MUSIC

"Citadel" is the fourth album release on EXTREME by this enigmatic Manchester-based group. For over 10 years, Muslimgauze have defined their style as a Western re-contextualisation of traditional Middle Eastern music enhanced by technology to form a post-modern mix of music, politics and culture. Muslimgauze construct the music through ethnic instruments that are a frame for dark and sometimes foreboding aural tapestries that capture the essence and mood of the music of the Middle East and the plight of the Palestinian people.

"Citadel" is an album of exotic Arabic textures where traditional instruments intermesh with technology, found sounds and voices meld with drones and synthesizers. The album uses both eastern and western rhythmic patterns embedded in layers of shifting soundscapes. The title track "Citadel" with incessant tablas piercing through swirling cymbals and a haunting melody. "Dharam Hinduja", where staccato percussion moves to fill the space between pulsing inverted samples, and "Opel" with drones building only to be overpowered by machine-gun rhythms. "Masawi Wife & Child" has a subdued rhythmic undercurrent while "Infidel" stands out with its strident percussion fusing with a myriad of sounds. "Shouf Balek" incorporates traditional strings that interplay with rhythm and voice, and "Beit Nuba" with mesmerizing chants weaving between a persistent drum beat. It all draws to a close with "Ferdowsi" where percussive improvisations rise and fall through a minimal soundscape.

Muslimgauze produce a raga music for the technological post-cyber age. Shifting cultures out of ancient history into the current day, transcending those traditional forms. "Citadel" has a voice of what is now and perhaps what is to come. In these troubled political times, peace through people being unified in harmony whilst maintaining their own strength and cultural identity is a vision to strive towards.

– from the original Extreme press-release

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.
New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.
All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

Tracklisting
La notte 08:35
Il giorno prima 06:44
Teorema 03:25

Il giorno 04:58
La tua ultima serata 08:05
Le lacrime di Maria 04:16

Voice, electric/processed hurdy-gurdy and zither by Golem Mecanique 
Composed, performed and mixed by Golem Mecanique between November 2023 and May 2024
Mastered by Stephan Mathieu at Schwebung, July 2024
Cut by Andreas Kauffelt at Schnittstelle, Berlin, September 2024
Cover artwork by Julien Langendorff / Back cover photo by the Golem, at Cimetière Montparnasse / Golem portrait by Romain Barbot 

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« Siamo tutti in pericolo » ( we are all in danger ) are words from Pier Paolo Pasolini.
These were the last words he gave in his last interview.
And then, we do not know what happened till his murder on an Italian beach.
Pasolini has awakened me to many things, and his movies are usual companions of my days.
I remember seeing Accatone and Teorema when I was 14 years old, and I fell in love.
I then discovered silent violence, erotism, desire, the raw aesthetic, ancient myth, and wrath.
« Siamo tutti in pericolo ». 
We do not know what happened when he left the place he gave the interview.
There was no clue, no witness till the discovery of his severed body a few days later.
« Siamo tutti in pericolo ». 
I tried to be the eyes that saw in the dark, the voice that told what his last day and night were, the ghost that summons the memory.
I have composed songs as if they were traditional ones, using repetitive patterns in traditional rhythms, like tarantella.
The drone is minimalist, and I tried to give the drone box the sound of a traditional hurdy-gurdy ( even if it is a kind of hurdy-gurdy ).
« Siamo tutti in pericolo ». 
Maria Callas and Scott Walker are also haunting this album.
I just wanted his body not to lay alone on that cold beach.

« – There’s nothing left, there’s nothing, nothing. We have never existed. Reality is these shapes on the summit of the Heavens »
from La Rabbia/Anger by Pier Paolo Pasolini

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"Siamo tutti in pericolo" is the third album by Golem Mecanique, the nom de plume of French multi-instrumentalist composer Karen Jebane, to be released on Ideologic Organ. Jebane works within the fringes of contemporary folk (aka La Novea community), microtonal and early modern spheres, as well as touching upon the ashes and fibres of back metal and the DNA of gothic music, literature, sorcery and most of all - poetry. Jebane's work with the "drone box" (a mechanised hurdy-gurdy) and zither as a smooth and rippling surface for her singing is immediately evident in a nearly ceremonial way, inviting into a space of clear-dark creativity-beauty. On "Siamo tutti in pericolo", Jebane works with her forms of composition in new ways, poetic and spare execution of her techniques, through her homage/hymns/meditations on the highly irregular circumstances and questions/mysteries of the passing of the soul of master artist Pier Paolo Pasolini. A perfect pairing with collage artist Julien Langendorff's cover art, "Siamo tutti in pericolo", presents a pure presentation of Jebane's "Golem Mecanique".
–Stephen O'Malley, Brion, France, 1 Sept 2024

The last words that poet and visionary film director Pier Paolo Pasolini said in his final interview were "Siamo tutti in pericolo"; translated: we are all in danger. Pasolini was then brutally murdered on a beach in Italy, a case which is still cold today. 

On this album, named after the man’s final public words, Golem Mecanique loses herself on that same Italian beach alongside his body and translates her observations and mourning into a devastating musical landscape. Siamo tutti in pericolo is dangerous, conveying the darkness and uneasy nature of both the art Pasolini created when he was alive and the circumstances of his murder.  In her early teens, Golem taped the Pasolini film Accatone when it was shown on television and watched it the next day after school. In her words, “it was an earthquake!”, immediately leaving a great impression on her as it was unlike anything she had ever seen before. She describes the feeling she has when watching a Pasolini film as “silent violence” - a cold and radical response which calls into question her beliefs about the behaviour of people and lies and truth. She hopes to evoke this feeling with her music - a melding of beauty and dread.

Like much of Golem Mecanique’s past work, this album includes her use of the drone box. Using drones enables her to create a “black, quiet sea” to reveal themes of fate, mourning and loneliness in this album.

Golem Mecanique as a project was begun by Karen Jebane in 2007, following her teenage years of playing in bands in high school. At first, starting on her own, she used tape recorders and reel tapes to capture field recordings. Her early music was a product of recorded sounds, stitched into dadaist experimental songs, to which she then added her voice in various ways. The discovery of several modern composers, including Cage, Schaeffer, Niblock and Alvin Lucier, was instrumental in developing her sound. Studying and reading about music opened a lot of fields for her, including graphic scores - and eventually led her to the almighty drone.

The drone box was built by Leo Maurel, a French instrument maker whose work is focused on drone instruments inspired by traditional ones - such as hurdy-gurdies and organs. The drone box instrument is integral to the life of Golem Mecanique as a project, giving her the confidence to work as a solo artist after many years in bands. She deems the voice of the drone to be “the diva”, the main part of her musical architecture, which finds her voice hovering above its endless tones.

Adding her voice to the project cemented the idea of Golem Mecanique and helped her build what she calls “sacred experimental music,” which lay dormant inside her for many years. The lyrics on this album undergo what she terms “destruction,” a degrading of words as the sounds are modulated and the meaning is lost. Her music is her “dark church”—music created out of poetry, literature, and contemplation, but also mysticism and darkness.

But this particular release returns to Pasolini every time, the tone of his work capturing her as she also considered the brutality of his death. “He talks about the beauty and a kind of purity I am always looking for. He plays with mythology, with cruelty, with violence as poetry.” Golem sees her work reflected in his and a kindred spirit in his approach to art. “I just wanted his body not to lay alone on that cold beach.”

When KMRU accessed the sound archive of the Royal Museum of Central Africa in Tervuren, Belgium, it catalysed an auditory response in the form of the album Temporary Stored. The album listened back to listen forward – to reckon with the collective inheritance of colonial (sound) archives. Temporary Stored II serves as an artistic and curatorial extension of the original album, inviting other artists to lend their critical ear to museum archives holding recordings of African songs, traditions and practices. With KMRU, Aho Ssan, Lamin Fofana, Nyokabi Kariũki and Jessica Ekomane draw upon their listening experiences as global contemporaries navigating a world in flux – ecologically, economically, and politically. Each artist brings a selection of sonic fragments out of dormancy, channelling (in)audible traces into a contemporary cultural and political paradigm. Temporary Stored II sensitively responds to historical archives whose sounds have been restored and made more accessible through digitalisation, despite still being the copyrighted property of European institutions. It develops an emergent language to engage with the vocal, rhythmic and syllabic intelligence rooted in these sonic repertoires, grounded in reimagination of sonic records as seeds for a sounding future. Listening back to these recordings is one way to recover the loss of listening traditions, orality and modes of transmission. In these sonic mediations, Lamin Fofana, KMRU, Jessica Ekomane, Nyokabi Kariũki and Aho Ssan account for the archives with care and criticality. Inscribed in this album are “black waveforms as rebellious enthusiasms”, which in the words of Katherine McKittrick “affirm, through cognitive schemas, modes of being human that refuse antiblackness while restructuring our existing system of knowledge.” The album asks us to listen to colonial pasts and imagine the sound of our epistemological futures. It is a sonic retort; a playback to history and its colonial processes of extraction and accumulation. Temporary Stored II is a reminder that the labour of listening back is a continuous process of reassessing what has been lost, captured and refused.

Brast Burn's Debon -- a classic of Japanese Kraut obscurity originally released in 1975 on Voice Records, now digitally-remastered. Brast Burn are often linked with Karuna Khayal, with many aficionados concluding that they were actually the same band. Whether this is true or not remains an unsolved mystery, but one thing is for sure: Brast Burn's one and only recorded outing left an indelible stamp on those who were to follow. Nurse With Wound's Steve Stapleton thought highly of Debon and included it on his "legendary list" that appeared on the sleeve of his band's 1979 debut album. Featuring orchestrated fuzz guitar, echo-drenched percussion, reverbed bass, zithers, assorted taped sounds and vocals that are simply inspired, Debon is an album that's a must for headphones and for devotees of the likes of Faust and Can. A rare musical experience and a vital addition to any record collection.

Raising Earthly Spirits was conceived as a ritualistic, shamanistic album centred around the concept of transcending this level of consciousness and existing mindfully in multidimensional space and time. It draws heavily upon the sacred ideas and practices of many indigenous peoples from this earth and how they communicate and interact with their ancestors and how they see themselves in relation to this world. It was made with respect towards these beliefs. - Robin Storey/Rapoon

Raising Earthly Spirits was conceived as a ritualistic, shamanistic album centred around the concept of transcending this level of consciousness and existing mindfully in multidimensional space and time. It draws heavily upon the sacred ideas and practices of many indigenous peoples from this earth and how they communicate and interact with their ancestors and how they see themselves in relation to this world. It was made with respect towards these beliefs. - Robin Storey/Rapoon

Intifaxa is the first part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music. Intifaxa is full of heavy percussion fire with deep tribal grooves, embedded in modulated field recordings. The album is a transcendental journey into Eastern soundscapes and a secret weapon for DJs who enjoy to tear down the borders of tribal underground house and psychedelic trance music. The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards. New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues. All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

The original release of Nurse with Wound's gargantuan "Thunder Perfect Mind" in 1992 coincided with that of Current 93's homonymous genre-defining album. Legend has it that the gnostic name initially appeared to Steven Stapleton in a dream as the title of Tibet's then still nameless upcoming album. Both records feature contributions from David Tibet, Colin Potter, Rose McDowall, John Balance of Coil, Alan Trench of Orchis and Joolie Wood amongst others. The title and the partial overlap of the personnel on both albums isn't quite where the similarities end, both albums have since become undisputed milestones in their respective artists' oeuvre. At the core of the definitive 2023 Infinite Fog re-release fully overseen by Steven Stapleton are the two original tracks "Cold" - a classic unsettling rhythmic Nurse collage-fest, significantly closer to jittery psychelia than the oft-cited "industrial feel" and the epic "Colder Still", easily one of the most mind-bending breathtaking NWW compositions up to this point and well beyond. The track soothes ghostly atmosphere and reveals new surprises with every listen, not least of which is a direct link to its sister release from c93 as well as the first appearance of the signature rhythm loop that would mutate and re-emerge on several later tracks. The album also is the first full-length collaboration with genius sound wizard Colin Potter who has since become a ubiquitous sidekick both on Nurse albums as well as in live performances. As a follow-up to what is widely acknowledged as one of the best-loved exercises in drone of the 20th century "Soliloquy for Lilith", TPM is a much more varied but at least equally rewarding experience. Infinite Fog are beyond pleased to be able to offer a significantly enhanced, remastered and extended 3 LP version for old and new fans alike.

Bill Laswellプロデュースの超傑作!! ビート・ジェネレーションの作家やRolling Stoneのブライアン・ジョーンズ、オーネット・コールマン、マーク・リボーらとの関わりも知られる、モロッコはベルベル人スリフ族の神秘主義トランス集団、Master Musicians of Joujoukaの92年作が初となるヴァイナル復刻！ビート作家のブライオン・ガイシンがタンジールにある自身のレストランへと招聘して西洋でも注目を集めた彼ら、2017年には来日公演も果たした名グループ！ガイシンはもちろん、バロウズなどの欧米のビート・ジェネレーションの作家やヒッピーたちから信望され、ブライアン・ジョーンズの71年作「Brian Jones Plays With The Pipes Of Pan At Joujouka」の功績により、世界へとその名を轟かせた伝説の民族音楽集団、Joujouka。15世紀にはスーフィストの聖人からも「バラカ」（神の恩寵）と祝福され、歴史的にも非常に重要な存在として記録されているとのこと。栄えあるジャジューカ村の演奏家たちが、独自のリードやパイプ、リラを手に奏でる霊性の巨大な渦の如し集団即興の波、その途轍もない深さやサイケデリアたるやどこまでも吸い込まれるばかりです。こんな音楽、この広い地球上どこを探してもそうはありません！名技師Helmut ErlerによってD&Mでヴァイナル・リマスタリングと盤質もカンペキ。180G重量盤。限定1000枚。まずは一度浴びましょう！

Caligula is the third studio album by American musician Lingua Ignota, released July 19, 2019 through Profound Lore Records.[1] Recorded after the signing with the record label in 2018, the album features collaborations with several other musicians, a departure from the recording process of her previous album All Bitches Die (2017), which was done alone in a shed in the woods, and features more acoustic instrumentation than the aforementioned record. It thematically explores themes of abuse, misogyny, hate, vengeance and violence in its lyrics, inspired by Hayter's own experiences in Providence, and features influences from both classical and extreme music. The album received universal acclaim from music critics, and made appearances on several year-end lists.

Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.

Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacozustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.

In 9 sequences ‘Fortune de Mer’ describes the power and beauty of dramatic fate, the irreversible. Like a clause of force majeure, an unforeseen one way trip to the desperate bottom. After losing the long battle nothing is left, only acceptance and resignation.

Recorded as a live jam it's similar to The KLF’s Chill Out fused with Yokota’s unmistakable sound palette and Castle’s gift for storytelling. Initially CD only. Originally released in 95’ via CD on the seminal U.S ambient label, Silent, Numinous Island is the result of live jam sessions between Yokota and Castle. Several original tracks were recorded to DAT tape and then mixed to create a long form audio travelogue to an otherworldly destination. The result is something similar to the KLF’s Chill Out paired with Yokota’s unmistakable sound palette and Castle’s gift for storytelling. The vinyl edition has been faithfully edited by David Fogarty for uninterrupted hi–fidelity vinyl playback, maintaining the original track sequencing and energy of the CD version.

Jake Muir's latest set of soft-focus, sensual electro-concrète, dissolves X-rated gay sleaze flick soundtracks into a shimmering suite of subdued orchestral flourishes and surreal cosmic psychedelia. Back in 2020, Muir put together a 90-minute mix for Honey Soundsystem, blending tracks from Kelman Duran, DJ Olive, Daniel Lanois and Terre Thaemlitz with obliquely camp dialog samples from vintage gay porn. The idea was to represent queer sexuality in a looser, more experimental manner, grazing the super-sensory pleasure of the bathhouse experience and the illicit joy of cruising without getting too self-serious while doing it. The mix was so popular that Muir followed it up with a weightless sequel two years later, and began developing the concept into a proper album, using more samples of music and dialogue, eventually performing the piece at the esteemed GRM as part of their FOCUS #4 concerts alongside work by Eliane Radigue, Folke Rabe and Chris Watson. The album is split into two side-long pieces that wash and ripple with nervous tension and discreet salaciousness. Opening with a familiar, bombastic theater sting, there are echoes of kosmische music and antique experimental electronics on 'Cruisin' 87', that Muir fashions into ASMR-rich puddles of syrupy, back-room ambience. Occasionally we hear lascivious words thru the fog, men mumbling to each other and giggling before the inevitable occurs. That's beautiful," a voice mutters over a dusky cricket chirp on 'Pipe Dream'. "It is," another replies. Muir's sonic response is suitably explicit, like a 1950s Hollywood jump-cut to a train going into a tunnel; the Berlin-via-Los Angeles sound artist takes the whole-body, mutual release of queer sex and interprets it with heady gestures, peppering jazzy rhythmic frostings into basins of skewered drone and gurgling synth. Muir's sound is colored by the pleasure of physical touch, a mussy flux of high frequency scrapes and caresses juxtaposed with woozy, dubbed-out fondles and thrusts. Who said the GRM was buttoned up?

Next up in Veyl's ever-evolving and diverse catalog comes of an experimental sonic experience from Llimbs. The project of Hagen Ebejer, he began making music in the early 2000's and started Llimbs in 2016, which allowed him to officially release music and perform live, making his debut at Berlin's legendary Tresor. Now he arrives on Veyl with Midnight Amber, an 8-track album which fully realizes the Llimbs sound and vision. Inspired by dark and experimental sounds, Midnight Amber is a tour de force of genre-bending compositions, conjured using downtempo and dreamlike sounds which explore both the organic and digital. The result is an undefinable affair which is both haunting and infectious at once. 'Unfold' commences the album with a soft yet powerful piece of melodic melancholy, inviting the listener through the gates and into the world of Llimbs. 'Divergent' picks things up with a ritual work of stirring chants which leads us to the evocative chords on 'Origin'. Finishing off side A is 'Absent', a slow burning rhythmic piece which encapsulates the listener, creating an almost nostalgic atmosphere for a time unknown. 'Phase' begins the B side with cinematic flair, creating a palpable tension which then evaporates into the ether. 'Eclipse' returns to a familiar dreamworld, traversing the skies which feel both familiar yet mysterious before 'Fragment' dives deeper into a hidden universe of emotion, fusing ancient works with modern technology. Concluding the album is 'Midnight', a perfect end to a journey which exists at the intersection of the natural and mechanical, reality and surreality, marking a tremendous finale which can only lead to a new beginning.

Zero Kama was an experimental music project founded by Zoe DeWitt in 1983. The first release of Zero Kama was the title V.V.V.V.V., recorded for the Nekrophile Rekords cassette compilation The Beast 666. In 1984 followed the cassette release of the album The Secret Eye of L.A.Y.L.A.H., which is commonly regarded as one of the key albums of the industrial-subgenre 'ritual'. The fact that all instruments used for this recording were exclusively made from human bones and skulls, its elusive musical style, the implied occult symbolism as well as the short-time existence of Zero Kama, whose backgrounds remained unknown for a long time, have been contributing to the cult status of this project until now.

Following an invitation of the NL-Centrum Amsterdam, Zero Kama played two live concerts in the Netherlands in 1985, and - after two more releases on the Nekrophile compilation The Archangels of Sex Rule the Destruction of the Regime - completely withdrew from the public. While The Secret Eye of L.A.Y.L.A.H. was recorded solely by Zoe DeWitt, the later live performances were realized with befriended musicians such as Didi Neidhart and Muki Pakesch, whom Zoe DeWitt knew from the Austrian music underground of the 1980s.

Since that time there have been a couple of re-releases of Zero Kama recordings, amongst others the 1988 Vinyl version by the French label Permis de Construire, followed by the CD release in 1991. In 2001 the French label Athanor published The Goatherd and the Beast, a 10" vinyl containing tracks from various compilations that were recorded besides The Secret Eye of L.A.Y.L.A.H.. This collection was also included as a bonus CD in the Live in Armhem double CD release by Athanor in 2008. In 2014 Athanor finally published a remastered version of The Secret Eye of L.A.Y.L.A.H. as both vinyl and CD.

Infinite fog Productions presents an anthology release of Zero Kama. The first time ever, everything recorded by the project released as one set on limited CD, VINYL and CASSETE. Recordings transferred from original tapes, carefully mastered by Martin Bowes at the Cage Studios and Micro Majong at Micro Majong Studio. Designed by Cold Graves.

Written, recorded & performed by Muslimgauze, this album was withdrawn by Bryn Jones, and replaced by the ‘Betrayal’ album in 1993. This is the album in its original form, as intended by Jones. The material was recovered from a cassette copy of the album as the original DAT was reused. ​ "Shekel Of Israeli Occupation' was never meant to be released. This is the only release of the album in its original form, as intended by Bryn. The material was recovered from a cassette copy of the album as the original DAT was overwritten with new material. Remixes of the tracks "Khan Younis", "Jerusalem Knife" and "Yasser Arafat's Radio" appeared on the album 'Hamas Arc'. The tracks "Caste" and "Amritsar" appeared on the album 'Satyajit Eye'. A version of "Drugsherpa" appeared on the mini album 'Drugsherpa'. Versions of the tracks "Khan Younis", "Drugsherpa", "Amritsar" & "Jerusalem Knife" appeared on the extended 'Drugsherpa' album."

There’s a lived-in quality to the sound of Racine’s Amitiés. Named after the French word for friendship, the Montréal-based Quebecois artist follows an extended time spent indoors to contemplate what it means to be isolated and in one’s own body, while also staying connected. The album is a follow-up of sorts to Quelque chose tombe (“Something Falls”), released in February 2020 and a kind of accidental prophecy for the crisis that was to come. Amitiés disintegrates before your very eyes. Opening with a roughshod iPhone recording of Racine playing his parent’s harmonium, the creaky acoustics of "Mon amour je ne guéris jamais" slowly degrade into digital simulations of dreadful organic beauty. That track and the rest of the LP gives the feeling of an abandoned building; a sense of frayed, earthiness dusted with the wisdom of time. And yet, it’s almost entirely made from simulations. Clipped Native Instruments violin patches punctuate the churning atmospherics of “Arête coincée dans une amygdale”. The lonely gongs and bells of “Grosso” resonate in a gust of synthesised ambient. Vocal plugins and the very occasional YouTube samples of a recorded voice are sped-up, glitched, pitched and scrambled into indecipherability. These vocal apparitions rise and fall into the sonic ether like individual ghosts of human contact. They’re bold and expressive, deeply melancholy and yet full of the potential for joy and an awareness of life’s beauty. It’s in this dearth of social interaction—the heady psychosis of too much solitude—that Amitiés’s tone and mood lies. A score for the numb dissociation from internal chaos and alienation, the album’s sense of acute distress is assuaged only by the small network of collaborators and influences it draws from. Long-time friend and peer Justin Leduc-Frenette (aka Keru Not Ever) contributes drum programming to “Mon amour je ne guéris jamais”. A last-minute reworking of the untitled “Sans titre” by German duo Arigto matches the weight and timbre of Racine’s sooty post-classical soundscapes. Ultimately, Amitiés is a very human response to an inhuman environment. It’s an intimate homage to friends and the mysterious effects of distance, while somehow finding healing in hardship.

Time for your booster! More childish theatricals from everybody's favourite 'bone heads. Comprising seven previously unreleased subterranean events. Out of The Ground. 500 limited edition digipak C.D.s

Mekonium is Michael Anklin’s solo debut. He is a drummer, electronic musician and producer living in Switzerland. To expand his sound spectrum, he uses field recordings, analog synthesizer, tape machines, as well as self-constructed instruments and sound objects. His sound is characterized by prepared acoustic drums, various objects and sound manipulations. Anklin collaborates with artists such as Dim Grimm, Kilchhofer, Janiv Oron and Wordcolour. He is one of the founding members of the open structured band «UFO» and the science-fiction ritual band «Liebeslied». He produces music for theater, dance and sound installations. Inspired by the pureness of ritual and traditional music, Mekonium sounds like a documentation of a fictional ceremony. Topics such as temporal consciousness, minimalism and anti-virtuosity as well as sounds barely perceptible by our auditory system influenced the production process Drones, soundscapes and slowly morphing repetitive patterns establish a state of time. To represent the concept of reduction, each track starts off with a single instrument or sounding object on which the composition slowly started to grow. Like grapes fermented into wine, acoustic sounds developed into different sound manipulations, still preserving the „taste“ of the original sound sources. The Tracks „Exon“ and „Zymosis“ contain a musical deconstruction of Lucas Rössner’s bassoon. Sounds from the Instrument were dissected with different types of microphones and rejoined into a collage. Hagneck, a hydroelectric powerplant next to Lake Biel was stocked with a number of contact microphones resulting in a huge powerful drone which built the fundament of the track. Mekonium deals with the feeling, condition and dilation of time. Musical fragments are played simultaneously at different speed, acoustic sounds were frozen, deformed, stretched and rearranged.