A new heart-stopping piece of work by Visonia in which sadness,happiness,hopeful and desperation are in a continuous battle. As a result of this distress and ad nauseam the Chilean artist has asked himself about the sense of life and figured out how to look on the bright side.Doubtless,If we talk about “Fake Wings”,we could point out that this one is an epic and thought-provoking album composed of 6 wicked tunes and released on lovely pinkwhite vinyl.
Label: Auerbach Tonträger – AB 042 LP Format: LP , Album, Reissue, Limited Edition Country: Germany Released: 03 Feb 2012 Style: Modern Classical, Neofolk
Gatefold LP (180g vinyl, black) incl. poster, printed inner sleeve and PVC protection sleeve but WITHOUT bonus tracks (500 copies available)
Not only by virtue of its well-known title track can “Death Of The West” be considered a true classic of the Sol Invictus back catalogue. This album, originally released in 1994, was supposed to be a mini CD only, but Tony Wakeford got carried away by the recordings and cut a few old classics with a new livery. As always, this re-release is limited to 700 copies and comes in a portrait-format Digipak with revised artwork and liner notes. It includes bonus material in the shape of the songs from the mini CD “Above Us The Sun” that was also released back in 1994.
A – Peaceful Snow (Totenpop Version) B – The Maverick Chamber (Totenpop Version)
Embossed lettering on the front cover and debossed foil blocked Totenkopf logo on the back. Purple coloured 7″ vinyl single limited to 880 copies (188 postcards are hand numbered and signed by Douglas P.) which come in an embossed and pink foil-blocked sleeve.
Lucie Cries – Auctor Terminat Opus (2 × Vinyl)
Label: Brouillard Définitif – BD LP 010
Format: 2 × Vinyl, LP, Compilation, Limited Edition, Green Marbled
Country: France
Released: 2014
Style: Goth Rock, Post-Punk, New Wave
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When contrasted against the background of the end of the uneasy decade that the French 80s’ cold-wave scene had gone through, Olivier Pacaud stands as a benchmark. Echoing its agony in a barely perceptible moaning, cold-wave sounded to slowly die out…. His strong independence, his integrity in art and his unsensible pugnacity must be praised. With his band LUCIE CRIES, but also through his label ALEA JACTA EST – that stands nearly alone as an islet of resistance and promotion of a scene scorned and despised (or ignored at best) by most of the media, and consequently of an audience that had shrunk more and more, he proved he was determined. Against all expectations he chose to carry on the torch of a declining and clinically dead movement.
For a few years and despite their noble fight was doomed to failure, Olivier Pacaud and his band resisted and kept up the flame and rage as much as they could. They released their own productions that were real a commercial suicide, for a “dark” sparse audience that was soon to lose its interest for “old-school” tunes (all the heritage left behind by the venerable Joy Division, Sisters of Mercy, The Chameleons or others such as Play Dead) and eager to turn to the awakening German “dark wave” that promoted nothing more than a fashionable vampire outlook.
At last! More than 25 years after her birth, the cute Lucie is released on vinyl and definitely engraved into memory for the first time ever! We must say we are extremely proud and deeply touched to allow it. The tears of Lucie will keep running down and touching our hearts… Our friend Olivier -against all expectations and thanks to his talent and his refusing giving up- took the best out of his desperate bet and left his print in our lives and in the history of a movement that is true because its heroes are!
Let’s the neverending echoing and ravishing call of the muse take over!
Limited to 300 copies
Double LP on green marbled vinyl
Wind Atlas – An Edible Body (Vinyl, LP) Label: B.F.E Records – BFE 044, Hidden Track Records – HT013 Format: Vinyl, LP, Black or Milky Clear Country: Spain Released: 26 Jan 2018 Style: Dark wave, Cold Wave, Post-Punk,Experimental
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An Edible Body, Wind Atlas’ new album, marks a turning point in the band’s trajectory. Their third record builds a new space for the band to experiment and play with new sounds and electronic rhythms. Strangely, An Edible Body is the band’s most experimental album and at the same time the most accessible.
After a change in the band’s formation at the end of the Lingua Ignota (BFE, 2015) tour, Wind Atlas take a break from performing as to discover new sounds and work on a new album. Without a bass player, the band turns to electronic music as an answer for mixing their ritual ways with new intensities and rhythms never explored by them before. If their first albums, the EP Fen Fire (BPR, 2012) and The Not Found (BPR, 2013), were essentially influenced by 4AD’s eighties bands like Cocteau Twins or Dead Can Dance, with Lingua Ignota, Wind Atlas discover an array of possibilities beyond the bands initial reverb-pumped folk songs. Opening up to post-punk, primitive sounds and spiritual chants, they begin to include post-industrial hints that would later crystallize in the form of this new album, An Edible Body.
In search of this new sound, the band decide to record the album in New York with Sean Ragon, main figure of the current post-industrial scene, leader of the band Cult of Youth -whom they meet after performing together in Barcelona- and occasional guitarist of Psychic TV, seminal band of the industrial music scene: the chemistry in the studio was immediate. An Edible Body was recorded in just two weeks, one freezing month of February in 2017, at Sean Ragon’s basement studio in Maspeth, Queens, New York.
The album experiments not only with new sounds but also with new forms of speech. That’s why “Desertor»opens the album, a crude and simple song, in which the voice finds itself almost alone, in the aridity of a desert, threatened by a noise in the background. Interferences interrupt the words and the voice goes out of tune due to tape manipulation.
That interference foretells what is to come, the anticipation of a new affirmation called «Shedding Light”. The drum machine blends with the acoustic drums and metal plates, the synthesizers stand out and the voice sings ironically to a new reality, built in a more assertive and cruder way than in previous albums.
Despite the apparent distance between songs, An Edible Body sounds oddly solid. The dark ambient sound of “Camino de la cruz” is far from “How to Liquify” or “Ruins”, the most unabashed pop song the band has composed to date. In a way, Sean Ragons production gives unity to an eminently heterogenous album. The eastern influences of Lingua Ignota reappear in “Herencia de Jade”, with a danceable industrial beat that takes on more significance when performed live.
“En la cruz” is a techno tribute to San Juan de la Cruz and probably, one of the central tracks on the album. The new version of some of the verses from his Cántico espiritual combined with a dense rhythm that culminates in a polifony of voices affirming the existence of the force of the invisible, product of Sean Ragon’s magic in the studio thanks to the sound processors used on bands like Coil or Chris and Cosey.
On the other extreme we find “Under these Waters”, a sound poem that sings to a theme present in the band’s imaginary from the start: the uncanniness of water. “Under these Waters” is a song with a strong sexual component built through hipnotic cadences and suggestive synthesizers.
“To Clarice” is a post-industrial ballad, fundamental to understand Wind Atlas’ new vibe. Again, the influence of poet Leopoldo María Panero is reflected in the lyrics, which speak of a cathartic encounter. “To Clarice” is also an offering to writer Clarice Lispector, as well as a recognition of one’s body and the foreign body, its senses and its meanings.
The album is out on January 26 through labels BFE Records and Hidden Track on vinyl, and GH Records on CD
An Edible Body, el nuevo trabajo de Wind Atlas, marca un punto de inflexión en la trayectoria de la banda.
Tras un cambio de formación al final de la gira de Lingua Ignota (BFE, 2015), la banda decide dejar de tocar durante un tiempo para reflexionar, buscar nuevos sonidos y preparar un nuevo disco. Ya sin bajista, la banda desvía su mirada hacia la electrónica,buscando la manera de mezclar su ritual con una intensidad y unos ritmos nuevos no explorados hasta el momento. Si en sus primeros trabajos, el EP Fen Fire (BPR, 2012) y The Not Found (BPR, 2013), las influencias de las bandas de los ochenta del sello 4AD como Cocteau Twins o Dead Can Dance eran fundamentales, con Lingua Ignota, Wind Atlas encontraba una nueva grieta que abría un abanico de posibilidades más allá de las canciones folk inundadas de reverb de sus inicios. Se abrían al post-punk, a los sonidos primitivos y los cantos espirituales y empezaban a mostrar ciertos tintes post-industriales que se han cristalizado en su nuevo trabajo, An Edible Body.
Con el objetivo de buscar ese nuevo sonido, deciden ir a grabar su disco a Nueva York con Sean Ragon, figura esencial de la escena post-industrial actual, líder de la banda Cult Of Youth –que conocen al compartir escenario en Barcelona- y guitarra ocasional en Psychic TV, banda seminal de la música industrial: la química en el estudio fue instantánea. El disco experimenta no solo con nuevos sonidos sino también con nuevas maneras de comunicarse. Su tercer disco construye un nuevo espacio que ha permitido al grupo experimentar con los sonidos y jugar con los ritmos electrónicos. Extrañamente,An Edible Body es el disco más accesible y, al mismo tiempo, más experimental de la banda. creditsreleases January 26, 2018
·Grabado y mezcldo por Sean Ragon (Cult of Youth, Psychic TV) en Queens,Nueva York. · Masterizado por Stephen Quinn en Analogue Heart · Diseño y arte del de Verushka Sirit (www.verushka.cat) Andrea Pérez: Voz Sergi Alejandre: Guitarra Raúl Q. de Orte: Sintes
WLDV (We Love Dolce Vita) – Ritual Of Six Label: Waste-Editions – Waste-04 Format: Vinyl, 12″, 33 ⅓ RPM, Mini-Album, Limited Edition, Gold Country: Spain Released: 18 Feb 2018 Style: Italo-Disco, House, Techno, Darkwave, Disco
Our new release is here and perhaps to some of you, WLDV will need no introduction considering that this talented DJ and producer has just released on the well-known and cult label Giallo Disco a little while ago . Once again We´d like to present a new painstaking limited edition with a cute 12 “ golden vinyl. It´s “Ritual of Six” and this one is a gripping and mysterious album which is made up of six creepy and catchy tracks mastered by Manel Ruiz. Indeed,a brilliant work where bloodcurdling sounds, hypnotics atmospheres and thunderous analog arps can make you to look through the keyhole and see a little bit of hell gate.
Last Dominion Lost – Abomination Of Desolation (Vinyl, LP) Label: The Epicurean – cure.15, La Esencia – LER017/2017 Format: Vinyl, LP, Album, Limited Edition Country: Europe Released: 23 Oct 2017 Style: Industrial, Experimental
Last Dominion Lost has existed since 1992, formed out of the ashes of Merge (a project created by Dominik Guerin, founding member of SPK, and Jon Evans). With the inclusion of John Murphy (ex-SPK, Whitehouse, Current 93, Death in June), the transition was complete. In April of 1992 the recording sessions for what was to become „The Tyranny of Distance“ began (released on Germany’s Tesco Records). 16 years later, the opportunity arose to reform the slumbering project. With the welcome addition of Ash Wednesday (Crashlands, Einstürzende Neubauten) and Julian Percy (Ratbag) initial recordings and rehearsals began in May of 2008. In November of 2015 Till Brüggemann (Gerechtigkeits Liga, Krank) joined LDL.
Desolation: total, utter, without remit. Departure, loss, absence, yawning valleys of noise. The overture moans from the terminal ward. The humiliation of the cadaver, the scouring of abandoned houses and rubbish heaps, a planet blasted by the fruits of hubris. The last sigh of bathos: «It is finished“.
Such is the subject matter and sentiment of this follow-up to the much acclaimed albums “Snowdrops From A Curate’s Garden“ and „Towers of Silence“ which put Last Dominion Lost firmly on the throne of post-industrial music. “Abomination of Desolation” is consistent with their development into a dark and profound direction, and yet saturated with the noise and feedback that taps deep into the genre’s conscience: Metallic percussion and the screams of terror, ritual chants and anxious atmospheres, all used and abused in order to create the most accurate soundtrack of desolation.
By the fans, “Abomination of Desolation” will be met with mixed feelings – as recordings began with John Murphy in 2015 and through his untimely death that year had to be finished without him, the acknowledged grandsigneur of post-industrial music. The album’s theme and musical approach were originally intended by John for a KRANK release: An electronic album, reflecting on John’s experiences when he was first hospitalized, comatose, and hooked to a breathing machine which was constantly creating bizarre sounds.
The result stands as a brief and concise display of the group’s ability to create an unmistakable old school sound with contemporary production value. The album runs for ten tracks clocking in less than 40 minutes total and features new member Till Brüggemann (Gerechtigkeits Liga), as well as guests Nikolas Schreck, Lori Goldston and John Murphy’s beloved wife Annie Stubbs among others. With a firm electronic/analogue backbone, a delicate contrast of percussions of various origins and uncanny vocals, this is a truly dark affair, and while towards the end of the journey some more aggravating feedback loops crawl in, it never gets upfront aggressive.
With the crisp mastering job of Hunter Barr it is safe to say that “Abomination of Desolation” will not lag behind its predecessors at all, but forge their deserved status as genre icons.
Der Blutharsch – Werkschau 1997 : 2010 Label: Handmade Birds – HB-DIS015 Series: Dark Icon Series – 3 Format: 2 × Vinyl, LP, Compilation, Limited Edition, Numbered Country: US Released: 2011 Style: Industrial
24 tracks spanning the first thirteen years of this innovative band, including material from nine full-length albums.
Edtion: 500, archived on 180 gram black vinyl. ALL inserts hand numbered, and the first 250 signed by Albin Julius himself. Original artwork (also by Julius) features black and red foil stamping on exterior. One-time pressing, Handmade Birds Dark Icons Series.
Track A1 is taken from “Der Blutharsch – Track 3” Track A2 is taken from “Der Blutharsch – Track 2” Track A3 is taken from “Der Blutharsch – Track 13” Track A4 is taken from “Der Sieg des Lichtes Ist Des Lebens Heil! – Track 6” Track A5 is taken from “Der Sieg des Lichtes Ist Des Lebens Heil! – Track 7” Track A6 is taken from “Der Sieg des Lichtes Ist Des Lebens Heil! – Track 13” Track B1 is taken from “The Pleasures Received In Pain – Track 5” Track B2 is taken from “The Pleasures Received In Pain – Track 12” Track B3 is taken from “The Pleasures Received In Pain – Track 9” Track B4 is taken from “The Track of the Hunted – Track 8” Track B5 is taken from “The Track of the Hunted – Track 2” Track B6 is taken from “The Track of the Hunted – Track 5” Track C1 is taken from “When All Else Fails! – Track 8” Track C2 is taken from “When All Else Fails! – Track 9” Track C3 is taken from “Time Is Thee Enemy! – Track 5” Track C4 is taken from “Time Is Thee Enemy! – Track 10” Track C5 is taken from “When Did Wonderland End? – Track 11” Track C6 is taken from “When Did Wonderland End? – Track 6” Track D1 is taken from “When Did Wonderland End? – Track 7” Track D2 is taken from “The Philosophers Stone – Track 1” Track D3 is taken from “The Philosophers Stone – Track 2” Track D4 is taken from “The Philosophers Stone – Track 7” Track D5 is taken from “Flying High – Track 2” Track D6 is taken from “Flying High – Track 3”
Aun – Fiat Lux Label: Cyclic Law – 76th Cycle, La Esencia – LER013/2015 Format: Vinyl, LP, Album, Limited Edition, Black with white/blue splatter Country: Canada Released: 2015 Style: Dark Ambient, Drone, Experimental
AUN’s music as always suggested forays into other dimensions, be it to imaginary worlds, industrial wastelands, through space and time, or via mind altered states. From the ominous dystopian artwork, of a city being drained of its energy by some mysterious black hole, to the first notes of the title track “Fiat Lux” we are once again transported on AUN’s otherworldly travelling path. Ever since the space industrial and power electronics of AUN’s previous Cyclic Law cult release “Black Pyramid”, the world has become even more sinister, but in contrast, “Fiat Lux” exudes even more of AUN’s melancholic hopefulness. The disintegrating chords and densely textured waves, anchored by a left field industrial pulse, invoke occult drug enhanced, future psychedelia. Created in part in their Montreal studio, these tracks were extensively performed live, prior to recording, and refined while on tour breaks in Montpellier, Barcelona and Tokyo. The energy of these cities is definitely at work in these recordings, which also features a French connection of experimental heavy hitters: Witxes, Frédéric D. Oberland and Philippe Petit have helped round out Dumais and Leblanc’ arsenal. FIAT LUX: Let there be light, from light will come darkness.
Sutekh Hexen / BLSPHM Label: Sentient Ruin Laboratories – SRUIN037, Bestiarie – VOLXVII Format: Vinyl, 7″, 45 RPM, Limited Edition, Reissue, Purple Country: USA & Europe Released: 04 Aug 2017 Style: Noise, Black Metal
This is Bestiarie Vol. XVIII
The infamous cassette from 2014 printed in only 50 copies now assumes its final and ultimate form.
Heavy black cardstock sleeves letterpressed with silver inks one by one by hand by Demian Johnston of BLSPHM himself, encasing a standard 45 RPM purple vinyl or extremely limited black vinyl + letterpressed OBI strip.
Artwork by Steven Wilson Layout by Kevin Gan Yuen Mastered by James Plotkin
