There is not a whole lot of information on this disc. No track titles for one. There is this though:
> Recorded in 2003 by – Xavier H
> Mastered in 2015 by Peter Andersson
According to Discogs that would be Peter ‘Raison d’Être’ Andersson and not Peter ‘Lina Baby Doll’ Andersson, but who is Xavier H.? Judging the cover of the cd which is the same as the logo of the label Death Continues Records, my guess is that H. is the man behind the label. So what about the “III”? If Discogs is correct, this is In Search Of Death’s (and Xavier H.’s for that matter) first and only release. Perhaps the third attempt?
I bought this cd as being “death industrial”, but that is not a very good description in my opinion. The cd is not harsch enough to be “death industrial”, but it is too hard to be “dark ambient”. Most tracks hold somewhere in between. “Dark and noisy ambient” that would be a description. There are also passages where the sound gets pretty noisy though, so when you like dark ambient, but not noise, think twice before buying this album.
The music on this cd is alright. It is moody and dirty, but not terribly interesting. It is not boring either, so it will work out just fine as background music.
It appears that there are only 200 copies of this cd by the way.
Links: In Search Of Death, Death Continues Records
The title suggests that this album is a look back at a 17 year career. In a way it is, but in another way it is not.
“17 Shameless Years” contains old and new material, but all old material has been reworked into the ‘new sound’. The music became a dark piece of industrial, wall-of-sound power electronics with lots of vocals and samples. Institution D.O.L. already were pretty loud, but the new sound might please lovers of death industrial perhaps more than people who like the noise of the old days. But, like before, there are also more ambient tunes and more ‘industrial disco’ type tracks to be found on this album and one track could just as well have been of Control.
Perhaps not so much changed afterall. I guess I have to play their previous (2007!) album again some time to compare.
In any case, vicious music with not too many unstructured high frequency noise, a descent dark atmosphere. Yep, a kind of noise I can listen to.
Links: Institution D.O.L., Klanggalarie
Angelic Foe is half of the late Arcana. I did not know Angelic Foe, but Annmari Thim and Cristian Ellingsen did release an album before. On Prikosovenie, which is fitting, because Thim’s singing remind of the “heavenly voices” type of music of times past. The vocals remind of sToa.
There are other comparisons for Angelic Foe. In the more tranquil moments the music reminds me of music released on the Hyperium label. There is also a lot of drumming which brings memories to In The Nursery. Arcana itself does not make a strange comparison either, but Angelic Foe is (even) more pompous. Speaking of Arcana, Peter Bjärgo mastered the album and Cecilia Bjärgo made the cover photo.
“Mother Of Abominations” is a nice album to jump back in time a little with bombastic, orchestral tunes with soprano vocals.
Links: Angelic Foe, Equilibrium Music
Eight albums Arditi released so far. This is only the third that I hear.
Arditi seems to grow towards the pompous martial industrial style with orchestrations and drumming, a bit like Puissance perhaps, but not that bombastic. “Imposing Elitism” reminds of a decade or so ago when many of these not too harsch, somewhat orchestrated “martial industrial” was very popular. Arditi does not bring anything new on this album, but when you miss the steady flow of similar releases, you could give this album a try.
Links: Arditi, Equilibrium Music
Equilibrium Music sent a few promos, two recent and this album which is a bit older. I do not think that I heard of Leidungr before. This is a bit odd since it is a project of Henry “Puissance” “Arditi” Muller together with two other blokes. Moreover, Leidungr seems to try to pick a grain of the succes of Wardruna who are fairly popular, so I wonder how I could have missed a Wardruna-like project.
Like Wardruna, Leidungr makes “Nordic ritual folk”. They even use the deep vocals, the somewhat shamanic type of drumming and the stringed instruments (violins, but also the low instrument that Wardruna uses). Leidungr is not a Wardruna clone though. Some tracks have choir samples, other samples and Leidungr has more ‘modern’ influences. Some tracks indeed remind of Wardruna, others not at all, they more fit the bill of light-toned martial/orchestral music.
The nine power songs makes a fair album, one to try if you think Wardruna makes too few albums; and of course if you just like this type of music and/or think that Wardruna is too minimalistic.
Links: Leidungr, Equilibrium Music
I do not receive a whole lot of promo/to-review material. Actually I am glad about that. When I buy an album and do not like it, I will say so; when I do, the same. I hear a lot of music that I am indifferent to. It may work as background music, it does not annoy me, nor does it please me. When I get such an album, I frequently decide not to review it at all. The owner of the Russian UIS label insisted that I would listen to their “post industrial” compilation to hear its brilliance. I did listen to this compilation, three times. There are but few reviews on this website of albums that I heard three times before reviewing it. Still I find it difficult to write this review. However the music on this compilation is varried in musical style, all tracks seem to have something incommon. They do not really ‘work for me’. But, to (probably) present you some new names, here we go for a free Bandcamp compilation that was earlier presented as an audio cassette.
The title of this compilation translates as “Mokṣa”, a Sanskrit term that according to the label means “breaking from chains of reincarnation and all the miseries of material existence”. The music is inspired by the funeral music of the balinese village of Trunyan. There are nine tracks on the compilation. The opening act is the Russian project Obt Grubuscrum with a rather typical, but descent, ritualistic dark ambient track (think of Herbst9 for example), Project Hypoxia reminds more of the Hyperium sound with melodic, ‘ethnic’ sounding music. Per Aspera also starts with such a sound, but goes over in something somewhat technoish. Next up is Bhārata Mātā with a bit of an experimental tribalish track. After this we get a slightly darker, yet melodic track of Krrau. As with Bharata Mata, we now get another piece of experimental tribal industrial, perhaps reminding of the more tranquil material of Hybryds; the project is named ﻗﺎﻣﺖ ﺍﻟﺳﺎﻋﺔ. Угасание is more dark ambient soundscape type music. The same can be said about Vehjora, but this goes over in guitar-drone. The closing track is weird minimalistic and experimental music; Discogs has it listed as “ethno-ambient” which roughly covers the sound (but could be applied to other tracks as well); the project is presented under the monicker Ajuleg & Irm.
The compilation works as background music, but to me the music is not interesting enough to really listen to it. What is somewhat funny, I more or less get the same feeling with each track (indifference, there are not really ‘highs’ and ‘lows’). Would that mean that “Mokṣa” is very well compiled?
The Arafnas seem to have been in a romantic mood. November Növelet already was their softer project, but on their latest album both the sound and even more so: the lyrics, seem to have softened somewhat more.
Mrs. Arafna sings on all tracks. Now there is something of a risk, because her voice is not my favourite element of the music of the Arafnas. It sound like she has a herself photographed: a bit dull. (Perhaps on purpose?) Often I am indifferent to them (not annoyed, not overjoyed), here and there her voice does add a good element to the music, so how about on “The World In Devotion”?
The album opens with a soft and not too interesting track/song. After “Be Gratefull To Your Murderer” the tempo goes up and most of the rest of the music is mid-tempo and the sound is very much like the current sound of NN. The music is nicely minimalistic and analogues. However the video that was released recently seemed to have suggested otherwise, NN does not really lean towards the popular sound of “minimal wave”. Mr. and mrs. Arafna keep doing their own thing. The rhythms are relatively complex in some tracks, nice things happen on the background, some songs have simple but catchy melodies and mrs. Arafna sings (and in the video: dances) away, most of the time resulting in nice and moody soft dance songs that will work well on “minimal wave” dancefloors and radio-shows. There may not be a highlight on this album such as the title song of “Magic”, but overall “The World In Devotion” is a more than proper album showing the furry sound of the couple that names itself Arafna.
Links: Haus Arafna, Galakthorrö
Subliminal is the stable link to Galakthorrö’s noisy past. “Sterben Lassen” again presents harsch and distorted noise.
Just as with the previous 7″ “Under Pressure” I expected this 7″ to be harscher and harder to listen to, but again I must conclude that Albert Finch created a wonderfull piece of moody and extreme music. A bit of old-style rhythmical industrial on side A and an emotive wall of sound on side B. And another good track on both sides as well.
Yep, I would like to invite Subliminal to work on another full-length.
Links: Subliminal, Galakthorrö
The latest signing on Galakthorrö comes from Madrid. The four tracks on this 7″ remind of November Növelet. Tranquil analogue rhythms, soft female vocals. Da-Sein is perhaps a bit rougher. The label speaks of “the spirit of the early days of Industrial”. That makes it sound a bit harscher than the sound really is. The atmosphere of the latest November Növelet releases and the sound of the earlier, but less dramatic. Tanz Ohne Musik could serve as comparison as well.
The 7″ is a nice new addition to the Galakthorrö discography.
Links: Da-Sein, Galakthorrö
The new Distel is “a compilation of rarities and remixes”. “Zand” (‘sand’) includes the both tracks of the 7″ Mrok/Regn, but in alternative versions, a cover of Suicide and 6 remixes that Distel made for other projects.
What you get is the ‘old style’ Distel, more recently sounding tunes and new sounds. I particularly like the old angstpop sound of the beginning of “Nothing To Mend”, but Distel’s slow and dark dance music in general belongs my preferred sound.
There are a few tracks with female vocals (from the original tracks). Peter’s own vocals are only far on the background of one track. That is a bit of a difference with earlier releases that have the highly distorted vocals. Inspite a large part of the album consisting of remixes, the sound is very much Distel (he really turned other people’s music into his own). So if you (like me) like this Dutch project, “Zand” will not let you down.
Links: Distel, Ant-Zen