Spectres – Nostalgia Label: Artoffact Records – AOF358CD Format: CD, Album, Stereo Country: Canada Released: Mar 13, 2020 Style: Post-Punk
Formed in Vancouver by vocalist and founder Brian Gustavson, SPECTRES is a DIY death-rock outfit that mixes post-punk, the ethic of anarcho-punk, and an incredible knack for writing catchy songs. The band released three independent albums (all reissued by Artoffact Records in 2019) and are ready to stun audiences with their 2020 release Nostalgia. Emerging from the DIY Punk underground, SPECTRES wanted to blend the grassroots and independent ethic of anarcho-punk with the anomie and cold, modulated sounds of 1980’s post-punk and death-rock genres.
Though the band’s output has matured with time to embrace a wider range of new-wave and shoegaze influences, their ethos remains rooted in DIY punk. The blending of these influences allows for the curious juxtaposition of 80’s influenced pop sensibilities with lyrics that explore the alienation and cynicism of modern life. On the new album, Nostalgia, these influences are carried even further to create a wonderfully crafted suite of songs that evoke the primal sounds of Beastmilk with the melody of New Order.
Spectres – Nothing To Nowhere Label: Artoffact Records – AOF356CD Format: CD, Album Country: Canada Released: 2018 Style: Post-Punk, Punk
Originally released in 2012 as a vinyl-only edition through Germany’s Sabotage Records (White Lung, G.L.O.S.S., Arctic Flowers), the second album from Vancouver post-punk darlings SPECTRES has never been released on CD. Finally, years after the initial vinyl pressing sold out, Toronto-based Artoffact Records breathes new life into this Canadian classic with a remastered CD edition.
Wind Atlas – Lingua Ignota Label: Gradual Hate Records – GH139 CD, Twilight Records – TW 1.156 Format: CD, Album Country: Spain Released: June 2018 Style: Darkwave, Folk, Psychedelic Rock, Post-Punk, Experimental
Recorded and mixed by Javier Ortiz Fullton at Estudios Brazil in december 2014. Studio Assistant: Marcos Bandera. Mastered at Yves Roussel Mastering by Yves Roussel in january 2015. Cover art is “Magic Circle” (1886) by John William Waterhouse. Artwork designed by Raúl Q. de Orte.
Credits Backing Vocals – Raúl Pérez Pérez, Raúl Q. De Orte, Sergi Alejandre Bass – Iván Montero Bouzouki – Sergi Alejandre Drums – Raúl Pérez Pérez Guitar – Sergi Alejandre Lead Vocals – Andrea Pérez Mastered By – Ives Roussel Mixed By – Javier Ortiz Recorded By – Javier Ortiz Santoor – Raúl Pérez Pérez Synth – Raúl Q. De Orte
Wind Atlas’ music has gained in nuances, drifting smoothly from dark dream-pop and new-wave passages (which remind us of Dead Can Dance) to gloomy postpunk atmospheres similar to those of Crispy Ambulance, Durruti Column or In Camera. Music to think of an unknown continent, to look for the lost alchemical formula, to eventually discover Talos the robot hurling rocks at the Argonauts. Music that requires to do nothing but listen, a task that nowadays appears almost impossible.
The message is conveyed in an imagined language from a terra incognita, the lingua ignota. Each song is like an accent or a period, like a comma, a verse, a whole chapter of a liturgical chant. Gibberish for those who relish the best soundtrack by Basil Poledouris and the 4AD catalogue.
The album was recorded in Estudio Brazil (Madrid) with Javier Ortiz and mastered in Yves Roussel Mastering (Barcelona).
“Wind Atlas, if “Ecdisis” is any indication, sound a bit like Sioux Sioux after the Banshees broke up, if she had gone in a more interesting direction. Or maybe if Peter Murphy had started a project with Sioux Sioux? Something like that. Truth is, it doesn’t matter once those early Edge/Chameleons guitars, full of melodic urgency despite their simplicity, hit; the ritualistic feel of the backing turns up their immediacy even more, to the point where the whole composition seems to depend on them.
But that voice, ringing through the ether, also needs something, anything, to happen, lest the sands of time swallow her whole. It’s a mystical, otherworldly trip…“
La música de Wind Atlas es rica en detalles, deslizándose refinadamente de oscuros pasajes dream pop new wave (que bien traen a la memoria a Dead can Dance) a la bruma de atmósferas postpunk que podían hacer grupos como Crispy Ambulance, Durruti Column o In camera.
Música para pensar en un continente no conocido, buscando una formula alquímica perdida, y acabar descubriendo al robot de Talos apedreando argonautas. Mejor dejémoslo así, en no hacer nada mientras se escucha, una tarea que se nos plantea hoy en día imposible.
El mensaje se proyecta en un idioma imaginado de una terra incógnita, la lengua ignota. Cada canción es como una tilde o un punto, como una coma, un versículo, un capitulo entero de un canto litúrgico. Un galimatías entre quienes disfrutan de la mejor banda sonora compuesta por Basil Poledouris y el catalogo de 4AD.
1.Eurydice’s Chant 02:38 2.Sound Of Gold, Rhythm Of Jade 05:17 3.The Sun Rises 03:47 4.Hylé 02:40 5.Stalker 05:13 6.The Goddess Is Where It Is Venerated 05:43 7.Ecdisis 04:44 8.Demona 06:35 9.The Joy Of The Auloniad 02:30
Ikon – As Time Goes By (The Original Ikon) Label: Dark Vinyl Records – DV81, Nile Records Australia – DV81 Format: CD, Compilation, Reissue, Remastered, Limited Edition Country: Germany Released: Jun 22, 2018 Style: Goth Rock, Darkwave
CD1 contains AS TIME GOES BY album from 1992 completly remastered & remixed 2016
CD2 contains the full Arthouse gig (12 tracks / Melbourne 1992) , plus 6 unreleased Demo-Tracks from 1992 (as «Hidden Bonustracks)
In January 1992, IKON entered the studio to record what was supposed tob e the band`s debut single „As Time Goes By“ b/w „Never Ending“. Over three days from 17 january, a total of 8 songs were recorded and the band was reasonably satisfied with the results. Shortly afterwards, an accident lead tot he partial erasure oft he drums for «As Time Goes By“, making it impossible to finish and also wiping the plans for it tob e the main single track. The remaining songs were mixed over the following weeks, but the band was not happy with the results overall, so the project was shelved.
By mid 1992, IKON decided to attempt to remix the tracks and select another single option, but this time encountered a new problem: the tape was beginning to oxidize, making it impossible to play. The band was faced with the prospect of being forced to use the initial unsatisfactory mixes.
In 2016 this original IKON session, known as «As Time Goes By“, was given one final facelift by repairing and cleaning up any tape issues, and presenting the songs in a more natural light. It was decided that no more songs would be added to CD1, not to detract from IKON’s studio debut.
CD2 contains the complete January 1st Arthouse live show, which has never been released in full. This show was recorded within a couple of weeks of the Frontline session, and is a a fitting addition.
Although many of these tracks have been mixed on numerous occasions over the years, and feature on various CD’S, the session known as ‘As Time Goes By’, the original IKON studio session, was given one final facelift in 2016, repairing and cleaning up any tape issues, and presenting the songs in a more natural light. It was decided that no more songs would be added to CD1, not to detract from IKON’s studio debut. CD2 contains the complete January 1st Arthouse live show, which has never been released in full. This show was recorded within a couple of weeks of the Frontline session, and is a a fitting addition.
Tracklist:
CD1-STUDIO (38 min): AS TIME GOES BY (2016) 3:01 / NEVER ENDING (2016) 3:25 / WHY (2016) 3:12 / REALITY IS LOST (2016) 4:08 / ALIVE (2016) 3:14 / FEAR (2016) 3:48 / THE LOST (2016) 3:37 / ALONE (2016) 3:13
CD2-LIVE (42 min.): SUICIDE (Arthouse 1992) 3:59 / NEVER ENDING (Arthouse 1992) 3:22 / AS TIME GOES BY (Arthouse 1992) 3:01 / WHY (Arthouse 1992) 3:21 / THE AWAKENING (Arthouse 1992) 3:20 / ALIVE (Arthouse 1992) 3:07 / DEVOTION (Arthouse 1992) 2:43 / ALONE (Arthouse 1992) 3:27 / REALITY IS LOST (Arthouse 1992) 4:08 / THE LOST (Arthouse 1992) 2:45 / SHE SMILES (Arthouse 1992) 4:12 / FEAR (Arthouse 1992) 4:20 + 6 hidden Bonustracks (24 min of unreleased Demos from 1992)
Ikon – The Thirteenth Hour (The Singles 2007-2020) Label: Dark Vinyl Records – DV92, Eternal Media – DV92 Format: 3 x CD, Compilation, Limited Edition Country: Australia Released: Apr 2020 Style: Goth Rock, Darkwave
1.A line on a dark day (CD single version) 04:10 2.Amongst the Runes (version) 04:11 3.Torn apart (CD single version) 04:49 4.Driftwood (CD single version) 05:11 5.Broken windows to the soul (version) 04:25 6.Where do I go from here (new version) 03:44 7.Azkadelia (7″ version) 09:00 8.I burn for you (7″ version) 03:28 9.Stolen (7″ single version) 04:32 10.Blood of love (7″ version) 04:14 11.Black Noise (remix) 05:09 12.Gruss Von Krampus (7″ version) 08:00 13.Silence is calling (new version) 04:13 14.Calm before the storm 04:17 15.Nowhere to turn 04:02 16.Silent Knight 04:19 17.Under my Skin 05:24 18.Disenchanted Lullaby 03:40 19.City of night 03:16 20.My dreams they remind me of you (7″ version) 04:02 21.Predator (mk II) 06:22 22.Drowning in this river (demo) 05:29 23.The Hunter (7″ version) 04:19 24.Mistaken 05:48 25.Krampus is coming to town 05:32 26.Don’t cry little baby (demo) 03:44 27.A line on a dark day (extended version) 04:24 28.Amongst the runes (extended version) 05:44 29.Torn Apart (extended version) 05:46 30.Driftwood (extended version) 07:04 31.Broken windows to the soul (extended version) 04:40 32.Where do I go from here (extended version) 06:01 33.Azkadelia (extended version) 06:01 34.I burn for you (club mix) 04:08 35.Stolen (extended version) 07:56 36.The blood of love (extended version) 06:07 37.Black Noise (club mix) 06:51 38.Gruss vom Krampus (full version) 05:31 39.Silence is calling (extended version) 04:42
Packaging: 6-panel gatefold card sleeve without booklet.
La Fiesta Triste – La Belleza del Óxido Format: Vinyl, 12″, Limited Edition Country: Spain Released: 2021 Style: Darkwave, Electro, Techno, Synthwave, Post- Punk
Tras algunos trabajos auto-producidos, como “Ciudades invisibles” (2000), “Minimalista” (2005), o “Desaparecer” (2019), publicados en CD y plataformas digitales, apuesta en este nuevo disco por el formato vinilo y la producción “Do it yourself” en esta edición, con la colaboración del sello GH Records La Fiesta Triste es el proyecto en solitario de Javier Andreu (a.k.a.Fête Triste), músico, productor, diseñador y fotógrafo valenciano. Cursó estudios de música y piano en el Conservatorio. Autodidacta posteriormente al bajo, guitarra eléctrica, batería, sintetizadores y producción musical. Este proyecto surge de las cenizas de otras bandas en las que ha participado (Basura de Eva, VIE y Pronoise).
Este nuevo disco cierra un ciclo de varios años produciendo y componiendo, y comprende una selección de 8 canciones escogidas de entre un gran número grabadas en estos últimos años. La música, el concepto y el diseño de las portadas, han sido creadasen su totalidad por Fête, excepto “Todos contra todos”una versión libre inspirada en un tema original de Sergio Alfonso (compañero, productor y baterista). El Tema “To Helen” es un homenaje a la literatura romántica de Edgar Allan Poe, y la letra está extraída del poema del autor que lleva el mismo título.
La mezcla y masterización corren a cargo del productorJosé M.ª Aboga (Redhome Studioshttps://redhomestudios.com/), y el video promocional del tema “Crepuscular” ha sido realizado por la video-artista Lesya Yershova http://www.yershovamind.com/ . Colaboran Avencio Delgado con su sello GH Records https://gh-records.com/ , Jesús CTG (APMV Asociación Promotora Multicultural Valencia / Emergencia Sonora https://emergenciasonora.es/) y Dani Sombra (Dark Valencia http://darkvalencia.com/), colectivos con solera en este tipo de música en la ciudad.
La Fiesta Triste – La Belleza del Óxido
“La belleza del óxido”(2021) sugiere una reflexión sobre el paso del tiempo, una metáfora de nuestra efímera existencia. Una visión poética de la corrosión de la piel, del alma, sobre la edad y la muerte, mostrando la belleza que hay en este proceso decadente, tal y como sucede con la oxidación de los metales en su exposición al tiempo y a los elementos.
El hilo conductor sónico y estético del disco es la referencia al óxido: ruidos, chirridos y metales, que acompañan a las melodías creando un paisajes coloristas que se mezclan con elementos de varios estilos musicales de los que se influencia, como EBM, post-punk, noise, psytrance, post-rock…siempre con un estilo propio muy reconocible, bases electrónicas bailables minimalistas y repetitivas, adornadas con melodías melancólicas de guitarra, bajo y sintetizadores.
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LA FIESTA TRISTE is the solo project of Javier Andreu (a.k.a. Fête Triste), a musician, producer, designer and photographer from Valencia (Spain). He studied music and piano at the Official Music School. Later in life he taught himself to bass, electric guitar, drums, synthesizers and music production. This project arises from the ashes of other bands in which he has participated (Basura de Eva, VIE and Pronoise). After some self-produced works, such as «Ciudades Invisibles» (2000), «Minimalista» (2005), or «Desaparecer» (2019), published on CD and digital platforms. In this new album Fête bets on the vinyl format and the «Do it yourself» production, with the collaboration of the label GH Records.
This new album closes a cycle of several years of producing and composing, and comprises a selection of 8 songs chosen from a large number recorded in recent years. The music, the concept, the design of the covers, have been entirely created by Fête, except for “Todos contra todos” a free version inspired by an original song by Sergio Alfonso (producer and drummer). The theme «To Helen» is a tribute to the romantic literature of Edgar Allan Poe, and the lyrics are taken from the author’s poem with the same title.
Mixing and mastering are carried out by the producer José M.ª Aboga and the promotional video for the song “Crepuscular” has been made by the video artist Lesya Yershova. Avencio Delgado collaborates with his label GH Records, Jesús CTG (APMV Asociación Promotora Multicultural Valencia / Emergencia Sonora https://emergenciasonora.es/) and Dani Sombra (Dark Valencia), collectives with tradition in this type of music in the city.
“La belleza del óxido /The beauty of rust” (2021) is a reflection of how time goes by, a metaphor for our fleeting existence. A poetic vision of the corrosion of the skin, of the soul, of age and of death, showing the beauty that exists in this decadent process, just as happens with the oxidation of metals in their exposure to time and the elements. The sonic and aesthetic thread of the album is the reference to rust: noise, squeaks and metals, which accompany the melodies creating colorful passages that are mixed with elements of various musical styles from which it is influenced, such as EBM, post-punk, noise, psytrance, post-rock … always with his own very recognizable style, which consists of minimalist and repetitive dance electronic bases with melancholic melodies of guitar, bass and synthesizers.
DIGITAL DOWNLOADS Download available in 16-bit/44.1kHz.
Double CD with 31 songs, fantastic retrospective vision of the prolific career, in addition to unreleased songs from The Wyrm, limited edition of 50 copies, A5 size book with 28 pages designed by the author. Sold out special edition, available only in digital format.
Doble CD con 31 canciones, fantástica visión retrospectiva de la prolifica carrera, ademas de temas ineditos de The Wyrm, edición limitada a 50 copias , libro tamaño A5 con 28 paginas diseñadas por el autor. Edición especial agotada, disponible solo en formato digital.
The Wyrm is the one man band solo project dedicated to experimental folk, neo and darkfolk, ritual and ambient and is the longest project in the Spanish music scene in this kind of music since 2002, having its base in Madrid.
His inspirations comes from Waldteufeld, Moon Lay hodden Beneath a Cloud, Blood Axis and the first time of Der Blutharsch. Dark, enigmatic, evocative, pagan and ritualísistic. Just a legend
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Sindicato Vertical – Sindicato Vertical (LP, Vinyl) Label: In my heart empire Format: Vinyl LP, Album Country: Spain Released: 2020 Style: Post-Punk, New Wave
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Amazing spanish post-punk band from Alicante, heavily influenced by 80´s New Wave, No Wave, Cold Wave and Gothic Rock, with intense and critical lyrics. Perfect if you are into The Sound , Death Cult , Joy Division and The Smiths.
Sindicato Vertical – Decay Fun / Surf Lines Label: Pakistan Rock And Roll Crusade – PRC-17 Format: Vinyl, 7″, 45 RPM, Single, Stereo Country: Spain Released: May 2019 Style: Post-Punk, New Wave
Tracklist:
A. Decay Fun B. Surf Lines
Banda post-punk de Alicante, surgida de las cenizas de Cromosoma 3, con influencias New Wave, No Wave, Cold Wave y Gothic Rock, con letras emotivas y sociales desde una perspectiva irónica. Este es su primer trabajo, un single limitado 7″ con referencias a The Sound , Death Cult , Joy Division y The Smiths.
Amazing spanish post-punk band from Alicante, heavily influenced by 80´s New Wave, No Wave, Cold Wave and Gothic Rock, with intense and critical lyrics. Perfect if you are into The Sound , Death Cult , Joy Division and The Smiths.
The Sound,Death Cult,Joy Division,The Smiths,post-punk
Wind Atlas – An Edible Body Label: Gradual Hate Records – GH 137 CD Format: CD, Album, Digipak Country: Spain Released: 26 Jan 2018 Style: Dark wave, Cold Wave, Post-Punk,Experimental
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
