デッドストック/新品未開封 Cold Spring – CSR202CD Industrial, Doom Metal https://youtu.be/Ojm_czmHUDE?si=u0viAYkObt4wdqIv

デッドストック/新品未開封 Malignant Records – TumorCD69 Dark Ambient https://youtu.be/AWw3ZsKk5yU?si=FuQhSfi84Gia2a2A

デッドストック/新品未開封 Malignant Antibody – Treatment04, OPN – OPNCD0025 Ambient, Post Rock

デッドストック/新品未開封 Facthedral's Hall – FHCD17-2017 Drone, Industrial, Dark Ambient https://youtu.be/aieKWVHb03U?si=Wb4gM-sureOzY19y

デッドストック/新品未開封 Cold Spring – CSR224CD Dark Ambient, Folk, Experimental https://youtu.be/RnjZ2N8FIM4?si=B1uq_ht2PDzrLkUc

デッドストック/新品未開封 Reverse Alignment – RA-12 Dark Ambient, Minimal, Experimental, Drone

デッドストック/新品未開封,シュリンク破れあります。 Reverse Alignment – RA-30 Abstract, Dark Ambient, Drone, Experimental, Downtempo, Dub

デッドストック/新品未開封 Muzyka Voln – MV-X Drone, Ambient

デッドストック/新品未開封 Zhelezobeton Distribution Division – ZHBD-13 Dark Ambient, Modern Classical

デッドストック/新品未開封 Facthedral's Hall – FHcd15-2016, Industrial, New Wave https://youtu.be/GJoIc7oXmJE?si=A2a2BLkPxmZ235mL

デッドストック/新品未開封 Reverse Alignment – RA-22 Abstract, Dark Ambient, Experimental

デッドストック/新品未開封 Old Europa Cafe – OECD 254 Industrial, Dark Ambient Guest – Eraldo Bernocchi,Linekraft,Heru.

デッドストック/新品未開封 Eighth Tower Records – ETR020 Drone, Dark Ambient, Experimental

デッドストック/新品未開封 Eighth Tower Records – ETR019 Drone, Experimental, Dark Ambient, Noise, Ambient Ah Cama-Sotz, Satori, Kammarhei, Ashtoreth, Daimon, Stefan Klaverdal, SONOLOGYST, Instinct Primal, Lars Bröndum, Massimo Olla. Nihil Impvlse, HLER.

デッドストック/新品未開封 Unexplained Sounds Group – USG054 Experimental, Musique Concrète

デッドストック/新品未開封 Cold Spring – CSR227CD Drone, Doom Metal

デッドストック/新品未開封 Cold Spring – CSR243CD Drone, Experimental, Dark Ambient

デッドストック/新品未開封 Freak Animal Records Noise

デッドストック/新品未開封 Freak Animal Records Experimental, Industrial, Noise

smr.tni is a queer industrial/power electronics project from Essen, Germany. It is the solo project of a queer experimental multimedia artist active in the harsh noise and power electronics underground scene. Derived from the Serbian word “smrt” (death / mortal), referring to “the mortal” or “transient being.” The project deeply explores themes of transience of existence, depression, suicidal ideation, body dysphoria, persistent (chronic) pain, and bodily transformation. smr.tni blends power electronics with harsh noise elements, creating intense, visceral soundscapes. The work is highly personal and political, treating pain not just as subject matter but as a tool for self-empowerment and bodily reclamation. Performances frequently combine sound with bold, expressionist physical performance - scarred, empowered, and re-shaped bodies without inhibition. The artist describes the approach as “power electronics as immanent self-empowerment,” drawing a line where pain becomes an end in itself without falling into empty pathos. Everything is direct, raw, loud, and purposeful. smr.tni is not just another noise project - it is a deeply personal, queer/trans-informed artistic practice that uses power electronics and harsh noise to process and transform experiences of pain, body, and existence. In the German and broader European industrial/noise scene, it has quickly become recognized as a fresh and distinctive voice of the new generation.

LIKE WEEDS is an industrial noise project based in Tokyo,Japan, created by British-born artist Kenny Sanderson, who has lived in Japan for over 20 years. The project began in 2018 as a shift from his long-running harsh noise/cut-up project FACIALMESS (active since 1996), allowing him to explore cleaner, more rhythmic, and structured sounds. LIKE WEEDS is known for death industrial, power noise, rhythmic noise, and elements of dub and power electronics. Kenny describes the sound as "Concrete Trogotronic riddims" — minimal, repetitive, analog-driven electronics with heavy use of Trogotronic instruments, Vermona Lancet kick drums, Korg sequencers, and other hardware. Compared to the chaotic, cut-up harsh noise of FACIALMESS, LIKE WEEDS is more controlled, dub-influenced, and often mid-tempo/sludge-oriented, frequently exploring themes like addiction, urban isolation, social injustice, state-sanctioned decay, and personal/political struggle.

Tzii is a Belgian musician, composer, filmmaker, and sound artist based in Brussels. Active since the mid-1990s, he creates experimental, genre-defying work that crosses electronic music, noise, industrial, post-punk, ambient, sound art, cinema, and live performance. Tzii’s approach is deliberately undogmatic and deconstructed. He treats “displacement” as a permanent state rather than a temporary condition. His works often evoke “dirty paradises” — raw, tropical, apocalyptic sonic landscapes that challenge perception and rationality. He aims to create immersive, liminal experiences that blend harsh electronics, cinematic textures, ritualistic elements, and physical intensity. Some describes his artistic identity as “a mountain of multiple figures” reflecting his shape-shifting, multifaceted practice that refuses easy categorization. Tzii represents the vibrant, boundary-pushing experimental underground scene of Brussels while maintaining a truly global and nomadic perspective. His art combines Belgian/European dark electronic traditions with non-Western influences, always seeking deep sensory and perceptual displacement. Live performances are especially powerful and recommended for those who enjoy intense, unpredictable sonic experiences.

6-Panel 3CD Digisleeve Triptych brings together the celebrated post-industrial act IRM’s last conceptual studio recordings as one unity for the very first time. Being a duo, consisting of Martin Bladh and Erik Jarl, since the start in 1998, the EP Indications of Nigredo (2007), was the first record to introduce Mikael Oretoft as a third permanent member. With this recording and its follow-up, the band’s fourth full-length album ORDER⁴ (2010), IRM sought to push the envelope and move away from their early industrial/power-electronics beginnings by introducing new, radical track structures and a wide variety of instruments and sound sources. When the band's swansong, the fifth full-length album and the third part of the trilogy, Closure…, was released in 2014, IRM felt that they had moved too far from their early roots and would never be able to evolve beyond the material without burying the moniker for good. The nameless voice which leads us through these three records is locked within a philosophical discourse, oscillating somewhere between the inevitability of Freud’s Death Drive and Bataille’s negative mysticism as Inner Experience. By inventing a corporeal language of self-negation, the protagonist is strongly determined to leave a terminal impression on the world by transgressing every possible and impossible frontier. By reaching for this black light, he seeks to get marked and immortalised in the same way as the biblical figure Onan, who Yahweh slew for his impure offence. This is a work which doesn’t concern itself with catharsis, spiritual gold, or finding the Philosopher’s Stone. It remains firmly stuck in the mud, and it never had the intention of elevating itself above it. Packaged in a limited gloss-laminated 6-Panel Digisleeve. The special edition is accompanied by an A5 30-page brochure and an A3 poster based on Karolina Urbaniak's original artwork.

Live recordings of the LINEKRAFT "Hunger For Life" live-set on January 28 2023 in Tokyo. Also includes 3 new and exclusive compositions. Limited edition of 200 copies.