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CSR 304CD
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Svapna is the brand-new album from Jagath, the ritual/industrial/dark ambient act from Perm, Russia. "A portal to another world is located inside an abandoned Soviet-era swamp drain near a residential building in the Zakamsk suburb of Perm, Russia, 58.0122, 55.9623. A ritual was performed here, so now we are living in an inside-out world. This is one of the last recordings inside our Temple -- the oil tanks are finally scrapped. I hope this is not the end. This album is dedicated to the victims of totalitarian regimes." Jagath create their music at abandoned industrial locations -- the bottom of a moist underground sewer shaft and inside huge hollow oil tanks -- without using digital synthesis. Simple, mostly hand-crafted instruments, found objects and voices are used to share their vision of decaying post-industrial age, to unleash the spirit of deep beyond-world and unveil life in the abyss. Six-panel glossy digipak. For fans of: Shibalba, Phurpa, Raison D'etre, Arktau Eos.
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CSR 321CD
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$15.50
PREORDER
RELEASE DATE: 12/16/2022
Cold Spring present That Space Somewhere, the first new album in 14 years from Lull -- the pioneering, isolationist dark ambient project of Mick Harris (Scorn, Fret, ex-Napalm Death). Lull was conceived by Mick Harris in 1990, in an attempt to create music that would stretch, if not forsake entirely, the structures of conventional music by developing and exploring sound without beats. Mick Harris on Lull: "I finally heard the way of recording, making profound sounds. Lull is purely something I can get lost in, as far as trying to create these imaginary spaces. And that's what I always tried to do -- to create. I'm a lover of sounds. I love collecting sounds. Playing with those sounds using various software until I created something new from that sound. Which for me end being what I call 'a droner' or 'a drift', I'd use those to create a piece of music, or a sound-scape. That's what I'm doing with Lull. Just trying to create soundscapes. And to this day, still, absolutely love doing that. Lull is quite natural for me. It's an extension of me. Drifting. Just going to darkness. Into a space. Lull is drifting and droning, discovering more and more what can be done with sound. These soundscapes hugely appeal to me."
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CSR 318CD
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A history lesson, recorded in autumn 1989. Unavailable for over 20 years in any format, Cold Spring Records present Malfeitor, the now classic album from Maschinenzimmer 412. This was the last release under that name, and what seemed like the final nail in the coffin for the Swedish Black Industrial act. Six years later they rose from the ashes, restructured and resurrected as MZ. 412. This is evil incarnate, staring into the abyss. Relentless industrial rituals; darkness fused with machines, your fears and your power. An expression of the coldest music imaginable. With a more lyrical approach than the predecessor Macht Durch Stimme (CSR 306CD), Malfeitor explores themes of death, with an unequivocal dystopian outlook. Cavernous heavy industrial, primitive machine rhythms, and cold metallic loops created on old synths with very little post-production. What you hear is how it sounded on those original sessions. Originally released on LP in 1989 by Cold Meat Industry, this monumental album is now available for the first time since 2001. This definitive edition has been painstakingly transferred and mastered from the original 4-track tapes, with no unnecessary "padding". Digipak with elegant new artwork by Abby Helasdottir (Gydja).
In 1987, Henrik Nordvargr Björkk, Jouni Ulvtharm Ollila, and Leif Holm forged a band that would be an outlet for blasphemous prophecies, yet from a unique sonic spectrum. The unholy triumvirate were already hitting hard as Pouppée Fabrikk, with Maschinenzimmer 412 unleashing their deepest, darkest personas. Jonas Drakhon Aneheim joined in 1995, replacing Holm and thus enacting the change of name to the abridged MZ. 412. MZ. 412 are an act that continues to cover the earth in a nightmarish black veil. Rare releases and even rarer performances have only added to the cult status of these prime movers.
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CSR 309CD
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Until The Day I Die is the third album from Australian post-industrial outfit Kollaps. Until The Day I Die is a merciless and visceral assault on the senses and continues the trajectory of the band's idiosyncratic approach in their creation of sound. The album showcases an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; of violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualization of the record has been stylized and presented using William S. Burroughs's cut-up method. A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across Kollaps's triptych of releases and lengthy touring history in Europe, Australia, and New Zealand. Until The Day I Die has had a tectonic shift in production methods compared to its predecessors and was entirely written, recorded, and mixed internally the self-constructed ILoveHeroin Studios built above a sculpture museum in Lugano, Switzerland. All instrumentation was handled by Wade Black except for bass guitar by Andrea Collaro recorded at Hangar 121 in Lenate Pozzollo, Italy on all tracks except "D-IX" and "I Believe In The Closed Fist", handled by Black, and additional sound design and percussion by Giorgio Salmoiraghi. The album was mastered by James Plotkin and completed with cover artwork by Nullvoid (Thomas Ekelund/Trepaneringsritualen). CD version in six-panel digipak.
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CSR 300LP
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The official soundtrack to Derek Jarman's 1984 short film Imagining October, with music recorded by Derek's friend and collaborator Genesis P-Orridge (Psychic TV, Throbbing Gristle), and Dave Ball (Soft Cell, The Grid). Recorded at DJM recording studios in Theobalds Road, London. Derek Jarman put together a program of films for the London Film Festival, reflecting the cutting edge of the London avant-garde of the time. Recorded at the same time as The Angelic Conversation, Imagining October was filmed in the Eisenstein Museum in Moscow, Vladimir Mayakovsky's grave at Novodevichy Cemetery, the GUM department store facing red square, and the fire temples of Baku in Azerbaijan. The painting sequences with a group of soldiers (Angus Cook, Stephen Thrower, Peter Doig, and Keir Wahid) was filmed in London. Jarman considered it one of the best, if not the best, of his shorter works. It was intended as an agit-prop work and the combination of music and imagery remains powerful to this day. Features liner notes by James Mackay (Jarman's producer, collaborator, and archivist). Limited edition 12" vinyl featuring a beautiful etched B-side; full color sleeve.
"The heroism of revolution through the queered lens... It was not just the Soviet Union censoring books, Jarman points out here, but Thatcher's government and its homophobia was no greater friend to gays than the regime on the other side of the Iron Curtain. A moral hysteria surrounding AIDs was sweeping Britain, the miner's strike was in full swing (an action supported by gay activists, as it was brutally broken up by police): back home, society seemed on a knife edge" --ArtReview.
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CSR 320CD
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The hugely sought-after debut album from Dead Voices On Air (Mark Spybey of Download/ ex-Zoviet France, Reformed Faction), featuring Cevin Key (Skinny Puppy/Download). Abrader blends processed sounds from primitive instruments and found objects into hypnotic looped rhythmic structures, with dark clusters of heavy ambient washes into what could be described as "organic panambience", or "music for the eyes". Abrader was the first of over 80 releases (so far) by Mark Spybey using the name Dead Voices On Air. It was recorded over the space of days in Vancouver in 1993 and released as a tape the following year by Akifumi Nakajima (Aube), for his G.R.O.S.S. label. Chronologically, the material was recorded after most of the music that made up his first two releases on compact disc -- New Words Machine and Hafted Maul -- however, Abrader was released before both of those albums. Abrader Redux features the three lengthy tracks that were released on the original cassette, plus the bonus tracks that were included in the 2009 reprint as part of the Fast Falls The Eventide double-CD, and now with two "new" previously-unreleased bonus tracks recorded 1994 -- taking this masterwork up to seven tracks and over 67 minutes of exceptional music. This release is dedicated to the memory of both Akifumi Nakajima and Zev Asher who both passed away in 2013. Spybey was introduced to Akifumi by his friend from Vancouver, Zev Asher. Zev had a noise project called Roughage and was also in a band called Nimrod, that had at one time been based in Japan. Remastered by Martin Bowes from Attrition. Packaged in a matt-laminate digipak with art by Spybey, beautifully laid out by Abby Helasdottir. "If most ambient is the laudanum of the new fin de siécle, then Dead Voices on Air are the absinthe" --Village Voice.
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CSR 309LP
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LP version. Until The Day I Die is the third album from Australian post-industrial outfit Kollaps. Until The Day I Die is a merciless and visceral assault on the senses and continues the trajectory of the band's idiosyncratic approach in their creation of sound. The album showcases an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; of violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualization of the record has been stylized and presented using William S. Burroughs's cut-up method. A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across Kollaps's triptych of releases and lengthy touring history in Europe, Australia, and New Zealand. Until The Day I Die has had a tectonic shift in production methods compared to its predecessors and was entirely written, recorded, and mixed internally the self-constructed ILoveHeroin Studios built above a sculpture museum in Lugano, Switzerland. All instrumentation was handled by Wade Black except for bass guitar by Andrea Collaro recorded at Hangar 121 in Lenate Pozzollo, Italy on all tracks except "D-IX" and "I Believe In The Closed Fist", handled by Black, and additional sound design and percussion by Giorgio Salmoiraghi. The album was mastered by James Plotkin and completed with cover artwork by Nullvoid (Thomas Ekelund/Trepaneringsritualen). LP version with full color matt-laminate sleeve and printed inner lyric sleeve.
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2CD
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CSR 316CD
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When the anthology Visions Of Darkness (In Iranian Contemporary Music) was released in 2017 (co-published in collaboration between Cold Spring and Unexplained Sounds Group), it was immediately clear that the Iranian music scene was not just promising, but already a rich chest of treasures. Years later, there is further confirmation of the creative excellence and variety of musical languages that flourished in the Persian land. In spite of the title, this second volume of the legendary anthology also gives you a broad picture of the musical experience of the Iranian underground that is not limited to the dark ambient, but explores sonic territories that reach concrete music, electro-acoustic experimentation and sonic abstractionism. Persia, the cradle of a millenary culture, is teeming with young talents who continue their musical research with enthusiasm, pride, and self-denial in the territories of drone music, as in electronic experimentalism and in the contamination of genres. To some familiar names already present in volume I (Xerxes The Dark, IDFT, Reza Solatipour, etc.), new discoveries are added that contribute to making the journey through the new Persian music exciting to the point that we can no longer speak of an emerging scene, but of a consolidated musical reality akin to others in the West. Curated and mastered by Raffaele Pezzella. Also features Babak Sepanta, Alireza Amirhajebi, Shahin Souri, Dodenskald, S.S.M.P., Amin Shirazi, PooYar, Dariush Salehpour & Zhoobin Askarieh, Vesal Javaheri, Saturn Cube, Melkor, Sam Eyvaz, Soheil Shirangi, Farzan Salsabili, and Arshan Najafi. Presented in a double digipak with graphic design by Abby Helasdottir.
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CSR 306CD
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Macht Durch Stimme -- the debut release of Maschinenzimmer 412, a.k.a. MZ. 412 -- is the milestone in the history of Swedish black Industrial music. This is the release that initiated a 35+ year long career of relentless industrial rituals; darkness fused with machines, your fears and your power all fused into an expression of the coldest music imaginable. In 1987, Henrik Nordvargr Björkk, Jouni Ulvtharm Ollila, and Leif Holm forged a band that would be an outlet for blasphemous prophecies, yet from a unique sonic spectrum. The unholy triumvirate were already hitting hard as Pouppée Fabrikk, with Maschinenzimmer 412 unleashing their deepest, darkest personas. Jonas Drakhon Aneheim joined in 1995, replacing Holm and thus enacting the change of name to the abridged MZ. 412. Originally released in 1988 by Swedish tape label Mechanik Cassettes (run by Memorandum's Petter Marklund) in a tiny edition of just 50 copies, this definitive edition has been painstakingly remastered from the original 4-track tapes. It also contains a previously unreleased, exclusive track that was rediscovered when listening through the old master tapes. MZ. 412 are an act that continues to cover the earth in a nightmarish black veil. Rare releases and even rarer performances have only added to the cult status of these prime movers. Digipak with elegant new artwork by Abby Helasdottir (Gydja).
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CSR 315CD
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Rhythmic industrial noise -- grinding and churning, drenched in crushing doom-laden guitars -- drapes the sacrificial bones of the new album from esoteric electronic alchemist Colossloth. Building on this trademark sound, pushing and striving for reinvention and renewal, Colossloth has also utilized live instrumentation and ethereal vocals, and black metal blast beats on certain tracks for the first time to enhance the intent behind the music. Digitally-driven soundtracks for transfigured cities and myths born in the wilderness of Albion. Digipak.
"An unknown voice deep within the landscape reveals a clandestine location. A place of arcane mechanics, a cathedral of divine engines suspended in primal matter. Turbulence forms amidst amorphous strata, the polarized elements stretch out and then return once more to a singular form, gauging an ecology of discordant time down newly formed vertices. Crystallized dreams spin wild atmospheres into the horizons and fill the localized spaces with the remnants of passive machinations and distant mutterings, the devices allocating into their framework the offerings set forth."
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2CD
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CSR 311CD
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Occupying a halfway point between Throbbing Gristle and Cabaret Voltaire without ever quite sounding like either, We Be Echo is Kevin Thorne. Thorne's first foray into music came after a chance meeting with Throbbing Gristle on Tottenham Court Road in 1979. A few months later he met Raye Calouri at the legendary Throbbing Gristle/Cabaret Voltaire/Rema Rema gig at Central YMCA, London. Soon after, the duo formed the short-lived Third Door From The Left. After the demise of TDFTL, Thorne formed We Be Echo. The debut album Ceza Evi -- featuring Genesis P-Orridge and Iham on Tibetan thigh-bone trumpet -- was released in June 1983, followed by a special edition later the same year, originally available only to readers of Nanavesh. The music was recorded using the built-in microphone on a dual cassette recorder, then the next layer was recorded whilst playing the first tape back. Very lo-fi, no editing, no remixing, all spontaneous and raw. As with TDFTL, who recorded in the same way, it all just seemed to fall into place. Compleat Edition: disc one contains the original tracks for the Ceza Evi special edition release. The remaining tracks on disc two are from the original cassette release of Ceza Evi, plus bonus tracks recorded between 1981-1983. Briefly pushing We Be Echo back into the light, a handful of these tracks appeared on the 2009 compilation Decades (Vinyl On Demand). Now, bringing together all these tracks for the first time ever, this Compleat Edition cements Ceza Evi as one of the most important underground releases of the early '80s. Mastered by Attrition's Martin Bowes.
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CSR 312CD
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For his first release since 2017's Death Has No Companion (CSR 227CD), Christopher Walton (ex-Endvra), a thirty-year veteran of industrial music, has dragged TenHornedBeast back to its pounding doom-ambient roots and recorded his darkest album yet, as a sonic veneration of a medieval sculpture depicting the torment of the damned in hell. In the crypt of York Minster, built directly on the site of the Roman citadel, is the Doom Stone. A relic from the 12th century the stone, carved in deep relief, illustrated for a medieval audience the horrors that awaited sinners in hell. Figures depicting luxury and avarice are licked by flames, leering demons hold a tortured soul in a furnace and the mouths of hell gape, their nostrils licked by toads. Here beneath one of the jewels of western Christendom is a talisman so shocking, so contrary to the modern mind that the very faith that created it has abandoned it. The five suitably monolithic pieces on The Lamp Of No Light (Hymns For The Yorkshire Doom Stone) form a journey, starting with the first mortal death and ending with the second eternal death of the soul. Walton has used the darkest textures and heaviest drones as way-markers on this journey, as hymns to exalt the scenes shown on the stone. "TenHornedBeast is a vehicle for the sinister current that is woven through life. If Christ is the Light of the World and hymns are sung to him in the Minster then my hymns should be heard in the crypt, where the Doom Stone radiates its No-Light. Without darkness, the light is meaningless." Six-panel digipak with photography by the artist.
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CSR 314CD
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Cold Spring Records presents the new studio album from Merzbow. As a life-long campaigner of animal rights, Masami Akita has delivered a brutal assault on those that cage and murder animals. Animal Liberation - Until Every Cage Is Empty is five tracks (49 minutes) of total noise assault that only the King of Japanese Noise can provide. "There is a theory that Covid-19 broke out from the poor conditioned wet markets where live animals are sold. If there were no poultry farms, there would be no mass destruction of chickens due to the spread of bird flu. Human beings' cruelty to animals, animal abuse and species discrimination are all adding up to a disaster for mankind and the whole planet. The pandemic is an opportunity to reflect on the relationship between animals and humans. Veganism is the future for humanity" --Masami Akita, 2021. The artwork is a reflection of the animal rights and anarcho-punk movements of the '80s. Proceeds from this release will benefit animal rights charities. Presented in a matt-laminate digipak.
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CSR 305CD
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The new Sonologyst album, Interdimensional, explores the paraphysical dimension of cosmic music. It completes the dilation process of his sound, which began with the albums Silencers (CSR 253CD, 2018) and Ancient Death Cults And Beliefs (CSR 270CD, 2020), forming an ideal trilogy inspired by what is beyond the boundaries of science. Interdimensional is inspired by the scientist Michio Kaku who theorized what could be the remote future of the human species, beyond matter, the stars, and known dimensions. A future that could lead you to the victory over the end of everything, beyond the foreseen and inevitable death of the universe known to us. Also, a cosmic record in terms of sound, Interdimensional is pervaded by a sense of stasis reminiscent of Thomas Köner's isolationist electronics, but still characterized by the use of electrified instruments, analog synthesizers, and recordings of resonant metal objects. Unlike the previous records, however, the typical dark experimental/post-industrial sound of Sonologyst is filtered through hazy warping reverberations, and infinite delays, which musically depict the intergalactic journey of a civilization in search of a possible future beyond death.
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CSR 302CD
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Du Y Moroedd (Welsh -- the black of the sea) is an album of abyssal dark ambient -- environmental soundscapes and atmospheres from above, below and beside the ocean; field recordings made onboard vessels at sea; sounds from submerged recording devices deep underwater; recordings from the coasts of North Wales to Greenland and the Arctic Ocean. File next to fellow Welshman Lustmord and Sleep Research Facility. Presented in a six-panel digipak with breathtaking photography by the artist.
"The tracks were created onboard the RV Prince Madog whilst conducting research using multibeam sonar to locate, survey and identify shipwrecks from WW1. The multibeam sonar creates images of the seabed using acoustic reflections. It is quite an experience to watch the sonar reveal an unsurveyed wreck and be the first person to 'see' the ship for over 100 years; the vessel sitting at the bottom of the ocean waiting in the dark to be discovered. Research into the history of each wreck uncovers stories of boats torn in half by torpedoes and mines, U- boats hunted by destroyers and pummeled with depth charges. Many of these sites aren't just wrecks; they are mass war graves. The vital shipping channel to Liverpool passes the North Wales coast, the U boats would sit and wait; listening. When heard from under the water, each ship has its own unique acoustic signature based on the size of the engine, shape of the propeller, curve of the hull, these acoustic tell-tales were used by the U-boats to identify targets. The shipping lane became a shooting gallery of easy pickings and the submarines were able to slip away undetected into the black of the sea. The album features recordings from the hull of RRS James Clark Ross whilst ploughing through ice fields off Greenland, from a 'sound trap' attached to an anchor as it descended through 80m of water to the seabed, and sounds from onboard the RV Prince Madog with its pitched engine drone. There is also a recording of the bell at Trwyn Du lighthouse, Anglesey, that was made in August 2020, days before the bell was removed to be replaced with a modern fog horn -- prior to this, the bell had rung every 30 seconds since 1922" --Benjamin Ian Powell.
"Ambient soundscapes that thrill and terrify in equal measure" --Electronic Sound Magazine.
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CSR 301CD
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Horror electronics and phantasmagoric post-industrial usher in the brand-new ritual offering from Burial Hex. The impulse for Gauze is to be a prophylactic talisman and ward for the families directly involved with the Burial Hex project, though it can be effective for anyone who needs an extra layer of defense. The art, lyrics, and sound were all layered together with supersensible content generated specifically for this purpose. Beyond just protection and defense, Gauze is an invitation to transcend sclerotic ways of experiencing incarnation, by freely juxtaposing increasingly divergent forms, and reconciling all with warmth and passion. Such has been the work of the Burial Hex project since its inception, striving towards a gestalt of timeless and enduring realms via a benign spiritual interaction with conflicting beings. With Gauze, you hear the mouths of Burial Hex spit in the face of those who would reduce psychic experience and spiritual feeling to material processes, penetrating the density of human denial and cracking the electronic shell which crushes much of our humanity. RIYL: Coil, SPK, Psychic TV, Trepaneringsritualen. Digipak.
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CSR 295LP
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Isolationist, minimal, alienating drone/dark ambient from Mick Harris (Scorn, Fret, ex-Napalm Death). Staggeringly beautiful, glacial sub-bass sounds, deep ambient and thunderous tones, with subtle shifts. Originally released as a 99-track continuous CD in 1998 (Relapse), now presented on vinyl for the first time, Moments is expanded to 100 cuts, with bonus material from the original recording sessions. File next to Lustmord, Sleep Research Facility, Thomas Köner. Double LP in a textured gatefold sleeve.
"Tectonic rumblings and icy sound slivers move and swirl around each other, slipping into spaces between the molecules which make up your physical body and then break it apart in preparation for rearrangement. Moments of expansive emptiness and claustrophobic terror overlap one another and then overcome your mind as you journey through this bleak void of sound. At one moment warm and organic, the next, slowly slipping into a machine-like coldness to freeze and paralyze... Sound as a vehicle to bring you through that doorway towards dimensions previously unknown. Hypnotic and soothing with a lingering sense of dread throughout" --Carrion Kind.
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CSR 299LP
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Out-of-print for over 35 years, the official soundtrack to the cult 1984 film by Neil Jordan is finally available once again on vinyl format. The surreal and effective film -- a true gem of British Gothic fantasy horror -- has an equally atmospheric, breathtakingly beautiful, surreal and unsettling soundtrack, scored by George Fenton. The film itself, directed by Neil Jordan (The Crying Game, Breakfast On Pluto), and based on the screenplay by Angela Carter and Neil Jordan, is a modern allegorical adaptation of the classic Grimm fairy tale Little Red Riding Hood, symbolizing sexual awakening, duality and liberation. The stellar cast features Sarah Patterson, Angela Lansbury, Stephen Rea, David Warner, and Danielle Dax. Oscar-nominated/Emmy and BAFTA-winning composer George Fenton has created stunning scores for major films and television such as: Gandhi, Dangerous Liaisons, The Wind That Shakes The Barley, Frozen Planet and countless others over the last 40 years. 180 gram vinyl.
"There is a sense of awe and enchanted wonder enraptured in its fairy tale sound, swooping with cascading violins and dark mysterious undercurrents that bubble below the surface... The score flows effortlessly between its light and dark moments. Most importantly, moments of beauty are not lost to the sense of suspense and drama. Indeed, light always needs its companion of shadow, as the film suggests in the sexual awakening of the pure untainted innocence that is Rosaleen. This score perfectly demonstrates the beauty of the juxtaposition between the sounds of youth and the temptation of desire." --L. Hammond
"The film largely takes place in the dream world so I made this the home base for the orchestra. To a large extent the scoring in this area is conventional, perhaps a little impressionistic and hopefully reflects a curious but endearing world. This left me free to invent sounds for the stories within the dream world. I wanted to use a mixture of electronics and 'live' instruments, and after some experimenting, arrived at a line-up of three bass flutes, pan pipes, violins, one, two or three solo double basses, percussion and Synclavier II synthesizer." --George Fenton, (1984)
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CSR 297LP
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Originally released on CD in 1998, Frequency L.S.D. is now presented on vinyl for the first time. Features 14 ear-wrenching, extreme Japanese noise tracks from Maso Yamazaki (Controlled Death). "Frequency L.S.D. is the best Masonna CD ever, and one of the top five noise albums of all time" --Matt Kaufmann, Exile Osaka. "The cult icon of Japanoise once again makes another proverbial anti-statement with his uniquely harsh blend of screams, feedback, and constantly changing blasts, rumbles and blips of sonic destruction... The main attraction of this release to new and old fans alike is the use of '60s psychedelia in the warped textures of sound laid out in each track. Instead of being treated to a barrage of uncontrolled, harsh, and maddening noise, we are treated to lengthy explorations into the joys of warped synthesizer repetition and digitally altered radio frequency loops... the best noise release put out by any artist and, after just one listen, it's not hard to hear why" Chronicles Of Chaos. Personnel: Maso Yamazaki - voice, microphone, EXPJ Ringmodulater, Colorsound pedals, '60s fuzz noise canister; Spectral Audio Analogsynth, Sherman Filterbank, delay. 180 gram vinyl; edition of 400.
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CSR 205X-CD
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"All seals have been broken" proclaims a demonic voice on the titular track of Veil The World, and that is something terrifyingly evident in the music contained therein. On Veil The World, Trepaneringsritualen veers from crepuscular ritual moods to rabid death chants reveling, even celebrating the imminent end of flesh. Veil The World -- originally released in a very limited and ultra-lavish box by Kosci Tapes in 2011 -- marks the half-way point between the earlier, more atmospheric works of Trepaneringsritualen, and the more visceral aggression of the later material. Trepaneringsritualen explores themes of religion, magick and the hidden realms of consciousness, taking its musical cues from the old school of ritual ambient and death industrial. Rhythmic and seething at times, and oozing forward with a creeping sense of desolation at others, Trepaneringsritualen conjures forth bleak but mesmerizing visions of the end-times. Out of print since the 2015 CD edition, this version includes new artwork by Thomas Ekelund (ᚦᛟᚦ ᚷᛁᚷ | Nullvoid). CD version comes in a digipak with the new 2021 artwork.
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CSR 282LP
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LP version. 180 gram vinyl; edition of 500. The new album by She Spread Sorrow (Alice Kundalini) is the story of a huntress and her morbid and psychotic relationship with her prey. The protagonist is Blue, a girl whose existence is marked by obsession with another woman of the same age and by nightmares that leave her without peace. Between love and psychosis, a tragic story is consumed, which vibrates in the stomach, like the music that accompanies it -- dark and hypnotic death industrial, with moments of dark ambient, power electronics and noise. Inspired by Kundalini's nightmares and her fervent world of dreams, Huntress was born after three years of intense recordings. It pursues the need to whisper secret, forbidden tales and to stimulate the deepest shadows of the human being, exploring the boundaries between the delicate and the violent; between love and obsession; between fantasy and madness. Huntress is the soundtrack of a tragic game between opposites in a reality of total solitude.
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CSR 205LP
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LP version. 180 gram bone white vinyl; edition of 500. "All seals have been broken" proclaims a demonic voice on the titular track of Veil The World, and that is something terrifyingly evident in the music contained therein. On Veil The World, Trepaneringsritualen veers from crepuscular ritual moods to rabid death chants reveling, even celebrating the imminent end of flesh. Veil The World -- originally released in a very limited and ultra-lavish box by Kosci Tapes in 2011 -- marks the half-way point between the earlier, more atmospheric works of Trepaneringsritualen, and the more visceral aggression of the later material. Trepaneringsritualen explores themes of religion, magick and the hidden realms of consciousness, taking its musical cues from the old school of ritual ambient and death industrial. Rhythmic and seething at times, and oozing forward with a creeping sense of desolation at others, Trepaneringsritualen conjures forth bleak but mesmerizing visions of the end-times. Out of print since the 2015 CD edition, this version includes new artwork by Thomas Ekelund (ᚦᛟᚦ ᚷᛁᚷ | Nullvoid).
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CSR 298CD
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Fantastic Journey is an homage to writers such as Jules Verne, H. G. Wells, Edgar Rice Burroughs, and other pioneers from the early age of science fantasy. Stunningly adventurous dark ambient, dronescapes, pulsing synths, melancholic strings, and exploratory ambient electronica take you on a journey of imagination and ingenuity. Tales are woven of fantastic voyages and feats of scientific endeavor, through subterranean worlds, mysterious unexplored islands, Utopian societies, travels through time, and the farthest reaches of outer space. Fantastic Journey perfectly encapsulates the wondrous visions of these futuristic writers over the last 150 years. Designed for serious listening and exercising your imagination... Originally released in 2013, Cold Spring release Fantastic Journey on CD-proper for the first time, with an exclusive ten-minute bonus track, taking the intrepid listener on one last marvelous adventure. Composed and performed using various samples, synthesizers, and field recordings by Anthony Paul Kerby (The Circular Ruins) and Thomas Park (Mystified).
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CSR 282CD
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The new album by She Spread Sorrow (Alice Kundalini) is the story of a huntress and her morbid and psychotic relationship with her prey. The protagonist is Blue, a girl whose existence is marked by obsession with another woman of the same age and by nightmares that leave her without peace. Between love and psychosis, a tragic story is consumed, which vibrates in the stomach, like the music that accompanies it -- dark and hypnotic death industrial, with moments of dark ambient, power electronics and noise. Inspired by Kundalini's nightmares and her fervent world of dreams, Huntress was born after three years of intense recordings. It pursues the need to whisper secret, forbidden tales and to stimulate the deepest shadows of the human being, exploring the boundaries between the delicate and the violent; between love and obsession; between fantasy and madness. Huntress is the soundtrack of a tragic game between opposites in a reality of total solitude. CD version comes in six-panel digipak.
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CSR 265CD
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Cold Spring Records presents two Swedish titans -- Nordvargr (MZ.412) and ᚦᛟᚦ ᚷᛁᚷ (Trepaneringsritualen) -- teaming up for a bludgeoning dose of death industrial majesty. Det Kätterska Förbund, consisting of the two giants dominating the death industrial world -- Thomas Ekelund (Trepaneringsritualen, Dead Letters Spell Out Dead Words) + Henrik Nordvargr Björkk (MZ.412, Pouppée Fabrikk, Folkstorm, etc.) -- has been slowly and methodically working for almost five years to finish the first album of this double-headed abomination. Patience richly rewarded. You can instantly feel the presence of lurking unease as the album slowly opens up a distorted world of familiar sounds and voices, but there is something special about these recordings; the menacing aura that has been created adds new elements to the otherwise rigid tropes of the genre. Punishingly heavy rhythmic tracks, with savage incantations from both Thomas and Nordvargr, gratifyingly familiar to fans of the artists' main projects, are flanked by these death-scarred lamentations.
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