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2020 has been one rough ride for everyone, forcing us all to review what we thought was normal and maybe, one would argue, even our priorities.

Two years have passed since their previous Inflict LP and we don’t really know how what recently happened impacted on the band’s mastermind Michael but what’s sure is that Veil Of Light are now a fully grown-up band.

Landslide is their fifth full-length (and their third on Avant!) and it’s definitely their most elaborated album.

Ten new songs, rather than the usual eight, with a perfect balance of Coldwave-inspired intimate atmosphere and synthpop catchy melodies. Musically speaking it’s still clear where the Swiss duo draws their influences from, right in between New Order’s moodiness and The Klinik trying one softer, less brutal approach to their Electro. But a new sense of privacy is reflected all through these new tracks, enhanced by lyrics now more personal than ever.

The Prayer Wheel is a page torn out of a private diary, Love And Money is a mechanical mantra for a no-way-out situation; Suburban War is a confession of defeat whispered at night, No Return is the last dance before reaching the point of.

This is the kind of record that takes its time, and takes its toll, we just need to sit down and listen because there’s much to discover.

RIYL: Depeche Mode, New Order, Naked Eyes, Lust for Youth, Black Marble

First ever vinyl pressing of Yellow Swans’ 2007 noise tempest, practically bubbling the lacquer thanks to a great remaster by Rashad Becker that presents Pete Swanson and Gabe Mindel Saloman right at the biting point.

Originally deployed on ultra-limited edition of just 60 cassettes back in 2007, ‘Drowner’ was one of the legendary duo’s fiercest deployments of scorched earth noise-gaze. Originating at the mid-late point of their arc, it kicked at the embers of rock’s funeral pyre, scattering plumes of strung out psych riffage and charred amp distortion at the midst of the fecund ‘00s noise scene. Like the best Yellow Swans releases, it touches places that other bands and records simply don’t reach, overwhelming the senses with chokingly intoxicating levels of emotion that surely live up to the record’s title.

When Swanson and Saloman cooked up ‘Drowner', they were surfing on a wave of interest generated by the percussive noise surrealism of their acclaimed, politically-fanged 'Psychic Secession'. ‘Drowner' was more in line with the duo's shows - all overdriven, tape-fraying melt and psychedelic, feedback warbling. Channelling everything from MBV to the most blistering ends of Fushitsusha with an apocalypse-baiting recklessness, they harnessed keening, magisterial levels of feeling in the process. Anguish, love, panic, the sheer pain of being; the feeling will alter from person to person and listen to listen, but it’s undoubtedly going to be a strong emotion, likely to be frighteningly intensified when consumed thru headphones.

Between their slow, 11 min march into oblivion on ‘Sandwall’ and eventual collapse into tattered tape tekkers and muezzin-like plangency on ‘Disjecta’, the album feel akin to a religious experience, with atavistic psych echoes of ‘Velvet Water’ giving way to the crushing dirge of ‘First Drowner’ and uniquely elegant chamber noise of ‘Isolation Tank’, before ripping your guts out in the ravishing ‘Seafloor’.

Almost 15 years after it was originally released, as the US basement noise scene fades into memory and many of its figureheads wash into the gutters of history, ‘Drowner’ feels more vital and needed than ever. An elegy for the end of days?

Old-school industrial live improvisation with overdubs on 4 track portastudio.

Recorded at Black Prince Studio, Coventry, England. 1982.
Influenced by classic zombie films, “Death House” lends truth to that rumor by delivering forty-six minutes of blackened paranoia-inducing ambiance. Split into two sprawling pieces, “Death House” conjures the grim, unsettling atmospheres of such films like “The Last Man On Earth” and the original “Night of the Living Dead” and portrays them
into musical form. Step inside this nightmare Remastered by Martin Bowes at the Cage, Coventry, England. 2020.

These soundtrack recordings were originally issued on cassette on Adventures in Reality, September 1982.

Peter Kirn joins the Industrial Complexx catalogue with an album that showcases his creative prowess in mixing different textures. 4Q246 is an elegy and an archaic dance for prophetic visions, in all their conflicting dualities, told as a series of apocalyptic or revelatory musical fragments.
The title 4Q246 is taken from the Aramaic Apocalypse fragments of the Dead Sea Scrolls, found by a Bedouin in a cave at Qumran.

A new addition to the Veyl family, LOFN bring a completely untethered approach to their music, which defies any and all boundaries and public expectation. The project of Aitcher Clark and Anna Coranic, the duo debuted in 2017 and has shared the stage with Telefon Tel Aviv, Oake and Hiro Kone. Their sound seamlessly weaves through outlines, bones and sketches of industrial, experimental, ambient, techno and beyond. 'Post-Apo Romance' is right at home on Veyl, emitting mythical electronics and post-industrial dispatches that perfectly pair with vicious, venom-like vocals. The experience begins at the same place we all do, with 'Mother', a deep pensive opener to unlock the gates. 'Pachad' gradually picks up a heavy rhythm before moving into more explosive territory with 'I Get Lit'. The madness subsides but gives way to the powerful 'Invocation' before finally drifting away with the title track.

Faith Disciplines and Subsist Records are two labels that have bet on the personal sound of Group, moreover, between these two platforms there is a good relationship and, although Subsist is a label oriented mainly to techno, it has always been open to other genres such as electro, industrial or experimental, on the other hand, Faith Disciplines is a label with a style designed expressly for experimental music, Lo-Fi and with sound elements of industrial.

Both labels have released Group albums, but it was Subsist Records who discovered this enigmatic project, which after 5 years since its debut we still have absolutely no information about the artist or artists who embody it.

Perhaps, and to disorientate us even more, we can discover with this new album something more about their past. Agriculture is a different release, this time Group doesn’t just stick to his degraded style and shows us that whoever is behind this project most likely had a past as a techno producer.

The lack of brightness, optimal saturation and large spaces that provide effects such as reverb, are properties that usually possess the tracks of Group, therefore, we must be clear that we are not going to find a conventional techno, as each of the 6 tracks could be cataloged with a different subgenre of techno but, sonically we know that they have passed through the hands of this project.

“We believe that we are immortal, that we can make our life a constant pleasure, that we can have a high life, excesses of pleasure when we forget what is really important, seeing ourselves in the mirror and recognizing how bad there is inside of us. High Life, and hard times.”

Bruto Industries is presenting its new reference ‘High Life’ in this occasion signed by Colombian Jesús David Restrepo , AKA Damaged Clock, an artist from Bogotá and founder of DClock Records, a basic pillar of Colombian electronic scene where he stands out by a solid and dynamic live performance. During his short career, he has been able to release several pieces in which you can feel his musical view by exploring sounds that define his model ranging from Electro, Techno, Industrial and EBM.

This EP consists of 6 tracks characterized by an aggressive synthesis that flows through broken rhythms, tearing voices and moving melodies forming an emotional and firm reference.

Running Back & Dusky proudly present Life Signs Vol. 1. The band that brought you the fabulous remix for KiNk’s „Perth“ lavishly donate a whole EP to Running Back. And it has all the classic trademark sounds we cherish them for: British bass science applied on classic house tropes, breakbeats underpin transcendent melodies, IDM meets UKG. The sounds of Guerilla records, Northern Exposure and the mash-up aesthetics of early Rage parties all echo through the ranks. All of it expertly executed and as much fun to listen to as to play it out. But handing the microphone over to the band themselves:
„Boris Borrison’s Trip To Morrisons: An Italo inspired bassline meets Belgian rave vibes via a British supermarket chain. Who is Boris Borrison? Perhaps we’ll never know. Some say he’s still wandering around in the freezer aisle to this very day.
Lea Valley is a homage to the area in London along the river Lea, home to a mix of nature reserves and industrial warehouses and wasteland, historically famous for illegal parties. The area was a regular haunt in our teenage raving days.
Static: A warm wash of melancholic euphoria in which to submerge. Inspired by classic electronica and the melodic techno of early Autechre and Aphex.“

Bristol's loudest and fiercest duo Bad Tracking step up on home turf via ATC as part of the double drop, giving us their debut album, jammed with unhinged sonics, raw & industrial at its core. But contained within the fury, there's a definite heart, soul and musicality contained within, setting it apart from 'just another noise album' - it's a special one. Mastered and cut by Lewis at Stardelta. Served in printed sleeve, designed by Kin40k.

After several releases on tapes and 7 inches records, Lyon based label Big Science take an interesting turn with a nu-jazz and ambient release by Leo James. From Berceuse Héroïque, Neubau, Versatile or Patience, Melbourne producer is back with Féth Fíada album, features saxophonist composer Cayn Borthwick.

A Various Artists of two volumes characterized by the two side of the artist.:

(Vol.I Vinyl): A collective of artists who express with their “club” side:
Dark and liquid sonority from Stave-Karim Maas and Wrong Assessment, passing through the more solid and fast ones represented by The Extraverse and Magna Pia, Enigmatic arpeggios by Danilenko and an usual intro by Stanislav Tolkachev.

(Vol.IITape): Founded by a non-dancefloor concept, representing the other side of the artists, the more experimental one, characterized by Ambient, I.D.M and Experimental sounds, through which we can manifest the differences and what less is shown by the artist. An unexpected side.

“The paradox, the best way to reveal to men a hidden truth”

Mastered by Coefficient (Pat Cooper), London

Artwork Handmade ctpoil by Stanislav Tolkachev

« Beauty of the world, chaos of the mind. »

“French music producer Coni presents Transperce, the first record under his project Ce Raid Solitaire.

Inspired by dramatic modern landscapes and haunting memories, the record is an attempt to seek beauty in the midst of a chaotic and saturated present.

Filled with the intensity of chasing rhythms, flicking hi-hats, fierce voices, melancholic pads and wretched distortion, Transperce evokes a state of industrial catharsis to the conscious mind.”

With the Shibboleth EP, Osaka based artist Metome delivers a fierce sonic collage: experimental to its core, it presents a vibrant embroidery of sound where the spaces in between are as important as the stitches themselves. Arrangements composed of fluoro synth leads, Rhodes chords, tumbling bass, chopped vocals, pitch modulation salvos, and nuances that evade definition fester and rub up against one another. These intensely tactile and flexible elements are rendered through an intricate filter shaped by pop music, grime as well as nu-jazz into punctured grooves that aim to knock the listener askew. Although they brook no dissent and no compromise, they evidence that polish and power are not mutually exclusive. As striking as all the fragments are in isolation, at the heart a solid sense of harmony remains. The sections that make up the tracks are compressed into terse blasts, lined up one after another, lending the record a distilled character. Transitory nodes supply balance as much as they suggest the imminence of acceleration or collapse. The EP was envisioned as the soundtrack to a fantastic aerial dance: an interplay between movement and reticence, levity and weight, and attraction and rejection is indeed overall. With an ambient iteration as curtain call, a moment of composure does eventually arrive. Although a sensation of peril never quite leaves, it provides space for exhalation.The Shibboleth EP is the first release on supərpawərz, a Brussels based contemporary electronic music platform. Mastering by Jeremy Cox. Art and design by Oliver van der Lugt.

Dark Fields stands out from the barrage or recent Spanish experimental-industrial underground
re-issues as one of the most obscure and surrounded by mysticism.

One massive track with no cuts, recorded in 1979 under the motto "a silence that makes dogs bark" and released by Klamm in 1983 in a tiny edition of 300, the trio disbanded shortly after finishing the recording and never looked back.

Darker than tar atmospheres with Resident's like vocals, this is the brainchild of Caballero T's obsessions with Brian Eno's work, who found the perfect partners in Tres' psychotic vocals and the studio wizardry of Señor Nada. Reissued by Madrid's Equilibrio, who already gave us Randomize's ¿Como se divertirán los insectos? Not for the faint of heart. Get yours while they last

!Bang Elektronika started in 1986 as a solo project of Dave Rout to develop his electronic music wanderings. He recorded material off an on but most of his time was spent working on Techniques Berlin, a band which he started with Andreas Gregor in 1985. The first !BE release was the “Audio Beat Warfare” cassette on Bombshelter in 1989. For the second !BE tape, “The Rhythm Screams Electronic”, also released in 1989, Andreas contributed with some vocals. After these releases Dave was moving into more EBM / industrial sounds and wanted some harsh German vocals for the new tracks so he asked Andreas to sing on some of them and join permanently the project. Their first release as a duo was the cassette entitled “Aktivierung!” on Shadow Records in 1991. Next year two tracks from this tape were included on the “Metro Tekno” compilation CD by Silent Records and in 1993 the first full length CD was released on Germany’s Hyperium label. Time after, the project was put on hiatus with just some sporadic releases and a few shows, until 2011 when they did their first and only show in Berlin and release a compilation CD.

This year the band is celebrating their 35th anniversary releasing their dance floor stomper “Aktivierung” for the very first time on vinyl. This release includes, along the original version from 1991 and the b-side “Ich Bin So Ätzend!”, two new killer remixes crafted by Randolph & Mortimer and The Horrorist.

Limited edition of 350 copies with silkscreened Priplak jacket and one postcard.

On the initiative of Unknown Pleasures Records, and the consequent adhesion to this project by Industrial Complexx and Oráculo Records, we pay tribute with covers by different bands to The Sisters of Mercy, the band that many of us identify as the most important of the gothic rock and dark post-punk that derived in the first wave of English punk.

Industrial Complexx has prepared for this occasion a special release in which we combine the album in cassette format and a book that tells the story of this band from Leeds. Unknown Pleasures Records is releasing this compilation on CD and Oracle Records on vinyl.

Double 12” Vinyl (L12MUTE629)

Side AB transparent orange vinyl

Side CD transparent blue vinyl

Packaged in a sleeve with artwork by Pockets Warhol and 3 complimenting metallic inks.

Includes high definition audio download code

Claudio Mate and Francesco Mazzocco after and hard work which took lot of time to put out this beauty, after making also an hard work of selection about the music... they are so happy to introduce for the 5th release of Dub-ito , Wolfgang Reffert well known As Dark Star since the end of 80's.

' MIX TAPE ' 1989 -1991 is a collection took exclusively from Dark Star past tapes works... Dark atmosphere influenced by Post Punk , Ebm Noise Industrial music is the typical Wolfgang 's music trademark in over 30 and more years of career , which for the first time of ever makes his debut on vinyl. The last touch comes by Dietrich Schoennemann remastering the trax directly from original tapes . This amazing collection for sure can not be missed for the
fans of 80's sounds.

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

Since 2016, Milkman has been a pioneer in India’s ever-evolving electronic music scene. From building the foundations of India’s warehouse-rave culture, to consistently curating international and local artists at the forefront of the electronic musical underground, Milkman has quickly become a formidable force. Both editions of its festival, ‘Terminal 1’ were highly well-received, and this year, Milkman brings its first ever release as a label to the world.

Azu Hoyvoy’s music feels like it has a toehold in the world of left-field dance-floors, while also being comfortable in any post-apocalyptic sensorium you can dream up. This peculiar trait should not come as a surprise. The chaos, darkness, and simultaneous beauty of the city from which he hails all make for a hard cocktail of deep-uplifting-frightening-introspective fervor, spilling appropriately into this record.

The twenty-three-year-old Mumbai-native’s previous music is largely dominated by RnB and Soul, and in some ways feels like the proverbial Jekyll to Future Literature’s Mr. Hyde. To the extent that Azu’s previous incarnation still resides in his darker counterpart, it shows in Future Literature’s multi-faceted grooves and syncopations that are relatively unique in this spectrum of electronic music. This collection of tunes finds a very suitable corner in the eclectic and forward-thinking home of Milkman, and the result is an enjoyably mind-expanding, if sometimes disconcerting record.

Official reissue of this experimental industrial electronic classic originally released by Discos Esplendor Geométrico in 1987.

"After 41 years you should know De Fabriek means The Factory, a name not chosen because of a love for Andy Warhol or the UK label of the same name (which hardly existed at the time De Fabriek started), but because of what a factory represents; there are workers, creating a small portion of the final product. In the early days these workers were a bunch of friends whom knew each other from the city of Zwolle, and as such they recorded their first LP 'Schafttijdsamba' at home in 1980. After that the group splintered and expanded, odd as it may sounds. The original core went each own way and De Fabriek sought outside help. This was a time of independent cassette culture, home production of music, corresponding and mail art and so it happened membership, co-workers in De Fabriek lingo, were fanatical home tapers around the world, with a director at the helmet in Zwolle, albeit not a director not in the capitalist sense of the word, but someone directing the sound. Listening to the cassettes received, deciding upon order and layering of various sounds. Some of the releases from De Fabriek were recorded at home still, but for record releases they now used studios. For 'Made In Spain' De Fabriek headed out to Nijmegen, Studio De Tempel, and home of Mekanik Kommando. But workers and a director is not enough for a factory, it also needs machines, and machines were plenty around in De Tempel. Following a decision on what goes where along with what other received contribution, and then mixed together, using the vast amounts of effects racks available in this studio, which put their fingerprint on this record. 'Made In Spain' was first released by Discos Esplendor Geometrico and is a expansion of an earlier release 'Mont Cantis', slightly the same yet significantly different and exploring the industrial sound a bit further, taking cues no doubt from the music of Esplendor Geometrico, taking matters a bit further and deeper, to stay within the theme of old mines in the German Ruhr area that runs through these ten pieces, this is a record that at that time saw De Fabriek fully connecting to the industrial scene without forgetting their earlier post-punk and krautrock roots; there is a line from the Ruhr area to Spain via the highly minimalist rhythm approach. 'Made In Spain' is a wild ride, almost like that scene from Indiana Jones & The Temple Doom, the Mine Car Chase. You feel the speed, the railway lines cracking, and the carts trembling and shaking, you feel the heat, the mayhem that you can also find in a foundry. Yet unlike so many other industrialists back in the day, De Fabriek always remains to have some melody to be part of their music. It is not the noise for the sake of noise. This is somehow a very pleasant factory."

Electronic music is like the universe itself, it expands at an exorbitant speed. Each primary genre takes different paths that intersect with other influences, each artist creates from his or her own criteria, so it is not necessary to be subject to the laws of the music industry or the unanimous conditions of the mainstream.

Such singular identities may seem exclusive to many erudite ears, but for projects like ours it is a blessing to discover artists with a certain originality and who are also totally anonymous, or who have not had a long career. It has happened to us with many of the artists who have released on Industrial Complexx, and it has happened to us again with H/S/P, an Argentinian artist who runs his label Armed Records and who also uses the alias Artist Øne to release techno on different platforms.

N.H.DLV is an album in which its author exhibits great potential in terms of creativity and sound design. This 15 tracks evokes the multitude of paths an artist can take to develop a work based on thousands of musical experiences, with a sound impossible to categorise as a single trend. Industrial, noise, techno, experimental…. an ambitious and non-conformist itinerary.

Experimental A/V duo. It's live-sets are pure dark distorsion and deconstruction sound. Avant-Garde, non-art, chaos and tension are the main references of this project. Broken rhythms, sharp sounds, dissonances make up the main musical spectrum of this band.

Influenced by Electro and Industrial music, inspired by artists such as Ultradyne, Hijokaidan, Merzbow, Drexciya, Consumer Electronics, Throbbing Gristle, Dopplereffekt or Esplendor Geometrico. They just realised their first EP called math.random() in Rator Mute label.

Taavi Suisalu is an Estonian media artist particularly interested into complex and adventurous sounds, field recordings and harsh audio emergencies, organized under the form of symphony or as a result of performative interactions.

In 2014 Suisalu received the Young Estonian Artist Prize as curator of Project of In-existent Villages, an articulate exhibition full of installations and site-specific sound performances. The use of peripheral spaces and the crossovers, sometimes extremely creative, of human interactions, data, sounds and technologies, are recurring in the works of Suisalu, whose subjective perspective unconventionally investigates different social and cultural phenomena. He is always attracted by the different forms of technologies. It can be an old seismograph he reconstructs to record the underground vibrations of a volcano, or, it can be some 3D models he uses to analyze a grain of soil coming from the ancient Pompei. The results of the researches would lead to the installations. The whole set of data is often the premise of a narration, a datafiction, as in the case of the signals recorded from some abandoned satellites, who are later presented with a speed set by the position of other satellites gravitating above the gallery hosting the event.

“Noisephony of Lawn Mowers" was originally composed in 2013, but it was unreleased until now, when Staalplaat, a fundamental label for its unusual experimental connections and for the sound events performed in unconventional spaces, decided to publish it. It's a score for lawnmowers, whose making is given to a conductor and executed by a group of artists. Suisalu reminds us that historically, lawn has been a symbol of power and wealth as it required substantial upkeep and unused land. Today, it still indicates wealth, but is mainly maintained by the owners themselves. This puts us in a schizophrenic situation where we strive to be privileged by taking the role of the servants.

“Silver Meets Ted” is the other track included in the selection. It's a recording of over ten minutes, whose trend cryptically moves on and with some unsettling minimal tolls, always more metallic. Some deaf beats follow, and then we have a splash of water and some slightly hinted neighs, chirps, different spills of liquid, more intense and measured, clackings and vibrations, some hardly identifiable frequencies and again a series of punctuated metal bells. The work by Taavi Suisalu stands out as a calibrated combination of mathematical coherence and elements of surprise, automatized and causal processes, some small oblique utopias, that work well together by improving highly subjective resources and create some slightly unsettling final results.

Rhythmic Brutalism' is the title of this release, available as a two CD set or two separate LPs, the title is also a very apt description of the music itself. Romanian-born Alexandra Atnif was fascinated by the harsh, grey concrete beauty and minimally repetitive force of the brutalist post-war architecture of her homeland, and this fascination has given rise to the music here. Vol. 1 is an EM Records edition, compiled from an earlier self-released double CD featuring recordings from 2014-15. Vol. 2 consists of previously unreleased recordings from 2015 to 2017. Using elemental, inexpensive technology, Atnif' s music is heavy and harsh, stripped down to distressed skeletal frameworks, rhythmic noise, rusting metal and weathered concrete, a distorted DIY realization of her beautifully brutal vision. With a background in European modernist/avant-garde music, Atnif has been influenced by early rhythmic industrial music such as Throbbing Gristle, Esplendor Geometrico and Muslimgauze, as well as later practitioners of rhythm and noise including Pan Sonic, Autechre, Winterkälte, Prurient and Scorn. Across the relatively brief span of years contained within these two volumes, we hear the rhythmic structures begin to fracture and fray, and the outlines darken and become more obscure, with Antif's sensibility evident throughout.

Repress!

Spat out of Helsinki's underground punk and metal scene of the Lepakkomies institute, Sansibar steps up with his debut vinyl release of chronic electronic plague pulled from winters of darkness, new beat and discarded political manifestos. This is the final conflict.

RESET arises as a wake-up call to the situation all of us are living through. A way of leaving a record of a fateful and paradigmatic moment in history. A backward glance serving as a way to face the future collectively and as a community. A manifestation of creativity and commitment. A reset to the habits and customs that we had internalized.

39 tracks by: Oscar Mulero, Francisco Lopez, Paul Prudence, Boris Divider, Fraction, Novi_sad, Barbara Ellison, Suso Saiz, Murcof, Estrato Aurora and more.

New 12" from Enclosed label, Ethical Governor returns with hipnotic and smashing techno, hard rythms with pure of obscure mechanical melodies for dancefloor banging.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Industrial Complexx opens its vinyl releases with a first EP that brings toge- ther a historical part of the industrial scene with contemporary music projects. Both Esplendor Geométrico and Max Durante represent two different musical currents, with different situations in space-time but, with a similarity in terms of great contributions to future movements.

Little remains to be told about Esplendor Geométrico, pioneers of the most transgressive industrial music who have been active for 40 years and who have influenced countless bands and artists with their harsh and hypnotic sound. Necrosis En La Poya was their first single, released in 1981, the track we pu- blish is recorded live at a concert in Tokyo in 2010.

Max Durante is also another essential artist in the European electronic music scene, his most primitive work was to provide Italy with its first raves and to im- port the underground culture and sound to his country. His style is mainly cha- racterized by the harshness and combination of techno with industrial sounds.

To complete this great list of artists there are 3 projects that are currently on the rise, all of which have their own very particular sound. The British L/F/D/M is one of the great references in terms of elaborate sound taken to the limit, a specialist in combining extreme textures that fit perfectly with the dance floor.

Group is a project that wo-rks from anonymity and also has a very personal and very identifying Lo-Fi sound.

SOJ is the maximum responsible of Soil Re- cords, a label that faithfully reflects its so penetrating sound and always linked to a mix of EBM, techno and industrial.

Like cold northern winds, this sound approaches to discomfort the weak, and make those well-adapted feel alive. For all those who experience noise as a new form of contra-meditation, with its brain-saturating sensory information that enables disconnection and liveliness.
This cassette continues/tells a story through different soundscapes, composed with modular synthesis, field recordings and music coding languages, by the hand of the young Max Frimout, Physics student and music producer with a wide range of musical affinities and notable distinction.

Evolving from noise to casual percussion, with a final unexpected melody, it captivates and satisfies the true listener who is able to complete and understand the 6 cuts of this Ep.

We present the first reference of the X series of Structured Records, where experimentation of highly abstract electronic music will take place.

Sons of Traders 002 is a Compilation 8 Tracks Ep of loosely knit artists that surround the duo Sons of Traders (Mike Tansella Jr. and TANS). Leading the EP, the title track “Rotten to the Core” is a slow stomper with a forceful vocal sample and some various squelches. LA’s Kosmik picks up the tempo with “Murmurs” which features a hypnotic synth loop over a 4/4 beat. On “Chomping at the Bit” C.L.A.W.S. and Tyrell trade off between claps, hi hats and short delays underneath a sinister synth tone. To close the A side of the record is Future Blondes out of Texas with “2020 ultra visions”, a cut that can only be described as a sinister barrage of slamming drums and tones. The B side launches with “The Other Side of Town” by The White Lines, a dark electro workout with vocal samples, dark synths and growling bassline. Frigio label boss Juan Pablo brings us an intricate drum pattern with layers of synths on “Night Drive in Beijing”. “Self Feral” by Chris Mitchell is something with a hip hop swing, heavy drums, various feedback and vocals. Closing the EP is Dragee, a new artist from Tel Aviv. “Them” features a hard snare that holds together the demented vocals, claps and bassline that develop throughout the track.

Originally released in 1999, Trocante Gramofony E.P. by Nomex is re-pressed in a limited edition of 100 copies on black vinyl from the original plates.
Trocante Gramofony opens with the monumental ‘Fire Is The Centre’, followed by two other Nomex masterpieces, ‘Life Destroy’ and ‘No-Step 2000’, as well as three speaker-destroying fragments and locked grooves.
Official release date is May 10, 2021. Only 50 copies are available for general distribution, the other 50 are reserved for the Praxis online shop and bandcamp.
Trocante Gramofony E.P. was originally released in an edition of 500 copies on transparent white vinyl as Praxis 33.
It was a departure from Nomex’s releases on his own Adverse label and was naturally quite different from the DJ Scud collaborations on Maschinenbau. In relation to his other solo work, Trocante Gramofony is perhaps less conceptual and more composed.
‘Fire Is The Centre’ features vocal snippets recorded at a Dead By Dawn party sometime between 1994-1996. Some of these snippets had been used on the Dead By Dawn record by Shitness & The Jackal, but here they were embedded in a surging wall of noise spread over the first side of the record, complete with crackles, shrieks and ever
mounting intensity.
The second side opens with ‘Life Destroy’ an intense collage of voice, noise and music and ends with ‘No-Step 2000’.
Tracks don’t end in orderly fashion, instead the needle jumps out of the groove or is locked in a loop. The flow gets interrupted in the middle of the side of the record. These elements are again vinyl specific and can’t easily be transported to the digital realm, and this is one reason we decided to make this brilliant record available again in its ideal format, the vinyl 12”.

limited edition 12” Azure Blue vinyl (which includes an art print)