Dwaalspoor, the party in The Netherlands for Neofolk, Martial, Industrial, Darkambient and Militarypop now exists for almost 7 years, as a frequently returning dance night but also in extended editions. Over the year the party became more and more successful. Thanks to the increasing number of visitors many different and exiting bands have played live on the Dwaalspoor party in the Netherlands. You can think of things like: "Cawatana, Foresta di Ferro, Die Weisse Rose, Naevus, Roma Amor, Sephiroth, Ordo Rosarius Equilibrio, Arcana, :Of The Wand And The Moon:, Volksweerbaarheid, Sturmast". Over the past few months we've been working on a new special edition a bit to celebrate the success of these past years and because now the time is there for something even bigger! On November the 14th 2009 we present you the first Dwaalspoor Festival edition. Five different live bands from the different musical backgrounds we normally cover will perform. There will be merchandise stands from the bands, the M'allochio CD stand, a clothing stand from Sturmbachz and a special stand from the Cold Spring label. After the bands Dwaalspoor goes on with our regular after-party till 04:00. DJs DistortedChaos & Nicole + DJ Marcel P. will serve you the music and are willing to take your musical requests during the evening. Live we present you: DER BLAUE REITER, KRIEGSFALL-U, JANNERWEIN, DER FEUERKREINER, SATORI. Der Blaue Reiter (ES)Atmospheric ambient with haunting industrial samples, accompanied by the sounds of martial drums: music for the end of the world! This bands consists of Sathorys Elenorth (for vocals, guitar, keyboard, percussion and piano) and Lady Nott (for vocals, violin and percussion). Both of them are also known from other projects; Narsilion, Lugburz, Ordo Funebris and Endless Asylum. Especially for Dwaalspoor festival Thomas Bojden (Die Weisse Rose) will join in on percussion! Der Blaue Reiter returns with a third full album called NUCLEAR SUN, where each of the compositions are impregnated with powerful percussions and majestic neo classical passages full of pain and sadness. This new music chapter is inspired by one of the greatest nuclear disasters of our times: The disaster of Chernobyl. "You can feel the crying of our past, the legacy of humanity behind the desolation of the ghost town of Pripyat... where dreams are just a legend and death is the darkest reality... A perfect soundtrack that offers a homage to all victims that fell under the sky of "Nuclear Sun". Online: http://www.myspace.com/derblauereitermusic Kriegsfall-U (HU)The beating of drums, the clash of swords, the noise of marching boots, the murmur of prayers ... Kriegsfall-U describes itself as: Sacral post-industrial from Hungary with heroic, religious and philosophical influences without compromise. In the Blood of Heroes of Love and Fear. Purity and Justice against the Wane and Impurity. Beat the Beast! The name Kriegsfall-U has been borrowed from a militaristic plan from king Franz Joseph I, king of the Austro-Hungarian Monarchy at the turn of 20th century. Democratic decay and riots started to overrun the monarchy. King Franz Joseph I devised plans to restore the authority and order of the monarchy: the part of the plan that needed militaristic assistance was called Kriegsfall-U. Due to several circumstances this plan failed to fulfill its purpose and ended in the disintegration of the 1000 year old monarchy. Kriegsfall-U brings back memory of those heroic times in the past of Central Europe, when kings ruled with the sword and a strong spirit. All these elements you can find in the sound of the band: the martial drumming, old samples and the sometimes aggressive powerful voice. Or sometimes a calm, rhythmic sound with a reciting voice. The band has some interesting releases at Cold Spring label: including a self-titled debut in 2005 up, contributions to several samplers and projects, and a split 7 with Wappenbund. Online: http://www.kriegsfall-u.hu http://www.myspace.com/kriegsfallu JANNERWEIN (AT)Jännerwein takes both the classical neofolk genre and the mainly central-European folklore, and combines it in their very unique way. They create an audible image breathing the melancholic atmosphere of the alpine mountains, lakes and forests they are surrounded by from childhood. The main characteristics of their very organic, fluid sound is the use of numerous traditional instruments, such as bouzouki, hurdy-gurdy, flute, violin and accordion beyond the central elements of guitar, bass and percussion. Concerning lyrics this Salzburg foursome is often inspired by the romanticism's central subjects of search, nature and human affectivity. Jännerwein is relatively new as a band, but their first cd Abendlauten (Heimatfolk/Steinklang) made a very positive impression right after its release in 2008. The sound is to be compared with bands like Forseti, Orplid and Dies Natalis. Online: http://www.myspace.com/neulandmusik Der Feuerkreiner (IT)Der Feuerkreiner was founded in 2000 in Recanati, by Federico Flamini and Valentina Castellani. They had a common interest in mixing and joining their past musical experiences: Federico and his electronic experiments under the Kunst Mork and Commotus Ingenio nicknames; Valentina as a student for polyphonic songs with Giuliano Viabile. Der Feuerkreiners exhibitions are supported by videos aimed to capture the audience attention into series of images. Hailing from Italy, this remarkable duo has been working hard since their 2004 Neuropa release 'La 'Nvidia'. Valentina and Federico appeared as Der Feuerkreiner on many festivals & concerts around Europe, each time gathering more & more fans with every concert they played. Today they proudly present you their first full-length album on Neuropa Records: 'Unsere Zeit'. The album consists of 9 newly recorded tracks over viewing the many facets of the band: from tranquil & heavenly voices to brutal & pounding rhythms. Other interesting releases: a split 7 with Cawatana called 63 days and contributions to the well known Neo Form II and Wir Rufen deine Wölfe compilations. Online: http://www.myspace.com/derfeuerkreiner Satori (UK)Satori have re-emerged, after years of silence since the live release on Tesco (Germany) in 1995. 2007 saw the `KANASHIBARI` album greeted with amazing reviews, a Euro tour, a Japanese tour, and an EP CD `Contemptus Mundi` recorded with Magus Peter H Gilmore, head of The Church Of Satan, providing vocals, again to much critical acclaim. Their unique blend of dark ambient, rhythms and `Fortean Electronics` (much of the sounds employed are recordings of ghost activity, UFOs, occult phenomena, secret military ventures, etc). Keywords for Satori are: industrial, electronics and experimental. The band consist of Justin Mitchell (Cold Spring boss) and Neil Chaney (Pessary). "Kanashibari" is the Japanese term for sleep paralysis (literally "bound or fastened in metal"). The album explores this phenomena, manipulating Fortean sounds and deep dark ambiance. Another interesting release is the split-cd with Sutcliffe Jügend and Merzbow in april 2008. The new album, `Black Helicopters` is being recorded right now, ready for release and tour in 2010. Online: http://www.myspace.com/satoriofficial DJs on this Dwaalspoor: DistortedChaos & Nicole http://www.myspace.com/dj_distortedchaos Marcel P. http://www.black-angel-gathering.de.vu Also present: Cold Spring Records Merchandise Mal'occhio CD Stand http://www.myspace.com/mal_occhio Sturmbachz cloathing http://www.myspace.com/sturmbachz Dwaalspoor Presents Live: DER BLAUE REITER, KRIEGSFALL-U, JANNERWEIN, DER FEUERKREINER, SATORI. http://www.myspace.com/derblauereitermusic http://www.kriegsfall-u.hu http://www.myspace.com/kriegsfallu http://www.myspace.com/neulandmusik http://www.myspace.com/derfeuerkreiner http://www.myspace.com/satoriofficial http://www.coldspring.co.uk http://www.myspace.com/dwaalspoor http://www.myspace.com/mal_occhio http://www.myspace.com/baroeg Open: 19:00 - Close: 04:00 Damage: 15,- Euro. Baroeg Spinozaweg 300 3076 ET Rotterdam route infohttp://www.baroeg.nl/route.htm

The Wire # 298 December 2008, Outer limits, reviewed by Keith Moline

Satori
Kanashibari
Dogma Chase LP

OK, let's tick the list of items off the Dark Ambient checklist: expensive
black and gold-embossed sleeve which appropriates Fuseli's The
Nightmare, track titles like 'Nocturnal Fury' and 'Unseen Force', the
assertion that the music derives exclusively from 'paranormal
recordings or situation', the participation of Justin mitchell, boss of
Cold Spring Records, home of all things dark-with-a-capital-D. (His
cohort on Kanashibari is Pessary's Neil Chaney; considering the album's
general air of Gothic menace, his first name might as well be Lon.) But
by showing no compunction in tying themselves so rigidly to their
genre, Satori allow us to focus on what's really important about their
music, its unbelievably lush textures, created with obvious care and
skill. This album is all about sensuousness - it's all but devoid of
conceptual depth. Despite the duo's use of synth drones, disembodied
voices and martial drums, there's really only one instrument here -
reverb. Tons of the stuff. The choice? Sneer at it, or get lost in it.
The latter's more fun.

The Wire 293 (July 08)

 

MERZBOW / SUTCLIFFE JÜGEND / SATORI
ULU, Malet Street, London - 19th April 2008 (Cold Spring Event page)

http://www.coldspring.co.uk/merzbowULU.php

ULU GIG REVIEWS:

Heathen Harvest review 1

Merzbow / Sutcliffe Jügend / Satori, 19-04-2008, London UK [TAKE ONE]
Thursday, May 01 2008 @ 12:00 AM PDT
Contributed by: S:M:J63

If I was allowed to, there's only one thing I would say about this gig – abso-fucking-lutely amazing!! But in the interests of journalistic integrity I will expand upon this in order to make the rest of you mortals who weren't there to feel what true jealousy is... (insert megalomaniacal laughter here...)

Even before my companion and I got anywhere near the University of London Union building in Malet Street we felt, as well as heard, the first of the night's acts, Satori. The sound emanating from the actual hall was visceral, possessing genuinely crushing weight, and as both of us walked up the stairs the pressure increased remarkably. Satori, better known as Neil Chaney and Cold Spring label boss Justin Mitchell, subjected a sea of appreciative heads to wave after wave of bass frequencies, subsonics, saw-like washes and samples, woven around a substrate of primitive industrial rhythms and set against some quickfire projected visuals culled from old films - particularly in this instance striking were the woman's face covered in creepy crawlies and the scenes of a weird baptism. The tension between these images and the sounds upped the sense of dread and nervousness hanging around this mid-size venue to perfection – add in the sheer physicality of the sound itself and you have a formula guaranteed to hit you right between the eyes and stun the senses into submission.

However, Satori's set only managed to lull one into a false sense of security – indeed any sense of security was rudely shattered by Sutcliffe Jügend, who have just released their new 'Pigdaddy' album on Cold Spring. SJ are unashamedly raw and uncompromising, spitting bile and acid in your face and loving it, but nevertheless with a purpose; here they seem to be about confrontation, more specifically about getting each of us to confront themselves, to look at themselves and all their ugly prejudices and hatreds and sexual hang-ups, and daring us to turn them on ourselves and not others as we are wont to do. Another duo, this time utilising a cacophonous clash of electronic and real instrumentation (like guitar and a weird Asian woodwind affair which produced a noise similar to that used by the cliché snake-charmers), they managed between them to soak the entire hall with a tsunami of the bitterest bile, whipping up a hurricane-force assault on the ears in the process and shredding every inch of our bodies until our flesh lay in formless clumps in pools of blood, pus and rotten semen. Definitely not for those of a sensitive disposition, SJ dares us to look deep inside ourselves and discover the perversity that we all hide in an attempt to be considered civilised – in fact, it almost seems as if they are encouraging us to acknowledge that very side of our characters and achieve a form of liberation and enlightenment through the act.

Of course, the not inconsiderable crowd of attentive listeners were here to pay homage to the master, the craftsman of noise, Masami Akita, otherwise known as
Merzbow; the anticipation was palpable which noticeably increased as the appointed hour for his immanence approached. The man himself, tall with flowing dark locks, prepared his ritual paraphernalia: two laptops, a mixer, effects pedals and what looked like a homemade electronic device that reminded me of nothing so much as a demented oversized version of the stylophone, slung over the shoulder and played guitar style. The performance started off innocuously enough, a simple machine industrial rhythm providing a backdrop to the steadily building blankets of suffocating noise which finally veritably explodes into sheer aural rape and assault. Masami lopes and paces about the stage, stabbing at the effects pedals and 'playing' the homemade device, sending out thick sheets of barrage intent on disintegrating everything in its path. The whole set lasts for an intense 45-50 minutes, the rhythms metamorphosing and evolving amidst the sonic artillery barrage, which rarely if ever let up even for a second, certainly not long enough to enable one to take a breath – the sound pummelled and battered, and pressed down on all the celebrants, the weight a mighty physical reality. In the middle of it all is that tall long-haired figure of Masami, creating, bending and moulding the sound to his will, shaping it into the perfect weapon to effect maximum impact, while those of us on the floor let the noise wash over and drown us, absorbing it and loving every minute of it.

This was an expertly programmed and structured gig – Satori was the 'soothing' intro before the unfiltered and raw acidic attack of Sutcliffe Jugend, whose sole purpose seems to have been to flay us alive and rip every nerve from our skinless bodies and leave nothing but a disgusting mess on the floor. Merzbow was the industrial rendering machine, scooping up all the entrails and bloody innards, and processing them into something more useful. The venue as well the ears of the audience members took a considerable battering and I was surprised that I didn't seem to suffer any form of structural damage. This is one of those gigs that cannot leave you unaffected, even if only by the sheer force of its battering ram impact – certainly this one will remain firmly in my memory for some time to come. And, for me at least, one of the best things about the gig was the mixed nature of the crowd – you had your Goths, death-metallers and punks as well as nerds, geeks, techies, art students and even some people who were older than the usual gig-going crowd; truly a pleasingly broad spectrum of people.

As well as the main attractions there was also the distraction of the Cold Spring stall, piled high with goodies and just tempting you to part with hard-earned cash; Jo and helpers were kept busy all night and the stall was never less than well patronised by the myriads of punters. I addition, CS were also giving out a three-track CD, featuring a song apiece from each of the bands, which, on listening to it back at home, tugged me forcibly back to that night. The bods at Cold Spring have to be commended for running a tight show and for enticing Merzbow over to these shores – let's hope there'll be a return at some point, this punter is well up for it (but I shall prepare my ears sufficiently this time...).

Heathen Harvest review 2

Merzbow / Sutcliffe Jügend / Satori, 19-04-2008, London UK [TAKE TWO]
Thursday, May 01 2008 @ 12:00 AM PDT
Contributed by: drengskap

Concert REport

There's a very healthy turnout tonight at the University of London's ULU venue. This show has been put together by Cold Spring Records, and a nice little bonus for ticket-holders is a free CD containing exclusive material from all of tonight's three acts. First up is a rare live appearance for Satori, a duo which, since the project's 2006 resurrection, has consisted of Neal Chaney, also of Pessary, and Cold Spring's founder, Justin Mitchell. The thunderous percussion and heavy ambient drones which the pair conjure from their laptops whets the audience's appetite for their new release Kanashibari, currently only available on import vinyl from Japanese label Dogma Chase, but scheduled for a CD release by Cold Spring in the near future. Laptop electronics bands frequently suffer in live performance from a lack of visual interest – Satori offer a video projection by way of eye-candy whilst they play their set.

After the brooding darkness of Satori, Sutcliffe Jugend are considerably more extroverted. The veteran power electronics duo, consisting of Kevin Tomkins and Paul Taylor, turn in an absolutely blinding performance, drawing on last year's comeback album This Is The Truth as well as Pigdaddy, their brand spanking new release on Cold Spring. This is the second time I've seen Sutcliffe Jugend live, having caught them at the Slimelight last November, and as before, I'm really taken aback by just how brilliant they are. I don't even like power electronics all that much, but this band, for want of a better word, rocks! Kevin Tomkins is a natural frontman, with a commanding stage presence as he delivers his caustic observations on the roles of pleasure, pain and power in the dynamics of human relationships, which makes it even stranger that the band only gave their first-ever live performances in 2005, well over two decades after their first releases appeared. Sutcliffe Jugend, where have you been all my life? With Whitehouse evidently just retired from live performance, Sutcliffe Jugend are now clearly the premier live act delivering filthy, dirty, old-school British power electronics. With a massive retrospective boxed set, Campaign 1979-2000, also scheduled for release this year, it seems as if the band's reputation is set to rise higher and higher, and seriously, they are totally worth seeing live, if you're lucky enough to get the chance.

Is it just me, or does Masami Akita, a.k.a. Mr. Merzbow, look a lot like that creepy ghost who comes out of the TV set in the movie Ring? You know, long black hair hanging over the face, a blank expression, rotten smelly fingers? Well, maybe not the last, but Merzbow does maintain an impressively placid demeanour amidst the sonic devastation he unleashes from twin laptops and some kind of home-made instrument which he strums like a guitar. I am in no way enough of a Japanese noise aficionado to be able to recognise what he's playing from his bewilderingly vast repertoire (300+ releases!), but talking to people who are hardcore fans (some of whom have travelled from as far afield as Germany for this show), it seems as if he's cutting and pasting bits and pieces of his older, analogue material into a compulsively rhythmic sound collage. Tearing high frequencies swoop and soar around this percussive backbone, and the piece reaches a feedback-drenched conclusion. Faced with music this uncompromising and overwhelming, resistance is futile – once you stop struggling to interpret it in conventional terms, the all-embracing swathes of sound become strangely soothing, like a mother's intrauterine heartbeat. Maybe this is why Merzbow looks so calm – he really has achieved an inner peace most of us can only dream of.


Merzbow / Sutcliffe Jügend / Satori | Split CSR102CD REVIEWS:

VITAL WEEKLY, number 632, week 25

MERZBOW / SUTCLIFFE JÜGEND / SATORI - [UNTITLED SPLIT] (CD by Cold Spring)
Three exercises in ear-crushing symphony on this one! Japanese noise-legend Masami Akita alias Merzbow opens the show with the astonishing work 'Feedyellow mix'; a repetitive piece of aural machismo clocking 14 minutes runtime. With an excellent hypnotic atmosphere of blasting noise this is Merzbow at his very best. Second on stage is Sutcliffe Jügend with the utterly bizarre track 'Pigmother' containing probably some of the sickest vocals ever recorded. Together with noises from something sounding like a distorted chamber orchestra the listener will feel anything but comfortable throughout the five minutes in company Sutcliffe Jugend. Last sound destructors are owner of Cold Spring, Justin Mitchell, in joint venture with Neil Chaney of Pessary. Operating under the name 'Satori', the two sound pilots crush the hell out of the listener with a multi-layered noise-inferno. The work is a so-called 'Hypnopompic' mix of the Paralysis-track originally from the 'Kanashibari'-album released on the Dogma Chase-label in april month. Crushing drones of high frequency noise creates the ground layer meanwhile ritual rhythm textures of acoustic drumming add a great structure to harsh sound symphony. The result is hypnotizing and brutally intense. If you're looking for the art of contemporary noise music this split-album is a very good opportunity to destroy silence. Highly recommended. (NM)
Address: http://www.coldspring.co.uk/

From Musique Machine: (by Roger Batty)

  This three way split was original released as a give away for everyone who attended the recent Merzbow, Sutcliffe Jügend and Satori London show now it's available to everyone else until the pressing of a 1000 runs out. And it's a nice handy primmer to hear where all of the projects sounds were on the night with these exclusive tracks- with the Merzbow track been a monster size track near 15 minutes.

  First up we have the Merzbow track Feedyellow Mix.1 that starts off quite spacey with in it's circling electro pulse tones, but soon enough a manic and tight rhythmic chopping sound takes centre stage and stays pretty constent through out the tracks life. To this main element he piles up around it a shifting noise canvas of all manner of interlink chopping, frying and boiling static tones, with quite harmonic and repetitive elements surfacing along the way. As those who have read my review show will know I'm not too taken by a return to more repatative, rhythmic and quite harmonic centred work, but I'll have to admit this has started to grow on me and as it progresses there are some nice shifting of textures. It just still feels a little safe and dare I say commercial in its intent.

  Next up we Sutcliffe Jügend track Pig mother which follows on from his recent and superb Pig Daddy album with its attempts to stretch and bend power electronics into a more deranged carnival gone badly wrong vibe. With a Central noised up 'n' nasty rolling merry go round mix of electronics and guitar tones. Tompkins singing an almost a nightmarish and demented sea like shanty over the top, as lots of interest and dense textures sawing, perching your ears. Lastly we have the Satori track Paralysis (Hypnopompic mix) which open s up with descending dark march like rhythmic pattern, as we get deeper into the track a seething noise tone is added, along with layers of shifting and noisy dark ambience with a grim harmonic tendencies that keep surfacing. All it's a nice dense, atmospheric and powerful track.

  A nice near on half an hour audio snapshot of each these three artists work around the early half of 08. But I think it will be of most interest to Merzbow fans as his track is the longest here at near 15 minutes.

From Synthesis: (by Troy Southgate)

  SUTCLIFFE Jügend and Satori - both from England - appeared together fairly recently on another Cold Spring release, 'Japan Tour 2007', so I think it's rather appropriate that on this occasion they are joined by the leading Japanese Noise phenomenon, Merzbow. This current split was recorded to mark the appearence of the trio at the University of London Union (ULU) in April 2008, but all three tracks were recorded in the studio. Tokyo's Masami Akita, who formed Merzbow as far back as 1979, is to aural clarity what sodium chloride is to your average common-or-garden slug and kicks off this ear-splitting adventure with the 15-minute odyssey, 'Feedyellow mix.1'. The track's rhythmic frequencies take up the beat as muffled swathes of sonic energy swirl through the musical vortex like a liquid migraine. I've always preferred Merzbow to, say, Yamazaki Maso's work with Masonna, because although it's amazingly intensive and always captivating the former somehow manages to retain a central structure of some kind. Merzbow represents order in the face of chaos; restraint in the face of licentiousness. In a metaphorical sense, perhaps, similar to the image of the silhouetted trees on the CD cover, which create a stark contrast to the eerie mist in the background. The track becomes increasingly more experimental once we pass the ten-minute mark, whoops and tones rising and falling like a beleagured cripple on an escalator. Merzbow puts your teeth on edge, your stress levels at maximum and your headphones on meltdown. And then it's time for the charmingly-named Sutcliffe Jügend, a misogynistic rottweiler lovingly unleashed by messrs. Kevin Tomkins and Paul Taylor as a Whitehouse side-project back in 1982. Their 'Pigmother' (as opposed to 'Pigdaddy', another Cold Spring release), squeals its way onto your radar like a blood-spattered sow. Full of mocking vocals and slurred electronics, this is a bizarre cornucopia of shrill frequencies, grating metal and sneering taunts. The third representative in our triumvirate, Satori, first issued 'Paralysis' as part of their vinyl 'Kanashibari' (2008) album for the Japanese label, Dogma Chase, but here we are introduced to the 'Hypnopompic Mix'. Strangely enough, I'm reading Gary Lachman's 'The Secret History of Consciousness' (2003) at the moment, which discusses the concept of hypnopompic states in some depth. It relates to the work done by Professor Andreas Mavromatis of Brunel University who, in 1987, puiblished his findings about the ability of some people to experience hypnogogia - or 'dreaming while awake' - during the onset of sleep. The word 'hypnopompic', on the other hand, explains the same process occurring at the moment of waking up. The style itself is closer to power electronics than many of the tracks on their previous release for Cold Spring, but at the same time it's hard to deny the semi-martial influences at work here. The infectious, tribal beat is assisted by the sound of a small bell that almost sounds vulnerable amidst the tumultuous background with its scathing wisps of radiophonic interference. It's like trying to find Radio Four in the heart of the Belgian Congo, with a cannibal breathing down your neck. Who probably happens to have a small bell, too ... er ... but it's a great track and Justin Michell and Neil Chaney have pulled another little beauty out of the hat because this is easily the best track out of those on offer. All in all, a nice little threesome and well worth grabbing while you still can.

 

SATORI - 'Kanashibari' LP (Dogma Chase) - £15 / £17 / £19

First ever vinyl release from UK Dark Ambient / Fortean Electronics act Satori - Neil Chaney (Pessary) and Justin Mitchell (Cold Spring boss). "Kanashibari" is the Japanese term for sleep paralysis (literally "bound or fastened in metal"). The album explores this phenomena, manipulating Fortean sounds and deep dark ambience. Ltd x 300 hand-numbered copies in a stunning full-colour inner sleeve, with die-cut matt finish outer sleeve, embellished with gold print and spot varnishing. The CD version of 'Kanashibari' will be released on Cold Spring late spring 2008 (CSR95CD).

http://www.coldspring.co.uk/mail_order/Dogma%20Chase.php

http://www.molehill.jp/dogmachase/

 

--------------------------------------------------------------------------------

Merzbow / Sutcliffe Jügend / Satori | Split  - £8 / £9 / £10

CSR102CD (April 2008)

Released on the occasion of Merzbow, Sutcliffe Jügend and Satori at ULU, London, 19th April 2008. Japanese Noise, Power Electronics and Fortean Electronics from these 3 giants of the Noise / Industrial scene, with one exclusive studio track from each act. This CD is presented in a full colour card slip and is shrinkwrapped. Limited to 1000 copies only - act fast!

Track Listing:

1. - feedyellow mix.1 (14:33)
2. Pigmother (4:48)
3. Paralysis (Hypnopompic Mix) (6:28)

http://www.coldspring.co.uk/discography/csr102cd.php

19 Apr 2008, 20:00
Malet Street, London, London and South East WC13 7HY
Cost : £15

Tidal Promotions presents: COLD SPRING @ ULU. Live: MERZBOW / SUTCLIFFE JÜGEND / SATORI @ ULU, Malet Street, London

WC1E 7HY. 7.30pm. £15.00 Advance. Tickets: Ticketweb : http://www.ticketweb.co.uk, Box Office: +44 (0) 844 771 000.

Please note that Cold Spring is not selling tickets for this event! Full info: www.coldspring.co.uk/merzbowULU.php

SATORI appear on 'ENERGIA' compilation

http://www.myspace.com/firsthumanferro

The UKRAINIAN DARK SYNDICATE proudly present an ENERGIA tribute compilation dedicated to a centenary of the founder of world..s practical astronautics – S.P.Korolyov (1907-1966). Former USSR chief engineer and designer, he has gone down to spacecraft history as an ingenious inventor of world..s first satellites, rockets, and human spaceflights, Y.Gagarin..s including. Herein we render homage to a genius who brought human phantasies to outer space reality. An exclusive compilation which ranges from multi-faceted deep dark ambient to electroacoustics-related is featured by ATOMINE ELEKTRINE, AUTOPSIA, CISFINITUM, DEUTSCH NEPAL, FILIVS MACROCOSMI, FIRST HUMAN FERRO, ISOMER, KRYPTOGEN RUNDFUNK, NOCTURNAL EMISSIONS, POLYGON, SATORI, THOLEN, VESTIGIAL, and VISIONS; compiled and executed by Olegh Kolyada (FHF/Oda Relicta). Coming as a glossy six-panel digipack CD with 12-page booklet this special recording is a must-have piece of art to all space-addicted people of good will.


Available from Cold Spring:

http://www.coldspring.co.uk/mail_order/OMS%20Records.php

 

Videos of SATORI performing live, on the Japanese tour in April 2007, have now been uploaded to YouTube:

http://www.youtube.com/Deadchannel23

Tesco Disco: Heavy Electronics II

Satori's "Haut Bohrung, Parts I-IV" opts for a slow rush of scouring electronics and corrosive white-noise with a glorious climax of noise-scarred Gregorian chant; monochromatic, if never quite static or dull, but formidable and overwhelming at an uninterrupted fifty-two minutes.

Extract of review by gil gershman  http://sonomu.net/text/~182/

---------------------------------------------------------------------------

'Japan Tour 2007'

From Synthesis: (by Troy Southgate)

 DESPITE the impression given by the title, this split CD is not actually a live recording at all but a release that was made available when these two dedicated purveyors of extreme Power Electronics visited Tokyo in May 2007. My experience of Sutcliffe Jugend had, thus far, been restricted to 1997's "We Spit on Their Graves" album, which was infamously "dedicated" to the prostitutes murdered by namesake Peter Sutcliffe -The Yorkshire Ripper - and also released under the Cold Spring moniker. Between that and this present offering, Sutcliffe Jugend had released a further two albums, namely "When Pornography is No Longer Enough" and "The Victim As Beauty". What I like about Kevin Tomkins and Paul Taylor is their ability to think outside of the humanistic box presented to us on the daily news. There is a lot of hype surrounding the general public's professed sympathy towards well-publicised icons of the victim industry like Princess Diana and Madelaine McCann and therefore it's quite refreshing to see the duo reflect this mass hypocrisy right back at them. Their contribution to the CD is a single 28-eight minute track called 'White Goods'. It certainly begins in an unassuming enough manner, as a gently shuddering blend of ambient drones and pitches. Softly spoken, menacing vocals ("You know who I am") make nasty threats over a light piano melody. But don't make the awful mistake of thinking this is more of a mellow SJ release like I did and whack up the volume, because on five minutes the listener is viciously shaken out of this drifting, contemplative mood by a loud burst of tortured screaming and a brutal misogynistic pleading: "Deface. Deface her. Deface. Deface her." Things do quieten down a few minutes later, however, as a psychedelic buzzing helps to soothe the after-effects. But I‚m a very fast learner and when the piano returns again around the 10-minute mark, I brace myself for what follows. At first, there is a vocal stream of consciousness in which sentences appear to be linked with a word from the preceding sentence. Rap for the psychotic. Sonnets for those about to snuff it. It‚s quite effective, too, and the track continues to flap along like a punctured tyre until the beeps, creaks and whispers build up into a fiercely ejaculated frenzy: "Do you want to share the same bed!!?" Not the greatest chat-up line in the world, but somehow I don't think the good lady has much choice in the matter. The lyrical violence sounds like a strangled cat trying to imitate Dani Filth; or a petrified Sooty being kicked off the summit of Toytown Mountain and then being stamped on for good measure. The piano pops in again above a litany of unsympathetic queries about the value of human life and continues in that vein until the end. But what Sutcliffe Jugend have done here is to demonstrate that controlled aggression is just as effective as the vitriolic outpourings that characterise their previous efforts. A stunning and well thought-out track. And so to Satori. Despite having known Justin Mitchell for almost ten years, I hadn't heard the group's work before and was keen to find out what he and Neil Chaney have been getting up to recently. Not that I'm jealous or anything. Satori had already produced two cassettes ("Behold the Past" and "Satori") back in the 1980s and an album ("Infect") in 1995 on the Functional Organisation label, so there are clearly significant gaps of inactivity between the releases. But then Justin does have a successful label to run. Described as "Fortean Electronics", Satori are part of the backbone of the UK's relatively small Power Electronics scene and it's good to see that they recently had a chance to export their wares to the Far East. There are three tracks on their 20-minute session on this CD and the first of these, 'Convulse', is almost militaristic in its constant rhythmic pounding. It‚s the English answer to pure Japanese fury, containing both structure and direction. The victory of the Apollonian over the Dionysian. That which deviates from the acclimatized 'norm' is controlled, like a responsible dog-owner with three Dobermans straining at the leash. This is what Power Electronics should be. It's ominous and foreboding, but the energy being generated is never allowed to get out of control despite the presence of an interesting psychedelic dimension. 'Dead Channel Transmission' hisses and spits like a drunken whore, but again, there is an underlying beat that - in this case - even verges on tribalism. Any discordance that breaks away from the frenetic centre is shaped and tempered until it compliments the whole. Impressive. 'Eruption' also contains this semblance of military precision, the driving meters of sound rinsed over with rumbling waves of machinery. But Satori's accessible style is reminiscent of an old-school Industrial sound that has merely been influenced by Power Electronics, rather than something which has been cut from the same cloth as, say, a Masonna or Grey Wolves. And for that it's all the better and simply proves that we English do things best!

http://www.coldspring.co.uk/reviews/csr83cd.php

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From http://industrial.org/

OFFICIAL DISCOGRAPHY:

'Kanashibari' LP(Dogma Chase Records 2007) Forthcoming

http://www.molehill.jp/dogmachase/forthcoming.html

'Japan Tour 2007' split cd with Sutcliffe Jugend (Cold Spring 2007)
'Japan Tour cd 1, Out-takes,Demos & remixes'(Ltd edition cdr 2007)
'Japan Tour cd 2, Haut Bohrung, Parts I-IV (Remix 2007)'(Ltd edition cdr 2007)

'Haut Bohrung Parts I-IV' Tesco Disco: Heavy Electronics II 4xCD
(anenzephalia + con-dom/grey wolves + inade + satori)
(Tesco Organisation/Germany/1997)

'Infect' CD (Functional Organisation/Germany/1995)
'Behold The Past' MC(Mindscan Tapes/UK/1988)
'The Power Of The Gun' MC(Broken Flag/UK/1988)
'Satori' MC (Broken Flag/UK/1987)

COMPILATION APPEARANCES:

Field Tales 3xMC Box (Hospital Productions-Peel Back The Sky/USA/2002)
Deafness Is Not A Gift CD (Deafborn/Germany/2001)
RRR500 LP locked groove (RRRecords/USA/1998)
Four Years In 30 Seconds CD (Dirter Promotions/UK/1998)
Four Years In 30 Seconds 10" (Dirter Promotions/UK/1997)
First Circle Cass. 001 MC (First Circle/UK/1992)
Religion MC (Zero Cabal/Australia)
UK Electronics MC (Mindscan Tapes/UK/1990)
Shoot And Crucify MC (Dachau Tapes/UK/1988)
Ain Dub 1 MC (JFK/UK/1987)