Here comes the CD re-edition including 2 exclusive bonus tracks! Comes in 6 Panles Digipak + 12 Pages Booklet (with erotic / esplicit images) Limited Edtion of 300 copies Introducing Christine K.: She feels that she has lost most of her life through the conditions and schooling that were put upon her. Upon her mind, body, and soul. Those frustrations. That grief. She wanted to express all of that through heavy shadows and black out misery. A dark ambient record that follows a deep dive into Cold Meat Industries, Loki Foundation, Old Europa Cafe and the like... Her favorite being Raison D'etre. She asked me to help, and of course, I did. She's my wife. In making this, she would tinker with the electronics and explain what she wanted something to sound like, and I would help shape it. She would argue with me when I pushed it to sound too much like Himukalt, and I would try to course correct, try to learn what she wanted. I had to learn to slow down. We both had to learn to communicate. It was a sensual process, at times erotic. But "An Empty Fiction" is very much her record. Hypnoerotic. Nightmares. Trauma. Desire. It's all about Christine's blood and tears, embracing all of it in the search of wisdom, in search of transcendence no matter how much it hurts. "An Empty Fiction" was originally composed and completed in 2024 for a cassette on EK Verlag. This CD reissue features two bonus tracks furthering the ideas of feminine perversions and lusty noise. *** Ester Kärkkäinen / Himukalt

FOR THE RAVEN was due to be the next release after LIGELIAHORN on the NEKROPHILE REKORDS label. Sadly the project fell through and, even more sadly, it coincided with a number of the celebrants being rounded up to enjoy a short holiday at HER MAJESTY'S PLEASURE, expense and, indeed, insistence. By the time our intrepid DISCIPLES OF DOOM re emerged the momentum had been lost and FOR THE RAVEN was consigned to the METGUMBNERVAULTS to, until recently, only make occasional appearance in bootleg editions plus, a very limited official tape edition out on Infinite Fog. NB: This new CD re-edition is enriched by following Bonus Tracks: § WELTSCHMERZ turned out to be the only METGUMBNERBONE recording that did appear on the NEKROPHILE REKORDS label on the, again, snappily entitled THE ARCHANGELS OF SEX RULE DEATH TO THE REGIME cassette compilation. It manifested as an edited version under the title DEATH.

LIGELIAHORN was the second release from METGUMBNERBONE, the first being the cassette DREUN (recently re released as a handsome double album on the INFINITE FOG label). LIGELIAHORN was originally released on the A MISSION record label in 1984. The whole album was the product of but one night.. Improvised in a derelict factory down on the fog enshrouded banks of THE RIVER TYNE in north east England. The instrumentation comprised mainly of what was already there augmented by a couple of pieces of scaffolding picked up en route. NB: This new CD re-edition is enriched by following Bonus Tracks: § VAULT: The last track on DREUN and an indicator of what was to come next. Recorded on the night of first discovering THE RUINS OF INDUSTRY by a couple of the celebrants as a, sort of, demo for the potential of this new location. § CORPSE CANDLES: An early recording which was included on THE MORDEN TOWER CONJURATIONS collection. § RAISING THE DEAD and CHTHONIC: both tracks appeared for the first time on the snappily entitled ANTHROPOLOGICAL FIELD RECORDINGS FOR THE DISPOSSESSED retrospective double CD. After being dragged up and dusted down from THE METGUMBNERVAULTS.

SUTCLIFFE NO MORE: the album for 2026. P/E in best SJ/SNM tradition. If you need to know more you don't need this album!

NESHEL is a new collaborative project by: Henrik N Björkk (MZ.412 / Folkstorm / Boltorn...) & Michael Zolotov (Kadaver...) In few words: Heavy and uncompromising Power/Electronics Industrial.

GRAEME REVELL wrote at the end of 2025 a new and complete introduction to such re-edition. Those writings are integrated into cover notes for introduce the new (2026) listener into such a very special album who marks an era! That album came first out on Walter Ulbricht Schallfolien on LP in 1983! Auto-Da-Fé is a collection of SPK’s singles from between 1978 and 1979. The first five tracks, from '78 and '79, are basically a scratchy thrashy punk sound, augmented by synthesizers and samples. Guitars grind, electronics screech, and metal is most thoroughly bashed. Highlight of these early works, and indeed the album, is the deranged SLOGUN. The intro to the song, a demented echoing clucking and quacking, leads into a pulverising mechanical grind. Surely a candidate for most extreme song of the late 70s and early 80s. The next three tracks come from 1981, and a new more synth-oriented sound has been discovered. "Metal Field" and "Walking on Dead Steps", ever-so-slightly catchy, creepy, with militaristic overtones. "A Heart that Breaks (In No Time Or Place)", is the stand-out here, a minimalistic, almost EBM track, as an empassioned female voice narrates the amazingly bitter lyrics, while seemingly random percussion bashes quietly in the background. The final three tracks date from 1982. On these tracks, a kind of shamanic quality has overcome the music, a tribal, mystical sound has come into effect. Synth-drum beats hold the songs together, as metallic-percussion inject the tracks with a hint of randomness and confusion. Vocals are no longer shouted, but delivered calmly, and the synth backing is created through drones, rather than beeps and stabs. Every single one of these 11 tracks is of highest INSDUSTRIAL quality. Best and rough sound of the era. From Industrial-Noise textures to Punk-Trappings to more danceable Industrial Angst-Pop. A selection of great SPK hits that made the history of Industrial Muzak. Slogun: SPK SPK SPK Kill Kill Kill for Inner Peace Bomb Bomb Bomb for Mental Health Therapy through Violence SPK SPK SPK A song for this era, for the future and the future to come!

Re-edition of the Cult Industrial-Noise / Power-Electronic split album out in 1997 on OEC. The original LP, limited to 470 copies, is long time sold-out: time for reprint it into CD format. It’s amazing, it has been 28 years since the original split LP was released. These tracks all sound better than ever thanks to a meticulous mastering job by Grant Richardson. “120 Days of Sodom” is accompanied by the only previously unreleased Deathpile track, which was recorded in 2000 during the Whorebutcher split CDR sessions. The weak middle section has been replaced with a recent analog synth recording. Gabriele / Discordance has also contributed two excellent unreleased early Discordance compositions to round out what I consider a powerful and wide ranging CD release § DEATHPILE: Jonathan Canady's most harsh project, cult US Power-Electronics from the first era. § DISCORDANCE: side project by Gabriele Giuliani (the mind behind infamous DEAD BODY LOVE), best Italian Noise-Industrial. Limited edition of 300 copies

Bella Italia has been a breeding ground for genre-defining Industrial Noise and Power Electronics projects since the beginning of the art form. Among the flag-bearers of contemporary audial terrorists is Uncodified. Fronted by Corrado Altieri and sporting an impressive list of releases on labels like Unrest and Old Europa Cafe, Uncodified has been enticing fanatics for more than 10 years and it with great pleasure that we announce his new album „Erased People“ on Dunkelheit. In many ways, this new full-length continues in the footsteps of previous releases. Heavy synthwork dominates full-sounding and diverse song-structures that convey a feeling of oppression and exaltation felt in a crumbling, dissonant world. It is interesting that Altieri's very distinct style manages to combine the old and the new in ways only few can. There is definitely that trace of synth-driven minimalism Atrax Morgue was praised for, but also a great deal of innovation and modern skill. „Erased People“ is another landmark in Dunkelheit's ever expanding catalogue of Harsh Industrial and a must-buy for old and new fans of the genre. Certainly another masterpiece by Uncodified and a furhter proof that Industrial is alive and kicking. Created, recorded and mixed at UEM Studio, Summer 2023. Mastered by Grant Richardson at Hex Labs, USA. Corrado Altieri: Synthesizers, FX, Metal, Contact Microphones, Vocals. Metal on Tracks 4-5 by Piero Stanig. All music by UNCODIFIED. Executive Production by Dunkelheit Produktionen. All rights reserved.

Behold the return of mighty Black Vault from Denmark. After their debut, which already caused a lot of commotion within the circles of extreme Underground, tue madman returns with "Death Obsessed". And yes, even more progress has been made as the knives have been sharpened. For Black Vault this progress is found in sonic atavism, as "Death Obsessed" is so beautifully murky and old school that one is instantly reminded of the glorious days of Cold Meat Industry. Evoking feelings of disturbing morbidity and atmospheric bliss at the same time, the album flows beautifully presenting skilled arrangements and tasty sounds that form a true monolith of atmospheric Death Industrial, which is oftentimes so painfully missed in our plastic age. Danish Death enthusiasm reigns supreme as Black Vault shows how it is done. Basic reality of Decay is transformed into old school sonic pulses and haunting waves, which bring back the days we all miss so dearly. In our times of oversaturation and uninspired form, "Death Obsessed" is one of those very few releases that can still be called a landmark and a must have. Frequencies of analogue death gone rampant. Recorded between 2023 - 2024. Mixed and mastered by Grant Richardson at Hex Audio Labls. Graphic design by J.S. All music by BLACK VAULT. Exclusive production by Dunkelheit Produktionen. All rights reserved.

For the last few years, Absolute Key has been releasing a variety of highly sophisticated and innovative releases on various labels. With Ei Meidän Kotimme , frontman Antti Klemi, who some may know from projects such as Circle of Ouroboros and Valtakunta, displays his impressive skills and feeling for experimental soundscapes. Ei Meidän Kotimme mostly consists of organic sound sources whose sounds make the listener remember the most acquired usage of scrap metal that have been skillfully arranged to form true compositions of semi-experimental sound. These parts are backed by deep drones and Industrial elements reminiscent of broken machinery and some of the more recent broken sound type endeavours. The results are nothing short of amazing and leave no doubt that this is indeed the work of a true visionary. Although Ei Meidän Kotimme by Absolute Key is not the easier listening experience imagineable, those open to genuine skill and craft will be sure to appreciate the sounds and arrangements presented. This is not to be missed and a one of a kind release that still has that deepness and bite of the old days of experimental Industrial. All music and art by A.K. Layout by J.S. Mastered by Pentti Dassum. Exclusive production by Dunkelheit Produktionen. All rights reserved.

In the wake of the late 1990s Claremont serial killings, T Wojcicki (Empty Vessel) and H Gillett (Pterygium) embarked on a series of late night collaborative sessions sparked by the shadow-clad violence, urban paranoia and intemperant isolationism of the killings’ social grip. Their nocturnal sessions manifested four tracks at the subgenre crossroads of dark ambience, power electronics and death industrial: the duo carefully constructed four haunts of clouded electronics, stygian melodics, effected vocals and crevices of lividity which then leeched out across a mere 19 cassette copies on the duo’s Cabin Fever Networks label. A decade on, Cipher Productions reissues this obscurity of the Australian underground which glimpses elements of its authors’ central projects while finding new voice in the cross-section. New, expanded artwork and an improved permeation of 50 copies, housed in a manila envelope and clinging to related visual ephemera. Chrome tapes, handstamped enveloped and labels.

During a 2024 mischief hunt in Osaka, shortly after my release of the project’s self-titled tape, Mr No Guard told me he had some earlier project recordings for potential release. Hearing those five primal manifests of dismal electronics, blunt power electronics strike, and evocative samples I fully agreed, but thought the missive needed a different context to best appreciate its thematic misgivings. Enter XAL, the post-industrial formation of Am Not, A and Mollusk King, equally in need of exposition. The XAL contribution of “Death Desire (Faith & Value)” is a bleak construct of sombre synths, junk percussion vibration and voices from the void, which draws on the compositional strengths of its collaborators and stalks out its own genre place with a slow boil of dystopian regret and incremental dynamics. The resultant split cassette is released in an edition of 100 copies, chrome tapes in Norelco cases with art from Thomas C celebrating the fall of mankind.

A sinister, erotic undertone also saturates a couple of new releases on the Tasmanian based imprint Cipher Productions. 'Werewolf In The Black Space' is a collection of collaborative material from The Rita and Wilt, drawn from a couple of limited run cassettes with an additional unreleased beast closing proceedings. Truly bloodthirsty, this is invigorating, aggressive stuff and works effectively as a whole despite its status as a collection of previously released material drawn from a number of sources. Unexpectedly subtle opening piece ‘Dead Wife of Hitchcock’ stalks the listener for some time with a deep set of repeated, brooding movements before a vicious wall instantaneously declares the arrival of the murderous fiend, who refuses to depart for the duration. This is not an expedition into monotony however, as the colour of the fortifications produced are fascinating throughout, and at key moments contrast is employed as a compositional device to great effect. In actual fact it is the subdued segments that make the sheets of harsh noise appear all the more vehement in attack when unleashed. (Total Scum Materials).

imited cd released by The Tourette Tapes | tt#16 | 2009 "Komareise" by Flutwacht is an atmospheric dark drone/ambient album. The regular CD version was released on labels including Sun & Moon Records and Dunkelheit Produktionen.

CD in digi-file limited to 300 copies. out soon on Mask Of The Slave ( Romania ) and The Tourette Tapes ( Germany ) https://youtu.be/zJTbJ3Z8HsA?si=2m3AST8tmtYMeYsT

The Trees in Space Ritual was performed and recorded during Yule Period of the Year 2019. Most of the Vocals where made at the sixth Fullmoon of the Year 2020 Recorded and mixed at Nowhere Studio and Kirkel Kerker Studio. All Lyrics and spells were channeled by Soror Tristanne All Songs and Music was written by Tristanne and Arph Soror Tristanne - Vocals, Guitars, Bass, Synths, Drums and Programation Arph - Breath, Ancient Drones and Hypnotic Loops, This album is made to drift into the depths of space. It should be a portal for the listener. Intended to meditate and find endless bliss in Mother Nuit's endless womb.

Power Electronics, Noise Limited to 42 copies.Bresthaft/Germany split (released in 2025 on The Tourette Tapes) is a 13-track collaborative cassette and digital album that showcases raw, old-school Power Electronics and harsh noise. The record is split evenly, offering two distinct yet oppressive approaches to industrial sound

13 Jahre Krach und Stahl / 7 inch / ltd. 150 Rosty steel work cover.

released as limited edition 7 inch ep by AudioArts / Austria / AA#14 track 2 feat. Frank Fraktal

he [law-rah] collective hail from the Netherlands and have been active for over 25 years. As the name implies it is a collective of befriended artists with one continuous member, being Bauke van der Wal. The project moves freely between deep drones, dark ambient, noise, field recordings, minimalist sound collages, spoken word/poetry, and occasional rhythmic elements. Each release feels distinctly different and it is frequently said that “no two releases sound the same”. The new release on SSSM is called "strange attraction" and this time the collective is a solo effort by Bauke. The two massive drones are the result of experiments with chaos and order in their relation to the signature analog sounds the collective is known for. While not pure harsh noise, it sits comfortably in the broader noise / industrial / experimental spectrum. So whether it is minimalist noise you're listening to? Or drone? Or as someone once labelled it powerambient? You decide. But rest assured the pieces create strong immersion, tension, and physical pressure while listening. You never "just listen", you feel. “Expect the unexpected, and even then you’re way off ...” professionally duplicated, Ltd 50

Flutwacht is a long-running German solo project in the industrial/noise underground. It has been active since 2003 and remains highly productive today Flutwacht delivers heavy, mechanical industrial noise rooted in the sound of factories, steel, and heavy industry. Expect metallic impacts, distorted loops, deep drones, low-frequency pressure, aggressive feedback, and power electronics intensity, often mixed with darker ambient atmospheres. Themes strongly reflect Saarland’s industrial heritage - steelworks, production, decay, and collapse. Typical album titles include Meine Welt aus Stahl (“My World of Steel”), Puls, Produktionsstillstand (“Production Standstill”), Krach und Stahl (“Noise and Steel”), and Schleifbock. The music varies from rhythmic, loop-driven industrial tracks to pure harsh noise walls and extended immersive drones. Flutwacht is widely respected as one of Germany’s strongest contemporary industrial/noise acts. It bridges old-school industrial and power electronics traditions with modern harsh noise and post-industrial approaches. Fans and reviewers often highlight its atmospheric depth and connection to Germany’s heavy industrial regions. professionally duplicated, Ltd 50

Lashing passively against the torrents of the times; declaring faintly into the chasm of the interior. A vain resistance dissolves into spume, leaving its blurred edges branded upon an obsessive brow. Cheng Daoyuan is one of the representative figures in Taiwan’s contemporary experimental sound scene. His sound works have been released through labels and platforms across multiple countries, and he has participated in several art festivals, both in Taiwan and internationally, through performances, exhibitions, and other formats. He explores the ambiguity of opposing forces through sonic structures that juxtapose murky, pressurized sound masses with quiet, abstract sonic fields. ‘Feeding Frowns For Fronted Froth’ centers on massive walls of atmospheric sound, striking outward through blurred low-end pulsations while confessing inward through sharp, distant high frequencies. As the deafening contours cease to remain clear, all that is left is estrangement across distance. Side A consists of three tracks in distinct styles. An uncanny melody stirs within the act of swallowing; a haloed resonance curled within the pulse gradually drifts out of focus, until the final soundless strike continues to sway at the fingertips. Side B unfolds as an expanse of lingering ruminative haze, unmoving before Sisyphus’s talismanic stone. professionally duplicated, Ltd 50

"the shadow of the torturer" offers a profound sonic immersion into the twilight world of gene wolfe’s the book of the new sun. this opus captures the somber solemnity of urth - a horizon so distant that the sun itself falters. it serves as the definitive soundtrack to a decaying empire, the cyber-khanate, where technology has ascended to the status of a mystical relic and culture remains frozen in macabre ritual.

ON THE FORGETTING OF LANGUAGE: to contemplate the forgetting of language is to witness the word’s erosion until only the tongues of smoke and ashes remain. we inhabit an era where the soul’s syntax dissolves into the profound gravity of the stillness, a quietude where we encounter the unconscious dream of redefining god as darkness. in this state of un-naming, the biological yields to the ontological; you realize that within you all blood is black, a river of ink awaiting a script that no longer exists. moving beyond the transactional nature of speech, as we brace the mountain, we offer the self - a final surrender of the ego to the unyielding earth. lured by the pull of the shadows, we move toward a soundless, formless, serene darkness that defies modern categorization. to forget language is not to lose intelligence, but to transcend it; it is to finally become one with the emptiness, where silence speaks with a clarity no tongue could ever achieve.