Techno News

1. God-Forced (Album Version)
2. Severe Sever
3. = Pure
4. Perfect Defect
5. Wrath
6. Acrylic
7. Make Believe
8. Sinner
9. Redesign
10. Nemesis
11. Mass Effect
12. Revolution

Hospital Productions' present an exhilarating label debut by flamboyant Italian battery, Nicolò Fortuni and Nico Vascellari, aka Ninos Du Brasil. 'Novos Mistérios' follows their debut LP for La Tempesta International/Tannen Records with an acutely stripped down blend of mostly 'live' recorded percussion and explorative electronic sound design.

Dédales is the second LP from Opera Mort following up their debut for the inhouse label of the sadly defunct Parisian record shop Bimbo Tower. The project is an ongoing collaboration between Jo Tanz and Laurent Gerard, two figures in the eye of France's contemporary avant garde underground; Jo with his Tanzprocess label and Laurent with his Élg project (Élg's 'Mil Pluton' album appeared on Alter in 2012). They also form two thirds of the trio Reines D'Angleterre with the legendary French artist Ghedalia Tazartés who will be returning to live performance later in 2014. The 8 tracks on Dédales were edited down from a series of improvised live takes of abstract and other-worldy electronics, shifting the Opera Mort sound into more focussed territory and creating a musical language that's uniquely singular and a direct result of their close collaborative relationship. Listen:

After last years spectacular return to our airwaves and the world of techno with the release of the excellent album From the Far Future Pt. 2, the Detroit veteran Terrence Dixon is back with a new release entitled the Giant Robot EP on Monique Musique imprint, while that enigmatic and experimental British producer Actress has been brought in on remix duties.

Another Dark Age captures the schizophrenic culture that exists in one pocket of the underground. This V/A release reaches across oceans and continents to connect music from four obscure projects. From Providence (USA) to Melbourne (Australia), ADA delves deep into the noise and experimental scenes of both cities. Form a Log is a trio of which Ren Schofield (AKA Container) is a member. Their twisted analog improvisations are as disciplined as they are chaotic. 'In the Streets' is a chugging percussive jam that winds its way to-and-fro, between noise and entropy. Phantom Selector, Victim and Carrier are artists who have released diverse music on cassettes under ever-changing monikers. Tortured vocals, eerie textures and cavernous kick drums represent the fleeting moods of these artists who may or may not produce material under these aliases again.

April Cargo Collective Title) I Shall Die Here is the fourth full-length album by The Body. Sharing their moribund vision for I Shall Die Here with Bobby Krlic (aka The Haxan Cloak), the tried and true sound of The Body is cut to pieces, mutilated by process and re-animated in a spectral state by the newly minted partnership. The Body's brutal musical approach, engraved by drummer Lee Buford's colossal beats and Chip King's mad howl and bass-bladed guitar dirge, becomes something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow.. A handful of precursor releases readied the band for seasoned explorations across their debut self-titled album (Moganano, 2003) and on the widely-acclaimed All the Waters of the Earth Turn to Blood (At A Loss, 2011). The Body's curtailing of formal classification figured heavily on All the Waters. The album's employment of the Assembly of Light Choir's classical chorales alongside more industrial music techniques such as vocal sampling and drum programming in turn prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring. The earnestly experimental undertaking of I Shall Die Here is expertly aided by Seth Manchester and Keith Souza, The Body's longstanding engineers and creative collaborators, and noted producer Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with last year's celebrated Excavations (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavations, but remains sculpturally frozen in a sort of earthen purgatory. On album opener 'To Carry the Seeds of Death Within Me', a dramatic pause partitions the seismic caterwauling and savage whump of the first half from the ambient, suffocating ripple of the second. From there, the dimensional doom marches on in procession, ceaselessly alternating between shape and shadow. According to the band themselves, they sought to create something wholly experimental with I Shall Die Here. In the course of its creation and recreation, they have attained that rare artistic goal: an album with few precedents and a paradigm shift richly realized. Bobby Krlic's downcast electronic visions laces seamlessly into The Body's already volatile mix of fissured doom metal and fused verbal spaces. The onset of a new music emerges with I Shall Die Here, and in its shifts, shadows, and reeling voices, the darkest possible formulation of electronic music has been realized.

An Ambassador For Laing is the debut album by Dalhous. Arriving in the wake of their recent 10", Mitchell Heisman, it's due to be released by Blackest Ever Black in May 2013. The Edinburgh-based duo of Marc Dall and Alex Ander work with intricately stacked percussion, dubwise bass and a rich harmonic tapestry of processed voices, keys, harp, vibraphone, guitar, woodwind, strings and synthesiser - every sound re-sampled to the nth degree then subjected to subtle automation and rigorously fine-tuned over a period of many months. From the mesmerised pastoral drift of 'Anger Sees Red' and 'Dwelling By The Meadow' to agitated arabesques like 'The Physical Body' and the self-titled 'Dalhous', the resulting pieces explore dreamlike but treacherous terrain. Eleven questions in a world of blue.

German doomcore artist MOLECULEZ delivers his second release on the mighty SYMP.TOM imprint! Very raw stuff on this new release, including new and pounding collaborations with MENTAL WRECKAGE and THE RELIC

The SYMP.TOM imprint delivers a brutal 5-tracker by industrial hero THE RELIC !! This new release already is very well received in industrial hardcore land. Ragin" kickdrums, dark sounds, and phat effects make this 12" another powerful release for the underground!

Bambi OFS is Cédric Dambrain, composer, electronic musician and virtual instruments designer based in Brussels, Belgium. Dambrain’s approach to music is motivated by an exploration of perception thresholds, psychoacoustics, and the physiological impact of sound.

This diversity of themes is matched by his wide range of production styles, which include electroacoustic computer music, compositions for ensembles, noise, sound installations and, more recently, club-oriented polyrythmic explorations.

Dambrain has also been composing extensively for performance artists and music theatre.Spanning four tracks of intricate and ever-shifting rythmic progressions, Bambi OFS’ debut EP YAKKA frames a tense and glittering ethnofictional world, combining kaleidoscopic percussive textures with a precisely economical aesthetic.

Extending on Cédric’s exploration of sound.space.perception as a unified phenomenon in his sound installations and noise projects, the record artwork features a photography shot by ethnomusicologist Judith Becker during a Bebuten ceremony in Bali: the picture evokes her inquiry in the trance phenomenon, in which she demonstrates that our ability to enjoy trance and its healing virtues is inversely proportional to our sense of separatedness from the rest of the world.

Meshing together numerous influences, and reflecting on the self/other dichotomy, YAKKA is a playful invitation to reconsider our identification processes.

Downtempo beats & psykedelics smoothies. Early throbbing style.

Die Electro-Keule kreist wieder! Nicht einmal zwei Jahre nach ihrem letzten Album sind die mexikanischen Höllen-Cousins zurück aus dem Pandemie-Kerker und lassen ihrer Aggression auf dem neuen Opus „Hyperviolent“ unverblümt freien Lauf. Latent bedrohlich und eher schleichend rabiat wie bei „Broken Empires“ oder im pulsierenden Dark’n’Bass-Gewand wie bei der zweiten Vorab-Single „Backstabbers“ – Hocico spielen auf den 13 Tracks ihres neuen Longplayers die komplette Aggro-Klaviatur. Dazu zählt auch und vor allem der Bonus-Track „Weapons Of Resistance“, den Erk gemeinsam mit Ten56.-Frontmann Aaron Matts eingesungen hat und der nach Kooperationen mit Lord Of The Lost und Ost+Front einen weiteren Krachmacher-Trip ins Gitarrenlager bedeutet. Auch 2022 gilt für Hocico also: Knüppel aus dem Sack oder einfach gesagt: „Hyper hyper“!

Less than two years after their last album, legendary Mexican Electro duo Hocico is once again filling the air with their unabashedly sound and strikes hard with their full range of aggression on the band's brand new album "Hyperviolent".

With her distinct sound treatment and signature improvised performances, Liliane Chlela has been pushing forward the boundaries of ‘Experimental and Electronic Music’ in Lebanon and the Middle East/West Asia and North Africa for over a decade both as a solo artist and via her various local and international collective projects. One of the most versatile female producers/musicians in the Middle East/West Asia and North Africa, Chlela constructs a characteristic sound both as a composer/producer and as a live musician. She further explores the connections between improvisation and sound treatment by approaching numerous musical genres with her signature techniques. Relentless and heavy dark electronic beats mingle with anger and anguish on Liliane Chlela’s album “Safala”. The Lebanese producer and hybrid DJ tapped into her personal memories to bring forth a sonic concoction anchored in the inherited oral epistemologies of her ancestors. Memories intertwine with Beirut, using incantations inherited from Chlela’s grandmother as building blocks to build an eight track album. From warding off the evil eye to protest sounds from the past year of events in Lebanon, the album haunts the listener to invoke a striking elegy on terror and anger, while inducing a rollercoaster of sonic eruptions.

A unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy"
(Jack Dangers, January 2024). 'Extinct' sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20 minute opener 'FLAKKA' takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process. 'Burner' takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, 'Extinct' is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don't sleep on this one! (Todd Robinson / Subunit) Composed, recorded and produced November 2023 - January 2024 by Jack Dangers and Masami Akita.

Murmuur is audible in the dark only.
And shall be listened at high volume.
A side brings 180 BPM 45 RPM mental Industrial Hardcore... The flip goes Doom and Downtempo with atmosferic drops... landing on a thick fat pityless kick ! And then will come the last tune : a double tempo Doom thing, sober and apocalyptic !
All in one, Murmuur brings massives kicks & extreme sound designs. This reminds me a bit of Hangars Liquid sound...

Splendid bi-color plate (B&W), coming in a gatefold sleeve.
Records are sealed.

Expensive record for a single but really was expensive and also... shipment and customes from Australia were crazy...
Records' sleeves arrived in perfect condition to us :) That's already a good news ^^

ENJOY.


b A2 Death In The Forms Murmuur Remix

LIMITIERTE VINLY-EDITION DES GLEICHNAMIGEN ALBUMS ZUM ERSTEN MAL AUF VINYL.

"Kunst ist Krieg". Und vor allem Musik ist Krieg - der NACHTMAHR unserer westlichen Zivilisation. Wie eine bassdröhnende Lawine rollen die elektro-industrial-inspirierten Sperrfeuerbeats des neuen Soloprojekts von Thomas Rainer (L'AME IMMORTELLE) mit dem beängstigenden Namen auf die schwarzen Tanztempel zu, begleitet von elementaren Textfetzen, die keine Deckung zulassen: "Feuer frei!"

NACHTMAHR erscheint als "Deus ex machina", entfesselt im sadomasochistischsten Sinne "Ein Spiel" oder gibt sich schlicht elementar: "BoomBoomBoom" lässt den Titel Programm werden - "Ich habe nur ein einziges Interesse. Ob ihr lebt oder krepiert ist mir egal. Ich will Euch tanzen seh'n!" Peitschende Beatstrukturen, Elektro-Industrial im Stile von COMBICHRIST, SUICIDE COMMANDO oder FEINDFLUG und provokative Samples schlagen einen ebenso apokalyptisch-kriegerischen wie unwiderstehlichen Ton an. "Feuer frei!"

- Schwarzes, 180 Gramm schweres 12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Stabile Kastentasche
- Bedruckte Innenhülle
- Bedruckte Vinyletiketten
- Handnummeriert
- Limitiert auf 500 Exemplare

VINLY-EDITION DES GLEICHNAMIGEN ALBUMS ZUM ERSTEN MAL AUF VINYL.

Unbeugsam. Ein Wort wie dieses ist für Rainer so viel mehr als eine Floskel. Von Tag eins seiner angestrebten musikalischen Weltherrschaft war NACHTMAHR Gegenwind auf Orkanstärke ausgesetzt, wurde er angefeindet, an den Pranger gestellt, offen gehasst. Bündnisse wurden gegen ihn geschlossen, alte Freundschaften zu Grabe getragen. Doch Thomas Rainer ließ sich nicht beirren. Mit jedem Album, mit jeder EP, mit jedem Konzert bewies er eisernen Willen und Standhaftigkeit, erwies sich als siegreich - und prägte mit seiner Kunst, seiner Ästhetik und seinem apokalyptischen Sound die schwarze Szene wie es wenige vor ihm taten. Die Artworks, die Uniformen, der Stil und die Linguistik etablierten eine ganz eigene Mode, an dem man seine Truppen sofort erkannte.

Von Anfang an stand NACHTMAHR nämlich für viel mehr als Musik, für viel mehr als einen unerbittlich in die Knie zwingenden Sound. NACHTMAHR ist eine Philosophie, eine Lebenseinstellung, eine Weltanschauung. Und diese Retrospektive ist das beeindruckende Muskelspiel eines Anführers, die Biografie eines Imperators - unbequem, unerbittlich, unbeugsam!

- Schwarzes, 180 Gramm schweres 2x12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Opulentes Gatefold Cover
- Bedruckte Innenhüllen
- Bedruckte Vinyletiketten

A reissue of Nikolaus Utermöhlen’s »Karlsbad« album, originally released in 1989. Utermöhlen was a founding member of Die Tödliche Doris and this is his sole solo release. A collection of 23 witty oddball compositions for clarinet, accordion, percussion, recorder, violin, guitar, organ. It definitely has a Doris dose but even more so it shines for its totally singular mélange of tribal dada chamber folk, dilettante dissonant poetry, hard to compare with anything else. A slice of flamboyant wellness.

The recordings of this album were made for the "Georgette Meunier" film by Tania Stöcklin and Cyrille Rey-Coquais. Issued from the original master tapes and includes the 8 page booklet with engravings from the Karlsbad spa era.

Holuzam's third release features a fearless long-time sound activist: Ondness is one of many aliases of Bruno Silva. You may know him from Sabre (with Carlos Nascimento) or solo as Serpente; under the Ondness alias he’s been putting out music on Where To Now?, Seagrave or Sucata Tapes (a sister label from Discrepant). “Not Really Now Not Any More” is a beautiful resilient piece, mastering the fine line between album and mixtape.

Both the title and the contents of “Not Really Now Not Any More” have been inspired by the idea that we are constantly floating around unfinished ideas. The title is taken from a graffiti that inspired Alan Garner to write “Red Shift” (Mark Fisher wrote about it in his book/essay “The Weird And the Eerie”). The typo and the idea around “not really now not any more” serves this album perfectly well.

During its ten tracks, Ondness is constantly going back and forth on the way he explores soundscapes and how they can pair up with their own resolution. Nothing in “Not Really Now Not Any More” is really finished but also it isn’t unfinished. It’s a subtle idealization of the importance of accepting how things are. “Torre” starts and ends the album as two different songs sharing the similarities – not only the title – that encapsulate the whole essence of “Not Really Now Not Any More”.

“Esquina, Espera” points out this whole idea of never-ending construction, it’s dub-ska-industrial- techno perfectly crafted to make the listener feel the freakish anxiety that we have to be everywhere right now. It’s pop-up music, constantly moving and fading away, reappearing with a new idea and then leaving it out in the open. It tells the listener about how it lacks ideas because it contains too many ideas.

Those ‘too many ideas’ make this a perfectly fit record for 2019. Music that is everywhere and nowhere. But it's not loud or trying to show off. It lets the listener peel its skin and find the magnificent sci-fi extravaganza that “Not Really Now Not Any More” inspires. Going nowhere being somewhere. Do you feel me?

“On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began – an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others – work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4’s own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, “Aufmarsch, Heimlich,” consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4’s best albums.” - Rolf Semprebon / AMG

“Distruct is organized around sounds provided by the cream of experimental musicians of the early ’80s, from Nurse With Wound to Nocturnal Emissions, via De Fabriek, Die Todliche Doris, The Haters, Merzbow, and others. Obviously, there is no question of remixing here, and at no time do P16.D4 seek to hide its sources, clearly identifying the contribution of each artist in the liner notes. It would be futile to try to find the paw of each artist, the trio operating vis-à-vis its collaborators the same methods as in their own work. Reworked, distorted by various effects, cut, edited, aggregated with other sounds, produced by P16.D4 themselves, reprocessed. Exchange, communication, two other data that will constantly recur in the work of P16.D4, rich in external contributions and encounters of all kinds. Musically, and despite the diversity of sources treated, Distruct escapes the heterogeneous character, which often marks this type of collaboration, to offer a coherent whole: fragments of opera, Soviet speeches, out-of-tune guitar, saxophone, tattered violins, overdriven and metallic noisy attacks, jackhammers, field recordings, battered choirs, and many other less identifiable sounds. In addition to the desired dialogue between the artists, Distruct also offers a real reflection on listening, and on the expectations of the listener.” - Dissolve

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.

Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.

The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.

The third release looks back to Italy to show the work of ‘Religius Order’, a young producer that we have followed for a long time and who already has a few works in which he travels through the Darkwave and the Industrial with ease and mastery.

This “Al Dirsi Di Osiride” that he presents through Industrial Possession includes nine tracks in which predominates dense and dark environments combined with slow rhythms that evoke pagan dances in basements full of smoke and vice.

The resurrection of the originators of Black Industrial. The limited edition 10" 'Ulvens Broder' is taken and adapted from the forthcoming album and features a very special B-side with Tomas from Ordo Rosarius Equilibrio.

180 gr Vinyl + insert, 12 Tracks. Again an unique compilation by leading Belgian re-release label Walhalla Records, specialized in Minimal synth. Following the widely acclaimed – and sold out - Underground Wave series, 5 albums released so far, and counting, there is now Volume 6 with mainly Belgian bands such as Onderbronders, White House White, Spleen, Tangible Joy, Blitzzega with a strong international presence by Hades from Brazil and SS20 from France. Again a wealth of ultra rare and previously unreleased material, deeply rooted in the electronic 80’s.

4 X Cassette box edition

Tears For Fears compilation, 40 Artist, 4 tapes, booklet, engraved tapes, hand numbered, stickers and much more.

After 4 years and more than 100 artists the saga reach his end, especial editions, effort and much more inside of a cassette tapes. Even Music.

Inspired by Lou Reed’s groundbreaking 1975 noise opus Metal Machine Music, this collection assembles a formidable lineup of sonic provocateurs—Aaron Dilloway, Drew McDowall, Thurston Moore, Pharmakon, The Rita, and Mark Solotroff—to explore the outer edges of distortion, feedback, and raw electronic texture. Each artist channels the spirit of Reed’s original manifesto of anti-music, pushing their own boundaries through modular synthesis, tape manipulation, harsh noise, and industrial decay. The result is a visceral, immersive experience that celebrates chaos, confronts structure, and redefines what music can be.