Previously known as U-731, Gordon Lazarus’ project returns to the Malignant roster, now as a duo and rebranded as United Front. The same incendiary and antagonistic principles apply as before, only heightened and intensified with By All Means II (The Fall of Church and State), which burns with fervency and scalding anger, painting a picture of a country rife with corruption and spiraling towards war and strife. Even as it’s primarily centered around US policy, this has a more distinctly European feel than before, channeling mid-late 90’s German acts with its singular frequency throbs, samples, hostile vocals, and ominously atmospheric washes of toxic electronics. Released as a joint experience between Oppressive Resistance Recordings and Malignant, By All Means II is a dire proclamation and should serve as a wake up call to those previously content to sit by the wayside. Lmtd 300 in digipak. Logo by Derek Rush.

Malignant Records

Few names imply mind-bending, forward thinking heavy electronics like Finnish stalwarts STROM.ec, and with every release, they seem to further stretch the boundaries of what can be a pretty rigid genre, and navigate realms never before seen or heard. Similar things can be said of Norwegian atmospheric heavy weight and Malignant staple, Kristoffer Oustad, whose particular strain of dark ambient and post-industrial soundscapes are incredibly dynamic, at times surreal and cinematic, other times more driving and heavy, but all with a recognizable, highly emotive touch. Put the two together, and you get the debut of their collaborative project, STROMSTAD. Spread out over 8 tracks, this is a dizzying exploration of sound and vocal fury, where mechanized pulsations, writhing frequency oscillations, and grinding machine loops meet stretches of drifting darkness and touches of musicality, suggestive of a future that’s dystopic and bleak on one hand, yet highly innovative and revolutionary on the other. Featuring a guest appearance by Grutle Kjellson from the mighty Enslaved, mastering by Nordvargr, paintings by Jeff Klena and design by Alonso Urbanos.In 6 panel digipak

Malignant Records

On one hazy night I met an elderly man sitting in an old wooden chair. He was wearing an elegant white suit and I could not help noticing the simple white lines in his fore- and middle fingers. In the remaining fingers he had circles. The pitch-black sand of the shore absorbed all the light from the sky. Regardless, I saw fifty-meter-high waves crashing down behind him – and at the same time, they remained static.

‘Spectrum DCXCIII: Poison Portals’ has a luring, fatal beauty of its own. Redirecting, throbbing analog electronics, slowly swallowing droning textures and sinuous rhythms are accompanied with eternal, eerie melodies – all reeking of the primordial pleasures. Obscure radio transmissions and telepathic resonances are emerging from the parallel universes and will sink you even deeper into the ignorance of your very self or towards the ravishing beauty of transformation.

The other worlds and realities are present both in sound and vision; A triple-bladed iron dagger, brought to this world through trancework. Assume its form, pass the Poison Portals, and continue until the opposites intermingle and known territories vanish beneath the colossal waves.

This CD version also includes the previously limited ‘The Mass Rattle’ ep with tracks ‘The Viscous Tomb Liquid’ and a Telepath Remix of the ‘I am His Sacrifice’.

The album is enclosed in a customised and screen printed Sublunar series cardboard covers, including five two-sided insert cards. Limited to 300 copies.

This is the very first official release of Templum N.R. The work was initiated already back in 2005, but it was not until February 2015 that the final touches were given in the secret Chamber 817.07., built on archaic crossroads.

The musical and visual material of Templum N.R. comes from the very depths of the Templum members; their travels in the Spheres of Otherness are presented in ‘Spectrum CCCXC: Transitio’ through obscure electronics, synthetic drones, odd rhythmic patterns, pulsing melodies and various manipulated field recordings dating back over a decade.The intention of these two, long-lasting psychedelic movements is to travel deep inside the subconsciousness and foster understanding of the Formless Sacrifice. Where this work resounds, the Otherness is unleashed. A meeting with the Guardian of the Veil awaits.

The album is enclosed in a customised and screen printed Sublunar series cardboard covers, including four two-sided insert cards. Limited to 300 copies

'Charnel Transmissions' is the fourth TUNNELS OF ĀH release and once more the TOĀH sound is taken into ever more oblique regions.

Inspired by the 'chime and gong stations' recordings of the Cold War era, 'Charnel Transmissions' sets out to evoke rather than recreate the alienated spirit(s) of those recordings. With the ritual percussion of Francis P. weaving throughout the album alongside cracked electronics, 'Charnel Transmissions' is a disquieting spiral into an ashen world of 'mythostatic psychopomp' where this world is transformed into a charnel ground of gods, ghosts and jackals.

Crumbling drones, splintered bursts of noise and buried voices make 'Charnel Transmissions' unconventional and non-linear, much like those charnel dwellers who seek out the lowest to attain the highest. For lovers of ceremonial sounds and dark places.

A number of items in the Galakthorrö Catalogue have attracted requests for issues or re-issues to be made available as long-play records. Runaway top of the list is the Magic LP from 2007. Although in those days not specifically released in small quantities, and certainly not the oldest of Galakthorrö offerings, it has become, notwithstanding, an object of desire. Today this LP is rare, hard to find, and changes hands for very large sums of money. In order to give those who were born too late, and any newborn afficionados, the opportunity to possess Magic on Vinyl, we are now able to offer a second issue. It differs from the first pressing with a new design, it leans towards the previous one, but has been extensively re-worked while the sound presentation remains unchanged. Therefore there is now a new chance to hear at last smash-hits such as Street Of Lost Hearts, Magic, or Free, on Vinyl. The best of all ways to hear music.
:: 12" LP, black vinyl, sturdy cardboard cover, printed inner sleeve and insert card
escued from old DAT tapes, A Strangeness In Motion: Early Pop Recordings 1989-1999 are some of Tor Lundvall’s earliest completed synth pop works which have remained unreleased until now.

“For years I dismissed these songs as naive and youthful relics, but I’ve grown much fonder of them in recent years along with the memories they evoke” Lundvall says of the decade spanning collection of tracks, many of which were sketched out in his synth pop duo with Drew Sullivan, After The Outing. “Original One”, “Procession Day”, “The Clearing”, and “The Melting Hour” are present here as solo reworkings, originally culled from his sessions with Sullivan. The remaining songs were ideas originally considered for Passing Through Alone (1997) and its proposed follow up, provisionally and playfully titled Femalamania.

“The title was summing up my girl problems at the time and also a silly word spin on Robyn Hitchcock's Fegmania!” Lundvall recollects. “Sadly, the project was abandoned—a rare decision for me and perhaps the only time I've scrapped an album entirely.”

Though Lundvall’s work throughout the collection has the recognizable ambient bones and sensibilities he has refined throughout his career, many of the tracks call back to the synth-driven pop of Orchestral Manoeuvres In The Dark, The Human League and New Order, with the common thread being the sparse density and mood created by reservation and the lonely impulse to twist convention, not to rip it up and repurpose it. Rather than 10 disparate ideas, Lundvall’s curation of A Strangeness In Motion: Early Pop Recordings 1989-1999 feels like excerpts from a broader work, allowing the listener to fill in the holes and ladder up to his larger themes and concepts, perhaps colouring his prior works in new hues and tones.

TRACKLIST:
Awakening
My Fairy Place
Red Eye
Glass
Street Of Lost Hearts
I Want You
Magic
Letting Go
I See Real
Eternity
Free
So Far No Further

New album by Norway’s Cinematic Drone project Taphephobia. On is now 8th full length, we’re offered a dreamlike experience based upon personal emotional states and reflections of both the immediate environment and far reaching “outer” world. Not a concept album but rather a collection of feelings and visual impressions that revealed themselves in the compositional process. “Blue Hour” is dedicated to the unique atmosphere of the northern landscape. Artwork by Nihil.

Edition of 300 copies in 4 panel Digipack. 8 Tracks. Running Time 46:31

lim.200

raubbau proudly features one of the most respected artists in the ambient genre - for over two decades german duo troum have taken the clues from their dreams and translated them into a transcending sound of majestic beauty. their drone-based compositions are mostly on the calm and soothing side, but never lack a little edginess and experiment to spice things up.

the 'vorbei der tod' lp clocks in just over 40 minutes and emphasizes a sacral, ceremonial approach. troum follow their hands-on approach of using acoustic instruments and guitar sounds rather than electronics, and create a universe of sound from there: according to its thematic backdrop the a-side is dominated by what seems like the residue of organ sounds and religious chants, whereas the b-side is more serene, immersive and hallucinatory, before the final 'theme dream' provides a ceremonious finale. the lp format is definitely the perfect fit for this material.

one is simply baffled just how expressive and captivating music so quiet and roomy can be. put on repeat to discover more of those little details, and rest assured: death is over.

First new work since 2007 by north german drone project Tarkatak

LIM. 200

The four pieces on / // /// //// were written during travels, moving between places or being on the move. The first rough sketches have been developed further in different situations until they reached the final shape that can be heard on the album. These formations came about after many mood swings and rethinkings. Sometimes, the way to the final results was long, depending o the mood in the very moment, while working on the music. The manifestations on the album are four long drone works combining dense layers and textures with haunted voices, field recordings and piano sketches – truly beautiful and moody.

Tarkatak The end of 1981 was the starting point: punk and the cassette scene made avereything possible. Under the moniker „Der Pilz“ Lutz Pruditsch released first his sound–collages constructed from cut up tape loops and cassette overdubs. The noise stayed with „Der Pilz“, the quietness went to „Tarkatak“, which was birthed with a first cassette release „slow“ in 1999.
Ever since the sources and ways remained the same – listening to, collecting, cutting up, manipulating sounds. The medium became digital, although the tape is is present from time to time. The journey continues further into the deep, unknown, dark and brooding unnameable. To be surrounded by total sound and be fulfilled and lost in it. Tarkatak has released two cassettes, one LP, various 7“s (Drone Rec. a.o., sometimes in collaboration with Klangwart or Deep), CD/Rs (with Anemone Tube and Florian Filsinger), a CD and various digital-only things. Concerts have been played with Troum, A Thousand Vows, Melt Banana, Christina Kubisch, Kapotte Muziek, EA 80, etc.