“One of the longest running Death Industrial – Death Ambient projects still active in the USA.” The name sounds familiar, but I do not think I ever listed to Subklinik. Many releases, mostly on labels I am not familiar with. Good that he now appeared on Cloister! For the first time too it seems.
“Neuroskizm” opens with a dark and monotonous, yet interesting dark ambient track. After this the sound becomes almost wavey with a simple rhythm. “Pulvursive” slowly becomes a bit more industrial, but not much.
The last two tracks are more dark ambient again, but slightly leaning towards death industrial, but mostly remaining ambient.
Not great, certainly not bad. I am going to try to listen to some more material of Subklinik.
Even though I follow Idehall on different platforms, all these nifty algorithms did not bring “Recapitulation” to my attention. It was actually because I noticed a ‘profile’ picture on Spotify that I did not recognise that I noticed a new release.
I guess it happens more often that I do not hear of a new Idehall. The present title suggests a looking back at previous releases, but to my surprise there are several tracks that do not sound familiar. Indeed all tracks have been released before. On “Marax” for example, but also on releases that I missed such as “Blood Poison” and “Crowned Fool”.
“Recapitulation” opens with the slightly martial industrial sounding “Bull King” (from “Marax”). Most of the other tracks are in the more dirty, yet ritualistic, industrial side of Idehall. Sometimes somewhat noisy, sometimes leaning a bit towards techno. All tracks are nicely dark and mostly with Idehall’s repetitive vocals. The album is again pretty damn good.
So not only labels cannot keep up with Idehall (see my “War Magic” review), but I myself have to find a way to not have to find a new release by accident.
In any case, I do not know if “Recapitulation” is only available on Spotify, but also through other channels, but it is again highly recommended.
Novichok is a new label from Australia that starts off with three 7″s. Here we have one of them.
“Diarchy” contains two projects known to me. Of the first I have a split with another Australian noise project Ebola Disco. Am Not, of course, is probably the best ‘new’ noise project and the reason I wanted to get this 7″ in the first place.
Rope Society presents a rumbling noise track that is not very extreme, but with very distorted vocals. A good track, better than what I remember of the earlier mentioned split.
Am Not has a pretty harsh track, even for his own doing. A wall of industrial noise with vocals so distorted that they are hardly recognisable as vocals. This is something that Am Not has done more often of course. This track is pretty good.
I do not remember having heard (registered) that Jugend is no more. It seems that as a final blast, they had a few releases. There is a 4 cd box called “Relentless” (2019 Death Continues) and two releases on the Singaporean label 4iB. A double cd called “Slaves No More” (2020) and “The Deluge”.
“Slaves No More” seems to be a compilation of material that has been available before, but not combined. The other two releases are newly recorded. Judging the description of “Relentless” this is an extremely brutal release. This certainly cannot be said of “The Deluge”.
“The Deluge” spans 65 minutes, about half of which is taken by the excellent title track. The opening track is a bit of an instrumental soundscape, but in the title track you get threatening industrial noise, but not very extreme. There is much focus on the lengthy lyrics. The track hums and drones, here and there peaks in some noise, but nowhere gets anywhere near to the extremity that Jugend can reach. It is a great and moody track.
Then we get a much shorter and not very interesting soundscape again after which follows an almost atmospheric track with vocals which even include singing. The closing track is another soundscape type of track.
Basically “The Deluge” presents a very long and excellent track and four 3 to 14 minutes tracks which are a lot less interesting.
The three panel digipack looks great and the booklet contains the lyrics.
Hello! It has been a terrible year for everyone so let’s just move on. Here is my latest full-length album. I hope you enjoy it
These were the words with which I received a promo of “War Magic”. Idehall already had some more dirty, industrial tracks and the frustration that appear in these words suggest that “War Magic” would be such a release. Indeed it it!
“War Magic” is not as noisy as Idehall can get, but the approach is more industrial than on some of his other albums. Rhythmic hums give an industrial feel. Idehall’s repetitive lyrics and drumming the ritual feel that we know this project for. Ad some extra noises and you have an idea of the sound of “War Magic”. Some tracks are more ambient, but not as soundscapish as some of Idehall’s releases.
“War Magic” is excellent, it has great tracks such as “High Honeycomb Way” which is a wonderful darkly ritual industrial track. Most other tracks can also be described as ritual industrial, but more to the ambient side.
Now comes the weird part. “War Magic” has not yet been officially released! There are other “self released” releases listed in Discogs. That is not because Idehall likes to record music and send it around, but because he apparently works faster than labels can manage. I cannot imagine that there are no labels out there that would love to release material of the unique and productive Michael Idehall. Perhaps we could help with that spreading the word?
I literally only discovered Current 909 last week. I was making an “angstpop” playlist on Spotify and I was looking for less typical projects. So I started to scan Aufnahme + Wiedergabe releases to see if some of their older material would be fitting. I do not remember if I ever heard of the name Current 909, but I sure did not know their music.
The style is not really “angstpop”. Actually this project is better fitting in my “electronic doom” playlist. There I compile slow, minimalist, dark and gloomy techno such as the great project Oake.
Current 909 already has a few releases. Three on a label called “Atmosfear” that I do not know and “Enthusiasm” is the third release on A+W already.
So the new album (a 12″ with four tracks and a running time of 23 minutes) contains slow, minimalist, dark and gloomy techno. How fitting. I do not like it as much as the early material of Oake, but this is pretty good music, probably better than the later material of Oake.
In the early days of A+W I liked quite a few of their releases. Nowadays this is less often so, but I must say that with “Enthusiasm” the label has a great new release on their roster.
In 1995 I was in contact with Mortiis and so I also came in contact with Cold Meat Industry. I bought quite some of their back catalogue, but it was mostly the more tranquil material that I was interested in in the beginning. It took a while before I learned to appreciate things like Mental Destruction and MZ.412 and even longer before I started to like Brighter Death Now.
Lille Roger I of course knew by name. It was the pre-BDN project of the main man behind CMI, Roger Karmanik. The original “Undead” 7″ has been released in 1987 so it was long sold out. Also it was the final release of Lille Roger (and the start of CMI). The old project nevermore appeared on compilations, so I never really got to know Lille Roger.
Apparently there has been more releases before “Undead”. It is not entirely clear to me what the story is about his box set. Discogs has it listed as a 2018 CMI release, but only recently it seems to have been made available by Tesco. Is that a rerelease or did the CMI version never come about? Or is this a cooperation?
In any case, you can get this 64 track compilation as a Bandcamp release, a 7 lp box or a 5 cd box. It is quite pricey, but it seems to look good. I got myself the cd set, but waiting for the physical version, I can already listen to all the tracks on Bandcamp.
“Lille Roger” made what we would call death industrial nowadays I guess, but for some tracks ther term angstpop may fit the bill as well. Industrial noise with slow rhythms, samples and vocals. The vocals are somewhat ‘atypical’ as they are usually not heavily distorted and often even sung. The tracks are not as dark as BDN can get, but the sound does often already remind of BDN. Here and there the sound becomes a bit lighter.
Some tracks are somewhat simple, but many tracks are actually quite enjoyable. It is not overly extreme industrial music, so it is relatively easy to listen to. Not bad at all!
Distel has been putting old releases on Bandcamp and then there suddenly was a new release. Not that “Rare” contains new music though.
“Rare” has six tracks that were previously only available on compilations, also compilations that I did not know, so that is good.
The opening track is from the recent compilation “19 Beläten — En Sommar Av Plåga” (2020), a nice track called “Tempels”. Then follows a live version of “Galapagos” from the last album “Wapens” (2018). The most interesting track is a cooperation with Geneviève Pasquier. This track “Velvet Ground” was so far only available on the “Maschinenfest 2015” compilation that I apparently missed. “Fall” is a track that we know from “Zand” (2015), but this particular version comes from the soundtrack of the film “Exploitation” of Edwin Brienen (2012) that I have yet to see. Then we have “Fand” that we find on “Puur” (2013), but this version is from the compilation “Radio Resistencia” (2009). The last track is another Coil cover (as on “A Knife In Sound“, but then the track “Something”), a gloomy soundscape.
The music of Distel remains good. Hopefully there will be a new album some time soon.
I have the idea that I have known the name Satori for decades, but I have never known them. Did I try their music when I could not yet listen to noise? Do I mix them up with a band with a similar name that I am not too crazy about? I do not know.
Noise Receptor has reviewed quite a couple of Cloister releases recently. I know Cloister as a tape label and I never really got to explore their roster. I buy tapes every now and then, but usually only when I have other things that I want to have.
For some reason I never checked if Cloister releases can be obtained in another way, so when I did, I noticed that they have a Bandcamp. The tapes themselves are all sold out in no time, but the Bandcamp page gave me the opportunity to finally find out what Cloister is about.
The newest release (when I write this) on Bandcamp is Satori. ‘Oh yea, Satori, I know them’. No I did not! Fortunately I skipped through “Angor Animi” to find out that Satori makes pretty impressive wall-of-sound type noise with samples and vocals. Not bad at all!
Satori has been around for decades. The oldest release is from 1987! However Dave Kirby is a Brit, “Angor Animi” sounds somewhat like “Japanoise”, but then in a way that I like. Perhaps the vocals?
After a while Satori proves not to be just an extreme noise project. The fourth track opens with fast drumming and after the noise sets in, a very energetic noise track remains. A very interesting combination!
The next track starts with samples and noisy ambience, but towards the end extremity returns. The remaining tracks contain some novel ideas too. In basis the sound remains a harsh wall of noise though.
Not entirely my kind of noise, but I do like the fact that there are some elements here that I have not heard on other noise releases.
Just like Tølerant, Maltreatment has only four releases, all released on 2020, three on Trust Collective, one on Cloister.
Maltreatment sounds more like what I thought Cloister Recordings to be like. Chaotic noise, quite some high frequencies. It is not extremely harsh, but I prefer the more (death) industrial approach to noise.