Genre/Influences: Industrial, Cinematic, Experimental.

Format: Digital.

Background/Info: Legendary Industrial collective AutopsiA strikes back again unleashing four new cuts.

Content: The work moves on where previous releases stopped; a true sonic osmosis between Industrial sound treatments, heavy, orchestral sound arrangements and Cinematic passages.

+ + + : The main strength of this production is the constant merge between the different influences. It creates a compact and heterogenous work dominated by the heavy Epic blasts made of numerous sounds and impressive Industrial rhythms. The few spoken samplings accentuate the visual appeal of the work. Both debut cuts are my favorites.

– – – : Speaking for myself I experienced the climax of the work right at the beginning so both cuts left are a little less fascinating.

Conclusion: AutopsiA remains prolific but still pounding on great sonic ideas.

Best songs: “The Laws Are For The Wicked”, “We Wander In Abandonment”.

Rate: 8.

Artist: www.autopsia.net /   www.facebook.com/autopsiaofficial

About AutopsiA

AutopsiA is a European art project working across music and visual production, gathering collaborators from different disciplines. Its practice began in London in the late 1970s, continued during the 1980s in the former Yugoslavia around Ruma, Serbia, and has been based in Prague, Czech Republic, since 1990. The collective was part of the industrial music movement of the 1980s, issuing dozens of mini-recordings before that period and around twenty CDs afterward, first for Staalplaat and later for the German label Hypnobeat and London’s Gymnastic Records. One of its compositions appeared on the soundtrack of Peter Greenaway’s “The Pillow Book” (1996). AutopsiA continues that prolific pattern with “The Turntable Sessions”, a four-track EP.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Industrial, Cinematic.

Format: Digital.

Background/Info: This new work by the legendary AutopsiA collective has been conceived for an AutopsiA exhibition which took place earlier this year. Six tracks have been composed and performed together with the Dämmerung Orchestra.

Content: Both debut cuts bring us back to early Industrial Experiments during the 80s which reminds us that AutopsiA were part of this ‘Industrial music revolution’. Quite progressively the work moves into more familiar Cinematic fields which have been often experimented by AutopsiA during the past years. The album features multiple spoken/narrative parts taken from ChatGPT and the work of Bertolt Brecht, Karl Marx, Philippus Aureolus Theophrastus Bombastus von Hohenheim.

+ + + : The debut part of the work sounds phenomenal, getting the listener back in the early days of 80s Industrial music. The Industrial, metallic sound treatments together with orchestral arrangements and narrative passages to me evoke the great Industrial music from the 80s. “The Book Of Elements” invites the listener to embark for a trip of more than 20 minutes and definitely sounds like a masterpiece. The next cuts bring Cinematic music which is another side of the project but still featuring captivating passages driven by intriguing speeches.

– – – : I honestly regret AutopsiA haven’t compose a fully Industrial opus. I think it would have brought the early spirit of Industrial music alive which is a lost sensation today.

Conclusion: Genius retro-Industrial music mixed with intriguing Cinematic stuff.

Best songs: “The Book Of Elements”, “Of Risk Capital Was The Earth Created”, “The Factory Sermon 2”.

Rate: 8.

Artist: www.autopsia.net / www.facebook.com/autopsiaofficial

About AutopsiA

AutopsiA is an anonymous industrial art collective that, according to its own site, “comes out of nowhere” and “appeared in 1980” through the fanzines “Bank Rot” and “Prose Selavy” in the former Yugoslavia. The group’s members have always remained incognito. Its work combines music, image and text around the theme of death, and curator Dejan Sretenovic has compared its aesthetic and visual-musical synergy to Laibach. AutopsiA has performed live only rarely, favoring recordings, publications and exhibitions instead. The current work was composed and performed with the Dammerung Orchestra for an AutopsiA exhibition earlier in 2023.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Industrial, Cinematographic, Experimental, Neo-Classic.

Format: Digital.

Background/Info: AutopsiA this year released three EP’s in the “Werkstatt”-series. The legendary project strikes back together with The Dämmerung Orchestra releasing an album of eleven songs. Tracks from “Die Werkstatt 2” and “Die Werkstatt 3” have been featured while there are four more songs.

Content: If you’re familiar with the EP-series, you’ll rediscover most of the cuts, which are clearly bringing a sonic fusion between different genres; a mix of Industrial sound treatments, overwhelming Cinematographic and Dark-Ambient passages and an Experimental part as well. 

+ + + : I especially like the way AutopsiA is mixing all the different influences together. It creates a fascinating and diversified opus, kind of Industrial-Soundtrack, which is clearly meant to get joined by visuals to obtain a total effect. AutopsiA again proves to be a project aside from established standards, but with a visionary approach, which can be simply summarized as ‘creativity’. I remain fascinated by the epic arrangements of some tracks.

– – – : I’m less fascinated by the Experimental passages, but that’s also a part of the project and the album.

Conclusion: This work probably is the ultimate chapter of the “Werkstatt”-series meant as ‘Sacred Ceremonies & Ritual Music Of Late Capitalism’.

Best songs: “Be The Eternal Day”, “Work For The Devil 3”.

Rate: 7.

Artist: www.autopsia.net / www.facebook.com/autopsiaofficial

Label: www.illuminating-technologies.comm / www.facebook.com/Illuminating-Technologies-224951170817

About AutopsiA

AutopsiA describes itself as a depersonalized art project working across music and visual production, gathering contributors from different disciplines. Its activity began in London in the late 1970s, continued through the 1980s in art centres of the former Yugoslavia, and has been based in Prague since 1990. Discogs credits Radovan Milinković as a member.

The project issued a series of cassettes in the 1980s, among them “Oscularum Infame” in 1987 and “International Aeterna” in 1988. From the 1990s the catalogue moved to CD through the German label Hypnobeat, with “Wound” in 1991, “White Christmas” in 1994, “Humanity Is The Devil 1604 – 1994” in 1995 and “Mystery Science” in 1996. “The Berlin Requiem” appeared on Old Europa Cafe in 2006.

Illuminating Technologies has carried much of the later output, including “Le Chant De La Nuit” and “Radical Machine /1/” in 2005, “Radical Machines Night Landscapes” in 2008, “Karl Rossmann Fragments” in 2009 and the EP “Muspilli” in 2019. One AutopsiA composition is part of the soundtrack to Peter Greenaway’s film “The Pillow Book”.

The “Werkstatt” cycle ran through 2021 as three EPs, “Die Werkstatt Vol.1” in May, “Die Werkstatt Vol.2” in June and “Die Werkstatt Vol.3”, before the eleven-track album “Werkstatt” was issued by Illuminating Technologies on 28 October 2021 with The Dämmerung Orchestra. Side-Line published a Click Interview with Autopsia on 4 July 2021.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Cinematographic, Industrial, dark-Ambient.

Format: Digital.

Background/Info: AutopsiA and Dämmerung Orchestra strike back with a next chapter of the “Die Werkstatt”-series, which is meant as ‘Sacred Ceremonies & Ritual Music Of Late Capitalism’.

Content: This EP features 4 tracks, which more than ever before sounds driven by Cinematographic music. You’ll notice Dark-Ambient influences and heavy epic-like arrangements with extra Industrial sounds and noises on top, but the global production remains Cinematographic-like.

+ + + : This is a noticeable production in the Cinematographic/Ambient approach of the band. The tracks are well-crafted, but especially the epic arrangements inject an extra touch of drama to the work. “Working For The Devil 3” is a brilliant piece of music. I also like the more metallic sounds running through the work, which are empowering the Industrial input.

– – – : The EP is maybe missing a kind of ultimate apotheosis, but you don’t hear me complaining as this is a pretty cool listening.

Conclusion: Autopsia has already released an endless number of productions, but this series for sure belongs to their best productions in history.

Best songs: “Working For The Devil 3”, “Working For The Devil 1”.

Rate: 8.

Artist: www.autopsia.net / www.facebook.com/autopsiaofficial

Label: www.illuminating-technologies.com / www.facebook.com/Illuminating-Technologies-224951170817

About AutopsiA

AutopsiA describes itself as a depersonalized art project working across music and visual production, gathering contributors from different disciplines. Its activity began in London in the late 1970s, continued through the 1980s in art centres of the former Yugoslavia, and has been based in Prague since 1990. Discogs credits Radovan Milinković as a member.

The project issued a series of cassettes in the 1980s, among them “Oscularum Infame” in 1987 and “International Aeterna” in 1988. From the 1990s the catalogue moved to CD through the German label Hypnobeat, with “Wound” in 1991, “White Christmas” in 1994, “Humanity Is The Devil 1604 – 1994” in 1995 and “Mystery Science” in 1996. “The Berlin Requiem” appeared on Old Europa Cafe in 2006.

Illuminating Technologies has carried much of the later output, including “Le Chant De La Nuit” and “Radical Machine /1/” in 2005, “Radical Machines Night Landscapes” in 2008, “Karl Rossmann Fragments” in 2009 and the EP “Muspilli” in 2019. One AutopsiA composition is part of the soundtrack to Peter Greenaway’s film “The Pillow Book”.

The “Werkstatt” cycle ran through 2021 as three EPs made with the Dämmerung Orchestra, “Die Werkstatt Vol.1” on 26 May and “Die Werkstatt Vol.2” on 22 June, ahead of this four-track “Die Werkstatt Vol.3”. The eleven-track album “Werkstatt” was issued by Illuminating Technologies on 28 October 2021. Side-Line published a Click Interview with Autopsia on 4 July 2021.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Autopsia can be easily considered as one of the true pioneers of Industrial music. The project always remained a rather enigmatic collective featuring different members dealing with multiple forms of arts. They released an impressive number of music productions, which have been mainly characterized by Industrial bombast, but still with more Cinematographic and Neo-Classic influences. The project remains very prolific and already released a few productions this year. I got in touch with core member Radovan Milinković.

(Courtesy by Inferno Sound Diaries)

Q: We all know Autopsia ever started in London while you later on got relocated to Prague. I think it’s interesting to know the impact a city of London -and its citizens, nightlife, art galleries & musea plus music had on your artistic activities? And what has been the impact/influence of Prague, which is a famous artistic centre?

Autopsia: It would be wrong to think that Autopsia ‘originated in one country’, or a state. One might say that beginnings of Autopsia had a cartography, which included several countries, but it’s better to say, several cities. From the very beginning Autopsia didn’t belong to any state system. Its history is a nomadic one.

Q: Autopsia makes me often think to artists -like painters, who go through different artistic periods in their career. That’s especially true for the music compostions so how do you look back to these different periods and influences? 

Autopsia: The composer seems to me as a gardener who was given to cultivate a smaller or larger part of land; his task is to harvest, to order, and to bind, in short, to transform that which grows on that part of land and the land itself into the garden.

Q: Autopsia is now active for more than 40 years so you for sure have seen a lot of changes/evolutions, but I’m really wondering what you think about the (r)evolution of social media, music streaming etc… which in my opinion are a bit like the antithesis to true artistic creation? 

Autopsia: It would seem that societies have lost their capacity for self-regulation. This capacity is now in the hands of the multinationals… There is no longer any possibility for a rebirth of the individual. A desire for hyper-centralization is the result of technology. Mass culture presupposes a failure of making-oneself-interesting, that is to say, of making-oneself-better-than the-other.

Q: Death has been always a predominant theme in the work of Autopsia, a theme of reflection and creation. How did the perception of death and the artistic creation around this theme evolved throughout the years?

Autopsia: Death is the founder of consciousness, and therefore of political awareness. Isn’t death no longer visible because everything is dead? Because we live in civilization of death? Our society is one of the few societies to have evacuated the question of death. We could even say that one of the major contributions of the Industrial Age was its disappearance.

Q: I often got the feeling Autopsia is a kind of antidote to the ‘establishment’; devoid of influences and commercial purposes or fashion trends, but a ‘total project’ that stands on its own. But how do you see AUTOPSIA? And do you feel related with other artists and/or artistic movements?

Autopsia: Autopsia never coincide completely with stereotypes of institutional forms of culture and media consumption, the activity is directed toward exclusive and hermetic way of expression. Autopsia is interested in self-controlled, programmed ‘personality’ –completely aware of its own capacities and its place in the world. The individuality means the right to have one’s own identity at disposal.

Different aspects of 20th Century Avant-Garde became, after 2000, a main interest of Autopsia. Avant-Garde today is not only an experience of the past and from the past, but also the subject, that is, the object, of history.

Q: You can look back at an impressive and prolific career, but you don’t stop to create and compose. What keeps this artistic fire alive and how would you analize the evolution of your work from the late 70s till today? What are the further plans?

Autopsia: There is a creative flow, but the true achievement is peacefulness, stillness, it is mine only, and one cannot dispossess nor trade with it. Peace and presence of mind are the real results of creative work which is controlled by the author.

This is the time in which Autopsia renovates, re-establishes itself. When you work for a long time then the creative motivation restores itself in cycles, as seasons of the year. When you say ‘I’, it seems it is something stable and permanent, but nonetheless you change along with what you do. It seems it is the same, but it changes

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Cinematographic, Industrial, Neo-Classic.

Format: Digital.

Background/Info: This new work by Autopsia was released one after “The Day Of Great Judgement”. It’s an album of four songs again featuring Dämmerung Orchestra. The album is meant as ‘Sacred Ceremonies & Ritual Music Of Late Capitalism’, which remains a favorite theme of Autopsia.

Content: The tracks feature a fusion between Industrial sound treatments and a strong Cinematographic approach. The main difference with the previous work is the accentuated Neo-Classic style. The work remains orchestral, carried by solid bombastic arrangements, but at the same time refined by more delicate Neo-Classic parts.The tracks are once more pretty elaborated, but especially the last cut is an epilogue of 18 minutes.

+ + + : Sound-wise there’s not that much difference with “The Day Of Great Judgement” and yet it sounds different. The visual strength of the work is more present and definitely accentuated by the Neo-Classic influence of the work. Together with the orchestral arrangements it creates a symbiotic element, which becomes irresistible at the last piece (cf. “Blessed Are The Dead, They May Rest From Their Labours, And Their Works Do Follow Them”). I also have to mention “In God We Trust”, which is a brilliant Cinematographic cut.

– – – : The work of Autopsia often needs different listening and that’s definitely true for this album. You need to discover this album in the right circumstance; just be relaxed and listen to the music and only the music. It brings this visual strength alive, which is essential to enjoy this work.

Conclusion: “Die Werkstatt Vol.1” definitely sounds as part of a greater artistic concept.

Best songs: “Blessed Are The Dead, They May Rest From Their Labours, And Their Works Do Follow Them”), “In God We Trust”.

Rate: (7).

Artist: www.autopsia.net / www.facebook.com/autopsiaofficial

About Autopsia

Autopsia is a longtime Industrial project that has always presented itself as a deliberately enigmatic collective, involving different members active across multiple art forms. The project describes its own history as nomadic, with early activity spanning several cities including London before an association with Prague, rather than being tied to one country. By 2021 the project had been active for more than 40 years, with core member Radovan Milinković speaking on its behalf in interviews. Its catalog is characterized by Industrial bombast fused with Cinematographic and Neo-Classic influences. “Die Werkstatt Vol.1” followed “The Day Of Great Judgement” as the second of two 2021 releases made together with Dämmerung Orchestra.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Cinematographic, Industrial, Neo-Classic.

Format: Digital.

Background/Info: Autopsia saw the daylight at the end of the 70s, but this Industrial pioneer remains very prolific. This new work has been accomplished together with Dämmerung Orchestra. Both projects already worked together, last year releasing the album “Innenräume”. This new work features four tracks.

Content: The main sound ingredients Autopsia has used to deal with are easily recognizable on the new work. It remains a sonic fusion between bombastic/orchestral Cinematographic music accomplished with Industrial sound treatments. The composition has been achieved with explicit Neo-Classic elements. The tracks are elaborated and pretty extended, the final cut holding us in its grip for more than 20 minutes. It also sounds like the most explicit Industrial cuts from the album.

+ + + : Autopsia remains a very unique sound experience; a sonic fusion between different influences, which aren’t totally related with each other. Autopsia remains a true creative project, defying the limits of Industrial music and never being part of a so-called ‘establishment’. Music is expressive and this work brings an overwhelming sound experience with a strong visual appeal. There’s something to say about all cuts, but I especially like “Righteous Man” and “The Last Prophet”. Both tracks sound as the ultimate fusion between all aforementioned influences.

– – – : I can’t say Autopsia innovates, but they remain very interesting.

Conclusion: If you like Industrial music with a retro approach and achieved with heavy orchestral arrangements, join “The Day Of Great Judgement”.

Best songs: “The Last Prophet”, “Righteous Man”.

Rate: (8).

Artist: www.autopsia.net / www.facebook.com/autopsiaofficial

About Autopsia

Autopsia is a longtime Industrial project that has always presented itself as a deliberately enigmatic collective, involving different members active across multiple art forms. The project describes its own history as nomadic, with early activity spanning several cities including London before an association with Prague, rather than being tied to one country. By 2021 the project had been active for more than 40 years, with core member Radovan Milinković speaking on its behalf in interviews. Its catalog is characterized by Industrial bombast fused with Cinematographic and Neo-Classic influences. “The Day Of Great Judgement” was the first of two 2021 albums made together with Dämmerung Orchestra, followed by “Die Werkstatt Vol.1”.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Cinematographic, Industrial, Experimental.

Format: Digital.

Background/Info: Autopsia was assisted by Dämmerung Orchestra to ‘reconstruct’ two of their songs. This is the fifth volume in this series, which was released during 2020.

Content: We first get “Funeral Music For 2020”, which must be a link to some tracks released at the album “The Berlin Requiem” (2006) and, which sounds as pure Cinematographic music composed with Industrial sounds and empowered by epic arrangements. “I Am The Resurrection” coming next is a wink to “Je Suis La Resurrection” released on the album “Humanity Is The Devil 1604 – 1994” (1996). We get a similar Cinematographic approach with explicit Industrial percussion parts.

+ + + : The idea to revisit some ‘old’ and sometimes forgotten songs is an original idea. I especially like the rough and unpolished Industrial approach while the recognizable epic arrangements create a part of drama. The way “Funeral Music For 2020” has been achieved with some piano play injects an extra artistic touch to the work.

– – – : This is the kind of music, which clearly appeals for an extra visual support. So I think this production will become more powerful during a live performance.

Conclusion: This is the kind of production, which is made for the biggest fans of the band. It however remains a fascinating experience in Cinematographic Industrial music.

Best songs: “Funeral Music For 2020”.

Rate: (7).

Artist: www.autopsia.net / www.facebook.com/autopsiaofficial

About Autopsia

Autopsia is a long-running Industrial and Neo-Classical collective whose origins trace back to London in the late 1970s before the project relocated its base to Prague. The group has always operated as an enigmatic, nomadic entity rather than a fixed lineup tied to one city or country, and its discography spans decades of cinematographic, Industrial-bombast productions, including the albums “The Berlin Requiem” (2006) and “Humanity Is The Devil 1604 – 1994” (1996), both referenced on this “Reconstructed” series. In a Click Interview with Side-Line, core member Radovan Milinković discussed the project’s more than 40-year history and its recurring themes of death and individual consciousness. “Reconstructed Vol.5” continues that catalog, revisiting older material with the Dämmerung Orchestra.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Industrial, Cinematographic, Experimental.

Format: Digital, Vinyl, Cassette.

Background/Info: Autopsia doesn’t need no further introduction to Industrial music lovers. They can easily be considered as pioneers in the genre and can look back at an impressive career and discography. This album is a fine selection from songs that were originally composed in between 1982 and 1995. The compilation was originally released in 2011 on Illuminating Technologies as digital and CD format and got a re-release on Other Voices Records on vinyl and cassette. 

Content: The style of Autopsia remains a true enigma. There are for sure Industrial influences running throughout the songs while some epic/orchestral arrangements are sometimes reminiscent of the Laibach approach. But there’s much more than simply Industrial, some pieces being more into a true Cinematographic style. You’ll also notice songs with other influences like Ritual, dark-Ambient and pure Experimental.

+ + + : Autopsia deals with ominous sound; there’s always something intriguing emerging from the tracks. But this compilation is also an opportunity to revisit some early work of the band, which already featured a kind of ‘total-concept’ approach. You can hear it’s not just meant as music, but moving towards a greater artistic creation and concept. Most of the tracks have a strong visual appeal, moving from a pure Dark-Ambient nihilism to Horror-Soundtrack. The composition is elaborated and diversified. “The Time Of Pain And Time Of Waiting” originally released in 1990 is a brilliant piece of Cinematographic music moving crescendo to a sonic climax. I also want to mention “Monster And Mad Point”, which is characterized by a desolate sphere.  

– – – : I can’t say this album is the best Autopsia work I’ve ever heard although it’s a cool way to get back to the early years of the band.

Conclusion: “Weltuntergang” perfectly summarizes the sound and approach of Autopsia; hard to label and always intriguing.

Best songs: “The Time Of Pain And Time Of Waiting”,  “Monster And Mad Point”, “Weltuntergang Theme II”, “Lebensherrgabe”.

Rate: (7½).

Artist: www.autopsia.net / www.facebook.com/autopsiaofficial

Label: www.othervoicesrecords.com / www.facebook.com/pages/Other-Voices-Records/196767663702999

About Autopsia

Autopsia is a project based in Prague. Discogs lists the project’s chronology from a self-released cassette in 1985, followed by “Oscularum Infame” (1987) and “International Aeterna” (1988) on Produkcija Slovenija, through albums including “The Berlin Requiem” (2006, Old Europa Cafe).

“Weltuntergang” compiles early recordings dating from 1982 to 2010, remixed and mastered at Mustakillah Studio in Prague according to the release’s own Bandcamp credits; it was first released on Illuminating Technologies in 2011 and reissued on vinyl and cassette by Other Voices Records.

Autopsia discussed its recent work in a 2021 Click Interview and went on to release albums including “Werkstatt” (2021, Illuminating Technologies) and “Public Lesson In History” (2023).

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Dark-ambient, drone, cinematographic, experimental.

Format: Digital, CD.

Background/Info: This album features thirteen artists dealing with music influences related to dark-ambient, drone, cinematographic and related genres.

Artists: Rapoon, Troum, Autopsia, Schloss Tegal, Tunnels Of Ah, Alphaxone ao.

Content: Eight Tower Records (subdivision of Unexplained Sounds Group) invites the listener to a sonic travel where darkness is King. There’s an interesting mix between established, great names and  a few ‘new’ ones. They all bring an interesting twist of dark music moving from heavy sound treatments towards pure experimentalism/minimalism driven by field recordings to dark evasive passages into the realms of cinematic music.

+ + + : This compilation reveals a great sound production, which I especially noticed on the tracks by Rapoon and Gaspar Peralta –who’s one of those ‘new’, but talented artists featured on the sampler.  The track by Simon Balestrazzi is another attention grabber for the mix of cello-like sounds together with metallic noises and vocals’ effects lost in space. Taphephobia is one of the noticeable formations in the cinematographic style, but my absolute favorite track is the one by Martyria. I discovered this Greek project by their debut album released on Malignant Records. They’ve been featured here with a track that makes me think of a haunted version of Ennio Morricone.

– – – : The biggest names from the compilation aren’t maybe featured with the best cuts.

Conclusion: This is a sampler with a great sound production featuring visionary and diversified artists.

Best bands: Martyria, Gaspar Peralta, Taphephobia, Rapoon, Simon Balestrazzi, Troum.

Rate: (8).

Label: www.facebook.com/eighthtowerrecord

About Eighth Tower Records

Eighth Tower Records is an Italian label founded in 2017 by Raffaele Pezzella, who also records as Sonologyst, as a subdivision of his Unexplained Sounds Group. The label focuses on dark-ambient, drone and experimental music and has since expanded into book publishing. “Drone Islands / The Lost Maps” also features Schloss Tegal, Gaspar Peralta and Simon Balestrazzi among its thirteen contributors.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com