Electronic / Drone

Coming in from Spain only recently is "Vacuola", the latest album effort created by long standing - we're talking a debut cassette tape album under his real name in 1990 here... - electronic music composer Javier Hernando in collaboration with Angel Lalinde. Released via Wet Dreams Records the hand-numbered twelve tracks and roughly 42 minutes spanning album starts off on an immediately threatening and most of all hostile tip with earth shaking bass movements creeping up from gargantuan subsurfa…

Dismantling the acoustic to feed the electronic, Editions Mego presents Telepath, the new album by Material + Object. Born out of a single improvised recording session with a lone Violinist, Telepath is a startling album of future electronic music, resulting in an LP of unique and timeless tracks that reimagine a classic sound for an endless future. Boldly departing from his previous canon of largely 'ambient' work, Material Object's Telepath renders itself out as something much stranger, someth…

Black Vinyl. For more than three decades now Sydney pianist and composer Chris Abrahams has developed a singularly iconic body of work. Known widely for his work with trio The Necks, Abrahams solo works have carved out an entirely otherworldly realm in sound. His explorations of organ, electronics, and piano capture a restless curiosity and timbral interrogation that only deepens with each of his releases. With Follower, his compositional language further expands. Melodies cascade with a cinemat…

*2022 stock.* Lunus at his beAst monochrome stark harsh beat & anti-drone musick. For those who do not have memory Lunus is the solo project of Devis "deviLs" Granziera of Teatro Satanico. And indeed here, among these gloomy tracks, you may find the bitter essence of older Teatro Satanico recordings. Industrial noise reverberations and echoes emerging before dissolving once again to leave tense heavy beat. And then strands of bursts of unbridled synthetic mangling. And subsequently wisps of mela…

*2022 stock. Limited edition of 300 copies.* Re-Edition of a rare cult album first out on Steven Stapleton's (NWW) own label United Dairies in 1988. Plus as bonus for this special re-issue, a never heard, unreleased track of 30 minutes! Masstishaddhu members were Sean Breadin, Mike Watson and Richard Rupenus, all of whom were also members of Metgumbnerbone; Richard is also a member of TNB...tribal & droning psychedelia from over three decades ago - a very special album to be re-discovered. Maste…

*2022 stock* Old Europa Cafe present Madeira, a collaboration between two great swedish CMI area projects Negru Voda (Megaptera's side project) and Moljebka Pulse. Two long dark industrial tracks in best cold northern tradition.

*2022 stock. Limited edition of 282 copies.* After searching for an old Folkstorm recording in his vaults, Nordvargr discovered more unreleased material than he was looking for: old recordings from 1997 and 1998, all previously unreleased !Now, after more than 10 years, these old recordings see the the light (?) of day. This is all harsh gritty oldschool Folkstorm (the one we like the more !), served up fresh and carefully remastered from the original analogue tapes. Also included are the four t…

*2022 stock.* Folkstorm is the uncompromising power-electronics solo project by Mr. Nordvargr Kremator, leading mind of MZ.412. The sounds on this Folkstorm debut album are quiet different and not related to MZ.412, this is heaviest power-electronics and old school industrial ranging from real beating tracks to more noisy ones with loads of sampled voices. A masterpiece of real "Industrial Muzak".

*2022 stock.* Second release on OEC by this great side project of MZ.412 leader Mr. Nordvargr! This time playing helped by Mrs. Nordvargr. This album was recorded live at Nar Mattaru on March 11 2000 in front of a selected audience. Simply a bombastic live attack, this is the renascence of uncompromising power-industrial, this is MUZAK for "no prisoners" war status !

*2022 stock. Limited edition of 300 copies.* Only a year after the "Nihil Total" album Folkstorm returns stronger than ever with an album of suffocating and death-infused ortodox industrial. Recorded using only 70´s circuitry and lots of metallic percussion Nordvargr has created a dense atmosphere that is dark and threatening as well as hypnotic. A clear statement of what 2020, and possibly the future, will hold for us all; decay, darkness and suffering.

*2022 stock. Limited edition of 500 copies.* Fourth chapter of a series that began with 2007’s “Whispers Of The Approaching Wastefulness” (Cyclic Law). A Conceptual soundtrack envisioning the evolution of a fictional story and of which will soon come a VR experience. After centuries of isolation the human race begins a journey in search of the causes that led to the end of its world, and for the first time it approaches the Structures, new life forms that have developed and evolved in the emptin…

*2022 stock.* Formed by aggression and pain the aptly titled CD 'Pain Implantation' is probably a good description of the music, given the focus of the approach. Sparse and suffocating atmospheres float forth while distorted sicken tones are injected. The opening track lulls the listener into a false sense of relaxation before the distorted frequencies leap out to reek havoc on the listeners cerebral area. The music throughout the disc pounds on your skull without mercy and then slows down befor…

*2022 stock.* Long time sold out and very requested album, finally here comes the re-print. The powerful side project by Peter Andersson aka "Raison D’Etre".7 studio tracks & for the first time on digital format 3 live tracks recorded in 1998 during the Nursery Injection Festival in Stockholm. The sound is getting more harsh & powerful than on the two previous cd releases. 56 minutes of great and uncompromising power-electronics. Dark and painful sounds with few filtered voices coming from a col…

*2022 stock.* Full length album for this great Sweden power industrial duo & Raison D'Etre side project, 3rd S/T album produced on OEC! Fixation is in our mind, and the world may be a cruel place just as reflected in "Fixation". This album mainly contains unreleased material recorded in 1998-1999, in the vein of the earlier CD album "Genetic Implosion" but way more harsh and brutal, there are also two completely new tracks recorded in 2004 showing a change in direction by combining doom metal an…

*2022 stock.* Is it really dead? : yes, this release marks the end of Stratvm Terror. But what an end! Massive sounds of drowning liquids, mechanized background noises, brain mangler soundscapes and harsh abrasive amplifications. Playing this loud will probably make you deaf, but what else is there to listen to after experiencing this. 'Aged Fractures and Dead Ends' is a vast collection of various archive material produced by the Stratvm Terror constellation Peter Andersson (Raison d'être) and T…

*2022 stock.* OEC was since ever the home for the more harsh & batteling Peter Andersson aka Raison D'etre side projects. OEC was releaseing the debut Stratvm Terrror CD & 2 other very acclaimed ST followers ...Now we like to go with this new disc by Peter which will be the very last one for his other "harsh" project : "Panzar".World War II has ended and so will Panzar ....Including a unique live performance from the hot summer desert war 2005 and a number of early prototypes never released befo…

»Herbstlaub,« the third album by Marsen Jules, was both introspective and visionary, modest and ground-breaking. Blending elements of classical music with electronic textures, the German artist created six pieces that draw on the power of repetition, yet are full of internal tensions and sweeping dynamics. Now, Keplar makes it available again on vinyl for the first time since its original release in 2005. This version, remastered by Stephan Mathieu and with a new artwork by Umor Rex’s Daniel Cas…

Distorted Nude is Glenn Dick's new project after Find Hope In Darkness, marking a decisive shift from a wholly computer-based practice to one centred on electric guitar. The Sprawl is a single composed track built from improvised sessions with guitar, effect pedals and laptop, drawing on the Belgian underground's long tradition of droning post-rock. The piece flows between dark melancholic drone and more transcendental zones, holding the listener through patient, slow-burning architecture.

Composed during 2014, Haarvöl's second album consolidates the Portuguese trio's writing practice: a non-hierarchical compositional grammar where analogue, digital and electronic sources sit on equal footing, threaded with field recordings as structural rather than illustrative material. The trio favours density over experimentation for its own sake, building rigorously detailed cinematic textures whose internal consistency works through resonant correspondences rather than repetition.

On his first physical release, Glenn Dick steers Find Hope In Darkness away from the broken-beat and post-rock textures of his earlier digital work, redirecting it toward sustained drone form and the darker reaches of ambient music. The writing favours long, slowly modulating tonal masses over event-based gesture, working with low-register density, harmonic ambiguity and the gradual erosion of timbral edges. Dark ambient and isolationist drone treated as immersive interior.

Recorded in a single late-night session in 2005 - electric guitar by Alasdair Satchel processed live by Ruaridh Law (TVO) through AudioMulch - and first issued as an elusively limited CD-R on Diesel Combustible. Here remastered to cassette with an added Orphax remix. The music sits on the threshold between drone and live processing: feedback and slow textural beds opened up through computer-assisted transformation, weighing organic warmth against an abstract, unstable foreground.

Drawn from material composed between 2005 and 2007 and revised through 2010, the first standard CD under the Orphax name. Sietse van Erve's writing rests on minute compositional detail: slow-shifting drone fields that drift between long-tone minimalism, isolationist soundscape and lo-fi experimental ambient. A deepening of Orphax's investigation into psychedelic, mind-altering atmosphere through reduced means, where harmonic stillness and slow textural accretion carry the structural weight.

Built entirely from a single acoustic source - a rare zither-family instrument of 114 strings, with eleven chromatic chord banks switchable between major, minor and suspended-fourth voicings via semitone levers, plus three octaves of plucked melody strings. Across two impromptu sessions, Sandy's playing is processed live by Rose: long sympathetic resonances, prepared techniques and varied attack points open a suspended landscape between minimalism, drone and modern classical.

First compilation in a series where other musicians reframe pieces from Orphax's ongoing Dream Sequence cycle, an open-ended sequence of experimental ambient and drone works. Haarvöl, Jos Smolders and Rutger Zuydervelt (Machinefabriek) each take a different Dream Sequence as point of departure, returning quiet contemplative re-readings that fold their own languages into the source. A study in remix-as-translation across the Dutch and Portuguese electronic-experimental axes.

Second solo album by Gagi Petrovic, mastered by Jos Smolders. The pieces are performed on GEST, an instrument Petrovic designed himself with STEIM: a light-sensor interface that translates hand gestures breaking light beams into commands for a granular-synthesis environment built on audio recordings. The album frames itself as an exit from arbitrary expectations of what music should be, foregrounding intuitive performance and indeterminate structure within a precise compositional architecture.

Debut album by the young Belgian composer Ryan Van Haesendonck, mastered by Stephan Mathieu. The pieces grew from a week spent on the quiet beaches of Normandy, then continued in Brussels after his move from Antwerp. The vocabulary combines field recordings of church bells, improvised organ sessions, urban recordings of the new city and saxophone passages by Silke Bull, layered into eight short pieces. Cinema-informed ambient on the theme of solitude and self-preservation.

First in a series of collaborations between artists already on the label. Bruno Duplant on church organ, Alfredo Costa Monteiro on synthesizer, composing remotely a single long-form piece. The vocabulary moves between mass, flow and slow combustion: tonal accumulation that the artists frame in alchemical terms as an athanor of doubt and dream, a continuous sublimation that renews itself. Slow drone built across the organ-synth axis, mastered by Duplant.

Two compositions built on what van den Broek terms parameter canons of sine wave generators. The canon, classically a counterpoint device producing imitations of a line after a temporal offset, is here transposed onto pure electronic material: custom-programmed sine generators allow exact control of phase shift, interference and frequency drift between initial wave and successors. The resulting beats, difference tones and spatial events expose the physical richness of pure sound.

Follow-up to There Was Hardly Anybody There (Spina!Rec, 2016). Belorukov moves once again away from improvised saxophone toward electroacoustic studio composition. A central role is taken by Boris Shershenkov's reconstruction of the Variophone, a 1930s photo-electrical instrument by Evgeniy Sholpo that produces sound from cut-out discs recorded as optical film tracks, prized for its instability and colour. These are layered with field recordings, samples and synthesis, weighted to the low end.

Compilation that grew out of the label's December 2019 crowdfunding campaign. Twenty-four musicians contributed across sixteen tracks, mixing solo pieces with ten new collaborations (TVO & Jos Smolders, Radboud Mens & BJ Nilsen, Kouw & Petrovic, and others). The set holds together with surprising consistency across modular composition, minimalist ambient drone and electroacoustic experiment, functioning as a cross-section of the label's network at a precise moment.

Final volume of Haarvöl's trilogy. After the noisy beginning of Bombinate and the move toward the periphery of Peripherad Debris, the trio arrives at the frontier as a psychoanalytic empty signifier: an edge that holds both interior and exterior. The album is built from what they call 'whispering remains', material left behind by previous compositional decisions, here treated as a vantage point looking both backward and forward. Drone microsound at the limit of the project's own grammar.

Cinema Perdu's third album for the label, extending his investigation of human impact on landscape after Interventions in a Landscape and Amsterdam CS. The material here is drawn from trips through the Frisian polder, where the strict demarcations of the Dutch countryside change atmosphere with weather and light but above all with the geometric clarity of human marking. Field recordings are read as abstract forms and colours, then translated back into new compositions.

Brussels’ based media saboteur Yann Leguay operates with conscious ambiguity at the intersection of music, sound art and installation. Depending on the context you could as well describe him as a performance artist, a musician or a visual artist. He has little interest for such definitions and feels all the more unobstructed in his work, ready to hop from one domain to the other freely. On this release for Tanuki records he presents two contrasted pieces. The A-side, entitled “Here I am / A port…

Two compositions on the social and ritual function of music, drawn obliquely back into the experimental frame. The first piece, L'Anglard de St-Donat, takes a Central-French mazurka recorded from Alfred Mouret as its hidden source, building solid drones and recurrent structures from bowed and struck metal objects with quasi-melodic counterpoint. In Le désir the strategy inverts: detuned organs provide the rigid harmonic context within which bowed metal sticks are tuned.

The Winter Trilogy and The Big Fall trilogies were realized between 2015-2019 in the Netherlands and implemented into a sequence of live shows during the same period. Both inspired by cultural sonic imprints, the Winter Trilogy (computer & accordion) and The Big Fall (computer & analogue synthesizer) explore the potential and the antitheses between analogue versus digital while expressing a personal view of particular rural landscapes.

Costa Monteiro's fifth solo accordion album, and the one in which he deliberately reverses his earlier recording strategy. Where previous works placed microphones almost inside the instrument to foreground materiality, structure and deconstruction, Not Knowing instead treats the accordion as an object in space, with the architecture of the recording room becoming essential to the work. The result blurs the limits of identification, holding the instrument's identity in productive uncertainty.

Nine years after Play Cat's Cradle, Rose and Sandy return to the same ecclesiastical source - here an auto-harp from the same convent - for a second extended collaboration, again played and processed live. The album divides into nine spectral bands functioning as strings to be stopped, muted or amplified, and reads the intervening years as a shift from devotion and idealism to entropy and conflict. The acoustic body remains, but its overtones now turn cold, shrill, fractured.

The Latin title - 'explaining the obscure by means of the more obscure' - frames a collection of drones composed by Kouw across an extended period, in which the initial moments of inspiration are deliberately obscured in the final material. Long-form ambient drone work, mostly close to alien stillness with the occasional submerged rhythmic emergence, the album positions itself in the alchemical lineage where the act of explanation projects further mystery into what it claims to clarify.

**200 copies** Behind Oak House stands mysterious D. Carfagna, who created these very effective Ambient tiny jewels with a guitar and a 4-track recorder in a long razed house in midtown Kansas City, Missouri back in 1994-1997. Spacious guitar drones like a smooth blanket that make you feel comfortable and relax. Comes as a limited edition digipack featuring artwork by the author himself.

Gerald Biggs developed Filthy Grin as a living sound journal to document explorations in the sonification of sculpture and body movement. Currently located in Montreal, over the past decade he has self-released a series of cassettes, performed as a member of Pigeon Religion, collaborated with various artists (J.S. Aurelius, James Fella, etc.) as a sound engineer, in live performances, and through sound design. Saturn In The Mirror collects two long appreciated pieces from many, many years ago, c…