• Distribution,  Vinyl

    Cønjuntø Vacíø #2

    Cønjuntø Vacíø #2
    Label: Cønjuntø Vacíø ‎– Ø 02
    Format: Vinyl, LP, Album, Compilation, Limited Edition
    Country: Spain
    Released: 01 Nov 2014
    Genre: Electronic, Rock, Folk, World, & Country
    Style: Darkwave, Experimental, Psychedelic Rock, Industrial, Post-Punk

    Cønjuntø Vacíø #2 (Vinyl, LP, Album, Compilation, Limited Edition)


    A1 – Xeno And Oaklander L’Informateur
    A2 – Fasenuova Años En Blanco Y Negro
    A3 – Marshstepper Complacency Serves The Old Gods
    B1 – Tercer Sol Último Grito
    B2 – Híbrida, Nen i Cavall Delamare
    B3 – Polígono Hindú Astral Eje De Rotación
    B4 – +++ Como Un Bocado En El Cuello Que Te Arrancara La Vida

  • CD,  Distribution

    Umpio – Insektio

    Umpio – Insektio
    Label: Zhelezobeton ‎– ZHB-LXXXIV
    Format: CD, Album, Limited Edition, Numbered
    Country: Russia
    Released: 2021
    Style: Electroacoustic, Experimental, Noise

    Umpio is the solo project of the Finnish sound explorer Pentti Dassum, a member of numerous bands with incredible stylistic coverage from noise-grind (Romutus) to challenging electroacoustic experiments (SM/DP) and unpredictable brutal noise performed on self-built metal objects.

    However there’s no junk noise this time – «Insektio» is made from massive oscillations, electronic microsounds and tape manipulations. Like a heavy trip into nature, listen with one ear to the ground, how all the insects work, how temperature shifts affect the resonance of the planet, and how civilizations crumble away as only the frogs and moss will survive…

  • CD,  Distribution

    Gudelnaya Polyana – Solar Systo Togathering 2020

    Gudelnaya Polyana – Solar Systo Togathering 2020
    Label: Zhelezobeton ‎– ZHB-LXXXV
    Format: 3 × CD, Album, Compilation, Limited Edition, Numbered, Partially Mixed
    Country: Russia
    Released: 31 May 2021
    Style: Drone, Dark Ambient, Experimental, Ambient, Noise

    Here we have a three-hour long compilation of live recordings, made in September 2020 at Gudelnaya Polyana (Russian for “droning glade”) – the experimental stage of the Solar Systo Togathering festival. The concept of Gudelnaya Polyana is total drone, infinitely diverse, but united in its essence. Every year in any weather dozens of musicians gather in the woods of the Leningrad region to take part in this ritual action, keeping themselves warm with bonfires, hot pu-er tea and kilowatts of sound.

    In 2020, we were lucky to record the performances of most artists, and many of them agreed to provide fragments of these recordings for a commemorative compilation. The unity and diversity of droning sound is fully represented here since the festival gathers musicians from different fields: ambient, drone, noise, electronic, academic, and even the ensemble of 12-year-old experimenters made their contribution.

    The first disc gently immerses us in the forest thicket, swamps and electrified fogs; the second takes us further into the labyrinths of sound experiments and unlikely consonances; the third begins with the piercing clarity of dawn, which gives way to a calm daytime mood, followed by the coming of night – the deep darkness thickens, we’re riding electromagnetic waves and trying to look beyond human existence…


  • CD,  Distribution

    When The Moon Is In Her Second Quarter ‎– When The Moon Is In Her Second Quarter

    When The Moon Is In Her Second Quarter ‎– When The Moon Is In Her Second Quarter
    Label: Status Prod. ‎– SP 09 CD
    Format: CD, Album, Limited Edition, Numbered
    Country: Russia
    Released: 10 Nov 2018
    Style: Industrial, Dark Ambient, Experimental, Drone, Noise

    The deaf darkness of the chthonic forest gives birth to hitherto unseen monsters and their moans, like dead leaves, are carried by the wind between the skeletons of trees, as ancient as the Earth itself. Lost souls sigh, wheeze,howl, revealing their essence , when the Moon is in her second quarter…
    Status Prod. presents new CD – album of the anonymous ritual ambient / death industrial project When the Moon is in her second quarter “Like dead leaves”.
    Two nameless hymns–rituals are dedicated to the memory of Yevgeniy Yufit, the founder of the genre Necrorealism in cinema, painting and literature.
    The record features guest appearance of Ord Err (ORD).
    The album was released in 200 hand-numbered copies, and is a pennant made of brown designer cardboard with PAINT-IT-BLACK DESIGN, applied by silk-screen printing on it, in silver color.

  • Distribution,  Vinyl

    Column One / Idpa / Mz.412 ‎– Live Action / Voodoo Bumble Bee

    Column One / Idpa / Mz.412 ‎– Live Action / Voodoo Bumble Bee
    Label: Tourette Records ‎– tourette 012
    Format: Vinyl, LP
    Country: US
    Released: Apr 2010
    Style: Noise, Experimental, Industrial

    Numbered edition of 412 copies.
    Sleeve states 2009, but the record was released in 2010. Title is misspelled on the spine.
    Side B recorded live at Collapse festival, Rostock, Germany 19.08.2000. Reworked in Berlin, 2009.
    Track B1 is a locked groove; the given track time on the sleeve represents the length of time the track is intended to be played.

  • 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.

  • 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.

  • Distribution,  Vinyl

    Lisa Gerrard & Jules Maxwell – Burn (Vinyl, LP)

    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.


    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…

  • 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.

    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.

    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