it might have been in the air after raubbau’s extensive box set and the subsequent live performances, it sure has been hoped for by more than a few, and here it is confirmed, the first morthound album in over 20 years: the title somehow gives it away, this is an absorbing exploration of the dark ambient realms, a sometimes outright frightening dip into the pit, yet composed with the expert knowledge of a now seasoned producer. way off the beaten track, morthound returns triumphantly to the fold. so the question is naturally, which of his own traditions as morthound would bj nilsen explore on this comeback - the industrial/noise-heavy, the brute, the cold ambient, the psychedelic, the ritual, or even the academic/experimental attitude of his post-morthound career? the answer is: all of the above, but enveloped in a totally coherent, updated approach, subtly taking up the threads and weaving them into a good 45 minutes of flawless dark atmosphere. the path off the beaten track starts in a tense, minimal and unexpectedly bass-heavy fashion with 'the device', before the epic 'between midnight and dawn' brings in the somber layers of synthetic darkness that are classic morthound; in 'the munich manual' we are confronted with weird off-key elements, and 'disquieted' turns out a malicious death industrial tune seething with distortion; 'disembodied voices' portrays emptiness as sound and 'the black forest' finishes the album with almost harmonious, calming beauty. the challenge of a comeback album after that many years is obviously to handle the balancing act between picking up and respecting your own legacy on the one hand side, and creating something meaningful for the present on the other. with 'off the beaten track the light don't shine' bj nilsen has succeeded in both, created an album that will find avid followers in different generations of listeners, and has all the potential to become a genre classic.

tracklist

1 the device
2 between midnight and dawn
3 the munich manual
4 disquieted
5 disembodied voices
6 the black forest

1–Arum Lilies    Martin Luther    4:34
2–Brighter Death Now    Dead Boy    4:34
3–Grunt    Cadaver    7:47
4-Necromondo    Cadaver Obedience    3:24
5–Sutcliffe Jügend    Beyond Perverse    4:40
6–In Search Of Death    Anapath    2:57
7–Femeheim    Kältetod    3:26
8–Wertham    Mourning The Loss Of My Own Shadow    4:16
9–...Today, I'm Dead*    What A Pleasant Place    4:18
10–Genocide Organ    Savagely Mauled Crucifixion    6:12

Ten years after the last release on HAU RUCK the enigmatic project from Russia is back with a new album. Directly from the deepest heart of ancient and pagan Russia this album steps further into the emotional and melancholic way that Yuri Sakevic started with his previous releases. Pagan Witchraft is a soundtrack full of dark and sacral music, chanting vocals, ritual atmospheres and folk songs. Limited edition of 300 copies. LUCISFERRATO REC. 2011

The famous Cthulhu label started again with a new release:

Trackliste
A 01 Le Coeur Machine

B 01 Un Jour Comme Aujourd'hui
B 02 Spirit Of Rosie

Charbon-Acier - Tribute to Muckrackers, Solo session by Zorin, May 6, 2014. Performed live at our Noisecraft Workshop. Maison Alfort, France

Winter Light is proud to announce the release of Rapoon ‘Wanderlust' CD, a brand new studio album containing 10 all new and original tracks. Robin Storey aka Rapoon needs no introduction, having released around 60 albums alone under his avant-garde project. Robin has collaborated with many artists over the years and for this release additional vocals for the album have been supplied by the Russian folk singer Tatyana Stepchenko aka TOLOKA.

As the title indicates. ‘Wanderlust’ is the endless yearning, the search for questions and for answers, the horizon ever drawing onward with the lure of what lies beyond. The pull of the mountains and the deserts and the infinitive light of the stars, shining from the distant past. We travel…..

The album will be released on the Winter-Light label in a full colour, 6-panel digipack. Artwork and cover design by Midnight Sun Studio with original paintings from Robin Storey.

1 exchanging glances in Babylon    8:40
2 standing in a river    3:19
3 happy birthday    5:28
4 a bronze eye searching    5:23
5 message from the past.    3:21
6 a far light    3:24
7 calling ghosts    7:22
8 You look like something...    12:25
9 the sand turned to glass    10:50
10 we danced a last goodbye.    9:54

Trackliste

1-01 –Tore Honoré Bøe Intro 13051826 3:05
1-02 –Propergol Melancholic Fragrance 5:37
1-03 –Operation Cleansweep Untitled 5:37
1-04 –Thorofon Oral Harassment 5:23
1-05 –I-C-K Giovinezza! 5:02
1-06 –IRM Anatomy:Artaud 4:55
1-07 –Svartsinn Form Is Emptiness 4:32
1-08 –Inade Divine Hybrid 5:35
1-09 –raison d'être Mourn Him Yet 4:56
1-10 –Herbst9 Downfall 5:35
1-11 –Wolfskin A Inner Flight 8:29

2-01 –Tribe Of Circle Cyclides Versus Cynodontes 4:47
2-02 –Toroidh No Hope For Unity 5:28
2-03 –In Gowan Ring Kingdom Of The Shades 7:39
2-04 –Karnnos Strife... To Find A Tortuous Way 3:28
2-05 –Hekate (2) Memory Remains 3:55
2-06 –Sieben The Rattle Of Drums 5:00
2-07 –Nový Svět Mañana 3:49
2-08 –Camerata Mediolanense Il Lupo 4:33
2-09 –Turbund Sturmwerk Zorn Gottes / Wrath Of God 5:03
2-10 –Instincts Towards The New Dawn 5:44
2-11 –Tore Honoré Bøe Outtro 13051826 3:08

This lengthy CD compiles a series of improvisational vignettes recorded by Ben Taylor (Bordel Militaire, Ebola Disco, Chrome Dome) and John Murphy (Shining Vril, Knifeladder, Krang, Death In June and many more) during 2004 and 2005, clandestinely avoiding Ben's ex-girlfriend's instrusions as well as her overly-religious landlord. The results vary from sparse ambient and percussive thrusts to pushing industrial and hallucinatory noise episodes: reflections of the duo's interplay, the weather, the environment and an avoidance of strategy. Jewel case CD with artwork by Rus Brockman. Edition of 500 copies, jewel case edition with 8 page booklet.

PHURPA is one of the most interesting recent music phenomena. Founded by Alexey Tegin they create meditative music with its roots in the ancient pre-buddhist tradition BON. Their concerts resemble shamanic mysteria where sounds, singing and rhythms invoke trance-like state introducing the listeners into the realm of dead gods and the times of culture that is already gone. The musicians themselves stress the spiritual nature of their activity.
They have carried their message to many cities all over the world. They played gigs in Paris, Bristol and Amsterdam among others, and also took part in prestigious festivals. They are a staple of Moscow concert scene, where they hold live sessions lasting a few hours.
One can look for a similar band in vain, a band that approaches the sound matter and its creation in such an accurate way. They use traditional instruments, but also human bones found in Tibetan wastelands. They meditate and practise the way of singing called “rgyud-skad.”
The magic and strength of their music has been appreciated by Stephen O’Malley among others, who released one of their albums on his own label.
Zoharum would like to present the latest album by the band entitled “Mantras of Bon.” It is an extraordinary release, even for such an extraordinary and unusual project as PHURPA. More than 70 minutes of music here is divided into two parts. The first one, featuring Alissa Nicolai on vocals, shows the band from a completely different angle; the other one presents the most important and interesting sessions recorded over the past few years, with a recording from CTM festival where they impressed the audience with “kuntunzangpo.”
“Mantras of Bon” is an excellent introduction into the adventures with PHURPA, the world of Tibetan music filtered by contemporary reinterpretation free from rigid rules. It may enchant both those looking for interesting sacral music and the ones searching for a new form of sonic statement.
Executive Producer: Mariusz Doering

This 3-panel ecopak release is strictly limited to 500 copies.

Tracklista

PART I PHURPA feat. ALISSA NICOLAI
1. LIVE IN ST. PETERSBURG
2. LIVE IN MOSCOW

PART II. PHURPA – BON CEREMONIES
3. MU-YE – LIVE AT CTM BERLIN
4. KUNTUNZANGPO
5. MI DUD

Entre Vifs offers us with “Ontology” a selection of extracts from their best recent sessions. Each of these excerpts has been cautiously positioned by the authors, so that they appear like bruitist pieces, composed with care, even though all of these pieces are played live. Each time, it is a symphony of noises extremely varied in intensity and frequency where one can distinguish, with precision, the sound detached from its original source. Entre Vifs’ noise generators are delicate and relatively small in size, but the sounds they produce through mechanical means are captured by electric guitar pickups and piezoelectric cells, then sent to a battery of amplifiers and homemade effect processors. The sound passages suddenly arise from very orderly silences. The sound is extremely massive, however it is not only a question of volume but a stereophonic depth effect where sonic masses seem to thicken and change continuously. Furthermore, we sometimes hear a residual soundwave that could be due to the complexity of the material and the large number of “noisers”, in particular at the beginning of some pieces, as if the duo began its sessions in unison, that is, exactly at the same time. Entre Vifs takes us directly from the microcosm of the Entre Vifs - ONTOLOGIE air movement to the macrocosm of their organic bruitism, which is not unrelated to the title of this album. Faced with the materiality of the sound of these extracts where each piece is rendered with great sonic precision and where the sound of the “noisers” is dotted with plays in unison as if the machines began to shout at the same time, we cannot help but think of Arseny Avraamov’s “Symphony of Factory Sirens”, which in 1922 practiced the art of noises in its mechanical version using among other things the foghorns of the whole Caspian Fleet. The fact is that we cannot define the sensations of power produced by these extracts in terms pleasing to music-loving people. They are soundscapes entangled as if we had traveled quickly from the fury of the volcano to the most industrious human concentration through an avalanche at high altitude. The power of chaos is nothing more natural than what nature can produce when it speaks to us. However, it is important to understand that the administration of chaos by Entre Vifs doesn’t care to fuss over decorative effects, and that rather than tickling politely or subversively our eardrums, EV opens the doors of raw material with the joy of children who blow their balloon near our sleeping ears. With this album, we can physic ally touch the creative process of Entre Vifs, from the sometimes absurd idea of building an instrument from objects not intended to produce sounds, on to the labor of practicing this instrument long enough to improve it, finally to the joy of freeing the action with these tools at first glance recalcitrant. From the smallest of emergence, that is to say the random and stubborn idea that we discover by pure sequence of circumstances, Entre Vifs makes us hear the most massive by pushing the doors of the materiality of chaos-noise, screened through the creative human industry in its most persistent form.

AUSSAAT