Sangre De Muerdago – Os Segredos Da Raposa Vermella Label: Neuropa Records – NRP76 Format: Vinyl, 12″, Single Sided, EP, Etched Country: Belgium Released: Mar 2017 Style: Folk
Before humans started building with concrete and steel, much earlier before machines reigned, and the steam locomotive was invented. There was a little red fox that wandered through the woods of the iberian northwest, in a land where its people were known as the Galaicos.
This red fox liked to listen to the melodies of the leaves and the stones, to the songs of the streams and flowers, and she sung and sung and whistled as she wandered through the forests looking for food and adventures. Until one day she knew so many songs, more songs than any other red fox in those woods. Even more songs than the ravens themselves. Afraid of forgetting those beautiful melodies, she decided to start writing a little book with her favourite songs. The book had a cover of moss and paper of birch bark, and on its pages she wrote and drew.
Many centuries later, these are our attempts to interpret some of those melodies once lost and found again, that carried in their notes an essence of times long gone. And with it we want to honor that little red fox. We also want to honor the traditional melodies from Galicia and Bretagne you’ll find in this record, the melodies of… more
Pablo C.Ursusson: Classical guitar, hurdy-gurdy, bohdran, percussions. Georg “Xurxo” Börner: Nyckelharpa, viola, violin, percussions. Erik Heimansberg: Flute, bouzouki, accordion on «Ursusson’s Polska» Jorge Olson de Abreu: Always inspiration from the otherworld.
1- Ó Albor dos Dolmens – Trad. Galicia/Milladoiro/Sangre de Muerdago 2- Ursusson’s Polska – Sangre de Muerdago 3- Agullas de Agarimo – Milladoiro/Sangre de Muerdago 4- An Dro – Trad. Bretagne
Recorded around Litha 2016 at the ColdWorld Temple with Georg “Xurxo” Börner behind the desk. Mixed and mastered by Tobias Häussler. Art by Marina Girardi.
Los Iniciados – Todo Ubú Label: Mental Experience – MENT024 Format: Vinyl, LP, Album, Limited Edition, Reissue, Vinyl Country: Spain Released: 2018 Style: Synth-pop, Minimal
Dark minimal synth electronics & experimental sounds by LOS INICIADOS, a mysterious project, highly influenced by The Residents, related to legendary Spanish synth–pop band AVIADOR DRO. This is their rare and sought–after second album, originally released in 1983 on the DRO label as the soundtrack to a puppet stage play, based on ALFRED JARRY’S «UBU ROI».
*16–page LP sized insert featuring the original stage play booklet. *Remastered sound. *Original artwork
Tracklist: A1. Obertura – A2. Canción de Los invitados – A3. Danza Inca de La Tía Ubú – A4. Canción 1ª de Los Palotines – A5. Desfile – A6. Canción del Tío Ubú – A7. Canción 2ª de Los Palotines – A8. La Aparición del Sr. Matías – A9. Última Canción de Los Palotines – A10. ¡Al Saco! – B1. Intermezzo – B2. Canción de Ladislao – B3. Presentación del Príncipe Freixinet – B4. Canción del Zar – B5. Canción de Guerra de Los Palotines – B6. Canción del Klam y La Tía Ubú – B7. Triunfo de Ladislao – B8. Canción Final
Por primera vez reeditado el buscado segundo álbum de LOS INICIADOS, misterioso proyecto experimental surgido en torno a los legendarios AVIADOR DRO. Originalmente publicado en 1983, contenía la música creada para una representación teatral basada en la obra «Ubú Rey» de ALFRED JARRY. Oscuros sonidos minimal synth / electrónicos y experimentales con influencia de THE RESIDENTS.
*Insert de 16 páginas que contiene reproducción del libreto original de la obra de teatro. *Sonido remasterizado *Artwork original
Emanation – The Emanation Of Begotten Chaos From God (2 × Vinyl) Label: Sentient Ruin Laboratories – SRUIN150, CAVSAS – CS003 Format: 2 × Vinyl, LP, Album, Limited Edition, Reissue, Stereo Country: Spain Released: 05 Nov 2021 Style: Black Metal, Experimental
Emanation is a side project from CG Santos, the mastermind behind drone act Like Drone Razors Through Flesh Sphere. An intense, esoteric and surreal combination of black metal, noise and industrial with a lo-fi production and occult lyrical themes, this is not an easy listening or approachable album by any stretch but the deranged and eerie sounds produced by Santos across the debut album The Emanation of Begotten Chaos from God make it a unique and rewarding listen for those who can penetrate its strange depths.
The album is 71 minutes long and with just six tracks four of them are ten minutes and above. The first one Cyclic Metamorphosis begins with an eerie clean melody, a slow and tinny drumbeat and noisy electronics for the first few minutes before the guitars come in with a scathingly harsh tone to them, which when accentuated for the noisy electronics makes for a dense sound even with the incredibly lo-fi production. At this point the guitars seem there more for their slow and heavy texture than for the addition of any melody, until it kicks off about six minutes in with the simple drumbeat increasing in tempo,the scratching of guitar picking up the pace while an eerie melody continues in the background. Each texture is so massive and there’s a lot of layers resulting in a sound that at first sounds incredibly lo-fi, disjointed and dissonant. But repeated and active listening reveals the esoteric melodies present under the scratchy guitars and electronic din, and the lo-fi sound all gives it an eerie and caustic atmosphere, all accentuated by this dissonant layering. It’s mostly very slow and incredibly raw and dense, but the industrial noisy elements make it sound unlike most other black metal. When the vocals finally come in, a harsh scream that’s fuzzed out by effects, it’s buried quietly in the mix, and with the off-beat drums and scraping overlapping sound of the other elements it’s a psychedelic nightmare. The following track Ritual Asphyxia starts off like a Sunn O))) guitar drone fed through a dozen noise pedals, screeching and clanking with an off-beat industrial strangeness. When the vocals come in the guitar gets more furious and more twisted by these industrial elements in a harsh and inaccessible wall of effects laden blackened noise. Some slow black metal melodies shine through once again in the background, and the tinny drums are so simplistic as to seem at odds with the array of harsh textures that make up the wall of sound, and it is truly caustic and occult sounding. Just after the half way mark it all explodes into a faster pounding piece of intensely harsh and layered black metal. Ritual Asphyxia indeed.
Immortal Blood Coil relents on the heaviness with a noisy dark ambient piece, bereft of the wall of sound approach, and creates an eerie psychedelic sound with layers of synth, chimes, drums, noise and more effects laden vocals. It relents on the heaviness but not on the dark atmosphere. Synesthesia of the Lesser Sphere is the droniest of the lot, with a droning guitar wail providing the backdrop for the creaking twisted sound of the knob twiddling electronics and harsh drawn out vocals over the top. Now and then throughout the track, the guitar stops and the electronics continue by themselves, and there’s a quiet, understated but creepy melody running in the background throughout. It’s kind of like if Anaal Nathrakh decided they wanted abandon their brand of apocalyptic devastation to create some of the creepiest fucking music of all time instead.
The final two tracks Inorganic and Sands of Totemic Silence are the two longest on the album at 18 and 15 minutes respectively. The electronics on the former are so harsh, dissonant and noisy it sounds like the breakdown of some mechanic behemoth and the lo-fi trebly sound of the guitars sings its eerie black metal wail over the top with melodies that are slow to reveal themselves -it’s intelligent, melodic and caustic blackened noise. The closer starts with eerie dark synth ambient in one of the few moments that isn’t a complete clusterfuck of noise, but still sounds dark as all hell before kicking off with more off-beat drums as layers upon layers of guitar, synth and noise all drone away with a slow and deranged din, breaking down towards the end into a noisy electronic mess.
The Emanation of Begotten Chaos from God has to be one of the most original black metal releases I’ve heard in the last few years, and it’s so dissonant, surreal and nightmarish it has to be heard by anyone interested in pushing the genre’s boundaries with it’s harsh and twisted explorations – it it will take more than few listens to unravel the depths of what’s going on as it might sound like a messy din at first, but reveals itself to be a caustic and surreal masterpiece.
Tumefactum – Tumefactum Label: Andalucia Über Alles – AÜA 008, Muerte A Tipo – none, The Safety Pin Generation – TSPG 005, SINCRONICA – SINCRO-008 Format: Vinyl, LP, Album, Limited Edition Country: Spain Released: Mar 2017 Style: Alternative Rock, Post-Punk, Goth Rock
Grupo de Murcia, en 2015 grabaron una demo y a principios del año 2017 editaron este Lp. En vinilo, a través de los sellos Andalucía Über Alles, Muerte a Tipo, Sincronica, The Safety Pin Generation y el propio grupo. 10 temas, post punk, temas tranquilos, melodías oscuras, algo inquietantes y depresivas…
En uno de los tema incluyen unas lineas de Federico García Lorca
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.
Chameleons – Edge Sessions (Live From The Edge) Label: Metropolis – MET 1275 Format: 2 × Vinyl, LP, Limited Edition Country: US Released: 17 Jun 2022 Style: Indie Rock, New Wave, Post-Punk
Chameleons (UK) has long been cited as a hugely influential act, having inspired the likes of Moby, The Verve, The Flaming Lips, Interpol, The Killers, Editors and Oasis.
The Chameleons (UK) was formed in Manchester, England, in 1981, with vocalist/bassist Mark Burgess, guitarists Reg Smithies and Dave Fielding, and drummer John Lever (who quickly replaced founding member Brian Schofield). The band released three classic albums: «Script of the Bridge» (1983), «What Does Anything Mean? Basically?» (1985) and «Strange Times» (1986) before breaking up.
The years passed; the members of The Chameleons (UK) continued to work on their own musical projects, then as the ’90s came and went, the idea of a reunion seemed practically inevitable. The Chameleons (UK) reconnected in January of 2000 to prepare for three dates in May of that year in England. The acoustic-based «Strip» was self-released by the band as a limited edition release to coincide with these shows. European dates followed throughout the summer, by fall The Chameleons (UK) played their first American shows in nearly 15 years. The fruit of this reunion, «Why Call It Anything?» (2001) marked The Chameleons (UK) first studio album since 1986’s «Strange Times.» The Encyclopedia of Popular Music wrote, «Why Call It Anything proved to be a stunning reaffirmation of the brilliance of this unsung band.»
«This Never Ending Now,» a release that featured acoustic arrangements of songs from their early albums and singles as well as featuring a cover of David Bowie’s «Moonage Daydream» appeared two years later. The band once again disbanded in 2003. In 2009, Burgess reunited with Lever as ChameleonsVox, performing and touring Chameleons material. ChameleonsVox toured the United States and Europe from 2009 to 2014, and issued an EP, M+D=1(8), in November 2013, prior to Lever’s departure. Sadly, Lever died in 201edge»>Edge Sessions (Live From The Edge) de Chameleons UK
A ChameleonsVox line-up featuring Burgess with Yves Altana, Neil Dwerryhouse and Chris Oliver on guitars embarked on tour of the US in 2015. Prior to the Covid pandemic placing everything on hold, Burgess had been touring more vastly than at any point in his career, with shows across the United States, China, Australia and practically every country across Europe.
As things begin to open up and the world finds some sense of a new normal, Chameleons (UK) have joined with Metropolis Records to release «Edge Sessions (Live From The Edge)» a collection of seven classic Chameleons songs performed live in May of 2021 by founding members Mark Burgess and Reg Smithies, joined by more recent members Chris Oliver on guitar, and Stephen Rice on drums. Three additional bonus tracks of ChameleonsVox era live recordings round out this stunning release.
Michael Stearns – Ancient Leaves Label: Infinite Fog Productions – IF-93LP Format: Vinyl, LP, Album, Reissue, Remastered Country: Russia Released: 07 Jul 2019 Style: Ambient
In 1975, Michael moved from Tucson to Los Angeles to study with Emilie Conrad at the Continuum Studio. Emilie had ‘live’ music for her ‘movement meditation’ classes, and Michael began performing with Fred Stofflet, Gary David, and Don Preston. Ancient Leaves (25:43) was Michael’s first album, recorded in 1976/77 with a Mini Moog synthesizer and a Finish lap harp (Kantele) onto 4 track tape. To the other instruments, Michael added Emilie chanting, an ascending choir with Susan Harper and Linda Olsen vocalists, Gregorian Chants and a night ambience recorded in the desert outside of Tucson, Arizona, his hometown. It was initially released on LP and cassette. The ‘B’ side, Elysian E (23:13) was performed with an Arp String Ensemble played through an MXR digital delay, one of the first, then slowed to half speed. To this he added Moog and EML synthesizers, The Beam and his voice.
Lisa Gerrard & Jules Maxwell – Burn (Vinyl, LP) Label: Atlantic Curve – AC003-1 Format: Vinyl, LP, Album, White Country: Europe Released: May 7, 2021 Style: Darkwave, New Wave, Experimental, Neo-Classical
La enigmática Lisa Gerrard en colaboración con Jules Maxwell, ambos implicados en Dead Can Dance, llevan trabajando en este proyecto desde hace más de 7 años. Esta colaboración lleva el nombre de “Burn” y cuenta con la producción de James Chapman de Maps.
Tracklist
Heleali (The Sea Will Rise) Noyalain (Burn) Deshta (Forever) Aldavyeem (A Time To Dance) Orion (The Weary Huntsman) Keson (Until My Strength Returns) Do So Yol (Gather The Wind)
Lisa Germaine Gerrard (/dʒəˈrɑːrd/; born 12 April 1961) is an Australian musician, singer and composer who rose to prominence as part of the music group Dead Can Dance with music partner Brendan Perry. She is known for her unique singing style technique (glossolalia), influenced by her childhood spent in multicultural areas of Melbourne. She has a dramatic contralto voice and has a vocal range of three octaves.
Born and raised in Melbourne, Gerrard played a pivotal role in the city’s Little Band scene and fronted post-punk group Microfilm before co-founding Dead Can Dance in 1981. With Perry, she explored numerous traditional and modern styles, laying the foundations for what became known as neoclassical dark wave. She sings sometimes in English and often in a unique language that she invented. In addition to singing, she is an instrumentalist for much of her work, most prolifically using the yangqin (a Chinese hammered dulcimer). Gerrard’s first solo album, The Mirror Pool, was released in 1995. She has been involved in a wide range of projects, starting her first collaborative album in 1998 with Pieter Bourke, and then with various artists throughout her career, who comprised Patrick Cassidy, Klaus Schulze, Hans Zimmer, among others. She has scored numerous award-winning motion picture soundtracks.
As of 2020, Gerrard has released four solo albums and collaborated on sixteen albums. She composed and contributed the scores to more than 48 movies. She received a Golden Globe Award for the music score to the 2000 film Gladiator, on which she collaborated with Hans Zimmer. She wrote the score of Balibo which went on to win an ARIA award for Best Original Soundtrack and an APRA Screen music award for Best feature film score. Overall she has won 11 awards receiving 23 nominations. Gerrard has been nominated for a Grammy Award twice…
The Mystery Of The Bulgarian Voices Featuring Lisa Gerrard – Shandai Ya / Stanka (Vinyl LP | Black) Label: Prophecy PRO 243 LP Format: Vinyl, 12″, EP Country: Europe Released: 17 Apr 2020 Genre: Folk, World, & Country
Otherworldly female vocals from extraordinary performers have always been the trademark of world-famous choir ensemble The Mystery Of The Bulgarian Voices (formerly known as «Les Mystères Des Voix Bulgares»). After an almost 20-year hiatus due to the death of producer Marcel Cellier, the choir released its critically acclaimed comeback «BooCheeMish» in 2018 together with esteemed guest vocalist Lisa Gerrard (Dead Can Dance), combining magnificent vocals from various stylistic backgrounds and traditional Bulgarian instruments with modern elements like beatboxing. The ensemble and its host of guests embarked on a successful tour in 2018 and 2019, performing in renowned concert venues such as the Concertgebouw in Amsterdam, The Netherlands or L’Ancienne Belgique in Brussels, Belgium.
Summer 2020 sees a continuation of the choir’s live activities in Europe, and the new 7-track EP «Shandai Ya / Stanka» presents the strongest songs from «BooCheeMish» in even more refined versions alongside two exclusive tracks – an impressive live rendition of Gerrard’s solo composition ‘Rite Of Passage’ from a concert in Warsaw, Poland and ‘Zaidi Sluntse’, a collaboration between the choir and beatbox world champion SkilleR, marrying vocal skills that could not be more contrastive to great effect.
Tracklist: 1. Shandai Ya (Version) 2. Stanka (Choir Version) 3. Zaidi Sluntse (Previously unreleased) 4. Mome Malenko (Radio Edit) 5. Rano Ranila (Version) 6. Rite Of Passage (Live in Warsaw) 7. Shandai Ya
Peter Ulrich – Pathways And Dawns Label: Infinite Fog Productions – IF-103LP Format: Vinyl, LP, Album, Limited Edition, Reissue, Remastered Country: Russia Released: 2020 Style: Folk Rock, Ethereal, Folk
Tthe first vinyl edition of Peter Ulrich’s debut solo album “Pathways And Dawns”. Widely known for his past work as drummer/percussionist with legendary Dead Can Dance and contributor to 4AD’s This Mortal Coil, Ulrich emerges here as a writer of hauntingly beautiful melodies and deeply poetic lyrics. “Pathways And Dawns” is packed with driving rhythms and meditative ritual patterns of percussion. With some inspired guitar-work, arrangement, and production from DCD mastermind Brendan Perry, the result is a pure delight…
The album was recorded in two parts, the first in England in 1990, and the second after a long time break in 1996-97, by Brendan Perry at DCD’s Quivvy Church studio in Ireland. The album was released on CD in 1999 on the US label Projekt and was dubbed by critics as «the album the Beatles might have made had the group signed with 4AD instead of Capitol» and «a wonderful collection of songs that, while in the 4AD school, shimmers with an inner lightness that makes it very different «.
This absolute masterpiece of spiritual music, so badly wanted on vinyl for so long, is available now. Mastered from Original master takes by Martin Bowes (Attrition).
