• Acid Bath "When the Kite String Pops"

    29. Dez. 2008, 4:32

    5 rano.
    Wracasz do domu całkowicie naćpany, z taką dawką kokainy we krwi, która zabiła by konia, popijając whiskacza z gwinta otwierasz drzwi własnego domu z buta - wylatują ze świstem z zawiasów, zatrzymując się na srodku długiego przedpokoju, złamane w pół. Nie zatrzymując się, rozjuszony przebiegasz przez przedpokoj, z rozpędu wymierzając kopa w meblościanke, w pokoju naprzeciwko. Twoja noga zostaje w środku, nie możesz jej wyjąć, klniesz jak szewc krwawiąc z kawałkami drzazg w Twoich piszczelach - wyciagasz ją jednym pociagnieciem, nie czując bólu i pięsciami zbijasz szklane drzwi w meblościance, gniotąc w rękach szklanki, tłukąc talerze Spoglądajac nagle na przerażonego kota, który skulił się w rogu pokoju w nadziei, ze horror za chwile się skonczy, nie wiedząc, że dopiero sie zaczął. Łapiesz go za szyję Z szyderczym uśmiechem wrzeszcząc w narkotykowej furii:
    To co kiciuś?! Dziś podwójne wirowanie?!
    Tym razem było zbyt ostro i kot nie wytrzymał, o czym poinformowała czerwona plama w okienku telewizora, jakim przez chwile stała się Twoja własna pralka.
    Wracasz do dewastacji wynajętego mieszkania, butelkami wybijając szyby w oknach, wrzeszcząc sprzedajesz ostatecznego kopa we własny telewizor
    ..nagle ocknales się we własnym fotelu, kiciuś mruczy na Twoich kolanach widocznie głodny, w głośnikach kończy się właśnie płyta "When the Kite String Pops" na której Dax Riggs dał upust swojej furii jakby za Ciebie.

    Miałeś/aś kiedyś ochote zniszczyć wszystko?
    Wrzuć do odtwarzacza "When the Kite String Pops" i naciśnij play.
    ...i na wszelki wypadek wypuść kota na spacer.

    Official http://www.acid-bath.com/
    MySpace http://www.myspace.com/acidfuckingbath
    Acid Bath
  • Experimental Music

    9. Dez. 2008, 20:45

    Ok, lets start. This is a list of all non-conventional music, with stunning experiments and very rare ideas. All suggestions and recommends are welcome.

    Bass Communion "Ghosts on Magnetic Tape
    Bass Communion is a project by the prolific Steven Wilson, member of alt-indie rock band Porcupine Tree and the ambient-atmospheric project, No Man. Ghosts on Magnetic Tape is inspired by scientist Konstantin Raudive’s famous attempts to communicate with the dead and subsequently capture his efforts on magnetic tape.
    Each of the five pieces showcases a particular sound that stands out against the enshrouding atmospheric wash. The first features solitary piano notes against dense bass reverberations, followed by a pre-recorded tin-like orchestral score likely culled from an old 78.
    A striking characteristic of Ghosts on Magnetic Tape is the crackle and hiss of analogue limitation, exemplified in the recurrent use of music from 78's. Rather than dirty the sound, the cracklings add a warm and charming dimension, further emphasized by the seamlessness of the work.

    The Caretaker
    The Caretaker’s first three albums ("Selected Memories From the Haunted Ballroom", "A Stairway to the Stars" and "We'll All Go Riding on a Rainbow") are all excellent examples of hauntology existing in music. These initial three albums are all said to have been heavily influenced by the famous ballroom scene in the film "The Shining" the idea of ghosts from the past re-emerging from the shadows to share one last waltz around a previously empty and deserted ballroom only to vanish soon after. In many ways The Caretakers music is a musical re-representation of this scene with the ghosts of those long forgotten ballroom dancers replaced with the now seemingly archaic and long forgotten yet ‘Uncannily’ familiar ballroom music of the same era. These first three Caretaker albums were all created using re-processed 1920/30s ballroom music from old 78rpm records as their base source. These antique tunes are not simply re-produced however, but are instead buried under layers of feedback, dusty ambience, and vinyl crackle; before at times being smeared, re-sampled and stretched almost beyond recognition. These sounds never come fully to the fore, they are never allowed to be fully realised, never allowed to continue for too long or simply play out, and never allowed to take flight as they once did. These sounds are not simply the past brought back to life through music, but due to having been buried under layers of ambience and combined with their crackly, semi-obscured nature are in fact mere shades of the past

    Loren Chasse
    Loren Chasse considers the sonus of natural and unnatural settings, situations, and found objects a spirited material that may be transported, mutated and reintegrated under new conditions to yield hybrid apparitions of spaces, things and moments. The microphone as an extended ear composes as it moves through a space, recognizing various threshholds and sites where ambient sounds blur and begin to detach from their sources. Loren’s recorded work and performances often incorporate electronic noises—hums, whirs, sputters and drones—which emulate sounds that occur in nature. The combination of such objects as motors, clocks and strobe lights with materials such as stones, branches, gravel, sand and leaves creates an atmosphere of fantasy, something familiar yet unnameable, neither here nor there.

    Seth Clueth
    Seth Cluett is a composer and visual artist whose work includes photography, drawing, video, sound installation, concert music, performance, and theoretical writing. His pieces are an exploration of the role of sound in everyday life. Operating at the boundary between the auditory and other senses, his work engages sound's ability to be both collectively shared and distinctly personal. Many of his pieces investigate the acoustic signature of specific locations, where sound is experienced as an activity (audio tourism), architectural property, or as geological process.
    His compositions and installations are characterized by their minimal use of sine tones and drones derived from close-listenings to the urban and rural environment. His sound work often utilizes unaltered field recordings, found-sounds, and altered consumer electronics.

    The Conet Project "Recordings of Shortwave Numbers Stations"
    The Conet Project "Recordings of Shortwave Numbers Stations" is a four-CD set of recordings of numbers stations, mysterious shortwave radio stations of uncertain origin believed to be operated by government agencies to communicate with spies "in the field". The collection was released by England's Irdial-Discs record label in 1997, based on the work of numbers station enthusiast Akin Fernandez.

    The Conet Project has since become somewhat of a cult sensation and counts many musicians and filmmakers among its fans, including Wilco frontman Jeff Tweedy, Melvins collaborator David Scott Stone, Boards of Canada, The Besnard Lakes, former Faith No More vocalist Mike Patton, and director Cameron Crowe. Samples from the collection have been used in numerous films and albums, including Crowe's film Vanilla Sky and Wilco's Yankee Hotel Foxtrot album, the latter of which was an issue of legal dispute; Jeff Tweedy did not seek permission to use the Conet sample and Irdial sued for copyright infringement. The incident sparked debate about who exactly owns copyright concerning recordings of numbers station transmissions, but Tweedy ultimately decided to avoid taking the matter to court, agreeing to pay Irdial royalties and reimburse its legal fees.

    First Human Ferro "Guernica Macrocosmica"
    In the recording of this album were used 1920 - 1970's retrosamples of popular songs by Soviet and East European musicians, including among others Vadim Kosin, Maya Kristalinskaya and Edita Pjecha.

    Terje Isungset
    Norwegian percussionist Terje Isungset has for years used a variety of organic sound elements in creating music and instruments. He has incorporated the sound of naturally found wood, stone, metal objects, and industrial machines and processes in the creation of musical works. Utilizing ice as a source of sound has long been a dream of his, and in year 2000 a serious opportinty came along to explore this possibility. He was commisioned the create a performance piece and composition incorporating the live sound of water beneath a natural frozen waterfall at the 2000 Lillehammer Winter Festival, at minus 15°C degrees and with Palle Mikkelborg og Lena Willemark as participating musicians. (the consert was televised in Norway). This was likely the first public concert ever combining instruments of ice with traditional musical instruments. While making preparations for the Lillehammer concert, Isungset was contacted to help create Swedens contribution to the worldwide televised New Years Day Millenium Celebration . In cooperation with sculptor Bengt Carling, Isungset created a set of ice percussion instruments that were played for the whole world to see and hear

    Jacob Kirkegaard "Eldfjäll"
    This CD consists of geothermal recordings of vibrations in the ground around the area of Krisuvik, Geysir and Myvatn in Iceland. The recordings have been carried out using accelerometers, hydrophones and home-built electromagnetic receivers inserted into the earth at various places around the geysers, mapping the sonic aspects of volcanic activity at the surface of the earth.
    This is ambient from the center of the earth.

    Jacob Kirkegaard "Labyrinthitis"
    LABYRINTHITIS relies on a principle employed both in medical science and musical practice: When two frequencies at a certain ratio are played into the ear, additional vibrations in the inner ear will produce a third frequency. This frequency is generated by the ear itself: a so-called “distortion product otoacoustic emission” (DPOAE), also referred to in musicology as “Tartini tone”.
    By arranging the tones from his ears in a composition and playing them to an audience, the artist evokes further distortion effects in the ears of his listeners. At first, each new tone can only be perceived "intersubjectively": inside the head of each one in the audience. Kirkegaard artificially reproduces this tone and introduces it, "objectively", into his composition. When combined with another distorting frequency, it will create another tone… until, step by step, a pattern of descending tonal structure emerges whose spiral form mirrors the composition of resonant spectra in the human cochlea.
    Paradoxical as it may sound: we can listen to our own ears. The human hearing organ – still often perceived as a passive unidirectional medium – does not only receive sounds from the outside, it also generates its own sound from within itself. As a matter of fact, it can even be “played on”, just like an acoustic instrument.

    Alan Lamb "Original Masters - Night Passage
    Night Passage is another release* culled from Alan Lamb's renowned "wire" recordings, and then some. If you're unfamiliar with Mr. lamb's previous sound excursions, actual field recordings were made of a half-mile section of abandoned telegraph wires located in Western Australia's outback.
    The wires, dubbed "The Faraway Wind Organ", are sometimes buffeted by heavy gales blasting across the barren landscape, and other times gently stroked by subtler breezes. The wind action results in an incredible range of sound. The first two tracks were orignally recorded in 1984 and 1983 respectively.
    In the almost-25-minute-long title track, the wires span the gamut of their repertoire... from subtle metallic pings, to resonant rocketship drones, to raucous saw-like buzzing. Occasional environmental sounds add an extra sense of place. The poles and cross beams creak under their continually straining load. Frankly, I would like to see more artwork and even more liner notes. I have my mental images though, of this gigantic, forgotten, unintentional instrument, continually howling into the desert void.

    (*1995's Primal Image / Beauty being the inital release, and Night Passage Demixed (by Ryoji Ikeda, Thomas Koner, Lustmord/Brian Williams & Paul Haslinger, Bernhard Gunter))

    Olhon "Sinkhole"
    Sinkhole’ is a musical journey to the centre of the earth. Actually it’s a journey into a depression in the land surface called the Pozzo del Merro situated somewhere east of Rome. Comprising two parts, dry and wet, the sinkhole dates back 200 million years and is made of limestone. In the dry section the walls are covered in vegetation whilst on the bottom, the wet part, lies a small lake hiding a dark abyss more than 1016 feet deep. It is the biggest sinkhole in the world. And Zairo went and explored both parts. He’s a braver man than me Gunga Din. Taking with him recording equipment he captured the sounds emanating naturally from the sinkhole using special microphones and sensing equipment and Remotely Operated Vehicles (ROV). These sounds were then treated, processed and mixed by both artists back in the studio. The resulting 10 tracks, spread over 41 minutes, will leave you, quite frankly, speechless.

    Akira Rabelais "Spellewauerynsherde"
    On this particularly beguiling and haunting release, what were once thought lost tape loops of Icelandic opera singers are treated using Rabelias’ own home-built software are used in place of Basinski’s decayed and disintegrating tapes. The end product Allows these disembodied ghost like voices newly returned from the past to dance just on the edge of our peripheries amongst ambient swells and drones whilst at other times momentarily appearing naked and untreated in plain view but just for the briefest of moments.

    Set Fire to Flames
    Set Fire to Flames is a post-rock band of thirteen musicians from Montreal, Canada, who have released two albums on Alien8 Recordings. Both albums were recorded "in states of little or no sleep, in varying levels of intoxication, and in physical confinement," with the result being brooding, eerie music. Their sophomore Student double album was recorded in a barn in rural Ontario; the sounds of the creaking doors and other background noise are heard in the songs. Many of their tracks are very minimalist in nature, filled with ambient noise and various other non-musical sound effects, juxtaposed or combined with instrumental music.

    Karlheinz Stockhausen "Helikopter-Quartett"
    The composition, originally executed in 1995, recorded the members of the Arditti String Quartet playing inside four Royal Dutch Air Force Helicopters. The choppers, meanwhile, flew patterns charted in the composer's score. Both the helicopters and the string players were miked for sound, broadcasting in real time to a console on the ground where Stockhausen mixed them together.

    Thai Elephant Orchestra
    The Thai Elephant Orchestra is a musical ensemble consisting of as many as sixteen elephants near Lampang in Northern Thailand. The elephants play music (essentially as conducted improvisations) on enormous specially designed musical instruments. The orchestra was created and is conducted by elephant conservationist Richard Lair of the Thai Elephant Conservation Center and the American composer/performer Dave Soldier

    Xerophonics "Copying Machine Music"
    Collection of musically manipulated field recordings of copying machines.

    Beginning in the early 1970s, Z'ev developed a personal technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Initially these instruments were assemblages of these materials, used with a movement-based performance style that was a form of marionette, although with the performer visible. He has since come to refer to this performance mode as 'wild-style', a term originally related to graffiti. Critic John Buckley described his performances in this era:

    The instruments are collections of objects ... strung together with ropes and swung at varying speeds and directions to produce a fairly astonishing range of pitches and timbres. And the moves the guy goes through to manipulate these instruments are, for grace and athleticism, strong stuff. Z'EV is also interesting for the close correlation of visual and musical aspects, since the physical vibrations of the objects you see are the same as those picked up by the ears as sound. Also, since the rhythms of the work are dictated by the performer's every and any movement, an inevitable integrity unifies the act.
  • Guide to Genres

    4. Dez. 2008, 7:04

    [AKA Industrial Electro]
    A very broad term used to describe much of the industrial music produced in the last 15 years or so. It's a term with no one official definition or origin, but generally used to describe a form of harsh, unforgiving and rhythmic electronic music, with raspy, graveley or distorted vocals and throbbing electronics creating a dark, oppressive tone. Guitars are occasionally used, but very rarely take the role of lead instrument. Many of the concept that form the basis of electro-industrial were pioneered by the legendary Canadian act Skinny Puppy, though this particular band have often defied any attempts at genre classification beyond the broad 'industrial' umbrella. Nevertheless, the influence this band have had on predominantly electronic industrial music is not questioned.
    Other notable innovators of the industrial electro style include Front Line Assembly (technically a Skinny Puppy offshoot), Denmark's Leatherstrip plus Haujobb and yelworC from Germany and a number of Belgian projects centered around the original line-up of The Klinik. A number of sub-genre definitions have come and gone - yelworC's particular variant of the style has sometimes been defined as dark electro, whilst the more EBM-driven works of Leatherstrip and Plastic Noise Experience have sometimes been referred to as 'hardcore electro'.
    We could arguably add bands such as Project Pitchfork, In Strict Confidence and Das Ich, forming as they did the industrial arm of the darkwave scene, building themselves substantial gothic following in the process. A later development was the rise of the terror EBM sound, inspired by the likes of Suicide Commando, Funker Vogt and some of the later works of :Wumpscut:.
    Another notable variation on the electro-industrial sound is power noise, a sound developed from the early, minimalistic works of the The Klinik and Dive, as well as the Spanish project Esplendor Geométrico. With the Ant-Zen, Hands Productions and Hymen labels all earning reputations for releasing quality material, the style can also effectively be regarded as a genre in it's own right.
    Definitive Bands:
    · Aghast View
    · Dive
    · Frontline Assembly
    · Haujobb
    · In Strict Confidence
    · The Klinik
    · LeatherStrip
    · Lights of Euphoria
    · Mentallo and the Fixer
    · Skinny Puppy
    · Velvet Acid Christ
    · :Wumpscut:
    · X Marks The Pedwalk
    · yelworC
    [AKA Electronic Body Music]
    The foundations of this genre were laid by the Belgian quartet Front 242 during the early 1980s. The premise was fundamentally simple - a hard, repetitive beat and pulsating rhythm but with an aggressive, often militaristic (or occasionaly sexual) tone, indicating the influence of early industrial acts. Other early innovators included Germany's Die Krupps and D.A.F. (the latter predating any other band here) and the UK's Nitzer Ebb.
    It was during the early days of Front 242 that the term 'electronic body music' or 'EBM' was coined. The term remains in use to this day, officially referring mainly to the work of the Frontmen, Nitzer Ebb and '2nd Generation' bands that were directly influenced by them, such as BiGod20, Orange Sector, Pouppée Fabrikk, Electro Assassin and even early recordings of Oomph!. This particular incarnation of the style is now termed as old-school EBM, to differentiate itself from the very different animal that style developed into over the years.
    Whilst the sound has had only a cult following at best throughout it's two-decade lifespan, it has proved to be influential to a number of more commercially successful acts, including Nine Inch Nails, Fear Factory and even The Prodigy (though none of these three have ever actually sounded like EBM bands). It was also influential on the sound of acts such as Project Pitchfork, In Strict Confidence and Das Ich, producing a goth-friendly version of EBM - a sound which proved popular in dark electro and darkwave circles.
    The EBM tag has also (controversially) been associated with much of the synth-pop/industrial crossover material coming out of Europe during the early years of the 21st century - now known as future pop). Purists certainly the doubt the connection much of this music now has to it's Belgian origins, bearing as it does a significant amount of synth-pop, trance and/or techno influence. The early works of VNV Nation were arguably an EBM variant of sorts, whilst the mid-90s Covenant and Apoptygma recordings bore a resemblance to other EBM records of the era - suffice to say, the connection stuck.
    Those looking for modern answers to the harder forms of EBM should try listening to Suicide Commando or Hocico, who drew more influence from the likes of Frontline Assembly and Skinny Puppy (as well as some aspects of Dive and The Klinik), who combined EBM with electro-industrial/dark electro elements, often utilising heavily distorted vocals. This stylistic variant has been referred to by some as Terror EBM or 'aggrotech'.
    Definitive Bands:
    · A Split Second
    · BiGod 20
    · Covenant
    · Die Krupps (initially)
    · Dive
    · Flesh Field
    · Front 242
    · Frontline Assembly
    · Heimatarde
    · Hocico
    · The Klinik
    · LeatherStrip
    · Nitzer Ebb
    · Stromkern
    · Suicide Commando
    · VNV Nation
    · Vomito Negro
    Dark Electro
    This genre is one of the most difficult to define precisely. In it's strictest form, it's a sub-set of electro-industrial, a despairing, sinister version of the sound best exemplified by the sound of the German project 'yelworC', who's variant of the sound combined haunting synths with hard electronic rhythms and lyrics inspired by occult matters. The term has also been used in a more general sense, in some cases as an effective synonym of electro-industrial, or at least those forms of the sound that don't tend towards a terror EBM sound. To get at least some utility out of the term, the bands listed here fall within the narrorower definition of the style.
    Definitive Bands:
    · AmGod
    · LeatherStrip (some works)
    · Mortal Constraint
    · Placebo Effect
    · Seven Trees
    · Splatter Squall
    · Trial
    · yelworC
    Terror EBM
    [AKA Hellektro, Aggrotech]
    This is a combination of the forceful rhythms of EBM combined with the hard synthetic assault of electro-industrial. Most terror EBM features distorted vocals, often growled in the 'cookie monster' style and/or put through some kind of distortion effect. A female vocal is occasionally used for contrast purposes (a few acts, such as Unter Null, actually use a distorted lead female vocal). Pounding four-beats, throbbing arpeggios and horror/sci-fi movie samples usually complete the sonic palette.
    Whilst the likes of Suicide Commando, Funker Vogt and Hocico have been practising the style for several years now, with veterans :Wumpscut: and Velvet Acid Christ also touching upon the style on occasion, the style really peaked in popularity during the early part of the 00s, some would say to due it's effectiveness as a replacement for the increasingly cliché sound of future pop (some bands, however, most notably [:SITD:], do draw clear influence from the style). Others would say the style became cliché even more quickly, although it's ability to fill industrially-driven dancefloors has ensured it retains popularity.
    Definitive Bands:
    · Amduscia
    · Cenobita
    · Dulce Liquido (on occasion)
    · Hocico
    · Psyclon Nine
    · Suicide Commando
    · Tactical Sekt
    · unter null (most recent work)
    Power Noise
    AKA Rhythmic Noise, Rhythm ‘n’ Noise]
    Whilst the name connects it to the likes of power electronics and noise (and it certainly can be both powerful and noisy), power noise is ultimately related to the harsher forms of industrial dance music. The fundamentals of this style are distorted drum loops and repetitive bursts of electronic discord, very rarely including audible lyrics (although sparse vocal samples are often woven into the mix).
    The founders of power noise are usually cited as long-established electo-industrial acts Klinik and Dive (both projects involving Dirk Ivens, who'd later assemble his own power noise project Sonar), as well as Spanish hard electronic innovators Esplendor Geométrico (the first act to develop bona-fide power noise music as it is known today). The actual term power noise wasn't coined until the 1990s, however, when the tag was devised by Raoul Rotation of Noise-X (themselves minor legends of the industrial dance scene, and themselves bordering between pure power noise and electro-industrial).
    Power noise can also have some elements in common with IDM (intelligent dance music), both genres producing relativley esoteric, inaccessible electronic dance music with a strong experimental slant, though power noise is traditionally based round pounding distorted beats rather that anything breakbeat-oriented. This is a blurry definition, however - many artists work with a combination of both beat styles (one may use the term technoid to define this crossover).
    In terms of labels (as not many record companies are willing to invest in this sort of thing), Ant-Zen (plus its offshoots Hymen) and Hands Productions currently stand as top dogs in the scene. Ant-Zen covers the works of Converter (an offshoot of industrial project Pain Station), Imminent Starvation (now just Imminent), Synapscape and PAL, whilst Hands Productions key act is Winterkälte (the project of the label's manager Udo Wiessmann) as well as more recent arrivals such as S.I.N.A. and Needle Sharing, as well as style innovators The Klinik (Hands having recently reissued a substantial chunk of their backcatalogue).
    Definitive Bands
    · Asche
    · Beefcake
    · Black Lung
    · C/A/T
    · Converter
    · Esplendor Geométrico
    · Hypnoskull
    · Imminent Starvation
    · Iszoloscope
    · Klangstabil
    · Mono No Aware
    · Needle Sharing
    · Orphx
    · P.A.L.
    · Punch Inc.
    · S.I.N.A.
    · Soman
    · Somatic Responses
    · Sonar
    · Synapscape
    · Tarmvred
    · Terrorfakt
    · Winterkälte
    · Xingu Hill
    · Xotox
    Power Electronics
    Whilst it's sometimes confused with harsh noise, power electronics truly refers to a more structured form of synthetic dissonance. The champions of the genre are the seminal Whitehouse, with only a few other acts (Con-Dom/Grey Wolves and later works of Brighter Death Now) achieving much attention outside the scene's 'hardcore' (VERY hard and VERY core) to date. Scathing electronics, scathing vocals, sonic anathema to anyone in their right mind, the power electronics sound only survives because so many of us are not in our right minds when we listen to it.
    Definitive Bands:
    · Brighter Death Now (later works)
    · Cock ESP
    · Con-Dom
    · Genocide Organ
    · Institut
    · Sutcliffe Jugend
    · Whitehouse
    Death Industrial
    A highly contentious term, officially used to describe a morbid, funereal electro-industrial/darkambient variant, typical of the Cold Meat Industrylabel, most specifically the earlier works of founder Roger Karmanik's Brighter Death Now. It's a term whose definition has never truly been nailed down - dense layers of low-intensity droning, mechanical noise is about a close a definition as you'll get. Generally, if you're looking for more music in this style, try various darkambient and industrial ambient acts for variety (especially those on Cold Meat Industry), or, if you have to go for the really harsh stuff, power electronics (a sound Roger moved towards on his later releases).
    However, it's also been used to describe a slowed down grindcore offshoot, a combination of industrial and death metal elements (strange but true) - despite the factual inaccuracy, this is the form of death industrial you're most likely to come across - early Pitchshifter or Godflesh is a pretty good example - think grinding guitars, aggressive sampling and guttural vocals and you're pretty close. 'Real' death industrial, is something else entirely, of course.
    Definitive Bands:
    · Brighter Death Now (early works)
    · The Grey Wolves
    · Megaptera
    · Mz.412
    [AKA Industrial Goth]
    The term 'electro-goth' (sometimes spelt with the hyphen, sometimes without) has never been clearly defined. It has, for instance, been used to describe the sounds of the darker early 80s new wave bands, and also to define some of the Skinny Puppy-inspired electro-industrial bands such as :Wumpscut:. Some also regard it as a synonym of darkwave - here however, it will be treated as an offshoot or successor to darkwave rather than the same thing.
    What we are describing here are bands that fall under the broad definition of gothic in terms of mood, feel and concept, but make substantial use of rhythms and musicial technique derived from electro-industrial and EBM. The usage of guitars is common but optional - for example the German project Blutengel (headed by arch-exponent of the style, Chris Pohl) relies on male/female vocals (big on vampire thematics) set to a purely electronic backdrop. Terminal Choice, Pohl's other key project, meanwhile, features industrial rock style guitar riffs in place of the female vocals - an avenue also developed by the likes of Unheilig, Gothminister and ASP.
    The genres connection to darkwave has never been truly established, though the musical progression of Adrian Hates' project Diary of Dreams best describes the difference between the two in terms of the definitions laid out here. The first two albums offered an epic, desolate form of darkwave, before the incorporation of rhythmic electronics and a more forceful style of guitar and song structure - by the time of 2000's 'One of 18 Angels', the sound of the project could be regarded as electro-goth.
    Definitive Bands:
    · ASP
    · Blutengel
    · Cephalgy
    · Diary of Dreams
    · Gothminister
    · L'ame Immortelle (early works)
    · Tristesse De La Lune
    · Unheilig
    Darkwave is a wide genre that covers virtually any recordings from the gothic music scene that has in some way advanced from the tradtional goth sound of Bauhaus, Sister of Mercy and the like. The term has been used to describe a number of the darker, romantic synth-pop acts, a selection of electronically-influenced gothic rock bands (such as Girls Under Glass, The Eternal Afflict and more recently ASP), the Neue Deutsche Todeskunst as well a number of the more 'goth-friendly' electro-industrial/EBM acts like Project Pitchfork, In Strict Confidence and Das Ich (the long-running Italian band Kirlian Camera have also been associated with the genre despite frequent associations to more elitist genres of industrial and neo-folk). The term has also been used to describe a number of ethereal and dark ambient acts on the Projekt label (the long-running Projekt band 'Attrition' are sometimes cited as one of darkwave's pioneers).
    The term is often used as a synonym for electro-goth, though here we will keep that term for a specific kind of darkwave music that combined gothic moods industrial or EBM style rhythms (no-one really knows if there IS a difference between the two styles, there's just too many bands falling under the darkwave banner for me NOT to feature at least one splinter style!). Some have gone to the extent of classing the future pop contigent in with darkwave, but since that genre makes only the occasional concession to gothic music, it is best regarded as a genre in its own right.
    Definitive Bands:
    · 18 Summers
    · ASP
    · Attrition
    · Clan of Xymox
    · Das Ich
    · Diary of Dreams
    · Diva Destruction
    · Garden of Delight
    · Girls Under Glass
    · Goethes Erben
    · Illuminate
    · In Strict Confidence
    · Kirlian Camera
    · L'ame Immortelle
    · Midnight Configuration
    · Persophone
    · Project Pitchfork
    · Silke Bischoff
    · Sopor Aeternus and The Ensemble of Shadows
    · Switchblade Symphony
    · Unheilig
    · Wolfsheim
    Martial Industrial
    [AKA Orchestral Industrial]
    Militaristic elements have been associated with industrial music since its inception - both, after all, deal with a cold, ruthless and orderly aesthetic. Many EBM and electro-industrial bands have incorporated war-related metaphor into their lyrics, sometimes with a drill sergeant style of vocals delivery, and many make use of militant imagery on their album sleeve and when playing live. However, whilst these acts have occasionally incorporated militant elements into their actual music, the focus of this section is on industrial bands who make martial rhythms (and, if such things exist, martial melodies) their key focus.
    The most famous martial industrial band is of course Slovenia's Laibach, though many of their more recent works have shown a move towards more of a minimal techno sound. A more esoteric example of martial industrial is the work of Austrian artist Albin Julius, who records as Der Blutharsch, often sampling from ancient recordings of old military marches from the Nazi era. Note that the majority of martial acts are associated with the neo-folk movement, with bands from either genre making regular appearances on each other’s recordings.
    Definitive Bands:
    · Across The Rubicon
    · Allerseelen
    · Arditi
    · Blood Axis
    · Der Blutharsch
    · In Slaughter Natives
    · Karjalan Sissit
    · Laibach (early works)
    · Sophia
    · Von Thronstahl
    · Wappenbund
    Noise remains one of the most exclusive music genres of all. Whilst the power noise and power electronics artists of Europe have come close, 'true' harsh noise generally originates from Japan. The prolific Merzbow is the best known 'Japanoise' artist, with Masonna and Aube following close behind. Such 'music', with little real structure and no conceptual limits, is hard to describe at the best of times, but just take it from me - it ain't easy on the ears, and it's underground nature means your wallet will take a pounding, too (beware of downloads - the MP3 format was never designed for such music and it's believe noise music takes a larger-than-normal hammering when compressed in such a manner). It's something you have to hear once, and whilst you may never get to like it, you should at least respect it.
    Definitive Bands:
    · Aube
    · Cock ESP
    · Government Alpha
    · Masonna
    · Merzbow
    Industrial Ambient
    One might wonder if such a style of music is even possible - after all, how can the scathing, unforgiving nature of industrial music ever be innocuous enough to be classed as 'ambient'? Well, there's some artists out there that seem to think it's possible. Closely related to dark ambient, but with a great emphasis on droning, whirring or other mechanical noises and sound effects collated from any number of sources. It's a style with no firm boundaries, serving as more of a concept that can be approach from a number of angles - some build walls of sound from looped drones or noises, others create uncomfortable downtempo percussion loops with 'found' sounds filling in the gaps.
    It's therefore a style many bands touch on without dedicating their whole careers to it. Many power noise acts have a go at some point, with P.A.L., Ah-Cama Sotz and recent Converter probably the best of several examples. That said, projects such as Zoviet France, Raison d'Etre and Deutsch Nepal are generally thought of as industrial ambient acts, or words to that effect. Some works of the early industrial acts Coil and NON also fall under the same banner (Coil reliant on low-key percussion and esoteric structures, NON instead working with arhythmic noise loops). If you're looking for a more general starting place, the Swedish label Cold Meat Industry hosts a number of acts playing in this or related styles.
    Definitive Bands:
    · Ah Cama-Sotz
    · Archon Satani (some works)
    · Bocksholm (some works)
    · Coil
    · Converter (more recently)
    · CTI
    · Delerium (early works only)
    · Deutsch Nepal
    · Hafler Trio, The
    · Lull
    · Lustmord
    · NON
    · P.A.L.
    · Raison d'Etre
    · Zoviet*France
    Dark Ambient
    [AKA Damnbient]
    As the name suggests, this is 'ambient' music with a dark, foreboding, depressing or otherwise negative tone to it. Despite its connections to mainstream 'ambient' music, darkambient (or 'dambient' if you like) is generally regarded as a form of gothic or darkwave music for the purposes of definition. Oppressive synth textures, minor keys, distant vocals, church organs and other quasi-religious elements are all common elements of darkambient compositions.
    Debates rage as to which acts actually count as genuine dark ambient, though Lycia, Lustmord and Soul Whirling Somewhere are thought to fit the definition fairly closely. In terms of labels, the legendary Projekt label, founded by Sam Rosenthal of 'Black Tape For A Blue Girl' is probably the most highly regarded in terms of both dark ambient and ethereal music. Those wanting something more extreme in terms of negativity and dissonance, however, should check out some of the acts on Sweden's Cold Meat Industry label.
    It is this label that is primarily responsible for crossover between this style (the gothic answer to ambient, if you like) and the bizarre world of industrial ambient - indeed the term 'dark ambient' is often taken as an umbrella term encompassing industrial ambient, death industrial, black ambient and a variety of other related styles. There is no fixed definition to the style.
    Looking at some better-known acts, the earlier works of Delerium also veer onto dark ambient territory (though their recent material certainly doesn't), as do some of Future Sound of London's tracks circa 'Dead Cites', though most easily-obtainable ambient music isn't very dark at all. Steve Roach has also produced a number of dark ambient works during his 20-year career (including a spell on the Projekt label), though his career has covered a number of other ambient genres.
    Definitive Bands:
    · Ah Cama-Sotz
    · Ain Soph
    · Archon Satani
    · Black Tape For A Blue Girl
    · Coph Nia
    · Delerium (early works only)
    · Desiderii Marginis
    · Letum
    · Lustmord
    · Lycia
    · Okk-Ulth
    · Raison d'Etre
    · Steve Roach
    · Soul Whirling Somewhere
    [AKA Heavenly Voices, Ethereal Wave]
    'Ethereal' is one of the looser musical definitions dealt with here, standing more as a descriptor that can be assigned to any music with a heavenly or other-worldly vocal tone (usually, but not always, female-sung) than as a definition of a particular form of musicology, although usage of dream-pop inspired echoed/delayed guitars and influences from ambient and world music usually compliment the vocals.
    The connection this style of music has with the gothic sound is thus only by association, mainly via genres like darkwave and darkambient and whatever other tags you apply to the sound of the Projekt label, whose output usually falls into one or more of these categories. Nonetheless it's deep emotive content (in both a lyrical and instrumental sense) ensures it gets a mention here.
    Definitive Bands:
    · Arcana
    · Black Tape For A Blue Girl
    · Chandeen
    · Conjure One
    · Coph Nia
    · Delerium (in places)
    · In The Nursery
    · Love Is Colder Than Death
    · Love Spirals Downwards
    · Loveliescrushing
    · Lycia
    · Mors Syphilitica
    · Persophone
    · Siderartica
    · This Ascension

    Based on one od blogs, don't remember which one.
  • Cult of Luna - Eternal Kingdom. Comin' soon!

    27. Apr. 2008, 21:36

    "The world of the 'Eternal Kingdom' is harsh and hostile and that was something we felt was needed to express through the music. The turn to a harder and heavier sound was also very welcomed on our side after two albums of exploring atmospheric and meditative music."
    The artwork is inspired by old woodcuts and it is definitely the right way of maintain and amplify the harshness of the 'Eternal Kingdom'. With the Man/Owl king in the middle, it is a perfect visual representation of how the album is going to sound.

    Cult of Luna
  • God doesn't exist in Electronic - Autechre

    5. Mär. 2008, 18:02

    Godless electronic. Move your soul around the beat.

    Autechre - Gantz Graf

    Autechre - Nine

    Autechre - Dropp

    Autechre - Second Bad Vibel

    Autechre - Basscadet

    Autechre - Clipper

    Autechre - Foil
  • Lustmord & Lynch [Scenes from "Eraserhead/Głowa do Wycierania" with. Lustmord music]

    17. Okt. 2007, 20:34

  • "92" (Clip for Undercover Surrealism feat. Lustmord music & sound design.)

    12. Jun. 2007, 3:20

    "April 2006, Lustmord created the music & sound design for 92, a 30 second promotional video for the Undercover Surrealism exhibit at the Hayward Gallery London. Directed by Dominic Hailstone."

    Undercover Surrealism Official Page: http://www.hayward.org.uk/undercover/film.html
  • Lustmord - Schism & Parabola RMX (Unofficial Video Clips by The Brothers Quay)

    24. Mai. 2007, 14:25

    Schism Rmx

    Parabola Rmx

    21. Apr. 2007, 11:47

    Koniec lat siedemdziesiątych i początek osiemdziesiątych w muzyce to nadal era buntu i łamania przyjętych konwencji. Kontynuacja punkowej rewolucji na nieco innym polu, w odmienny, bardziej ekstremalny sposób. Wraz z narodzinami (i szybkim upadkiem - ideowym bądź muzycznym) brytyjskich grup w stylu Throbbing Gristle, czy Cabaret Voltaire, zagościła na niezależnym rynku zupełnie nowa estetyka dźwięku, inspirowana fabrycznym zgiełkiem, podważająca humanistyczną wizję świata kreowaną przez kontrolujące obieg informacji media. Przeciwstawiała jej rzeczywistość taką, jaka naprawdę nas otacza: rzeczywistość brudu, zgiełku, izolacji i osamotnienia, apokaliptyczną cywilizację końca wieku, świat bez uznanych autorytetów i wartości. Ta właśnie rzeczywistość wydała na świat wielu artystów i kontestatorów, stając się dlań doskonałą inspiracją: S.P.K., Whitehouse, Clock DVA, póżniej Laibach, Einsturzende Neubauten i wielu innych. Pośród hałasu pracujących maszyn, w pyle walijskich, ceglanych dzielnic urodził się jeden z nich: Brian Williams, znany bardziej światu jako Lustmord.

    Początki działalności Lustmorda sięgają właśnie przełomu lat 70 i 80-ych. Wtedy właśnie spotkał on pionierów industrialu - Graema Revella z S.P.K. i członków Throbbing Gristle. Zachęcony przez nich, a zwłaszcza Revella, z którym wkrótce nawiązała się owocna, trwająca do dzisiaj przyjaźń, postanowił kupić jakiś sprzęt do nagrywania i zarejestrować na taśmie owoce swoich muzycznych pomysłów. Revell, któremu podobały się nagrania Briana, przedstawił je - bez wiedzy autora - Nigelowi Ayersowi z Nocturnal Emissions i Sterile Records, a ten bez namysłu ocenił je jako warte opublikowania. W 1983r. światło dzienne ujrzała kaseta "Lustmordekay", wydana później na Dark Vinyl jako "A Document of Early Acoustic & Tactical Experimentation", z gościnnym udziałem Johna Balance'a z Coil i Nigela Ayersa z Nocturnal Emissions. I w ten sposób wszystko się zaczęło.

    Kolejne miesiące upłynęły na współpracy z Revellem - Lustmord pomagał Revellowi w organizacji występów S.P.K., a niedługo potem powołali ponownie do życia wytwórnię Side Effects, która poza edycjami albumów S.P.K. "Information Overload Unit" oraz "Leichenschrei" odświeżyła materiał nagraniowy innych twórców: Hunting Lodge, Laibach, Gerechtigkeits Liga, Greater than One, The Anti Group i Llwybr Llaethog. Lustmord był jednak zmęczony ciągłą eksploatacją tych samych klimatów. "O ile pierwsze kilka industrialnych płyt było interesujące, to w miarę jak ludzie przysyłali nam fatalnie zarejestrowane demówki, co raz częściej zastanawiałem się, kto ma ochotę słuchać siódmej czy ósmej płyty Throbbing Gristle ? Jedyną prawdziwą industrialną wytwórnią było Industrial Records, założone przez TG. Reszta to zwykłe powielanie i stanie w miejscu.". Próbując przełamać impas w jakim znalazła się industrialna scena w połowie lat osiemdziesiątych, Lustmord postanowił sięgnąć po inne środki wyrazu, niż całe rzesze ówczesnych muzyków. W ten sposób powstała płyta "Paradise Disowned", wydana przez Side Effects w 1986r.

    "Nie ma już dla nas żadnych świętości. Prawo, podług którego żyjemy, to tylko dźwięk pękniętego dzwonu. Wkraczamy do waszych świątyń, zjadamy waszych bogów, palimy wasze katedry.". Takie słowa umieścił Lustmord na wkładce do swojej kolejnej płyty, powstałej jako swoiste antidotum wobec wyeksploatowanej do granic możliwości antyestetyki. Na "Paradise..." brakuje krzyków, świdrujących sprzężeń, sampli z filmów pornograficznych, wypowiedzi seryjnych morderców i innych środków z arsenału Whitehouse, TG, czy S.P.K, którego członek, John Murphy, pojawił się gościnnie na płycie. Ale, o dziwo, pozostaje ona w klimacie nagrań wyżej wymienionych. Jest industrialnym, rytualnym misterium, czerpiącym jednak bardziej z intensywniejszej emocjonalnie muzyki kameralnej, niż zgrzytliwej motoryki huty Sendzimira. Nasycona mistyczną, pogańską atmosferą, przy pomocy środków artystycznych omijanych w środowisku szerokim kręgiem, "Paradise..." przenosi słuchacza w klimat opuszczonych katedr, w których czai się niezmącony światłem docierającym przez kolorowe witraże mrok. Gęsta, duszna atmosfera uzyskana została dzięki nagraniom przeprowadzonym w autentycznych miejscach - np. kryptach katedry Chatres niedaleko Bedlam w Wielkiej Brytanii, co dało początek zamiłowaniom Briana do korzystania z dźwięków otoczenia podczas sesji nagraniowych. "Chrześcijanie mają wiele naprawdę dobrej muzyki. Na 'Paradise Disowned' starałem się zaadoptować podobne podejście do dźwięków, bez całej dogmatycznej otoczki towarzyszącej tej religii. Generalnie, w każdej silnej religii pojawia się interesująca forma muzyczna. Tak samo jest z Chrześcijaństwem albo z religiami Dalekiego Wschodu, których mistycyzm pociąga mnie o wiele bardziej, niż pseudorytualne zagrywki Psychic TV.". "Paradise..." jest w dyskografii Lustmorda swego rodzaju preludium dla kolejnych jego dzieł, a industrialna skóra w postaci elektrycznych beatów, pojawiających się wraz z zagęszczaniem atmosfery, została niebawem zrzucona na dobre. Bestia wkrótce miała pokazać swój pazur.

    "Wkrótce" oznaczało w rzeczywistości całe cztery lata. W 1990r. Lustmord dał znać o sobie kolejnym wydawnictwem, nagranym tym razem dla Amerykańskiej wytwórni Soleilmoon. "Heresy", sześcioczęściowa, nakreślona z epickim rozmachem historia stanowi "kulminację działań przeprowadzonych pomiędzy 1987 i 1989r. i zawiera dźwięki zarejestrowane pod ziemią: w kryptach, jaskiniach, głęboko położonych schronach i katakumbach, na równi z materiałem pochodzenia sejsmicznego i wulkanicznego. Wykorzystuje również zjawiska psycho-akustyczne i fizyczny efekt oddziaływań niskich częstotliwości.". tyle mówi notatka na okładce. W zestawieniu z poprzednim albumem, "Herezja" jest majstersztykiem mrocznego ambientu. Wyzbyta rytualnego patosu i podniosłości poprzedniczki, osadzona jest w niskich rejestrach, porzucając niemal całkowicie średnie i wysokie pasmo częstotliwości. Gotyckie chorały ustępują miejsca rozciągniętym dronom. Pogłosy i echa towarzyszące podziemnym eskapadom Briana sprawiają, iż pokój w którym puszcza się ten album z miejsca zamienia się w wilgotną pieczarę. Dudniące sub-basy wzbudzają drgania tak intensywne, iż - zgodnie z prawami psycho-akustyki - słuchacz zaczyna odczuwać prawdziwy niepokój, z niepewnością ogląda się za siebie w poszukiwaniu źródła lęku. Na płycie praktycznie nie ma syntezatorów. Wszystkie dźwięki pochodzą z natury, co Lustmord szczególnie podkreślał. W procesie tworzenia źródło dźwięku odgrywa rolę nadrzędną wobec brzmienia. Konceptualność muzyki dzielił z Brianem Andrew Lagowski, znany z cybernetyczno-kosmiczno-darkambientowych nagrań pod szyldem Legion, Lagowski i S.E.T.I., który pomagał w remiksowaniu płyty. Obaj artyści zdają sobie sprawę z potęgi dźwięku o określonej częstotliwości, zarówno w skali ultra, jak i infra, co postanowili przemycić w swoich nagraniach. "Trudno jest uzyskać dźwięki o zawrotnie niskiej, czy wysokiej częstotliwości. Aby, na przykład, wyemitować dźwięk o częstotliwości 10 Hz, potrzebujesz ogromnych betonowych głośników napędzanych olejowymi tłokami. Nikt w domu nie ma takiego sprzętu, poza tym takie fale uderzeniowe, odpowiednio nagłośnione są w stanie zwyczajnie zabić. Ale już dźwięki o częstotliwości 40 Hz mogą powodować panikę i stany lękowe. Podobnie działają na odbiorcę tzw. "częstotliwości stresogenne", powstałe podczas płaczu dziecka, czy wrzasku kobiety, z powodzeniem wykorzystane na 'Leichenschrei' S.P.K.. Na tym poziomie jest to stosunkowo proste i to staraliśmy się wykorzystać podczas pracy nad kolejną płytą."

    Kolejna płyta została jednak nagrana przez Lustmorda wraz z Adi Newtonem z Clock DVA. Brian mógł skorzystać z doświadczeń Adiego, którego eksperymentalny sideproject Anti Group, z płytą "Test Tones" przynosi dźwięki o stałych częstotliwościach, powodujące u niedoświadczonych słuchaczy nerwowe tiki, przyspieszone tętno i pocenie się wewnętrznych stron dłoni. "Monstrous Soul" (Soleilmoon 1992) wykorzystuje częstotliwości bliskie infradźwiękom w celu stworzenia lepszej przestrzeni i wzbogacenia klimatu. Niestety jest to płyta dla posiadaczy zestawu HI-FI o znakomitych parametrach. Jak twierdzą twórcy, większość rejestrów, osadzonych na granicy słyszalności (ok. 20 Hz) nie zostanie przeniesiona przez podrzędne odtwarzacze, wzmacniacze i głośniki.

    "Monstrous Soul" jest jeszcze bardziej minimalna, potężna i demoniczna od poprzednich nagrań. Album otwiera utwór, w którym przez około pięć minut słychać zapętloną, tajemniczą frazę "This is the night of the daemon". Posępny szum wiatru i złowieszcze uderzanie w struny zapowiadają ponurą ucztę dla amatorów superciężkich grzmotów i dudnień, stanowiących szatański akompaniament dla odbywających się gdzieś w ukrytej od świata jaskini rytuałów inicjacyjnych. I znowu udaje się Lustmordowi uciec od tanich chwytów - po raz kolejny spod jego ręki wyszło arcydzieło jakże odległe od ckliwych biadoleń neo-satanistyczno-pogańskich muzyków nagrywających dla Cold Meat Industry. Zarówno "Heresy" jak i "Monstrous Soul" z powodzeniem stanowią klasyk darkambientu, niedościgniony wzorzec skomponowany przy użyciu dźwięków otoczenia, do którego inni będą mogli się jedynie zbliżyć.

    Wydawało się, że po dwóch tak udanych produkcjach Brian Williams nie będzie w stanie powiedzieć już niczego równie dobrego. Jednak przynajmniej dwie płyty zasługują tutaj na uwagę. Chodzi mianowicie o "The Place Where The Black Stars Hang" (Soleilmoon 1994) i "Stalker" (Fathom 1995), nagraną wraz z bardziej New-Age'owo zorientowanym artystą, Robertem Richem. Pierwsza z nich zabiera słuchacza w podróż do kresu galaktyki, objawia naszym uszom strzępy przefiltrowanych odgłosów Wszechświata, kosmiczny szum, echa po odległych eksplozjach supernowych. Organiczna, jak zwykle ciężka i czarna jak smoła, przemyślana płyta, nagrana samodzielnie przez Lustmorda w jego własnym studio. Druga z nich, zainspirowana filmem Andrieja Tarkowskiego pod tym samym tytułem, z powodzeniem może stanowić soundtrack do najlepszego chyba filmu rosyjskiego reżysera. Tym razem do współpracy został zaproszony Robert Rich, znany z bardziej przystępnych elektronicznych wojaży (np. płyty "Seven Veils", "A Troubled Resting Place", współpraca z Allo Die, Lisą Moskow, Vidna Obmana, Forrest Fang). Wspólne dzieło Lustmorda i Richa jest interesującą ilustracją losów dwóch bohaterów, którzy pod przewodnictwem Stalkera udają się na wycieczkę do Zony - tajemniczego, otoczonego kordonem wojska i policji miejsca, w którym podobnież wylądowali kosmici. Podróż do Zony, gdzie teoretycznie mają spełniać się wszystkie życzenia zamienia się w filozoficzną parabolę na temat ludzkiego życia, pragnień, wartości. Film Tarkowskiego, nakręcony przy minimalnym budżecie, bez żadnych efektów specjalnych kreuje zimną, duszną atmosferę nieokreśloności, doskonale uchwyconą przez muzyków. Piętno Lustmorda jest słyszalne a płyta przenosi nas w krainę nieznanego, gdzie prawa euklidesowskiej geometrii zostają załamane albo czas staje w miejscu. Bogata brzmieniowo i aranżacyjnie, pozbawiona dotychczasowego rytualnego piętna, charakterystycznego dla wcześniejszej twórczości Lustmorda, stanowi prawdziwą perełkę w dyskografii pioniera mrocznego ambientu, który obok Thomasa Könera, Lull, czy Hiss posiadł unikalną zdolność wpędzania słuchacza w śmiertelnie poważny nastrój.

    Dyskografię Lustmorda uzupełniają:

    - Terror Against Terror "Psychological Warfare Technology System" (Paragoric CD 1992), będąca rozwinięciem wczesnych dokonań Lustmorda w dziedzinie eksploracji rytmu,
    - Isolrubin BK "Crash Injury Trauma" (Soleilmoon 1993), zainspirowana samochodowymi wypadkami i nieciekawą sytuacją człowieka w kontakcie z rozpędzoną maszyną, lub w jej wnętrzu podczas zderzenia,
    - Arecibo "Trans Plutonian Transmissions" (Atmosphere 1994), na której wykorzystano odgłosy aktywności kosmologicznej zarejestrowane uprzednio przez NASA,
    - 12" "Strange Atractor/Black Star (Plug Research 1996), nagrana dla ambientowych DJ-ów kompilacja, dostępna jedynie na winylu,
    - "Lustmord vs. Metal Beast" (Side Effects 1997), dokumentująca elektro-beatową, rozimprowizowaną sesję nagraniową dla radia KUCI z Kalifornii,
    - rozliczne składanki i kolaboracje (m. in. z Chris and Cosey "CTI", "Core", obie dla Play It Again Sam, kolejno 1984, 1988).
    Ponadto Lustmord pojawił się gościnnie na płycie S.P.K. "Leichenschrei" i solowym projekcie Graema Revella "The Insect Musicianans" (zawierającej odgłosy owadów), Current 93 "Dog's Blood Rising", na "The Sylvie and Babs Hi-Fi Companion" Nurse With Wound. Oprócz tego pracował jako inżynier dźwięku przy koncertach Clock DVA i asystował przy nagraniach Anti-Group. Zawodowo od lat zajmuje się produkcją i tworzeniem muzyki do filmów fabularnych, z których "The Crow" Alexa Proyasa mieliśmy okazję obejrzeć w Polsce.

    Lustmord Arecibo Terror Against Terror Isolrubin BK
  • Godspeed You! Black Emperor "The Dead Flag Blues" [VideoArtWork]

    20. Apr. 2007, 11:52

    This work was inspired by the September 11 tragedies. This video is done in commemoration of the loss from that day. This work combines the works of Godspeed You Black Emperor's Dead Flag Blues and various Adobe clips that are included in the Adobe Premiere package and various news agency clips from the September 11 attacks