Current 93 - Haunted Waves, Moving Graves [2010]

Tracklist:
1. She Is Naked Like the Water
2. The Sound of the Storm Was Spears
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THOMAS KÖNER - LA BARCA [2009]

"Glacial soundscaping, glorious arctic ambience, heavy bass. best heard on headphones or a gigantic sound system. or in a cave.
Thomas Köner, born 1965, attended the music college in Dortmund and studied electronic music at the CEM-Studio in Arnhem. Until 1994 he worked with film sound as sound engineer. He extended his concept of sound colour to moving images, resulting in video installations and film works. 2000 the Montreal International Festival New Cinema New Media awarded him the “New Media Prize”. 2004 the Prix Ars Electronica awarded him the “Golden Nica”, and he was awarded the “Produktionspreis WDR / Deutscher Klangkunst-Preis” (german sound art award). His media installation “Suburbs Of The Void” received the Transmediale 2005 award in Berlin and was presented at La Biennale di Venezia, Teatro La Fenice as a live performance in the same year. Köners video “Nuuk” received the Tiger Cub Award (best short film) during the International Filmfestival Rotterdam 2005.
While studying, he dedicated himself to intensive sound research in the recording studio. His first impulse consisted in avoiding rhythm and melody and focusing instead on the phenomenon of sound colour. To intensify the experience of sound, he decided to work with other media, resulting at first in the collaboration with film artist Jürgen Reble and the live performance Alchemie (1992). Following this, he started to compose film soundtracks and electronic live music to accompany old silent films for the Louvre Museum and the Musée d’Orsay, Paris." LAST.FM

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CORRUPTED - EL MUNDO FRIO [2005]

"When doom titans Sleep recorded the seminal, one-hour-long song, Dopesmoker (aka Jerusalem), they created a stone cold classic; they also created a monster. Although hardly the first album-length "song" by any stretch (artists as diverse as Jethro Tull, Mike Oldfield and Green Carnation had already tried their hands at similar projects beforehand) Dopesmoker probably introduced the concept to a ready and willing "why didn't I think of that before" doomster scene, paving the way for several subsequent attempts both worthy and, well, unworthy. So, without even trying to pronounce said verdict just yet, never mind opening the can of worms defining what exactly constitutes a big-ass song versus a bunch of different ones strung together, the "attempt" which concerns us here is Corrupted's El Mundo Frio -- a 71-minute colossus whose existence, when you stop and think about it, is really no more preposterous than that of a Japanese band that insists on writing lyrics in Spanish. Breaking it all down: El Mundo Frio starts off with about ten minutes of slowly (make that s-l-o-w-l-y) escalating bass hums, piano chimes, soft-picked guitar notes, and oh-so-gentle, unhurried percussion; bursts into ten more minutes comprising city block-leveling groan chords; proceeds into 12 minutes of funeral doom with actual vocals of the Cookie Monster variety; settles into 15 minutes of mellow keyboard patterns and plucked acoustic guitar melodies; followed by 11 more minutes of funeral death/doom metal; and finally decays into a closing 12 minutes of barely audible chimes, echoing forlornly in the agoraphobic ether. The album's long-awaited verdict at last: is it diverse? Yes; Intriguing? Sure thing; Suitable as background music? Why not; Ambitious? Most certainly; Classic? Not really. A classic wouldn't leave one wondering what the whole darn thing might sound like if it were sped up to wrap in under ten minutes, and as long as El Mundo Frio's different sections take to actually resolve themselves, this question becomes almost inevitable. Ultimately, with over a decade's work and countless releases under their belts, there's no doubt that Corrupted have a well-established (if peculiar) M.O. and really know their way around a doom/drone epic; but perhaps they'd be better served leaving the album-length concoctions alone." AMG

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CORRUPTED - SE HACE POR LOS SUENOS ASESINOS [2004]

"One of Japan's most interesting bands is the sickening Sludge/Doom ensemble Corrupted. Being completely averse to any form of promotion, they do not do interviews, but instead decided to let their music represent them. And with a stunning total of 13 splits, 7 ep's and four full-lengths (at the moment), they could not ask for a better spokesperson.
Se Hace Por Los Suenos Asesinos", their third full-length, was the first album that came across my path in physical shape. As I was familiar with the name, and acquaintances had made a lot of promises about the band, I had no choice but to pick it up. At that time, little did I know it would turn out to be one of the most bewildering and obsessing experiences in ages.
Opening up with a warm and comforting acoustic strumming, my expectations rose higher and higher. Sure, it is always a good idea to cheat the listener with a calm intro, to ensure maximum effect when hell finally breaks loose. When the first few minutes passed, my patience become more and more troubled to maintain itself. An appalling feeling stealthily took a hold of me. When the slideguitar kicked in after more than five minutes, I panicked. Was this a mistake? Some kind of sick joke? Finally, I had a chance to get Corrupted on some cd, and someone accidentily gave me the wrong disc. But hadn't the cd itself had "Corrupted" printed on it, bright and clear? I settled down again. Perhaps I had just picked their only acoustic cd. What also worked soothingly was the immense quality of the music, which I only noticed at that point.
The tender, gentle and warm guitars are an absolutely delight to the shattered, blood-stained eardrums of every seasoned metalhead out there. The powerful, sonorous bass of vocalist Hevi works better than the best herb out there to reach utter relaxation. His unintelligible lyrics allow the listener to release focus and slowly drone away. The full seventeen minutes that this song lasts, are an absolute oasis of peace.
But then. Of course, in the unholy land of Heavy Metal, such a comfortable state of mind can never sustain itself long. As soon as "Gekkou No Daichi" ends, the second song "Rato Triste" violently crushes every bit of peacefulnes around you. With its squeeling guitars, monstrous bass and hellish old school death growls it morphs every listener into a mindless zombie, with only one thought in mind: SLUDGE. DOOM. DEATH. In the third song, they pick up the pace a bit, resulting in a song with the rampaging force equal to a horde of wild bulls. Corrupted are out to destroy, with their unholy mix of old school Death, Doom, Sludge, Drone and a lot of feedback. Nasty shit.
The latter two songs add up to around seventeen minutes as well, so this album is nicely balanced. Tender subtly versus frantic force. A full-out war between heaven and hell, no compromises. Abandon all sanity and become C o r r u p t e d." metalstorm.ee

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DEATHPROD - MORALS AND DOGMA [2004]

"Morals and Dogma is Deathprod's first solo effort in eight years -- his activities as a sound engineer and his participation in the improv quartet Supersilent have kept him very busy in the meantime. But despite a lot of water having run under the bridge, the album doesn't present a rupture or even a significant change in direction from its predecessors (especially Treetop Drive). There's a simple explanation to this: the album's magnum opus, "Dead People's Things," was recorded sometime in 1994, at the time Treetop Drive was going through its final stages of production. "Orgone Donor" is from 1996; the two remaining tracks were recorded in the fall of 2000 for a dance performance by the Kreutzer Kompani. Then again, Deathprod's music creates its own space out of time, so the chronological aspect (or the "newness" of the music presented here) has little relevance. What does matter, though, is the quality, and on that count Morals and Dogma features some of Deathprod's finest, most moving music. Presented as the stark accompanying soundtrack to the rituals of a secret society (hence the black-on-black design), the album consists of four engulfing drones. Hans Magnus Ryan and Ole Henrik Moe, faithful collaborators since Helge Sten's earliest experiments, provide once again the musical body in which Sten works what he calls his "audio virus." "Tron" and "Cloudchamber," the two dance pieces, offer the darkest landscapes. The latter's infrabass frequencies and soft bow scratches create a gripping post-apocalyptic atmosphere. But the 20-minute "Dead People's Things" steals the show. The piece is dominated by Ryan's whiny violin and Sten's test oscillator, which he plays like a theremin, sketching the saddest melody. Highly recommended to fans of atmospheric experimental music." AMG

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NURSE WITH WOUND - SOLILOQUY FOR LILITH [1988]

"Where did this come from? An ambient album from Nurse with Wound in 1988 was an invigorating shock to the system. Soliloquy for Lilith was a complete turnaround from the kosmiche/noise that Steven Stapleton and crew had been coming up with. Six tracks, each roughly 20 minutes, one track per side of a triple-vinyl box set, each piece subtly different from the others, all with a quiet power to completely dominate the environment of wherever it is played. The mystery of the album lay in its unique sound source -- Stapleton merely looped a collection of effects pedals together and then found that by gesturing in the air around them, as if playing a Theremin, he could manipulate the tone generated by the electricity itself. What a wonderful discovery, and put to complete use here, as the possibilities in the setup are fully exploited over the course of two hours. Slow pulses in the lower register, similar to what Alan Lamb came up with in his high-tension wire recordings, complete with annular buzzes and high-end controlled feedback. It isn't far-fetched to see the roots of this album in the drone experiments of La Monte Young's Theatre of Eternal Music, or Tangerine Dream's epic Zeit. Occupying a completely separate corner of the massive Nurse with Wound catalog, Soliloquy stands outside of genre, and in the right frame of mind, outside of time. An absolute classic. " AMG

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WOLF EYES - HUMAN ANIMAL [2006]

"Wolf Eyes began as a solo project of former Nautical Almanac member Nate Young, with Aaron Dilloway joining in 1999, and John Olson in 2000. During this time, the band also briefly relocated to New York City and at one point enlisted Andrew Wilkes-Krier, now known to the public as Andrew W.K.. The group is rumored to have released over 150 recordings in their relatively short lifespan, on labels such as Bulb Records, Troubleman Unlimited, Fusetron, and Sub Pop, as well as on Olson’s American Tapes label, Dilloway’s Hanson Records and, most recently, Mike Connelly’s Gods of Tundra label. Connelly (also of Hair Police) replaced Dilloway on tour in early 2005, due to the latter’s departure for Nepal to make arrangements for his marriage, but Dilloway still records with the original members.

Most Wolf Eyes recordings are self-released, following the DIY tradition of bands such as Smegma. Their first major release was Dread, released on the American Tapes and Hanson Records labels but distributed through Bulb Records. Other major releases include Dead Hills on Troubleman and Burned Mind on Sub Pop. Most Wolf Eyes recordings are released as either lathes, cassettes, or cd-rs.

Wolf Eyes’ first two major tours were with Sonic Youth and Andrew W.K." LAST.FM

SIMILAR/RELATED: HAIR POLICE, AARON DILLOWAY, PRURIENT, YELLOW SWANS, BLACK DICE, MOUTHUS, BURNING STAR CORE

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BOHREN & THE CLUB OF GORE - DOLORES [2008]

"Formed in 1992 by longtime friends Thorsten Benning (drums), Robin Rodenberg (bass), Reiner Henseleit (guitar), and Morten Gass (guitar/piano), self-described German all-instrumental "doom ridden jazz music" quartet Bohren & der Club of Gore was forged from a shared love of grindcore, hardcore, death and doom metal. Originally called simply Bohren (German for drilling), the band expanded its moniker in 1993 to reflect one of its biggest inspirations, the Dutch instrumental band GORE. In 1994, after the release of an eponymous 7" EP for Suggestion Records, the group put out its full-length debut Gore Motel, followed in 1995 by Midnight Radio, both of which appeared on Epistrophy Records. Henseleit left the band the following year, a move that resulted in the group's sound becoming even more brooding and minimalist. Composer and saxophone player Christoph Clöser joined in 1997, resulting in 2000s Fender Rhodes-heavy Sunset Mission. After a brief hiatus, the same lineup returned for 2002's Black Earth, 2005's Geisterfaust, and 2008's Dolores. " AMG

SIMILAR/RELATED: THE KILIMANJARO DARKJAZZ ENSEMBLE, THE MOUNT FUJI DOOMJAZZ CORPORATION, DALE COOPER QUARTET & THE DICTAPHONES, KAMMERFLIMMER KOLLEKTIEF, POVAROVO, DEAF CENTER

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