Tenebrae Vision (1991) is the debut album by Cyberaktif, a Canadian industrial project formed by Bill Leeb (Front Line Assembly), cEvin Key, and Dwayne R. Goettel (both of Skinny Puppy). Released through Wax Trax! Records, the album is a seminal work in the EBM (Electronic Body Music) and electro-industrial genres. The project was short-lived, disbanding after Goettel's death in 1995, but it remains influential in the industrial music scene.

Mr. Bungle was an American experimental rock band from Eureka, California. The band was formed in 1985 while the members were still in high school, and was named after a 1950s children's educational film regarding bad habits which was later featured in a 1981 Pee-wee Herman HBO special. Mr. Bungle was known for its highly eclectic style, often cycling through several musical genres within the course of a single song. Many of its songs had an unconventional structure and utilized a wide array of instruments and samples. Live shows often featured members dressing up (usually in masks earlier in the band's career) and an array of cover songs. Collection includes: 'Mr. Bungle' (1991); 'Disco Volante' (1995); 'California' (1999).

Double CD comprising of Disco 4 pt1 and Disco 4 pt2. Three years after 'VOL.4 :: SLAVES OF FEAR', the L.A. trio's ferocious entry into the world of heavy music, HEALTH return with the second half of their 'DISCO4' series. A whole lot went to hell in the world in the meantime, forcing the band to re-invent how they wrote music together. For 'DISCO4 :: PART II' they cut it fast and mean, recruiting both legends and nascent contenders of heavy music and its many peripheral genres.

At the Mountains of Madness is a 2005 double live album by American composer and saxophonist John Zorn's Electric Masada featuring performances recorded in Moscow and Ljubljana. It is the second release by Electric Masada. The Allmusic review by Sean Westergaard awarded the album 4 stars noting that "the band is at the top of their game after all the touring, and everyone seems to have kicked up the energy a notch or two. There's a lot more conducted improvisation than on the previous Electric Masada release… Thanks to their improvisational skills, you hardly notice that the program is much the same on both discs. Score another one for John Zorn and company. At the Mountains of Madness is a winner."

For decade, this collaboration was supposed to happen with Dapnom. Now, we enter a new dimension with my own piano ! We worked on this piece of crazy art last year, when the planet started to get wronger and wronger. This album is an ode to our ruin ! Even the most experienced ear will not come out of PiaNoise unscathed. Consecrating the meeting of two consummate artists, this release confronts their universe like a massive head-on shock in the eye of a sound storm by which we sometimes feel totally drowned. A collaboration with Merzbow had already been considered some fifteen years ago. In the midst of forced isolation, it was all the more tempting to meet symbolically, following the ways of the World Wide Web. PiaNoise is actually a project born from the health crisis and lockdowns, carried out from different homes in days of anguish and uncertainty. Both artists thus projected their worries about the ongoing crisis and today's ecological disaster.

"Mechanization Takes Command" was first released on Music-Cassette by Masami Akita on his own ZSF label back in 1983 and this, after 40 years, is the very first re-edition into CD format. A very special and historical album. The large part of sounds on this album have an analogue origin. Masami on this album plays Drums (?) and Guitar (?)… But also many other instruments and sound-surces such as TV ands Vocal samples. And of course Electronics, Loops, Effects, Drum-Machines… The overall is very strange. The first part of the album has a very freak, late 70es, psychedelc & prog touch mixed to a sort of improvised free jazz sound. The whole is slowly turning into a strong Godzilla-Japanoise as we are ussed by Merzbow but also into a sort of very pulsating & tribal future-modern-dance muzak always maintaining a certain freaky 70'es touch… In one word: Merzbow!

"OZ Days Live was originally released in 1973 as a private press two-disc set, packaged in a brown paper bag with its album title hand-stamped in rainbow-colored ink. The self-distributed record was made to commemorate the closure of OZ, the now-legendary venue located in the Kichijoji neighborhood of Tokyo. Operating out of a small upstairs space just around the corner from the train station, OZ was a scruffy, DIY affair that lasted not much more than a year. Over the course of its short existence from June 1972 to September 1973, the cafe and performance space became the nerve center for the city’s burgeoning underground and counterculture set. Now, 50 years after OZ first opened its doors, OZ Days Live ‘72-’73 Kichijoji: The 50th Anniversary Collection, is a reconfigured special edition of the original LP. Available as a 3CD set, the new collection includes all the tracks from Les Rallizes Dénudés’ The OZ Tapes, plus bonus tracks from the same sessions that were first released in 2022 on a limited edition 12”. The set also includes newly remastered versions of the Masato Minami and Miyako Ochi tracks from the original release, plus over 40 minutes of previously unreleased OZ recordings from Acid Seven, newly unearthed from reel-to-reel tapes that had been stored away for half a century by OZ manager Minoru Tezuka. A newly written 100-page oral history, compiled from hours of interviews, provides first-hand accounts of what made the OZ scene so special."

At last, The Telescopes's first four EPs are compiled as Early Studio Recordings, a reissue of their studio recordings from 1989 to 1990. Not only that, but they have been remastered to achieve the deserved sound of this legendary British band leading the late '80s and early '90s shoe-gaze and melodic noise scene alongside the likes of The Jesus And Mary Chain. The Telescopes, with their leader Stephen Lawrie, recorded these EPs in the same period as their first album, Taste (1989).The band's sound is tons of guitar noise and distortion covering beautiful melodies; this music is an absolute must in order to understand all indie and underground music coming from the U.K. and worldwide afterwards.

Over two decades ago, Three One G Records flew in the face of Queen purists with the release of Dynamite With A Laserbeam: Queen As Heard Through the Meatgrinder of Three One G, the label’s 20th release. On it, bands like Melt-Banana, Weasel Walter, The Locust, Bastard Noise and The Blood Brothers unapologetically tackled some of the most beloved and universally recognizable music in popular culture and made it nasty, noisy, and brutal– and they did so with nothing but love and respect. This was followed by an equally bold tribute to Australian avant-garde legends The Birthday Party, entitled Release The Bats. More frenetic energy from the likes of bands like Cattle Decapitation, Das Oath, SSion and Some Girls, more chaotic feedback giving way to unsettling synth lines, and still (knock on wood) not a lawsuit in sight.

In their first collaborative album, pioneering Japanese sound artist Merzbow and prolific outsider outfit Sissy Spacek unite to unleash an unstoppable firebomb of frenzied electronics and raging percussion across two 45-minute discs in this monumental set. Assembled July–September 2023, it features a lineup of Masami Akita, Charlie Mumma, and John Wiese, with a special appearance by Phil Blankenship (The Cherry Point). Beautifully packaged in a metallic gatefold digipak with artwork by John Wiese.

Blending the current trend for all things noisy with something altogether more 'composed' we end up with a curious concoction of Cliff Martinez and Wolf Eyes, stopping at planet Badalamenti for a strong cup of Joe ("black like midnight on a moonless night"). Frost's primary influence (and sound source…) for the album was Michael Gira's seminal noise-rock band Swans, an influence which bubbles majestically on the album's central piece, cunningly titled 'We Love You Michael Gira'. The track starts simply enough; shifting, moody synthesized tones sitting eerily next to shivering waves of guitar noise before both give way to the sort of glacial blip-work that would make Mika Vainio jealous, and then it hits you; chunks of percussive noise that enter the sound-field like a serial killer bursting into the family home, gritty and abrasive, raw and untamed. The Swans factor isn't lost in this track, it's something that needs to be played so loud that it almost hurts the eardrums for full, visceral effect and proves as if proof be needed that Ben Frost is a rare producer who really knows how to use the loud as it should be used.

For many centuries Indonesia, from the Malay Peninsula throughout the vast archipelago, has been subjected to successive foreign cultural invasions which have left their deep imprint on the indigenous way of life. Among the first was the Mongolian intrusion from central Asia. A later cultural wave came from India when Hindu merchants and immigrants introduced Hinduism and Buddhism into the islands. Subsequently, about the 13th century A.D. Islamic influences penetrated the archipelago. Finally in the 16th century, Western culture and Christianity came into the picture. Although, after four centuries, Western civilization has by no means superseded the Islamic hold on Indonesia (90% of the population are Muslims), it has already reshaped the outward appearance of Indonesia life to a considerably extent. The cultural diversity is naturally reflected in the music.

Tom Waits collaborated with director Robert Wilson and librettist William Burroughs on the musical stage work The Black Rider in 1990. A variation on the Faust legend, the 19th century German story allowed Waits to indulge his affection for the music of Kurt Weill and address one of his favorite topics of recent years, the devil. Waits had proven an excellent collaborator when he worked with director Francis Ford Coppola on One from the Heart, making that score an integral part of the film. Here, the collaboration and the established story line served to focus Waits' often fragmented attention, lending coherence and consistency.

Virgin's fourth Ambient volume is the first of all-new material from contemporary artists, and it provides the most highlights of any in the series. Tracks from a score of crucial new-ambient producers, including Aphex Twin, Seefeel, O'Rang, EAR, Main, Final, Lull, Labradford, Techno Animal, Scorn and Paul Schütze. Seeing as each track is available only on this collection, it became the hardest-to-find of the entire series soon after its release.

Broken is the first extended play (EP) by American industrial rock band Nine Inch Nails, released on September 22, 1992 by Nothing, TVT, and Interscope Records. Produced by frontman Trent Reznor and Flood, it consists entirely of new material and replaces the synth-pop style of the band's 1989 debut album Pretty Hate Machine with a considerably heavier sound that would act as a precursor to their second album The Downward Spiral (1994). The music videos that accompanied five of the eight tracks were widely censored from television airplay due to their explicit content. Nevertheless, the song "Wish" won the Grammy Award for Best Metal Performance at the 35th Grammy Awards, and the Woodstock '94 performance of "Happiness in Slavery" won the same award at the 38th Grammy Awards.