Monday, June 30, 2008

Brighter Death Now - Kamikaze Kabaret (2005)

There are many, possibly into the hundreds, of artists out there who specialise in the Power Electronics genre. Each day / week/ month / year another will join the throng and bung out what they consider to be the last word in this style of music. There is though one man, the big daddy, who firmly put this music on the map. Who over the years - and it goes back an awfully long time - has continually released the most obstinate and difficult music ever to come out of Sweden, if not the world. That icon of cool, the ultimate purveyor of noise is none other than Roger Karmanik. No one else has ever strived to not only put his own music out for everyone’s personal damnation but encouraged and released like minded souls through the Cold Meat Industry label. Though it must be quickly added, to stave off recriminations, that CMI releases music from many other different genres as well. He’s the man for all seasons. The consummate professional, although seeing the way he dressed in the last BDN live DVD outing ‘Disobey’ I do worry about him somewhat.

Here he returns with a ten track opus that is so typically BDN. "Kamikaze Kabaret" bares all the usual hallmarks associated with his work. The rhythmic electronics that thrust and grind in never ending loops. The occasional blurts of high frequency white noise and the slowing down to a snails pace throbs. Some samples. And of course, the trademark completely distorted and horrific vocals. The spectres of Throbbing Gristle overhead here float strongly with this old Jedi. Hard going, no real shock there, yet comforting at the same time. It’s like he’s never been away. The stall has been laid out…come feast one and all. All the BDN releases eventually melt into one whole with nothing to separate them. Which in my eyes is perfectly acceptable because as someone who truly appreciates his music I gladly soak up and welcome with open arms every recording he cares to put out. Long may he continue to do so. Ask me though to name the best BDN recording and I would be flummoxed.

There isn’t one definitive BDN. All are great, all have their minor faults, all are essential listening for those of the darker persuasion. This then is the real crux of the matter. "Kamikaze Kaberet" joins that long illustrious list. You need it. You know you do. So go bathe in the warm glow of depressing sound in the latest BDN chapter and enjoy the third best thing to ever have come out of Sweden.

Review taken from Aural Pressure.

01 - Untitled
02 - Oh Baby
03 - Crimescene Nostalgia
04 - Destroy
05 - Testing
06 - Big Happy Family
07 - Washing Day
08 - While You Sleep
09 - Take Me Away
10 - Untitled


Cold Fusion - Simmetria (2007)

The begging of ‘Simmetria’ is a completely visual experience. It is as if a postindustrial world developed through ones eyes. The marching background, the broken beats splashed through the middle, bells, synthesized vocals and longing notes… One can almost feel the dead sand crunching under their feet while a city full of smoke, smog and fire unfolds in the valley below. Definitely this composition could become a soundtrack for some apocalyptic movie

‘One’ moves the pace higher up and introduces many new elements, move percussion, better-defined background voices and vibrant energy surrounding every blow. It takes a small step back to then be lounged forward with a reciting martial voice. The short seconds that include the voice recall late 80s industrial artists, transforming the song 180º into a crude wry line. Not to worry, for ‘Palace of Illusions’ comes in a grandiloquent epic way, with many female chorus voices and a steady trumpet line that gives the song a strong bellicose spirit – something that is encountered so obviously for the first time in the record at this moment. This statement is a perfect testimony of the different ranges found in the record.

‘Simmetria’ is Marcin Bachtiak’s fifth long play. Personally I think it is one of the most complete and variable. Obviously it can’t be compared to their previous work, ‘ORP Orzel’, which was absolutely thematic, oppressive and evolving. This new record is wider ranging, and it is also much wilder than what we had heard in the collaboration with Stahlwerk 9 and Rukkanor. Throughout its development, Cold Fussion takes the listener into different worlds, from the hectic martial sound to old school experimental industrial to a calm and gelid dark ambient.

The turning of a page comes with ‘Distant Impression’. The atmosphere is darker, claustrophobic at times. Every single detail comes sharply into light: the creeks, the clashes, the drum rolls, the hanging piano notes… This is not the end of the attack, though, and ‘Blue is the Flag’ proves itself worthy of the battlefield with its pulsating pace and martial spirited melodies. The reciting voice returns once again, as it appeared in ‘One’ yet in a much more story-telling way. Sort of as it was an epic adventure being composed, unfolding as it was being told. It shifts the record once again, as if the diversity in sings were weaving themselves together.

With ‘Into the Depth’ the atmosphere is the main character. The song pulsates and is full of contrasts: a light clear melody is crushed by the strong beat, the heavenly voices are surrounded by alarm cries and the entire song has a very rhythmical industrial feeling to it. It ends suddenly and is trapped in the absorbing epic spirit of ‘...And They Kept Marching’. At first I wasn’t attracted this song, I though it was too full of sound, too exaggerated, too baroque. Until I listened closely to the song as a whole: the threatening alarm is combined skillfully with a unique sense of apathy brought by the clearly digital construction. The voice is clearer than in previous songs, and the lyrics are highly understandable. ‘Simmetria’ follows, with a very complex start, bringing to mind some IDM or rhythmic industrial artists with the use of the pads and distortion in the synthesizer, yet it manages to remain in a midpoint between epic and avant-garde.

After the bizarre pause that ‘Simmetria’ becomes, ‘Melencolia’ appears. Including a sophisticated base line with intertwining percussion elements, the atmosphere flickers around them and a ghostly piano melody appears flightily. ‘Cold and Forgotten’ is a much more haunting composition. The sounds again speckle and disappear with the flicker of an eye. The guitar notes are like a backbone, as if they where the light in a dark industrial cement tunnel, with dark shadows menacing outside the light’s sphere. The entire song is organic, as if the machinery noises were breathing. The song becomes less menacing and more intimate as it grows. To close, ‘Sleepless Thoughts’ bring a surprising oriental spirit that had been flirted with in previous moments through the voice introductions. The sounds are crystalline, and crash into the song as drops. With the background noise, the sound of cables shaking in the wind comes to mind.

‘Simmetria’ has ups and downs, but as a whole it is a masterpiece, a canvas where the desperate wildness of Dubuffet mingles with the crude drawings of Bacon and Goya, under the wings of Devyatkin or Eisenstein. Cold Fusion’s composer can be proud – he himself has made War Office Propaganda climb another notch in the list of classic labels to admire.

Review taken from Heathen Harvest.

01 - Lost Anger
02 - One
03 - Palace of Illusions
04 - Distant Impression
05 - Blue is the Flag
06 - Into the Depth
07 - And They Kept Marching
08 - Simmetria
09 - Melencolia
10 - Cold and Forgotten
11 - Sleepless Thoughts


Namanax - Cascading Waves of Electronic Turbulence (1996)

This is Namanax's first brain melting full-length, after the single 30 minute track EP Multi-Phase Electrodynamics, as well as the 21 minute track on Release Your Mind Vol. 1, and the 28 minute contribution to Exit 13's Ethos Musick in 1994. Cascading Waves... follows similiar lines in minimalist idealogy to the earliest recordings, yet does manage to be a little more diverse in shifting phases and tones. If "less is more" then Namanax is the ultimate in absolute minimal noise electronics.

Basically, this is 2 tracks of minutely shifting and pulsating white noise. The first one- "Contaminating Influence," is similiar to the older recordings- a single cerebal current of over 11 minutes. The title track though is over 47 minutes and is more shifting and looping in textures. It stretches out, kind of similiar to early Merzbow, but of course still not too far removed from similiar repeated tracks throughout the Namanax history.

Despite the similiarities and recurrent themes of minimalism and monotony, Namanax have never completely repeated itself, just produced variances on the themes of grinding waves of power electronics.

01 - Contaminating Influence
02 - Cascading Waves of Electronic Turbulence


Thursday, June 26, 2008

Nazi UFO Commander - Strange Monasteries (2006)

Cosmic Industrial with elements of neoclassical music and power electronics. This release is inspired by theories connected to nazi occult researches and some actual events that took place at Neuschwabenland right after WWII.

No Happiness Without Order
No Order Without Authority
No Authority Without Unity

01 - The Coming Race (Vril Chant)
02 - Sacrificial War
03 - Führer
04 - Morfee
05 - Mercer is My Name
06 - Pioneer


Monday, June 16, 2008

Genocide Organ - Save Our Slaves (1991)

A lesson in Industrial Noise/Power Electronics. 'nuff said.

01 - Patria y Libertad
02 - Death With Dignity
03 - Kill Useless Nations
04 - Violent Coordinating Commitee
05 - I Want James Meredith
06 - John Birch Society


Folkstorm - Sweden (2004)

This album is billed as the very last Folkstorm release, although the project itself has been scheduled to end on no less than two previous occasions. Flanked by charcoal-style sketches of noble peasants, slaves, slavemasters and agricultural rebellion, this CD - limited to 1500 copies and delayed for over two years - is a fitting epitaph to the Industrial legend that won't go away. Like a stubborn Michael Myers at a Hallowe'en bloodfest, Lord Nordvargr simply refuses to lay down and die.

There are a total of ten tracks on this album, each completely nameless apart from the fact that they have been listed as Roman numerals. Accompanied by an electronic fizzing, 'I' opens with a sweeping boom effect like a macabre ferry departing for the gates of the Underworld. This is following by a soundscape of scrambled power, rumbling its way through the track like music from a radio that has been dropped in the bath. There's Noise, but there's also rhythm. 'II', meanwhile, is deeper in tone and moves from ear to ear with venomous intent. It's a scratching Enola Gay flypast combined with robotic lyrics. Metal Mickey with tonsillitis and a bad attitude problem. An inexplicable squeaking reminds me somewhat of 'Tardyon Storm' on the new Merzbow/Nordvargr collaboration, 'Partikel', before the growling throat returns to bring the track to a close. At first, 'III' is a drifting cloud of hushed ambience combined with a riff-like drawl. After 90 seconds, however, it becomes a scathing blast of electronic intensity as a series of communicative beeps try to control the headlong rush into Noise purity. Several of them, it seems, attempting to imitate wayward ambulance sirens on their way to cause an accident or perhaps even force a pinball machine into one of your ear canals.

'IV' sounds like a cross between a fucked-up cartoon soundtrack and a musical hall novice prior to being shown the door. This soon escalates into total chaos, as though one hundred wurlitzers were being played simultaneously by a madman on the verge of missing the last bus. 'V' approaches slowly, a humming wall of darkness pock-marked by a metallic graffiti of tiny ripples. But not for long. The sound of a drum kit being kicked down a flight of stairs soon breaks the ambient monotony. For twenty-eight seconds 'VI' rises into yet more ambience, before a sudden change in direction leads to one of the more brutal moments on the whole album. Surging power and snarling vocals are fused together in a bombastic ode to revolution. 'VII' is sinister and restrained. Like the footsteps of a one-legged man in a minefield of sound it carefully picks its way through the ethereal minimalism, before a slight movement can be heard tearing its way from the gluey landscape and emptying its wicked contents into the atmosphere. Like a torrent of aggression, it unleashes itself on your senses like a swarm of angry wasps. As someone who prefers to avoid wasps altogether, I found the similarities rather unnerving (damn, now They'll know what to put in Room 101). 'VIII' is a more traditional cacophony of power electronics. An indescribable mush of tortured frequencies put through a mincer and served up on a platter of discord. It does pause from time to time, quite inexplicably, but then tends to carry on in the same unrepentant vein. There are even attempts to maintain a semblance of rhythm and consistency, always difficult when the objective is to frazzle your brain in a microwave of agony. Towards the end a few more robotic utterances can be heard pushing their way between the barriers of din, but Kraftwerk it ain't

'IX' seems to momentarily imitate a standard club beat, a theme that returns slightly afterwards, but this trend is regularly kicked into touch by a cutting breeze that often evolves into a high-pitched scream. As the track slows down, 'X' is phased in almost immediately. This has an almost-mystical quality to it. Odd backing chants quickly evaporating into sharp eruptions, yelling vocals, gurgling violence and accelerating trains of savagery. Hideous, out-of tune, samples muscle their way in like stereophonic gatecrashers. Ten tracks are listed on this album, but surprisingly there is an eleventh. Again, there is an uncomfortable buzzing sound like a nightmare lunch in a pub garden when you just so happen to be covered in the sweetest raspberry jam known to humankind. Towards the end the sneering vocals ('Europe States of Europe? United Trash of Europe') and a selection of Eurovision-style anthems take over completely, with spasms of Noise punctuating the proceedings alongside committed Hitlerian rants and rapturous Nuremberg applause. This is a very interesting album, not least because the finale is rather similar to early Nurse With Wound, with Nordvargr moving from Noise to Experimental in one fell swoop.

Review taken from S Y N T H E S I S.

01 - I
02 - II
03 - III
04 - IV
05 - V
06 - VI
07 - VII
08 - VIII
09 - IX
10 - X
11 - XI


Thursday, June 12, 2008

Ordo Equilibrio - Reaping the Fallen... The First Harvest (1995)

"Reaping the Fallen" is the striking debut from Ordo Equilibrio, a duo who have added an intensely erotic and fetish-oriented tone to the genre of Dark Wave / Ambient music. The album combines a post-industrial ambiance and decadent flavor with a few acoustic Dark Folk anthems, all revolving in monotonous manner to create fascinating audio tapestries, where the slow drones seem to conceal moans and other peculiar sounds trapped underneath, which surface on occasion to match the sensual voice of Chelsea. One will find in her voice gracious eroticism in a heavy and imposing tone that sounds not only alluringly seductive, but also deeply obsessive, as if mesmerized by the cyclic sonority that evolves on the background. Somehow, a very 'physical' and 'visual' album, which combines an hypnotic mood with haunting and erotic soundscapes.

01 - De Profundis
02 - Where Hapiness Ruled
03 - Reaping the Fallen... The First Harvest
04 - This is Darkness. There Will Be Light
05 - Safe, Sane and Consensual
06 - Angels of the Highest Order - We Are Seraphim
07 - Dominatrix Purgatory
08 - Silent Hymn for Ms. Anthropy
09 - In Nomine dei Nostri, Satanas Luciferi Excelsi - In Hoc Signo Vinces...
10 - ...Again - Encore


Monday, June 9, 2008

Rasthof Dachau - Blut und Boden (1998)

‘Blut und Boden’, blood and soil, life and the earth, a deeply intrinsic belief not just endemic to Germany and the oft-used ideology by Adolf Hitler and the National Socialists, rather one that translocates into all cultures. Rasthof Dachau’s tractive charm is the ability to ritualise, to render aural cerements about the listener from agglutination of the interred in biers, catafalques and sepulchres, examining the passing into the next state of existence from such varied cultures.

Heartbeat establishes the scene with pendant drones approaching like a flock of bombers before the flensing clangour unleashes, a noisome abrading of machine like pumping, almost as if the heart was replaced by primitive industrial engineering. Germanic vocal samples vociferate over nitid bubbling as diversion breaks the raucous pistoning chamber. Asiatic throat singing steeped in a subterrene grotto forms a dark ululating choir to the rill of running water before slumbering ambience and explosive symphony concatenates into turgid electronic rhythmic noise. Japanese taiko drums and chants peel indistinct in the smorgasbord of falling rain treated with irregular clatter and stop-start industrial motion.

The organic is represented not just by vocal tracts and carnivorous growls but by the entire process Rasthof Dachau approaches noise and electronics, aleatoric in its facets as much as life, but with one ultimate end. Frequencies swell and soar like coloratura over immured wraiths that flit and languish, the treads of tanks roll with percussive momentum into sinistral horizons where alien sirens reign. Ranging the gamut of castellated ambience and distinctive noise, Rasthof Dachau foment bleakness with onus of an organic decay.

Review taken from Heathen Harvest.

01 - Exitus
02 - ...Das andere Licht
03 - Viva Santeria
04 - Kompression der Gegenwart
05 - Fenris' Erben
06 - Nun Volk steh auf
07 - Multikultopia
08 - Vor der Flut
09 - Endsieg


Rasthof Dachau & Stahlwerk 9 - Blood Soil (2003)

Cooperation 7''EP from both german acts. Limited to 150 handnumbered copies.

01 - I
02 - II


Saturday, June 7, 2008

Various - ...And Even Wolves Hid Their Teeth and Tongue Wherever Shelter Was Given (1995)

Yet another Cold Meat Industry compilation, and one of my faves. In "...And Even Wolves..." the music styles are quite varied; from the medieval/neoclassical sounds of Arcana to the death industrial of Mz.412, and from the eerie dark ambient of Aghast to the isolationist mood of Ordo Equilibrio. Enjoy.

Let our dreams become your nightmares!

01 - Arcana - The Song of Mourning
02 - Raison d'être - Euphrosyne
03 - Ordo Equilibrio - Reaping the Fallen... The First Harvest
04 - Mortiis - En Mørk Horisont (excerpt)
05 - Aghast - Enter the Hall of Ice
06 - Mz.412 - God of Fifty Names
07 - Mental Destruction - Wound
08 - Ildfrost - That I May Drink, and Leave the World Unseen
09 - ConSono - Beyond the Ocean
10 - Desiderii Marginis - Solemn Descent
11 - Atomine Elektrine - Voices of Trinity
12 - Memorandum - New Primitivism
13 - Morthound - Whole End (excerpt)
14 - Deutsch Nepal - Gourge Free Market
15 - Brighter Death Now - Soul in Flames (excerpt)


Friday, June 6, 2008

Schwadron - Operation Gomorrha (2004)

"An interesting combination of Power Electronics, dark ambient and some minimal "Martial industrial" summarize as a whole this work from Schwadron.
The variety of strategics used on the record is what makes it different (something not easy to obtain with the monochromatic and monolithic structure of just Power Electronics).
The music sometimes is very peaceful and tranquil but always with this background of darkness and sorrow. Then suddenly comes some brutal assault of noise and distorted voice that later will be switched by some minimal but ultra powerful drumming like beat that reminds us some typical martial industrial influence, that would be the general mood and balance of the record."

01 - Tribut
02 - Dunst
03 - Nur die Toten wissen
04 - Vorwärts!
05 - Lautreamont
06 - Mistral
07 - In Ketten
08 - Kinder des Saturn
09 - Tribut 2
10 - Operation Gomorrha
11 - Germanium (Interpretation)


Atrax Morgue - Exterminate (1995)

"A classic powerelectronics, obscure ,violent, oppressive soundtrack for the gas chamber. A work inspired in the brutality and madness of the anti-semite persecution, idelology and extermination. To be listened at maximum volume."

01 - Gas Chamber for Humanity
02 - No Remorse
03 - Ready to Die


Monday, June 2, 2008

Gruntsplatter - The Aberrant Laboratory (2006)

Scott Candey, the moving spirit behind Gruntsplatter, describes his work as “... a malleable creature that hovers in the grey area between abrasive noise and dark ambient...”; you certainly won’t get any argument from me on that score. Candey seems to use Gruntsplatter as a means to spit bile, plague and acid on the virus that is humanity – there is often an undeniable misanthropy coursing through the veins of the musical beasts he engenders. Certainly on some of his previous outings, such as ‘The Death Fires’ and ‘Chronicling the Famine’, he laid bare that misanthropy in the rawest way possible. I must admit that I too harbour a distaste for the vast majority of the steaming pile of turds that claim to belong to the race of homo sapiens – sometimes their blinding stupidity leads me to believe that it is only by sheer luck that we have survived thus far. This is one of the reasons why I have a soft spot for the work of Gruntsplatter (plus I think the name is quite wonderfully evocative...).

Once again we have harrowing and brooding death ambient atmospheres, cavernous and cathedral-like torch-lit spaces, filled with the ever-burning fires of madness and destruction and peopled by the vile architects of filth and defilement. The earth churns, groans, fractures along fault-lines and spews the hot bile of magma amidst the engines of mass annihilation, the very machines that will do the work of ridding the planet of the parasite that we have become. This is a culling and mass death on a gigantic industrial scale – what’s more there is nothing that we hold dear or have faith in, be it science, religion or military prowess, that will either save us or hold the legions back. Everything will be laid to waste, the earth burned, cities razed and civilisation brought to its knees and beyond. All that will be left will be scorched and blackened earth, unmourned ruins, and the still-smoking funeral pyres of the world we created – the wheels were set in motion long ages ago and however much we try to fight it there is a relentless inevitability about it.

What Candey seems to be saying is that this is our doom and there’s nothing we can do to defer its arrival at the appointed time. We don’t know how long we have left, but whether it is tomorrow, next year, next century or in ten million year’s time, the prognostication remains depressing – the cancer that is humanity will keep on running its destructive and antagonistic course along with its unwillingness to change or uplift itself. One can look upon Gruntsplatter’s music as either a warning or an anticipatory hymn to the eventual demise of the human race and all it represents – they may even stand as testament to those few individuals who possessed enough prescience to see our end coming. There’s definitely a part of me that would love to see the devils and demons dancing on the graves and piles of doomed humanity – I even hope they’ll let me join in with them. If they do, then some album or other of Gruntsplatter’s will be on my mp3 player at the time....

Review taken from Heathen Harvest.

01 - Sifting Genius from the Taboo
02 - The Furnace of Hippocratic Transgression
03 - Experiments in Circumventing Evolution
04 - Deliberating Galvanic Animation
05 - The Singular Accidents of Life
06 - Clamoring Torches Ring the Hives of Science
07 - Inhospitable Genetics and the Mythology of Monsters
08 - A Congregation of Regrettable Biology
09 - Repercussions that Empty the Streets
10 - Can You See the Blood on the Burgundy Sea?


Sunday, June 1, 2008

Tribe of Circle - Children of a Weakened God (2006)

The new Tribe Of Circle album has been a long time coming. Closing the trilogy begun with “Rien Ne Disparait Jamais Vraiment....” in 2000 musician Jean-Paul Antelmi returns with a fresh offering of bombastic looping exaltations. “Children of a Weakened God” continues the exploration of man, religion and God that was introduced in the two proceeding chapters. The third and final chapter in this industrial exploration of man and faith focuses upon the concept of God in the modern world. This discussion is one that fits well with martial emphasis given the radicalization of religious beliefs we are witnessing on all sides of the world today.

The offerings of “Rien Ne Disparait Jamais Vraiment....” and “The Advent of Redemption” came to many of us at a time when the martial industrial sound was just establishing a foothold in the post industrial landscape. Now six years later Tribe Of Circle attempts to impress once more. The only question is whether the bands six years of dormancy have lost them the essential element of relevance. In the six years since the last Tribe of Circle album the martial industrial vein of music has exploded with a wide variety of new acts and labels redefining the scene and expanding the breadth and width of sound it has come to encompass.

When I played “Children of a Weakened God” I was immediately struck by the similarity in the songs structure with the previous albums by Tribe of Circle. This immediately put me on guard as I was not anticipating such similarity but was anxiously anticipating a new direction that would part from the rather repetitive sound of previous albums. As the album unfolded it became clear that though the same song structure and emphasis on looped sound and orchestral samples was still present Jamias had indeed managed to breathe new life and drama into this already familiar format.

The songs collected for “Children of a Weakened God” carry the listener through a sacral battlefield of mechanized, industrial sounds and gushing choruses emphasized by thundering drums and invigorating percussion. The songs structures show true maturation as Jamias has learned to build the songs gradually without smothering the listener in a congestion of samples and sound. The songs feel more open in general and carry a similar strength to previous offerings with less instrumental weight. And though the coveted emphasis on dramatic compositions is still apparent Jamias also now gives equal time to exploring more lethargic songs with an emphasis on atmospheric impressions and dark ambient mood setting music that gently hypnotizes the listener. Vacillating between droning passages of industrialized masses and confidential confessions and the onslaught of conflict driven cataclysm Tribe Of Circle drives the listener through a terrain of ideology and sound that knows no master.

Jamias captures the force of religion as manifested through a multifaceted analysis of humanity and faith. Songs veer between seducing the listener in introspective moments of spiritual self-reflection while others songs unleash the force of mass religion and the power it wields amidst faithful populations. The power of the music matches the task of describing the experience of religion, revelation, inner conflict, and worldly conquest. The music of Tribe Of Circle has never shied away from the harsh reality of religion and the concept of God as a force of war and oppression and this can be readily felt within the marital moments of the music. To discuss God in the modern world one must confront the specter of God and war. Man has waged war in God’s name since we have known religion. Today the willingness of radical believers to kill one another and those who they see as non-believers is a defining ideology in many parts of the world and in many conflicts around the world. Killing and violence in God’s name is becoming synonymous with religion and Tribe Of Circle is not one to turn a blind eye to this reality.

It is pleasing to report that after the nearly six year hiatus Tribe of Circle is as relevant as the day the band debuted. I would encourage those familiar with the band to secure a copy of the new album if you have not already. Those new to martial industrial music who missed this bands offering six years ago are encouraged not to miss the train this time. Tribe of Circle has found a home on the now infamous Hau Ruck label for good reason. This is the voice of the French martial music scene!

Review taken from Heathen Harvest.

01 - The Land of Fallen Suns
02 - Si Vis Pacem Para Bellum
03 - Children of a Weakened God (Dii Minores)
04 - Algolagnia... Spaltung... Delight
05 - Alea Jacta Est
06 - Coranic Submission Part 2 (Sourat XLVII - Verses - 1:21)
07 - Freres Humains... Freres Ennemis
08 - Tablu Rasa
09 - L'Une ou l'Autre de nos Failles
10 - In Dulci Iubilo


Grunt / Clinic of Torture / Nicole 12 - Nihilistic Paraphilia (2005)

Finnish Power Electronics/Noise. Japan only 3"CDr release for the Grunt tour April 2005.

01 - Grunt - Streets of Decadence pt. 2
02 - Grunt - Caught (Original version)
03 - Clinic of Torture - Sniper S/M
04 - Nicole 12 - Nippon Lolita Substitute
05 - Nicole 12 - Always Wanted (Original mix)