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Hi everyone,

Today we continue to immerse in the depths of underground sounds with various degrees of accessibility, detachment, paranoidality and enlightenment. Here we have the microsound research of Russian label Observatoire, a collection of editions by German Attenuation Circuit, first release of Myrkr label (a sublabel of Vegvisir Music), the debut album of the project GaldrareyniR coming from Velikiy Novgorod, Russia, a single by Lunar Abyss, three new cassettes in BioSonar^Lo-End series, and other joys of sonic mindwarping and limitless flight of imagination.

Hope you are fine,

I. Reviews

Some reviews of our releases:

Corvuz "Invisible Landscapes" CD:

II. Forthcoming Events

St. Petersburg, Summer Bar. More info...

21.10.2012 - Vicious Noise Selector
St. Petersburg, Ruskomplekt. More info...

Moscow, CHA. More info...

27.10.2012 - Discipline # 5
Moscow. More info...

Moscow, Plan B. More info...

III. New items in mailorder catalogue

CDs & CD-Rs

Aalfang Mit Pferdekopf -- "Mutatis Mutandis" -- CD-R -- €7
2012 Attenuation Circuit, ACR 1014
Mirko Uhlig, “one of the better and unfortunately lesser known drone masters of Germany” (Vital Weekly), makes his first appearance on Attenuation Circuit with this album recorded under his Aalfang mit Pferdekopf moniker. This 45-minute acoustic dream journey is a wonderful example of Uhlig’s talent for combing calm dronescapes with the most subtle element of tension while the ambient acoustics of field recordings conjure up an imaginary resonant room. The three tracks are based on sound material by Frans de Waard published on a tape compilation for the 25th anniversary of the Korm Plastics label, which can be heard at the beginning of the album. As Frans de Waard explains in a spoken introduction to this album, listeners were invited to remix the material, preferably with 4-track cassette recorder. The music on “Mutatis Mutandis” is Mirko Uhlig’s response to this invitation, so it is a fitting gesture that the album is also released as a cassette in tribute to the important role that 4-track machines and the tape distribution scene have played in the development of experimental musics. Thanks to Frans de Waard’s guest vocal intro, the cassette is a “tape with the sound of its own making” similar to Robert Morris’s seminal sound sculpture “Box with the Sound of its Own Making”, but the music also makes for very pleasant listening on the CD version. [press-release]

Adr-va -- "Voix De Mythe. Predchuvstvie - Ombre - Parties." -- CD-R -- €7
2012 Observatoire, obs * i(l65)|myth 039, (ltd. 65)
Reissue of two minions released in 2009: "Voix De Mythe" (Abgurd) and "Predchuvstvie (Ombre Parties)" (Der Schöne Hjuler-Memorial-Fond). "Voix De Mythe: A new mini-album from this Russian project which album Cold Sea Week released by Abgurd in 2007 got good acknowledgement. The new material is completely acoustic without usage of any musical instruments. Only field recordings and feedback. Everything melts down into electroacoustic drone ambient of live tension." [label info] "Predchuvstvie (Ombre Parties): One 18-minute track created from the field-recordings made somewhere on military objects. Released in a very limited edition of 14 copies by Komissar Hjuler's label Der Schöne-Hjuler-Memorial-Fond. Slowly droning and hissing sound jelly, wrapping the listener with unnoticeable hypnosis."

Artificial Memory Trace -- "Paradox Of Paradox / Interception I" -- 2 CD-R -- €9
2012 Attenuation Circuit, ACR 1019
Over the course of more than two decades, Slavek Kwi aka Artificial Memory Trace has developed a body of work that encompasses live performance, sound installations, music and sound workshops with autistic children, and of course a large number of recordings published by small labels around the globe. This double CD in Attenuation Circuit’s Reissues series makes available again two albums originally published in 2004 that are characteristic for Artificial Memory Trace’s style of electroacoustic music that is characterised by a very elegant use of field recordings. As the project name says, Artificial Memory Trace is always conscious of the fact that field recordings from nature are never natural in themselves, but become artificial in the very process of recording. Thus, even the toads that can be heard on “Paradox of Paradox” are not simply left to speak for themselves or “nature” per se, as in many pieces of “acoustic ecology” recordings. Instead, the recordings are subtly arranged to make an abstract compositional statement. Other sound sources include Christmas carols, a dysfunctional piano, and, on “Interception”, a dialogue of whistles between Kwi and an autistic child. One theme of both albums then seems to be an investigation into the ways that communities of different species, from amphibians to humans, make sense of their condition through sound. Philosophical considerations apart, the musical attractiveness of these works is based on the treatment of the field recordings which always retain just enough crispness to be recognisable as ambient noises, keeping the listener’s ears pricked up trying to find out their possible origins, while at the same time constantly being on the verge of vanishing into singing oceans of frequencies at times reminiscent of the later phases of Alvin Lucier’s “I am sitting in a room”. [press-release]

b°tong -- "Ov Elf And Haarp" -- CD-R -- €7
2010 Attenuation Circuit, ACR 1003
A concept album by Swiss dark ambient/drone legend B°tong which uses the conspiracy theory on the High-Frequency Active Auroral Research project (HAARP) as its basis while simultaneously infusing it with subtle and highly sophisticated artistic irony. Deep electronic drones invoking the echo of enormous rooms and sound collages oscillating between the crackle of polar snow and echo location devices pinging through secret command bases combine to form a soundtrack of subliminally brooding horror while sometimes allowing for surprising lighter moments. These lighter moments include the almost meditative, tonal marimba sound in “Pagan Field Trip” (track 6), which is however replaced by “Stars Right Be Wrong” (track 7) taking the listener straight back into the dark with reverberating whispers and bat-like delay screeches. This album is “cinema for the ears” without the cliche, because reading the liner notes about HAARP, an attempt by the US Navy to turn the aurora borealis in a giant antenna for broadcasting in the ELF (Extremely Low Frequencies), conjures up images from a conspiracy/horror thriller on the subject, which makes it possible to listen to this album as a sort of radio drama (almost) without words. After the respective oeuvres of film composers Graeme Revell (formerly of SPK) and Brian Williams (Lustmord), this album is further testimony to the common ground between “dark” ambient and atmospheric soundtracks. [press-release]

b°tong -- "The Soul Eater" -- CD-R -- €7
2012 Attenuation Circuit, ACR 1020
“The Soul Eater” was originally released on Montreal-based label Gears of Sand in 2011 in a now out-of-print limited edition of 100 copies. After two original releases by Swiss dark-ambient meister B°tong, Attenuation Circuit is pleased to make this highly atmospheric, delicately composed album available again as it is certainly “textbook material” (Frans de Waard) of how to create spine-chillingly dark moods without any self-indulgent wallowing in predictable delay effects. In “Vital Weekly” # 776, Frans de Waard described “The Soul Eater” as “firmly fixed in the field of very dark ambient music, of what was once called Isolationism. Sounds get locked into some circuit and stay there to live a life of their own. A cavernous sound of metallic rumble, spooky voices, animal cries and transmissions intercepted. I think I made the reference to Lustmord before and it still applies to this new release. Utter dark, highly atmospheric and simply very good music. It has a certain menace about it, like waiting for some mass destruction that, thank god, never arrives. Intense music, that doesn't come with a warning: don't play this in the dark on your own.” [press-release]

b°tong -- "Un_B°Tong" -- 3"CD-R -- €5
2011 Attenuation Circuit, ACM 1007
B°tong’s second release on Attenuation Circuit is, as the title suggests, quite atypical for the dark ambient soundscapes the Swedish-Swiss artist is best known for. In six rather short tracks, B°tong explores the sonic possibilities of digital audio manipulation of several sound sources, mainly recorded voices used as sources of pure sound, not linguistic information. The results feel somewhat like an unlikely combination of lowercase electronica and Mille Plateaux-style cuts’n’glitches and updated audio poetry in the tradition of William Burroughs, Brion Gysin, and Henri Chopin. “Un_B°tong” opens up a new direction in the artist’s work while remaining true to the spirit of experimentation with non-musical sounds that has been informing cutting edge music for about a century now, including the original practitioners of “industrial” music that have been inspiring B°tong’s work. Those with ears tuned to today’s rather limited definition of the genre as “dark” music of some sort or other may find the intellectual playfulness of B°tong’s approach on this release too lighthearted, even humorous, considering titles like “Colourful, Comfortable, Weatherproof” or the tongue-in-cheek combination of biblical quotes about the devil with the “subliminal” message “B°tong isst heimlich” (“B°tong eats secretly”) almost hidden in the cover copy. For those interested in truly contemporary audio experiments, however, this crisp little outing has a lot to offer within the space of its 18 minutes. [press-release]

b°tong & BoUm -- "Augenaufschlag" -- CD-R -- €7
2012 Attenuation Circuit, ACR 1023
After the experiments with voices on “Un_B°tong,” the dark ambient composer goes completely vocal on this album (his fourth release on Attenuation Circuit) with his soundscapes providing an atmospheric soundtrack to the prose recited by Swiss writer BoUm. The contrast between the matter-of-fact, evenly paced vocal delivery of the texts and the subtle unease created by the music makes for a suspenseful journey even for listeners unfamiliar with the German language, in which the texts are written. Less bass-heavy and reverbed than previous releases by the artist, getting maximum effect out of small sounds, B°tong’s music on this disc is rather subdued, always aiming to provide a sparse but emotionally engaging vehicle for the images created in the mind of the listener by the speaking voice. As the title “Augenaufschlag” (“blink of an eye”) suggests, BoUm takes his audience through a non-linear series of somewhat surreal scenes and landscapes. Echoes of nightmares, Kafka’s “In the Penal Colony,” and HR Giger paintings combine in strange yet fascinating tableaux. [press-release]

Cat.n.Bone -- "Fly" -- CD-R -- €3
2011 self-released, (ltd. 8)
One track lasting for one hour - absolutely monotonous sound flow, not really agressive yet not really contemplative too. As if some classical music was time-stretched, pitched down anbit and passed through the computer distortion. Artwork - half of jewel-case with several cards depicting flies + author's origami.

Corvuz -- "Invisible Landscapes - Demo 2011" -- CD-R -- €3
2011 self-released
Demo-version of the album "Invisible Landscapes" released with the support of Zhelezobeton label in 2012. The CD version has much better sound, but this demo includes two tracks not present in the final album. Pro-CDR, handmade digipak.

Creation Through Destruction / Black Leather Jesus -- split -- CD -- €10
2012 Terror, TR-14, (ltd. 300)
CD for old-school harsh noise fans. Creation Through Destruction - harsh noise project from Serbia. Alex is perhaps more known for his activity as Dead Body Collection, but this time he provides something more than a wall. Absolutely raw and brute noise. Without any pleasant feedbacks, samples, melodies and so on. Black Leather Jesus - legendary harsh noise project from Texas. This time the band provides strong and harsh material. More than 50 minutes of pure harsh noise in all its beauty. For purists. 8 page booklet. Jewel case. 300 copies. [press-release]

Creation VI -- "s/t" -- CD-R -- €5
2009 Satanarsa Records, STN-052, (ltd. 75)
The debute album of the Ukrainian project with the music in vein of electronic ambient / drone.
[mp3]   [soundcloud]

D'incise -- "Prairie" -- 2 CD-R -- €8
2012 Observatoire, obs * e|myth 038, (ltd. 100)
Swiss-based Peter Laurent (d'incise) offers four lengthy works on this double-disc set, centered around drones and the audible elevation of small sounds. These range from vibrating drum skins to the amplification of "quiet parts" from past concerts (an idea I rather like). This latter is my favorite piece here, yielding a varied range of not-overtly-related sounds and textures that possess a very full feeling, elements jostling around in space, buffeting each other, sliding past one another, chaotic but of a whole. In the notes to the release, he writes, "When it gets boring it becomes interesting" and d'incise abuts that subjective divide now and then. All the tracks are listenable though at times, my attention wandered, which is perhaps fine. I'm guessing that they'd function quite well as traditional (that is, Eno-oriented) ambient music in the sense of subtly causing one to think differently. Hard to say. Listening to the final piece, assembled from "feedbacks, open piano, magnetic glitches, pre-amps, laptop and house noises", one realizes that there's a hell of a lot occurring beneath the apparently simple hum though attempting to focus on it, like looking directly at a faint star in the night sky, often causes the cohesion to disappear. Very interesting work, especially the second disc. Worth checking out for those inclined in this direction. [Brian Olewnick]

Dauby, Yannick / Kojo, Hitoshi / Northam, Michael -- "Korligon" -- CD -- €10
2012 Observatoire, obs * i|myth 041 cd, (ltd. 300)
The act of moving inside of this dimension requires a specific entry point - due to the fragile complication of finding this entry point often gestures are made that seem incidental, haphazard, and or like a clumsy dance. However - these gestures each acquire a particular sense when the non-linear goal is kept in mind... an accumulation of gestures that result in the correct connection to the necessary transducers. As the interface is in constant flux so this technology must transform and adjust at a moments notice. It is the ultimate organic interweaving of intention that creates the impression that the system is on the brink of evaporation - however it is the most fundamental indicator that all is in perfect working order... [Michael Northam]
[mp3]   [mp3]

Ego Death -- "s/t" -- CD-R -- €3
2011 Cat.n.Bone DIY, #4, (ltd. 50)
A collection of various tracks of the Greek project Ego Death, previously unreleased or released on various compilations and splits. In most cases this is primitive monotonous noise of various density and sometimes processed found recordings. Disc is wrapped in an A3 sheet of paper with maniac b/w pictures.

Ego Death / Diable Amoreux -- "Splited" -- CD-R -- €3
2008 Sewer Records, SEWER 022, (ltd. 75)
9 tracks from the depths of human sorrow, nature worship, desperation and sickness for our humanity fading is what DIABLE AMOREUX sent me for this split. I added in the EGO DEATH 100% live and unedited perfomance in the 2008 live with NOVA SAK and UNIT AUF, Athens, Greece, and there you have it. EGO DEATH show a different face here adding live metallophone in their hellish distorted feedback experiments. [label info]

Eiserner Wille -- "Heltir" -- CD-R -- €3
2011 Cat.n.Bone DIY, #6, (ltd. 20)
Primitive digital NS experimental / noise from Greece, all tracks based upon speeches of Adolf Hitler, perverted by the author in different ways: looped small pieces turned into computer noise, simple delay bringing schizophrenic taste to the speeches, delirious piano and bass tunes. B/w cover of A5 format with several thematic inserts.

Emerge -- "Angle" -- 3"CD-R -- €5
2011 Attenuation Circuit, ACM 1003
This 17-minute composition contrasts metallic, bell-like sounds reminiscent of classic electronic music of the 1950s and 1960s with deep, grinding bass frequencies with a certain dark-ambient flavour. EMERGE stays true to his compositional principle of not creating synthetic sounds but using only extremely manipulated field recordings from one single source per piece. In this case, recorded sounds of breathing provided the source material. Throughout the piece, melodic developments struggle to emerge while time and again being contrasted with fragments of small noises. Pauses of almost complete silence also serve a structural role that keeps the sonic process in constant suspense. While the first half of the piece sounds very crisp and transparent, the second half layers more and more bass-heavy sound masses on top of each other, thus invoking the echo of huge rooms and creating the type of brooding atmosphere characteristic of earlier EMERGE releases. But sounds of an increasingly percussive, rhythmic character start to build up a further structural level on top of the bass foundation, so that between the beginning and end of the composition, the roles of the bass and treble sounds are more or less reversed. [press-release]

Emerge -- "Canvas - Live" -- 3"CD-R -- €5
2011 Attenuation Circuit, ACM 1001
This live performance by EMERGE was given in the context of a painting exhibition and creates a dynamic set ranging from metallic percussion, rumbling drones, and sometimes sursprisingly groovy loops. All sounds are created from sampled noises made by paintbrushes and other painting tools. The live performance was recorded on the finishing night of the exhibition „hörbar in Farbe“ (‚audible in colour’). The CD accompanying the exhibition, also released by Attenuation Circuit (ACS 1001), contains a studio version of “Canvas”. Although the live improvisation uses sounds from the same source as the studio recording – sounds created by one of the exhibiting painters using brushes, glasses, canvas, cardboard, and other materials –, the two versions are very different in terms of their compositional structure and sonic textures because the samples were treated to a wide range of live manipulations in performance. [press-release]

Emerge -- "Contrition" -- 3"CD-R -- €5
2011 Attenuation Circuit, ACM 1004
On the two 10-minute pieces that make up this release, EMERGE uses samples from bass guitar (track 1) and prepared electric guitar (track 2) to create reverberating sonic environments that combine his characteristic dark drones with chords and melodic fragments that lend these compositions an unusually warm, acoustic sound. EMERGE aka Sascha Stadlmeier is the founder and curator of the Attenuation Circuit label. Underlining the label’s collaborative spirit, EMERGE has invited label artists Eazy and Gerhard Zander, with whom he also collaborates in live improvisations (see “Betrachtung”, ACC 1001), to contribute snippets of their playing the bass guitar and prepared electric guitar. While most of EMERGE’s earlier works process their source materials way beyond any possibility of recognition, the two compositions on this disc are markedly different. Not only does the processing sometimes enhance the acoustic, analogue, and rather delicate feel of the source instruments, instead of sculpting the source materials into massive, bass-heavy blocks of sound. What also adds a new dimension to EMERGE’s catalogue of austere, abstract dronescapes is the fact that the two pieces, especially track 2, use a varied palette of seemingly rather referential sounds, conjuring up associations that range from the zoomorphic to the oriental. [press-release]

Emerge -- "Declension" -- 3"CD-R -- €5
2012 Attenuation Circuit, ACM 1010
In this composition, EMERGE combines his hallmark metallic and aquatic sounds with drone textures that are unusually close to the original sounds of his source material – in this case, two electric bass guitars played with effects pedals by Attenuation Circuit recording artists Deep. The result sounds less like musique concrete than most other EMERGE releases, but has a rather harmonic, yet doom-like quality. Despite the droning textures that hold the piece together, the composition sounds not at all blurred, but remarkably transparent, with each layer of sounds clearly differentiated from one another. From seismic subsonic bass tremors to rhythmic loops that at times almost suggest (or mock?) a danceable beat, however briefly, this recording is probably EMERGE’s most accessible to date, even for listeners more familiar with rock or metal formats than experimental sound art. Thus, this very varied 17-minute composition makes a good introduction to the work of the prolific artist. [press-release]

Emerge -- "Divisible / Fission-Processed / Evaluation" -- 2 CD-R -- €9
2011 Attenuation Circuit, ACR 1007
Attenuation Circuit’s Reissues Series provides the possibility to make available again the first releases by label founder Sascha Stadlmeier. The third instalment of a trilogy with completely new cover art is this double album collecting various compositions released by his project EMERGE in 2004. The nine tracks that make up “Divisible” extract sheets of sound with a granular synthesis feel from purely acoustic found sounds, a method pioneered in Stadlmeier’s previous work under the moniker Dependenz. “Divisible” has some rather rhythmic moments, with beats looped out of barely recognisable ambient noise footage that evokes, at different points, construction sites or foghorns, and couched into the textures distilled from the very same source material. The nine pieces offer a rich variety of ‘found rhythms’ sometimes reminiscent of a harsh noise version of Einstürzende Neubauten and sometimes of a more abstract lo-fi version of the Hafler Trio or certain Zoviet France recordings. “Fission – processed” is a darker, more drone-oriented reworking of “Fission”, a track from the “Divisible” album. Originally an individual release, it is now available for the first time for direct comparison with the first version. “Evaluation” expands the methodology explored on “Fission – processed” and other early to mid-2000s recordings by EMERGE, namely his single for Drone Records: source sounds are reverberated and time-stretched to rid them of their original rhythmic structure, thus creating aqueous, cavernous soundscapes that seem to be aimed at suspending the quotidian temporality in favour of a slower, more open experience of time. An offhand label like “Dark Ambient” will not do justice to the psychedelic qualities inherent in this music. [press-release]

Emerge & Don Vomp feat. Zanstones -- "Live At Avantgarde Festival" -- CD-R -- €7
2012 Attenuation Circuit, ACС 1008
For this collaborative live improvisation with violinist DON VOMP, composer EMERGE departed from his usual principle of using only source sounds created by his current collaborator. Here, diaphanous sounds based on the violin, but also on synthesised sounds by elektrojudas, combine with DON VOMP’s shrieking live violin playing and sound effects created on an electric guitar by EMERGE himself. During the set, they are joined by fellow festival act Zanstones for an impromptu vocal + smartphone noises performance whose calm tenderness perfectly matches the cool, sometimes manic, sometimes comtemplative, yet always tensely focused feel of the instrumental performance. This release, recorded at one of Germany’s most important festivals for non-academic experimental music, curated by former Faust member Jean-Herve Peron and regularly featuring the likes of Nurse with Wound, is a perfect document of the 80s tape ethos and the current electroacoustic improvisation underground inspiring one another in a live situation, Zanstones being one of the current artistic incarnations of Zan Hoffman, whose influential tape work as KRYNGE from 1987/88 is currently being rereleased by Attenuation Circuit. [press-release]

GaldrareyniR -- "Gal anda vidR" -- CD-R -- €5
2012 self-released
Young Russian project "inspired by old nordic mythology, traditional poetry and esoteric practices of ancient north... " Dark ritual ambient, 6 tracks and about 50 minutes filled with the sounds of shaman's drum, pipes, mouth harp, mysterious incantations, incomprehensible and indefinite noises. Technically the quality of recording isn't that high, but the atmosphere doesn't become weaker, on the contrary, with this kind of monolithic sound material this only adds some true liveness and rawness, this even resembles some kind of chtonic interpretation of the music from Finnish label Aural Hypnox. The last track with its crazy exorcist samples only adds a couple od drops of insanity to the overall gloomy picture.

Hamnskifte -- "Fodzlepijnan" -- CD -- €10
2012 Myrkr, 1-2012, (ltd. 1000)
Black Metal | Folk | Drone Doom | Ambient. First record from a mysterious Swedish duo, whose sound is inspired by, according to the band themselves, Burzum, Earth, Skepticism, Nortt and Trollmann Av Ildtoppberg. But imagine those influences channeled into something more medieval sounding, and WAY more post rocky, a sort of droning medieval slowcore laid beneath softly buzzing metallic rumble and shimmer, and you'll get an idea of Hamnskifte's sound. This is drone and ultimately slow meditative Black Metal with hypnotic medieval folk melodies recorded with guitars, drums, bass, organ, bodhran drum, bells and some self-invented percussion instruments. Originally released to the world in the spring of 2010 by, now-defunct, American label Starlight Temple Society, as a limited edition of 125 copies. [label info]

Lull -- "Moments" -- CD -- €10
1998 Release Entertainment, RR 6403-2
Mick Harris ebbs, flows, drifts, and drones through 67 minutes of diverse ambient soundscapes. Comprised of 99 sections digitally edited to form one continuous masterpiece... [label info]

Lunar Abyss -- "Sledy" -- CD-R -- €8
2012 Biosonar^Labirint, 021, (ltd. 23)
Three tracks, not included in various releases because of their otherness of mood and the excess of material that haven't been released later. Each time preparing a new release there was a lot of unused material, embodied in live recordings and collaborative works, these tracks were saved in "sledy" (rus. "traces") folder. One of the tracks was not included in "Cosmologamma" CD, one prepared for "Tuntury" CD, and the last one - from the forthcoming CD "Atimudra". Each track has it's own complete inner story and may be called a piece. Cardboard handmade cover in the style of recent releases. [label info]

Lunde, Eric -- "Suites For Solo Analog Cassette Recorders" -- CD-R -- €7
2002/2010 TraitMediaWorks
Originally released in 2002 as a double-CDR in wooden box, this is a reissue of the 2nd CDR, containing two 30-minute tracks featuring Sony TCM-858 and Fostex F-14 Four Track cassette recorders put in a sound-proof box and recording themselves with a condenser mic attached to their housings.

Mieville, Emmanuel -- "Buddha - Anima - Asia" -- CD -- €9
2012 Observatoire, obs * e|tradition 037, (ltd. 300)
Introducing the new solo work of Emmanuel Mieville. The album Buddha - Anima - Asia plunges us into the impact of Asian Buddhist Traditions. Four field recordings made in Malaysia, Taiwan and Nepal. The first track is Buddhist chanting by nuns recorded in Copan, Nepal. The second track is sounds from Hindu Ceremony recorded in Kuala Lampur, Malaysia. The third and fourth tracks are composed with sounds from Taiwan, track 3 is from Taoist ceremony dedicated to the japanese godess Matsu. Track 4 is funeral song for a young man deceased. Four long songs perfectly combine this mastery of style and electro field recordings with varying degrees of processing. Very bright and surprising effect of full presence in the development of sacred actions, sometimes electro-wave helping to complete detachment from the thought process and analysis of the soundtrack ... Absolutely excellent 'immersing' work! [label info]

Mystified -- "Coming Days" -- CD-R -- €7
2011 Attenuation Circuit, ACR 1003
"Coming Days" is a set of drone pieces made from acoustic sources such as the trombone, overtone flute and pan pipe. The pieces are dark and moody, with titles such as “What is Inevitable” or “The Shock of Coming Days” hinting at the composer’s intention to musically render the fear of apocalypse present in media coverage of current crises. The sound of the release bears resemblances to the work of drone artists such as Tim Hecker, due largely to the acoustic source material. US-based Mystified is an experienced multi-genre project run by Thomas Park. Mystified has been actively recording since 2002. Mystified’s many releases cover a range of styles such as phonography, drone, and noise, among others. Collaboration projects include joint work with Rapoon, aka Robin Storey, and Nigel Ayers of Nocturnal Emissions. [press-release]

Mystified -- "Life Is A Carnival" -- CD-R -- €7
2012 Attenuation Circuit, ACR 1016
In his ongoing search for new sound sources to cull lush overtone-drones from, Mystified has come up with what the artist calls “carnival instruments” for this album, his second on Attenuation Circuit after “Coming Days.” The tracks do not sound particularly carnivalesque in themselves, but rather soothing. The drones flow rather than pulsate, and the mood is possibly more uplifting than on the doom-themed previous album, which makes the album a perfect ambience for recovering from carnivalesque revelry on the day after going to the carnival. Although it is impossible to gather from the drone compositions which instruments Mystified used, a title like “Hohnorable Drone” gives some indication that a Hohner harmonica may have been involved. The point Mystified seems to be making through his choice of instruments, though, is that the drone is inherent in all sounds and just needs to be freed. And, on a more pragmatic level, that the pleasures of making digitally enhanced drone music can be shared rather democratically because it neither requires classical instruments nor highly trained performers as source material. Some cheap carnival toys might do just as well and still yield beautiful results, as in the case of this album. [press-release]

Nochnoy Prospekt -- "Asbastos" -- CD -- €10
1989/2008 Geometriya, GEO 016 CD
The first album that was recorded by the pioneers of native electro-industial music after one of the founders, a multi-instrumentalist Ivan Sokolovskiy, had left the group in 1989. Under the guidance of another leader, Alexey Borisov, the Nochnoy Prospekt group continues in a new way the post-industrial aesthetics of the previous and classic for the group album "Acids" with its gloomy and absurd lyrics. The track-list of the album, which was first published in vinyl in 1989 by the "SNC Records" label, here is completed by some compositions that weren't added to the album but range to the same cycle. The package is the "ecopack" that is popular abroad but rare in Russia. [label info]

Nochnoy Prospekt -- "Sugar" -- CD -- €10
1990/2008 Geometriya, GEO 017 CD
The second album that was recorded by Nochnoy Prospekt after Ivan Sokolovskiy had left the group - immediately ater "Asbastos", in 1990. Although "Sugar" is made in the same "post-industrial" way as the albums of the end of the 80's were, it differs from them by it's more live "rockers" sound with some elements of funk. Earlier this album came out only in small circulation on the local Swedish label "Accelerating Blue fish" and became a rarity for the worldly-wise music lovers long ago. This edition is completed by some unique concert records, which were made in 1989 in Sweden during the promo-tour. The package is the same as the package of "Asbastos", it's the ecopack, which is popular abroad. [label info]

Nocturnal Emissions -- "Compost" -- CD-R -- €7
2012 Attenuation Circuit, ACC 1007
Nocturnal Emissions have been exploring the uncharted no man’s land between experimental sound performance, pop music, and spoken word poetry for over 30 years. This live recording of a Nocturnal Emissions show in November 2011 is proof of the fact that they’re still constantly evolving. Deceptively bucolic ambient soundscapes give way to darker undercurrents in the bass. The 45-minute set is characterised by subtle, almost imperceptible transformations, when a subdued pulsing that began as a flanged synthesizer chord suddenly turns out to be an actual beat that one could - well, not dance, possibly, but tap one’s foot to. “Compost” manages the feat that the music appears to be rather calm, never aggressive in any way, but leaves you with a mounting sense of tension that you cannot quite put your finger on. As if there is something going on in darker corners of the music, your brain, or whatever – exciting to listen to. „Compost“ was recorded on 17 November, 2011 at Die Ganze Bäckerei in Augsburg, Germany. Organised by Attenuation Circuit, the concert featured a performance by Nigel Ayers, the remaining founding member of Nocturnal Emissions. While most of Nocturnal Emissions’ previous releases can be found on www.earthlydelights.co.uk, this album offers a glimpse of the current state of Nigel’s work as an electronic composer and solo performer. [press-release]

PBK -- "Descent" -- CD-R -- €7
2012 Attenuation Circuit, ACR 1024
Among the artists from the late-80s experimental tape underground who inspired the music of EMERGE and the founding of Attenuation Circuit, PBK is one of the most important. Therefore, we are extremely proud to present in a digital format for the first time his first solo release “Descent” from 1988, which the artist aptly describes as “dramatic atmospheric space-drone with plenty of analog synthesizer, via Dave Prescott, who once ran the Generations Unlimited label, releasing works by Conrad Schnitzler, Morphogenesis, etc. Prescott owned one of the largest modular synths ever assembled and puts it to striking use on this tape. Combined with PBK's Moogs, loops and drones, and howls of anguish provided by the irrepressible Minoy, all echoing around in the strange space of a Radio Shack mixer's spring reverb.” “Minoy’s bedroom isolationist approach produced something that seemed otherworldly, spiritual and more like paintings, which was my own background. I took Minoy’s approach as my own model,” PBK says about their late-80s collaborations. This eminently emotional yet perfectly poised masterpiece of “noise ambient”, as PBK came to call his approach to music, is stunning proof that the international tape underground brought forth truly new sounds in electronics that are second to nothing but the most revered academic work by the likes of Stockhausen or Xenakis, and certainly opened up these ways of exploration to larger numbers of people. As fellow composer and Sound of Pigs tape label activist Al Margolis/If, Bwana says about the late Minoy (1951 – 2010): “i heard Minoy’s work before i had ever heard Stockhausen’s Hymnen – so that my take on hearing Hymnen was that it fit in this continuum …not the other way around!!!” [press-release]

Slepaya Elan' -- "Neizbezhnost" -- CD -- €6
2010 Nihil Art Records, NAR 006, (ltd. 500)
Slepaya Elan’ (Blind Elan’) (marsh covered with grass) – Russian project from Moscow region, uniting in itself influence of Drone & Industrial Dark Ambient. The conception and sense of album is seclusion, solitude, contemplation of nature, almost untouched or changed by civilization, cognition of surrounding and your own inner world. Sounds of lively highway and noise of forest, chaotic thunder of railway and rustle of rain withdraw into pouring, smoothly flowing drone. Grinding sound and ring are changed by almost not heard beating, silence of hot summer midday, abrasive noise gradually come into clear deep melodies… [label info]

Sustained Development -- "Water" -- 3"CD-R -- €5
2012 Attenuation Circuit, ACM 1011
Sustained Development’s debut album (AC 1001) combined analogue drones with field recordings. The four tracks on this new release are exclusively generated from field recordings and found sounds with the exception of a bass guitar fragment. Like labelmate EMERGE, Sustained Development have restricted the choice of source sounds to water in its different aggregate states. The move from “Liquid” to “Solid” (based on water and snow sounds) and then to “Aeriform” (with sounds based on water and hissing gas) is not only reflected in the material, but also in the way it is treated. While the first track uses largely untreated field recordings, the following two proceed towards increasing degrees of abstraction, with layers of tones derived from the basic sounds. The coda “Scarce & Polluted” confronts the sound of a dripping tap with the “impure” sound of a bass guitar. In contrast to much concept-based phonography, this release works well not only on an anecdotal level, but as a musical experience thanks to wide variety of textures derived from the material. [press-release]

Zander, Gerhard -- "Buddha Machines" -- 3"CD-R -- €5
2011 Attenuation Circuit, ACM 1002
The loops on the Buddha Machines by American-Chinese duo FM3 serve as the only source materials for the tracks of Gerhard Zander’s mini-album. Reverberated sounds of the classical Chinese zither-type instrument gu qin, arpeggiated piano chords, ambient electronic harmonies, distant radio voices, and warm, pulsating percussion create a relaxed but never somnolent atmosphere of serene clarity. With the release of the first Buddha Machine, American-Chinese experimental duo FM3 (Christiaan Virant and Zhang Jian) introduced a new format to the world of music. A battery-operated plastic box with a sound chip and loudspeaker inside, the Buddha Machine is a hybrid between a recording medium (containing quiet ambient loops by FM3) and a musical instrument. FM3 offer up the material recorded onto the Buddha Machine to creative transformation by every user. Gerhard Zander has taken up their offer and has composed 7 tracks based exclusively on the loops of various Buddha Machines (the three regular product generations, plus the limited edition „Zhang Short-Wave of Bengal Bay“). Although “Buddha Machines” is a solo release by Gerhard Zander, the use of the loops produced by FM3 places the mini-album within a global musical dialogue. The listening experience is enhanced by the differentiated quality of the recordings, with the Buddha Machines having been recorded through their loudspeakers, the line exit, and the loops which can be downloaded from the FM3 website. [press-release]

V/A -- "Archaic Variations - Localization" -- CD -- €9
2012 Observatoire, obs * v/a 040 cd, (ltd. 300)
International compilation of author's archaic vision and real lo-fi aesthetics: Emmanuel Mieville, Richard Garet, Takanobu Hoshino, Chris Whitehead, Zero Centigrade, Jim Haynes, Radioson, Gregory Büttner, Ben Owen, Francisco Meirino, Dasein. [label info]

V/A -- "Avantoscore 2003" -- CD -- €8
2003 Avanto Recordings, AAAAA-2003
On the eve of the festival Avanto releases its traditional monumental compilation CD, with contributions from all the live performers at the festival, as well as excerpts from the soundtracks of the film programme: FM Einheit/Jon Caffery/Alexander v. Borsig, Mika Vainio, Curd Duca, Pekka Airaksinen, Radian, Dubbing Mixers, Helsingin tietokoneorkesteri, Mira Calix, Ultra-red + Kanak Attak, Kari Peitsamo, Ibrahim Terzic, Terre Thaemlitz, Simon Wickham-Smith, Leif Elggren, Staalplaat Soundsystem, Emi Maeda and KK Null. [label info]

V/A -- "Idioscapes" -- CD -- €8
2007 Idiosyncratics, idcd 001, (ltd. 1000)
Compilation featuring Janek Schaefer, Keith Fullerton Whitman, Critikal, Rapoon, KK Null, Charlemagne Palestine, Steffen Basho-Junghans, Sйbastien Roux, Troum, Eve and the Sickness, Jazkamer, Daniel Menche, Idiosyncrasia. "Drone paradise" (Lasse Marhaug). "An excellent compilation, assembled with taste and care - may it be the first release of a long series" (Chain DLK).

V/A -- "Impedance" -- CD-R -- €5
2012 Attenuation Circuit, ACS 1003
After its first full year of operation, Attenuation Circuit assembled an album of both drones and rhythms, soundscapes and noises in early 2012. Like a good DJ set, the combination of these 14 previously unreleased tracks can be heard as a musical statement in its own right. But it also gives newcomers a good introduction of what Attenuation Circuit releases have sounded like in 2011 and may sound like in the future, because it brings together artists already on the label (some with several releases) and others who have releases forthcoming. Completely new additions to the Attenuation Circuit roster introduced for the first time on this album are Niku Senpuki and Yield, while Here Be Monsters is a recent project by Zan Hoffman, whose late-80s work as Krynge is being rereleased by Attenuation Circuit. The other contributors, familiar to those who have been following AC’s releases, are Deep, Doc Wör Mirran, Mystified, Aalfang mit Pferdekopf (aka Mirko Uhlig), Esa Ruoho (aka Lackluster), Elektrojudas, B°tong, Artificial Memory Trace, Orifice, Sustained Development (aka Gerald Fiebig), and label boss Sascha Stadlmeier’s own EMERGE. [press-release]


Concrete Violin -- "Anthropogenic" -- C-20 -- €5
2010 Axis Mundi, (ltd. 50)
Relentless harsh noise recorded live in the studio. Pro-duplicated, cassette with printing on shells, 2nd pressing. [label info]

Pollutive Static -- "God Melted The Machines" -- C-20 -- €5
2012 Axis Mundi, (ltd. 50)
Cold, grim death industrial by Hal Hutchinson. Pro-pressed with printed-on shells, 2nd pressing. [label info]

Pustota -- "Avtopopusk" -- C-60 -- €5
2012 Biosonar^Lo-End, 020, (ltd. 5)
Multi-layered noise flow of magnetic and electromagnetic origin tied up in one tight sling by the tube cascade of the reel-to-reel recorder "Kometa-M". Ultra-limited edition and DIY-fetish artwork in a cardboard box. [label info]

Radiostalking -- "Field Events" -- C-60 -- €5
2012 Biosonar^Lo-End, 021, (ltd. 5)
Two static radionoise pieces recorded with the use of three radio receivers through the mixing desk. Streaming abrasive radionoise partly manipulated by electromagnetic interference, the infinite depths of "buzzing nowhere". Ultra-limited edition and DIY-fetish artwork in a cardboard box. [label info]

Radiostalking -- "Krona" -- C-60 -- €5
2012 Biosonar^Lo-End, 022, (ltd. 9)
Meditative twisting knobs of radio-receiving apparatus on the frequencies free from broadcasting, a slumber of swirling noises, processing of soundwaves, modulation and repetitions. Melancholic insight of the radionoise matter, terminal states of mind, a reflection of possible reality on a thin tape. Among the tracks, two pieces are dedicated to the battery cells of "Krona" type (9 volt, PP3) - the significant energy source for the process of radio sound extractions. Ultra-limited edition and DIY-fetish artwork in a cardboard box. [label info]

Frea market

Ambiansu - Tagebuch - CD - €2.50
Ataraxia - Lost Atlantis - CD - €9.90
Ataraxia - Suenos - CD - €9.90
Aube - Blau / Rot - 7" - €4.20
Bashnya Ledyanyh Voronov - s/t - CDR - €2.50
Cyber Baphomet - Directory "Human" Delete - CD - €2.50
Das Synthetische Mischgewebe - Le Vide Pour Appui - CD - €11.20
Ego Death - Thanatos Athanatos - CDR - €2.50
Lull - Continue - CD - €6.20
Never Known - Twilight's Last Gleaming - CD - €7.40
Norma Reaktsii - Vril - CDR - €2.50
Norma Reaktsii / Ruuhi - split - 3"CDR - €2.50
Oophoi - Hymns to a Silent Sky - CD - €9.90
Propeller - Rame - CD - €7.40
Rapoon - In This World - LP + CD + DVD BOX - €74.40
Riverside - Mistress Night, Ego of Dreams and Explanation of World - CDR - €2.50
Sick Seed - The Great Corrupter - CD - €6.20
Siratori, Kenji - Dead Goat - CDR - €2.50
STROM.ec - Neural Architect - CD - €7.40
STROM.ec - The Manual Of Diagnosis - CD - €7.40
V/A - In Memory Of Miguel Serrano (Fanum, B-Machina, Parchim, Ryr, Hrossharsgrani, Norma Reaktsii, Tchernoblyad, F.k.fx, Akpan, Dasein, Yav', Orchid, Sieg, Luten', Lebensessenz, Zona Molchaniya) - CDR - €2.50
V/A - World End Broadcasting (Moral Fraktal, 2nd Satellite Left, Crossbred, Monokontrast, Gelsomina, Flutwacht, Sindrome, Monument Westwall) - CD - €6.20

Don't forget to check the full list of rare & used items with all details, it's here.

IV. Back in stock

Adr-va -- "Pigment...#1" -- 3"CD-R -- €7
2012 Rostov Vox, cdr01, (ltd. 10)
Individual audio lo-fi series, part 1 - "Chatte". Manipulations with ochra, sand, terracota... and other materials and processing... Only 10 copies, each containing a photo card from the author. [label info]

Adr-va -- "Pigment...#2" -- 3"CD-R -- €7
2012 Rostov Vox, cdr02, (ltd. 10)
Individual audio lo-fi series, part 2 - "Chatte - Reverse". Manipulations with ochra, sand, terracota... and other materials and processing... Only 10 copies, each containing a photo card from the author. [label info]

Aube -- "Ambera Planeta Wawar" -- CD -- €10
2007 Autarkeia, acd 025
AUBE Ambera Planeta Wawar goldenCD was the first bootleg issued by AUTARKEIA label. However, after the author Akifumi Nakajima apologised to us for his "negligence“, the misunderstandings between AUTARKEIA and Akifumi were cleared out. In the meantime after the author recognised the bootleg, AUBE Ambera Planeta Wawar goldenCD has acquired a new status. This publication has become an official release of the project, while its previous concept (that of a bootleg) became meaningless. The exclusive record by the Japanese genius is based on excellent psychedelic ambient and the collages of extreme, structural noise music. The release is sold in an elegant digipack, which is probably the first in AUBE history. [press-release]
[mp3]   [mp3]   [mp3]

Borisov, Alexei -- "Multiviza" -- CD -- €10
2007 Laton, Laton 046
Anthology of live recordings of Alexei Borisov, following after the similar F.R.U.I.T.S. CD released two years ago, appears to be the essential thing. Well, everybody know that his live sets are very different from the studio-albums, but it's just the way the things should be because his albums are usually devoted to something that can't be represented live, even if there is no real technical problems exists. The geography of touring shedules is impressive, but one can wonder if his music can fit in such a different kind of concerts and audiences. Just have a look through the list: Mutek (Montreal), Sonar (Barcelona) and BuduArt (Tomsk). There are more noisy, harsh and unstructured pieces reminding the installations of Achim Wollscheid or kitschy glitch from Mego and Raster-Noton series in the same time, suddenly dissolved into haunting guitar improvisations, warped by unarticulated mumbling and fastened by broken beat collages. Is it possible to imagine within the same track? Well, there will be always good to hear overloaded blasts of ultra-frequencies, so you will not get bored definitely! For those of you who just like me were leaving the concert with a sense of pity for absence the album-versions, now is the time to take over. Perfectly balanced and carefully selected, this is the best ever Borisov's album. [Dmitry Vasilyev, Independent Electronic Music]

Donis -- "Vacuum" -- CD -- €10
2004 Autarkeia, acd 003, (ltd. 499)
This is not the latest Donis' record. It was recorded in 1997, when Lithuania was still in deepest electronic music crisis. "Vacuum" had waited seven years for his real live in personal Donis' archive. The album consists of only one long track, that could be ascribed to "ambient' stylistics. Though the sound of album proposes feeling of dark emptiness, it can not be described as "dark ambient". By it's influence "Vacuum" reminds "Coil's" ambient works that take you to the psychedelic trip. Extremely low generator vibration in record doesn't allow the feeling that you're high in the mountains to go out. The air is being crossed by toneless and icy sound, music motives are deep and sharp. Every stream of sound will work out as if you, the listener, are in a trip of deep emptiness. [press-release]

F.R.U.I.T.S. -- "Forbidden Beat" -- CD -- €10
2004 Laton, Laton 029
This is a seminal band of Alexei Borisov and Pavel Jagun, exploring their particular interest in rhythmical music. But, even being very dynamic and nimble by its nature, they can't be considered as dance music. I would be agree with those who bring it up to the more accessible version of Borisov solo works, which is now located completely in experimental/noise domain. FRUITS was founded more than 10 years ago but I still had no chance to grab their records, knowing them only due to frequent and regular appearance in various concerts and festivals. This album, shortly released by the Austrian label Laton, compiled from live gigs material recorded between 1992 and 2003. A kind of live anthology which consists of nostalgic "Industrial gatherings" in Moscow, but also recent performances in Paris and "Avanto" festival in Helsinki. Very heterogeneous album, starting from the square beat and minimal/electro arrangements, then the mood is going to be softer and deliberated, drawing us to the melodious ambient. But the atmosphere is uneasy, raw and noisy outbursts comes back from behind, like the seething magma - it reminds me the spacious feeling in the beginning of Mono No Aware "Kitanai Yatsu" album, released by Hands. But as soon as this melodic component disappears, you can see the vast of electronic dissonances and effects, sheer and shivering noises seems to be a barrier for sludgy and breaking beat. [Dmitry Vasilyev, Independent Electronic Music]

Government Alpha vs .nyctalops. –- "Into The Stupor" -- CD -- €8
2012 Sickcore, SC24, (ltd. 250)
Psychedelic Harsh Noise split from Tokyo, Japan and Andreevka, Russia. Glossy digipak with collages made by Yasutoshi Yoshida.

Hag-Hag-Hagal -- "s/t" -- CD -- €5
2008 Valgriind, VG 12
Experimental ambient from little known Russian project. Sometimes noisy, sometimes melodic, but in general sounding like a constant "conscious flow" without interference of rational thought, which resembles Bardoseneticcube. A very good sound quality & nice varied atmosphere. 1st edition in jewel-case.

Jarl -- "Akatisi / Somnolens" -- CD -- €10
2005 Tantric Harmonies, TANTRA X21, (ltd. 499)
Solo release of Erik Jarl - one half of Swedish power-electronic duet IRM. Static sound fields and repetative patterns somewhere between dark ambient and noise, smooth pleasant timbres, calm atmosphere. Mastered by Peter Andersson.

Kromeshna / Light Collapse -- "Hton" -- CD-R -- €7
2008 Spermodeath Records, SD-03
Ritual harsh ambient, death industrial. Rituals of earth and hardly discernible faceprints... neither cold nor warmth. A crossing of two guiding forces under the soil... Coming back through fingers... [label info]

Kurbonsho -- "Vahan Songs" -- CD -- €10
2011 Chernaya Zemlya, CHZ:a, (ltd. 700)
The disc contains unique ethnographic field recordings made by Andrey Komarov (Vishudha Kali), during an expedition to the Pamirs in 2004. One of the goals of this expedition was to study the musical traditions of the Pamir highlands. Here he discovered the most outstanding poet and musician, Kurbonsho. The village in which he lived is a wild place on Vakhania (Afghan gap) with no electricity and extremely difficult access. Although local residents claimed that he was unlikely to agree to sing, Andrey still managed to record his primordial folklore music, which is represented on this disc. Kurbonsho died in 2008. Beautiful lyrical melodies (sung in Devanagari) with smooth transitions and flowing vocals - the music is clear and unprepared for the European organic ear. Ltd x 700 copies in a 20-page A5 digibook. [label info]

Maldur Atai -- "Verger" -- CD -- €10
2011 Autarkeia, acd 060, (ltd. 300)
History is falsified. Facts are fiercely distorted, while the reasons for that are hidden with even more ferocity. A powerful network of a secret organisation creates phantasmagorical projection that has nothing to do with reality. Official explanations for the millions of people killed during the Second World War and the official causes of this war smack of absolute farce, while the political leaders have never existed in the first place. These were new generation 4D holograms. The actual war causes are concealed by a formidable conspiracy and lie in the pre-Buddhist epoch, the history of Maldur Atai puzzle. Although concealed so vigorously, the true causes of the Second World War and all other wars have been far from economic or political. They have to do with religion, the old Maldur Atai cult and the anticipated second Resurrection. According to the conspiracy, those building the falsified hologram of the world do everything to prevent the prophesy from happening and the ancient cult from returning as predicted. They do not want the truth to be disclosed. They seek the reference and the element containing the encoded signs of its Revelation. It is suspected that the main obstruction of time machines and projector of holograms is hidden in deep labyrinths under one of the small countries that has been responsible for the Crusades of the ancient times as well as all invasive wars. Indeed strange events took place on the threshold of the Second World War, the bloodiest war in human history. A secret leader has rallied all his agents and they have performed some kind of special ritual, the purpose of which is not known until today. A number of signs were seen and then the war raged with lethal outcomes. The truth remained hidden. What does the leader conceal from us? And, after all, who is he? What will his next ritual bring forth? The rebirth of Maldur Atai cult or the Third World War? MALDUR ATAI’s album Verger is exactly about all of this. [press-release]

Maldur Atai -- "Vermin" -- CD -- €10
2010 Autarkeia, acd 049, (ltd. 300)
Vermin is the second full album coming from the industrial/ambient project Maldur Atai. The subject-matter of this album is the arcane supernatural world that is sometimes accidentally opened by unawares people. They summon demons they cannot control later. Vermin is a contact with otherworldly powers with unpredictable aftermath, the word about which will spread for ages. It is an album testifying the outburst of aggression destroying safe existence. This is one of the gloomiest and most persuasive albums released recently. The atmosphere of the tracks varies greatly, yet they have one common impact: they make your hair rise. Languorous, ominous and full of longing sounds turn into devouring mentally disturbed elements. Rich sample library was used for the composition of the album. The layout of samples in the sonic fabric is not accidental. The place of each sample is meticulously chosen and well-thought, so the album seems incomposite and involving. Vermin is the invasion of powerful and especially malicious demons into the everyday life upon the accidental uttering of the forbidden mantra. Do not forget to make the circle in chalk, the vermin knock on you door. [press-release]

McKaras -- "Right To Stay Bestial!" -- CD -- €10
2008 Autarkeia, acd 032
The tracks of the album Right to Stay Bestial! have been recorded at least thirteen years ago. It travelled through the hands of lovers of dark electronics, among the Lithuanian underground people, in the form of a re-recorded CRD. Everyone admired depressing atmosphere, spite and sterile aggression of this disc. Today, the album author McKaras (McWAR) newly interpreted the old tracks, complemented them with a number of various samples and produced a new master. The results is an esp. fine, newly sounding album, the style of which can hardly be defined. Some may think it is hard techno, yet dancing is hardly possible to this rhythmic music. Gloomy atmosphere, aggressive rhythms, psychedelic loops will push the audience into heavy criminal and politically incorrect mood. The album is ideally suited for listening in the car driven towards criminal purposes. However, bear in mind the punishment, will you? Mckaras is to techno as Darkthrone is to black metal perhaps. [press-release]
[mp3]   [mp3]   [mp3]

oro!oro! -- "Prarastos Ziemos" -- CD -- €10
2007 Autarkeia, acd 019, (ltd. 500)
The pioneer of Lithuanian post industrial and the composer of Girnu Giesmes continues his experiments with sonic impact on human mood. After recording one of the most solid ambient albums "ilgesio rubikonai" (rubicons of nostalgia), dedicated to the complex relation of the seeking personality and autumn, Laurynas embarked on the investigation of winter phenomenon. It resulted in the new oro!oro! album prarastos "ziemos providing" the audience with a translucent, modest and refined ambient masterpiece conveying very precisely the deepest aspects of winter: limitless cleanliness, transparency, serenity and the recreation of existence. "prarastos ziemos" album embodies the natural ending of the nature’s cycle, its esoteric aura, while the motifs of looping music generate remarkably fresh and spacious feel that mesmerises, soothes and makes one dream. The music of the album is also special in that no electronic means were used for its recording. Ambient sounds are produced by harmonica, guitar and archaic zither, which lifts the sound quality of oro!oro! into the entirely new aesthetic level. [press-release]
[mp3]   [mp3]

Sable Mouvant -- "Bridge That Leads Nowhere" -- CD -- €10
2006 Autarkeia, acd 012, (ltd. 500)
SABLE MOUVANT is a music project coming from Lithuanian artist GyS. The project may be classified as hypnotic drone ambient. The first album titled Bridge That Leads Nowhere perfectly conveys gloomy, melancholic world where the prevailing trends include reduction, extinction and impalpability. Compositions of Bridge That Leads Nowhere are very slow and solid, their monotonic vibes are the source of a weird hypnotic feeling. Here we have live and pulsatile drone ambient where the track names precisely represent their mood best described as solitude and isolation. SABLE MOUVANT music offers a full dose of Gnostic unknowability, cryptic atmosphere. It is best suited for listening in derelict wastelands, while meditating invisible, elemental and indeed pervading supernatural reality that uncompromisingly regulates the evolution of all worlds known and unknown. The album will please anyone who’s not indifferent to the music of Jarl, Moljebka Pvlse, NWW, Kammarheit. [press-release]
[mp3]   [mp3]   [mp3]

Svasti-Ayanam -- "Sanklesa" -- CD -- €10
2007 Eternal Pride Productions, EPP 010
Svasti-ayanam is Peter Andersson's foray into dark, Tibetan-Nepalese ambience. Andersson is well known for his work as Raison D'etre, Atomine Elektrine etc. In this incarnation, his signature Raison D'etre sound has been modified in an incredibly pronounced, and effective way. Sanklesa is marked by strong tribal rhythms that draw the listener into distant, foreign, ritual soundscapes. Andersson has released a prolific catalogue of music, that includes many CD's, limited vinyl and countless compilation appearances. Album incl. 2 exlusive bonus-tracks. [press-release]

V/A -- "Heliophagia III" -- CD-R -- €7
2009 Heliophagia, HEL004CD, (ltd. 99)
Heliophagia III is coincided with the 2009's winter solstice and dedicated to the dreams, from which we will awake, sooner or later. Three tracks from Sal Solaris, Otzepenevshiye and Nojda. Bonus-track 4 is mixed by Reutoff from sound sources granted by contributors. [label info]
[mp3]   [mp3]   [mp3]

Terror #2 -- zine -- €5
2012 Terror
Terror #2 is out today. Magazine, oriented to noise / power electronics / industrial. Interviews: Martin Bladh (sharing thoughts about IRM, Skin Area, performance art, art in general, sound etc.), Mikko Aspa (huge interview about Special Interests and other magazines, Freak Animal, Grunt, Nicole12, Northern Heritage and many more things), Slogun (USA true crime power electronics legend - answers from back then to what's up now), Sick Seed (one of the greatest from Finland - about imagery, releases, what and why), Dieter Müh (UK industrial veteran - from early days to now - more than 30 years of activity), Barrikad (chat with one of quite a few anarcho-noisers in here - war?), Remlap (Canadian HNW artist - Art As Intent label owner - why the sound should be free and other nuances), Impulsy Stetoskopu (label from Poland - Encyclopedia of Industrial music, DIY releases). Bunch of reviews. 44 a4 pages. Offset printing. English language. [press-release]

Our full mailorder catalogue is available here: http://zhb.radionoise.ru/eng/distro.html

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