Dec 122017
Date: February 5, 2018)

“From the far out reaches of space
comes the latest release from Bonsai Universe.The band is the
brainchild of musician Woody Aplanalp and his new album "Moonstream"
is performed, produced and mixed by himself. Aplanalp has worked with
well-established artists like Bobby Womack, Lauryn Hill and Aloe
Blacc, and he has taken those experiences into his new 13-song
release.”—The Record Journal

San Gabriel, CA October
2017—Bonsai Universe is the creation and brainchild of musician
Woody Aplanalp. Aplanalp has made his mark primarily as a guitarist,
recording and touring with an unusually diverse and notable array of
artists such as multiple Grammy winner Lauryn Hill, soul legend and
rock n’ roll hall of famer Bobby Womack, UK chart topper, Aloe
Blacc, Indian fusion master Trilok Gurtu, and the “Lion of
Zimbabwe” Thomas Mapfumo. Aplanalp’s avid experimentalism on the
guitar, combining disparate elements of rock, psychedelia, world music
and the avant garde, have also led to collaborations with Nels Cline
(2001’s Destroys All), Banyan with Stephen Perkins, and Old
Californio. All of this has served as stepping-stone for the creation
of Bonsai Universe and its new album, Moonstream.

Moonstream is
a journey to an inner world of electric folk and an outward expansion
to the far reaches of a deeper space. The album winds an unlikely yet
surprising path from harmony and synth laden electronic music
(Moonstream, Starstream, Should I Believe You) to rock and pop
sensibilities (Am I Good Enough, Sweet Exaggeration, Walking With My
Eyes Closed, Once Upon A Dream), to front porch acoustic music with
it’s eye on a bigger picture (A Lot of Nerve, Summertime), to
utopian and dystopian vistas (Too Real, Astrotonic), whether real or

With such eclectic influences over the years,
Aplanalp has developed his own unique style. “I enjoy playing every
kind of music,” he said, “ I’m thinking of this as debut album,
even though I have 2 other solo records in my past. They were just so
long ago and the sounds on this record are so

Aplanalp, who plays much of the instrumentation
on the album, also enlisted some heavy friends to help out. Anthony
Logerfo (Promise of the Real, Neil Young) lent a hand with drums, Paul
Lacques (I See Hawks in LA) added dobro and guitar, pals from Old
Californio Jason Chesney and Justin Smith contributed bass/ vocals and
vocals respectively, while Miguel Atwood-Ferguson arranged strings.
Other very notable contributors include vocalists Rick Garcia, Kathryn
Shuman, and Liela Avila, as wells Robert Hall on Synthesizer, Caroline
Cirone on arco bass and Bryon Holley on percussion.

grew up in the San Gabriel Valley and has music in his blood. His
father and uncle are renowned jazz sax players, Lanny and Richard
Aplanalp. Picking up the guitar at the age of seven, he started
playing music because, “I thought The Beatles were cool.” His
first tour was as the bass player for the Nels Cline Trio, which set
off a long career as a sideman. Bonsai Universe and Moonstream was
both written and arranged by the artist who surmised, “I think I
have my own style, but that’s more for others to say at this

Logerfo is also a friend of Aplanalp, and was partial
inspiration for recording the album. “He was going to be in my
band years ago when I had a band, but we both got other gigs and
became busy,” explained Aplanalp. “Everytime I see him he’s on
my case to jam or make a record. And I’ve been making some
recording equipment upgrades, so now I’m satisfied with the quality
of my recordings. The songs “Summertime”, “Sweet
Exaggeration”, and “Should I Believe You” have been around for
years, but I’m only happy with the new versions. “

inspiration has been today’s political climate. “It’s
unfortunate, yet inspiring,” he states. “The content of the
record is not obviously political, but the theme of the first and last
songs (“Moonstream, “Starstream”) are about escaping from the
craziness. I have been pretty happy over most of the last decade and
was content to help other people with their music, ride my bike, and
simply enjoy being a sideman and music teacher. With the rise of
demagoguery in our society, I feel a need to do more, and doing music
is the only thing I have to offer.”

Moonstream is a welcome
solo project and fantastic debut from Bonsai Universe and Woody

Dec 102017

Founded in 1988, The Cascades are a Gothic/Post Punk Rock band from Germany. Their style is old-school goth (think Sisters of Mercy) with a modern, artistic sensibility. Over the years they’ve gone through some personnel changes but the band now consists of M. W. Wild – vocals; Morientes de Silva – guitar; and Markus Muller – keyboards, with live and/or studio support from Tommy Dietweger – drums, and Esther Widmann – backing vocals. Recently after having reviewed M. W. Wild’s solo album – “The Third Decade”, and The Cascades’ retrospective double CD  “Diamonds & Rust” (with some new tracks as well), I felt this group needed to be explored in more depth, so I arranged an interview with M. W. Wild. Here is what we came up with:


Chain D.L.K.: Most Americans are unfamiliar with The Cascades; in fact, the only band some (oldies) may know by that name is the American pop group that had a hit in 1962 with “Rhythm of the Rain.” Could you tell us about your early history and how you came to be?

M. W. Wild: As I decided in 1988 to found a new Band out of my punk band “GODOT”, I searched for a band name. A friend told me about a cool shop in London/Carnaby St. named “The Cascades” with real water-cascades at the entrance. It sounded good and the thoughts of falling water and its power felt good in my head. So “The Cascades” were born. In 1988 was no internet of course and this made it impossible to search for double-names of bands or s.e.. A few months later somebody told me that this name was already in use by an oldie-band (now I am an oldie-band too, hehe) but I didn’t care about it, I still was very punk.


Chain D.L.K.: So, it seems as though 2017 has been a busy year for you and the band. First there was the release of your ‘Third Decade’ solo album in April, then The Cascades 2 CD compilation in November. What has prompted this surge of creativity, now?

M. W. Wild: At the end of 2015 I had been very close to death and I decided in the hospital that if I ever would be able again to sing and make music, to produce a new album. So I built my solo album between April and November 2016. After I got so many fantastic reviews about my album, I took the phone and called Morientes, asking him about releasing a BEST Of album. And we did it, just with the difference that we made “Diamonds and Rust”.

I always was creative, that’s me, but now I have the chance to live it, because I am settled and know what I want to do, – producing music. And when I look in the ideas folder in our cloud, I know that the other guys in the band feel the same.


Chain D.L.K.: After such a long hiatus, it appears as though you and the band are getting back together again. So why did you leave in 2006? What prompted the reunion?

M. W. Wild: I lost the fun, had no money and was an alcohol destroying machine during this time. I was very disappointed about how things happened and handled by people around the band (not the band itself). The conclusion was to stop my work with The Cascades from one day to another. It was a heavy decision because I hurt many people and lost all my friends during this time, but without the stopping I would not write now, I would have died.

The reunion itself always was in my head. I always felt as “Cade” during these years. I think ”The Third Decade” is very responsible for our Reunion, because the band could see that my voice is still working and for me it was my way back to life. Together we discovered the fun again in making music.


Chain D.L.K.: The Cascades were formed in 1988. Some of your early music is on the experimental side and for a time it sounded like you were still trying to find your identity. What was the vision you had for the band then, and what is the vision you have for the band now?

M. W. Wild: In the early days we had the vision of being rock stars, having girls, drinks and money. We got girls, we got beer, but no money. Now we have money, are married and don’t drink any alcohol. The vision is the still the same: Let us make some fucking cool music.


Chain D.L.K.: Will there be a new Cascades album next year? Will the music lean more towards classic gothic guitar-powered rock, or will there be much other elements incorporated (electro, neoclassical, world, etc.) ?

M. W. Wild: Yes indeed, in 2018 there will be a new Album with new songs. There will be an EP in February with five new songs, another EP in June with five new songs and finally a complete new physical CD in October with more new songs. As we always did, we don’t plan a particular style or something. We always did music out of our inner selves, so what will be will be. Everybody in the band has a bit different style and influences. We put them together and decide the “taste” of the song together. But we always trust in rock’n’roll and in the power of real played drums and guitars.


Chain D.L.K.: I presume you will be playing live and perhaps touring to promote your recent releases. If so where? Any plans to come to the U.S.?

M. W. Wild: If you can make it possible, yes please! It is difficult to plan a tour through the US, nobody knows us, the costs would be immense. Maybe we are lucky and Esther will be famous in Canada. – Then we will support her shows and come over.


Chain D.L.K.: Most of your songs are in English, although there are some in your native German. Was this a conscious decision to reach a wider than regional audience, or do you just prefer songwriting with English lyrics? (Following up that) Your new song, “Wenn Der Regen Kommt” is in German. Do you think you’ll be writing more in your native language?

M. W. Wild: For me it is much easier to sing in English, even though my English is not the best and I am always mixing up British with American (sorry). The reason for this is that English sounds better and I can describe a situation in English in three words – in German I need three sentences. It depends on the song – the feeling it gives to me – a song with a cold, depressing feeling like ”Wenn Der Regen Kommt” sounds sometimes better in German than in English.

I never thought about to reach a wider regional audience, Germany would be big enough to get famous. But times of dreaming are gone. I see it very realistic: The Cascades and even my solo thing is our form of art, with nearly no intention to mainstream. If it would, ok, but no need.


Chain D.L.K.: In what ways do you think the gothic music scene has changed since 1988, in Germany, and elsewhere?

M. W. Wild: I really don´t know what the gothic music scene really is because there are so many influences and styles in there. About the people I can hardly say something. I live now in a small village in the west of Germany, and here there is no scene. In 1988 we wore black leather pants, black western boots, and black leather jackets (we still do). Now I see many “cleaned up catalog goths”, sometimes remembering me in Carnival in Cologne. I always try to answer this question with the sentence that we make Goth Rock Music, but the main word is still Rock. I think I am too old-school to judge about the goth scene. For most of them I could be their father. We do our thing, our style; don’t care about any hips and charts.


Chain D.L.K.: I can easily pick out a dozen influences in your music, but who would you say your greatest influences/inspirations are (including any that aren’t necessarily music artists)?

M. W. Wild: Jim Morrison, Leonard Cohen, David Bowie, Nick Cave, AC /DC, Iron Maiden, Berlin, Australia, and my short but very intensive meeting with death.


Chain D.L.K.: Although you began in 1988, you didn’t put out your first album until 2001. Why did it take so long?

M. W. Wild: We were born in Straubing. Straubing is small town in the south/east of Germany. We did our thing in our small universe. That means we played a lot of shows in Bavaria. We had a great standing there, – selling our self-made demos, even earned some money back in 1998 when we had the idea to rock the world. So we tried to get a record deal and worked very intensely for this. Me and Morientes traveled from one record company to another with our demo in the bag. And finally, after a long trip through Germany with many frustrating moments we got one, – but the first album took its time until 2001 because the record company in Berlin had some trouble with the release or something else.


Chain D.L.K.: Esther Widmann’s backup vocals add a nice dimension to your new songs. Will The Cascades continue to use more female backing vocals to the music in the future?

M. W. Wild: Esther’s voice is phenomenal and we would like to keep her in our songs. But it is a little bit difficult, because she lives in Canada and she has her own career as a musician. If you listen to the songs on the “Rust” CD you will hear her too (recordings from 1998 – she was about 15 years old).


Chain D.L.K.: One of the best tracks off of ‘Diamonds & Rust’ (originally from your first album ‘Nine66’) is “Handful of Fear.” Tell us the story behind that song.

M. W. Wild: Ok, if you think so. “Handful Of Fear” describes my decision to leave Straubing, my wife and my son. In 1999 I decided to live, work and love in Berlin. This time was not easy and there was a lot of fear and tears. Everything was new for me. This big town, and all my friends were over 600 km far away. The fear of future, the trouble with myself, my new love, my old love… that’s the reason for Handful of Fear.


Chain D.L.K.: What is the one thing you would like to tell Americans at this point in time?

M. W. Wild: Maybe the same as many people do – fight against nazi assholes and please vote a president and not a comic figure! It is already dark all over Europe, and be careful, the candles are nearly down in America!


Chain D.L.K.: Thank you so much for your time and we all look forward to hearing more from The Cascades in the near future!

visit the artist on the web at:

Dec 052017
Newsflash: 5th December 2017
Tel: +44 (0) 1663 749491



OUT 23/01

Cold Spring are proud to announce “Kondole / Dead Cat” – a double CD and DVD collection, presented in a lavish 8-panel matt digipak with booklet. The RARE film features: DEREK JARMAN, ANDREW TIERNAN (‘The Pianist’, ‘300’, ‘The Bunker’, Derek Jarman’s ‘Edward II’) and GENESIS P-ORRIDGE.

CD1: features the complete, long version of ‘Dead Cat’.

“…what could be more beautiful that such a sustaining & chronic radical as Gen could have provided us all – in the form of KONDOLE – with a piece of truly necessary Everyday Listening?” (Julian Cope / Head Heritage).

CD2: contains 3 tracks: Thee First Part, ‘Thee Whale’ was recorded at Time Square Studios, Chiswick, London, on thee 23rd January 1988. It is thee soundtrack to an unmade 23 minute film called “Kondole (Thee Whale)”, by David Lewis and Andy Crabb. Thee Second Part, ‘Thee Shadow Creatures’ was recorded at Hyperdelic Studios, San Francisco on 23rd January, 1993. Thee Third Part, ‘Dead Cat’ was recorded at Time Square Studios, Chiswick, London, on thee 23rd January 1989. It is thee soundtrack to the film “Dead Cat” by David Lewis.

DVD: The film ‘Dead Cat’ was released in 1989, and shown only at a handful of cinemas that year, including once at the infamous Scala Cinema in London. It was never issued on general release and has only recently been uncovered by David Lewis (writer & director). We present the full film, re-authored from the original source. The film itself features unique starring roles from cult film director DEREK JARMAN, ANDREW TIERNAN (‘The Pianist’, ‘300’, ‘The Bunker’, Derek Jarman’s ‘Edward II’) and GENESIS P-ORRIDGE (Psychic TV, Throbbing Gristle). The film features the music of Psychic TV, included here on CD1, in its complete form.

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King Ov Hell (Gorgoroth, Sahg, God Seed) and Kvitrafn (aka Einar Selvik of Wardruna, Skuggsjá, Gorgoroth) teamed up and formed Jotunspor (“tracks/traces of giants”).

Musically, “Gleipnirs Smeder” binds grim and primitive black metal together with elements of noisy dark-ambient, while the concept of Jotunspor is strongly founded in the old Norse cults and beliefs. “Glepnirs Smeder”, or the The Forgers of Gleipnir, explores some of the incidents surrounding the creation of the world and Ragnarok – the ultimate doom / transformation. The chain Gleipnir, its forgers from the depths of Svartalvheim and Fenris – the chained jotun-wolf are some of the most important themes on the album, on which the lyrics are sung in Norwegian and Old Norse tongue.

Produced and engineered in Norway by Kvitrafn, the album was originally released in 2006 by our sub-division Satanas Rex. Digipak.

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On his second album, Colossloth continues his esoteric sonic crusade of volatile yet absorbing audio textures. Cold electronica, with swathes of rhythmic power noise and industrial harshness, tempered with penetrating song structures.

Eleven tracks of austere, reflective and exploratory electronics for journeys made into the hidden realms underpinning daily life, spanning the bridge between gnosis and praxis. The dissonance of opposites falling into elemental synthesis with a sound and approach influenced from the past, present and future, letting us remain anachronistic yet temporal voyeurs in the abyss evoked forth.


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COLOSSLOTH – ‘Heathen Needles’ CD (CSR235CD)
COLOSSLOTH – ‘Outstretch Your Hand For The Impress Of Truth’ CD CSR214CD)



Pan Sonic, arranged and edited by Barry Adamson, with an additional re-arrangement by The Hafler Trio. Here, Barry Adamson and Pan Sonic is performed by the Hljomeyki choir and Pan Sonic. “…a blend of an Icelandic choir performing Barry’s (treated) microtonal, urgent score is slowly infiltrated, first with an electronic breath and then by well-rounded bass that evolves into a satisfactory crescendo before the scary humhum returns… highly successful” (Vital Weekly).

The Hafler Trio’s wonderful extended reworking “weaves strong drones together before levelling them to start anew. At times it sounds eerily like the soundtrack to “the monolith” from Stanley Kubrick’s 2001: A Space Odyssey, but the intermittent digital crackles and processing bring the listener forcefully up to the present tense. If you are interested in abstract and experimental electronic music, the Hafler Trio deliver a solid remix”.

35 minutes. Originally released on CD by Icelandic label Kitchen Motors in 2001, now released on vinyl for the first time by Cold Spring.

Produced by Barry Adamson, Jóhann Jóhannsson, and Pan Sonic. The cover art features Icelandic electronic composer Magnús Blöndal Jóhannsson having a brain scan performed while listening to this disc.

180g vinyl with matt card sleeve. Comes with download card.

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The triumphant reawakening of San Francisco’s masters of behemoth ritualistic darkness…

Within “Shrines For The Unwanted, Respite For The Cast Aside”, bone, antler and voice produce connective threads between the worlds, as guitar and percussion punctuate shifts in mood. Voices call to the spirits, and the spirits call back in return. Recorded in 2016 during four private, collective only rituals, the pieces pull the listener through the darkest and most overgrown trails of the blackest forest. Monumental and horizonless ritualistic black ambience. Vocal visitations by A.C. Way of Sutekh Hexen.

Spot-varnished digipak.

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COMMON EIDER, KING EIDER – ‘Shrines For The Unwanted, Respite For The Cast Aside’ CD (CSR243CD)



A gathering of majestic, heavy, dark ambient, ritual, drone and noise music from Iran. Highly original and monolithic, with stunning production, Visions Of Darkness stands shoulder to shoulder with the giants of the Dark Ambient scene.

In a country where youth culture has been heavily restricted for so long, it’s significant when a cultural form such as this has an opportunity to reach a wider audience – aided by the abstract nature of dark ambient, drone and noise. In comparison, the dance music scene has a harder time taking root in Iran due to the illegality of men and women dancing in public together. However, the growth of the experimental electronic scene is going to be about more than a mere novelty reaction to a political paradigm shift. The darkness here is a consequence of the mood of the artists – darker after the country was put on a black list and more restrictions were applied to many things, including monetary transactions to and from Iran. As a consequence, Iranian artists have a great difficulty getting the resources to better develop their projects. Despite this, the enthusiasm and will for Iranian musicians to promote their music shines through.

Artists: Ali Phi, Alphaxone, Anunnaki Signal, Crows In The Rain, Downtown Of HongKong, DSM, Hossein RangChi, idft, Limen, Mehdi Behbudi & Vahide Sistaani, Narcissa Kasrai, Nojan, Nyctalllz, Poo Yar, Reza Solatipour, Rhonchus, Saint Abdullah, Soheil Soheili, S.S.M.P., Xerxes The Dark, XSIX.

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TREPANERINGSRITUALEN ‘Perfection & Permanence‘ LP (CSR198LP) £16

PENNY RIMBAUD’S KERNSCHMELZE II ‘Cantata For Improvised Voice‘ CD (CSR239CD) £10

KRZYSZTOF PENDERECKI ‘Kosmogonia‘ CD (CSR238CD) £10.50

Trepaneringsritualen explores themes of religion, magick and the hidden realms of consciousness, taking its musical cues from the old school of ritual ambient & death industrial. Rhythmic and seething at times, and oozing forward with a creeping sense of desolation at others, Trepaneringsritualen conjures forth bleak but mesmerizing visions of the end-times.
A conversation with angels, in archaic tongues. Ceaseless, blood-churning, terrible; an incoherent accusation by the mirror image, he who’s blood was shed to atone another man’s sins. Without bloodshed there can be no salvation. L “…a perversely satisfying experience… Ekelund has created that most chimeric of beasts: an accessible, even what some might say commercial, noise album.” Ltd x 500 copies on blood red vinyl
Kernschmelze: ‘the dying gasps of the Age of Enlightenment’. ‘Kernschmelze II’ is a cantata for voices, in this case the voice of CRASS songstress EVE LIBERTINE, processed by CHARLES WEBBER to almost choral proportions. Working on Kernschmelze II alongside Eve Libertine, PENNY RIMBAUD has been able to produce a classic album on a par with their ‘Acts of Love’ of 1984 (Crass Records). Libertine’s sparse, vulnerable poetics counter the almost Wagnerian scale of the work, challenging preconceptions of what music should be and making strong suggestions as to what it might yet become. Extreme electronics sourced solely from vocal sounds to create noise music of an intense and highly demanding nature. Ecopak with artwork by GEE VAUCHER.
Unnerving, intense, bloodcurdling, sinister, dramatic – the music of “Kosmogonia” features Penderecki’s famous, unorthodox instrumental techniques, and some of the darkest music ever composed. Hailed by The Guardian as “Poland’s greatest living composer”, Penderecki is the maestro behind the disturbing music on The Shining, The Shining, The Exorcist, Children Of Men, The People Under The Stairs, Shutter Island, Wild At Heart, and recently featured on the Twin Peaks reboot. Cold Spring are honoured to present this masterpiece in digital format for the first time since the 1974 vinyl release. Sympathetically remastered for CD by Denis Blackham and Martin Bowes. 6-panel digipak.
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‘Strange City’
LP Green
(CSR229LP) £16
(CSR237CD) £10.50
(CSR231LP) £14
(CSR236CD) £10.50
Rare and unreleased tracks from the SUN RA archive to be remixed and treated by Masami Akita. The tracks incorporate the jazz power of SUN RA, carried into brutal excess by the legendary Japanese artist, MERZBOW. This release is available in two distinct editions: 180gm green vinyl with download code (Ltd x 300) – and a matt laminated digipak CD. Please note that both formats have completely different music! Free release stickers when purchased directly from Cold Spring!
“Governance” continues KHOST’s immersion in themes of detachment and dissonance. With demoralizing vocal terror, hypnotic nightmarescapes, frost-encrusted tones, and horrifying rhythms, Governance devastates the listener with nearly fifty minutes of entrancing yet hazardous tectonic doom-laced revulsion. Features guest appearances from Eugene Robinson (OXBOW), and Jo Quail, and includes a remix of the track ‘Coven’ by Tel Aviv artist Adrian Stainburner. 6-panel digipak.
“Mine” is the second release for the Italian artist Alice Kundalini with her solo project She Spread Sorrow. Between the dark rooms of an abandoned college, where whispers and obscene thoughts mingle, where little bells and distortions come together, the inner voices are fleeing to the rules of harmony to awaken a darker sound, hidden and deprived, of those who have something to hide. Ritual deathscapes, obscure Death Industrial, sinful Power Electronics. Ltd x 300 copies with download code.
Following the unrestrained act of aggression that was 2014’s “Altamont Rising”, Swedish Death Industrial act SHIFT returns to more personal and ethereal domains on “Abandon”. Created over a ten year period from a huge cache of sources, boiled down to four tracks of unyielding slow moving heaviness. Abandon features several guest appearances and is SHIFT’s most complex recording to date. Spot-varnished digipak.
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