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CD
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CSR 296CD
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$15.50
PREORDER
RELEASE DATE: 7/16/2021
Cold Spring Records release the original dark ambient/unsettling synth soundtrack by Neil Chaney to the British supernatural horror film Aura (aka The Exorcism Of Karen Walker). From the first notes, the incredibly evocative compositions feature huge swathes of cavernous dark ambient, with unsettling dark synths in the vein of the legendary '70s Italian giallo horror. Quieter, and indeed sinister moments, are evoked by emotive strings, synths and piano, adding pathos and a melancholy atmosphere to the disturbing score. Aura: A couple discover Kirlian Photography apparatus in their new house. Intrigued by the concept of photographing peoples' Auras they unwittingly release an ancient evil. Only the local psychic can help and she knows far more than she reveals. Aura stars: Rula Lenska (a darling of British TV), Shane Taylor (Band Of Brothers), Janine Nerissa (Sandow). Composing film soundtracks since 2009, Neil Chaney was also the creative mind behind the cinematic dark ambient/fortean electronics act Satori (2007-2008 with Justin Mitchell), releasing their acclaimed album Kanashibari, and the EP Contemptus Mundi (feat Magus Peter H Gilmore, High Priest of the Church Of Satan). He was also the creator of early '90s industrial act, Pessary. Presented in a matte digipak.
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CSR 298LP
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$29.00
PREORDER
RELEASE DATE: 6/25/2021
Cold Spring Records announce a special vinyl edition of the black ambient masterpiece from Nordvargr (MZ.412). Pyrrhula, one of Cold Spring's most requested albums, was originally released on CD by the label in 2008. This 2021 edition has been restored from the original masters, and further refined for the vinyl format. Partly based on an old Swedish folktale, Pyrrhula (doomlord) is a pitch black journey into utter darkness. This is a tale of foreboding doom... a portent of dark times to come... a blight on the face of this earth. These eight, black ambient/doom/droneworks were brought forth from the abyss of Villa Bohult exclusively for Cold Spring and contain the malevolent vocals of Lord Nordvargr himself. "Beware the small creatures of light, they only bring misery and death upon the enlightened ones. For they will paint their breast with blood and reap your unborn angels." Pale amber vinyl; full color sleeve; edition of 500.
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CSR 293LP
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Rare recordings of beat/cut-up writers and artists William S. Burroughs and Brion Gysin. Comprises the complete recording of Burroughs reading live in Liverpool in 1982, plus performances by Gysin of a selection of his permutated poems, as well as home recordings made by the pair in Paris in 1970. All recordings are taken from original tapes in The British Library collection. 180 gram vinyl.
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CSR 291LP
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Two giants of the Japanese noise scene present exclusive material on a special limited vinyl release. Controlled Death is the nom de plume of Maso Yamazaki (Masonna), who unleashed his claustrophobic death industrial/blackened electronics debut for Cold Spring in the autumn of 2020 -- a sold-out split LP with Rudolf Eb.er (CSR 283LP). "Devil's Sacrifice" (in six parts) continues Maso's obsession with heavy, Korg MS-20 drones. Deranged vocals choked under impenetrable, blood-soaked atmospheres of doom, death and decay, saturated with washes of anxiety, paranoia and alienation. Mayuko Hino, "Queen Of Japanese Noise", delivers two lengthy tracks. While the first track is filled with feverish, dense noise and swathes of savage electronics, the second, mind-melting electronic piece -- reminiscent of her debut album Lunisolar for Cold Spring (CSR 245CD, 2018) -- descends into a diseased, suffocating maelstrom, finishing on the verge of psychosis. In addition to self-made instruments, Mayuko plays noise with her six-theremin oscillators (in bright pink) -- the one-and-only in the world, specially made by Ryo Araishi (aka ichion). Mayuko is most well-known for forming C.C.C.C. (Cosmic Coincidence Control Center) in 1990, together with Hiroshi Hasegawa, Fumio Kosakai, and Ryuichi Nagakubo. Picture disc; edition of 400.
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CSR 289CD
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$15.50
PREORDER
RELEASE DATE: 4/9/2021
Primitive, old school industrial, with an obsessive, post-mortem feel. This is the first CD edition of Himukalt's cult 2018 LP Knife Through The Spine, originally released on Malignant Records. Remastered and including bonus material from the same recording sessions. There's something uniquely old school and primitive at work here, capturing the claustrophobic, unsettled and fragmented sound of early Illusion of Safety or mid-late '80s industrial on a whole, contemporizing it, and filling it in with an obsessive, post-mortem feel. Knife Through The Spine delivers a steady cascade of abstract sounds, festering with grinding pneumatic throb, coarse frequency blasts and sputtering electronic oscillations, with spliced snippets of processed, flanged vocals and a general sense of social anxiety and disaffection. A unique and challenging take on heavy electronics for fans of Puce Mary, She Spread Sorrow, Atrax Morgue. Himukalt is the Nevada-based project of the enigmatic Ester Kärkkäinen. Six-panel digipak.
"For her first vinyl album, Knife Through the Spine, [Himukalt] has fully embraced the early 1990s power electronic scene, creating a dark, disturbing, and at times extremely aggressive record that has a tighter, more specific focus in its sound." --Brainwashed
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2CD
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CSR 292CD
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Twelve dreams of musicians, artists, and filmmakers, interpreted by FM Einheit (ex-Einstürzende Neubauten), with voices by: Lee Ranaldo (Sonic Youth), Genesis Breyer P-Orridge (Psychic TV, Throbbing Gristle), Susan Stenger (Band Of Susans), Émilie Pitoiset, Erika Stucky, and the Gubenkian Choir; with guest musicians: Volker Kamp, Saskia von Klitzing, Robert Poss, and Susan Stenger. Exhibition Of A Dream (L'exposition D'un Rêve) is formed of twelve dreams interpreted as songs. Exploded in time, these are played as temporary and evolving patterns of shapes and forms in an otherwise empty gallery following the drawings of mandalas. Exhibition Of A Dream highlights the complex beauty of how to generate a dream in the mind of the spectator. A shared experience to be lived within our own personal inner space, these remastered dreams are an invitation to listen to a sensitive architecture of words and music. Created 2017, recorded both in public and in private in the amphitheaters and the garden of the Fundação Calouste Gulbenkian in Lisbon, and in Einheit's own studio Steinschlag. The dreamers were: Apichatpong Weerasethakul, Lee Ranaldo, Émilie Pitoiset, Susan Stenger, Susie Green, David Link, Pierre Paulin, Alexandre Estrela, Tim Etchells, Gabriel Abrantes, FM Einheit, and Genesis Breyer P-Orridge. Originally released as a triple-LP set, and only ever available at the 2018 exhibition at the Foundation. Presented in a six-panel matt-laminate double digipak.
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CSR 290CD
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Jagath is a ritual/industrial ambient act from Perm, Russia. The group creates their music at abandoned industrial locations -- the bottom of a moist underground sewer shaft and inside huge hollow oil tanks -- without using digital synthesis. They use simple, mostly hand-crafted instruments, found objects, and their voices. Jagath do this to share their vision of decaying post-industrial age, to unleash the spirit of deep beyond-world and unveil life in the abyss. It is cold in Russia, everything stays frozen for decades. Life is almost stopped, and this cannot be changed. So, Jagath have to do something so as not to freeze to death. "A firefly may inspire a man. Man takes a flint, flint carves sparks, sparks set fire to wood, a flame lights up. Flaring up more and more, a fire turns into a firestorm. Firestorm lives its own life." "Devalaya (Temple)" was recorded in vast oil tanks from 2015 to 2018. Six-panel glossy digipak with photography by Gregory Skvortsov and Dmitriy Frolov. For fans of: Shibalba, Phurpa, Arktau Eos.
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CSR 287CD
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Cold Spring Records release the official soundtrack to the cult Icelandic horror film, I Remember You (Ég man þig). Heavy dark ambient/industrial/orchestral soundscapes composed by Frank Hall, with a beautiful, solemn, folkloristic finale featuring Icelandic choirs. The soundtrack was created at the old industrial area of Grandi in Reykjavík, at a studio due to be "gentrified" and forcefully emptied of the artists. "I was alone in this large building in this deserted area, working late hours, making music for a horror movie. It was during winter... wind blowing, darkness. There were some tense moments . . . As soon as I read the script, I heard low brass in my head and that kind of stuck. We used a lot of brass instruments, filtered and processed throughout. I also ended up using a lot of bowed guitar, sometimes doubling the brass, sometimes more like a sound effect." Hall also used analog synths on the special climactic track "Montage". On the finale, Hall reminisces: "'Móðir mín í kví kví (My Mother In The Sheep Pen)' is an old Icelandic folk song. The lyrics are based on Icelandic folklore about a woman who had a baby which she couldn't afford to have and left it outside to die, wrapped in a rag. The infant then becomes what we Icelandic call "Útburður" -- the ghost of a child who has been left out to die. Sometime later, the woman wants to go to a dance but has no pretty clothes to wear. She is in the sheep pen attending to the sheep when she hears this whispering outside: 'My mother in the sheep pen, don't you worry because I'll lend you my rag, my rag to dance in.' It's a rather ominous lyric and this song is sometimes sung for Icelandic babies as a lullaby... a little odd custom perhaps. I remember my mother singing this to me. This is one of my favorite Icelandic folk songs, and when I created the music for I Remember You, which is about a lost child that haunts people, I suggested to director Óskar Thór Axelsson that I should make an Icelandic choir version of it and use it as a theme/credit song. He loved the idea." I Remember You is based on the internationally acclaimed novel by Yrsa Sigurðardóttir, the "Queen of Icelandic Crime". A must for fans of Graeme Revell, Steven Price, Lustmord, MZ.412. Digipak.
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2CD
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CSR 288CD
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Out-of-print on CD for almost two decades, Cold Spring announce the official reissue of a much sought after Best Of set by the acclaimed esoteric experimental pioneers Coil, with A Guide For Beginners - The Voice Of Silver and A Guide For Finishers - A Hair Of Gold being made available together in one deluxe set. Officially licensed from FEELEE, this edition spans Coil's entire career, featuring tracks from all their major albums. They were hand-picked by Coil to represent their best work and originally released to mark their first performance in Moscow in 2001. The artwork (text in English and Russian Cyrillic) sympathetically features the rarest of the images previously used in the original Russian and English editions and is packaged in a deluxe, glossy eight-panel digipak with spot matt-laminate varnish.
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CSR 284LP
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First time on vinyl for this cult album from Japanese noise/death industrial/junk noise group Mothra: Jun-ichi Takahashi (Screloma), Masahiko Okubo (Linekraft/Oozepus), Fumihiro Kojima, and Masahito Nozu. Harsh noise, rhythmic death industrial full of industrial junk percussion, Doom Engine was created using gas tanks, iron plates, junk metal, heavy bass, distorted/screamed vocals, and psychedelic sound imagery. For fans of: early Einstürzende Neubauten, early Test Dept., Kollaps, classic German death industrial, but with a distinct Japanese edge. 180 gram vinyl; edition of 400.
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CSR 283LP
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Death Ceremonies is the darkest, most primitive death industrial record, soaked throughout with the smell of rotting corpses and burning bodies. Controlled Death (Masonna) features Maso Yamazaki's most compulsive Korg MS-20 drones and obsessive, disturbing vocals, drenched with anxiety and alienation. Dense atmospheres of doom, death, and decay build up just to break away in deep paranoia. Rudolf Eb.er (Schimpfluch) scratches a near-dead violin over horrifying synth tones, celebrating obscure forest rituals, unearthing an archaic actionism and long forgotten witchery -- decomposing his raw sounds on dusty magnetic tape. Maso Yamazaki (best known for his extreme Japanoise project Masonna) and Rudolf Eb.er (Swiss noise-actionists of the legendary Schimpfluch circle) collaborated live and in the studio multiple times during the mid and late '90s. Both based in Osaka, Japan, a spontaneous meeting brought up their mutual interest in degraded and primitive black metal. Discussing their own latest black brews of sinister side projects gave birth to the idea of the Death Ceremonies LP. 180 gram vinyl; edition of 400.
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2CD
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CSR 252CD
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Cold Spring Records bring their dark folk series full circle on Lammas (1st August), 13 years after the release of John Barleycorn Reborn: Dark Britannica (CSR 150CD). A constant theme throughout these releases has been the cyclical nature of time and the seasons, and the relationship of mankind to the natural environment, with recurrent references to John Barleycorn, personification of the harvest. "In my beginning is my end... Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf... In my end is my beginning" (TS Eliot, East Coker). 32 tracks from the cream of current dark British folk music. Of special note, Peter Ulrich (Dead Can Dance) created an exclusive track especially for this collection: "Lammas Dance". Features Winterfylleth, Sol-De-Muerte, Finglebone, Tim Lane, Soldat, The Familiars, The Sound Of Antler, Beau, Perkelt, A Tiding Of Magpies, C J Mann & Becky Sharp, Thornland, Larynx And Claw, My Silent Wake,Peleser, Robert Pitcher, Peter Ulrich, Sedaynelore, Wolcensmen, Brocc, Venereum Arvum, Sixpenny Wayke, Alex Monk, The Psychogeographical Commission, Silver Of World Union, Sand Snowman, Moonswift, Tim Lane & Hayley Evenett, Sunshine Coding, Coma Wall, Jo Beth Young, Nathaniel Mann, and Ignis Astrifer.
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CD
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CSR 280CD
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La Breiche ("the witch") features Yan Arexis (Stille Volk, Sus Scrofa, Coume Ouarnède, and Common Eider, King Eider), and Patrick Lafforgue (Stille Volk, Sus Scrofa, and Hantaoma). The two musicians are also the creators of the cult festival L'Homme Sauvage, held in Midi-Pyrenees each year. After their 2017 debut Le Mal Des Ardents (CSR 224CD), Le Rite opens a new door, with post-folk sounds close to post-rock, influenced by ancient music, with folk used in a modernist way. Dark, ambient, and yet mystical... deep with grandiose landscapes. The sound of La Breiche is situated at the crossroads of early music and dark ambient; ambient music, industrial music with a strong ritual dimension. Their electro-acoustic music is based on old instruments such as the hurdy-gurdy, mixed with analog synths, field recordings, and ritual objects, taking a mystified look at nature, archaic societies, rites, beliefs, lores, and animism. Presented in a stunning six-panel digipak with artwork by Dehn Sora. RIYL: Bark Psychosis, Sigur Rós, Wolves In The Throne Room, Hexvessel, Ulver, Rosa Crux.
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CSR 285CD
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A posthumous collaboration between the late Phil Western (Download, Beehatch), Jesse Creed (The Passenger), and Mark Spybey (Download, Dead Voices On Air, Reformed Faction, Beehatch). Both Phil and Jesse shared a love for vintage analog synthesizers, such as the VCS3, and the music for W Ands was largely created using this equipment. In the spirit of how it was created, Spybey added improvised passages using his collection of homemade and ethnic instruments and then edited the pieces. Phil would often talk about being "taken away" by music. Both Jesse and Mark have labored to do this through their own music too, not as a means of escape but to transcend. This music strives to explore the desire to go beyond the ordinary everyday experience and to reach a place where the egos and the individual contributions of the players are largely inconsequential. A place where time doesn't really matter. A place of healing and invention. An album of expansive drones and analogue electronics, which will undoubtedly appeal to fans of Coil, Nurse With Wound, Zoviet France.
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CSR 286CD
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Llyn Y Cwn conveys atmosphere and environment through deep ambient sounds. The sound of nature re-establishing itself in the post-industrial wilderness of a former quarry. A phantasm of echoes reflecting the bleak majesty and poetic melancholy of the hinterland of North Wales. A hole within a void, a place defined by absence in a world of negative space. The backdrop for this cavernous soundtrack is Dinorwic slate quarry. The field recordings were taken in this vast subterranean environment where an exposed scar of rock is carved out of the mountainside on the western slope of Elidir Fawr in Snowdonia, North Wales. Standing alone in the quarry, which covers 700 acres up to a height of 600m, it isn't difficult to imagine work going on around you with the abandoned industrial landscape juxtaposed against the backdrop of the majestic Snowdonia skyline. Each track is named after an area of the quarry, descending ever deeper through each rock gallery, with their acoustically unique echoes and sounds. The landscape is in a state of constant flux with small avalanches of rock and spoil slate tumbling over itself -- it was such a landslide that led to the eventual demise of the quarry. The hydroelectric power station, built deep underground inside the mountain, can be heard rumbling away through the various air shafts dotted around the quarry, adding to the overall ominous feel of the pieces. File next to fellow Welshman Lustmord. Six-panel digipak photography by the artist.
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CSR 277CD
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When these tracks were recorded in spring-summer 2019, when the prophetic album title was set in stone, who knew what turbulence the world would undergo, what social isolation we would endure. To face a plague alone... This release marks a change in the sound of Colossloth. Whilst still traversing landscapes sheathed in cacophony, the layers when stripped back reveal a new sound being forged and emerging forth from the fractured sonics and sepulchral bass rumblings one has come to expect from past releases. Not so much a change of direction, but a bold move forward towards the cinematic, an instinctual transcendence born from annulled ancient currents stirred up once more into frenzied and chthonic ritual. This new frontier in the Colossloth sound meets the familiar sense of pastoral disquiet and gleefully invigorating spatial havoc utilizing a canon of sound that's normally reserved for taking part in the creation of dimensions. Music for transportation and immersion, taming the wilderness of the ravaged psyche and sailing forth upon its turbulent ocean whereof whilst also a meditation on the configurations of sound and its transmutations wherein.
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CSR 281CD
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Hammerschlag -- created by FM Einheit (member of Einstürzende Neubauten, early 1980s to mid-1990s), with Andreas Ammer -- features many percussive industrial elements and "machine music" (chains, scraping, coiled springs, objects), noise, experimental electronics, and provocative musical compositions familiar to the ears of Neubauten fans. An oratorio with prelude and two noise interludes, based on Russian futurist Aleksej Kapitonovič Gastev, the "bard of the machine age". FM Einheit is an industrial and electronic musician and actor, primarily known for his percussion work with Einstürzende Neubauten. He has also collaborated with musicians such as: Diamanda Galás, Eraldo Bernocchi, Mona Mur, KMFDM, Goethes Erben, and many more. He was also involved in the projects Stein and Gry. Andreas Ammer has been creating works with FM Einheit since the early 1990's. "Just a moment longer, and through the confused chaos of these days, the legendary realization of the future roar of events is triumphant" --A.K. Gastev (A Bundle of Orders). Hammerschlag was premiered in 2019 at the Diaghilev Festival in Perm as a live concert with Teodor Currentzis, the chief conductor of the SWR Symphony Orchestra, as Aleksej Kapitonovič Gastev. The concert served as the basis for a German-Russian radio play version.
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CSR 279CD
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"No death because there is no birth." The ambient drones and angular abstractions on Deathless Mind combine to carry the listener on a disquieting journey into dark recesses. Tunnels Of Ah pursue a singular sonic path. Each album has been recorded with a visualized location arising in; for Charnel Transmissions (CSR 256CD, 2018) it was a childhood landfill, Thus Avici (CSR 206CD, 2015), a field of pig arks in a Golgotha landscape. How these places emerge and obsess is a mystery. Deathless Mind is set on a half mile stretch of abandoned railway where various human transgressions have occurred. With contributions from Primitive Knot on "Ritual For The New Dumb" and Adam Probert (The Mannequin Factory) on "Saint of Slaves", Deathless Mind is an album recorded at the height of summer and sounding like the depths of winter. Tunnels Of Ah is Stephen Ah Burroughs (Head Of David).
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CSR 273CD
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Minóy (1951-2010), a major figure in DIY noise music, produced some of the most remarkably engrossing, beautiful, and imaginative work-of-art albums released on cassette in the 1980s. Created in 1986, In Search Of Tarkovsky is dedicated to the late Russian director, Andrei Tarkovsky (Solaris (1973), Stalker (1979), Andrei Rublev (1966), etc.) A unique world of musical expression, with dense audio abstractions where the origin of any particular sound isn't quite discernible. A form of labyrinthian, droning collage electronics, otherworldly and dreamlike, at times nightmarish, at times sad, but always bold and deeply affecting. Composed after the director's death, it contains many trademarks of Minóy's style: manipulation of shortwave radio, use of spring reverb to get those strangely echoing, claustrophobic environments, and then the howling vocals, piling-up and distorting. Minóy plainly mourns the director's death but in such a unique way there is nothing to compare it to. Two long-form, elaborate pieces (just under one hour), essential to Minóy's aesthetic of "cinema of the ear". This is the first Minóy material ever to be reissued. Unavailable since the original cassette release, these tracks have been remastered from the original archive files and are presented for the first time on CD. Matte-laminate digipak.
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CSR 278CD
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Buried Steel is the fourth album from Birmingham industrial metal duo Khost, following the 2017 release Governance (CSR 237CD, 2017). Themes and sonics of Buried Steel range from granite and impassive to dream-like and somnambulistic, in keeping with the promise -- and threat -- of the title, dwelling on slow, infallible ruination: a gravitational downthrust upon misshapen monuments and structures which are mangled, overgrown and increasingly forgotten. A monochrome landscape where nature reclaims and redefines us as time passes. Recording of the album was marred with events such as an electrical fire which damaged some equipment. As a result, a number of tracks on the album had to be pieced together from damaged analogue elements such as reel-to-reel (Khost reel-to-reel RIP). From this point, the dynamic of some of the songs was altered, shifting their eventual outcome, particularly the tone of ambient work on Buried Steel. Guests include Stephen Mallinder (Cabaret Voltaire, Wrangler), Syan, Eugene Robinson (Oxbow), Manuel Liebeskind, Daniel Buess (16-17, MIR), and Stephen Ah Burroughs (Tunnels Of Ah, ex-Head Of David). Six-panel digipak with artwork contributions from Talitha Bell, Syan, and Craig Earp. Includes a remix by Mothboy.
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CSR 270CD
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Profound, ritual dark ambient and apocalyptic drones from Italy's Sonologyst. The veneration of the dead plays an important role in mythology and (nature) religions. It is inspired by fear for wrath of the deceased, and by obtaining their council and favors. A large part of the religious life concentrated therefore around the death cults. This led to the erection of huge monuments (mastabas, pyramids, grave-temples, and rock-graves) in Egypt... but in ancient China, Mesopotamia, and India the dead were also honored by impressive monuments and elaborate rituals. Although the death cults and burial rituals may be different among the nature religions, the reasons are the same; either affection towards the deceased or else fear for the soul wandering in the vicinity of the corpse and which must be appeased (with offerings, prayers, incantations). Common is also a form of cannibalism where the body is eaten in order to obtain some of the strength of the deceased. The mummification of the dead, which originated in the belief of life after death, was an important part of the death cults too. Ancient Death Cults And Beliefs is a deep musical investigation of those cults and beliefs in ancient times. Presented in a matte digipak. Evocative, ritualistic artwork by Abby Helasdottir.
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CSR 276LP
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2021 restock, limited; double LP version. 180 gram vinyl; glossy, 350gsm gatefold sleeve. Cold Spring Records announce the long-awaited reissue of Stolen & Contaminated Songs, Coil's 1992 album. Stolen & Contaminated Songs was recorded and produced by Coil in 1992. It is comprised of over 60 minutes of outtakes and unreleased songs, evolved during the recording sessions for their prior album, Love's Secret Domain (1991). A wealth of superb material showcasing the diversity of Coil: dark, violent, vivid, and fractured, yet cohesive and beautiful. Combined with the latest studio technology and Coil's ever-evolving production skills, S&C Songs walks a fine line between tradition and innovation, continually creating semi-abstract soundscapes with a cinematic quality.
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CSR 274LP
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2021 restock; LP version. 180 gram vinyl; 350gsm gatefold sleeve; includes download with "The Doctrine Of Eternal Ice". Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019.
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CSR 276CD
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Cold Spring Records announce the long-awaited reissue of Stolen & Contaminated Songs, Coil's 1992 album. Stolen & Contaminated Songs was recorded and produced by Coil in 1992. It is comprised of over 60 minutes of outtakes and unreleased songs, evolved during the recording sessions for their prior album, Love's Secret Domain (1991). A wealth of superb material showcasing the diversity of Coil: dark, violent, vivid, and fractured, yet cohesive and beautiful. Combined with the latest studio technology and Coil's ever-evolving production skills, S&C Songs walks a fine line between tradition and innovation, continually creating semi-abstract soundscapes with a cinematic quality. CD version comesin in six-panel digipak.
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CSR 274CD
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Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019. CD version comes in six-panel digipak; the track "The Doctrine Of Eternal Ice" appears on CD only.
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