Schkeuditzer Kreuz - Swan Grinder

Industrial-punk-rock act from Lawson, Australia, with its fourth album out on Bad Habit Records. Available by digital means, and on vinyl, which can only be purchased directly from the Bandcamp site (not on Discogs, yet!). 8 tracks, about 35 minutes in total.

Love the artwork for the vinyl version, with its campy horror-comic look. Inside you´ll find a lyric sheet, poster, and some additional stickers. Worth noting, the album has been mastered by Martin Bowes... yup, the guy from Attrition who also done tons of other great mastering work for labels like Cold Spring. 

We start with the first track, Swan Grinder (like the album title). Some old recording of old sad violins, which is suddenly interrupted by a radio-broadcast bulletin. Industrial doom-metal mood kicks in, a bit like In Slaughter Natives meets Sonic Violence. The track gets into a thumping horseback riding sort of rhythm, with the guitar and melody parts having a nice black-metal sound to it. The vocals are delivered by a deep phlegm-infested throat, which sounds great with the other elements. 

The second track, Trips and Trepidition. An eerie rhythmic tone jumps up and down, which gets nicely mixed into a exellent industrial rhythm. Acid-techno/house elements in there aswell, giving it a trashy dancy-goth-club-in-the-90s element to it.

The third track is called Sirens of Death. A thumping and convulsive rave-rhythm track with heavy-metal sounds on top. A really good industrial/metal banger in the late hours for sure. Nice touch with the retro samples and the sirens. 

The fourth track, Present Eternal. Gets further into that rave-techno house sound (especially with the keyboard elements in the beginning, and later on in the track). And then the harsh aggression kicks in. Great stuff to hear in the background while playing something as classic sci-fi-infused horror computergames like Doom or Quake. Lots of charms in this, lots of it. 

The fifth track is called... well... Keep Dancing. The fast dance rhythms keep on going, a bit like Cat Rapes Dog meets Oomph here... electo-punk stuff. Another banger for the dancefloor with hints of Gabba Techno. 

The sixth track, Systematic Death, is actually a cover of a Crass song. Low-fi computer drums on speed, grinding guitars, and vocals that get you back to classic anarcho-punk sound. A bit annoying track, but also entertaining (and charming) in that campy way. 

We get to the seventh track called Inhale. A track which (kind of) gets back to that In Slaughter Natives-feel which the first track also had...might be the rhythm or the melody? There is a nice kind of vibe going on with this track, kind of the highlight of the album. Powerful and heavy, without the fast rhythms. Think this one is the best track on the album. 

The last track is Poor Impulse Control. Doom and the smell of sulphur, very kind of hellish feel to this track. Might be the sound of the chains, or that punishable mood? 

Swan Grider is a great industrial meets death/black-metal album, with a decent entertainment value attached to it. Not as dark as In Slaughter Natives, or as extreme as Dissecting Table, but... It´s nonetheless something which u could listen to (maybe) every day. Preferably, if you have a Halloween night, some horror VHS flicks, and some cold beers in the fridge. It´s bad-ass allright, but not dangerous. 

Bandcamp (band):

https://dorfpunk.bandcamp.com/album/swan-grinder

Discogs (band):

https://www.discogs.com/artist/8363175-Schkeuditzer-Kreuz

Interview with Fredrik Djurfeldt of Analfabetism 

Since 2000, Fredrik Djurfeldt has been working on his EBM/industrial project, Severe Illusion (together with Ulf Lundblad), and since 2014, he has started his own noisy dark-ambient solo act, Analfabetism. Since 2014, he has released 10 albums with this project. Which, so far, has been self-released, and on U.S.-based Malignant Records and Polish Fluttering Dragon. He has also been a member of such acts as Knös, Vanvård, Instants, and Alvar. So yes, Fredrik Djurfeldt is a VERY busy man! I reviewed his newest album on Fluttering Dragon, and I immediately became a fan! I got in touch with the bloke and wanted to do an interview, and he said yes. So everything is good! There hasn´t been written a lot about this project, so hopefully, after this interview, I´ll have more knowledge about this mysterious Swedish project. 

First of all, your interest in industrial music. How and when did that come about?

Music as such was never a choice for me; I was born into it. My dad played in a band back in the day, and he had a piano, a guitar, and some other stuff at home. My dad's dad was a professional musician for a long time before he went full-time into engineering. Even my dad's dad was a professional musician about a hundred years ago, so music is probably a genetic disease in my family. My sister's daughter moved to London a few years ago to pursue a musical career and has been very successful with it. 

My first memory of songwriting must have been a song called 'Häxorna i Skogen', a song played on my dad's guitar hanging on the wall, because I could reach up and take it down. I guess I was five years old or something. But the interest picked up more because my dad used to bring lots of weird electronic equipment home from work around that same time, very primitive computers, small tape recorders, and lots and lots of just homemade machinery. None of that was meant for music, really. He was working in the field of physical oceanography, so he used all that stuff to build deep-sea science probes, and what have you. I liked to see if I could make sound with his equipment, and unlike many parents, he would let me do just that. 

In kindergarten, my friend Emil started a band. Sort of. We used his little toy drum set, and a tape recorder where we had connected all the inputs to all the outputs, and then by twisting different knobs on the tape recorder, we could change the sound and thus use it as a feedback instrument. It was noisy as hell, and we loved it. We called ourselves 'Wrong Connection' because of the tape recorder thing. The name was in English because Emil and his family had just moved from America a year before. I think it was about a year later that I somehow stumbled on SPK for the first time, and then I understood that it was not just Emil and me doing what we did.

What was the reason to jump from EBM to noise-driven ambient?

I didn't. I made music on the Commodore 64 back in the day, and you can find music I made as early as 1988 in the High Voltage Sid Collection. My name there is Mongo. And so, for the record, yes, I am, still to this day, a big fan of Rob Hubbard. This is ofcourse after me, and Emil did our Wrong Connection thing. In the late 90's, I made music as Karl Spöke, and it sounded a bit like Analfabetism. I made a tape and a Cdr, and played live a few times. 

Then I moved to Göteborg, Sweden, where I met Ulf, and we started Severe Illusion. To our rather massive surprise, that thing took off in Hungary, Florida, Argentina, anda bunch of other places we had not expected, so we decided to go full in on that project for a while. And nothing is over yet. Ulf and I are working on a new album as we speak. My point here is, I do lots of different stuff all the time and under different names. I plan to do that for the foreseeable future.

Why did you choose Analfabetism as the act's name?

The name is taken from an old Swedish pop song, 'Henning i sin Presenning' by Philemon Arthur and the Dung. But what I really wanted was a primitive sounding name, but not in a black metal way primitive. An interesting misunderstanding that I was not expecting is that English-speaking people tend to read it as Anal Fabetism, and then ask me what the heck Fabetism is. I was asked this the first time I played in Seattle, and it took a few moments to figure it out. I find this hilarious.

What is the reason behind self-releasing some of your albums?

I like to be in control of the entire process. It is more than just music to me. The artwork is an important part of the concept, and most of the photos being used have been taken by me. Even the dead animals on Kniven Stitter Kvar I Bonden are just stuff I have found in nature. But I also like the networking that is needed to get the music out there to people, and because I am not always leaving that to a record label, I now have friends in places like Canada and Denmark and Kazakhstan and Slovenia and Uruguay and Spain and Chile and California and Poland and lots and lots of other places, and that makes life more intersting.

I sense a historic theme running through the albums. What is the chosen reason behind these tragic stories, and how do you locate them?

I find the past very interesting, and I always did. It gives a perspective on who we are now, or at least who we think we are. And that is the point, the fact that we tend to rewrite history to justify our present. I am just doing my part in exaggerating already questionable accounts of Scandinavian history. In reality, I am convinced life was a lot better in the past than most people think.

During the Little Ice Age, the crops would not grow, and a lot of people moved to Minnesota, where the crops did grow just fine. But we focus on the famine at home thing, and that is just a tiny, tiny part of our history. Den Svagsintes Klagan is inspired by the life of Erik Daniels, or Erk Danels, who was also known. He lived in the forest by the coast in what is now known as the High Coast, where I happen to live at the moment. The myth has been evolving here for some 200 years, and probably has little to do with real man himself anymore. What I have done is to go out in the forest to places where he is supposed to have been. There, I have collected sounds he could have encountered out there and turned that into music.

How is it to work with Peter Nyström of Megaptera? And do you guys plan to do more together in the future?

Peter and I go back many years. First, we were fans of each other's music for years, then when he contacted me to get hold of some of my early Cds I ended up helping him with some technicalities with a Megaptera album, and soon after, he suggested we do a split album on Maligant Records. He contributed some stuff to an early Analfabetism album, and my voice is on a Negru Voda album too. We live about two hours away from each other now, and in Northern Sweden, that is more or less next door. We do not have anything planned together at the moment, but he sometimes comes out here to visit me at the coast, so who knows? Maybe we will do something together again sometime.

What kind of electronic bands are you into, and why?

I like anything that is either creative and thinking a little bit out of the box, and I can really enjoy a good live act. Early industrial bands like SPK and Throbbing Gristle, yes, of course. But newer stuff like The Vomit Arsonist, Gnawed, MZ 412, Ultharm, Moral Order, and, yes, that list could be very long indeed. I like Ha People 3.55. I am also an old Skinny Puppy fan, and I prefer the Canadian school of dark electro to the European most of the time. Because there is more chaos, and that makes for a more interesting listen. Occationally I get back to my old C 64 heroes Rob Hubbard, Marin Galway, David Hanlon, Maniacs of Noise. Even some angstpop can be good.

Upcoming future plans for Analfabetism?

There is an album coming soon on Fluttering Dragon, called 'Konsten att andas med en grep genom ena lungan'. My health has been a bit problematic in recent years, and it has slowed me down a bit. But a few months ago, I got back to playing live again, and there are plans for at least a few more occasions this year. I am very much looking forward to that. It is not over until it is over, you know. I also just released an album as Magentism, Severe Illusion will release something this year, and soon we hope to start work on a new album for Mjöldryga.

Bandcamp: 

https://analfabetism.bandcamp.com/

Discogs:

https://www.discogs.com/artist/4237450-Analfabetism

 Nam-Khar / Vortex - The Sarajevo Spiral

The Sarajevo Spiral is an album by the projects Vortex and Nam-Khar. Both acts are veterans in occult-inspired dark ambient. Vortex started in 2007, and Nam-Khar started in 2009. This one is the second album they have done together; they did another one back in 2022 called Nag-Hammadi. This album is a release between two labels: Cyclic Law (now based in France) and Zazen Sounds (Based in Greece). The 300 copies of this limited physical album are sold out on Cyclic Law, but u can get your hands on it via Discogs (check link below). Anyways!

The beautiful slipcase digipack has a painted picture of a skull, and then offcourse our favorite shrink Sigmund Freud. The album has its conceptual focus on 2 things. One is Freud, and the other is about the assassination, which more or less kick-started the First World War. And we all know, without the first one, we wouldn't have the second one. Regarding the assassination, I'm talking about the assassination of Franz Ferdinand, no! Not the danceable indie-rock band from Scotland! Franz was an archduke of Austria, assassinated in Sarajevo by a Bosnian Serb student. Reason? The nationalist student wanted to liberate the South Slavs of Austria rule and the creation of Yugoslavia. 

And the thing about Freud, there is a written text inside the digipack, where Freud has done a text called Thoughts For The Times On War And Death (Written in 1915). The essay describes how mankind/society becomes vulnerable to the shock and the horror of war, mainly by refusing the reality of death and ignoring the aggressive, warlike instincts/side of the human race. 

A historic moment, an important psychological essay, and two veterans of industrial dark-ambient... Sounds like a treat! We get 11 tracks, over 60 minutes in total. 

The first track is an Intro. Evocative sound of a violin in the distance, or is it getting closer the further we get into the track? A slowly string/drone sound fades in and out, and a subtle, atmospheric touch of martial-industrial aesthetics enters the void.  

The second track is called Para Bellum (Prepare For War). Lovely kind of drones/looped ambient pieces of violin-based classical music in the background, while spoken words (In German with Austrian accent) speak something about (I think) the concept of the album. I don´t understand a word of what he is saying, but it sounds pretty good (If you like German offcourse!). The whole thing has that European WW1 kind of vibe to it. The background stuff is very well made, if you don't understand what he is saying... then the background stuff will! 

The third track, The Sarajevo Spiral (like the album title). Someone is making a ghostly moan, and strange, slow trumpets melt into the sound. A hard-hitting drum (of some kind) gives the listener a nice wake-up call. Painfully stretched out sound of violins, if violins could cut through flesh. Basically has that Cthulhu awakens from his slumber kind-of-feel. Not loud or hard or anything, just a slow and crawling kind of silent horror. The sound (and the way it has been made) is just absolutely spotless, top-notch stuff! Has that late CMI-sound, a touch of Raison d´ëtre, Desiderii Marginis, and Sophia sort of feel. 

The fourth track, Mobilization. A beautifully done martial ambient soundtrack piece, giving the listener an epic sense of focus and a sense of well.. mobilization. Secretly building an army, without anyone knowing about it. The sound, and the melody tell all about it... without the words. The Battle of Helm's Deep (sort of). Test Dept fans will nod their heads in approval here.  

The fifth track, Theories of Expansion. Layered, cold, and howling winds. And a deep bass-drone. Why am I thinking of Carpenter´s The Thing here?! Soothing evocative synths further build on that idea. Looped martial rhythms and strings come later on, really getting a specific kind of feel which is well attached to the title of the track itself. U know what I mean when you hear it! 

The sixth track, Materia Prima (Formless material regarded as the original material of the universe). A series of distant and thundering explosions, minimalistic martial rhythms, barbaric trumpets (like the dudes who ride the Oliophants). There is also some interesting kind of background stuff happening aswell, chaotic layered ambient-stuff... horrific if you focus on it! 

The seventh track is called, Trench Warfare. Same martial rhythms and... the kind of sound used in... well, dub-techno? Sounds weird, but it actually kind of works with this WW1-theme. Danish ethnic industrial act Haraam has also used that sound aswell. Think we´re dealing with the atmosphere of just... waiting for something to happen, while your feet are just rotting away in your cold and wet soldier boots. Sound of chains (later on) is there aswell.

And that is where I will stop! If I reveal the rest of the album, it would be a spoiler! The Sarajevo Spiral is a pretty good album with that later CMI kind of sound. Halfway through i enjoyed the album on a top-notch scale, but when I was done (halfway) through, my mind started telling me that I shouldn´t expect to be surprised. I absolutely loved the first 6 tracks, but after that, it kind of... it became harder to hold on. At that point, it sounded like a Cyclic Law album... Let me explain, I have a thing or two about the label Cyclic Law (reviewed their stuff back in the day), everything from that label...tastes like... well, chicken! Reason? Because most of the releases from Cyclic Law have been mastered by the very same guy (same high-quality sound and same high-quality treament. Cyclic Law wants that sort of CMI sound, just without the dangerous madness offcourse! I wonder how this album actually sounded before it was mastered by Cyclic Law? If you try to look away from that, then yeah... It´s a very solid album with a high-quality stamp attached to it.

Bandcamp (label):

https://cycliclaw.bandcamp.com/album/the-sarajevo-spiral

Bandcamp (Vortex):

https://vortexdrone.bandcamp.com/

Discogs (Nam-Khar):

https://www.discogs.com/artist/1615036-Nam-Khar

 Lyke Wake - Under The Mother´s Hands, With The Pain At My Side / Symphonic Noise

The constant creative force of Lyke Wake, delivering us another new part of the Symphonic Noise concept... this one is number 4. Called Under The Mother´s Hands, With The Pain At My Side. Released as a CD on Lyke Wake´s own label, Aseptic Noise. A 6-track album, a bit over an hour of pure and moody progressive ambient. 

First track/part 1 is called Here Is The Pain (00:00 to 11:53), starts with the epic and symphonic synth-driven sound that has become the iconic sound of Lyke Wake, slightly religious, slightly biblical esthetic, and slightly angelic with that touch of Italian horror movies from the 70s (Dario Argento, etc.). You do get the sense that there is a bit of repetitiveness of sound in the symphonic noise releases, but it´s not in a bad way in the sense that the releases stick together as one long story. 

Second track/part 2, And Pain Walks Beside Me (11:54 to 20:46). Sound of analog cold winds on a synth, and those mysterious... screaming short-wave radio kind of sounds. Beautiful played melancholic synth here, gets mixed up with psychedelic and flanged noise. Noise that sounds a bit like fireworks. At the end, it kind of lands on gentle, melodic ambient territory. 

Third track/part 3: She Dies (20:47-40:43), the synth gets more into a church-organ sort of sound (the Funeral?). Epic layered psychedelic ambient, shimmering drones, reversed church bells, and whispering alien voices. Very cosmic, very eldritch at this point. Psychopomps delivering the dead to the afterlife, maybe? A very long track, working (almost) as an album in itself.

Fourth track/part 4: Leave The Dominion And The Memory To Pain (40:44-50:16), delivers a slowly built funeral-ambient-mood to the heavens...and beyond. Cristiano Bocci adds a melancholic bassline, and Jean Claude Oberto adds spoken words. Somehow a bit in the style of A Black Tape For a Blue Girl. 

Fifth track/part 5: Tears Will Never Be Enough (50:16-57:45), and the sixth track gets into an atmospheric, cosmic, almost proto dungeon-synth vibe/tune. Lovely shimmering ambient-soundtrack track here. Love how Lyke Wake creates a unique storytelling mood, just by using synths and sounds. 

The latest with Lyke Wake is a good album. And it helps with adding bass and vocals to the sound aswell. Lots of the sounds and synths are kind of reused from previous albums, but I think it´s ok since that Lyke Wale´s progressive-ambient sound is a genre by itself. And Lyke Wake, as far as I know the only act doing this style. Far away from the industrial/noise roots of the act. 

Discogs (label):

https://www.discogs.com/label/208436-Aseptic-Noise

  

     

 

Ladies and gentlemen, thank you for gathering here today. We stand at a crucial juncture in our nation’s history, one that calls for introspection, courage, and, above all, unity. It is time to address the impact of Donald Trump’s presidency and the values we must uphold as we move forward.

1

• Throughout his presidency, Trump has consistently used language that divides rather than unites. His rhetoric has fostered an environment of hostility, pitting Americans against one another based on race, religion, and political beliefs.
• Throughout his presidency, Trump has consistently used language that divides rather than unites. His rhetoric has fostered an environment of hostility, pitting Americans against one another based on race, religion, and political beliefs.

2

• Trump’s actions have raised serious concerns about the integrity of our democratic institutions. From questioning the legitimacy of elections to undermining the press, he has eroded the very foundations of our democracy.
• We must stand firm in protecting our democratic values and ensure that every voice is heard and counted.

3

1. Disregard for Science:

   • In the face of a global pandemic, Trump downplayed the severity of COVID-19, leading to unnecessary loss of life. His administration’s failure to prioritize science and public health has had devastating consequences.
   • We need leaders who listen to experts and prioritize the health and safety of all Americans.

4

1. Environmental Neglect:

   • Trump’s policies have rolled back crucial environmental protections, putting our planet and future generations at risk. Climate change is not a hoax; it is a reality that demands urgent action.
   • We must advocate for policies that protect our environment and promote sustainability for the sake of our children and grandchildren.

5

• Under Trump, issues of racial injustice have been exacerbated. The Black Lives Matter movement and calls for police reform highlight the urgent need for systemic change.
• We must stand in solidarity with those fighting for equality and justice, ensuring that every American has the right to live free from discrimination and fear.

In conclusion, we must learn from the past and strive for a future that embraces inclusivity, respect, and progress. Let us reject the divisive politics of the Trump era and work together to build a brighter, more equitable future for all. Together, we can rise above the challenges we face and create a nation that truly reflects the values we hold dear.

Thank you.

f

Lehel P - Ales Iacta Est

Alea Iacta Est means "The Die Is Cast," which essentially means that we have reached a point of no return. This mysterious album has been made by a Lehal P (Emanuele Pescia), and as far as I can see (On Discogs), this might just be his debut. This debut has been released by Italian Industrial Ölocaust Records, both on CD and on cassette. 

The kind of futuristic dark-regy cover-artwork shows a...... a shape in darkness, with something circular behind it. Inside the booklet, we get to see his equipment, and an info list regarding the equipment used. The recording itself is a live-recording, which was recorded at the Hamlet Synthesized Festival in Castiglione Olona (Italy) on July 1st 2024. The album contains 10 tracks, 37+ minutes total. 

The first track is an intro. Starts with a smooth synth-drone, with a arabic´esque flute playing over it. Giving it an ancient desert/nomadic touch. Classic synth-keys comes in aswell, revealing a slowly built cinematic mood.  

The second track, Privo Moviment,o slowly fades in with the Intro, adding a nice atmospheric looped bass playing (real bass, I think). Nice ambient-electronica technoid/glitch rhythms and sounds are added, giving the track that nice futuristic feel. Looped guitar in there aswell, almost having a sort of jazzy kraut-rock feel here. Similar to Brian Eno in his 90s techno/electronica-ambient era. Beautiful sound, beautiful atmosphere. All is very good sofar. 

The third track, Interludio #1, goes straight into another place. More in the field of space-ambient here, in space, and in between the planets. A cool-sounding trumpet of some kind, heavenly and shimmering synth-work... sounds like something good is on the way. 

We jump straight into track 4, called Secondo Movimento. Which continues the sounds described above, slowly evolving into... ceremoniously melodic and dancy techno. With lots of lovely mechanical glitchy sounds, a perfect fusion between man and machine. The melody and the rhythms are absolutely breathtaking! This track could have been a huge dance hit back in the day of Faithless. Actually better than Faithless, sort of closer to the techno stuff by Norwegian Ulver.

Tracks 5 and 6, offcourse called Interludio #2 and Terzo Movimento. Slowly getting into deep ambient areas and back into glitchy electronica with trip-hop rhythms. Something is clattering, deep piano keys with drops of cold water in the night dropping down on your forehead. Noir mood in some metropolitan city in the future. There is also the sound of a reversed water-pibe aswell.  

There are a lot of reasons for me to continue to review the rest of the album, but I can assure you that the rest of it is a treat! A storytelling vibe with this, like I said earlier... a detective-movie set in the far future, maybe on some city located on the surface of the Moon... or Mars even. I´ve heard it... I don´t know... lost count... maybe 20 times by now, and I am still returning to it. Why? Cause it´s a great story told in sound, melodies, and rhythms. A classic melodic ambient-techno treat, everything is so damn well done and crispy!  

Band (Discogs):

https://www.discogs.com/artist/15112799-Lehel-P

Label (Official website):

https://cardinium.com/product/ior-tk-xxxv/

  

 Grodock - Gesammelte Hintergründe

The first album/release we are going to review in the year 2026. It's called Gesammelte Hintergründe (Collected Backgrounds). It is a compilation that gathers various recordings made between 2013 and 2023. Released on cassette (via Frenetic Magic Sounds) and on CD (via Krater Recordings). The CD comes in a beautiful digipack, with a textured feel. Painting showing various fruits in different stages of decomposition. The album contains 13 tracks, about 50 minutes in total.

The first track is called Goldene Garben (Intro). You don't really know what´s going on after you have pressed the play button. Ancient technology hums and creeks in a haunted factory, spirits float in and out of the rusty machines. A high-pitched tone, ghostly drones, gentle thumping in the distance... maybe the sound of someone drilling for oil out in the desert? Lovely mysterious intro indeed. 

The second track, Hab Acht (Be Careful), gets further into mysterious soundscapes. Listening to heavenly organ church-ambiance through a steel pipe. A deep tone, and the sound of cockroaches and someone... saying in German ´Hilf Mir´ (Help Me)... intense, heavenly, and surreal material here. Satisfying in a adventorous way. 

The third track, Das Halbe Abwesen (The Half Abscece), has more of an esoteric mood to it. Does remind me a bit of Maeror Tri (one of my favorite acts), ambient with a experamental, cinematic, and sort of post-rock edge to it. Melancholic stuff, very spiritual aswell. Hypnotic, melancholic, dreamy. 

The fourth track Abfertigung (Clearance). Gentle, harsh, dreamy drones, with the sound of rubber shoes in a gymnastics hall (I think). The drones can be described as if something is grinding itself on a huge church bell. Or is it the machine room connected with the gymnastics hall? 

The fifth track, Blicklos (Sightless). Kind of a black experience, imagine how sound can feel like when you're blind... or how sounds can change the way u think. Very subtle and very bass-heavy ambient minimalism at work here. And yeah, there are intriguing sounds behind that thick wall of bass! 

We jump a bit further to the seventh track called Farbe: Blau. One of my favorite tracks on the album. Feeling strangely nostalgic here (for some reason), temple sort of ritual music is going on. Sound of fingers on glass and crystal-clear steel bars. Like being inside a huge crystal cave. Strangely pleasant, incredibly soothing. 

There are 8 more tracks to further explore on this marvelous album. It´s ambient music for ambient freaks who need something new and interesting. And yes, it does sound new, and it does sound VERY interesting. I find it incredibly inspiring and intriguing. There are a lot of sound-wise themes that are getting thoroughly explored here; every track works as a unique piece on the album. Very hard to describe it with words, since it´s very spiritual and surreal. I can only say that it´s incredibly good, and that is all u need to know! 

Bandcamp (label):

https://audiophob.bandcamp.com/album/gesammelte-hintergr-nde

 

 Kalteldur top 10 of 2025

Let me be honest, the review office of Kalteldur gets busier by the year. Stuff that I needed to review this year will first get a review in 2026. Not only do I receive extremely limited physical-releases from DIY-labels, but now I also receive releases from more established labels aswell. The reason? Kalteldur has reached... a certain maturity over the years, and has a good and loyal bunch of readers. And, websites/blogs that provide the review-service to recording artists are a dying breed. So Kalteldur and a few others are the only ones available. Which offcourse is a great motivation-factor, and it gives me a sense of good sense of duty of providing updated information about the current state of the experimental industrial/noise scene. So yes, Kalteldur will continue for many years... the way I see it right now. Which offcourse leads us to another issue: what were the 10 most memorable moments of 2025?! 

Number 10:

Yellow Springs - S/T

Bent Window Records

Black industrial, true satanic industrial music, etc., etc. A term associated with the catalog of Cold Meat Industrial and related labels, when black-metal related acts start to flirt with industrial music. Beherit, Dödheimsgaard, and to a certain degree (although they came from the Swedish EBM scene) MZ.412. Yellow Spring comes from the United States (I think), and their debut was released on Canadian Bent Window Records. Black metal growls, mechanical tribal rhythms with otherworldly sounds swirl, and will intrigue the listener to step closer inside. A fascinating and inspiring album, and a fresh take on a style/aesthetic forgotten by time.    

Number 9:

Petrichor - Ascend To the White Lodge

Self-released

This year, we lost one of the greatest filmmakers of our time. Yup, David Lynch. UK-based experimental power-electronics act Petrichor sat down and did a tribute album to him... and to his world of Twin Peaks. Ascend to the White Lodge sinks its teeth deeply into the painful intensity of the series, especially those scenes that conjure up a surreal world surrounded by the forces of the paranormal. Not a pleasant journey... it might just be one of the darkest (I can assure you of that!), but it's a very memorable one. In other words, it stands out 100%. Don´t miss it!

Number 8:

Kleistwahr - Where the Word Is Never

Fourth Dimension Records

One of the latest by this veteran act, released on Fifth Dimension. Gary Mundy of Ramleh, and Kleistwahr being his solo project.  Filmic post/kraut rock with spacy noise/industrial-ambient textures. Lots of emotional feedback, frightening quiet moments, and melancholic splendor. A positive reminder of how joyful loneliness can be, if it is possible offcourse. Highly recommended album to listen to in these crazy times, and yes... this album makes perfect sense! 

Number 7:

Bocci & Lyke Wake & J.C. Oberto - Cosmonauti

Small Circle Records

We head out into space with a colab between Lyke Wake and friends. A deep exploration into the great cosmos. Deep and epic space ambient with a touch of the abstract, and like I mentioned earlier... perfectly balanced between order and chaos! The album perfectly captures that nostalgic feeling and aesthetic when discussing the early days of space exploration and the ideas that accompanied them (if that makes sense). There have been a lot of great space-themed releases this year, and this one should be the one to start with. 

Number 6:

Thru The Leaves  - Nocturne

Industrial Ölocaust Recordings

Moving away from the cosmos and back to Earth, to observe the stars and the moon at night. Sure, it can be dark and scary at night, but it can also seem to be the most relaxing time of the day. Things are at rest, and suddenly the mind can concentrate on what matters. Nocturne by Thru The Leaves proves that. Played by two people, one on an electric harp and one on live electronics. Improvisational glitch ambient with an electric harp, sounds weird, but it works extremely well together. Recommended listening at night!

Number 5:

Law - The Black Lodge

Nuit et Brouillard

It's amusing how the same themes keep resurfacing. The Lodge Law also has a thing or two with the David Lynch series of Twin Peaks. Although this release dates back to 2001! A strange and experimental blend of moody ritualistic ambient music with subdued power electronics elements. Frightening, ethereal, with an effective subtle intensity. Not for the faint of heart, but easy listening for any ritual-industrial worshipper. 

Number 4:

Nerthus - Sudor Anglicus

E.C.T. 

An archaic trip back to England (1485-1551), about a mysterious, deadly sweating disease that people died from. Early death-industrial/ambient sound combined with icy atmospheric drones. The feeling of frosty ice on the surface, dense fog in the air, combined with the feeling of utter loneliness in an empty village. Sound of moaning spirits, distant church bells, underground rumbling sounds, and more. Perfect soundtrack, when it´s cold outside!

Number 3

ΣΑΛΠΙΓΞ - ΛΙΘΩΔΙΑ

Black Death Industry

This one with the mysterious letters might just be one of the most mystical and esoteric releases I´ve heard since... Ain Soph or early Current 93! If we could record sound from ancient times with some kind of sophisticated technology, it could actually sound like this. The whole sound has that dry and old aesthetic to it. The style? Somewhere between ritual music and dungeon-synth, I also get back to Slaughter Productions cult-compilation Death Odors 1 (for some reason). It has that quality of a classic, a classic which you´ll keep returning to. By the way, Black Death Industry (the label) is another cool label from Greece (like E.C.T). Something about Greece for sure!

Number 2:

Analfabetism - Svälten I Kagelösa år 1431

Fluttering Dragon  

 

It´s about food and hunger in one of the latest works with this classic Swedish industrial act. Is it pleasant? No. Is it terrifying? Yes. Does it make you happy? No. Is it inspiring and intriguing? Absolutely! 100% ear opener. Minimal-noise driven ambient music with real sounds attached to it. All drenched in murkiness, the sort of quiet murkiness that just waits... for an innocent someone to walk by. Kind of like, one of those... trapdoor spiders. Rather unpleasant, but strangely beautiful... in its own way offcourse! The whole album is a conceptual work that works around how famine had it´s told on Scandinavia, and in those specific cases... Sweden. Who accoding to my research, was the baddest case. Here you can hear it, instead of reading it. Something u really want to sink your teeth into!

Number 1:

Fog Baptism - Sea Sleeper

Inner Demons Records

I press the play button, hearing the sound of waves on the beach... and then it comes... an archaic, melancholic melody sweeps in and gets your mind completely into a focused state. And then you are there, u don´t know how you got there..., but you have been (somehow) transported into another familiar place within yourself. The kind of state where you feel, the mind and the soul at the same time... time stops! And you enter into a sort of awake dream world. Mental images of corn fields swaying in the wind like water, morning fog moving through the trees and nearby hills in the distance, the last sight of the sun before it disappears into darkness...and I could go on! Sea Sleeper completely works as a gate! Incredible moving stuff, mindblowing in slow-motion if you please. 

Happy New Year!