In Search Of Death – II Label: Steinklang Industries – SK149 Format: CD, Album, Limited Edition, Numbered Country: Europe Released: 11 Feb 2022 Style: Dark Ambient, Industrial
Limited edition of 100 copies, comes 6-panels glossy laminated digipak.
Recorded in 2001/2002 Mastered in 2020 by Peter Andersson (Raison D’Etre)
Even though the material on II dates back 20 years, it in no way feels outdated or outmoded now. The darkly atmospheric, sonically abrasive music is timeless in the way good, classic harsh industrial is.
Recorded in 2001/2002, and now presented with mastering by Peter Andersson (Raison d’Etre etc.), In Search Of Death’s «II» is an album of classical, old school industrial music. Pulsating and throbbing dark synths, powerful percussion and electronic distortion are balanced by the occasional passage of bright, harmonious synths – which never entirely manage to wash away the sense of deep unease and lingering dread that permeates the album.
Staying on the atmospheric side of harsh industrial music, In Search Of Death’s sound combines elements from death industrial, dark ambient and occasional passages of more belligerent, martial atmospheres. This is certainly music fans of old death industrial – Brighter Death Now etc. – will appreciate. Having released material by the likes of Sütcliffe Jugend on the band’s own label, In Search Of Death are deeply entrenched in the world of vicious old-school industrial electronics.
In depth interviews with: Am Not, Cloister Recordings Himukalt, Ochu, Pterygium, & Tone Generator (of SPK & Last Dominion Lost). A series of six previously unpublished SPK group photos, taken at The Brickworks, Sydney, March 1982. Collage artwork by Richard Stevenson. 50 in depth music reviews (ambient/ industrial/ experimental / power electronics etc.).
FORMAT
A5 Format. Professional print, colour cover, grey-scale throughout. ‘Perfect bound’ spine, with matt laminate, thick card stock cover. 94 pages in length. Limited to 600 copies.
SILICON RELIC is a new Italian industrial drones / dark-ambient project, which aims to describe and portray in music the remains and parodies of the sacred and the spirit in the age of disenchantment. The group – composed of Moreno Padoan and Cristian Luise, active for years in the industrial / experimental scene with various monickers – wishes to return with this project to the origins of the genre, combining genuine aesthetic and sound research with a solid conceptual and philosophical approach.
Label: Gradual Hate Records / Series: Hate The Modern World – H.T.M.06 CD Format: CDr, Album, Limited Edition Country: Spain Released: 2015 Style: Dark Ambient, Industrial
“Ego Vox” is a post industrial split by FHF and Ostarbeiter, two Olegh Kolyada’s projects famous for a special existential vein of dark ambient and death industrial electronics. Originally presented at a live gig in 2011 with Cisfinitum (featuring one track). With his back to society Old Captain’s owner keeps eschatological silence.
tracklist:
1. From Cradle to Grave 2. Nasha Zemlya 3. Chasing the Shadow 4. Terminus 5. Presidential Chair 6. The Point of No Return 7. Particles of God 8. Windmill Cross 9. Bird on Burning Tree (feat. Cisfinitum) 10. Narcolepsis Milieu
ODIO AL MUNDO MODERNO Tapa blanda / 100 paginas /En Español + CD / GH Records OAMM Nº1
/// SOLD OUT ///
Inmersos en plena época pestífera dónde se vislumbran en el horizonte cambios que posiblemente cambien el rumbo tanto político como social y económico de Occidente, la ingeniería social funciona a pleno rendimiento y las técnicas de control y manipulación de las masas cada vez afinan más sus formas, dónde las redes sociales prácticamente definen al nuevo hombre, Odio al Mundo Moderno pretende huir del Gran hermano y dar difusión a proyectos completamente alternativos, dar voz a opiniones disidentes y analizar desde diferentes puntos de vista el mundo ¿posmoderno?.
Índice de contenidos:
Vuelve el Paganismo a Europa (Gilbert Sincyr) Una vida más simple (Luis Navas Delgado *The Wyrm) Distopía, Tradición, y Mannerbünde (Gonzalo Rodríguez) Escuadrón de la Muerte El Pico de Aznaitín, Morada del Dios Netón (Daniel Salmador * Keltika Hispanna) GE-STELL En el Extremo Occidente (Carles Jiménez * Cabeza de Lobo) Reseñas literarias (Juan Carlos Toledo *HIEMIS) La Era del Vacio (Gilles Lipovetsky) Eurasia (Solimano Mutti) Justicia vs Igualdad (Miguel Sardinero) Terror Cognitive Dissonance Hastío y Fin (Josep Carles Laínez)
Track List CD:
1 – Post Contemporary Corporation – Madre De Diós (Martinete) 2 – Terror Cognitive Dissonance – Immoral 3 – Escuadron de la Muerte – Ocular Implantation of Memories 4 – Mork Skog – Tooth and Claw (Sol Invictus) 5 – The Wyrm – Vencer despues de morir (2021) 6- HIEMIS-Abraxas (inedita) 7- Moloch 11811 – Golpea dos veces con tu Martillo 8 – GE-STELL – False Flag Practice 9 – TSIDMZ Melodies from the Inner Earth to the Firmament feat Angel Georgiev 10 – Kraschau – Los Últimos Días de la Democracia (By Une Foi d’Acier)
…No busquemos respuestas entonces en la Modernidad, ni es sus cachivaches tecnológicos, discursos ideológicos, sistemas filosóficos, o idolatrías materiales. Busquemos las respuestas en la Tradición Sapiencial. Verdadero antagonista de la Modernidad y antídoto y tratamiento seguro para su sanación y superación.
Y aquí, y para estos mal hadados tiempos del Kali Yuga, la vía que la Tradición anunció para cuándo llegará la Edad Oscura. La vía de la Mano Izquierda. Esa que convierte esta “media noche del Mundo” y “muerte de Dios”, en oportunidad para un renovado despertar. En prueba especialmente valiosa y fértil para quien esté dispuesto a “Cabalgar el Tigre” y hacer que la “bestia del fin del Mundo”, responda a sus espuelas…
DISTOPÍA, TRADICIÓN, Y MANNERBÜNDE por Gonzalo Rodríguez
Portraits is a new series from Unexplained Sounds Group focusing on electronic and electro-acoustic music composers. Each release creates a ‘portrait’ of three musicians by showcasing representative pieces of their recent musical journeys, serving as a guide for further listening and a means of exploring their work. This first volume is dedicated to three Italian musicians: Gabriele Gasparotti, Daniele Ciullini, and Mario Lino Stancati. Gasparotti and Stancati are among the most talented emerging musicians on the Italian experimental scene, while Ciullini is a veteran of the post-industrial underground who, after a very long silence, returned to music in 2012.
GABRIELE GASPAROTTI
Gabriele Gasparotti (05/09/1987) composes electroacoustic music on analog instruments. He is the creator of the project Extrema Ratio (music inspired by the script of Alberto Cavallone’s lost movie Maldoror – Il dio selvaggio) and of the artistic collective Gasparotti Muga Muchū Morphing Theater – a multimedia project that aims at the interaction between music and the performative arts and is deeply influenced by surrealism and esoterism. His video La nascita di Zelda v. 2.0 (Zelda’s Birth v. 2.0) was screened at the 76th Venice International Film Festival in the section Il futuro del corto d’autore (The Future of Art Shorts). He is the founder of the record label Il Dio Selvaggio and his latest album is Istantanee vol.1 (Il Dio Selvaggio, Dio Drone, Dornwald).
Active since the 80s in the area of the tape-network with some self-productions and participations in compilations of labels and fanzines of the time, after a iatus lasting about thirty years, Daniele Ciullini returns to the music and live sets. His recent works were published by Luce Sia and Silentes. Unexplained Sounds Group presents some unreleased tracks made by using toy instruments, field recordings and automatic voices.
Mario Lino Stancati (Italy, 1981) graduated in «Disciplines of the Arts, Music and Theater». He is an actor, director, playwright, poet, musician and composer.Not chained to any individual musical genre (he crosses progressive ambient, concrete music and avant-garde composition) and motivated to explore any form of experimentation with music, he developed methodologies and expressive practices capable of merging both vocal performativity and guitar playing.
The three-way compilation is a compilation form I actually like, especially if the three projects/musicians get the space a CD allows; well, twenty minutes each. Here we have three Italian composers, each granted four pieces. I had only heard of Danielle Ciullini before; he recently released a work after a long time of silence and first heard on releases by Trax (Vital Weekly 1254). There are short biographies on the cover of the CD, to pique your further interests. The CD starts with the quartet of pieces by Gabriele Gasparotti, the youngest of the three. He «composes electroacoustic music on analogue instruments». In his music drones play certainly a role, generated from mainly guitars, but also effects or keyboards and throughout there is quite some variation to be noted. The music is a bit dark, quite spacious, with a touch of cosmic music. Sometimes a bit too freaky, but that gives it also a free-spirited edge. The next four pieces are by Mario Lino Stancati (1981), who is an actor, director, playwright, poet, musician and composer. I believe the guitar plays an important role, next to voices, but a fair share of the legwork here is done using electronic processing. It might be his work with theatre that prompted him to add this vocal stuff (not in all pieces), which, for me, adds a bit of a gothic edge to the music. Perhaps, so I thought, this is something of an Italian tradition, along the lines of Ain Soph (especially in ‘Magma Crecia’). His music certainly is touched by a darker force of a mytikal origin, as I am sure this should be spelt. The final four are by Daniele Ciullini, knows for his work with Trax in the 80s. In his pieces he works with massive ambient passages, maybe derived from heavily processed field recordings, versus otherwise heavily treated acoustic sounds, reminiscent from the world of musique concrète. Curiously, his four pieces sound like one long collage of music, with the odd start and stop cues. Strictly personally speaking I was most fond of his work from these three, even when I enjoyed much of the others too. The way Ciullini worked with various musical interests I enjoyed a lot. (FdW)
Desde 2006 y a lo largo de los últimos quince años, el Incubismo surge y resurge de la mezcla de elementos estéticos, filosóficos y culturales que flotan y vuelan sobre un humus contradictorio y extraño. Su misión es desfigurar y transfigurar símbolos, ideas y objetos de la anodina cotidianeidad.
El Incubismo es una meta y un proceso. Objeto fractal. Grimorio fallido.
El Incubismo fue, es y será.
/ / /
«Los Sonidos del Rito» es un compendio y un inquietante legado de quince años de Incubismo, interpretado por escultores sonoros como Fluor (Fuente Luminica Universal Oscuridad Recíproca), Darío Martínez, Djinn7 y Avral. Sus obras habitan promiscuamente con los textos incubistas de Diego Arandojo.
Paisajes postindustriales, música concreta, electrónica experimental, ruidismo y atisbos de post-rock y shoegaze. Cada pista significa una comunión con la suciedad y la trascendencia. Cada sonido y cada palabra reflejan la monstruosidad que un incubo seductor y horrendo impregna en el incauto testigo / oyente / lector de la obra incubista.
Una cruel invitación a descender, gozar y sufrir.
Arte como Rito. Magia y Estética.
Pistas 1 y 2 son parte de “Ciclo de Thule” (2006) incluido en “Trilogía Incubica” (DVD/CD, 2011) editado por GH Records.
Pistas 3 y 4 son parte de “El Panóptico del Incubo” (2006) incluido en “Trilogía Incubica” (DVD/CD, 2011) editado por GH Records.
Pistas 5 y 6 son parte de “Opus 23” (2007) incluido en “Trilogía Incubica” (DVD/CD, 2011) editado por GH Records.
Pista 10 es inédita y fue compuesta en 2008 y remasterizada en 2021.
Since 2006 and over the last fifteen years, Incubismo arises and resurfaces from the mixture of aesthetic, philosophical and cultural elements that float and fly on a contradictory and strange humus. Its mission is to disfigure and transfigure symbols, ideas and objects of nondescript everyday life.
Incubismo is a goal and a process. Fractal object. Failed grimoire.
Incubismo was, is and will be.
/ / /
«Los Sonidos del Rito» (The Sounds of the Rite) is a compendium and a disturbing legacy of fifteen years of Incubismo, performed by sound sculptors such as Fluor (Fuente Luminica Universal Oscuridad Recíproca), Darío Martínez, Djinn7 and Avral. Their works inhabit promiscuously with the incubist texts of Diego Arandojo.
Post-industrial landscapes, concrete music, experimental electronic, noise and glimpses of post-rock and shoegaze. Every track means a communion with dirt and transcendence. Every sound and every word reflect the monstrosity that a seductive and horrendous incubus impregnate in the unsuspecting witness / listener / reader of the incubist work.
A cruel invitation to descend, enjoy and suffer.
Art like Rite. Magick and Aesthetics.
Tracks 1 and 2 are part of “Ciclo de Thule” (2006) included in “Trilogía Incubica” (DVD / CD, 2011) issued by GH Records.
Tracks 3 and 4 are part of «El Panóptico del Incubo» (2006) included in «Trilogía Incubica» (DVD / CD, 2011) issued by GH Records.
Tracks 5 and 6 are part of “Opus 23” (2007) included in “Trilogía Incubica” (DVD / CD, 2011) issued by GH Records.
Track 7 is previously unreleased and composed in 2009.
Track 8 was included in “Las Playa de los Muertos” (2019), digital edition by Incubico Sonoro: incubicosonoro.bandcamp.com/album/la-playa-de-los-muertos
Track 9 was included in “Trilogy I: El Goce del Silencio” (2019), digital edition by Incubico Sonoro (2019): incubicosonoro.bandcamp.com/album/avral-el-goce-del-silencio-trilog-a-i
Track 10 is previously unreleased. Composed in 2008 and remastered in 2021.
Todos los textos son de Diego Arandojo. Material compilado y masterizado por Fluor y Darío Martínez.
All texts by Diego Arandojo. Compilated and masterized by Fluor and Darío Martínez.
Stavolta ispirato dall’opera dell’esoterista francese del sedicesimo secolo Martinès De Pasqually, massone, studioso di teurgia e fra gli ispiratori del Martinismo, lo spagnolo Juan Carlos Toledo torna con la quinta uscita complessiva della sua creatura Hiemis, un anno dopo il buon «Radix». Per musicare questo vero e proprio viaggio iniziatico alla scoperta dell'»invisibile» sondato dall’ordine di De Pasqually e dei suoi adepti, il musicista di Siviglia accompagna la propria sottile e rifinita dark ambient a strutture sinfoniche dettate dal piano e dagli archi, intrecciando le due soluzioni nei quindici brani che compongono il dischetto (realizzato nelle 200 copie dell’edizione in bustina cartonata). Ne scaturisce un lavoro inevitabilmente più melodico rispetto alle uscite tipicamente dark ambient del progetto, in cui i toni sono sempre moderati ed abbracciano sensazioni ora più dolenti, ora misteriche, sempre col pathos garantito da un intreccio guidato dal buon gusto che contraddistingue l’operato di Hiemis. Una formula più aggraziata e lontana dalla tipica oscurità d’ambiente che tende a reiterarsi nell’arco dell’ora abbondante di durata, ma che piace proprio per quella sua essenzialità che mai la rende ridondante. Senza dubbio il lavoro più «musicale» firmato dall’act ispanico, che trova sempre temi intriganti e capaci di ispirarne le gesta sonore.
