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Artist: Steven Severin
Title: Blood Of A Poet
Catalogue No: CSR135CD
Barcode: 8 2356650482 5
Format: CD in hardback digisleeve with inner sleeve
Genre: Dark Ambient / Soundtrack
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Acclaimed solo artist and founding member of the legendary Siouxsie and the Banshees, Steven Severin’s debut album for Cold Spring Records is titled "Blood Of A Poet (Le Sang d’un Poete). This album is his entire soundtrack to Jean Cocteau’s 1930 black & white surrealist classic and is the second in his ongoing series of "Music For Silents".
During their reign, Siouxsie & the Banshees established themselves as one of the foremost alternative artists and the only survivors of the London punk scene to evolve, innovate and succeed until their final demise in 2002. Severin has since committed himself almost exclusively to scoring for film & TV.
Since May 2008 Severin has been performing live accompaniment to silent films, startling audiences across the globe who have now come to expect the unexpected from the man who has crossed paths with such diverse luminaries as John Cale, Alan Moore, Jarboe, Lydia Lunch, Marc Almond, Merc Cunningham, Robert Smith and the Tiger Lillies. "Blood Of A Poet" received it’s premiere at the Silent Movie Theater in Hollywood in January this year and this October sees Severin embark on his first ever solo tour of the UK hosted by the Picturehouse chain of cinemas. View full tour details here.
The Wounded Hand | 2. Walking Statues | 3. L'Hôtel Des-Folies-Dramatiques | 4. Glory Forever | 5. The Snowball Fight | 6. The Desecration Of The Host | 7. The Card Sharp & The Angel | 8. The Lyre
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Artist: Band Of Pain
Title: Sacred Flesh O.S.T.
Catalogue No: CSR33CD
Barcode: 0 1753326192 1
Format: CD in jewelcase
Genre: Dark Ambient / Black Ambient / Soundtrack
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10 Year Anniversary reissue. Ltd x 666 copies only!
The soundtrack was written by Band Of Pain (aka Steve Pittis, ex-Splintered), creating a very dark, brooding atmosphere to compliment Nigel Wingroves' film. Sacred Flesh is dark journey into realms of mental anguish and repression; a very Black Ambient soundtrack. This is Band Of Pain working in the medium to which it is most suited. A incredible album with massive demand from both film and music distributors alike.
Tracks: 1. Sacred Flesh | 2. Elizabeth, Bride Of Christ | 3. Strength To Resist | 4. Submission | 5. In Media Vita | 6. Beat Out Desire | 7. Sacred Flesh - Full Extended Version | 8. The Ambush | 9. The Cell | 10. Sister Ann | 11. Sacred Erosion | 12. Revelations
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Artist: Goatvargr
Title: Black Snow Epoch
Catalogue No: CSR126CD
Barcode: 8 2356649882 7
Format: CD in jewelcase with poster cover
Genre: Black Industrial / Power Noise
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The second unholy union of Lord Nordvargr (MZ.412, Folkstorm, Toroidh etc) and Goat (USA). Time, pilgrimages and bloodlines have been bourn since the first testament of Goatvargr was witnessed in this era of false knowledge. The first covenant of Goatvargr was baleful, lycanthropic and lethiferous. A rejection of the techgnostic kingdom and circuitry idols which seduce our era. The downfall of light has brought a world of coldness. This Black Snow Epoch is a time to honour our forbearers such as MZ.412 and the elements of flesh, wood and alchemical steel. Industrial loops and analogue keyboards merge with sheet metal and chains to create a solemn winter hymn where the cold steel stings your flesh. The wolf instinctively hunts through the frost, and the goat is blamed for human transgressions, yet during the Black Snow Epoch, the true hunters will pursue.
Tracks: 1. Goatsbane / Scapewolf | 2. Bearer, Begetter, The Sovereign Wolf | 3. Dark Eyed And Frost Scorned | 4. Goatwalking | 5. Razed Under Cloven Hoof And Bloody Maw | 6. Wall Of Goat | 7. Wall Of Wolf | 8. A Black Drum Droning
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Artist: Fire In The Head
Title: Confessions Of A Narcissist
Catalogue No: CSR120CD
Barcode: 8 2356649912 1
Format: CD in jewelcase
Genre: Power Electronics
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"Confessions Of A Narcissist" marks the final full-length release by Fire In The Head ending six years of sonic warfare with an assault of manic, self-indulgent industrial electronics. Drawing as much influence from early punk / hardcore as from industrial / power electronics, F/I/T/H was conceived as a cathartic outlet to explore and ratify the delusions and social perversions resultant of psychosis and the darker side of man's conflicted dual nature, to fan the flames which engulf the borders between obsession, compulsion, lust and need. The tracks on this release were recorded in 2007-2008 and are the last of the "short, sharp, shock" vocal tracks which Michael abandoned in favour of "epic" length industrial / ambient compositions. Features guest appearances from Nick Blinko (Rudimentary Peni) and J. Randall (Agoraphobic Nosebleed), with exclusive artwork from Blinko. Stickered for stores.
Tracks: 1. Gag Order | 2. I'm Not Here To Coexist, I'm Here To Win | 3. Home Is Where The Whore Is | 4. Psychotic Underground Mk. II | 5. Get The Rope | 6. Narcissist's Mantra | 7. A Means To What End | 8. The Machinery Of Death | 9. Home Invasion | 10. Complacency Is Your Disgrace | 11. The Magi | 12. Some Dreams Last Forever | 13. Gag Order (Choked Again)
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- Theme From "Unseen Forces"
- JabPunPlus (ONEPLUSTWO)
- Eyes Fixed in Wonderment Upon the End of the Cosmic Calendar
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Even other more widely acknowledged classics of gothic post-punk, such as Bauhaus' In the Flat Field, can't match the intensity and single-mindedness of ...If I Die, I Die. The album was produced by Colin Newman of Wire, who seems to have allowed the Prunes' own flamboyant aesthetic to shine through strongly, even while skillfully streamlining their sound and reigning in some of the band's more experimental tendencies. But Newman knew a good thing when he heard it, highlighting the fascinating interplay of the band's three vocalists—Gavin, Guggi and Dave-id—whose menacing voices intertwine and overlap to frequently hair-raising effect. Virgin Prunes' penchant for tribal jackhammer percussion, gloomy bass melodies and spidery guitar figures are in full evidence on the album, and are given a substantial boost by the fine remastering job on this Mute reissue. The packaging has also been given a makeover, with new cover art showing the band in their full costumed glory, and a lyric booklet with further photographic evidence of the Prunes' peculiar style, a combination of glam cover-models and pagan wood-nymphs. The album is loaded with terrifically intense performances to match the band's baroque aesthetic, most notably in the snarling triple-vocal assaults of classics like "Sweethome Under White Clouds" and "Baby Turns Blue." Newman's unorthodox production is positively teeming with atmospheric touches on tracks like "Bau-Dachong," named in the Prunes' invented language of Bo-Prune. Jagged guitar chords and violent drumming propels songs like "Walls of Jericho" into a bleak, claustrophobic atmosphere, even as the singalong chorus pushes the song into poppy territory. Most tracks walk a fine line between dissonance and focus, but occasionally, as on "Caucasian Walk," the band digresses into unhinged chaos. "Ballad of the Man" seemed like the most embarassingly dated of the album's songs, until I realized that it was actually a brutal style-parody of Bruce Springsteen, inverting the Boss' working-class hero mythology to spin a satirical tale about a bank robber. The Prunes' save the weirdest material for the end of the album, with the bizarre "Chance of a Lifetime" and "Yeo," both utilizing reverb and phasing to eerie psychedelic effect, and the latter an inexplicable sequence of vocal intonations and piano melodies being played in a rainstorm. ...If I Die, I Die might not be the most adventurous album of the Virgin Prunes' career, but its certainly the most focused, and a remarkably fierce statement of artistic integrity.
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Anything that can remotely resemble widespread commercial success escaped the Frames for most of their career when their last album, Set List, broke into the Top Ten in their native Ireland. Almost a year later, it was released on these shores as the first album in a new deal with Anti, garnering the band more attention in America as a band to watch intently. Their newest album was released in Ireland several weeks ago, and Anti will release it in the US and Europe in February. Until then, rabid fans can order through select dealers linked on the band's website to absorb the finest work in the band's decade-plus lifespan, as well as their most coordinated and complete effort to date.Plateau Records/ Anti
Glen Hansard has grown by leaps and bounds as a songwriter in recent years, and the arrangements have slowly become more direct and openly ferocious than before, switching energy level on a dime and going full tilt before slowing for nigh-breathtaking moments of solemnity. In that regard he's found his voice two-fold, as subject matter turns from an argument that spawned a fight ("Happy") to relationship issues ("Fake," Finally"). At every turn, Hansard bears the potential to unleash into full-voiced howl, but he contains it for just the right moment each time, and sometimes opts for the more respectful and pretty falsetto. Meanwhile, the ensemble is beset with fine musicians who create an ebb and flow even in the hastiest of tempos, the highlight of which is the dissolution of "Dream Awake," where the drums approach the essence of breakbeat, the bass thumps with flurry, and guitar bends soar over it all until the violin takes its lead and betters it. To couple this with words like "For every time I came home screaming and got sent away with no warmth at all" creates the complete package that holds together under any scrutiny. The recording is the most faithful to the vibrant live shows the Frames are reknowned for, courtesy of new member Rob Bochnik and former member David Odlum, and the proper settings like Electrical Audio and Black Box Studios. Altogether, this set pulls back the curtain on their recorded output, revealing the Frames as the most vital band to come out of Ireland in twenty years at least, and maybe the most poetic that ever came from hence. It might just be their time, finally, to get the recognition they so richly deserve. 
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