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):

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

Details:
– 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
email: gerald@4ibrecords.com
http://www.4ibrecords.com

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THE RITA – Live at Heaven’s Gate, Philadelphia on 17 Aug 2015

Noise Train Fukushima Festival featuring Members of Hijokaidan, Ootomo Yoshide and Junji Hirose (25 Aug 2012)

Review of PSICOPOMPO (Hermann Kopp + Lorenzo Abattoir) – Synchronicity CD (By Mäx Lachaud, Obsküre Magazine)

Lorenzo Abattoir, Nascitari, Hermann Kopp

If you love the darker and more abstract works of the German composer Hermann Kopp, this latest project is for you. The violinist, known for the legendary soundtracks for the films of Jörg Buttgereit (Nekromantik, Der Todesking) has always been attracted to the morbid and occult atmospheres. In line with Psicofonico (2007) on the EVP and recordings of voices of the dead, his last album to date on Galakthorrö label (tenebrous Zyanidanger) and the cassette Sinekdoxa published last December on Alien Passengers, this new album departs from a process of sound research and experimentation. He has worked here with Lorenzo Abattoir, a young Italian musician coming from the drone / noise scene, for a musical approach inspired by the concept of “synchronicity” of Carl Jung. This idea came to the psychiatrist when he became interested in the relationship between alchemy and christianity. The idea of simultaneous events and signifiers that can not be explained rationally. Psicopompo, the name chosen for this collaboration, is an Italian term that refers to the guide accompanying the dead in the afterlife. Of course, the concept is more complex than that and everything is explained clearly in the disc, so we shall not venture out further here. One thing is certain: the musicians have never met and have used a unique writing method, incorporating the notion of coincidence. All pieces are based on a combination of separately registered rhythms and melodies and mixed as a single sound event. The album begins with two individual tracks. The first title of Lorenzo Abattoir mixes white noise, interference and shruti box in a spirit fairly near to his work. The piece of Hermann Kopp, too, shares the idea of drones, noise and strangeness, always with these so characteristic string squeaks. But where the album gets exciting is when the two worlds mingle for the remaining half an hour. Out of it emerges a freezing, unknown music as if it came from an intangible elsewhere. Recording methods and percussion may recall the “industrial” scene if that term still means something, but the result is much less easily discernible. We are here more in occult magic, some portions even unveil a recited dimension, almost liturgical and ritual (“PP2”), which will only increase as the journey goes on. The whole is deeply frightening, disturbing, inviting to the beauty of another world (“PP4”). Weird, you said, weird?

Translation from Obsküre magazine, France. (Review by Mäx Lachaud)

More Info: http://www.4ibrecords.com

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.

(Source: http://www.musiquemachine.com/reviews/reviews_template.php?id=5498)

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

MG_3567-11-1024x614

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?
T
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

(Source: http://www.deafsparrow.com/2014/09/03/interview-with-trepaneringsritualen-breathe-then-die/)

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):

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

Details:
– 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
email: gerald@4ibrecords.com
http://www.4ibrecords.com

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