Tag Archives: industrial

Tech Level 2 – Indifferent. EP (Avalanche Recordings)

Posted by John Lithium on

Label Description:

With Tech Level 2, Justin K Broadrick harks back to the days when drum and bass was ruff, rugged and raw, in the 90’s and very early 00’s.

And, for those who don’t know, Justin worked tirelessly in the drum and bass scene in the mid 90s to the early 00’s producing many records on revered UK drum and bass labels, both as Tech Level 2 and his pre Tech Level 2 project Youpho (which was a duo). More info can be found on the blurbs for the previous Tech Level 2 releases on Avalanche Recordings.

Drum and bass / Jungle, had a huge impact on Justin from its inception in the early 90’s, and he brought that influence into his Godflesh productions from the mid 90’s onwards. An influence that has been omnipresent ever since, in not only Godflesh, but across every project.

Now operating without engaging in any scenes or DJ culture, Tech level 2 still exists to continue flying the flag for the roots of pure, raw and minimal/maximal drum and bass.

credits

released March 14, 2025

Produced 2020 – 2024 by Justin K Broadrick /

AVALANCHE RECORDINGS /
AREC077 /
2025 /

Colossloth – The Harmony Knife (Cold Spring)

Posted by John Lithium on

Label Description:

The fifth album from industrial / esoteric electronic alchemist Colossloth is a concept album based on the writings of professor Ted Kaczynski AKA the Unabomber. It is not about his terror campaign against the industrial society and the rise of technology – but his manifesto “Industrial Society And Its Future” and in particular the elements of “The Power Process”.

“With “The Harmony Knife”, Colossloth is cutting through to the bone and sinew of Man’s chronic, species-specific dissatisfaction, and the causes thereof. He is laying bare humankind’s inability to solve its own, self-created problems, to meet its basic needs, and to achieve even those goals clearly within its reach.

What is the fundamental nature of the human condition? Is it one of misery and failure in the face of blissful possibility? Is it the contrary unwillingness to accept that we can become fully realised and contented beings through the success of actualised, idiosyncratic, and often basic goals?

In defining and describing The Power Process, the twisted mind of Ted Kaczynski saw mankind’s primal need to struggle for a goal, however small, as necessary for a meaningful life. Indeed, without this elemental piece of the evolutionary struggle, he saw terminal atrophy as the inevitable result.

With “The Harmony Knife”, Colossloth seizes these ideas and sonically extrapolates the implications of humankind’s failure to satisfy even our most rudimentary needs. He creates an auditory landscape examining our repeated inability to focus our efforts on fundamental goals to ensure even a measure of happiness or contentment. Humanity’s inability to live rather than merely exist” (Jake Shell).

credits

released February 28, 2025

All Music by Wooly Woolaston
Produced by Tom Reynolds (Foul Body Autopsy)
Colossloth Photo: Ash Walker

Mastered by Martin Bowes (The Cage Studios)
Graphic Design by Abby Helasdottir

In Slaughter Natives – Still Just Only Still (I.S.N. Media)

Posted by John Lithium on

Label Description:

1. Released on Machinenfest 2017 [pflicht 075]
2. Previously unreleased, Featuring Shane Beck [The last American Poet]
3. Previously unreleased
4. Previously unreleased
5. Released on Machinenfest 2006 [pflicht 028]
6. Released on Electroanschlag V & Recollection II [ISNM-12]
7. Released on !Krrrbrrrtzkrrrbrrrtztz! Vol.4 [SRB awake001 CD]
8. Released on The Absolute Supper [CMI.50]
9. Released on Recollection II [ISNM-12]
10. Released on Melt [NET002]
11. Made for a compilation
12. Released on Machinenfest 2012 [pflicht 050] Originally from 1985
featuring, R.I.P Robert [Synth Robban] Säfstöm
13. Released on Ashes of Angels [SIP001]

My credit and gratitude to
my son Sebastian Skattung and
Shane Beck [The last American Poet]
And to the memory of May Sun Beck and
Robert [Synth Robban] Säfström

I.S.N MEDIA ISNM-15

Spite Cathedral – The Rag Doll Transition (Aural Films)

Posted by John Lithium on

Label Description:

IN HIS NEW RELEASE, ‘’THE RAG DOLL TRANSITION’’, SPITE CATHEDRAL TAKES LISTENERS ON AN IMAGINATIVE JOURNEY THAT IS BOTH EMOTIONALLY EVOCATIVE AND SONICALLY ADVENTUROUS. SPANNING AN IMPRESSIVE 70 MINUTES, THE ALBUM SERVES AS AN AURAL SOUNDTRACK FOR A BLUE- HAIRED DOLL, WHO UNDERGOES THE TRANSFORMATIVE EXPERIENCE OF BECOMING HUMAN, GRAPPLING WITH THE WHIRLWIND OF NEW EMOTIONS THAT COME WITH IT. THE CONCEPT ALONE IS ENOUGH TO PIQUE CURIOSITY, BUT SPITE CATHEDRAL’S EXECUTION SOLIDIFIES HIS PLACE AS A MASTER OF GENRE-BENDING ARTISTRY.

THE ALBUM KICKS OFF WITH THE MELODIC MINIMALISTIC ‘’THE RAG DOLL TRANSITION THEME (INTRO)’’, SETTING A THEATRICAL TONE THAT PREPARES THE LISTENER FOR THE EMOTIONAL DEPTHS TO COME. FROM HERE, ‘’THE RAG DOLL TRANSITION’’ SEAMLESSLY BLENDS A VARIETY OF STYLES—INDUSTRIAL TEXTURES CLASH WITH ABSTRACT AMBIENT SOUNDSCAPES, EACH TRACK PUSHING THE EMOTIONAL ENVELOPE. IN “CHANCE MEETING,” HIS PAST IN ROCK BANDS AND SHOEGAZE INFLUENCES UNVEILS WITH LAYERED GUITARS THAT EVOKE NOSTALGIA, SKILLFULLY EXPRESSING THE WONDER AND TREPIDATION OF FIRST ENCOUNTERS IN THIS NEW HUMAN EXPERIENCE.

THE TRACK “I’M NOT YOUR DOLL” SHOWCASES SPITE CATHEDRAL’S INNOVATIVE USE OF THEMATIC 80’S SYNTHWAVE, PERFECTLY ENCAPSULATING THE STRUGGLE FOR IDENTITY AND AUTONOMY. IT’S A STANDOUT MOMENT, EMBODYING THE DOLL’S QUEST FOR EQUALITY AND SELF-DEFINITION AGAINST A BACKDROP OF PULSATING SYNTHS. CONVERSELY, “AT THE JAZZ CLUB” DELIVERS ANOTHER EERIE TWIST WITH IT’S MUSIQUE CONCRETE AND FREE JAZZ INFLUENCES, CREATING AN ATMOSPHERE OF SPONTANEITY THAT MIRRORS THE UNPREDICTABILITY OF EMOTION.

EACH TRACK FEELS LIKE A SNAPSHOT OF THE DOLL’S TRANSFORMATIVE JOURNEY— ‘’SOMBRE’’ BRINGS A SENSE OF WONDER WITH IT’S STRANGE EMOTIONAL SINGING THAT SOUNDS LIKE IT’S COMING FROM THE DOLL!!? , WHILE “PEEL IT JIM” LEANS INTO SADDER, MORE INTROSPECTIVE TERRITORIES. THE MORE ABSTRACT PIECES, SUCH AS “OUTWARDS! OUTWARDS!” AND “I HAD THE STRANGEST OF FEELINGS,” INVITE LISTENERS TO EXPLORE COMPLEX EMOTIONAL LANDSCAPES, ACCENTUATED BY INTRICATE SOUND DESIGN THAT SPINS A WEB OF TENSION AND RELIEF.

AS THE ALBUM PROGRESSES, TRACKS LIKE “A VAGUE MEMORY”, ‘‘EXASPERATION’’ AND “HONEY” ARE EVOCATIVE OF THE HIGHS AND LOWS THAT COME WITH THE TERRITORY OF NEWFOUND AWARENESS, EACH NOTE CAREFULLY CRAFTED TO ELICIT A VISCERAL RESPONSE. THE PENULTIMATE TRACK, INWARDS…,” CONFRONTS THE LISTENER WITH AN OTHERWORDLY ATMOSPHERE AND A FRAGMENTED MELODY LINE THAT EMBODIES THE DOLL’S DETERMINED STRIDE TOWARD SELF- DISCOVERY.

THE FINALE, “THE RAG DOLL TRANSITION THEME (OUTRO),” BRINGS THE JOURNEY FULL CIRCLE, ENCAPSULATING THE STORY WITH A NEW TAKE OF THE OPENING THEME.

IN SUMMARY, ‘’THE RAG DOLL TRANSITION’’ IS MORE THAN JUST AN ALBUM; IT’S AN IMMERSIVE EXPERIENCE THAT SHOWCASES SPITE CATHEDRAL’S UNPARALLELED ABILITY TO WEAVE INTRICATE NARRATIVES WITHIN HIS SOUND. WITH HIS MIX OF STYLES HE HAS CRAFTED A COMPELLING SOUNDTRACK THAT RESONATES ON BOTH EMOTIONAL AND AUDITORY LEVELS. THIS IS AN ALBUM THAT DEMANDS YOUR ATTENTION AND WARRANTS REPEATED LISTENS—AN EXPLORATION OF IDENTITY THAT WILL LEAVE LISTENERS REFLECTING ON THEIR OWN TRANSITIONS LONG AFTER IT CONCLUDES.

credits

released February 14, 2025

COMPOSITIONS BY DAN STIELOW MORTAZAVI.
RECORDED AT MAN-MADE WALLS, SWEDEN JANUARY 2025.
MASTERED BY TYST FÖR FAN, JAG HÖR INTE.
ARTWORK BY ALIEN INK.
ARTIST BIO.

Spite Cathedral is Dan Stielow Mortazavi’s main project.
He has been producing music since his teenage years and his very first recordings that was released in the early eighties as a DIY cassette of 50 copies and was released on vinyl three decades later on the Dark Entries label.

DSM is a diverse artist working with visuals and wide range of music projects either alone or with other artists in projects such as Suspended In Gaffa, Our Mothers Meds, I Wish I Could Speak Your Language, Atish Pare, Ism and ATE23 to name a few. He also done remixes for labels like Ant-Zen and Insatiable Society. He has played numerous venues and clubs through the years and played at Denmarks Roskilde Festival both as a preforming artist and as a DJ.
spitecathedral.bandcamp.com

© 2025 DAN STIELOW MORTAZAVI. ALL RIGHTS RESERVED.

Aural Films is an online record label (netlabel) that releases high-quality soundtrack albums for movies that do not exist. We cover a wide range of music styles ranging from ambient to experimental to popular to soundtrack musics. Often on the same albums. You can find our complete catalog of releases online at AuralFilms.com

Aural Films Catalog No. AF0447

T.A.G.C. – Iso-Erotic Calibration (Cold Spring)

Posted by John Lithium on

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Label Description:

Carefully constructed aural rituals from T.A.G.C., this album maps new realms in the area of sensual electronic music. Founder Adi Newton (Clock DVA) uses The Anti Group as an outlet for his research in psycho-acoustic music. “Iso-Erotic Calibration” explores the potent topic of human sexuality. Recorded over a period of three years, this could be considered on of their more “accessible” albums.

Originally released in 1994 (Side Effects, the label of Lustmord, Musica Maxima Magnetica, and Adi’s own Anterior Research Recordings), we are proud to present the album for the first time on vinyl, as well as the first official CD reissue, fleshed out with four bonus tracks: two were bonus digital-only tracks (2013); one track is taken from the soundtrack to the 2011 T.A.G.C. film ‘Given’; one is a remix of the title track.

The Anti Group Communications (T.A.G.C.) was devised by Adi Newton and Steven James Turner as early as 1978 as a multi-dimensional research & development project. TAGC are not affiliated to any one system of philosophy or epistemological paradigm or occult fraternity but are open more to individual systems and innovative thinkers Science, Art, Music Sonology, Visual Arts, Literature, Research & Publication are its main areas.

The artwork is filled with text and illustrations supporting the different songs.

• CD in 6-panel matt-laminate digipak.

• Black LP on 180gm heavyweight vinyl in a matt-laminate sleeve.

• Ltd 300 x Brown LP on 180gm heavyweight vinyl in a matt-laminate sleeve.

credits

releases January 17, 2025

All compositions and production by Adi Newton, 1994.
All tracks from original DAT masters recorded in Florence, Italy, 1993, at the Anterior Research Station.

Iso-Erotic Calibration originally released by Anterior Research Recordings (ARR 003), Musica Maxima Magnetica (eee 20) and Side
Effects (DFX 21).

Bonus CD tracks:

Track 8: remix
Track 9: from the soundtrack to the TAGC film ‘Given’ (2011).
Track 10 & 11: from the digital-only edition (2013)

Mastered for Cold Spring by Martin Bowes at The
Cage, Coventry.

Cover image by Leonor Fini, La Toilette Inutile (‘The Useless Dress’), 1964, oil on canvas. One of two paintings of Ophelia by Fini.

New artwork design by Adi Newton.
Layout by Abby Helasdottir.

Iso-Erotic Calibration: photograph of Unica Zurn by Hans Bellmer (used as the cover of Le Surréalisme, Même 4, 1958).

Union with Sirens: collage by Karel Teige, 1942

Mercurius & Neurological Engineering: montages by Adi newton, circa 2010.

Psychophonphilia: La Permutation Des Sens drawing by Hans Bellmer, 1950.

Annals of Sancity: 19th Century painting of Eerie Scene With Incubus Demon, after Johann Heinrich Füssli.

Ethemeral: Engraving by Louis-Jean Allais of a mural painting from Tomb KV9, Valley of the Kings, Egypt.

Xorgett – Pareidol Detarutas (Opal)

Posted by John Lithium on

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Label Description: Xorgett’s latest offering occupies a singular territory where processed cello becomes a vehicle for deep listening and destabilized perception. Moving beyond the academic severity often found in electroacoustic work, these compositions achieve a rare balance between instrumental virtuosity and electronic intervention, creating environments that feel both archaic and hypermodern.

The integration of voice and strings produces moments of startling intimacy, yet the electronic treatments ensure we remain at a critical distance – never quite able to grasp the human elements before they dissolve into granular cascades and spectral residue. There’s a profound tension between the cello’s inherent warmth and the clinical precision of digital processing, suggesting both the comfort of familiar forms and their inevitable dissolution.

What distinguishes this work is its refusal to settle into either pure abstraction or conventional musicality. Instead, it charts a course through territories where recognition constantly slips away – like watching faces emerge and recede in clouds. The result is less a collection of compositions than a series of perceptual exercises, each track carefully dismantling our expectations of how acoustic instruments should behave in electronic spaces. This is music that demands full immersion while remaining eternally elusive.

In moments of “representational catastrophe,” Xorgett transports us into a hypnotic state, a radical sensory overload that dissolves meaning and thrusts us into “hypostasis”—a liminal zone where abstraction and the concrete collide. These tracks are a sonic journey from order to abyss, from symbolic meaning to pure, resonant sensation—a soundtrack to the world’s own oscillating dance between chaos and creation.

Uniform – American Standard (Sacred Bones Records)

Posted by John Lithium on

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Label Description: American Standard begins with a shock. Vocalist Michael Berdan stands alone, screaming, “A part of me, but it can’t be me. Oh God, it can’t.” It all starts with an admission. Beneath the harrowing screams, there’s the pain of bulimia nervosa.There’s the pain of a sickness that is as physical as it is psychological. This is a kind of emergence. 

With every movement of American Standard, Uniform Peels off a new layer and tells the story inside of the one that came before it. The lyrics sink down into the core of the innermost self, the small human being crushed in the grip of sickness. To help peel away this narrative of eating disorders, self-hatred, delusion, mania, and ultimate discovery, Berdan sought assistance from a towering pair of outsider literary figures. Alongside B.R. Yeager (author of the modern cult-classic Negative Space) and Maggie Siebert (the mind behind the contemporary body horror masterpiece Bonding), the three writers eviscerate the personal material to present a portrait of mental and physical illness as vividly terrifying as anything in the present-day canon. The result is an acute articulation of a state beyond simple agony, capturing the thrilling transcendence and deliverance that sickness can bring in the process. 

American Standard is surely Uniform’s most thematically accomplished and musically self assured album to date. Sections spiral and explode. Motifs drift off into obscurity before reasserting themselves with new power. Genres collide and burst open, form-ing something idiosyncratic and new. There’s a grandeur, due in part to the addition of Interpol bassist Brad Truax alongside the percussive push and pull of returning drummer Michael Sharp and longtime touring drummer Michael Blume, marking his Uniform recorded debut here. However, this magnificence is most clearly attributable to the scale and power of guitarist and founder Ben Greenberg’s arrangements, matching ever elegantly to the intense lyrical subject matter.

Without a shred of doubt, American Standard is a work of art, agonizing in its honesty and relentless in its pursuit of sonic transcendence. It is hideous. It is beautiful. It is necessary.