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6CD
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CSR 327CD
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$50.00
PREORDER
RELEASE DATE: 10/27/2023
The Outland album series was a collaborative endeavor by the visionary US bassist-producer Bill Laswell and the late German musician Pete Namlook that pushed the boundaries of dark ambient and electronic music. Spanning five albums released over a thirteen-year period from 1994, this new boxset serves as a testament to the creative synergy between the two masterminds. At the time the duo joined forces, the New York-based Bill Laswell was already a famous producer with a massive client list that included cutting-edge rock, pop, funk, jazz and electronic artists, but he had also founded the Axiom label in 1989 and been responsible for groundbreaking work in genres that included ambient, dub and world music. Pete Namlook was recognized as a pioneering figure in the ambient techno scene, having founded the label FAX +49-69/450464 in his native Frankfurt in 1992. Outland became a fusion of their individual musical sensibilities that resulted in a unique set of releases. At the heart of the series is an exploration of sound as a vehicle for emotion and contemplation, with Laswell's signature basslines and experimental soundscapes interweaving seamlessly with Namlook's ethereal textures and intricate sonic layering. Each album is characterized by a sense of expansiveness, taking listeners on a voyage through rarely charted sonic dimensions. All have the ability to evoke a wide range of emotions and have their own distinctive sonic palette, ranging from ambient tranquility to cosmic intensity. Outland has endured as an influential touchstone, its impact felt not only in its captivating soundscapes but also in its invitation to engage in deep introspection and cosmic contemplation. With each album, the duo beckoned listeners to transcend the mundane and embark on a sonic voyage into the extraordinary, where sound becomes a conduit for spiritual and artistic expression. The lavish matte-finish boxset opens to the five Outland albums in separate matte sleeves, with all-new designs, and all audio completely remastered. This box also contains a new addition to the Outland series -- an album of dense, bass space drone by Bill Laswell, entitled Blackland. The boxset also contains an exclusive card with an essay about the project written by Bill in July 2023.
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2CD
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CSR 324CD
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$9.50
PREORDER
RELEASE DATE: 10/13/2023
Arise, Cold Spring's first label sampler since Earthen, is finally unveiled! A massive double CD featuring 33 tracks from the label's current and forthcoming releases. An unrivalled collection of industrial, esoteric, dark ambient, noise, ritual, drone, doom metal, experimental, electronica, and dark soundtracks. Immerse yourself in the world of Cold Spring! Limited 4000 copies, packed in an ecopak. Featuring Kollaps, Llyn Y Cwn, Khost, Jagath, Trepaneringsritualen, Coil, Merzbow, She Spread Sorrow, Frank Hall, Dead Voices On Air, Cevin Key, Lull, Maschinenzimmer 412, The Circular Ruins, Mystified, Common Eider, King Eider, Colossloth, We Be Echo, George Fenton, Kristian Eidnes Andersen, Lars Von Trier, Himukalt, Sonologyst, Satøri, 400 Lonely Things, Tunnels Of Āh, Sleep Research Facility, Burial Hex, Tenhornedbeast, Fm Einheit, Lee Ranaldo, Spk, Oleg Karpachov, Drew Daniel, John Wiese, La Breiche, Neil Chaney, Genesis P-Orridge, and Dave Ball.
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CD
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CSR 322CD
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$15.50
PREORDER
RELEASE DATE: 9/15/2023
Industrial/power electronics unit SATØRI returns with a new dark and disturbing journey into the very depths of human horror. Using his love of pure noise, harsh synths and brutal percussion, SATØRI has created a dystopian cinematic soundscape in which it would be entirely possible to lose your very soul. While the last two releases concentrated on what could be described as "observations on humanity's ability to drag itself down to its lowest common denominator", this new work focuses on a more localised depravity -- that of the lone wolf. An individual who, having no moral compass, has no boundaries to cross. Welcome to The Woods. CD in matt-laminate digipak with artwork by Abby Helasdottir.
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CSR 325CD
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$15.50
PREORDER
RELEASE DATE: 7/14/2023
This collaborative album by Drew Daniel (Matmos, The Soft Pink Truth) and John Wiese (Sissy Spacek, Smegma, LHD) is the fruit of over 10 years of recordings in San Francisco, Los Angeles, and Baltimore. Continuous Hole melds improvisation and musique concrète composition into a unique document of labor-intensive rhythm. A finger puzzle of reconciled opposites: lockstep structure and constant flux. Relentlessly variable source material is relegated to precisely timed gated forms and patterns. Without using any sampling or MIDI sequencing, the rhythmic cuts are constructed entirely from volcanic, gnarled abstraction, and eschew typical genre elements. Raw yet precise, from mayhem to menace, this is an album of strong contrasts from two American artists discovering common ground in the joy of frenzied cutting. "Abhorred Shears" is reminiscent of the cut-up works of Coil's LSD yet remains utterly unique. A prolific recording artist and visual artist with an extensive discography under his own name, and with noise stalwarts Sissy Spacek, John Wiese is currently based in Cleveland. One half of the electronic band Matmos and all of The Soft Pink Truth, Drew Daniel is based in Baltimore. Mastered by Thomas Dimuzio. Presented in a matt-laminate, six-panel digipak with photography by John Wiese. The cover photograph was shot by John Wiese in Drew Daniel's office on the campus of Johns Hopkins University where Daniel is a Shakespeare professor.
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CSR 319CD
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The new album from 400 Lonely Things, produced by William Basinski, is a dark ambient, sample-based séance to the Banning Mill -- a real-life decaying "mansion" and haven for artists, freaks, and misfits in the backwoods of the American Deep South in the 1970s-1990s -- and an extraordinary piece of art that lived there. An archaeological excursion in found sound -- wandering through the art and memory of a real place, Mother Moon is an origin story for 400 Lonely Things. In the '90s, Craig Varian was fortunate enough to frequent the Mill in the years before it closed. It was here that he was exposed to the artwork of Richard Scott Hill, whose artwork "Minotauress" graces the album cover. His work both captured and fed into the Mill's sinister yet playful undercurrents of mania and depression. This album, born out of that first visit to the Mill, is an imaginary soundtrack to the many years of solitude the Minotauress spent hanging in the musty, secret winding halls of Banning Mill. Since the days of the Mill (and Varian's subsequent purchase of "Minotauress" shortly before the Mill closed), Craig Varian, along with best friend and late musical partner Jonathan McCall, found a thread of music they'd been consistently making yet had previously failed to notice -- melancholic instrumentals with weathered sampling at its core -- going back to their earliest recordings in the late 1980s. Eventually, this music was called 400 Lonely Things. Six-panel, spot-varnished digipak. "Mother Moon is a cypher that saves an important hidden fragment of cultural history from erasure" --Ben Ponton, Zoviet France. "Mother Moon is darkness calling. It will take you to the outer limits and leave you there. Guaranteed to twist your mind" --Andrew Hulme, O Yuki Conjugate. "A wistful, burrowing, beautiful nightmare." --Daniel Kraus (NY Times best-selling author of The Living Dead with George A. Romero, and The Shape Of Water with Guillermo Del Toro)
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CSR 326CD
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Available on CD for the first time, Soviet composers perform their works on the legendary ANS synthesizer. Recorded in 1971, Musical Offering is six tracks (42 mins) of experiments on the unique machine by: Eduard Artemiev (two tracks), Oleg Buloshkin, Sofia Gubaidulina, Edison Denisov, and Alfred Schnittke. Musical Offering demonstrates a "musical" machine unlike any other and has long fascinated cutting-edge, modern electronic composers, notably Coil and The Anti Group Communications (TAGC)/Clock DVA, that have both released recordings utilizing the ANS. Try to imagine a score sounding by itself without a conductor; an orchestra without musical instruments. This magic is possible by using the musical ANS synthesizer. Created by Soviet scientist Evgeny Murzin over the course of 20 years, ANS is an instrument with which a composer can not only create but also draw their music without notes. You can see the twinkling of different lamps, the rotation of grooved glass discs... The drawings on the glass are "sounding notes". To listen to the drawn picture, press the button and a wonderful transformation will begin. Inside the ANS are five rotating glass discs with 144 tones printed (by hand) on each one. Light is projected through the discs and onto photovoltaic cellbank which converts the light into electricity and sends signals to the ANS's amplifiers and bandpass filters. The ANS can generate 720 tones this way and, unlike a human musician, play them all at the same time. Murzin dedicated his photoelectronic apparatus to Alexander Nikolayevich Scriabin, hence the name ANS. Scriabin, the creator of the "Poem of Ecstasy", and a famous explorer of synesthesia, used in his works a highly chromatic, new type of harmonic style designed to express his beliefs, views and wishes. These tracks have only ever been available on an LP pressed by the state-run Soviet Union label Melodiya over 30 years ago. Soviet music lovers will already know recordings made on ANS from Tarkovsky's films Solaris, The Mirror, and Stalker, Konchalovsky's film Siberiade, and others. Digipak with the new artwork by Abby Helasdottir, complimenting the ANS process perfectly. Officially licensed from Russian state label, Melodiya.
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CSR 317CD
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The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach. The first release from Sleep Research Facility since 2012's Stealth (CSR 159CD) is inspired by the deep-sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm-based energies, SRF provides an environment wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand-new material here was created specifically for this split release. Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of Du Y Moroedd (CSR 302CD, 2022). These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. "Dale Dawn" features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. "Pebble" includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. "Doppler Current Profiler" is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents -- a 600Khz ping slowed to a heartbeat. "Sargo / Posidonia" features a separate front cover design with individual art on each side, making this a true split release.
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CSR 321CD
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Cold Spring present That Space Somewhere, the first new album in 14 years from Lull -- the pioneering, isolationist dark ambient project of Mick Harris (Scorn, Fret, ex-Napalm Death). Lull was conceived by Mick Harris in 1990, in an attempt to create music that would stretch, if not forsake entirely, the structures of conventional music by developing and exploring sound without beats. Mick Harris on Lull: "I finally heard the way of recording, making profound sounds. Lull is purely something I can get lost in, as far as trying to create these imaginary spaces. And that's what I always tried to do -- to create. I'm a lover of sounds. I love collecting sounds. Playing with those sounds using various software until I created something new from that sound. Which for me end being what I call 'a droner' or 'a drift', I'd use those to create a piece of music, or a sound-scape. That's what I'm doing with Lull. Just trying to create soundscapes. And to this day, still, absolutely love doing that. Lull is quite natural for me. It's an extension of me. Drifting. Just going to darkness. Into a space. Lull is drifting and droning, discovering more and more what can be done with sound. These soundscapes hugely appeal to me."
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CSR 310CD
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Reissue, originally released as a cassette in 1981. The first reissue of seminal early 1980s electronic recordings from the British Electric Foundation (B.E.F.), aka Heaven 17/ex-The Human League's Martyn Ware and Ian Craig Marsh, with Adi Newton (Clock DVA/The Future), and John Wilson (Heaven 17), originally a cassette-only release (1981). Following two groundbreaking albums (Reproduction and Travelogue), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company -- the British Electric Foundation (B.E.F.) -- and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory. B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled Music for Stowaways, with "Stowaways" being a reference to the original name for the then-new Sony portable cassette player -- later renamed the Walkman -- of which B.E.F. were great fans. Music for Stowaways was intended to be listened to on such a device. The cassette was followed by a seven song LP, Music for Listening to, which had a slightly different track listing, while other B.E.F. music was utilized for B-sides of early singles by Heaven 17. This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as "Groove Thang" -- an instrumental version of the debut single by Heaven 17 -- and "The Old At Rest", which derived from a version of "Wichita Lineman" by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s Music of Quality and Distinction, Volume One covers album in 1982. The innovative sounds heard on Music for Stowaways were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the "50 Greatest Lost Albums of All Time".
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CSR 310LP
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LP version. Reissue, originally released as a cassette in 1981. The first reissue of seminal early 1980s electronic recordings from the British Electric Foundation (B.E.F.), aka Heaven 17/ex-The Human League's Martyn Ware and Ian Craig Marsh, with Adi Newton (Clock DVA/The Future), and John Wilson (Heaven 17), originally a cassette-only release (1981). Following two groundbreaking albums (Reproduction and Travelogue), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company -- the British Electric Foundation (B.E.F.) -- and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory. B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled Music for Stowaways, with "Stowaways" being a reference to the original name for the then-new Sony portable cassette player -- later renamed the Walkman -- of which B.E.F. were great fans. Music for Stowaways was intended to be listened to on such a device. The cassette was followed by a seven song LP, Music for Listening to, which had a slightly different track listing, while other B.E.F. music was utilized for B-sides of early singles by Heaven 17. This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as "Groove Thang" -- an instrumental version of the debut single by Heaven 17 -- and "The Old At Rest", which derived from a version of "Wichita Lineman" by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s Music of Quality and Distinction, Volume One covers album in 1982. The innovative sounds heard on Music for Stowaways were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the "50 Greatest Lost Albums of All Time".
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LP
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CSR 317LP
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LP version. The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach. The first release from Sleep Research Facility since 2012's Stealth (CSR 159CD) is inspired by the deep-sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm-based energies, SRF provides an environment wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand-new material here was created specifically for this split release. Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of Du Y Moroedd (CSR 302CD, 2022). These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. "Dale Dawn" features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. "Pebble" includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. "Doppler Current Profiler" is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents -- a 600Khz ping slowed to a heartbeat. "Sargo / Posidonia" features a separate front cover design with individual art on each side, making this a true split release.
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CSR 323CD
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The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.
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CSR 323COL-LP
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Double LP version. White vinyl. 180 gram vinyl; gatefold. The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.
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CSR 323LP
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Double LP version. Black vinyl. 180 gram vinyl; gatefold. The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.
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CSR 304CD
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Svapna is the brand-new album from Jagath, the ritual/industrial/dark ambient act from Perm, Russia. "A portal to another world is located inside an abandoned Soviet-era swamp drain near a residential building in the Zakamsk suburb of Perm, Russia, 58.0122, 55.9623. A ritual was performed here, so now we are living in an inside-out world. This is one of the last recordings inside our Temple -- the oil tanks are finally scrapped. I hope this is not the end. This album is dedicated to the victims of totalitarian regimes." Jagath create their music at abandoned industrial locations -- the bottom of a moist underground sewer shaft and inside huge hollow oil tanks -- without using digital synthesis. Simple, mostly hand-crafted instruments, found objects and voices are used to share their vision of decaying post-industrial age, to unleash the spirit of deep beyond-world and unveil life in the abyss. Six-panel glossy digipak. For fans of: Shibalba, Phurpa, Raison D'etre, Arktau Eos.
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CSR 318CD
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A history lesson, recorded in autumn 1989. Unavailable for over 20 years in any format, Cold Spring Records present Malfeitor, the now classic album from Maschinenzimmer 412. This was the last release under that name, and what seemed like the final nail in the coffin for the Swedish Black Industrial act. Six years later they rose from the ashes, restructured and resurrected as MZ. 412. This is evil incarnate, staring into the abyss. Relentless industrial rituals; darkness fused with machines, your fears and your power. An expression of the coldest music imaginable. With a more lyrical approach than the predecessor Macht Durch Stimme (CSR 306CD), Malfeitor explores themes of death, with an unequivocal dystopian outlook. Cavernous heavy industrial, primitive machine rhythms, and cold metallic loops created on old synths with very little post-production. What you hear is how it sounded on those original sessions. Originally released on LP in 1989 by Cold Meat Industry, this monumental album is now available for the first time since 2001. This definitive edition has been painstakingly transferred and mastered from the original 4-track tapes, with no unnecessary "padding". Digipak with elegant new artwork by Abby Helasdottir (Gydja).
In 1987, Henrik Nordvargr Björkk, Jouni Ulvtharm Ollila, and Leif Holm forged a band that would be an outlet for blasphemous prophecies, yet from a unique sonic spectrum. The unholy triumvirate were already hitting hard as Pouppée Fabrikk, with Maschinenzimmer 412 unleashing their deepest, darkest personas. Jonas Drakhon Aneheim joined in 1995, replacing Holm and thus enacting the change of name to the abridged MZ. 412. MZ. 412 are an act that continues to cover the earth in a nightmarish black veil. Rare releases and even rarer performances have only added to the cult status of these prime movers.
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CSR 320CD
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The hugely sought-after debut album from Dead Voices On Air (Mark Spybey of Download/ ex-Zoviet France, Reformed Faction), featuring Cevin Key (Skinny Puppy/Download). Abrader blends processed sounds from primitive instruments and found objects into hypnotic looped rhythmic structures, with dark clusters of heavy ambient washes into what could be described as "organic panambience", or "music for the eyes". Abrader was the first of over 80 releases (so far) by Mark Spybey using the name Dead Voices On Air. It was recorded over the space of days in Vancouver in 1993 and released as a tape the following year by Akifumi Nakajima (Aube), for his G.R.O.S.S. label. Chronologically, the material was recorded after most of the music that made up his first two releases on compact disc -- New Words Machine and Hafted Maul -- however, Abrader was released before both of those albums. Abrader Redux features the three lengthy tracks that were released on the original cassette, plus the bonus tracks that were included in the 2009 reprint as part of the Fast Falls The Eventide double-CD, and now with two "new" previously-unreleased bonus tracks recorded 1994 -- taking this masterwork up to seven tracks and over 67 minutes of exceptional music. This release is dedicated to the memory of both Akifumi Nakajima and Zev Asher who both passed away in 2013. Spybey was introduced to Akifumi by his friend from Vancouver, Zev Asher. Zev had a noise project called Roughage and was also in a band called Nimrod, that had at one time been based in Japan. Remastered by Martin Bowes from Attrition. Packaged in a matt-laminate digipak with art by Spybey, beautifully laid out by Abby Helasdottir. "If most ambient is the laudanum of the new fin de siécle, then Dead Voices on Air are the absinthe" --Village Voice.
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CSR 309LP
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LP version. Until The Day I Die is the third album from Australian post-industrial outfit Kollaps. Until The Day I Die is a merciless and visceral assault on the senses and continues the trajectory of the band's idiosyncratic approach in their creation of sound. The album showcases an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; of violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualization of the record has been stylized and presented using William S. Burroughs's cut-up method. A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across Kollaps's triptych of releases and lengthy touring history in Europe, Australia, and New Zealand. Until The Day I Die has had a tectonic shift in production methods compared to its predecessors and was entirely written, recorded, and mixed internally the self-constructed ILoveHeroin Studios built above a sculpture museum in Lugano, Switzerland. All instrumentation was handled by Wade Black except for bass guitar by Andrea Collaro recorded at Hangar 121 in Lenate Pozzollo, Italy on all tracks except "D-IX" and "I Believe In The Closed Fist", handled by Black, and additional sound design and percussion by Giorgio Salmoiraghi. The album was mastered by James Plotkin and completed with cover artwork by Nullvoid (Thomas Ekelund/Trepaneringsritualen). LP version with full color matt-laminate sleeve and printed inner lyric sleeve.
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CSR 309CD
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Until The Day I Die is the third album from Australian post-industrial outfit Kollaps. Until The Day I Die is a merciless and visceral assault on the senses and continues the trajectory of the band's idiosyncratic approach in their creation of sound. The album showcases an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; of violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualization of the record has been stylized and presented using William S. Burroughs's cut-up method. A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across Kollaps's triptych of releases and lengthy touring history in Europe, Australia, and New Zealand. Until The Day I Die has had a tectonic shift in production methods compared to its predecessors and was entirely written, recorded, and mixed internally the self-constructed ILoveHeroin Studios built above a sculpture museum in Lugano, Switzerland. All instrumentation was handled by Wade Black except for bass guitar by Andrea Collaro recorded at Hangar 121 in Lenate Pozzollo, Italy on all tracks except "D-IX" and "I Believe In The Closed Fist", handled by Black, and additional sound design and percussion by Giorgio Salmoiraghi. The album was mastered by James Plotkin and completed with cover artwork by Nullvoid (Thomas Ekelund/Trepaneringsritualen). CD version in six-panel digipak.
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CSR 300LP
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The official soundtrack to Derek Jarman's 1984 short film Imagining October, with music recorded by Derek's friend and collaborator Genesis P-Orridge (Psychic TV, Throbbing Gristle), and Dave Ball (Soft Cell, The Grid). Recorded at DJM recording studios in Theobalds Road, London. Derek Jarman put together a program of films for the London Film Festival, reflecting the cutting edge of the London avant-garde of the time. Recorded at the same time as The Angelic Conversation, Imagining October was filmed in the Eisenstein Museum in Moscow, Vladimir Mayakovsky's grave at Novodevichy Cemetery, the GUM department store facing red square, and the fire temples of Baku in Azerbaijan. The painting sequences with a group of soldiers (Angus Cook, Stephen Thrower, Peter Doig, and Keir Wahid) was filmed in London. Jarman considered it one of the best, if not the best, of his shorter works. It was intended as an agit-prop work and the combination of music and imagery remains powerful to this day. Features liner notes by James Mackay (Jarman's producer, collaborator, and archivist). Limited edition 12" vinyl featuring a beautiful etched B-side; full color sleeve.
"The heroism of revolution through the queered lens... It was not just the Soviet Union censoring books, Jarman points out here, but Thatcher's government and its homophobia was no greater friend to gays than the regime on the other side of the Iron Curtain. A moral hysteria surrounding AIDs was sweeping Britain, the miner's strike was in full swing (an action supported by gay activists, as it was brutally broken up by police): back home, society seemed on a knife edge" --ArtReview.
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2CD
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CSR 316CD
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When the anthology Visions Of Darkness (In Iranian Contemporary Music) was released in 2017 (co-published in collaboration between Cold Spring and Unexplained Sounds Group), it was immediately clear that the Iranian music scene was not just promising, but already a rich chest of treasures. Years later, there is further confirmation of the creative excellence and variety of musical languages that flourished in the Persian land. In spite of the title, this second volume of the legendary anthology also gives you a broad picture of the musical experience of the Iranian underground that is not limited to the dark ambient, but explores sonic territories that reach concrete music, electro-acoustic experimentation and sonic abstractionism. Persia, the cradle of a millenary culture, is teeming with young talents who continue their musical research with enthusiasm, pride, and self-denial in the territories of drone music, as in electronic experimentalism and in the contamination of genres. To some familiar names already present in volume I (Xerxes The Dark, IDFT, Reza Solatipour, etc.), new discoveries are added that contribute to making the journey through the new Persian music exciting to the point that we can no longer speak of an emerging scene, but of a consolidated musical reality akin to others in the West. Curated and mastered by Raffaele Pezzella. Also features Babak Sepanta, Alireza Amirhajebi, Shahin Souri, Dodenskald, S.S.M.P., Amin Shirazi, PooYar, Dariush Salehpour & Zhoobin Askarieh, Vesal Javaheri, Saturn Cube, Melkor, Sam Eyvaz, Soheil Shirangi, Farzan Salsabili, and Arshan Najafi. Presented in a double digipak with graphic design by Abby Helasdottir.
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CSR 306CD
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Macht Durch Stimme -- the debut release of Maschinenzimmer 412, a.k.a. MZ. 412 -- is the milestone in the history of Swedish black Industrial music. This is the release that initiated a 35+ year long career of relentless industrial rituals; darkness fused with machines, your fears and your power all fused into an expression of the coldest music imaginable. In 1987, Henrik Nordvargr Björkk, Jouni Ulvtharm Ollila, and Leif Holm forged a band that would be an outlet for blasphemous prophecies, yet from a unique sonic spectrum. The unholy triumvirate were already hitting hard as Pouppée Fabrikk, with Maschinenzimmer 412 unleashing their deepest, darkest personas. Jonas Drakhon Aneheim joined in 1995, replacing Holm and thus enacting the change of name to the abridged MZ. 412. Originally released in 1988 by Swedish tape label Mechanik Cassettes (run by Memorandum's Petter Marklund) in a tiny edition of just 50 copies, this definitive edition has been painstakingly remastered from the original 4-track tapes. It also contains a previously unreleased, exclusive track that was rediscovered when listening through the old master tapes. MZ. 412 are an act that continues to cover the earth in a nightmarish black veil. Rare releases and even rarer performances have only added to the cult status of these prime movers. Digipak with elegant new artwork by Abby Helasdottir (Gydja).
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CSR 315CD
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Rhythmic industrial noise -- grinding and churning, drenched in crushing doom-laden guitars -- drapes the sacrificial bones of the new album from esoteric electronic alchemist Colossloth. Building on this trademark sound, pushing and striving for reinvention and renewal, Colossloth has also utilized live instrumentation and ethereal vocals, and black metal blast beats on certain tracks for the first time to enhance the intent behind the music. Digitally-driven soundtracks for transfigured cities and myths born in the wilderness of Albion. Digipak.
"An unknown voice deep within the landscape reveals a clandestine location. A place of arcane mechanics, a cathedral of divine engines suspended in primal matter. Turbulence forms amidst amorphous strata, the polarized elements stretch out and then return once more to a singular form, gauging an ecology of discordant time down newly formed vertices. Crystallized dreams spin wild atmospheres into the horizons and fill the localized spaces with the remnants of passive machinations and distant mutterings, the devices allocating into their framework the offerings set forth."
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CSR 311CD
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Occupying a halfway point between Throbbing Gristle and Cabaret Voltaire without ever quite sounding like either, We Be Echo is Kevin Thorne. Thorne's first foray into music came after a chance meeting with Throbbing Gristle on Tottenham Court Road in 1979. A few months later he met Raye Calouri at the legendary Throbbing Gristle/Cabaret Voltaire/Rema Rema gig at Central YMCA, London. Soon after, the duo formed the short-lived Third Door From The Left. After the demise of TDFTL, Thorne formed We Be Echo. The debut album Ceza Evi -- featuring Genesis P-Orridge and Iham on Tibetan thigh-bone trumpet -- was released in June 1983, followed by a special edition later the same year, originally available only to readers of Nanavesh. The music was recorded using the built-in microphone on a dual cassette recorder, then the next layer was recorded whilst playing the first tape back. Very lo-fi, no editing, no remixing, all spontaneous and raw. As with TDFTL, who recorded in the same way, it all just seemed to fall into place. Compleat Edition: disc one contains the original tracks for the Ceza Evi special edition release. The remaining tracks on disc two are from the original cassette release of Ceza Evi, plus bonus tracks recorded between 1981-1983. Briefly pushing We Be Echo back into the light, a handful of these tracks appeared on the 2009 compilation Decades (Vinyl On Demand). Now, bringing together all these tracks for the first time ever, this Compleat Edition cements Ceza Evi as one of the most important underground releases of the early '80s. Mastered by Attrition's Martin Bowes.
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CSR 312CD
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For his first release since 2017's Death Has No Companion (CSR 227CD), Christopher Walton (ex-Endvra), a thirty-year veteran of industrial music, has dragged TenHornedBeast back to its pounding doom-ambient roots and recorded his darkest album yet, as a sonic veneration of a medieval sculpture depicting the torment of the damned in hell. In the crypt of York Minster, built directly on the site of the Roman citadel, is the Doom Stone. A relic from the 12th century the stone, carved in deep relief, illustrated for a medieval audience the horrors that awaited sinners in hell. Figures depicting luxury and avarice are licked by flames, leering demons hold a tortured soul in a furnace and the mouths of hell gape, their nostrils licked by toads. Here beneath one of the jewels of western Christendom is a talisman so shocking, so contrary to the modern mind that the very faith that created it has abandoned it. The five suitably monolithic pieces on The Lamp Of No Light (Hymns For The Yorkshire Doom Stone) form a journey, starting with the first mortal death and ending with the second eternal death of the soul. Walton has used the darkest textures and heaviest drones as way-markers on this journey, as hymns to exalt the scenes shown on the stone. "TenHornedBeast is a vehicle for the sinister current that is woven through life. If Christ is the Light of the World and hymns are sung to him in the Minster then my hymns should be heard in the crypt, where the Doom Stone radiates its No-Light. Without darkness, the light is meaningless." Six-panel digipak with photography by the artist.
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