Krister Bergman - Last Entertainmnt

With the latest bunch of stuff I received from Marbre Negre, one such artist (Unknown to me) was Krister Bergman. Not much info to find about this enigmatic artist, no website, and not much to read about him on Discogs. I can say a couple of things though, we´re dealing with a HIGHLY productive artist (presumably from Scandinavian), working within the fields of power electronics, industrial, and dark ambient. I have reviewed one of his releases some years ago, the Earthly Thoughts Be Silent Now album... a split between his project called V.O.E.R and another called P.O.V. 

This latest release/album from him called Last Entertainment gives a hint or two of the style to be found within (when looking at the cover artwork). Some kind of mysterious golden human skull, and when you take a look at the name for the tracks on the back cover then yes... you are probably dealing with something highly atmospheric and ritualistic. A limited 50-copies  full-length CD in a nice and cool-looking slim-lined digipack. So let us get on with it. 

The first track called Purification (Step 1) works as a long first track/introduction to the album. A deep ritualistic, looped, and melodic hum starts the track, and additional ambient sounds are added... and still, the simple and minimalistic aesthetic is maintained. Less is more... right?! Beautiful satanic dark-ambient for fans of Inanna (Archon Satani-related project, Organisation Toth and Jarl. So far a perfect intro/first track for the album! 

The second track Purification (Step 2) is a slightly more sinister one. The clattering of metal, an eerie drum pattern, evocative synth-melody, and a hint or two of distorted strings in the background? Moments here that remind me of early Lycia here. Later on, a haunting piano melody shows its presence. A beautiful (and simple) orchestral ambient piece here, the eerieness of this track just makes it way more interesting and mysterious. 

The third track Purification (Step 3) moves further away from the darkness and closer to the light. From a hellish hole of despair to a holy temple of angelic beings. Love the contrast when the aesthetic is still maintained! There is more than meets the eye in this album! Another track on the album worth the time. 

The fourth track is called the Awakening (Part 1), and yes... it does sound like some sort of awakening. An epic fusion of dungeon synth, ritual music, and harsh noisy ambient music. Harsh music can also be beautiful music!

The fifth track The Awakening (Part 2) moves away from the melodies, and further into glitch and noise. Not 100% sure what kind of awakening we are dealing with here, something of a cosmic origin for sure. Strange radio voices can also be located here...from distant stars. As if someone is trying to pull open a secret dimensional door into our world. 

The sixth track (666?) is called Coming Of The Anti-God. A VERY industrial-sounding track. Lots of grinding metal are being cut by a huge buzzsaw, obviously, everything is being controlled by this big, evil, and humming machine... from hell itself. Again, fans of Inanna should take notice here. 

The seventh track No Prison Can Hold Him Now starts as a purely minimalistic ambient piece, a good 2 minutes soundtrack for 100% isolation. Looped sound-harshness is added here, giving the track a rhythmic sense/vibe. Some interesting vocal-based recordings later on, love the various effects on the vocal parts. The ending here is very enigmatic.  

The eighth (and LAST) track is called A Storm Will Cleanse. Rhythmic pink noise, ritualistic sounds, voices being looped, and dynamic sounds in the background. It does feel like a cleansing, and it also sounds like one as well. 

And finally! ... That was the so-called Last Entertainment. Not with a whimper... or a bang... but with the moaning sound of pleasure. I loved this album. Not because that it was technically well-made, not produced or mastered probably either. But because (of the opportunities available) the artist succeeded in getting the expression through to the listener, despite all the various challenges that the challenge contained. It´s a very honest and simple album with a lot of strength within, and it does require a couple of listening before it will seep into your mind and soul.

Bandcamp (label):

https://marbrenegre.bandcamp.com/album/last-entertainment

    

 Live Report: Cold Meat Industry, 

The 35th Anniversary

On the 19th to 20th of November 2022 the legendary Swedish record label Cold Meat Industry, run by Roger Karmanik of Brighter Death Now, celebrated its 35th anniversary at the prestigious and historic venue, Södre Teatern in Stockholm, Sweden. I was there, and man, am I happy I was!

I arrived in Stockholm a few hours prior to the festivities, just leaving enough time to check in at the hotel before heading to the venue. Arriving in Stockholm I was greeted by snow, making Stockholm even more picturesque than usual. After a short walk in the snow-covered streets, I arrived at the venue; a beautiful old building that was fittingly decorated with posters for the event. Going inside, the bar area (one of several) was filled with people and two stores selling CMI and related merch and records, including Roger Karmanik’s personal for-sale collection. Lots of gems to be found there as well as some oddities! The venue itself was great. An old theatre with balconies and everything, which also meant that all shows were to be enjoyed sitting down. This was no problem at all, rather it suited the ambient nature of the music well, but the restrictions regarding photos led to a bit of frustration for some of the audience. The mood, however, was good throughout, and even though I do not know the final number of tickets sold, it seemed that the venue was almost full. Judging by the people I talked to, many among the audience had traveled a long distance to take part in this magical event, highlighting that this was expected to be truly special.

Day 1

The opening act was Morthound. A stable in CMIs vast catalog, but an artist that I think many have missed out on throughout the years. From my perspective, anyway, it seems like Morthound was always a bit underappreciated. He started out in an ambient/sound collage style which I thought was a tiny bit too artsy for my taste. But as the music evolved it turned more and more noisy, rhythmic, and churning, and by the time the background visuals were showing a naked lady in various positions (halfway through, maybe?), I was won over completely. Morthound was the perfect show-starter, outlining exactly the kind of atmosphere one would expect of the CMI label and setting the mood for the entire festival beautifully. 

Now in the mood for a more trademark CMI atmosphere and well hydrated on overpriced beer, I was ready for the second act of the evening: legendary post-industrial outfit and another CMI stable Deutsch Nepal. Lina looked happy on stage and gave a rather loose performance focusing mainly on the newer more “song-based” records. When at his best there was some reminiscence of certain parts of the Coil back catalog, but overall I was not entirely convinced. The audience seemed to like it though. Lina also proclaimed that this was the last ever Deutsch Nepal live performance, so I guess we can all wish him a happy retirement from this part of his activities.

Next up was Sephiroth who gave a stunning performance all the way through; crushing, rhythmic, and trance-inducing. Sephiroth has always seemed to me to be one of the smaller and more unknown acts on the CMI roster, but judging by the way the audience reacted and talked about experiencing Sephiroth live, I might be mistaken here. In any instance, his tribal industrial/ambient really made a huge impact, and talking to people afterward it seemed that too many this was the best show of the night so far. Surely that was also my experience and I hope that he will hit the stage more often in the future!

The next band on stage was Ordo Rosarius Equilibrio who delivered their classic recipe of neofolk/goth/industrial and did it exactly like I would expect them to. I used to like them a lot back in the ‘90s and have a soft spot for a lot of their songs, but this night I did not really feel it. It felt a bit tired and a bit overdone. Like something that was past its prime. For me the weakest show of the festival by far, but not as such bad. They did what was expected of them, stuck with their usual structure, and for those into that, I am sure they got their money’s worth.

The headliner of the evening was Swedish black industrial legends MZ 412. A large portion of the people I was talking to had them as the main attraction of the whole festival, and everything was buzzing with expectation before they hit the stage. Little did we know about what was waiting to happen. The band members were standing on individual podiums and were wearing their trademark robes and facemasks. Everything was great, the sound, the aesthetics; all was going well until another sound suddenly blended in with the black industrial attack: the sound of an alarm. Was it part of the music; was this a gimmick, what the fuck was going on? Well, this was sadly not part of the gig. No, some fucktard had apparently walked out of the wrong door making the copious amounts of dry ice used by MZ 412 trigger the fire alarm, so before we knew it we were all standing out front in the freezing cold watching a fire truck. I think we got to have 10-15 minutes of black industrial magic before the unfortunate incident, but judging by what we got, I hope this will not be the last time I get to witness MZ 412 on stage!

Day 2

On the second day, I arrived while the first act, Lamia Vox, was playing. I decided to cure my hangover in the only logical way: getting a pint and catching up with people. That means that I missed the show and cannot really say much about Lamia Vox’s performance. I am sure they did just fine.

After getting back on track and in the mood for more ambient/industrial, Raison d’Etre was the perfect band to start the day’s program with. Peter Andersson’s pioneering dark ambient records have been in heavy rotation in my home since they came out in the ‘90s and I think they are some of the records that have had the most profound impact on my musical taste throughout the years. I still listen to them on a regular basis. I have seen him live before and he has always delivered the goods. He did so this time too: real-time sound manipulations and as always razor sharp sound with a level of finesse and refinement that is absolutely stunning. I did not really feel time or space while Raison d’Etre played, but just drifted into his evocative, dark, and melancholic sonic universe. Then, after some 45-60 minutes it was over and I slowly came out of my trance. This was truly a great performance and I hope to catch Raison d’Etre live again sometime in the future.

After this performance and lubricating and socializing further at the bar, it was time to see the mighty In Slaughter Natives.  I have seen him a few times before and it has somehow always been slightly underwhelming, especially when thinking about the huge impact his records have had on me. Truthfully, I had such a good time at the bar that I for a second thought about skipping In Slaughter Natives, ‘cause do you really need to see him a third time? It turns out you do! Especially this evening, where the sound was razor sharp and Jouni Havukainen’s haunting stage presence was given the perfect sonic and visual surroundings. After Raison d’Etre I thought I had already had the highlight but was I wrong! In Slaughter Natives was heavy, bombastic, haunting, beautiful, and terrifying. A true fucking manifestation of power. The best performance so far for me, and judging by the talks I had with people afterward, I was not alone in that experience. Even the sound guy was full of praise for In Slaughter Native’s sound and performance.

How could anyone top In Slaughter Natives? Well, I think Brighter Death Now, who was up next, did. I saw Brighter death Now three times this spring, twice in Denmark and then at the OEC Congresso Post Industriale in Pordenone, Italy. The Pordenone gig was by far the best of them, but at each gig focus was on the pumping, churning bass-heavy, and kind of punky tracks of the post-2000 albums which are not my favorite Brighter Death Now era. Since that has been Brighter Death Now’s an approach in recent years, I kind of expected them to deliver more of that on this occasion, but I was surprised, very pleasantly surprised. This night’s show marked a return to pure, unadulterated, death industrial. From start to finish Roger and co. (Lina + Kristian Olsson) dragged the audience through the catacombs of Great Death and Necrose Evangelicum era death worship, heavy ambiance, tormented howls and screams, and the whole thing made complete with skulls and bones forming the main bulk of the video backdrop. This was by far the biggest surprise and one of the very best live experiences, not just of the night or the festival, but of my life. Suffice it to say, after a whole line of excellent performances, label boss Karmanik took the crown. Utterly fucking brilliant!

The next band to enter the stage was Arcana. They were on heavy rotation in my teenage room way back when and for me personally, the chance to see Arcana live was one of my main reasons to go to Sweden this cold November. They looked funny there on stage in their comically oversized goth dresses and I was annoyed with the opera singer’s voice in the beginning. It also struck me as odd that Peter’s wife was doing the talking since everyone knows it is his band. Anyway, after a slightly bumpy beginning (from my perspective), the band slowly but securely won me over. One classic replaced the other on the set list and at the end, I was completely immersed in Arcana’s melancholic gothic/neoclassical universe and no longer had any regard for the world around me. It was a magical experience for me to hear these classics performed live for the very first time so many years after their release and I am very thankful for that.

The last band to enter the stage was Trepaneringsritualen, who was never on the CMI label but can be said to have continued the proud Swedish death industrial tradition with a musical output of consistently high quality and some rather spectacular live shows with foul-smelling incense, skulls, bones, blood and the signature sack on the head and rope around the neck outfit. The show this night was without the props except for the attire, but with the addition of a live drummer instead of the usual solo set-up of past performances. Thomas Ekelund did a good job. The performance was energetic, the vocals were powerful and the sound was good. Still, after the absolute onslaughts of In Slaughter Natives and Brighter Death Now, Trepaneringsritualen felt a little bit anticlimactic for me personally. It was not by any means bad, but how could anyone be expected to top Brighter Death Now’s performance? Anyway, the audience seemed satisfied and Trepaneringsritualen manifest the impact of the Cold Meat Industry sound and aesthetic as well as the future of the death industrial genre, so in that way, it was fitting to have them close the show and they did it very well. 

After the final live performance, it was time for the after-party which was fun although a lot of people had already left and the venue, therefore, felt a bit empty. It was good to talk to people from near and far and bond over our love for this little niche in dark underground music. Overall, the 35 years of Cold Meat Industry and Roger’s impressive legacy were celebrated with a bang and I certainly had a blast. I hope that the 40th anniversary will be celebrated in the same manner and that the crowd will be just as enthusiastic when that time comes. Under all circumstances, the legacy of Cold Meat Industry lives on and this event just shows how deeply the label has impacted a lot of people from all over the world and continues to do so after so many years.

 ZeroNull - Red Mars

Marbre Negre is mostly known for being a noisy label, dealing in lots of noisy harsh-noise and power electronics releases. But once (in a while) they also deal in QUITE spacy material. Acts like Gargara, B°tong, and Clavius (Just to name a few!). ZeroNull is another one of those highly mysterious deep-space ambient acts, and they/he/she has just released a new album delving into the mysterious nature surrounding the red planet of Mars. After some research, I did find out that this release is the first of a trilogy based on Kim Stanley Robinson´s books about Mars. So I guess we will expect two more releases after this one. I'm curious of course, about who this Kim Stanley Robinson is... I read a lot if you ask me! Anyways, a double-sided cassette with two tracks on each side 35 minutes in total here.

The first track is called Katabatic Winds Over Olympus Mons. A nifty and highly esoteric-sounding intro to the track. Sounds of stretched metallic strings, evocative synth-work, manipulated sampled sounds, and with a majestic atmosphere from some other dimension. Think Dune, Vidna Obmana, and Maeror Tri... that kind of stuff. Love this deep shit!

The second track Thermokast Evolution Of Valles Marineris has more ritualistic-tribalistic moods going on. Deep machine drones, a looped and thumping crashing sound, evocative reversed (and reverbed) sounds with an interesting and ice-cold scraping sound on top of it. Dream-like strings on a synth are added later on. This stuff is great, takes my breath away here!

We flip the cassette and continue on the B-side. And the third track here is called Phobos Tidal Decelartion. Phobos?... Weren´t we on Photos when we played Doom on our stationary PC?!. Anyways! A deep and endless chasm of ambient sound opens the track. You get the sensation of endless desert dunes on a cold night, with an utterly alien sky above. Beautiful drone sounds, evocative synth work, and ritualistic undercurrents give any thirsty ear an aural orgasm.

We continue with the fourth and last track Terraforming Red Mars. Not as murky as the former tracks, but more of an optimistic piece. Still maintaining that enigmatic synth-driven ambient sound from the great cosmos. The big question is, would it be a good idea to terraform Mars? Let us hope so!

What a fantastic journey of sound with Zeronull. A thorough and well-thought/constructed ambient soundtrack to Mars. All the thoughts and ideas the listener would have about Mars, and how these thoughts and ideas would sound if they were turned into pure sound. Red Mars by Zeronull gives you all the answers and more to it. What a fantastic album that I would recommend to any fans of ambient music! Cannot wait for the other two releases in the trilogy!

Bandcamp (label):
https://marbrenegre.bandcamp.com/album/red-mars

 Barrera - My Rage Knows No Input

Second-latest release (from 2022) with this great Spanish HNW act. Might just be the ultimate noise-wall experience with Barrera, since we are dealing with a cassette having only one track... which is 60 minutes and 5 seconds long. Released on the Polish label Antenna Non Grata as a limited 23 copies (sold out!), it should already be a cult release. Why you ask me, how can a limited cassette release become an item of cult worship? Please...let me explain.

It´s a spiritual and almost religious experience. A pure archaic primal noisescape that would leave Boyd Rice bloody jealous. Primitive and brutal yes, but filled with a hidden and esoteric world inside. Interesting layers of sound here, almost like listening to both dark ambient and noise at the same time. 

A close recording of our burning sun with the sound of hell... (or heaven?) somewhere in the background. I don´t know if it was the intention of the recording itself, but I do find this incredibly enjoyable... almost relaxing. Again, monotonic yes... but with a vibrant and organic feel to it, like being inside some living organism. 

Different from the fetish kind of HNW-themed stuff, closer to ANW and to the recordings of early NON/Boyd Rice of the Haters. The sound is absolutely superb, great to hear on stereo speakers in a cold basement! A perfect album to lay your ears to after a totally fxxxxxx-up day. Prime noise-wall stuff from Spain, absolutely prime!

Bandcamp (label):

https://antennanongrata.bandcamp.com/album/antenna-non-grata-make-noise-great-again-vol-6-barrera-my-rage-knows-no-input

Discogs (band):

https://www.discogs.com/artist/9049657-Barrera

 

    

 Kalteldur top 10 of 2022

A strange year with its ups and downs. Corona has "turned" into a thing of the past, while a war was going on in Europe at the same time. Either Corona or the war had destroyed the motivation for being creative, lots of great releases needed to be reviewed (as you can guess). As you can see on the so-called top 10 list, then yes... it has been a year of noise rather than industrial or ambient. Re-issues and new releases of various kinds of noise music have been in high demand, and some of those releases need a review... which of course explains why Kalteldur still exists (course!). It has also been a year where a lot of friendly artists (and labels) have reached out to Kalteldur, and for that, I am incredibly thankful! Although the talk is that record reviews are a dying culture, the releases are still being made and the artists & labels still want reviews. Which of course must mean that the interest in obscure electronic music is still there... living and thriving! So let´s get on with it!

Number 10

Kadaver - Micro Death

Fantasy 1

Kadaver´s Micro Death was a relentless mix of abstract ambient noise with atmospheric and angelic harsh noise. Soo much expression in sound and soo little time! A very concentrated and compact mini-album, with a little world inside. If you slowed down this album, you could have it as a double-CD album! A great noise album to represent the year 2022!

Number 9

Black Leather Jesus - Anti

Ominous Recordings

I have said it before, and I will say it again... I LOVE re-issues of older cult releases. This time I had the pleasure of reviewing Anti by Black Leather Jesus. Proto HNW before Vomir or the Rita. I will quote my last words from my original review... since I nailed it!: 

"A strangely comforting beast of sheer brutality, perfect background noise for obsessive minds... and perfect textured sound recording for a decent power nap. Keep it simple, less is more and all that." 

Greatest re-issue of 2022, and one of the best HNW releases as well!

Number 8

Sagenheft - Hypnerotomachia

Moonlit Castle Records

A seducing medieval trip into the world of seducing nymphs and satyrs. Or just one of those lovely scenes from that classic Caligula flick! I would dare to say that we need more of this kind of dungeon synth in 2023! An incredible journey that any soundwise escapist would love! A classic dungeon-synth act seeking new ideas, while maintaining the old-school sound! Do seek it out!.

Number 7

Lesser Dog - Tavistock Anthropocene

 

Danvers State

Classic old-school (post) industrial is still alive and kicking. And Lesser Dog (who were by no means were a Lesser Dog) proved it all with this release! A brutal and nightmarish industrial-ambient album that would even satisfy the fans of power electronics. As mentioned in the original review, take early experimental Test Dept and then the harshness of the Grey Wolves! And yup, it is that good!

Number 6

Jugendwerkhof - Mernscharmierung

Marbre Negre

Actually, the second time around that Jugendwerkhof enters the top 10 of Kalteldur. I will say (and I will say it again!) Jugendwerkhof is one of the best harsh noise acts in Europe as we speak! And this release 100% proves that fact! Lot more sound to it than just harsh noise. Post-industrial scrapyard sounds with tons of apocalyptic noise on top of it. Fans of Mauthausen Orchestra and Incapacitants must check this act out!.

Number 5

Room of Wires - Fever Switch EP

Rednectic

Whoever said that 90s technoid-electronica was dead anyway?! Room of Wires proved w(with their futuristic high-tech EP) that mind-bending electronics were still a thing to look forward to... in the near future that is. This a lovely example of how a utopic cyberpunk-inspired sound aesthetic can thrive in a modern techno/electronica vibe. Do yourself a favor and check up on Room of Wires! 

Number 4

Samsuo - You Probably Think It´s The Ocean

Elm Records

Or you would just probably think it´s a bloody masterpiece instead. Samsuo´s release on Elm Records was a breath-taker for sure, not only did it deliver pure and beautiful ambient music but also elements of guitar-based sadcore... not that far away from 4AD in their late 80s period ( Red House Painters, Cocteau Twins ). After the album was done, I was 100% sure that it had entered the top 10 list... so here it is. Seek it out, you will not be disappointed! 

Number 3

Schloss Tegal Prezsents Kollektiv - Music From The Sanitorium

Tegal Records

This obscure compilation from the ancient past (made by the minds of Schloss Tegal) not only disturbed us deeply... but also gave us new ideas on how to evolve moody experimental music in the coming future. So what kind of weird experimental stuff did people record back in the cassette days of the 80s? This compilation gives you all the answers you need, and what a trip this is! Best various artists compilation I have heard in years, and what a lovely collection of obscure recordings that hides within... worth exploring!

Number 2

Third Organ - S/T

Abhorrent Creation Tapes

Never been a big fan of Japanoise, but when I heard this one with Third Organ... it completely changed my mind. Well... It´s noise alright BUT! being completely high-tech meets low-bit, imagine a thing between Autechre and Merzbow. Some kind of artificial intelligence is stuck inside an old Atari game, kind of gets me back to Robocop 2... where the mind of that criminal drug addict gets inside that killer robot! This release is a blast...ALL THE WAY!. When a bad trip turns into a good trip, an absolutely relentless release!   

Number 1

Don Mandarin - Pekin A Porm / Guided Meditation

Environmental Studies Bathtub Press Collaboration

One of the latest with Don Mandarin. A release that instantly took my mind away to other places. A release that can give the listener an instant touch of the soul behind the act. 100% excentric character/artist creating otherworldly experimental music, with so much much of his own soul trapped within! There are hints of exotic Asian-based world music (Martin Denny fans?), heavy post-punk-inspired dub, real field recordings, harsh noise-ambient, and the sort of back-to-basics feel from an old album by Throbbing Gristle. The album is the bloody works, and I am sure that anyone would approve. Even proud that I was given this opportunity to review this magnificent masterpiece! 

  

      

Vrna - La Vecchia Madre

Vrna has released a steady stream of releases since 2000 so this is not exactly a new act on the post-industrial/dark ambient scene. I remember the Lares album fondly but have not heard anything since then until this album landed in my lap. “La Vecchia Madre” is also not exactly a new release, but actually came out in 2018, making it 6 years old already. Befitting that a release entitled ”The Old Mother” should receive a review when it is itself a bit old, right? The packaging is simple but effective and the cover art has a nice tactile feeling to it. Some kind of surface treatment that makes it feel kind of rubbery to touch. The music itself is dark ambient with some percussive tribal industrial elements and some hand-played instruments in the mix such as flutes and, I think, guitar?

The album starts out in a very calm fashion with “Of Great Silence”, a 7 minutes long droning piece with some chants. The second track, “Ritual Of Self-Burial”, follows the same recipe but quickly evolves into more percussive and noisy territories. For me personally a step up from the first track, which was a little too static and “nice” for my taste. The third track, simply titled “Empty” follows suit and is equally calm and chaotic, balancing the two poles and ending with some almost new age-like sounds with some serene piano chords before descending right back into chaos. A strong central piece with a few elements that disturb the organic progression towards chaos, which is kind of a pity, I think, but which in turn creates a certain dynamism. 

The next track is my favorite on the album; a whirlwind of ritualistic ambient noise called “Cenere” (Ash) with howling distorted chants and drones drenched in reverb taking me straight into dusty catacombs and dark vaulted cellars. The next track called “Campi Di Polvere” (dust fields) is a calm affair that does not do much for me except for leading to the final track “La Vecchia Madre – Ritual of Awakening” which in turn goes full-on ritualistic tribal industrial with nice polyrhythms, chants, screams and growls (male and female) and a beat you can almost dance to. A strong way to finish the album.

Overall, despite a few critical points, I am quite pleased with this album. The sound is very good, sharp, and focused, and everything is nicely and neatly done. At the same time, it left me wanting a little more. Something that makes it stand out a bit. Much of the things I like about “La Vecchia Madre” have been heard before, and I could have done without the new-age parts that pop up in most tracks. Personally, I would have liked a stronger focus on the rhythmic and ritualistic parts. More chaos and darkness and less calm droning, flutes, pianos, and whatnot. I am, however, sure this will appeal to dark ambient fanatics who like Raison d’Etre, Sephiroth, and acts of that ilk, and deservedly so: if you like ritualistic dark ambient with noisy and percussive tribal industrial elements, this will certainly not disappoint.

Bandcamp (band):

https://urna-rituals.bandcamp.com/album/la-vecchia-madre-2

Official Site (label):

https://www.oldeuropacafe.com/

 Schloss Tegal - Neoterrik Research " The Unearthed History of Schloss Tegal "

I REALLY love it when these classic death-industrial/ambient acts decide to release some cool reissues in nifty-looking digipacks!. One of the latest ones is by Schloss Tegal, a compilation compiling various tracks from obscure various artists-compilation (1997-2022). Re-mastered by RL Schneider himself (Brainpilot behind the act). The cover artwork is just a thing of pure beauty. Sort of grey, black, and white grainy artwork showcasing various manipulated autopsy-themed photos. Actually, the compilation was first released back in 2004 on Cold Spring Records, but this time the cover artwork not only looks better but represents the music way better as well! A big shout to Alonso Urbanos for the excellent artwork! The whole thing contains 12 tracks, 55 minutes in total. 

The first track is called Bones of Tartarus. Tartarus (according to Greek Mythology) is quite a wicked location if you ask me, a place of torment and suffering for the wicked... and the titans as well. So yes, there should be ALOT of bones in Tartarus. A deep and drony ambient track for lovers of heavy electronics. Lots of cool layers going on, and quite an adventurous/escapist vibe/mood in there as well. All of these sinister sounds are mixed with a haunting and looped religious chanting. A very cool and hypnotic track to start the compilation!

The second track Please Eat Me, is another good example of why this act can be simply irresistible... exquisite even! Lots of cool claustrophobic subterranean sounds. Reminds me of the early Test Dept/Laibach in a way. Metallic beatings in some abandoned factory, someone digging through the earth with a shovel (I think!), disturbing manipulated human voices (or is it actually pigs?!) with some distorted pitched sounds on top of it. Fans of the soundtrack of the Texas Chainsaw Massacre would love this. 

The third track Last Glint pf Consciousness gets back to those classic death-industrial/ambient sounds of the labels Cold Meat industry/Slaughter Productions. Bone-crunching atmospheres are set in some morbid operation theater. Glimpses of paranormal touch/ideas spark the track even higher. Greatest track so far.

The fourth track Collapse of the Wave Function offers a psychedelic soundtrack journey into the afterlife. Grinding and metallic drones from the heaven above, with some warbling (and eerie) ambient electronics. Again, LOTS of interesting sound layers!

The fifth track Anti-Life Equation kinds of chills down the atmosphere, to a more "pleasant" mood. Icy and minimalistic death-ambient. Love the crunchy sounds in the background, low-fi when it works! Incredible mysterious track with a lot of depth to it (11 minutes and 48 seconds).

The sixth track is called Zero Situation has a lovely mechanized rhythm. Starts with two thumps and then it ends with a metallic crash, doesn't actually sound like much (in the written words), but on the album, it sounds that good. Any fans of Megaptera would approve. 

The seventh track Invitation to an Outrage (Reptilian Mind) offers echoed, layered, and looped samples/recordings. Not much drama going on here, but the track doesn´t need the bloody drama. A very cool and subtle track with a lot of darkness within. 

And that ends the review. There are 5 more tracks on the compilation album, but I think that the listener should just further explore the rest of the album! I love this compilation, it sets a certain and specific morbid mood for anyone who digs pure ritualistic death-industrial. It also adds some extra psychedelic and experimental elements to the style as well! Might just be one of the top death-industrial releases to end up under the Christmas tree this year!. 

Bandcamp (band+label):

https://schlosstegal.bandcamp.com/album/neoterrik-research-the-unearthed-history-of-schloss-tegal

              

 Fallen - Soft Skin, Eternal Verses

The second album I get to review (this year) with this nostalgic ambient-driven act from Italy. Soft Skin, Eternal Verses was performed and recorded back in 2016 and has now been released on cassette by Mahorka, a label based in Bulgaria. The cassette is sold out at Fallen´s official Bandcamp site, but it can still be purchased via Mahorka´s Bandcamp site! A limited 50 copies cassette with some really beautiful looking cover-artwork, would have loved it even more if the paper had some texture. 3 tracks on each side of the cassette, which is about 50+ minutes in total. 

The first Echoes And Sin starts with an electronic humming sound, a slightly harsh and icy-sounding drone churns in the background while a crystal-like synth-melody lies on top of it. Beautiful and futuristic dreamy synths are also added as well. And then the melody starts with a deep synth and s simple rhythm. Piano, guitars, and church organs are also present. Kind of reminds me of Runes Order (not just as dark) and another Swedish dark-wave/ambient band called This Empty Flow. Exquisite synth-based ambient with a nostalgic retro feel here and there, I also have a gut feeling that fans of dungeon synth should check this out!

The second track Eyes Like Windows has a more ceremonial feel to it. With melancholic and looped synth keys and some very cool and rhythmic sound effects, Coil pops up in my mind here. A driven melody from above enters the stratosphere, leaving you bloody breathless!. Another great track here people!

The third (and last track) on the A-side is called No Love Is Sorrow. Kind of a haunted house of a ruin sort of intro-theme here. Slightly pleasant and slightly disturbing/eerie. The track brightens up with some rhythmic bass lines and an echoed pencil hitting metal. Almost a neo-classical feel here, not that far away from In The Nursery. 

The fourth track Soft Skin, Eternal Verses has a kind of industrial touch in the beginning. Sounds like a blow torch with some creepy and skeletal sound effects. This gets replaced with a crystalized futuristic atmosphere with those cool church-organ synths and additional guitar work. Dramatic and intense structured ambient soundtrack material here, very well made!

The fifth track Shimmering is probably the most easy-listening-like track on the album. Maybe a bit too pleasant for my taste. A Bit too light and sensual if you compare this track with the former tracks. Light-weight ambient piano-pop/new-age music. Some experimental electronica moments save the track at the end though.  

The sixth (and last track) New Beginning, sounds like an intro and an outro at the same time. It also gives the listener a kind of feeling, that you are listening to something which you have heard before on the album. It does remind me of a track here, not sure which.

A good and pleasing ambient-pop album with an experimental touch here and there. I do miss a kind of progression in the sound though, at times it does feel not your not actually getting anywhere, and then again, there are some moments on the album proving that otherwise. More edge, and just a bit more darkness also? 

Bandcamp (label):

https://mahorka.bandcamp.com/

Bandcamp (band):

https://thechildofacreek.bandcamp.com/

    

   

 Vomir and White Window - Advanced Symptoms of Claustrophilia

Actually, the first time ever that we get to review Vomir on Kalteldur. Been reviewing HNW for some time, and now it´s the first time that we get to review one of the true vets of HNW. Not completely alone this time, Vomir has made this album together with a project called White Window. 

Interesting act really, White Window hails from the Philippines! With a lot of releases on their belt, and more to check up on their Bandcamp site as well (link below).

  

Not a split here, but actually a collab. This release has been released by a label called Grubenhehr Freiburg, and this physical release is a cool-looking cassette (and cover) with some eerie (but nifty) looking collage artwork. I should also mention here that we are actually talking about a re-issue, it was first released by Transitional Void Records back in 2021. Anyways...  The album title...Advanced Symptoms of Claustrophilia, make you smile... also makes me wonder nonetheless.

The first track is called Asbestos Devotion. A very direct and brutal noise wall starts the track, the textured and microscopic sound of fabric being completely torn apart. High-pitched harsh noise sounds are present in the background, which gives the recording a nice dynamic to the wall of sound. Those high-pitched sounds almost sound like... one of those humming alien war machines in the classic War of the Worlds flick from 1962. Maybe it´s just me, getting a minor head-arch from too much asbestos. Action-driven noise wall for sure!

The second track Abnormal Pleasures of Confinement starts where the first track ended. A pulsating psychedelia sound is in the background, while strange samples/recordings (of something) can be heard with the trained ear. It's still within the area of the dynamic noise wall. So far it's hard to distinguish this track from the first track, the main difference is its length of it. Still pretty action-driven, love the energy of the sound. Vocals recorded in the end actually. 

The last track  Advanced Symptoms of Claustrophilia is a killer, 30 minutes and 8 seconds long!  In the same vibe and feel as the former tracks. I keep returning to the idea of creating something in a state of complete isolation. Corona-themed perhaps?. If you actually take a pause from listening and returning to listen... the sound sounds more brutal than before. The whole monster sounds like a mic being dragged by a fast-driving lorry truck. 

The album does sound like it was done in one take. Like a kind of live recording, and then chopped up the recorded material into three tracks. Would have been better if it just was one long track. And I was (in the end) feeling a slight case of Claustrophilia. The album felt too long, maybe that was the idea/concept of the release? Pure HNW addicts should seek it out, not for the faint for sure. 

Bandcamp (label):

https://grubenwehrfreiburg.bandcamp.com/album/advanced-symptoms-of-claustrophilia

             

 Victorian Witch - Eerie Tales

Dungeon synth on a Compact-Disc is a rare thing, even rarer when the artist describes the music as a Victorian synth. We´re dealing with a project by the Italian mastermind, who also was responsible for the proto dungeon-synth act Sagenhaft! (see former review). A beautiful limited 100-copies physical release, a glossy 4-paneled digipack inside a  wax-sealed black letter with blackened print on. The album works as a sort of complete recordings compilation since it compiles the two mini-albums Eerie Tales and Cold Embrace. Love the whole feeling of energy pulsating from this otherwordly cover artwork!.

The first track on the album is called The Tomb of Sarah. Not exactly who Sarah is, but we´re dropped right into a kind of musical style between Dead Can Dance and Endvra. Some might say Lovecraftian and some would say dark-medieval. Evocative melodies crawl over synthy strings like the legs of spiders, while eerie will-o-wisps produce disturbing light over a ruined graveyard. A perfect intro track, telling the listener straight away that we are bound to be on a fantastic trip into another world. 

The second track Witch´s Mansion goes further into a classic death-ambient sound. What do I mean by that sound? Check out the classic Death Odors compilation from Slaughter Productions. Heavy and doomish bells with some added metallic percussive on top, very kind of Megaptera´ish if you ask me. Interesting eldritch electronic sound effects going on as well. Is that new sport-shoes I hear on the gym floor, or is it the sounds of bats?... Not sure, great track nonetheless!

According to the track listing on the physical cover, the third track The Haunted Organist (which is according to the Bandcamp track listing actually being the track called Aungier Street ) contains an interesting rhythmic rhythm with some very cool synth-based atmospheres. Fans of SPKs Zamia Lehmani will surely dig this I am sure. A nice touch of atmospheres piano notes enlightens the mood beyond description.

The fourth track Aungier Street (which actually is the real Haunted Organist of course) perfectly sums up the mood for the perfect gothic-horror tale from the older days. Lovely played organ synth, with a touch of dread and moaning within. Perfect for an Edgar Allen Poe spoken-word performance of the Raven!

The fifth track The Shadow of a Shade further enters a neo-classical dark ambiance with a touch of the paranormal. Love the ancient and almost mythical archaic sound, a sound which sadly seems rarer and rarer these days. I'm getting watery eyes here people, beautiful track!.

The sixth track The Body Snatcher might even be something from one of those older Carpenter flicks. A retro sort of 80s horror thing here, the feeling of evil forces at work being present here. Synth-based horror ambient with some cool distorted guitar sounds going on (I think). The evil version of Steve Roach anyone?. 

The seventh track Twilight Encounter kind of goes "back" to that classic Sagenhaft-sound. Elegant piano, martial drums, and synthy soundscapes. VERY nicely done indeed. Again, I would love some kind of vocals here... again, spoken words would be awesome. 

The eighth (and last track) Cold Embrace further explores the retro soundtrack with added post-rockish guitar work. A good and moody outro track to end the album, although the track (on the CD) ends maybe a bit too suddenly... but that's ok I think!. 

And that ends the journey. A cool, honest, and decent album delivering what the album promises to deliver. Esoteric dungeon synth, with a nod or two to the world of classic gothic horror literature. I Would love to see that there would be more artists within the dungeon-synth realm, that would dip their fingers into something like this. It´s great, but again... I would also (for some reason) love it if there were some deep male vocals here, again spoken words. Maybe we can hope ( in the near future) that there would be an upcoming spoken-words album? Bored of Dungeons & Dragons-based synth music, go and check out Victorian Witch!.

Bandcamp (label):

https://pacificthrenodies.bandcamp.com/album/eerie-tales

Bandcamp (band):

https://victorianwitch.bandcamp.com/