MERZBOW / RAVEN / DAO DE NOIZE – Animal Liberation CD Out Now!

Merzbow Raven Dao De Noize - Animal Liberation CD (4iB016)

Merzbow Raven Dao De Noize - Animal Liberation

MERZBOW / RAVEN / DAO DE NOIZEAnimal Liberation CD (4iB016):

1. Merzbow – Granulation 221 (20:04)
2. Raven – Unjustified Murder (10:00)
3. Dao De Noize – Slaughterhouse Diary (19:58)

– CD in Jewel Case
– Limited Edition 200 Copies

PRICE (Includes Airmail Shipping from Singapore): USD17
To Purchase, Please Go Here.

MERZBOW / RAVEN / DAO DE NOIZE – Animal Liberation
Animal Liberation features 3 characteristically powerful tracks of varying harshness and noise intensities with it’s theme strongly centered on animal rights and its firm stand against animal abuse.
The journey into the audio slaughterhouse begins with 2 harsh noise tracks presented by prolific Japanese noise artist Masami Akita, otherwise famously known as Merzbow and Serbia’s harsh noise artist Raven (or Djordje Miladinovic), who is highly recognisable in the harsh noise circuit as anti-war as well as a strong supporter of animal and human rights and conscious environmentalist. These two violently painful tracks are complex with a high level of hypnotic and sonic energy. The message of what these artists stand for are uniquely expressed by heavy layers of organic sounds, high frequency screeches and low level drones that almost sound like animal screams and grunts in the abattoir. This journey of butchery finally comes to an end with a closing ambient track from Ukraine’s noise/ambient artist Dao De Noize (Artem Pismenetskii). The tranquil hums overlapped by murmuring soundscapes with the background beating of hearts and animal bellows, bleats and cackles complement and complete the album. These 3 highly emotive tracks successfully propagate the intended message through a unique display of artistic sonic expression that is now one of the greatest social change movement around the world.

Please direct all enquiries to:

4iB Records
PO Box 206
Singapore 914007



Sutcliffe Jugend - Pursuit of Pleasure Outer Record Cover
TITLE: Pursuit of Pleasure
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Autogen Album Cover
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Autogen Album Cover
TITLE: Sans Palatine Uvula
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CAT NO: 4iB CD/1013/004
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K2:GX - Convulsing Vestibular (Main Gatefold Cover) (Resized)
ARTIST: K2 (Kimihide Kusafuka)/GX Jupitter-Larsen (The Haters/Survival Research Laboratories)
TITLE: Convulsing Vestibular
CAT NO: 4iB CD/1213/005
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Main Cover
TITLE: Dictatorship of Dead Labour
CAT NO: 4iB CD/0114/006
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TNG & CTD - Negative Mass 10%22 (Front - Edited)
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VOMIR - recouvre la merde CD (Main Cover - Front Right)
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TITLE: Backsaddling
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The Rita - Female Statuesque 7%22 (Front Cover)
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DEAD BODY COLLECTION - Quite Unreachable Hell 7%22 (Cover)
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TO PURCHASE: Coming Soon

ARTIST: PSICOPOMPO (Hermann Kopp + Lorenzo Abattoir)
TITLE: Synchronicity (Theory of Carl Jung)
CAT NO: 4iB CD/0115/012
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Suicide Forest Sessions
ARTIST: SHROUD OF VAPOUR (Hiroshi Hasegawa/Rohco/L’eclipse Nue/Yoshiko Honda)
TITLE: Suicide Forest Sessions
CAT NO: 4iB CD/0114/013
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Mizuchi Creation
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Richard Ramirez Werewolf Jerusalem - Kept. Perverse. Mess LP (Artwork - Front) (Resized)
TITLE: Kept. Perverse. Mess
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Merzbow Raven Dao De Noize
TITLE: Animal Liberation
CAT NO: 4iB CD/0514/016
FORMAT: CD (Ltd 200 Copies)
PRICE (Incl. Airmail Postage from Singapore): USD17
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CAT NO: 4iB CD/0114/017
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SHROUD OF VAPOUR – Suicide Forest Sessions CD Review by Musique Machine (Roger Batty)

Hiroshi Hasegawa, Rohco, L'eclipse Nue & Yoshiko Honda Suicide Forest Sessions

Shroud Of Vapour is a five piece collaborative project that brings together it’s members from the Japanese noise scene for a moody, mostly subdued and often chilling two track release on respected Singapore based noise/experimental label 4iB Records. This is the project’s first release.

The release comes in the form of a CD release, which features two tracks, each of these run between fifty & nineteen minutes a piece. And I guess it’s best to describe what we have here as a fairly loose & often woozy mix of unsettling & stripped electro ambience, subdued noisy improv/noise making, eerier vocalising, and the odd venture into more structured/noisy affair.

The release takes it’s name from Aokigahara, The Suicide Forest or Sea of Trees – a 35-square-kilometre forest situated on the northwest base of Mount Fuji in Japan. The forest is associated with demons in Japanese myth, and has been the site of many suicides (give or take around a 100 most years since the late 1980’s). Both tracks here were recorded live in the forest, using just battery powered & non electric elements.

The project brings together the following: Hiroshi Hasegawa (of C.C.C.C., Astro, and many other projects), ROHCO (also of C.C.C.C. & Astro), L’Eclipse Nue (Daniel Sine) & Yoshiko Honda.

Track one is entitled “In Memory Of” & comes in just shy of the forty nine minute mark. It languidly morphs and melts, wavering and haunting at times, almost operatic sing-song female wordless vocalising, through to stretched out & thinned noise tonal drift, onto sudden raised noise amassed textures, through to hazed & shapeless mixes of textural details, onto reduced down slightly spacey synth drift, & haunting feedback ebb ‘n’ shift. All in all the tracks are quite effective in it’s drifting, drowsy & slightly unsettling vibe, and one can almost imagine lost spirits floating & slowly shifting through the suicide forests landscape.

Track two comes in the form of “If It Pleases The Deceased”, and this track is just over nineteen minutes, which sees the five piece move towards a slightly more noise-bound feel – though it still has a haunted/loose vibe about it. The track opens with a mixture of walking or heart-beat pulse textured detail, & this is battered by on/off slams of what sounds like an organ fed through a distortion pedal – around this we get layers of ghostly moans & subdued female vocalising. As the track progresses, more wavering & sad harmonic keyboard hits can be made out, but around this you keep getting hits of textured & eerier noise matter, and retro synth flotsam & jetsam – and after a time the harmonic element departs. I guess you’d say the track falls somewhere between noised up ambience, weird séance like vocalising, and possibly a 60’s psychedelic freakout at it’s most loose and stripped down. The track is ok I guess, but I did find my attention starting to wander in places, so it certainly wasn’t as effective as the first.

So in summing up the idea of recording in the suicide forest is certainly an intriguing one, and the first track manages to capture the vibe of such a place nicely – I just felt there was a little less thought & atmosphere in the second track. So if you enjoy loose and often chilling sonics which hover somewhere between (mostly subdued) noise-making, improv and noisy ambience, you may well get something from this.


> Interview with TREPANERINGSRITUALEN (Breathe, Then Die) by Stanley Stepanic (Deaf Sparrow)


We’ve been on such a dark kick recently. We like it dark, darker than Goth, darker than black metal. So dark we tread places few will go because you’ll be tagged as ‘outsider’ by anyone. No one will accept you, everyone will fear you. One of our more recent listens involved an awesome piece submitted to us via Malignant Records, a split LP featuring Trepaneringsritualen, a Geatish death/dark industrial act from out of Sweden. After this first exposure, we took the time to listen to more of his work, and then received another release, and then eventually his most recent work from Cold Spring, who’ve we’ve been friends with for quite awhile. Not with benefits, of course, and by that we mean the benefit of a positive review. Like always, if we don’t like it, we say it, no pandering. But we like this guy here, we do, a lot. Seeing some of his live images and some videos, we figured we’d give him a quick note to see if he wouldn’t mind an interview, and here we go.

TREPANERINGSRITUALEN-HR-8365-682x1024(All sepia photos by Andrea Petrovičová.)

Deaf Sparrow – What kind of background do you have in music, if any (classical piano, earlier bands, etc.)? Seems like a lame place to start, but we’re totally lame so let’s start there.
TrepaneringsritualenMusic has always been my main focus, from when I was a kid. Tried my hands at various instruments, but I am not very good at any. I did Dead Letters Spell Out Dead Words for ten years, before retiring that moniker in 2010. Aside from T × R × P, I am currently involved in synth pop duo Soma Sema, as well as doing the odd remix, and occasionally collaborating with others in one-off projects

DS – So tell everyone a little about how TRP started and why, if you don’t mind.
TThat’s obscure even to me, it was never a conscious decision on my part. I’ve never questioned my creative impulses, and that has always served me well. T × R × P just needed to be unleashed upon the world I guess.

DS – Oh, an esoteric one, eh? We like that. Well, regardless of the why, assuming it will never be known anyway and taking it as an impulse, what was the first true TRP release?
TRitualer, Blot och Botgöring, a cassette released by Harsh Head Rituals in 2008. It has since been reissued on vinyl by Strömkarlen and Verlautbarung, and I am putting the finishing touches on a CD version on Infinite Fog.

DS – When did you start performing live? Was it an esoteric nothingness from which you sprang, much like your sudden decision to create your music?
In 2010. The first ritual was at the Norberg Festival in Sweden. I’ve done close to 40 since then.

DS – Wow, yeah, hahaah, that’s some serious power there man, Jesus. Considering you hit the ground running with weapons flailing left and right, it’s obvious you’d eventually get involved in releasing your material. When was the first TRP professional release? I mean, of course, some sort of separate thing on vinyl, cassette, whatever, not including compilations.
TThe first factory manufactured release was the Deathward, To The Womb 10” on Release The Bats. That was in 2011 I think. Editor’s Note: According to the Bandcamp link below it was 2012.

DS – Great stuff. Looks like that was one of the last releases they did, seems they ended the label in 2012. So, for live performances, do you tie in any visuals via video or do you perform any live rituals to go along with the sounds? Detail some of these if you don’t mind.
TI try to build as much of an atmosphere as possible, with whatever means I have at my disposal. Projections are part of it, and I work with lighting and fog when I can, as well as scent (rotten blood, mildew, and incense mostly). I believe it’s essential to attack as many senses as possible, overload the audience and disorientate them. I believe this is essential to make them more susceptible to communications from the other spheres.

DS – Awesome, yeah, I get a sense from the live footage I’ve seen that you have this excellent, modern, technological presence that assimilates actual ritual process and makes it something new. If you ever tour, you better believe I’ll be there. Some of the pictures I’ve seen look intense. Now let’s move on to your most recent work, which we just reviewed not that long ago. What was the conception behind your latest work for Cold Spring in particular, which just came out this year?
TFor once I actually did not set a specific theme or concept for the album, so thematically it’s quite wide. It deals with everything from the dual nature of divinity, betrayal and madness.

DS – I appreciate a theme, but I felt this one represented you in a more general sense, which is nice to have for a sound like this, get away from that usual consistency to something with overall variety. I see you’re also involved with some other projects. In particular I found Soma Sema very interesting, really enjoy that kind of dark, brooding electronica with pop influences. Can you tell me your involvement with Soma and DLSODW, which you talked about earlier? Really digging Soma, listening to “Artificial Heart” right now, this is something I’d even review for the site.
TSoma Sema sort of represents my pop sensibilities. Different music for different moods. Dead Letters Spell Out Dead Words was my attempt to come to terms with certain aspects of my personality. It was a very solipsistic project, very much about ME. In the end it just got too personal, I couldn’t deal with it anymore and it stopped serving its purpose. I’ve worked with so many people over the years, and I have taken something away from all of them, so it’s hard to single out anything specific. The last couple of years have been pretty hectic with my own stuff so I haven’t had all that much time to work on outside stuff. But I recently contributed vocals to a Blitzkrieg Baby song, and I am working on a few projects right now, one with Joachim Nordwall of the Skull Defekts, and one with my friend Dag Rosenqvist, who works under his own name. I will also contribute to the next Hadewych album, and I’ve been talking with Sutekh Hexen about doing a proper collaboration.

DS – Man, so many things to listen to now, thanks for that, or not, hahahaah. So wait, ahhaha, you don’t even remember how TRP actually started?
TWell, it’s more than I can’t explain the impetus. It wasn’t a conscious decision, it just happened because it had to happen. Call it fate or destiny or whatever.

DS – Back to your live presence for a bit. I’m aware of acts like Kristus Kut that get involved totally in live sex ritual performances and sexual imagery, things like that. What kind of crazy ass ritualistic death have you bled upon audiences, maybe involving literal blood?
TA T × R × P ritual typically involves loud sounds, a choking stench of rotting blood and mildew, and what ever extra-dimensional presence I manage to channel. They are rarely specific or tailored to achieve any pre-set goal. What happens, happens, and that’s the way I can keep it interesting to myself.

DS – Channeled chaos, nice, always welcome. So these visuals you’ve used, do you make them yourself or have you sourced them from obscure films and such? Any details on that?
TIt’s a mixture of found sources, and animated sequences. I try to stay away from too obvious sources, but I think any connoisseur of obscure religious films will be able to spot them. I am always looking for good source material, focusing on ritual in all its various guises. I am especially keen on getting clips of the Sanch procession, crucifixions, Day of Ashura and of course anything on Trepanning.

DS – Talk to me about Beläten, your label. I know I reviewed one of your cassettes recently, so I’d like to hear more about it. When and why did you start the label? Do you intend on cassette-only releases?
TBeläten sort of just happened to me two and a half years ago. I’ve done labels in the past, but I had been out of the game for three-or-so years when I suddenly got the urge to put out a few titles. From there it’s just rolled onward. I’m currently working on getting the first vinyl release ready for production, Veil of Light’s debut album. I expect it to hit the streets late September/early October.

DS – Awesome, glad to talk to you, it’s been a pleasure. Speaking in general, now, I’d like to give a major thanks to Thomas Ekelund for taking the time to talk to us here about his projects and work, it’s been a pleasure and truly awesome speaking to someone with such a heavy hand in dark industrial. Much appreciated!
T“oh sacred mouth!…who buried you in ashes” Here are some upcoming rituals for your readers, if interested:

September 21st, Incubate Festival, Tilburg, the Netherlands
October 17th, Endorcism, Berlin, Germany (with Wolvserpent)
November 15th, Moscow, Russia (with Brighter Death Now, Deutsch Nepal, and Raison D’etre)
December 6th, SE:UK Industrial Alliance, London, UK

And some forthcoming releases:

One Hundred Year Storm (with Sutekh Hexen) 2LP on Pesanta Urfolk
Split (with Body Cargo) Picture disc LP on Autarkeia
Ritualer, Blot & Botgöring CD on Infinite Fog
+ a few more reissues in the making

Interview Conducted by Stanley Stepanic


K.K. NULL x DAO DE NOIZE – Mizuchi Creation CD Out Now!

K K Null & Dao De Noize - Mizuchi Creation

KK Null x Dao De Noize - Mizuchi Creation CD

K.K. NULL x DAO DE NOIZEMizuchi Creation CD (4iB014):

1. Mizuchi Creation (Track 1) (20:28) (sample)
2. Mizuchi Creation (Track 2) (26:40)

– CD in Jewel Case
– Limited Edition 200 Copies
– Artwork by Mikiko Ksn

PRICE (Includes Airmail Shipping from Singapore): USD16
To Purchase, Please Go Here.

K.K. NULL x DAO DE NOIZE – Mizuchi Creation
Mizuchi or ‘Master of the Water’ is a name used to describe a well known mythical Japanese water deity resembling a serpent that lives in and around water. Titled ‘Water Snake’ in Japanese, this collaborative release showcases the sound wizardry of Japanese experimental multi-instrumentalist K.K. Null (Kazuyuki Kishino) and Ukraines’s ambient and noise artist Dao De Noize (Artem Pismenetskii). Mizuchi Creation comprises 2 tracks that flow continuously as one. Just like the impending ferocity of the serpent gliding through expanse of calm water, the album effectively maintains its sonic equilibrium of noise and soundscape through the complex balance of structured pulses, rhythmic noise, drones and hisses with the serene ambience of nature, mythology and life.

Please direct all enquiries to:

4iB Records
PO Box 206
Singapore 914007

> HIROSHI HASEGAWA (ASTRO) – Live Photos and Brief Interview (By Vicente Gutierrez & Sebastian Mayer)

The lack of posting could be a kind reflection of how hectic its been over here although, the film has pressed on and in the recent lull of posting we’ve actually been active at shows (Optrum, Hair Stylistics was properly exceptional) in addition to writing (Eye Yamataka interview in Dazed & Confused, Feb 09), research and of course, editing footage into the darker (…and then brighter) hours of the day. Two weeks ago, one of our familiar faces, Hiroshi Hasegawa aka Astro collaborated with Batur Sonmez aka Analog Suicide from Istanbul Turkey at Shinjuku Urga. It was part of Lunatic Scope Volume 12, a line up which featured Bastard NoiseDefektro and Government Alpha.

Even though our cameraman couldn’t make it at the last minute, we still followed through on Hasegawa’s invitation. Afterwards, I had a nice albeit brief chat which we continued over email and so I’ll post some words I translated from Hasegawa with some images to go along. We’ll cut part 2 of our interview with Hasegawa-san in the near future and be sure to post a clip on our Youtube and Vimeo channels. In the meantime….

My attention was initially drawn to what seemed the latest addition to Hasegawa’s fold up table- a mysterious retro-looking box and what appeared to be gold-coated paper. Hasegawa’s set was centered around two metallic (about A4 size) sheets; shiny and paper thin. On where their role: “well, those metallic sheets, I had attached contact microphones which worked to pick up the friction and vibrations when I shook or slid the sheets against each other.” In addition to the pedal set up below his table, Hasegawa was in true analog-form running the smaller contact microphones through a high voltage, all-tube analog annihilator; essentially the ‘box’ on the table which all eyes seemed to gravitate towards at one moment or another (I have a weblink if anyone wants to know). “Since my performance is based around my [analog, ed] synthesizer and effector set up, I’m somewhat limited to what extent I can move my body so these sheets gave me some more freedom not only in terms of sound but also movement.”

We briefly went on to discuss collaborations and how the evening went with both Sonmez and Reiko A. While Astro was enthralled with the sheets (and the occasional reattaching of the contact mics), he commented, “of course, I think its important to not only hear, but also to be conscious of your collaborator’s sounds- its very much like a regular sign that is read.” Meanwhile, Reiko A’s dance performance, punctuated with fixed stares, corpse-like poses on the floor as well as firmly locked ones via angular jukes, was familiar of the Butoh aesthetic in broader strokes. “Yeah, I’ve been playing together with Reiko for quite some time and so we I can really read her signals pretty well. From that gathered sense of communication, I’ve come to more fully realize the importance of her signs and movements. I can observe the movements Reiko makes, and while they are natural reactions, from my sounds, and she’s expressing in a physical way, its like a language that gives me a more composite idea of what is happening during the performance.”

(All photos courtesy N. Yamamoto-Masson, 2009/Posted By Vicente Gutierrez)


> ATRAX MORGUE – Marco Corbelli (Heathen Harvest)

In Memorium
3rd April 1970 – 6th May 2007

Marco Corbelli was the man behind the prolific noise project Atrax Morgue; he was born in 1970 and committed suicide by hanging in 2007. He was described as friendly but socially awkward and it is said that his obsessions were a very real part of who he was. Little else is known about him or his life. I have personally been interested in Corbelli since buying Atrax Morgue’s No More CD when researching an article on another artist: Premature Ejaculation. His influence can be heard in a lot of darker noise music today, I could argue his death reinforces the extremity of his musical output.

Greatly inspired by an earlier Italian Power Electronics act The Sodality, their 1987 LP Beyond Unknown Pleasures and Whitehouse’s “Dedicated to Peter Kurten”, Marco Corbelli recorded his debut cassette as Atrax Morgue at a friend’s house in summer 1992, calling it In Search of Death. The musical setup that he used for this – Keyboard, multi effect and voice – produced amazingly raw results. Corbelli didn’t use Atrax Morgue as purely a vehicle for pure noise, the sounds were purposely sick and infected as if he was using a selected palette for a purposefully murderous concept. The Atrax sound was often mentioned in regards to the Death Industrial genre rather than Power Electronics due to its consistent depravity, sickness and darkness. Although Atrax Morgue sometimes screamed and used sharp frequencies, rage was never the focus; Corbelli seemed happy to be pissed off and revel in the lower frequencies and rumblings. Friend and Deathpile noisemaker Jonathan Canady describes his sound as having taken the Whitehouse method of one synth line and one vocal and making it his own.

Corbelli immediately started running his own Slaughter Productions label in order to frequently release Atrax Morgue material, totalling around 39 Atrax Morgue recordings between 1993 and 2006. He would average 3-4 sometimes 5 Atrax Morgue releases per year on Slaughter as if he had no time to be too reliant on other labels to always release everything, so there would constantly be newer darker Atrax material released. Through Slaughterhouse, Corbelli released other artists like Con-Dom, Maurizio Bianchi, Deathpile, Progetto Morte, Taint and Richard Ramirez amongst others. Slaughter did some legendary compilations featuring the work of Corbelli and others such as the Death Odors series, Tabula of Slaughter – A Deathwish Manifest and From Sickness to Death.

Corbelli openly listed manias and obsessions as Atrax Morgue influences; Murder, Psychosis, Isolation, Pornography, Necrophilia, Pathology, Diseases, Fetishes and most importantly Death. They were often the subject matters and inspiration to Corbelli’s recordings. Atrax Morgue titles inspired by these obsessions included Woundfucker, Black Slaughter, Esthetik of a corpse, Cut My Throat, Slush of a Maniac, Exterminate, Death – Orgasm Connector, Her Guts and Cockskull Fantasy.

In 1998 Corbelli started an Atrax Morgue side project called Morder Machine which dwelled on the same sickness but with pulsating powerful slow beats to emphasize the depraved mania. Morder Machine released two cassettes on Slaughter Productions in 1998; Deathshow and Happy Birthdeath. Morder Machine also appeared on the Butchers House Productions compilation Snuff Electronics. There were several other Corbelli projects that releases on Slaughter such as; Necrofilia, Necrophonie, Pervas Nefandum and Progetto Morte.

After concerts around the world and numerous releases Corbelli’s reputation grew within the noise scene and Atrax Morgue released material on other labels including; Old Europa Café, RRR records, Bloodlust!, Murder Release, Less Than Zero and abRECt. There were 27 known other Atrax Morgue releases on other labels.

Following his death by hanging in 2007 a collaboration with an earlier Italian Power Electronics legend Maurizio Bianchi was released in 2008 called M. Plus T. This was a lot different than previous Corbelli output, a decayed gem with distorted grand synth noise and instrumentation. It served as a grand finale for Corbelli’s music and elevated him to the league of great Italian noisemakers. His name is now legendary in noise circles, a prolifically consistent artist who raised the bar within his own genre.

Written by Larsz4

Photograph: Marco Corbelli/Atrax Morgue live in London – hinoeuma the malediction/hagshadow.


Black Slaughter  1993
In Search of Death  1993
Necrosintesi 1993
Collection in Formaldeide  1994
Necrophiliac Experience 1994
New York Ripper 1994
Woundfucker 1994
Basic Autopsy Procedure 1995
Catch My Agony 1995
Esthetik of a Corpse 1995
Exterminate 1995
Homicidal Texture 1995
Pathophysiology 1995
Untitled 1995
Autoerotic Death 1996
Cut My Throat 1996
Extended Autoerotic Death 1996
Forced Entry / N.C.W. 1996
Lesion 22 1996
Sickness Report 1996
Studio – Live Material 1996
Sweetly  1996
Aminobenzolmessias 1997
James Oliver Huberty 1997
Slush of a Maniac 1997
DeathShow 1998
Disconnected Sin Organisation 1998
Woundfucker  1998
Overcome 1999
Esthetik of a Corpse 2000
Exterminate 2000
In Search of Death 2000
Paranoia 2000
Homicidal / Mechanic Asphyxia 2001
I Vizi Morbosi Di Una Giovane Infermiera 2001
Necrophiliac Experience / Necrosintesi 2001
New York Ripper 2001
Basic Autopsy Procedure / Homicidal Texture 2002
Collection in Formaldeide 2002
La Casa Dalle Finestre Che Ridono 2002
Pathophysiology 2002
Sweetly Spatter 2002
Death – Orgasm Connector 2003
No More  2004
Her Guts  2005
No More  2005
Claustrophobic Introduction 2006
Frustration 2006
Inorganic Introduction Pt.II 2006
Negative Frequencies  2006
Pathophysiology  2006


> NURSE WITH WOUND Live in Russia (10 + 12 September 2015)


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