innominata series, both of which maintain high calibre curation to this day.
In 1998, Knappe reconvened with fellow Maeror Tri member Martin Gitschel to form Troum. The name for this new project was taken from an archaic German word for dream and provides clear insight into their investigations manifesting universal archetypes and symbols from a collective unconsciousness into an overwhelming flood of sound. The first recordings for Troum were published on a small cassette housed in a small pillow, ascribed with the title Dreaming Muzak. As with Maeror Tri, Troum sculpt their dronescapes mostly through heavily processed guitars along with an assortment of other instruments. If the intent of Troum was to put the listener to sleep, the lulling vibrating patterns certainly have the capacity; but the overall darkness of these sounds will never inspire the most pleasant of dreams. These are shadowy, bleak, and cold sounds which permeate the album, and lend themselves to images of desolate factories spewing a constant stream of black soot in some wintery post-Soviet country.
At the turn of the millennium, Troum embarked on their ambitious Tjukurrpa trilogy, the title of which has its origin in the physical, spiritual, and psychological state of dreamtime for the Australian Aboriginals, symbolizing Troum's intention to divine transcendence through their hypnogogic compositions. They applied these ideas to the three compositional foundations to their music, in Harmonies, Drones, and Rhythms & Pulsations each of which are highlighted on the trilogies component albums. Harmonies for Troum relate to the cold ambient swirls of resonant timbres from Troum's interlocked guitars that cycle through minor-key chords bathed in a resplendent wash of effects and melancholy atmospheres. Troum's signature drones are heavy, lumbering propositions of earth-shaking rumbles and subterranean minimalism. The use of rhythm appears in Troum's work as percussive mantras with a ritualist approach to metal-bashed patterns and looped sequences.
These fundamental tools - harmonies, drones, and rhythms - represent a set of pre-linguistic symbols that Troum employs to articulate to the primal emotional responses of various psychological states. More often than not, Troum turn towards ashen, sublime, nocturnal, and grim metaphors through their work, even though rapturously golden crescendos flourish on the rare occasion in their body of work. Sigqan (2003) is a harrowing album that plunges deep into an overwhelming gloom through sustained tones and drones. Like the project's name, the title harkens to a pre-medieval dialect of the Goths that roughly translates as the setting or sinking of the sun. Here, Troum addresses the Dark Ages fear that the sun might not rise again, leaving the world in permanent darkness. The Power Romantic trilogy (which include the albums Mare Idiophonika, Grote Mandrenke, Mare Morphosis released from 2010 - 2013) finds the duo embracing the oceanic metaphors that undulate upon the cycles of the tides through billowing shadows of mournful melody and subharmonic rumble. These too are drawn towards hostile metaphors, with Grote Mandrenke referring directly to a massive storm surge that devastated Northern Europe and the Britsh Isles in 1362, sweeping some 25,000 people out to sea and to their deaths.
Through the Drone Records productions and ancillary distribution company, Troum have maintained a very healthy network of connections all across the globe. In doing so, they have also engaged in a select number of ongoing collaborations. Their first was with the occult American project Yen Pox whose collective low-frequency thumming stand at the pinnacle of the dark ambient genre. An enduring presence from the once mighty Cold Meat Industries, Raison D'etre has worked with Troum in transforming raw material through the existential lens of a vacant cathedral. Architectural reverberation and ghostly chorales flutter with a solemn, ethereal impressionism. The baroque post-punk singer-songwriter Martyn Bates of Eyeless In Gaza had long been an inspiration for Knappe and Gitschel in both Troum and Maeror Tri. In fact a dedication to Bates was ascribed to a track from the Tjukurrpa series. In 2006, Bates joined Troum for their collaborative album To a Child Dancing in the Wind, which girds Bates' beatific, lyrical vocalizations to a luminous, shimmering facet to Troum's aesthetic.
This compilation with its remixes, deconstructions, and reconstitutions of Troum's back catalogue and raw material is a celebration not only to Troum's impressive body of work but also to their ongoing and active participation in the broader communities of the avant-garde, minimalism, drone-rock, and industrial culture with unflagging dedication. These propositions respectfully build upon the fluid dynamics of Troum's sound as well as the wordless symbolism of pre-lingusitic conditions that are fundamental to Troum's work. It should be noted that both Dual and Vance Orchestra reunited specifically for this project.
Sibilant. Subaquatic. Serpentine. Ominous. Thunderous. Billowing. Haunted. Hypnogogic. Blossomed with sadness. Best Drones.
JIM HAYNES
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2018 |
€12.00 |
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\'Музыкальное Приношение\' (Musical Offering) - |
CD |
listen:
https://coldspring.bandcamp.com/album/musical-offering-csr326cd
Available on CD (or any other format) for the first time outside USSR, five Soviet composers perform their works on the legendary ANS synthesizer.
Recorded in 1971, "MUSICAL OFFERING" is 6 tracks (42 mins) of experiments on the unique machine by: Eduard Artemiev (2 tracks), Oleg Buloshkin, Sofia Gubaidulina, Edison Denisov, and Alfred Schnittke.
"MUSICAL OFFERING" demonstrates a 'musical' machine unlike any other and has long fascinated cutting edge, modern electronic composers, notably COIL and THE ANTI GROUP COMMUNICATIONS (TAGC) / CLOCK DVA, that have both released recordings utilising the ANS.
Try to imagine a score sounding by itself without a conductor; an orchestra without musical instruments. This magic is possible by using the musical ANS synthesizer. Created by Soviet scientist Evgeny Murzin over the course of 20 years, ANS is an instrument with which a composer can not only create but also draw their music without notes. You can see the twinkling of different lamps, the rotation of grooved glass discs... The drawings on the glass are 'sounding notes'. To listen to the drawn picture, press the button and a wonderful transformation will begin.
Inside the ANS are five rotating glass discs with 144 tones printed (by hand) on each one. Light is projected through the discs and onto photovoltaic cellbank which converts the light into electricity and sends signals to the ANS's amplifiers and bandpass filters. The ANS can generate 720 tones this way and, unlike a human musician, play them all at the same time.
Murzin dedicated his photoelectronic apparatus to Alexander Nikolayevich Scriabin, hence the name ANS. Scriabin, the creator of the 'Poem of Ecstasy', and a famous explorer of synesthesia, used in his works a highly chromatic, new type of harmonic style designed to express his beliefs, views and wishes. Soviet music lovers will already know recordings made on ANS from Tarkovsky's films Solaris, The Mirror, and Stalker, Konchalovsky's film Siberiade, and others.
Presented in a digipak with the new artwork by Abby Helasdottir (who also created the compelling promo video), complimenting the ANS process perfectly.
Officially licensed from Russian state label Melodiya.
Watch promo video (YouTube): bit.ly/Musical-Offering
Copyright © – ВТПО "Фирма Мелодия" (Melodiya)
All-Union Recording Studio. Recorded in 1971.
Recording supervised by Юрий Богданов
Mastered by Martin Bowes at The Cage
Track listing:
1. OLEG BULOSHKIN - \'Sacrament\' (3:32)
2. SOFIA GUBAIDULINA - \'Vivente-Non Vivente (Alive And Dead)\' (10:44)
3. EDUARD ARTEMIEV - \'Mosaic\' (4:05)
4. EDUARD ARTEMIEV - \'Twelve Looks At The World Of Sound\' (12:53)
5. EDISON DENISOV - \'Birds\' Singing\' (5:04)
6. ALFRED SCHNITTKE - \'Stream\' (5:57)
######################
"A new batch of Cold Spring CDs, and I must say... At least with one of them, they stole my mathematic sound nerdish heart. "Musical Offering" is a sampler with Russian composers using the ANS, probably entirely up to its limits. Two tracks by Eduard Artemiev and one track each by Oleg Buloshkin, Sofia Gubaidulina, Edison Denisov and Alfred Schnittke. I only knew about Artemiev on this list because of his movie soundtracks. So to hear his work without a movie and, of course, images of empty landscapes, a brutalist-themed forgotten society and demise and a void enter my head, but fair is fair: all images were in colour. Nothing bleak or grey but the richness of the ANS is all over the place.
So for those who don't know what an ANS is all about, it's a Russian synthesizer designed over 20 years by Evgeny Murzin, and there is only one. It works with drawings on glass plates and devices that transform light into voltages, and those voltages create sounds. The glass discs spin, and well ... Wiki / YouTube is your friend here. Many artists have worked with the ANS, including Coil, The Anti Group Communications. Yes, [law-rah] also used original sounds from the ANS on their split with Cisfinitum (released on Fario). Maybe working on that release is the reason why I have a personal
weakness for this machine. I just couldn't get over how rich the sounds were that we got to use. Sure: A completely different thing than Coil being in the museum and drawing on the discs and us 'just' working with some recordings one of the museum guys did for us. Yet still ... I was impressed then, and I'm still impressed now.
For this disc, I am keeping the review smallish. Why? Because you already know if you are a) interested in neo-classical compositions by Russian composers. If you are, you will get this release and not be disappointed. It's as simple as that. If you are b) a nerd who loves different forms of synthesis like me, this album is one to consider. Because it's very varied and shows a lot of the ANS in 'its original environment': Russian composers on a Russian synth, and if you are c) curious about composition techniques, this will break your mind. Because from the ritualistic rhythmic parts in "Sacrament" (by Buloshkin), the 'voices' in "Vivente-Non Vivente" (by Artemiev) and the birds and frogs in "Birds Singing" (by Denisov), can you tell what is the origin of the sound? Is it a bird? Is it a recording? Or is it super ANS?
For me, it's not one of those reasons to love this album, and it's d) all of the above." [BW / Vital Weekly]
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2023 |
€15.00 |
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