Cold Spring recently rereleased this early Trepaneringsritualen tape. (The very first release (“Ritualer, Blot & Botgöring“) has been rereleased on cd by the Rusian label Infinite Fog Productions.) “Veil The World” contains the typical Trepaneringsritualen death industrial sound, but what makes these ‘early’ recordings interesting are the times that the distortion is limited and the sound goes into a more ‘minimal wave’ direction. These less typical elements make “Veil The World” not only interesting for archival reasons, but also shows that Cold Spring made a good choice to rerelease this particular tape.
Links: Trepaneringsritualen, Cold Spring Records
The ‘new’ Idehall is less interesting than the two earlier releases. This could be because Discogs may have only listed “Sol”, “Deep Code” and “Svartkonster”, but the material for this last release may not be the last recorded. According to Beläten: “Awhile back Idehall premiered a bunch of new tracks at Repartiseraren. We can now offer these, as well as a handful or remixes of older material for digital purchase.” Besides the Bandcamp release, there are also 23 physical copies.
“Svartkonster” is more noisy and more industrial than the sound that I knew of Idehall. Other tracks are more ambient and by the use of vocals they remind me somewhat of Coph Nia. Things get interesting when the more ritualistic approach bubbles up. If this material indeed predates “Sol”, this is a nice archival release showing the development of this extremely interesting project. If the material is from between “Sol” and “Deep Code” it is a still enjoyable release, but still the least of the three.
Since Idehall’s music is some of the best that I heard of late, I suggest you to just get “Svartkonster” because even while the other releaes are better, “Svartkonster” is still very good!
Links: Michael Idehall, Beläten
The new Tanz Ohne Musik seems to be a small step back to the synthpop / minimal wave sound of earlier releases and away from the Galakhorrö angstpop. A small step though. Like on “Between Our Body Shapes” there are still heavy Galakthorrö influences, but Tanz Ohne Musik seems to be working more towards their own sound; an interesting sound! Most tracks have a slow, analogue sound with typical vocals. Some tracks tend more towards minimal wave, other more towards angstpop, but most are somewhere in between. Recommended!
Links: Tanz Ohne Musik, Red Cavity Records
In the summer of 2013 I visited a Dutch festival and in some cd stand my eyes fell on two volumes of a compilation called “Death # Disco”. To my surprise I recognised several band- and project-names, but in my head they were from different scenes. Death # Disco is a disco evening in Berlin where they play a variety of music. Old fashioned gothic/wave, more contemporary wave of the “minimal wave” genre, but also shoegaze (that apparently is called “ghost wave” sometimes). The same can be said about the compilations and volume IV is no exception. New this time is that IV is a double cd.
The compilation opens with the strange band The Devil & The Universe that have a quite easy sounding EBM/synthpop-like track. There is also the electropop/-punk project ADULT., the shoegazers of The Soft Moon, minimal wavers such as Newclear Waves and Tropic of Cancer, the more poppy project Xeno & Oaklander and projects with an industrial background like Klangstabil and Echo West. Then there a whole range of projects that I never heard of.
Like volumes II and III there are a few good tracks, a lot of alright tracks and a handfull of tracks that are not my taste. But for 10 euros you get a good overview over ‘the larger wave scene’ and that makes this compilation a suggested buy.
Link: Death # Disco
The first version of this album was a tape on Beläten. Two years after the initial release the album is slightly extended and rereleased by a sublabel of Cat’s Heaven / VUZ Records. The package is not great. A photocopied A5 booklet with the cd pasted in.
The extension are two tracks put before the original release. The opening track now is a slightly monotous, ritualistic soundscape of 9:29 minutes. The other new tracks is a great and dark piece of noisy ritual music. Then follow the tracks of the wonderfull debut of Idehall. Sometimes somewhat ambient, at other times more industrial or angstpop and always nicely dark. Idehall’s voice definately sets the sound of this project.
Truely a great release. The second release is even better, but when you, like me, missed the physical debut, here is your chance to get it on cd. Be quick though, there are only 111 copies.
Links: Michael Idehall, Bastet Recordings
Death Industrial from a Belgian label that I do not think I heard of. Only now I see that I bought the debut of this project while there is a more recent release available through the same label. It is not like Femeheim sounds like Brighter Death Now. The music is dark and noisy, but not all tracks have the massive low frequencies of projects like Ex.Order. There are some pretty good tracks to be found here though. The rest is more like very dark ambient with a noisy edge which works as background music.
Not bad and this does make me curious about the second album.
Links: Femeheim, Death Continues Records
I thought to have ordered a death industrial cd, but this starless night nightmare is more a collection of weird and noisy soundscapes, too unstructured for my liking. The music is somewhat dark here and there, but I think that this release is more for people who like noisy soundscapes than people who are looking for noise or death industrial. I guess the label expects an audience, so I am sure it must be there. Quite a sad project name too by the way.
Not my thing. No worries, that can happen.
Link: Death Continues Records
CMI may be dead and buried, but Roger Karmanik apparently wanted to keep full control, so he founded a new label, Familjegraven, to release his own material. “With Promises Of Death” is the first effort.
The album contains dark and pounding, noisy industrial. Most of the tracks are not the chaotic, earcracking type of noise that BDN delivers sometimes, but more my kind of noise. “Death industrial” is a good way to describe the music. For those of you who know BDN there will be no big surprises. I am personally not an avid follower of BDN (in fact, this is the first album that I review…), but this new album sounds about as good as the wonderfull “Kamikaze Kabaret” of 2005. I do not know if I have heard each and every album in between, but there you might have an idea of the sound of the new cd.
Links: Brighter Death Now, Familjegraven
Many thanks to Noise Receptor for this excellent suggestion. The project’s name sounds somehow familiar. This is possible, since it has released quite a number of albums (including several splits), but the labels do not really ring bells, so I doubt I ever heard anything of Gnawed. Now this American project got the possiblity to release an album through Malignant which will certainly help to raise its name. The album is even available on Deezer (but not on Spotify)!
“Feign and Cloaked” contains a piece of dense and dark death indutrial. Mostly low frequency walls of noise, often with aggressive vocals; my kind of noise. Think of Ex.Order, Operation Cleansweep, Trepaneringsritualen. The music is often slowly rhythmical and highly distorted. Industrial noise, so to say.
Yep, an excellent album!
Links: Gnawed, Malignant Records
Pharmakon was suggested to me by Last.fm. Based on the project name I guessed it would be dark ambient. Then I went to see if Deezer had anything of this project and the covers of both albums more looked like indierock to me (also the cover of “Bestial Burden” looks sweet on a small screen). Neither is true! “Bestial Burden” opens with a breathing lady with some ambient tunes on the background. This takes a bit too long, but after this it becomes clear that the breathing lady of the first track is not a sample, but the artist. Pharmakon is a ladies-noise/industrial project! You probably would not say that she makes pretty extreme music when you would meet Margaret Chardiet on the street. Music wise she goes from earcracking noise with dramatically screamed vocals to (Sistrenatus like) ritualistic industrial and more downright industrial sounds. I prefer the tracks in which Chardiet uses her voice in another way than for screaming, but I can say that this is quite varried and at times very nice noise.
The label, Sacred Bones, is interesting to have a closer look at too. I noticed that shoegazers Led Er Est, the electropunkers of Cult Of Youth, the noise rockers of Factums and even famous people like David Lynch and Jim Jarmusch are part of their roster.
Links: Pharmakon, Sacred Bones Records