Human Cross Records

Human Cross Records is a independent DIY CDr record label, that exists since 2001. After a long break again activate 2010. www.dragomirkrizic.wixsite.com/human-cross-records

Unseen Force

Label and mailorder operation dedicated to distributing Harsh Noise, Industrial Filth, Concrète Experimentation and Power Electronics with uncompromised vision. www.http://ufmailorder.com/

Projekt

Projekt is America’s premier independent label specializing in passionately intense introspective music across a variety of darkwave genres (ambient, ethereal, goth, dark cabaret, rock, darkwave, minimal electronic and more). http://www.projekt.com

Abandonment label

ABANDONMENT is a small independent bulgarian NET/CD-R/TAPE underground label specializing in Industrial / Noise / Ambient / Experimental music. Our formats are on MP3 files (protected with Creative Commons License) and limited DIY CD-R/TAPE editions. http://abandonmentlabel.blogspot.ba/

Analogik

Analogik is a group of industry professionals committed to providing quality content and online resources in fields of electronic music, multimedia, visual arts, science, technology and culture. www.analogik.com

Thursday, January 19, 2017

Death Abyss


 "We travel from flame to flame. Ruling from the shadows."
- - -
At the beginning/end
We stand armed and dangerous before the bloody fields of history;
Devoid of dogma - but ready to carve, to defy the transient: Ready to stab forth with
our penetrative will, Strain every leash, run yelling down the mountainside of Man:
Ready and willing to immolate world upon world With our stunning blaze.
And let them all sing that WE were here,
as Masters Among the failing speciens called Man.
Our being took form in defiance
To stand before your killing gaze. And now we travel from
flame to flameAnd tower from the will to the glory...
- - -
- DEATH ABYSS: Dominate Through Will -
Had this album been released a few weeks previously, it would have proved to be the ultimate Halloween album. Mired in dense electronic textures, powered by robust stepping rhythms, it offers a far bleaker and more austere take on industrial-themed techno than some of the other producers and labels operating in this sphere. However, if you get n the underlying approach, there is some fun to be had. "Clothe Your Lies In Truth" is fuelled by a murderously aggressive sub-bass, but the robotic vocal in the background provides light relief, while the stepping rhythms of "Disease Is A Weapon" sounds like a post-dubstep producer jacked up on angel dust. "Stop Thinking, Increase Consumption" showcases Death Abyss' more musical side as ghostly synths unfold over a dead-paced groove. There is also a sign that Mr Abyss has a pop ambition and the goth vocals and chiming melodies of "The Black Book" hint at a potential career as Nine Inch Nail's arch-rival. Impressive stuff start to finish.
from www.junodownload.com
 
[Releted links]
[Discography]

Tuesday, January 17, 2017

h3llb3nt

H3llb3nt was a collaborative from the United States that formed in 1995. The project featured a number of artists including Eric Powell (16Volt), Jared Louche (Chemlab), Charles Levi (My Life With The Thrill Kill Kult), Bryan Black (Haloblack), Lee Fraser (Sheep on Drugs), Martin Atkins (Pigface), and Raymond Watts (Pig, KMFDM).
 
Minneapolis native Bryan Black long ago punched in his time card at the indie industrial mill. He hasn't punched out yet, placing him in league with a hard core of musicians who've somehow - probably through sheer will and talent -- managed to survive the drought that hit the US scene in the late '90s (hello rap rock!). And given the names of Black's two musical projects - h3llb3nt and haloblack - Black seems to like it that way; let it come down rough and tumble. The music will meet the mood.

 
 
 

Grabbing attention in 1995 with the release of decay, his first album under the moniker haloblack, Black proceeded to unleash an unremitting dark electronic noise storm equally fueled by crunching guitars, brutalized synths and seductive beats. And while his lyrics tend toward the well-mined territory of solipsistic nihilism, his husky, tortured, yet totally unpretentious voice manages to anchor his compositions well on the fair side of believability. It was on tour to support decay Black connected with 16volt's front man Eric Powell, with whom, he quickly discovered, he shared a desire to explore some non-guitar driven avenues within their genre. They hooked up with Chemlab vocalist Jared Louche, brought in legendary bassist Charles "Lovely" Levi (part of the Pigface stable a former member of the Thrill Kill Kult) and Servo from 16volt / KMFDM, and formed h3llb3nt, a more "devilishly playful" group than anything its separate members belonged to. The band released 0.01 in 1996 on Fifth Column Records to widespread acclaim, overcoming the often limiting "supergroup" label that usually weighs down aggregates of established musicians, winning new fans and carving out a niche for themselves that has yet to erode. The group's 1998 album, Helium, released on the now defunct Re-Constriction label, built upon the successes of its predecessor, introducing the band to an even wider audience.

After a three year hiatus that saw h3llb3nt's members pursue various non-musical side projects, the group reconvened this year, committed to treat the band as something more full time, and less periphery. The fruit of their labor? Hardcore Vanilla, an irresistible blend of synth-front industrial pop and smart-assed SM poetry. Choler caught up with Black, now living and working in London, to quiz him on his h3llish past and present.

[Releted links]
h3llb3nt@wiki
h3llb3nt@myspace
h3llb3nt@lastFM
h3llb3nt@facebook 

 

Monday, January 16, 2017

Frozen Planet….1969

Frozen Planet...1969 is an Instrumental Psychedelic Jam Project Featuring members
of Mother Mars and Looking Glass. 
 
Although the band name suggests otherwise, Frozen Planet….1969 dates back to early 2012! It was then that a heavy-psych jam session between two Sydney-based musicians, Paul and Frank Attard, and Canberra-based Lachlan Paine, took place. 
Luckily, this afternoon of improvisation at the home of Pepper Shaker Records, Frank Street Studio, was recorded. However, it wasn’t until over a year later that the three decided they should finally mix and release some of the material they had created that day. They decided this album would be set out like a soundtrack to a film. That film would be called “Frozen Planet….1969”. It was a digital-only release on Pepper Shaker Records. Pretty soon this one-off release would become a band called Frozen Planet….1969. The emphasis would be on improvisation. 
No vocals, just straight-out instrumental jamming. This band would consist of Paul Attard- guitar, Lachlan Paine- bass and Frank Attard- drums. It was basically a side-project for the three of them. Paul and Frank had been playing in the stoner-doom band, Mother Mars. Lachlan was playing in the Canberra heavy rock trio, Looking Glass.  After playing on numerous bills together over the years it seemed only natural there would be some sort of collaboration between the two bands at some point. Frozen Planet….1969 played its first show in February 2014. It was also around this time that the band recorded another mammoth jam session. From this jam session came the second and third releases for the band, “Lost Traveller Chronicles, Volume 1” (released 20th August 2014) and “Lost Traveller Chronicles, Volume 2” (released 6th May 2015). The concept this time would be a travel journal through the constellations, with each song being a chapter from the journal! 
Both volumes were released in digital and physical format on Pepper Shaker Records. The physical format for Volume 1 was a limited 10-inch vinyl and for Volume 2 the format was CD. The hardest part of this project is deciding what to leave out. Every time the band gets together in the studio there will be two or three separate jams, with each jam usually clocking in at anywhere between 60 and 90 minutes. Using all of this material would be too much, therefore the editing and mixing process is a very important process for the band in order to capture the most effective and cohesive moments from the jam sessions while also ensuring they fit in with the concept of the album.
To date, the band has only played a handful of shows. Each show has been uniquely different with the band continuously jamming for thirty to forty minutes. No rehearsal necessary.
Every time Frozen Planet….1969 gets together it’s either to record or play live.
All improvised!

[Releted links]

 
 
 
 

Wednesday, January 11, 2017

SKLO


Czech heavy alternative (experimental noise) group from Ostrava.
Formed in 1998 as an electro band by Radim Boreček, Roman Janečka and Yveta Tapťuchová.
---
Sklo have started their musical path very sharply which is apparent on this demo containing mainly pure noise music, which, regardless it's frequency fullness, still clearly presents apparent structures and even psychedelic moments of sonic catharsis. The soundness expressed by loudness, musical structures on their limits, those were main elements of Sklo creativity process in 1999.
1999 Demo/CS Industrial 1982-2010

[Releted links]
SKLO@myspace
SKLO@bandcamp
SKLO@bandzone

[Discography]
SKLO@discogs
source:
 
 
 
 
 
 
 
 
 
 
 

Sunday, January 8, 2017

1677


1677 is a Slovak collaboration project by 900 piesek & 777 Babalon. With the use of industrial, noise and ambient elements, their sombre musical improvisations seek to lead the listener to states of spiritual transcendence.

source:
http://www.hradbysamoty.org/artist/900piesek-777-babalon

 

1677
collaboration 777 Babalon & 900piesek ritual dark ambient/ experimental/ noise
  This album is a collaboration of 777 Babalon & 900piesek.
Twin rivers created this mosaic of thought.
Twin rivers flowing calmly,furnishing trees with humidity and animals with nourishment.
Thoughts, like glass owls, are flying through the night, slicing through the icy air, while stars are just echoing their presence.
Trees are whispering in the wind and waterfalls of small ice crystals are falling down from the treetops in sparkling moonlight.

source:

Corps



Corps - a fascinating industrial project (tribute to Swans) from Alexei Tegin, a veteran of the Moscow underground, the founder and leader of the choir Phurpa, performing rituals of Tibetan Bon tradition.

Tegin began his artistic experiments in the early 1980s, he was one of the first in the country who has researched industrial genres close to him, and in the late '90s, together with Vladimir Epifantsev created the "Factory of radical art" in an abandoned room in Faleevskom lane.




"The internal goal is still the same, just more modern clothes and serve. Playing industrial, I just strive to "turn off computer", to achieve a certain madness. Not controlled paranoia, and paranoia of the real. Shift the assemblage point in a certain position for me - through sound. "

[Releted links] 

[Video]
Corps teaser  

Phurpa




Phurpa is a Russian group that performs tibetan traditional music using insruments and regalia related to rituals of the ancient Bon religion, one of the predecessors of Buddhism.

This voyage began in the middle of the 1990s in Moscow, Russia, when a group of artists and musicians led by Alexey Tegin and based at the legendary Fabrique of Cardinal Art commenced their studies of traditional ritual music, drifting away from the field of contemporary electroacoustic and industrial music with the intent to delve deeper into the ancient musical cultures of the ancient Egypt, Iran and Tibet.
The original 2003 line-up of the project that emerged as a result was dubbed Phurpa (one of the five tutelary deities of the Father Tantra in Bon tradition), and all the members have carried on with their research in the field of Bon and Buddhist liturgies up to the present day.

Before Buddhism reached Tibet, local people had practiced involved shamanic rites derived from various ancestral cults. Later on, circa the VI-IX century AD, a conflict between the local tradition, namely, the pre-Buddhist religion of Bon (which originates from Central Asia) and Tantric Buddhism (hailing from the North of India) gave birth to a unique cultural phenomenon known as Tibetan Buddhism, which combines an extensive metaphysical corpus and an advanced philosophical system with pristine ceremonial practices that reach down through many centuries. In the X-XI century AD the monastic ensemble came into being. It has got a lot in common with the Chinese court ensembles of the Tang dynasty; nevertheless, the Tibetan ceremonial ensemble has preserved its authenticity and kept a large number of primordial elements stemming from the ancient Tibeto-Burmanese music intact to this day. A typical ensemble usually includes a pair of nga drums, several rolmo cymbals and a pair of gyaling oboes, as well as telescopic dunchen horns, dunkar shells and short wandun horns. One of the unique features of the Tibetan monastic choir is a specific kind of overtone chanting, called "rgyud-skad", or the Tantric voice, which is based on the principle of the singer's transmogrification during the so-called "chanting meditation".

Current members
Alexey Tegin
Dmitry Globa-Mikhailenko
Edward Utukin
Andrei Grekov
 
 
press/source: