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.

6-Panel Digipak CD LINEKRAFT is without doubts the best "Japanese Industrial / Power-Electroinics Project" of last years! Immediately recognizable junk-metal sounds & a great Industrial attitude. All tracks in this album recorded by LINEKRAFT between 2007 and 2024. Except 'Planet Combinat Mothra' performed by Mothra (J.Takahashi, M.Okubo, F.Kojima, M.Nozu) live 2007 Tokyo.

The 25th anniversary of the neo-classical milestone by Sophia, a project of Peter Pettersson (Arcana) remastered in 2025 for the LP / CD re-release via Old Captain. A critically acclaimed album of 2001 that integrates dark orchestral ambient layers with industrial and martial elements. Its unique blend of strength and beauty, melancholic and epic atmosphere has made "Herbstwerk" sublime and absolutely timeless. Limited to 400 copies

Limited edition of 100 Step into a time capsule of industrial experimentation with "Crematorius," an elusive music project created by the visionary Henrik Nordvargr Björkk. Recorded on a portable four-track in 1987, "Crematorius" captures a raw and unfiltered glimpse into the early creative explorations of one of the genre's most influential figures. This project predates even the formation of the iconic black industrial group MZ 412, offering a unique perspective on Björkk's artistic evolution. Before the monumental impact of MZ 412, "Crematorius" emerged as a groundbreaking endeavor that hinted at the industrial mastery that Björkk would later achieve. As one of the earliest industrial-oriented projects in his repertoire, "Crematorius" showcases the young artist's experimental spirit and his unyielding determination to sculpt soundscapes that transcend time. The sonic imperfections add to the authenticity, taking you back to a time when artists sculpted sound with limited resources and limitless creativity.

CD reissue of the debut solo album by Markus Pesonen the mastermind behind the Finnish neo-classical / bombastic project KARJALAN SISSIT. On English album title translkates "Applied for a Mental Hospital" and perfectly describes the edgy state of an institutionalized sociopath whose blackout is channeled through deranged powerful industrial undertones, punk angst and metal noise juggernaut. A true post-industrial anthem of self-destruction. Originally released via Erebus Odora, Sweden, in 2005. https://youtu.be/mjbcL8hVtIk?si=1859X7xZiX9se8ZB

From the raging fires of a decaying world rises a new force to motivate pushing us further – Aux Armes brings you punishing power electronics in an uncompromising fashion, rarely heard in the 2000´s where the spirit of the originators of the style seems to get softer by the years. This is seriously vicious music, delivered with iron will and razor-sharp anger towards all those who try to enslave or oppress, but not the average hippie mentality of peace, love and understanding – this is a fist in the face; "Fuck around and find out“ https://youtu.be/p0ypuFY6ASQ?si=SqfGr3tW6ATq00VI

CD re-release of Smell & Quim' stunning debut originally self-released on Stinky Horse Fuck in 1988 by Milovan Srdenovic and Paul Nonnen. S&Q was since ever completely into controversial and taboo topics like fetishism, alcoholism, pornography, necrophilia... "The English method" is an absolute classic in British Industrial-Noise Scene! Limited edition of 200 copies

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).