onsdag den 29. april 2026

OUZΩZUO – Stumbling Through The Void



A new project called OUZΩZUO on the dark-ambient, BM, dungeon-synth-focused Greek label called Black Death Industry. A debut beautifully named Stumbling Through The Void. Limited CD-R full-length album in a clear plastic sleeve. First-ever release with this project!

A cool inner sleeve with some cool graphical stickers and extra artsy flyers inside. The whole graphical aesthetic showcases a sort of occult/esoteric cyberspace, a place where the world of the paranormal meets the digital world. Could be. The whole thing contains 15 tracks, about 46 minutes in total.

The first track is called Ouzo As Offering. And what is Ouzo?... It´s a strong Greek alcoholic beverage (50%). Made from rectified spirits through distillation and flavoring. Mystical and heavenly (and slightly) melodic ritualistic drones, a shamanic rhythm/pulse, and some deep moaning monks in some distant underground temple. Sounds very promising so far, not your typical dark-ambient dose.    

The second track Alen God Come Devour Us (charming). The track itself is actually more pleasant than the track title suggests! An alien hum floats through the speakers, while the suggestion of angelic voices charms the listener closer. Eerie, looped, and rhythmic sticky sounds clatter in the background. Fans of Rapoon and Deutsche Nepal would love this. 

The third track, Run Until The Spirits Follow, is a short, creepy, Lynch-ish track. Sound of something heavy breathing, an alien factory machine sound. The flickering sound of faeries, leading you astray. 

The fourth track The Mountain Weeps For The Human Plague. Slowed down human voices down below, and some ethnic vibes/flutes on top. Interesting, again with those... occasional flickering sounds that come from nowhere. Very hypnotic piece here. 


The fifth track is called From The Peaks The Alien Watches. Another short track, with distant, strange animal voices and static from the radio. Could be the Migos from Lovecraft's novel The Whisperer in Darkness.   

The sixth track, Our Bones Will Feed the Soil Again. A flickering insectoid rhythm, a looped acid-drenched sound... sound of a transmission from another galaxy getting through. A message made out of sounds, not really words. 

Humanity as a Disease, being the seventh track, has an almost nostalgic and dreamlike quality, like Boards of Canada! But behind th the blissful sounds, there is a feeling of discontent in the background. With zombie-ish moanings through a primitive shortwave radio, not really finding anyone out there... in the void. 

The rest of the album is also good, and I highly recommend that everyone hear the whole album in one go! 

Stumbling Through the Void is a very special album. Equally balanced between discomfort and utter bliss. Made in a way to charm us with honey, and inside hides a flesh-eating predator. Or is it the other way around? Looks/feels like a dark, evil album with the album titles and all, but the recordings within the album contain something way more sophisticated. In other words, it´s perfectly balanced. Or it can be represented like a coin with two sides, which gives the listener the option of choice (regarding the listening). Very special blend of moody drone-ambience with ethnic vibes. Can´t wait to hear more from this act!    



torsdag den 16. april 2026

 Minamata - Fukushima



Second time around, we get to review another album by this French project called Minamata. Last time was an industrial-disaster-based album called the Niigata 1964-1965, which also got into the top ten of Kalteldur that year (nr. 1!). This album was released on Force Majeure in 2017 and is still available on Discogs and the label's Bandcamp site.  

We´re still in Japan with this album, and we´re dealing with another disaster. The Fukushima incident, a major nuclear accident, was caused not only by an earthquake but also by a tsunami. The power plant couldn´t cool itself down, and the result was a total radioactive contamination. 164.000 residents were forced to evacuate, and 41.000 people (today) are still waiting to return to their homes. It is estimated that the contaminated area will have been "cleaned" in 2050, and the cost will run up to 180 billion US dollars. 

The first track is called tepKO. Stands for Tokyo Electric Power Company. The company, which owned the Fukushima power plant. Lots of ups and downs, controversies, and mainly failed security about the safety of their power plants (Homer Simpson). The track starts like a rising sun in the early morning, a haunting string-tone/violin-ish sound rising with more and more intensity. Kind of sounds like some sort of warning... of things to come. Scary haunting drones, and then somewhere a thundering underground explosion. Neo-classical melodies sweep over the icy soundscape, while occasionally, metal-on-metal clangs together. Also, an alarm siren is going on as well. A  Powerful intro track, really enjoy the way the artist has managed to create it as painful and sad as possible. 


The second track at(H)oM, a playful play with words... At Home or Atom... get it? Again, with a subtle but thunderous industrial soundscape. Still getting that feeling that something really bad is going to happen, just haven´t happened again. But yeah, there is definitely a storm brewing. Halfway through the track, we´re getting washed away by distorted vocals and dark, mournful melodies. Scary in that apocalyptic, but also really beautiful as well. I love that he holds onto that Minimata sound/aesthetic, which was also present in the former album from 1986. 

The third track is called tsunaminamata. Rhythmic banging of metal, angelic choirs, old-school power-electronics vocals (Grey Wolves, Genocide Organ), shimmering crystaline sounds, and the roaring sound of huge watery waves banging on a huge wall. 

The fourth and last track, eKlipS. Longest track on the album, and the most soundtrack/ambient-based. An epic industrial soundscape with a martial feeling. Actually, a really seductive dungeon-synth melody in there (for the dungeon synth fans!). Halfway through, it kind of changes into a new track/direction in sound. The track ends in a blaze of powerful angelic power electronics. Almost taking my breath away there (just for a moment). 

Fukushima is a powerful album, delivering harsh industrial soundscapes with the aesthetics of power electronics, while maintaining a sense of beauty in the eye of the storm. A French project worth taking notice of (check Discogs).