• Distribution,  Vinyl

    Kinit Her ‎– The Poet & The Blue Flower (Vinyl, LP)


    Kinit Her ‎– The Poet & The Blue Flower (Vinyl, LP)
    Label: Avant! ‎– AV!025
    Format: Vinyl, LP, Limited Edition, Grey
    Country: Italy
    Released: 15 Jul 2013
    Style: Experimental, Neofolk, Industrial

    Through kaleidoscopic composition, constitution of voice, and timbral experimentation, Nathaniel Ritter and Troy Schafer continue to braid their string of works as Kinit Her. Their discography has grown strong over recent years with releases on such esteemed labels as Alt.Vinyl, Small Doses, Pesanta Urfolk, Reue um Reue, and now, AVANT!; this repertoire has become a powerful force that is harmoniously reliable and unpredictable in theme, atmosphere, and trajectory. On The Poet & the Blue Flower, Schafer and Ritter endure in architecting a unique system of auditory mysticism. Falling in an undefinable territory of the post-industrial and neofolk landscapes with both strictly structured song-like fragments and more free-associative passages throughout its 8 tracks, this album features the exalted rhetoric that is Schafer’s stoic orchestral arrangements, Ritter’s tidal electronics and the continually evolving vocal deliveries of both men.

    Lyrically, The Poet & the Blue Flower continues with Kinit Her’s recent bent of drawing on poetry from Germany’s early 20th Century post-romantic literary underground. With this record, they drift slightly from Der Kosmikerkreis to the poems of literary and political philosopher Rudolf Pannwitz serving as their sole inspiration. Pannwitz’ poetry effortlessly escalates Kinit Her’s themes of the entanglement of Heaven, Earth, and those who believe to be dwelling in some intersection thereof. Visual accompaniment to Kinit Her’s music, as it was on the recent The Cavern Stanzas, has been graciously provided by the brush of Gianluca Martucci. Mastering courtesy of James Plotkin.


  • Artists,  GH Records

    Coàgul, Cadena – Coàgul & Cadena



    Coàgul, Caden – Coàgul & Cadena
    Label: Dead Moon Records ‎– DMR01, Discos Enfermos, Broca, Gradual Hate Records ‎GH 129 VN
    Format: Vinyl, LP, Mini-Album
    Country: Spain
    Released: 10 Nov 2016
    Style: Experimental, Industrial, Noise, No Wave

    Sisters and brothers: throughout our miserable lives they haven’t ceased to try to sell us all kinds of ideals by the means of all possible dialectical subterfuges. Vanquishing our will again and again. Injecting us without mercy hundreds of all sorts of viruses of obstinating idealism: those of decadence and those of excellence, those of excess and those of containment, those of partying and those of work, those of pleasure and those of sacrifice, those of life and those of death. We have kept on believing and digesting them one after the other, accepting them one by one heart on hand, only to rapidly reject each one of them and swallow the next one. But always in absolute spiritual submission to one or another higher instance that tells us what do we have to believe. That’s why once defrauded and betrayed by all the viper tongues that caressed our pineal glands, once fed up and stuffed with all the viruses of the ideal, we have come to the realization that what they were trying to sell us wasn’t anything else than ourselves. That’s why the time has come when we no longer believe nothing, when we are finally cleansed, when we finally are totally impervious to all meta-narrative seduction, when we at last find ourselves face to face with nothingness: we no longer have anything, nor we want to have anything; we no longer know nothing, nor we want to know nothing; we no longer are nothing, nor we want to be nothing. That’s why we have transformed ourselves into pure luminous electricity, that’s why we have transformed ourselves into the most absolute ideal, that’s why we are more pure and free than ever, that’s why we have the universe at our disposal: let’s celebrate it by taking its fruits with total disafection.

    In Summer 2015, these two industrial music acts from Barcelona decided to join their forces to produce a series of songs specifically conceived to be played for first and last time during the third edition of Cønjuntø Vacíø festival. Formed in 2015, CADENA is a three-piece combo refreshing the hardcore punk and industrial rock traditions, and distilling them into a saturated and contemporary sound that is close to the most plastic-like noise rock. COÀGUL is the single-member project of an unclassifiable character who, from 2009 onwards has been taking back the rythm’n’noise sound of Esplendor Geometrico-like acts, translating it into a certain lyrical drive that brings him closer to the lands of folk music rather than those of the noise music into which it’s so easy to pigeonhole him. For this occasion, the two acts shaked their hands in their common soils: the obsession for urban space, contemporary dystopia and an active nihilism that connects the suburbs with cosmos. From the work done were born seven songs that were firstly played live at the festival —becoming a corrosive experience which, by the means of noise, light and relational performance art, exhausted the senses of the audience and deprogrammed it’s behaviour— to be later recorded at the studio in the days after. With lyrics in Catalan, more than an album this is a document that cartographies a contextual micro-particle key to understand the hidden details of Barcelona’s underground. The release of these songs in LP format has been fruit of the cooperative work between four labels: Dead Moon Records, Discos Enfermos, Broca Records and GH Records.

    Dead Moon Records + Discos Enfermos + Broca + GH Records



    Hermanas y Hermanos: a lo largo de nuestras miserables vidas no nos han parado de intentar vender todo tipo de ideales mediante todos los subterfugios dialécticos posibles. Doblando nuestra voluntad una y otra vez. Inoculándonos sin piedad centenares de virus de idealismo recalcitrante de la más diversa índole: los de la decadencia y los del excelencia, los del exceso y los de la contención, los de la fiesta y los del trabajo, los del placer y los del esfuerzo, los de la vida y los de la muerte. Nos los hemos ido creyente y digiriendo el uno detrás el otro, aceptándolos uno a uno con el corazón en la mano, para después renegar enseguida y tragarnos rápidamente el siguiente. Pero siempre en absoluta sumisión espiritual a una instancia o la otra superior que nos dice el que tenemos que creer.

    Por eso, un golpe estafados y traicionados por todas las lenguas de serpiente que nos han mimado la glándula pineal, un golpe empachados y embutidos con todos los virus del ideal, nos hemos dado cuenta de qué el que nos estaban intentando vender no era sino a nosotros mismos. Por eso, ha llegado la hora en que ya no nos creemos nada, en que ya estamos definitivamente depurados, en que ya somos totalmente impermeables a toda seducción meta-narrativa, en que por fin nos encontramos frente a frente con la nada: ya no tenemos nada, ni queremos tener nada; ya no sabemos nada, ni queremos saber nada; ya no somos nada, ni queremos ser nada. Por eso nos hemos convertido en pura electricidad luminosa, por eso nos hemos convertido nosotros mismos en el ideal más absoluto, por eso somos más puros y entregas que nunca, por eso tenemos el universo a nuestra disposición: celebrémoslo tomando sus frutos con total desafección.

  • Distribution,  Vinyl

    Wind Atlas ‎– Arche-Fossil (Vinyl, LP)


    Wind Atlas – Arche-Fossil (Vinyl, LP)
    Label: Cønjuntø Vacíø ‎– Ø-55
    Format: Vinyl, LP
    Country: Spain
    Released: 20 Mar 2020
    Style: Experimental, Industrial, Ambient, Abstract, IDM

    Arche-Fossil (Cønjuntø Vacíø, 2020) is Wind Atlas’ fourth record, which sees the band pushing the boundaries of their own music as genres such as post-industrial electronics, ambient, noise and popular mediterranean music merge, bringing to life a hybrid and intense album.

    The gestation process of Arche-Fossil began even before the publication of An Edible Body (2018). With that record, the band changed members and ventured into more electronic territories by using drum machines and synths that still fit their ritual post-punk sound. After two years spent working on this new record, these electronic landscapes have taken over their music.

    Arche-Fossil was almost entirely recorded by themselves at their home studio and finished at Maik Mayer’s recording studio with Sergio Pérez. It collects the songs that represent the band’s work over the last two years and that best reflect the issues that weave the whole record regarding the relationship between human beings and reality. Is it possible to know an uninterpretable reality? What is knowing? How does the relationship between human beings and reality work? These questions inform a series of songs that produce a voice that continuously muses on what it perceives and the ways in which it does.



    Hunger opens the record amidst a thunder of abstract sounds and a viscous bass loop. By using samples from M. E. S. H.’s “Optimate”, which forms the noisy basis of the song, Hunger approaches more experimental electronic terrains. This song revolves not only around an insatiable and uninhibited hunger for finding new ways of saying and being in the world, but also around an enormous emptiness.

    The monumental track Where Nothing Happens explores empty spaces and everything that happens within them when something–a step, a voice, an object–interrupts their eternal being, thus generating new meanings between these spaces and that which suddenly inhabits them.

    In Dos Ojos, the band continues navigating electronic landscapes, this time through Spanish traditional and oral literature. They follow this path further in Esta Despedida, where the vocals use one single sentence to unsay: “Todos los nombres van a morir a ti.” (“You are where all names go to die”) From then onwards, the vocals employ a form of glossolalia as a tool to continue uttering after the death of meaning that they have previously announced. Likewise, Days of Sadness, a free adaptation of Galician poet José Ángel Valente’s poem “Latitud”, pays homage to the language of the unsaid, which has heavily influenced Wind Atlas’ discourse over the years.

    That Mouth emerges as a dramatic effect when the record has managed to hypnotize us. Trance and an industrial sound meet amidst MS20 roars and a beat going over 140bpm. Metallic blows and the sound of chains burst in, creating rhythmic patterns over a bass drum that pushes forward.

    The eeriest and most beautiful moments appear on the record’s B-side. Such moments come to life in tracks like Oceanic Sexuality or the closer Do You Have a House?, along with the experimental Nada, in which, by only utilizing noise, Wind Atlas create a sonic collage poem that draws from power-electronics. Here, some of the band’s recurring themes reemerge: emptiness, water, and the body.

    In Arche-Fossil, Wind Atlas continue exploring some of the paths they began mapping with their previous record. This time, however, they manage to approach the heterogeneous in a much more certain and lucid manner, without ever stopping wondering about their own voice.

    Andrea P. Latorre: vocals
    Sergi Algiz: electronics and guitar
    Raúl Q. de Orte: Synths
    Raul Pérez: drums

    Recorded by the band and final recordings at Maik Maier Studios (Barcelona) by Sergio Pérez. Mixed by Sergio Pérez and mastered by Stephen Quinn at Analogue Heart (UK). Art photos by Àlex Sardà. Artwork by David M. Romero.

  • CD,  Distribution

    Diamanda Galas – The Divine Punishment


    Diamanda Galas – The Divine Punishment
    Label: Intravenal Sound Operations – ISO-006CD-RE
    Format: CD, Album, Reissue, Remastered
    Country: US
    Released: Jun 10, 2022
    Style: Industrial, Experimental, Vocal

    On June 30, 1986, the same day that Diamanda Galás’s The Divine Punishment was released, the Supreme Court upheld the constitutionality of Georgia’s so-called sodomy law in Bowers v. Hardwick, criminalizing consensual sex between men. At the time, about 15,000 people were known to have died of AIDS in the U.S. alone, with little government acknowledgement besides suggestions to quarantine homosexuals on island colonies. By the end of 2021, the number of AIDS deaths globally would exceed 36 million.

    The first album in her Masque of the Red Death trilogy, The Divine Punishment is one of the most jarring works of art produced in response to the AIDS epidemic, and a milestone in Diamanda Galás’s artistry and activism. Galás uses her famous voice both as an orational instrument and as well as a physical representation of AIDS and those it afflicts.

    The album features the panphonic* dirge work of Galás, accompanied by analogue synthesizers and piano played by Diamanda Galás with additional synthesizer work by Dave Hunt. The texts are primarily taken from the Old Testament, contrasting the hectoring lawmakers of Leviticus with the desperate appeals of the Lamentations and Book of Psalms (Psalm 22, 59, and 88). In doing so, she indicts those who use religion to instigate the witch hunts that inevitably accompany real and perceived plagues.

    «[On The Divine Punishment] Galás offers her voice as an expression of anger, succor, and simple fellow feeling. Giving public expression to a rage and loss that might otherwise be confined in loneliness, she provides a cathartic focus or condensation of emotions.» – Artforum

    «Diamanda Galás has a vision of the world that makes the horror-stricken likes of Edgar Allan Poe and H.P. Lovecraft seem like pink-cheeked Pollyannas.» – Rolling Stone

    «Compelling but brutal. An ugly, brooding masterpiece.» – AllMusic

    1986 was a year marked by global political turmoil and disasters both natural and man-made: Chernobyl, the space shuttle Challenger, Reagan’s race-driven wars on drugs and welfare while opposing sanctions against apartheid South Africa. The Washington Post wrote, in a year-end editorial: «It was a year in which a new spirit of patriotism and national well-being, proud heralds of the ’80s, was tarnished by evidence of a new wave of greed, a lowering of ethical standards of conduct, a celebration of self over country, a crisis of government spawned by duplicity and hypocrisy in high places, a breakdown of technological prowess…Not since the turbulent ’60s, a time of national tragedy and breakdown, had so many things gone so stunningly awry.»

    Meanwhile, the music industry was enjoying its most profitable year in history, as compact discs began their lucrative rise. Many artists—Janet Jackson, Run DMC, Peter Gabriel, Beastie Boys, Robert Cray—had commercial breakthroughs, while major labels were mining the semi-underground for bands like Hüsker Dü and the Smiths. The top-selling single in the U.S. was «That’s What Friends Are For,» which raised a laudable $3 million for AmFAR (American Foundation for AIDS Research) while keeping the disease at such arm’s length that most connections between the song and AIDS are long forgotten. Perhaps the only artists confronting reality in as visceral way as Galás in 1986 were, depending on your perspective, Slayer, Swans, or Schoolly D.

    Today, The Divine Punishment sounds no less audacious than when it was released, but one hears it with a sense of shared trauma and a renewed call to action. Galás imbues all her work with the crushing weight of history–the hypnotic cadences of her vocal work are precisely aligned to the liturgical texts employed. Remastered with exceptional clarity by mastering engineer Heba Kadry working from the original mixes by London-based producer/composer Dave Hunt, it’s a work of great empathy, solidarity, and physical power. Coming amid another pandemic marked by ignorance and division, its anger and fervor feels remarkably urgent.

    ABOUT DIAMANDA GALÁS
    A composer, vocalist and activist, Diamanda Galás is one of the most uncompromising and influential avant-garde performers of the last thirty years, with an extensive catalog of work that is often oppressive but always thrilling.

    Galás has collaborated with Vinko Globokar in the opera Un Jour Comme Une Autre (1978),which was inspired by Amnesty International’s account of the arrest and torture of a Turkish woman for treason. She also performed Xenakis’ N’shima under his tutelage in 1980 with L’Ensemble Intercontemporain and the Brooklyn Philharmonia. In 1982 Galás released her debut album, The Litanies of Satan, which set the stage for extended forays into vocal experimentation, improvisation, and manipulation; and which included the 15-minute solo piece titled “Wild Women With Steak Knives.” Her eponymous album included «Song from the Blood of Those Murdered,” which was dedicated to the victims of the Greek Junta that ruled Greece from 1967-1974.

    Diamanda Galás continues to deal with mortality, isolation, and the abuse of power. Her new and forthcoming work, Broken Gargoyles, concerns the facially-mutilated and stigmatized soldiers from WWI and their diseased comrades, who were isolated in industrial buildings until their death. Broken Gargoyles will be released this fall.

    ABOUT INTRAVENAL SOUND OPERATIONS
    In 1977 Diamanda Galás began her own vocal research into what she describes as the ‘shredding of complex vocal sound into slivers moving back and forth to the host sound.» Her work in the area would be published in 1982 by Perspectives of New Music. This manifesto was entitled “Intravenal Song.” Galás was very excited about the parallels between her work and the subtractive synthesis of complex sound by Iannis Xenakis. Since that time she has championed his work.


  • CD,  Distribution

    African Imperial Wizard – Behanzin


    African Imperial Wizard – Behanzin
    Label: Tesco Organisation ‎– TESCO 150
    Format: CD, Album, Compilation
    Country: Germany
    Released: 15 Dec 2021
    Style: Experimental, Industrial, Tribal, IDM

    These eleven tracks, all recorded in Luanda, Angola, orchestrate the military vengeance march of an entire bloodied continent that stands proudly and which, day after day, keeps arming itself in the shadows.

    Decolonization wars, civil wars, cold war, ethnic wars, barbaric wars, let no one dare believe the African people’s struggle is over. The oppression of the Western civilization has devastated our infrastructures, severely weakened our governmental agencies, violated our religious institutions, and battered our economic fabric.

    For our cultures to never again be humiliated, for your oppression to never again be a degrading threat, for our recurring famines and your ceasefires to never again be fertile grounds for the shameless exploitation of our natural resources, African Imperial Wizard fights back and will fight back over and over again.

    To finance the arming of our revenge-hungry factions, African Imperial Wizard presents Behanzin, our brand-new CD which gathers the 11 tracks of our first two opuses, the Cetshwayo kaMpande EP and the Isandhlwana LP. This record is intended to be the echo of a violent revolt that will spell the end of the tyrannical exploitation of our proud nation!

    To all the rebels, commandos, dissidents, guerrillas, and squadrons plotting their fierce revenge, African Imperial Wizard offers you the soundtrack to your bloodthirsty retaliation! We will never bow down again to your ruthless battalions! Never again will we turn a blind eye to your inhuman crimes. From now on, we will mercilessly retaliate blow for blow. uSuthu!

    African Imperial Wizard

    Track listing
    Track 1: Cetshwayo kaMpande 4:35
    Track 2: Opoku Waré 3:59
    Track 3: Idris Ibn 4:15
    Track 4: Hanni-baal Barca 5:06
    Track 5: Almamy Suluku 5:27
    Track 6: Mansa Moussa 4:44
    Track 7: Béhanzin Hossu Bowelle 5:08
    Track 8: Hangbè 7:00
    Track 9: N’Nonmiton 6:48
    Track 10: Zulu kaMalandela 6:12
    Track 11: Ezana of Aksum 5:01


  • CD,  Distribution

    Et Nihil – Nor Am I


    Et Nihil – Nor Am I
    Label: Lichterklang ‎– LK035
    Format: CD, Album
    Country: Germany
    Released: 05 Dec 2016
    Style: Neofolk

    If there is one band in the current Neofolk scene, that stands out among all other bands it’s ET NIHIL for sure. Rising from the ashes from legendary LUFTWAFFE, b9 InViD, RB and Jonathan S consequently follow their artistic vision and present a highly dynamic and powerful variety of the genre. “Nor Am I” is their first official studio release after the limited and sought-after “Onus” CDR, two live-albums and numerous singles and the first one to be released on LICHTERKLANG. “Nor Am I” contains 13 tracks of pure Neofolk mayhem, spanning from the morbidty of the Neofolk genre to intense drumming Martial Industrial is known for up to harsh and distorted vocals characterized by the Industrial scene, defining a new and modernized version of Neofolk.

    Tracklist:

    1. Nor Am I
    2. +Ulfberht+
    3. Cross Weight
    4. Right Hand Son (v2)
    5. Runes Writ In Rust
    6. On The Brae
    7. The Externalisation Of The
    Hierarchy
    8. Malign
    9. And Then
    10. If Lies Are Not Defied
    11. Blood Carries Far
    12. Thieves Lose Hands
    13. Grave Desecration (live)


  • CD,  Distribution

    Venta Protesix + Jugendwerkhof – Sterilitätszelotismus


    Venta Protesix + Jugendwerkhof – Sterilitätszelotismus
    Label: New Approach Records ‎– NAR31
    Format: CD, Album, Limited Edition
    Country: Portugal
    Released: 15 Jul 2022
    Style: Noise

    Just before the outbreak of the Covid-19 pandemic in Europe, Italian Noise project Venta Protesix and German Harsh Noise duo Jugendwerkhof joined forces and recorded «Sterilitätszelotismus» a collaboration focused the obsessive cleaning behavior.


  • CD,  Distribution

    Deprivation ‎– Keep My Grave Open


    Deprivation ‎– Keep My Grave Open
    Label: New Approach Records ‎– NAR24
    Format: CD, Album
    Country:Portugal
    Released: Nov 2022
    Style: Industrial, Power Electronics

    Deprivation is an Italian Death Industrial/P.E. project active since 2012.
    With a few releases under its belt, the project had been refining its sound during
    these years and can now present a cohesive identity inside the genre.
    «Keep my grave open» pays homage to the old
    names of Italian Industrial and presents us an immersive work of slow passed
    Death Industrial, sometimes dissonant yet almost atmospheric.
    A perfect soundtrack for the bleak times ahead and a morbid tribute to the dead.


  • CD,  Distribution

    Death In June ‎– All Pigs Must Die


    Death In June ‎– All Pigs Must Die
    Label: Leprosy Discs ‎– LEPER CD4
    Format: CD, Album, Reissue, Digisleeve
    Country: UK
    Released: 01 Dec 2008
    Style: Industrial, Neofolk

    Personnel :

    Douglas Pearce,
    Andreas Ritter,
    Campbell Finley,
    Boyd Rice
    Original tracklist :

    1. All pigs must die
    2. Tick Tock
    3. Disappear in every way
    4. The enemy within
    5. We said destroy II
    6. Flies have their house
    7. With bad blood
    8. No pig day (some night we’re going to party like it’s 1969)
    9. We said destroy III
    10. Lords of the sties
    11. Ride out!

  • GH Records

    The Wyrm – The Wyrm


    The Wyrm – The Wyrm
    Label: Gradual Hate Records – GH 105 CD
    Format: CDr, Album, Limited Edition
    Country: Spain
    Released: 24 Oct 2010
    Style: Military, Industrial, Neofolk, Ambient

    Buy Digital Download → The Wyrm | The Wyrm | GH Records (bandcamp.com)

    / / / SOLD OUT / / /

    The Wyrm as a musical project born in 2002 as a result of terrorist coverage (from the artistic standpoint) of Plagiarism is Art, the thematic line songs, to be: forgotten traditional customs, extreme nationalism, witchcraft and paganism.
    The Wyrm navigates between gender Darkfolk and Martial eventually take center stage by offering a host of clear-cut musical folk instruments.



    «A mediados-finales de los noventa estuve tocando en varios grupos de amigos como vocalista o haciendo performances. Sobre el año 2000 (bastante tarde, todo hay que decirlo) conozco todo lo que había hasta el momento de cuatro bandas grandes que me marcarán y me siguen marcando a día de hoy a la hora de componer como son, Blood Axis y su Gospel of inhumanity, Los primeros trabajos de Der Blutharsch (concretamente, un video de un directo en una especie de parking donde había desde punkis con cresta, góticos y paneuropeos) Death in June y sobre todo Moon Lay Hidden Beneath a Cloud. Es entonces que decido hacer mi propio grupo y que este aune todas estas ideas y darles un toque de aquí, de España, usando discursos duros, de carácter nacionalista, al igual que hacen estos grupos a los que admiro antes citados pero en castellano, que se entendiera, que las reacciones fuesen distintas (¡y vaya si lo fueron!)

    El nombre de The Wyrm es una representación de un dragón, pero no cualquier dragón. Aunque a primeras pueda parecer un anglicismo, The Wyrm viene del latín vermiis, y estos son los gusanos que corrompen y descomponen la carne putrefacta de los cadáveres, por lo tanto, seria la peor categoría que uno puede encontrar dentro de las distintos y ricos simbolismos del dragón. Buscaba un nombre telúrico, oscuro y amenazante». ENTREVISTA A THE WYRM por Metal Music Clan