Mar 282014



COIL / NINE INCH NAILS – ‘Recoiled’ Picture Disc LP (Cold Spring CSR193P)


Final special edition of this extraordinary release. Full colour picture disc in a heavy PVC sleeve. Ltd x 1000 copies only.


“Recoiled” is a rambunctious alchemy, of magikal Coil sensibilities and hi-tech home circa 90’s mixing technique, all fused in the cave-like early studios of Danny Hyde / Peter Christopherson. These were the unrestrained PRE- BIG studio- mix downs, of four songs which long time Coil admirer / collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde / Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. “Recoiled” includes a fuller, more opulent version of the track ‘Closer’, which eventually made it onto the opening credits to the movie “SE7EN“. These 5 lengthy compositions are pre-Ableton / laptop generation type priest song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumoured to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. 4 of the tracks were released on the download-only “Uncoiled”. A bonus, previously unheard track from the same sessions closes the album. Jhonn Balance is also manifest on this gilded constellation.


Release Date : 30th May






BURIAL HEX – ‘In Psychic Defense’ CD (Cold Spring CSR197CD)


Burial Hex is a composition cycle of Post-Industrial music, dubbed “Horror Electronics”, by Clay Ruby. With a progressive mix of influences as far-reaching as vintage Industrial and Power Electronics, Kosmische Music, Black Metal, Techno and Electro, Early Music and Contemporary Classical, these dynamic compositions are simply unclassifiable. This compilation continues the stunning trajectory of the previous Cold Spring reissue collection, “Book of Delusions”, falling even further into the spiraling abyss of ritual music made in preparation for the Final Mysteries in the twilight of this Kali Yuga. Collecting tracks from various out-of-print vinyl releases, including In Psychic Defense, The Tower, Fantasie und Fuge, Hunger, and the highly sought-after “A Kiss To Birth The Rotted Sun” from the WVNDRKMMER 5xCS compilation, this volume is a welcome addition to every Burial Hex collection, as well as an ideal introduction for the Horror Electronics neophyte.


Release Date : 7th April





SHIFT – ‘Altamont Rising’ CD (Cold Spring CSR195CD)


Ferocious and misanthropic new full-length from Sweden’s son Shift. “Altamont Rising” is a calibration of the cosmic equilibrium in 7 chapters presented by Shift. The album deals with the consequences of man defying nature with Altamont as an example of what happens when pushed far enough. Three works /events stand as inspiration for the album: Apocalypse Now, Valhalla Rising and Altamont Free Festival. “Altamont Rising” is a brutal amalgamation of malicious vocals, drenched in heavy, claustrophobic death industrial and harsh noise.


For fans of Grunt, Brighter Death Now, Anenzephalia, Sick Seed.


Shift has previously released on Freak Animal, Hospital Productions, At War With False Noise, Silken Tofu, Unrest Productions and more.


Release Date: 7th April






Over n` out!!

Justin / COLD SPRING | | | Tel: +44 (0) 1327 842291

Mar 272014

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Stridulation Records ( is a brand new label and their second release comes out on March 15.

ABORYM's new
the critically acclaimed "Psychogrotesque" and "Dirty"

Remix" contains 7 remixes by 
of Molok
Sector A
 and Narchost

included are one previously-unreleased track and one new version
of a previously releases track

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first 150 copies of the CD come with hand-made artwork featuring 3
antique and original rusty nails from the early 1800s glued onto
an aluminium box

has been 
nominated for Best
Industrial / Cyber / Electronic Metal
at the 
Storm Awards 2013

double album "Dirty" (Agonia Records, 2013) has been
awarded "Best Album of 2013" byROCKERILLA magazine,
ARISTOCRAZIA magazine, THE PIT OF THE DAMNED radio and the Aborym
live show at Eindhoven Metal Meeting 2013 in Eindhoven,
Netherlands, has been awarded BEST LIVE SHOW in 2013 by ROCK

has been 
since 1992
the current line up includes original founding member Fabban on
vocals, bass and synth; Paolo Pieri (Hour of Penance) on guitars,
keyboards and programming; Norway-based Bard “Faust” Eithun
(ex-Emperor, Blood Tsunami, Mongo Ninja) on drums.

Check it out here:

Mar 272014

We are STRIDULATION RECORDS, a new record label based in New York, Rome and Trondheim dedicated to fostering and supporting artists who have something to say and whose music challenges boundaries and flexes definitions… or just artists we love! We release records by carefully selected artists who we enjoy and support  and we are committed to make every release stand out with amazing audio quality and unforgettable unique artwork and packaging. We release music by artists from all over the world and across many genres. We will only release limited editions (sometimes hand-numbered) with gorgeous artwork and unique packaging and we make every effort to make every release something special, distinctive, personal and unparalleled.

Marc Urselli
πoise (self-incestuous noise inception)

release date: 03.14.14

Provocation. Research. Experiment.

Who are all these “noise” artists out there? What exactly do they do? Can anyone do it? What kind of noise do they make? Why do they make noise? How do they make noise? Could one make a noise record without actually recording any noise at all?

These questions prompted Cræsher to research the origin of noise and the art and science of generating noise that is somehow “musical” and “interesting”.

The project originally started as a provocation but quickly turned into a research on the genesis of noise and an experiment in the manipulation of the most simple, pure, unadulterated and basic source of sound itself: the sine wave.
Cræsher started with a single sine wave (the most basic component of sound) and set out to create a piece of “noise” music with the sole use of sine waves effected and manipulated with changes in panning, volume and a few basic non-instrument DSP effects such as reverb, distortion, delay.

The next challenge was to build upon and around that basic sine wave in a way that would generate and shape dynamics. The noise would have to generate a life of its own. The goal became to create an experimental form of ambient-noise WITHOUT ANY sort of recorded sound. Everything would have to be generated from a single sine wave and would have to feed off of itself to generate change in the music without any human intervention and without any recorded sound.
The process is incestuous, because any sound controls its own parameters and feeds into itself to create a new sound. The process is also inceptive because it represents the commencement of a new sound. In a way this process is the sonic version of the Penrose stairs (made famous by M.C. Escher, the Penrose stairs make four 90-degree turns as they ascend or descend to form a continuous loop, so that a person could climb them forever and never get any higher). The same principle was also applied to the album as a whole.

While on tour in Europe, Cræsher opened the laptop, set up a Pro Tools session, created a bunch of Aux tracks and started bouncing signals around tracks. After the first piece Cræsher created 10 more pieces. Every piece is different but every piece starts from a basic sine wave and contains absolutely no recordings or samples. Some of these pieces follow cyclical evolutions while others morph in time arguably in accordance with absolute randomness. One such piece is the opening track, which is the same as the closing track but contains very different sounds because of the random nature of the incestuous process that is happening within. In line with the impossible geometry of the Penrose stairs, the opening and closing tracks of the album are variations on the same theme and would flow into each other seamlessly, if only CD players allowed for crossfades between the last track of a disc and the first track of the same disc the way consecutive tracks can.

Every piece (except the opening and closing track) on this album was clocked at 4’14”. The opening and closing track were clocked at 3’44”. This would make for a 50’10” long CD, however every track shows a duration of 3’14”. This was achieved by crossfading every track into the next with a 1’00” long crossfade, effectively shortening the duration of the CD to a continuously flowing and ever changing 38’48”. The mathematical near-impossible incongruence of such juxtaposition of tracks is also a tribute to the Penrose’s impossible object.

The Cræsher project chose the Greek letter π as the main title for this project because in mathematics π has two fundamental properties: irrationality (it cannot be written as a relationship of two other numbers) and transcendence (no sequence of algebraic operations can be equal to its value). The creation process of this noise is both irrational and trascendental and therefore “pi” is the perfect symbol to represent it.

Because “pi” is also defined as the ratio of a circle’s area to the square of its radius and is approximately equal to 3.14159, and this is why all the tracks on this album are exactly 3’14” in duration.

All the pieces on the album are numbered with greek numbers/letters.

The choice of the artwork for this release is intrinsically connected with the contents of the release itself. It features a modern day rendition of Myrrha (Greek: Μύρρα), also known as Smyrna (Greek: Σμύρνα), who according to Greek mythology was transformed into a myrrh tree as punishment for having an incestuous relationship with her father Cinyara (Greek: Κινύρας), king of Cyprus, who is also revered as the creator of art and musical instruments. The incestuous relationship between Cinyara and Myrrah gave birth to Adonis (Greek: Ἄδωνις), the god of beauty and desire. The image on the inside cover of this release, created by Italian digital artist Nico De Luca, aims at portraying Myrrha to depict the incestuous nature of the creative process of this experiment. In the same way that Myrrha created beauty (in the form of Adonis) through incest with the creator of art and musical instruments (in the form of Cinyara), these tracks aim to create sonic beauty through sonic incest with the most basic of all creators of art and music (in the form of the sine wave).

As Cicero said: “Omnia vivunt, omnia inter se conexa.” (“Everything is alive; everything is interconnected.”)

Artist Contact

official site:

Label Contact

official site:


Dirty Remix

release date: 03.15.14

Press Release

Industrial-Extreme Metal masters ABORYM are celebrating the start of 2014 with their brand new “DIRTY REMIX” album, to be released on STRIDULATION RECORDS (

The album comes in a limited edition aluminium box and contains a previously unreleased track entitled “A.T.W.A. | All the way Alive”, a new version of “Does Not Compute (“Captain Morgan” version)” from the critically-acclaimed album “With No Human Intervention” as well as 7 remixes of tracks taken from the latest double-album “Dirty”, which were chosen by the italian band through an open contest. The remixes are by Mortiis, Throne of Molok, Kingdom, XP8, Red Sector A, Emiliano Natali and Narchost.

The first 150 copies of “Dirty Remix” come with hand-made artwork featuring 3 antique and original rusty nails from the early 1800s. The remixes that did not make the album will be available shortly within the media player of the official Aborym ReverbNation page (

Click here for Pre-Orders


A.T.W.A. | All the way alive (unreleased song, by Aborym)
Does not Compute 1.2 (“Captain Morgan” version, by Aborym)
Helter Skelter Youth (“Nihilistic Bastard” remix by Mortiis)
Helter Skelter Youth (“Pervy” remix by Kaoma Mega, Throne of Molok)
Irreversible Crisis (“Tanz mit Aborym” remix by Kingdom)
Dirty (“Hellektro Apocalypse” remix by XP8)
Helter Skelter Youth (“Stigmata” remix by Biomechanical Christ, Red Sector A)
I Don’t Know (“The Blackbirds II” remix by Emiliano Natali)
Irreversible Crisis (“Rotten Core” remix by RG Narchost)



High Resolution Photos of the band:

Artist Contact

Official site:

Booking Contact


Label Contact

official site:


Mar 252014

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“[π]oise (self-incestuous noise inception)”

Stridulation Records ( is a brand new label and their first release comes out on March 14 (to honor the number value of “pi”, which is 3.14)

CRÆSHER is a project by Marc Urselli (New York based 5
time nominated, 3 time Grammy award winning engineer/producer

“[π]oise (self-incestuous noise inception)” is an 
experimental noise concept album – in fact it is the ultimate experiment of noise because it consists of noise that was generated by noise, without human intervention except for the creation of the algorhithms and signal processing which perform the noise generation

the creation and concept of the CD is equallyrooted in mathematics, greek mythology and sonic experimentation

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the CD comes in an exclusive and super limited edition bamboo wood enclosure with laser-engraved lettering and laser-cut CD holder (this environmentally-friendly case consists of all wooden parts that fit together like a puzzle and hold the CD in place – the booklet is printed with vegetable oils on recycled paper – no plastic was used in the making of this packaging)

the CD contains 10 tracks which morph and crossfade into one another to create a continuously-playing flow of noise patterns which defy the laws of math with 10 tracks that are between 3’44” and 4’14” long but all show a duration of  3’14” per piece and create a 38’48” long album

check it out at:


Mar 252014


following you can find our new April releases – pre-orders can be done from now

until 3rd April. For pre-orders of those 3 new cds there’s a special offer for:

42 Euro incl. worldwide postage.

Pre-sale and shipment will start at 4th of April – our new releases will be also

available at our stands in April at:

ELEKTROANSCHLAG 2014 – 4th and 5th April 2014

FORMS OF HANDS 14 – 25th and 26th April 2014

For forthcoming showcases please check:

Pre-orders / Orders can be done over:


pm: hands.official

Out on HANDS 14th April:

HEIMSTATT YIPOTASH Mecanismos De Control cd

HANDS D202 Hands Paper Pack 13 euro

Heimstatt Yipotash, notoriously headstrong hybrid project, surrender their

fifth album for HANDS: Highly political and subversive, “Mecanismos De

Control” is an accentuated criticism of the Orwellian times we live in.

Musically their unique blend of electro and industrial elements comes all of

a piece; the leitmotif of (mostly) Spanish language vocal samples makes

for coherent listening, and the intense rhythms will let you shake the

chains of control – for sure!

“Mecanismos De Control” follows Heimstatt Yipotash’s massive anniversary

remix package, but actually picks up where the 2009 album “Urban Night Motifs”

ended, in modern day metropolis. This time, the focus shifts from the urban

structure itself to the people who live in it: Anonymous, working like the

gearwheels of a globalized machine constantly mislead to work for accelerating

economic growth. “Mecanismos De Control” denounces corruption in high

finance and the politicians’ involvement in it (“Putsch”, “Banco Malo”), it brings up

the lack of diversity in media (“Receptor Universal”), arbitrary police action and

the various levels of state control in general (“Mecanismo De Control”).

Musically it somehow suggests itself to drop the Esplendor Geometrico

reference, not only for the Spanish language samples, but also for the raw and

repetitive rhythmic backbone of all tracks. But of course Heimstatt Yipotash acts

in a much more ample scope, with lots of diversified, contemporary elements to

be found throughout the album: Spotless electro sequences (“Diez Segundos”,

“Pulsador”), almost organic percussion (“Banco Malo”), shuffling all-but-grooves

(“Magnetar”, “Rescoldo”), an electric harp in “El Mal Menor” and a swelling acid

sequence in “Fuerza Devastadora”. And the final say goes to The_Empath, who

transforms “Rescoldo” into a solemn lullaby for man, bereft of his dignity in the

Brave New World of today.

“Mecanismos De Control” works in the attractive contradiction of its dystopian

theme and being at the same time thoroughly enjoyable, in larger parts actually

dance floor compatible. A coherent, conceptually feasible and convincing album.


1. Diez Segundos

2. Que Se Vayan Todos

3. Mecanismo De Control

4. Zombis

5. Putsch

6. Banco Malo

7. Pulsador

8. Magnetar

9. Receptor Universal

10. Marcha Experimental

11. Rescoldo (Revisada)

12. El Mal Menor

13. Fuerza Devastadora

14. Rescoldo (The_Empath’s Lullaby)

Out on HANDS 14th April:


HANDS D203 Hands Paper Pack 13 euro

Sylvgheist Maëlström hasn’t taken much of his time to produce the follow-
up to his HANDS debut “Skaftafell”. On “Pripyat” he deals with

transformation and extinction of nature, thus he discards the majestic

minimalism of the predecessor and adopts a very different musical

language, with chunky IDM rhythms and dense soundscapes to portrait the

numerous disturbances man inflicts upon nature – and the way nature

reacts to that, reinventing itself. A heavyweight, unsettling electronica

album that is topped off with crackling remixes by [basementgrrr] and Yura


Pripyat is the “nuclear city” where the Chernobyl power plant is located.

Abandoned after the infamous 1986 disaster, it stands a rude reminder of man’s

ruinous effect on nature – and the inimitable way nature achieves a weird

comeback after the seemingly worst blow.

Such forbidding thoughts are the main preoccupation Sylvgheist Maëlström used

as an inspiration for this album, and it shows soundwise: Heavy rhythms

throughout, sinister melodies, throbbing bass sounds, all tracks saturated with

sharp-edged fuzz. “Pripyat” flows in a multi-layered sound design, which creates

a constant atmosphere of unease, quite appropriate for tracks dealing with the

world’s worst industrial disaster in “Bhopal”, where thousands died due to

exposure to toxic substances in 1984, or “Agbog Bloshie”, the infamous e-waste

dump in Ghana.

Even the most seasoned connoisseur of electronic music will be challenged to

discern on first listen all the details to be found within every single track as even

the comparably calmer tracks like “Prion” (a fatally infectious protein composition)

or “Mountain Pass” overflow with sounds, not to speak of the massive noise-
flavoured tracks like “Ajka” (a town in Hungary where an industrial accident

caused a flood of toxic mud in 2010). The contributed remixes by [basementgrrr]

and Yura Yura remain within the sonic framework of “Pripyat”, but add dynamic

bass sequences and a noise rhythm respectively.

As an album, “Pripyat” serves a dual function: Each of the tracks is strong

enough to stand alone, as a whole they merge into an utterly disturbing, yet

absorbing 78 minute trip, a reminder that man is dying in his own changed



1. Inlandsis

2. Kartaflik

3. Kvanefjeld

4. Dysprosium

5. Prion

6. Mountain Pass

7. Bhopal

8. Deepwater Horizon

9. Ajka

10. Okuma

11. Pripyat

12. Agbog Bloshie

13. Kessler Syndrome

14. Kychtym

15. Inlandsis (basementgrrr) Remix

16. Kvanefjeld Yura Yura Remix

Out on HANDS 14th April:

hyDrone Chronos cd

HANDS D201 Hands Paper Pack 13 euro

HANDS welcomes hyDrone, an act with a remarkable pedigree already, now

ready for a proper debut CD release. “Chronos“ is a captivating, deeply

atmospheric conceptual release about time and its perception, revealing

influences from various eras of electronic music, pouring into a very

individual musical language. Nine tracks plus remixes by Gjöll, Libido

Formandi and Proyecto Mirage let you take a 57 minute lapse from the

regular course of time!

Preface: hyDrone is the alias of Panos Kouretas from Greece, who has got CD-R

releases on Fich-Art and Le Petit Machiniste and a fancy vinyl on Sealt under his

belt, as well as a performance at Maschinenfest – the accolade of the industrial

scene. Now it’s time for Χρόνος, an album which truly deserves a distinguished


Takeoff: The opener “Carefully and patiently [we are counting time]” draws the

listener in with vocal snippets, atmospheric parts and insidious bleeps, while

“Always late” moves along accordingly slow in eerie halfstep mode. “Whenever”

is a grainy drone piece, “Backwards” fuses bass heavy drones with a cinematic

melody and the title track draws heavily from 70s Kosmische Musik in an ambient

mode. “Passing time” is a masterpiece, the perception of time during a human

being’s lifespan in a nutshell, seemingly accelerating, while the actual pattern

never changes. With “Chronotaraxis” we have finally left the time continuum for

good and are prepared to plunge into the psychedelic ambience of “Time is

running out of time” and “To maintain the balance”.

Overtime: Jóhann Eiriksson aka Gjöll contributes a fuzzy, Raster-Noton style

drone piece, Libido Formandi turns out a nicely accessible electronica track and

also label mates Proyecto Mirage get the final say with archaic, analogue

distorted beats.

Epilogue: Far from easy listening, sometimes demanding, this album is a treat for

anyone into atmospheric electronic music. Panos displays a knack for sound

design and composition, the result being well-defined and yet complex, abrasive

and beautiful at the same time. Worth your time!


1. Carefully and Patiently [We are Counting Time]

2. Always Late

3. Whenever

4. Backwards

5. Chronos [Cronos/Chronos]

6. Passing Time

7. Chronotaraxis

8. Time is Running out of Time

9. To Maintain the Balance

10. Always Late [Remix by Gjöll]

11. Carefully and Patiently [Remix by Libido Formandi]

12. Whenever [Remix by Proyecto Mirage]