• CD,  GH Records

    Wind Atlas ‎– Lingua Ignota

    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

    Buy Digital Download → Lingua Ignota | Wind Atlas | GH Records (bandcamp.com)

    /// SOLD OUT ///

    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.

    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

  • CD,  Distribution

    Ikon – As Time Goes By (The Original Ikon)

    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.


    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)

  • CD,  Distribution

    Ikon – The Thirteenth Hour (The Singles 2007-2020)

    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.

  • CD,  Vinyl

    Dead Can Dance ‎– Dead Can Dance

    Dead Can Dance ‎– Dead Can Dance
    Label: 4AD ‎– CAD 3622
    Format: Vinyl, LP, Album, Reissue
    Country: UK & US
    Released: 08 Jul 2016
    Style: Goth Rock, Ethereal

    On their eponymous debut album, originally released in 1984, Dead Can Dance successfully harnessed a “bewitching barrage of sounds, layering grinding guitars and even a dulcimer-like yang chin over a taut wash of percussion. If the range of the group is staggering, then so too is their disciplined economy, no song lasting more than four minutes or degenerating into formless cacophony. With the ve group members continually interchanging instruments, only the vocals of Lisa Gerrard and Brendan Perry remain as a constant focus”.
    The 2016 LP version is a repress of the original release

  • Artists,  GH Records

    La Fiesta Triste – La Belleza del Óxido

    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.

    /// ENG ///

    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.

  • GH Records

    La Muerte no es el final by The Wyrm

    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.

    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

    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

  • Distribution

    Sindicato Vertical ‎– Sindicato Vertical

    Sindicato Vertical ‎– Sindicato Vertical (LP, Vinyl)
    Label: In my heart empire
    Format: Vinyl LP, Album
    Country: Spain
    Released: 2020
    Style: Post-Punk, New Wave e

    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.

    1. Sweet Riot 04:50
    2. Post-Truth 02:45
    3. Arrimadas State 02:52
    4. Cloned Games 03:21
    5. Decay Fun 02:58
    6. Surf Lines 04:16
    7. Rage Against Love 03:06
    8. Lose Your Soul 02:18
    9. EveryDay Is Like Sunday 07:29

  • Distribution

    Sindicato Vertical ‎– Decay Fun / Surf Lines

    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


    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

    BUY: https://gh-records.com/home/2446-sindicato-vertical-decay-fun-surf-lines.html

  • CD,  GH Records

    Wind Atlas – An Edible Body

    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

  • Distribution,  Vinyl

    Lucie Cries ‎– Auctor Terminat Opus (2 × Vinyl)

    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

    /// SOLD OUT ///

    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