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CD
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CSR 363CD
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$15.50
PREORDER
RELEASE DATE: 3/27/2026
Best known for his Nekromantik soundtracks (Dir. Jörg Buttgereit), Hermann Kopp composed and recorded his new soundtrack to the 1920 classic horror film Der Golem -- a leading example of early German Expressionism by Paul Wegener. First released in 1914, three versions of this material were made, but only the 1920 version is still available. Using violin, viola and electronic/synthesizer sounds, the new score adds a more contemporary, sometimes noisy edge to the film, whilst not forgetting the esoteric and mysterious components of the Golem myth of Jewish folklore. Set in a ghetto of medieval Prague, the Golem, a clay hulk brought to life by a magic scroll implanted in his chest, is summoned as a protector and avenger. The soundtrack premiered March 7, 2025 in a Parisian cinema near Place de l'Etoile -- by invitation of Vincent Glaume (organizer of the legendary Au-delà du Silence events in France, who first proposed the idea to Kopp). It was also presented at Wroclaw Industrial Festival, Poland in October 2025. Hermann Kopp started recording songs on tape in the '70s, combining his violin with a Moog imitation in a very personal and minimal approach to music, with lyrics that bordered on surrealism. After a mini-LP in 1981 and his Pop LP of 1983, he became the fifth member of experimental synthesizer band Keine Ahnung. After a split, Kopp was contacted by filmmaker Jörg Buttgereit to participate in the scores for Nekromantik, later in Der Todesking and finally in Nekromantik 2. He has since released a string of incredible works through labels such as Galakthorrö, 4iB Records, One Way Static, and Vinyl On Demand.
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CSR 365CD
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$15.50
PREORDER
RELEASE DATE: 3/27/2026
As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. His solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. Over the course of a year, Ian Lynch enjoyed the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, the essence of which have seeped into the spirit of the music, Lynch explores rediscovered spaces in Dublin and familiar interior spaces. He frequently visited the abandoned warehouse where his father worked and sang with his shruti box, contented in his solitude. The result is a distinct and sometimes harrowing drone-folk atmosphere conjured throughout the album's lengthy and enveloping compositions, with an eerily beautiful, immersive sadness resonating throughout. Featuring Ian Lynch on hurdy gurdy, uilleann pipes, synth, vocals, shruti box, concertina, guitar, found sounds, and tape, with guests: Laurie Sue Shanaman (Ails, Ludicra) on vocals, and Ruth Clinton (Landless, Poor Creature) on church organ. Only available on a one-time, long sold-out CD pressing in Ireland (Nyahh Records, 2022), Cold Spring now present this incredible album with an exclusive bonus track "Sympathetic Invertebrate Ritual," recorded especially for this edition. CD in matt-laminate digipak with updated artwork.
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CSR 362CD
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$15.50
PREORDER
RELEASE DATE: 2/27/2026
The first time on any format for Pier Paolo Pasolini's controversial 1975 vision of the Marquis De Sade's 120 Days Of Sodom, featuring beautiful and discordant classical compositions, in stark contrast to the shocking and cruel events unfolding onscreen. Three weeks before the scandalous release of Salò, or The 120 Days Of Sodom, Pasolini was brutally murdered in Ostia, Italy. In the wake of the tragedy, legendary composer Ennio Morricone wrote "Addio a Pier Paolo Pasolini" (Goodbye to Pier Paolo Pasolini) for the late filmmaker, included in the final edit. Following the narrative of one of Pasolini's defining cinematic moments, the soundtrack opens with Ennio Morricone's "Son Tanto Triste," descends into the melancholic minor chords of Bach, Chopin, Orff, Puccini, and Graziosi, incorporates sinister renditions by the cast, and includes Morricone's own somber tribute to the director. Disgusted by the flood of crass sexploitation movies which filled the space opened up by his Trilogy Of Life, Pasolini turned to the most nihilistic thinker in European history for what became his final film. His version of De Sade's 120 Days Of Sodom, amplified with motifs from Dante's Inferno, confronts the ultimate implications of fascism in a series of sexual and moral atrocities. CD comes in matt-laminate gatefold ecopak. Limited LP edition of 500 copies on blood red vinyl in gatefold matt-laminate sleeve (CSR 362LP).
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CSR 362LP
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$33.00
PREORDER
RELEASE DATE: 2/27/2026
LP version. Red color vinyl. The first time on any format for Pier Paolo Pasolini's controversial 1975 vision of the Marquis De Sade's 120 Days Of Sodom, featuring beautiful and discordant classical compositions, in stark contrast to the shocking and cruel events unfolding onscreen. Three weeks before the scandalous release of Salò, or The 120 Days Of Sodom, Pasolini was brutally murdered in Ostia, Italy. In the wake of the tragedy, legendary composer Ennio Morricone wrote "Addio a Pier Paolo Pasolini" (Goodbye to Pier Paolo Pasolini) for the late filmmaker, included in the final edit. Following the narrative of one of Pasolini's defining cinematic moments, the soundtrack opens with Ennio Morricone's "Son Tanto Triste," descends into the melancholic minor chords of Bach, Chopin, Orff, Puccini, and Graziosi, incorporates sinister renditions by the cast, and includes Morricone's own somber tribute to the director. Disgusted by the flood of crass sexploitation movies which filled the space opened up by his Trilogy Of Life, Pasolini turned to the most nihilistic thinker in European history for what became his final film. His version of De Sade's 120 Days Of Sodom, amplified with motifs from Dante's Inferno, confronts the ultimate implications of fascism in a series of sexual and moral atrocities. Limited LP edition of 500 copies on blood red vinyl in gatefold matt-laminate sleeve.
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2LP
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CSR 203X-LP
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$42.00
PREORDER
RELEASE DATE: 2/20/2026
Cold Spring marks a decade since the label first released Coil's landmark album Backwards, with a special 10-year anniversary vinyl reissue. After the ground-breaking release of 1990's Love's Secret Domain album, Coil were not dormant; the main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), Backwards contains the original versions of Coil's much-loved tracks; "A Cold Cell" and "Fire Of The Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. 180g heavyweight vinyl in a gatefold matt-laminate sleeve with silver detail. Also available in white color vinyl (CSR 203LTD-LP).
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2LP
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CSR 203LTD-LP
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$43.50
PREORDER
RELEASE DATE: 2/20/2026
White vinyl version. Cold Spring marks a decade since the label first released Coil's landmark album Backwards, with a special 10-year anniversary vinyl reissue. After the ground-breaking release of 1990's Love's Secret Domain album, Coil were not dormant; the main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), Backwards contains the original versions of Coil's much-loved tracks; "A Cold Cell" and "Fire Of The Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. 180g heavyweight vinyl in a gatefold matt-laminate sleeve with silver detail.
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CSR 354CD
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A deep reworking of Llyn Y Cwn's Megaliths (2024). The original was a profound dark ambient exploration of the sacred resonance embedded within stone circles; Megaliths In Dub is the echo beneath the surface, the unheard rhythm that has always been there. The megaliths stand -- timeless, unyielding. Their histories stretch beyond recorded memory, their presence imbued with silent narratives of the land. Megaliths sought to channel this ancient energy into pure sound. Yet no history exists without its counterpart -- no creation without its shadow. On Megaliths In Dub, suppressed tempos emerge, pulsing with the primal force of forgotten rites. Guitar invocations from the live rituals weave through the fabric of the album, distorting and reshaping the familiar, exquisite dark ambient Llyn Y Cwn has become renowned for. It is a sonic metamorphosis - a spectral reflection of the megalithic presence. The stones have been disturbed. Presented in a six-panel digipak with breathtaking photography by the artist.
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CSR 355LP
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LP version. Underneath The Earth is the debut album from Chimehours; a hauntological music project for the dislocated present day. Taking inspiration from Max Porter's novel Lanny, the album digs into themes of nature, myth and community, with an edge of folk-horror. Drones, drums and gritty guitars are juxtaposed with woodwind, strings and ethereal song. Written and produced between Derbyshire, London and Margate, the album takes musical influence from the likes of Liz Fraser, Broadcast, Beth Gibbons, Bibio, and Jóhann Jóhannsson, and atmospheric cues from The Wickerman, The Fog, and Enys Men. Chimehours is a collaboration between Beck Goldsmith and Jon Dix. The pair have previously performed in bands together and composed music for award-winning film and television. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. Here, Chimehours raid the vaults of '70s British cinema and trad folk soundscapes to riff on contemporary anxieties and ecological yearning. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. The result is a collection of all things earthy, exquisite and grotesque.
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CSR 355X-LP
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LP version. Green color vinyl. Underneath The Earth is the debut album from Chimehours; a hauntological music project for the dislocated present day. Taking inspiration from Max Porter's novel Lanny, the album digs into themes of nature, myth and community, with an edge of folk-horror. Drones, drums and gritty guitars are juxtaposed with woodwind, strings and ethereal song. Written and produced between Derbyshire, London and Margate, the album takes musical influence from the likes of Liz Fraser, Broadcast, Beth Gibbons, Bibio, and Jóhann Jóhannsson, and atmospheric cues from The Wickerman, The Fog, and Enys Men. Chimehours is a collaboration between Beck Goldsmith and Jon Dix. The pair have previously performed in bands together and composed music for award-winning film and television. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. Here, Chimehours raid the vaults of '70s British cinema and trad folk soundscapes to riff on contemporary anxieties and ecological yearning. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. The result is a collection of all things earthy, exquisite and grotesque.
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CSR 355CD
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Underneath The Earth is the debut album from Chimehours; a hauntological music project for the dislocated present day. Taking inspiration from Max Porter's novel Lanny, the album digs into themes of nature, myth and community, with an edge of folk-horror. Drones, drums and gritty guitars are juxtaposed with woodwind, strings and ethereal song. Written and produced between Derbyshire, London and Margate, the album takes musical influence from the likes of Liz Fraser, Broadcast, Beth Gibbons, Bibio, and Jóhann Jóhannsson, and atmospheric cues from The Wickerman, The Fog, and Enys Men. Chimehours is a collaboration between Beck Goldsmith and Jon Dix. The pair have previously performed in bands together and composed music for award-winning film and television. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. Here, Chimehours raid the vaults of '70s British cinema and trad folk soundscapes to riff on contemporary anxieties and ecological yearning. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. The result is a collection of all things earthy, exquisite and grotesque.
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CSR 356CD
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Released on standalone CD for the first time in 33 years, this now-complete edition of the ground-breaking cult soundtrack is finally here. A cult classic of sci-fi dystopia, Decoder (1984) saw Einstürzende Neubauten's members working alongside Genesis P-Orridge (Throbbing Gristle/Psychic TV) and William S. Burroughs. It's one of the strangest (and most prescient) films of the decade. The film was made in Hamburg and Berlin, and directed by Klaus Maeck 'Muscha' (who directed several punk films). The lead roles are played by Christiane F and FM Einheit from Neubauten, who also contributed to the film's score. Genesis P-Orridge, the kingpin of the English industrial scene, also appears as a priest of the Black Noise faith. Author William S. Burroughs portrays an insurrectionist salesman of audio equipment (and contributes spoken word to the soundtrack), and American cult actor Bill Rice plays a detective. Soft Cell contributed their classic "Seedy Films," while Matt Johnson from The The wrote a frenetic, deformed song for the film that is both fantastic and painful to listen to, and Einstürzende Neubauten's "Compressed Metal" is sublime. Dave Ball (Soft Cell), Jon Caffery, and Genesis P-Orridge composed the rest of the soundtrack. A futuristic film, and a joyous application of William S. Burroughs' "The Electronic Revolution," which proposes a seditious and rather poetic method of subverting the masses and inciting them to rise up against the forces of order. CD in matt-laminate digipak with ten-page foldout booklet.
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2CD
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CSR 357CD
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Illustrious is Martyn Ware (Heaven 17, B.E.F., ex-The Human League), and Charles Stooke. Mesmerine 111? is a 3D soundscape based on/inspired by the frequency 111Hz, which has been historically and scientifically proven to induce a trance-like state. Findings of MRI scans suggest that at exactly 111hz, the brain switches off the prefrontal cortex, deactivating the language center, and temporarily switches from left to right-sided dominance, which is responsible for intuition, creativity, holistic processing, inducing a state of meditation or a trance. These findings have been confirmed by archeo-acousticians in studies regarding ancient and Neolithic shamanistic burial rituals around the world. The title is a take on the use of sound as pharmacology ("Mesmerine" is the name of an imaginary drug). The soundscape of the ambient "Dose 1" is 50 minutes in duration -- long enough to induce a true trance-like state. "Dose 2" continues with a calming and unctuous vocal mix performed by Charles Stooke. Bringing to mind HAL 9000 (2001: A Space Odyssey), the sound is simultaneously reassuring and disquieting. Safe when used as directed. Recommended optimal dosage: 30-60 minutes at (less than) 70dB, delivered by Illustrious Labs 3D audioscape system or binaural through your own headphones. 2CD in matt-laminate digipak, presented in a slipcase with sticker hand-signed by Martyn Ware.
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2LP
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CSR 350LP
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The complete recordings of the legendary Marc And The Mambas run of three live performances given at The Duke Of York's Theatre in London's West End in 1983. Restored from the original VHS tape recordings made by the late Peter 'Sleazy' Christopherson (Throbbing Gristle, Coil), these remain the only recordings that exist of Marc And The Mambas performing live. Originally released in 2012 on Marc Almond's (Soft Cell) own Strike Force Entertainment label as a CD/DVD set (long sold out), this edition, presented on vinyl for the first time, contains the 17 tracks from the SFE CD release, expanded to include the two bonus DVD-only tracks: "Près Des Ramparts De Séville" and "Jacky." Completely remastered for vinyl by Martin Bowes (The Cage Studios). A combination of the chanson and torch songs which he still sings today, over piano, strings and woodwind-accompanied compositions. Presented on heavyweight double vinyl in a deluxe glossy gatefold sleeve featuring the extensive reminiscence by Marc Almond himself from the 2012 release. Also included is a reproduction of the 16-page program printed for the three concerts in 1983. The stunning cover painting by Val Denham is exclusive to this release.
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2CD
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CSR 359CD
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An aural exploration of the solar system by Italian deep sound master Sonologyst, using data from NASA's probes. On this album, raw data from radio waves, electromagnetic fields, and plasma fluctuations, utilizing data sonification files provided by NASA, are transformed into a haunting soundscape, unveiling the ambient music of planets, solar winds, and the cosmic beyond. As the newest addition to Sonologyst's series of sonic documentaries, this work deepens his exploration of the sonic spectrum, converting cosmic phenomena into immersive auditory experiences. NASA and other space agencies have captured "sounds" from the cosmos by recording non-audible signals like radio waves, electromagnetic waves, and plasma (ionized gas that's prevalent in space) wave fluctuations. These are converted into audio frequencies we can hear using a process called data sonification. Spacecraft like Voyager, Cassini, and Juno are equipped with special instruments (e.g., plasma wave antennas, magnetometers, radio wave receivers) to detect radio waves, plasma waves, and electromagnetic fields. These signals can provide data on phenomena like solar wind, planetary magnetospheres, and charged particles. Since many of these signals are outside our hearing range (radio waves might have frequencies far below the audible range (20 Hz to 20 kHz) or far above it, while magnetic and plasma waves are often in the range of milliHertz (mHz) to kilohertz (kHz), also outside human hearing), they are converted using various techniques, including frequency scaling, sampling, filtering, and amplitude modulation. Some events, like plasma wave bursts, happen over long periods. Scientists may speed up the playback so people can hear the changes in a shorter time frame. After conversion, the resulting sounds are often enhanced to make certain patterns, pitches, or changes in intensity more noticeable. This may involve amplifying certain frequencies or adding layers to represent multi-dimensional data. This processing helps bring out subtle differences that might otherwise be hard to discern. Double CD in a matt-finish gatefold ecopak, with a bonus disc of the raw source material from NASA's probes.
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CSR 351CD
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Unavailable for almost 30 years in its own right, this collection from the Cold Spring archive has been repackaged and remastered with new art. This classic album exists as a document of the soundtrack work Psychic TV created for the many films and videos of Derek Jarman. Another demonstration of why Psychic TV were one of the most important groups in the world. The titular track, "Prayer For Derek," is intended as an invocationary prayer, based on Tibetan rituals; a collage of sounds including field recordings of the lulling waves running aground on the shingle beach opposite Jarman's Prospect Cottage in Dungeness, Kent alongside bird song, crying babies, and massed ritualized chants to aid the late film director in his after-life journeys. Other tracks feature elongated drones, washes of dissonance, melancholic guitar chime, evocative piano scoring, Burroughs cut-ups, gothic chants, and familiar snarling gods. CD is featured in matt digipak with eight-page fold-out booklet, with detailed liner notes by Genesis P-Orridge (1997); Astorical anecdotes and background facts for completeness.
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CSR 346CD
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Satøri's mission to document the stupidity of the species continues with Pillars of Salt -- a journey through grinding rhythms, dystopian soundscapes and a fascination into what lies beneath the surface. Formed in the mid-'80s, with previous releases on high-caliber labels such as Broken Flag, Cold Spring, Trident, Mindscan, and Tesco Organisation, Satøri's sound comprises a mixture of harsh industrial noise and power electronics with harder and heavier percussive beats than before. Their material provides a constant pervasive undercurrent of violence, the feeling of a planet on the verge of collapse and a reflection of the lack of humanity embedded in a culture based on greed and self-preservation. Featuring guest vocalist Lorenzo Abattoir, the album was produced by Andy Swan (Khost, Final, Iroha, Tactical Pagan). CD in matt-laminate digipak.
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CSR 294LP
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LP version. Two legendary titans of the extreme metal scene -- Iggor Cavalera (Sepultura/Petbrick) and Shane Embury (Napalm Death/Dark Sky Burial) -- join forces for this unique split of brooding dark ambient, industrial strength noise, and heavy synth-laden electronics, creating what feels like the lost soundtrack to some dystopian fever dream. Setting the tone for this double-headed behemoth with creeping, cinematic dark ambience, Iggor Cavalera's side-long "Neon Gods" unfolds into a brutal sonic nightmare. Equal measures of dread and anguish come together with the occasional reprieve of slow, pulsating drones and almost meditative waves of static. The crescendo of harsh industrial noise with heavy death industrial vocalization is nothing short of pummeling. "Neon Gods" is a bit of a sonic trip, with different layers of atmospheric vibrations, from darkness to light. Shane Embury's "Own Your Darkness" merges menacing, pitch-black dark ambient and hypnotic bass swells with celestial synth lines that subtly lurk around the peripheries. Rising and falling, ebbing and flowing -- until finally the all-encompassing apocalyptic bleakness, the enveloping darkness, closes in around you.
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CSR 349CD
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An experimental dive into aquatic and industrial rhythms, this is the original soundscape to the highly-successful, immersive installation It's Always Ourselves We Find In The Sea (premiere at The Saatchi Gallery) composed for 3D ambisonic sound by Martyn Ware (Heaven 17, B.E.F., Ex-The Human League), Charles Stooke, and Gabriel Ware. Produced by Illustrious (Martyn Ware and Vince Clark of Erasure), with environmental and immersive design by Oscar Blustin and Anna Söderblom, the installation invites visitors into a contemplative space; a quiet, peaceful temple to water, within which the soundscape exists. Listeners enter and explore the space in their own time, letting the sounds wash over them, experiencing the stories and musical motifs as they build and gather then subside like the tide. Taking a cue both from UNESCO's Ocean Literacy initiative and the UN's Sustainable Development Goal 14 -- Life Below Water -- It's Always Ourselves We Find In The Sea offers visitors an opportunity to consider their relationship with water, and to step back out into the world with an altered perspective on its value and cultural significance. The soundscape is a looping experience, divided into two parts: Part One -- "A Call To Water." This section explores the human relationship with anthropomorphised Water -- throughout the history of the species and all across the globe, humankind has petitioned the deities of the sky and the sea for the benediction of rain and for deliverance from natural disasters. Part Two -- "The Water Circle." Water is crucial for all life on earth to exist and thrive. In this part, listeners witness the storm's deluge on the land, water cascading in streams, then rivers and finally to the sea. The beauty and mystery of the oceans culminates in the process of evaporation and the creation of clouds, which continue the eternal cycle of water. CD presented in six-panel matt-laminate digipak.
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CSR 352CD
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Andrew Ostler continues his artistic evolution towards choral beauty, orchestral textures, ambient drones and low woodwind, into the realms of Jóhann Jóhannsson, Arvo Pärt, or Stars Of The Lid. Building on the string arrangements of his previous LP Dots On A Disk Of Snow, and taking a heavy dose of sax drone from an earlier album still, this record also adds a full choir, taking the music to another level of spiritual intensity. On the first three compositions the drones are, for the most part, relatively gentle, while chant-like choral arrangements drift and weave around and above them. "Affirmation" is quietly confident, with a surge of intensity around the midpoint; "Confession" is perhaps more tentative, the shifting canon of the voices threatened by a distant storm of distorted synth shredding; "Adoration" restores the straightforward choral beauty, building to an unashamed cadence. The immense final track "Meditation" is a quite different affair. Here the drones are more intense slabs, the choir is more demonstrative in its emotion, and the ultimate climax the more devastating for it. The journey is longer, but the rewards are greater for the committed. Originally released on Andrew Ostler's own Expert Sleepers label on limited edition blue vinyl, Cold Spring now press this gem onto CD for the first time.
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CSR 347CD
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The fifth album from industrial/esoteric electronic alchemist Colossloth is a concept album based on the writings of professor Ted Kaczynski AKA the Unabomber. It is not about his terror campaign against the industrial society and the rise of technology -- but his manifesto "Industrial Society And Its Future" and in particular the elements of "The Power Process." With The Harmony Knife, Colossloth is cutting through to the bone and sinew of Man's chronic, species-specific dissatisfaction, and the causes thereof. He is laying bare humankind's inability to solve its own, self-created problems, to meet its basic needs, and to achieve even those goals clearly within its reach. What is the fundamental nature of the human condition? Is it one of misery and failure in the face of blissful possibility? Is it the contrary unwillingness to accept that we can become fully realized and contented beings through the success of actualized, idiosyncratic, and often basic goals? In defining and describing The Power Process, the twisted mind of Ted Kaczynski saw mankind's primal need to struggle for a goal, however small, as necessary for a meaningful life. Indeed, without this elemental piece of the evolutionary struggle, he saw terminal atrophy as the inevitable result. With The Harmony Knife, Colossloth seizes these ideas and sonically extrapolates the implications of humankind's failure to satisfy even its most rudimentary needs. He creates an auditory landscape examining humanity's repeated inability to focus its efforts on fundamental goals to ensure even a measure of happiness or contentment. Humanity's inability to live rather than merely exist.
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CSR 348CD
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This collection features the cream of Little Annie's collaborations with some of the greatest names in the "alternative" music world: Marc Almond (Soft Cell), COIL, Swans, Bonnie "Prince" Billy, Baby Dee, Kid Congo Powers (Nick Cave & The Bad Seeds, The Gun Club, The Cramps), Paul Wallfisch (The Ministry Of Wolves, ex-Swans), and Larsen. A common atmosphere brings these tracks together; lamenting torch songs, esoteric electronics, melancholic pianos, avant-garde lounge -- a collection for dark, candle-lit corners of smoky cabaret bars and secret speakeasy clubs. Anne Bandez (known as Little Annie/Annie Anxiety), is a versatile American singer, painter, and performance artist renowned for her extensive collaborations across various music genres since the late 1970s. Her artistic journey has seen her work with a diverse array of avant-garde musicians, contributing significantly to the experimental music scene. Annie's career is a testament to her adaptability and innovative spirit, seamlessly blending music, visual arts, and literature to create a unique and enduring artistic legacy. Mastered by Martin Siewert (known for his incredible mastering for the likes of Hermann Nitsch, Thurston Moore, Lydia Lunch, Mika Vainio, Keiji Haino, and more). Cover paintings by Little Annie.
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CSR 348LP
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LP version. This collection features the cream of Little Annie's collaborations with some of the greatest names in the "alternative" music world: Marc Almond (Soft Cell), COIL, Swans, Bonnie "Prince" Billy, Baby Dee, Kid Congo Powers (Nick Cave & The Bad Seeds, The Gun Club, The Cramps), Paul Wallfisch (The Ministry Of Wolves, ex-Swans), and Larsen. A common atmosphere brings these tracks together; lamenting torch songs, esoteric electronics, melancholic pianos, avant-garde lounge -- a collection for dark, candle-lit corners of smoky cabaret bars and secret speakeasy clubs. Anne Bandez (known as Little Annie/Annie Anxiety), is a versatile American singer, painter, and performance artist renowned for her extensive collaborations across various music genres since the late 1970s. Her artistic journey has seen her work with a diverse array of avant-garde musicians, contributing significantly to the experimental music scene. Annie's career is a testament to her adaptability and innovative spirit, seamlessly blending music, visual arts, and literature to create a unique and enduring artistic legacy. Mastered by Martin Siewert (known for his incredible mastering for the likes of Hermann Nitsch, Thurston Moore, Lydia Lunch, Mika Vainio, Keiji Haino, and more). Cover paintings by Little Annie.
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CSR 307CD
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Available for the first time outside USSR, Soviet composers perform their works on the legendary ANS synthesizer. Recorded in 1969, Электронная Музыка АНС (ANS Electronic Music) features six tracks of experiments on the unique machine by: Eduard Artemiev, Stanislav Kreitchi, Sándor Kallós, and Alexander Nemtin. A "musical" machine unlike any other with a long-fascinated cutting edge, modern electronic composers, notably Coil and The Anti Group Communications (TAGC)/Clock DVA, that have both released recordings utilizing the ANS. Try to imagine a score sounding by itself without a conductor; an orchestra without musical instruments. This magic is possible by using the musical ANS synthesizer. Created by Soviet scientist Evgeny Murzin over the course of 20 years, ANS is an instrument with which a composer can not only create but also draw their music without notes. You can see the twinkling of different lamps, the rotation of grooved glass discs, etc. The drawings on the glass are "sounding notes." To listen to the drawn picture, press the button and a wonderful transformation will begin. Inside the ANS are five rotating glass discs with 144 tones printed (by hand) on each one. Light is projected through the discs and onto photovoltaic cellbank which converts the light into electricity and sends signals to the ANS's amplifiers and bandpass filters. The ANS can generate 720 tones this way and, unlike a human musician, play them all at the same time. Murzin dedicated his photoelectronic apparatus to Alexander Nikolayevich Scriabin, hence the name ANS. Scriabin, the creator of the "Poem of Ecstasy," and a famous explorer of synesthesia, used in his works a highly chromatic, new type of harmonic style designed to express his beliefs, views and wishes. Soviet music lovers will already know recordings made on ANS from Tarkovsky's films Solaris, The Mirror, and Stalker, Konchalovsky's film Siberiade, and others. Presented in a digipak with the new artwork by Abby Helasdottir, complimenting the ANS process perfectly. Officially licensed from Russian state label Melodiya.
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CSR 294CD
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Two legendary titans of the extreme metal scene -- Iggor Cavalera (Sepultura/Petbrick) and Shane Embury (Napalm Death/Dark Sky Burial) -- join forces for this unique split of brooding dark ambient, industrial strength noise, and heavy synth-laden electronics, creating what feels like the lost soundtrack to some dystopian fever dream. Setting the tone for this double-headed behemoth with creeping, cinematic dark ambience, Iggor Cavalera's side-long "Neon Gods" unfolds into a brutal sonic nightmare. Equal measures of dread and anguish come together with the occasional reprieve of slow, pulsating drones and almost meditative waves of static. The crescendo of harsh industrial noise with heavy death industrial vocalization is nothing short of pummeling. "Neon Gods" is a bit of a sonic trip, with different layers of atmospheric vibrations, from darkness to light. Shane Embury's "Own Your Darkness" merges menacing, pitch-black dark ambient and hypnotic bass swells with celestial synth lines that subtly lurk around the peripheries. Rising and falling, ebbing and flowing -- until finally the all-encompassing apocalyptic bleakness, the enveloping darkness, closes in around you.
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CSR 342CD
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The debut album from Bestia Astrum (aka Abby Helasdottir/GYDJA) is a grim exploration of Fury 161, the prison planet from the movie Alien. An industrial ambient travelogue of the spaces in the planet's dark and rusty facility, beginning on a wind-swept shore and ending in the eternal repose of stony sleep. More than just an alternate soundtrack to a film, Fury 161 takes cues from the long and troubled production of Alien, incorporating themes from earlier concepts proposed during its development hell, including the treatment created by Vincent Ward, who imagined the movie's location as a wooden planet that was home to an order of space monks. Motifs of eremitic religiosity permeate the album, as well as themes of Yeatsian apocalypticism, abject anatomy, and the intersection between the sacred and the profane, betwixt the beautiful and the grotesque. Full color matt-laminate digipak with gold spot color, accompanied by a 16-page booklet with an essay by Abby Helasdottir.
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