Wolf shaped clouds bandcamp erRelated PoemsTracklist and links to all the music played on the show.
Jan 16, · Track Name: Word by Word & Skeletons in band T-shirts Word by Word: sometimes i lose my way and i can't find myself every time i start something my life is like a low pulse. See more of Wolf Shaped Clouds on Facebook. Log In. or. Create New Account. See more of Wolf Shaped Clouds on Facebook. Log In. Forgot account? or. Create New Account. Not Now. Community See All. people like this. people follow this. About See All. nikeairmaxoutlet.us Musician/Band. Page Transparency See More. Facebook is Followers: Doliu by Clouds Official, released 28 February 1. You Went So Silent 2. If These Walls Could Speak 3. Heaven Was Blind To My Grief 4. A Glimpse Of Sorrow 5. The Deep Vast Emptiness 6. Even If I . Comes in jewel case with 6 panel lyric insert, with artwork by S. Black Wolf. Includes unlimited streaming of Ashes Shall Be Made of Them via the free Bandcamp app, plus high-quality download in . CD in jewel box with page booklet Includes unlimited streaming of A cat-shaped hole in my heart (pay-what-you-wish) () via the free Bandcamp app, plus .Or browse results titled :. Swollen Lungs Normal, Illinois. Contact Swollen Lungs. Streaming and Download help. Report this album or account. If you like Swollen Lungs, you may also like:. LSD – Thunderclouds (Cover by Mike Archangelo and CORii) Or browse results titled :. Band of Clouds Ireland. The name Band of Clouds represents the people who happen to drift in and wolf shaped clouds bandcamp er of the studio while we make music, and who more often than not end up playing on the record. Having spent the last nine months working on wolc new track album, we Band of Clouds now return with a re-modified line-up. Contact Band of Clouds. Streaming and Download help.
wolf shaped clouds. Budapest, Hungary. 4 friends who play fast and sad noise. ALWAYS WATCHING/FOREVER WAITING by BLACKCLOUD, released 31 December 1. Darkness 2. Sixteen (Anthem of the Cheated) 3. Selfish 4. Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Second album from the hungarian doom metal band 'ZIVATAR' First full length album 'The Sixth Chamber' released in The ground is as cushioned as the clouds. Endless Melancholy no longer seems melancholic ~ an odd irony. This music gazes at the sky, hopes and dreams. a Tundra Alm for/within a GlassinE-Er Hyp3rplan3 . Individuation Clouds live in Chicago December swear to upfaith and goodhold caduceus knit and ten tickles as it pertains to jazz rabbit wolf heart, particularly city most blue shape.As a "prize" I could release their record inspired by the subject matter. Town of Saints press 15 oct 13 Since their sold out album wolf shaped clouds bandcamp er at Vera last week, Town of Saints is going like crazy. And definitely no cards; this is not Copenhagen. Then, a few monthsago, he sent us this mind-bending master of a record he had been working on for years. The album will be released on the 14th of February, and can be pre-ordered now in the Snowstar Windows 10 consumer preview iso. Download show 23 - 14th November. Pre-order your copy today on www. more information half japanese loud er Wolf Shaped Clouds/Black Hourglass Split 7" I. about. black hourglass Pécs, Hungary. wolf shaped clouds. Budapest, Hungary. 4 friends who play fast and sad noise. Demo by Wolf Shaped Clouds, released 19 April 1. Rotting Sea 2. Sleepless Dreams 3. Remember The Ghost 4. Commencement 5. Howard Zinn.
Sissy Spacek is a John Wiese formed band which as being one of his most well-known projects not only carries a very prolific discography of a big number of albums, EPs, singles and many miscellaneous releases but is also an ever-changing line-up of extreme music artists and performers from various directions of experimental and contemporary music.
On Featureless Thermal Equilibrium we get to listen to Sissy Spacek as a raw power filled anarchist Grindcore unit which is continually blasted through with screechy Noise courtesy of John. The CD version of the album comes in a sturdy thick 6 panel digipak featuring some great minimalist artwork. It has quite the classic LP sleeve look to it which purely based on the cover could suggest that the music contained within would be more like Hard Rock or Metal but its grittiness does express the actual music rather well.
Other than the cover artwork the imagery on the digipak and CD face feature mostly grainy undefined composed textures that do very well carry that visualised Noise look that best expresses the crumbling shapes of texture that Noise can often conjure up in your mind when you dive into it and start to notice its many subtle variations.
Just like what I found to be often the case with Grindcore or Grindcore related albums, Featureless Thermal Equilibrium is best to be listened in one go as being one long track as the 13 listed tracks are actually split up into at least 40 separate tracks especially about half-way into the album.
Amusingly the track titles Fffff Eeeee, Aaaaa Ttttt, Uuu Rrr Eee directly seem to reference the choppy nature of the blasts as well as spell out the album title, pointing out how Sissy Spacek themselves also point out that the album is like a continuous 24 minute recording rather than a collection of tracks recorded over several weeks or months this is also confirmed on the back of the digipak as this album was recorded in a single day.
Whilst this album is really best enjoyed by rocking out wildly to the energy blasts the band provides to let it all out, listening to this album on headphones does reveal some nice shifts in the separate layers that make up the bands sound on this album.
The lead vocals vary in intensity throughout with the shorter blasts being moments when the grumble layers take over at times with the lead vocals quickly returning with further bursts of grit but what I generally noticed from the album as a whole is that they form a bit of a circular pattern, starting off intense, falling a bit in intensity in the middle until rising again the most right at the end of the final track, Equilibrium as being a final screechy Harsh Noise finale to burn up the last remaining drops of fuel into a sparkling explosion.
The drums in the pieces are somewhat between rumbling bass layer and an almost Free Improvisation like acoustic edge to the tracks, varying from blast-beats to many different often cymbal filled fills. The short blasts obviously mostly feature very fast blast-beats but after the lengthy sections of short blasts Charlie returns to the more free-flowing mixture of slower blast-beats and drum fills at the end of the album, but definitely blasting away at the finale of the last track however.
Interesting to notice is how most of the time the sources of the Noise are pretty hard to discern but within the first few tracks a few notes and even bass tones can still be heard throughout the continuous streaming screeching, giving away how the Noise within is created on this album. Many thanks go out to Dave Phillips for sending over this album as a review copy. Insect Apocalypse was released 5 years ago this year on CD through Polish label Monotype Records and features Dave and Hiroshi collaborating in the layering and manipulation of various field recordings from insects, birds and other sounds of nature recorded mostly in Asia with Dave handling the source field he recorded and Hiroshi manipulating these through various filters and effects in oftentimes quite fiery, at times harsh manners.
The result is a 76 minute long album spread over 6 lengthy pieces that seems to imagine this dark, nocturnal jungle landscape infused with Industrial machinery and strong washes of vacuum sucked air with the reverb in the mixes adding quite a lot of depth and space to the pieces that does make the layers of the pieces more discernible and dynamic being more of a gradual than wall approach to Noise.
Dave often uses field recordings of nature, especially animals and embeds environmental activism in his sonic works and live performances with a focus on the misbalanced relationship between animals and humans being especially apparent but does this in a very creative and subconscious manner that also enriches his works artistically rather than feel like purely activist.
Consisting of an ominous high frequency whining sound, metallic cricket and bird sounds, swirling streams of squelchy effect manipulations, washes of harsh distorted sounds as well as thumping low-frequency bangs the piece imagines the first scene of events happening in what to me feels like this mysterious nocturnal jungle landscape that is by now disrupted by Industrial activity with man-made machinery making hissy, metallic noises. The piece has a certain brooding, dangerous ambience to it in how the high frequency tone and low end bangs seem threatening but with quite a lot of animal sounds still being recognisable the piece also seems comforting in a strange way.
Sounds of bats are mixed with high frequency tones as the abstract Noise sonics keep on flowing and mutating in the calm but fiery active nocturnal jungle landscape. Afterwards Hexapod Retaliation follows Insect Apocalypse on the review copy in which we find ourselves in the middle of some kind of mechanical process happening in the middle of the jungle which not only disrupts the quiet sounds of crickets and soft sweeping wind of nature but also chops up these sound in wild ways adding to the metallic processing we were introduced to in the first track.
These chopping effects wildly swing the cricket sounds around the stereo space but also distort them even further with fiery delay time manipulations making for screechy bended waves of mangled sound. However besides these effects the source field recordings are also a bit cleaner in this track, making for a more subtle blend of natural and effected sounds in the beginning of the piece, in the second half however things start to get much more abrasive. Warned by low end thumps in the first half already, the Industrial process hacks much more into the landscape in the second half of the piece in which growling and buzzing waves of flanger effected Noise move into the sonic landscape.
This Noise subtly grows in intensity and changes all the time moving from harsh raw crunch to the aforementioned sucking streams of sound that wildly morph into rippling waves of psychedelic sound. Mixed with the crunchily bassy thumps this second half does provide a great ride for Noise fans in particular but the dynamics and space in the piece also gives some breathing space and retains that lovely depth in the piece that makes deep listening easier.
Besides enjoying the noise this also does make the piece as well as the other tracks on Insect Apocalypse more emotional in a mysterious subconscious manner like a night out exploring the jungle. Then we have Radioactive Darkness Insect Apocalypse which is the shortest and also relatively most straight-forward piece in terms of its Field Recordings based Noise approach.
The piece hovers entirely around a soundscape featuring a mixture of more prominent bird sounds and crickets which amplifies the jungle aspect of the album some more in this case with scattered LFO manipulated squelchy Noise patterns as well as even wilder delay, pitch and reverse effects manipulations within its second half. This piece presents the nocturnal jungle in a less Industrial manner but rather lays more of the wonderful vibrant animal sounds bare however still with embedded sheets of distorted field sounds which this time form more of a wall which evolves over time giving us an inspired blend of the more idle and subtle kind of Noise Wall and meditative deep listening.
The usage of the repetitive LFO pattern and disassembly of the elements as the piece fades out also does force us to get our listening mode into more of an awaiting state as well as shows us the constructed aspect of the piece directly in the case of the disassembly. Anuran Mutant Insect Apocalypse which follows is more subtle in its approach and is also both the longest at and most dynamic piece on Insect Apocalypse.
Whilst the piece uses sonic approaches in terms of filtering and effect usage which are by now familiar to us from the previous pieces, Dave and Hiroshi bring more of an extended meditation session through sound in this piece rather than the at times wilder approach of the pieces before and also layer the sounds used with more depth and less focus on the Noise side of things.
However in terms of structure the piece follows a much slower and more gradual path, showcases mixtures of crickets and at times whooping bird sounds, often metallic and irons blended with hollow streams of Noise, accelerating and decelerating mangled effected sounds, high pitched tones and sucking flanger effected noises.
The separate layers are more easily discernible in the piece, with wider panning and not being obscured as much by the noise and at times fade into the distance to come back in different shapes later on. If the previous piece where more of a close up of the landscape, this piece zooms out and gives us more of an overview of the full size jungle that we are currently exploring. Anthophila Genocide Insect Apocalypse on the review copy in a way continues onwards from Anuran Mutant but in this case the machinery has definitely fully disrupted the landscape with the low end throbbing drones returning alongside more violent intrusive metallic manipulations of the cricket and bird sounds.
Interestingly the bird sounds themselves are actually the ones that lead the iron sound of the piece as through the manipulations and pointy compressed sounding repetitive patterns in their noises the bird seem to replicate ring-modulated and LFO modulated squelchy iron sounds not unlike what we hear in the effects themselves. The full piece seems to document some kind of process going on with a lot of focus on crumbling, scattering and ominous sounding streams of metallic particles and signal like tones ever changing with the low end at times breaking through the landscape in crackling abrasive thumps.
The process is suddenly cut off at the end however with a reverb following the cut like an event taking place in the jungle suddenly being disrupted but this is quite deceptive as the climax of Insect Apocalypse is to follow in the last piece. Arthopod Frequency Insect Apocalypse on the review copy is this last piece and follows a slow build from clicky bird sounds and crickets to the aforementioned Noise climax.
Beside the metallic reverberating birds and crickets we also get new layers of different animals and further amplification of the field recordings in this piece as croaking frogs can also be heard in the climax.
This is the piece where Dave Phillips and Hiroshi Hasegawa both amplify their sounds the most but without beginning overly crazy and psychedelic but rather more as a kind of expression of what might be a shocking event in the jungle like a sudden change of weather waking up all animals which leads to them bursting out screams and shouts to each other backed by heavy mechanical Noise expressing the same tension in a colder abstracted manner.
This final piece is not as dark or ominous as other pieces on Insect Apocalypse but does end with a few exciting intense low end crunches disrupting the whole flow in a fiery manner. A great finale to this excellent album.
Insect Apocalypse is both a collection of compositions based around insect, bird and nature field recordings manipulated in various manners by Dave Phillips and Hiroshi Hasegawa as well as great sonic nocturnal journey through a mysterious semi-Industrial jungle that has equal deep listening as abrasive but also psychedelic Noise enjoyment embedded within its 6 pieces. I give this album a Polar Visions Amplitude of 95 dB and highly recommend you to check this out.
Such is also the case with this new album release by Blue Marble Agony. This is definitely one of the best recent releases Genot Centre put out and whilst the label has put out tapes with more recognizably melodic music before, this album is another surprise in how after two more abstract tapes by My Cruelty and adammmmmmmmmmmm we now have an album whose music is actually moving into a much jazzier if still abstract direction.
Euglossine is the project by American multi-instrumentalist and composer Tristan Whitehill who blends jazz instrumentation like guitar, bass and acoustic drums with synths and beats to create music with a laid-back but also quite exploratory and psychedelic edge to it.
Besides his music Tristan Whitehill also codes various computer programs and creates 3D animations and artwork. Blue Marble Agony starts off with Skyblight, a track which is quite laid-back and straight-forward in its melodies but does already hints at the general sound Euglossine is going for on the rest of the album. With a mixture of warm synth pad tones, both acoustic drums and drum machine patters, acoustic guitar, recorder and sung vocals the piece plays like a Vaporwave influenced piece of lush experimental Bossa Nova with an ethereal quality to it.
The buzzy low bass synths having some Deconstructed sound to them also add to Euglossine richly varied sonic palette here. Zea Field Infinity is when things start to get a bit more spooky. The acoustic guitar is a bit more prominent here with two different guitar performances being layered and panned quite wide to mix strummed chords with melodic phrases laid on top of the warm flowing string melodies, drum machine patterns and pointy flute tones.
The compositional direction of the piece takes a mysterious turn as its reaching its end however, as if Euglossine is suggesting a nice picnic in a park in spring that actually hides some possibly dark secret. Brains In The Vat follows which despite the creepy morbid title is not quite as dark as the title suggests. Ego Chaise then enters into the ever rising melodic theme I mentioned earlier on as the piece centres around the ever rising acoustic guitar melodies backed by diffuse string sample chords, piano as well as squelchy and heavily modulated synth melodies that are almost entirely filtered metallic shine.
All we know is that we seem to be on a hunt looking for something obscure and are definitely enjoying the journey to that, whatever it is. Based around subtly rippling melodies consisting of a sweetly tumbling marimba like synth pattern, liquidly filtered synth tones as well as quite sharp subtly distorted washes of heavily reverberated drone the piece has a more minimalist nature to it.
Besides these melodic layers the music also features hybrid acoustic and electronic drums as well as squelchy synth effects and quirky pitched vocal sample melodies. The whole has a quite entrancing effect with the repeating melodic phrases being like the sonification of a mantra but the heft of the drums as well as sharpness of the synth drones also adds some more intensity to the piece giving it a bit of an impression of a tribal ritual in that sense.
Afterwards title track Blue Marble Agony follows which is definitely one of the most mysterious pieces on the album. The piece continues the jazzy style of the previous pieces once again with mostly electronic drums returning but the melodies are evermore abstract, taking strange unpredictable twists and turns with the music moving through various phases in which we can also hear filtered samples of what sounds like a child, pitched down music samples, and fluttering synth squelches and drum effects.
The piece mixes the jazzy influences with Deconstructed Club elements especially with the bassy kicks creating melodies and a structural ambience that is always exploratory and morphing in an intriguing juxtaposition of textural sculpting and inventive melodies.
Feels quite like an alien form of Jazz, but in a mature well-developed manner rather than being goofy and quirky just for strangeness sake. I award Blue Marble Agony a Polar Vision at the frequency of a pleasant intriguing musical journey through warm melodies, psychedelic textures, mysterious twists and turns and an excellent personal musical voice.
Fans of Jazz inspired electronic music, the warmer side of Deconstructed sounds as well as listeners who are into playful and especially Progressive instrumental electronic music will find a lot to enjoy in here in particular. Many thanks to Igor Yalivec for sending this over. After the release of their excellent new album Natural Storm on Hidden Vibes at the end of that same year, the Ukrainian duo consisting of experimental musician and sound artist Igor Yalivec and guitarist Sergey Yagoda recently returned with a new self-release on CD celebrating the 10 year anniversary of this project.
The tribal like ritual style from the etch like black and white image makes me think of imagery depicting ancient gods and various animals sacrificed to theses gods in auspicious times above the fire. Featuring calm minimalist clean guitar melodies over a warm flowing mellow drone and subtle field recordings of crickets the piece is the quietest track on the whole compilation but already does have some mystery within its summery warm ambience.
Tube-like resonant tones flow through the piece like the eerily braking distant trains and the phaser effected sound of the guitar gives it a bit of a more psychedelic edge than other pieces on this compilation.
Clanging metallic sounds like the bells ringing near a railroad crossing add some surreal imagery to the mixture which sounds both calming but also a bit foreboding.
A sweet calm start to the compilation. The atmosphere we have here is more one of a certain threat, uncertainty about the future, an inner struggle. Am I Human, is this technologically ever advancing world overtaking the humanity and natural things? The flowing drone background is ominous in its subdued texture through which sharper tones periodically chime like an alarm tone sneakily disguised as a friendly notification sound whilst the guitar expresses the aforementioned struggle through sad repeated tones, gliding and brittle clicking string noises.
Like on the previous piece Zen Garden, guitar and electronics interplay in this track in a great manner with both elements embracing each other in waves of tone and sound that rise and fall in an almost improvisatory manner with both guitar and electronics at times rising to the foreground to express their urgency or fragile underlying emotions.
On the next track Fetus Crying Gamardah Fungus brings us a more straight-forward piece of music which follows a more traditional compositional structure.
The piece is pretty much a slow droning Metal track though the drums of the track are actually looped drum recordings rather than a studio recording of drums with slow sombre clean guitar riffs slowly building towards a distorted hazy distorted climax until building towards the clean ending melodies of the piece that softly fade out afterwards.
With Clean Eyes Of My Childhood Gamardah Fungus returns to the drone-based approach of their music in a piece which features some tasty creative improvisational aspects to the guitar performance as well as an eerily calm pulsating quality to the drone driving the piece. Sergey Yagoda plays introspective and contemplating melodic phrases which he breaks up more and more with clicking, at times wooden sounding string noises and harmonics which combined with the reversed delay on the guitar add to the organic narrative quality of the guitar.
Forester Blues follows, which is a much lighter piece of music in comparison. These aforementioned sounds can be directly heard in the field recording in which the guitar is placed as if the sound is softly reverberating in the forest. Besides describing the ambience of the forest this piece could also be interpreted as actually being the soundtrack to a walk through the forest at night, with the ever increasing number of looped guitar layers expressing the ever-increasing awareness we suddenly get whilst discovering all corners of the forest, the secret nocturnal animal activities that are suddenly laid bare to us.
Afterwards we have the last original track on 10 Years Compilation, Kyiv Underground. The phrases have quite a lot of passion and energy within them, with Sergey varying the melody from screeching wails to wavering overtone rich laments, afterwards returning to the base tone with ever-increasing thick layers of noisy gritty distortion.
These manipulations include the sounds of the metro underground, including an announcers voice, noises from the subway trains themselves as well as indiscernible bits of voice and vary from ghostly washes to strangely electronic blips as well. Kyiv Underground is the most melody driven piece but also one of the darkest and noisiest on the compilation without the layers blending too much into each other.
Afterwards we got the first of the three Submatukana remixes that close off the compilation which is the Submatukana Remix of Burning Church of Eternal Sorrow.
The breaks themselves are quite familiar sounding in nature but Submatukana does chop them up rather nicely and they build up the remix in a quite progressive manner, gradually increasing the number of layers and afterwards dissecting them in a subtle manner. Just like the two remixes to follow the music is more straight-forward in nature than the original pieces but the music is nicely produced and enjoyable as it never gets repetitive.
The Submatukana Remix of Advocatus Diaboli which follows uses more of the melody from the original track to build up the remix with a large chunk of the distorted guitar melody mixed with clean arpeggios being used as base of the bass melody of the piece. Sombre and dramatic in nature the melody gives off a great doom-laden ambience which mixed with the full-bodied breaks and scrunchy bass makes for an energetic piece of music but there are also some nice creative touches beyond this like the Ukrainian?
Definitely a fun and varied listen. After this we have the third Submatukana Remix and final track from the 10 Years Compilation, which is of the track Opium. The drums are a bit further back in this remix being more a programmed but also crunchy distorted type of Industrial Techno rhythms. At the end of the remix we do have a rather nice section of glitchy tones and clanging metallic percussion too.
TIAMAT - Clouds CD from Possession, $ USD. Russian There is no division outside existence – Maltese Cross Shaped panel Digi-CD Khandra. Spektah Gadjo by Ghostown, released 01 February 1. Following People 2. The Unstoppable French Seamen 3. Virus From Mars 4. Earnith Toasteth 5. Kim Beggs 11 time music award nominee and ne'er a winner! With Independent Music Award ; Western Canadian Music Award plus 6 more;. Avalon is Risen by Leslie Fish, released 10 June 1. Avalon is Risen 2. Hallows Dirge 3. The Ballad of the Three Kings 4. Lucifer 5. Rise Up, Bright Sun 6 . wolf shaped clouds. Budapest, Hungary. 4 friends who play fast and sad noise.
this Wolf shaped clouds bandcamp er
Wolf Shaped Clouds. likes. zaj. sírás. Send Message. See more of Wolf Shaped Clouds on Facebook nikeairmaxoutlet.us Highlights info. DOWNLOAD at BandCamp ⦿ or at various other major platforms ⦿. Singer and producer Take a backseat and enjoy the clouds passing by. R.I.P. Jason Silhouetted districts with square shaped mud houses. There is always a to the moon. As the wolf howls: 'a-ooooooooo'. Wann & Wo wird er aufprallen? Welche. Jahrhundert erlebt, in dem er zwei Alben unter seinem eigenen Namen veröffentlichte - die Torn's association with ECM has included the album Cloud About Mercury, featuring him That esoteric quality of pieces shaped from sounds conjured up in the moment by elite Wolf Kampmann, Eclipsed. I INVITE BANDCAMP ARTISTS TO DOUBLE DOWN THIS FRIDAY As a new member of the Bandcamp family I am so incredibly proud of. chase away the clouds anymore. Delivered with confidence, every sound and every sample on-spot, “Haunted” shows Phasenmensch in excellent shape. subjected to the elements and surrounded by a landscape shaped over time by wind and The single itself will be released on Spotify, Bandcamp and iTunes coming Who Spoke Clouds), Janine van Osta (o.a. Wolf In Loveland) and Ersha Sollgar. ""I Am Oak slaagt er voor de vierde keer op rij in" –Krenten Uit de Pop. Flowers of Evil, the new studio album from Ulver, finds the wolf pack exploring The Sic Transit Gloria Mundi EP is available from us on Bandcamp now. of their childhood, along with the now fading memories and drifting clouds of romance. Since Ulver was formed a quarter of a century ago, their musical odyssey has. Blog about recent and upcoming prog-related rock and metal albums with a schedule of their release. nikeairmaxoutlet.us · https://amamelia.nikeairmaxoutlet.us · nikeairmaxoutlet.usJoin wolf shaped clouds' community to access exclusive messages from the artist and comments from fans. You'll also be the first to know when they release new music and merch. Wolf Shaped Clouds/Black Hourglass Split 7" by black hourglass, released 29 April 1. Black Hourglass - VII. 2. Wolf Shaped Clouds - Wolf Shaped Clouds - The Bridge. The River. Fans have paid artists $ million using Bandcamp, and $ million in the last 30 days alone. Fans have paid artists $ million using Bandcamp, and $ million in the last 30 days alone. Selling Right Now paused (and yes, this really is a live feed — when you hear “nobody pays for music anymore,” that’s just The Man spreading. Band of Clouds The name Band of Clouds represents the people who happen to drift in and out of the studio while we make music, and who more often than not end up playing on the record. Having spent the last nine months working on a new track album, we (Band of Clouds) now return with a re-modified line-up. Appear to Float, released 28 November 1. Apr 14, · Swollen Lungs Swollen Lungs Comp, released 14 April 1. Afterlife Kids - Momentaufnahme 2. Daido Loori - P.O.A. 3. Krupskaya - Untitled 4. Kilgore Trout - Reified 5. Gas Up Yr Hearse! - Don't Worry, I Only Faint at the Sight of Blood 6. Politess - Salopette 7. Blue Friend - 30 Byou 8. Laeirs - Spider's Idea 9. Wolf Shaped Clouds - Short Song About Death Alpenpässe by Minenwerfer, released 31 October 1. Der Blutharsch 2. Dragging the Dead Through Mountain Passes 3. Cloaked in Silence 4. Kaiserjägerlied 5. Tiroler Edelweiss 6. Withered Tombs This album coveys the brutal winter fighting in the extreme altitude of the alps on the Italian Front of The Great War. Physical copies (CD, Vinyl) soon to come from Purity Through Fire, and. Captured and constructed from tape loops and studies from Basinski’s archives – dating back to – Lamentations is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space – and their collective resonance is infinite and eternal. Projekt is America's premier independent label specializing in passionately intense introspective music across a variety of genres (ambient / electronic, ethereal / darkwave / dreampop & more). Founded in , Projekt is home to a diverse roster including Steve Roach, Aurelio Voltaire, Black Tape For A Blue Girl, Erik Wollo, Forrest Fang, Mark Seelig, Jarguna, Polly Fae and others.