ANEMONE TUBE, JARL & MONOCUBE "HUNTERS IN THE SNOW” CD . THE EPICUREAN . AUF ABWEGEN 2019

“Given the glut of releases being issued year upon year in the broader dark ambient field, it is becoming increasingly difficult to stand out in the mass, yet this album has no issue in those regards. This is an album which immediately draws you into its sonic tapestry and thematic narrative and does not let up for the entire duration. Personally, I listened to this three times back to back upon receiving it, which is proof enough of this point, and further underlines my assertion that this album warrants your detailed attention, regardless of if the contributing projects are familiar or not. Conceptually, sonically and visually, this a veritable feast for the ear, eye and mind.”
(Noise receptor)

“Grandiose Kollaboration, die sich an Pieter Bruegels Jahreszeiten-Zyklus anlehnt und ihrer hoch gesteckten Programmatik vollumfänglich gerecht wird: Fünf atmosphärische musikalische Kontemplationen über das Filetstück des Bruegelschen Werkes, die den Hörer aufrichtig beeindruckt zurücklassen.”
(Nonpop)

“Kalte Dark-Ambient-Sounds gegen die unvermeidliche Hitze.”
(Deadline, Marcus Stiglegger)

“Yet again, Anemone Tube leaves us with an open mouth of surprise (...) The Hunters In The Snow is an intensely dark and atmospheric album (...) Conceptually a genuine masterpiece.”– Rating 9/10
(Dark Entries)

“Yet another unmissable outlet for the most attentive and demanding lovers of dark ambient and industrial music from quality label The Epicurean." – Rating 7.5/8
(Darkroom)

“Fifty minutes of fantastic, hypnotic atmospheres (...) This new release of the German label The Epicurean surprises us with its careful sound aesthetics, pondering the ambient with noise segments, perfectly implemented to the pre-eminent dynamics of the work – reflexive, clamoring dynamics (...) The Hunters In The Snow is a convincing and analytical album.”
(Nomelody)

“Einer Musik, die sich auf ein bestimmtes Werk der Malerei bezieht, geht es meist weniger darum, die Aussage des Bildes im eigenen Medium neu zu inszenieren, viel eher ist sie ein durch ein atmosphärisches Moment inspirierter “Kommentar”, der sich zu einem eigenen Werk verselbständigt. Bei den drei Musikern, die in den einzelnen Tracks immer wieder in anderen Konstellationen auftreten, liegt diese Deutung nah, denn mit ihren kontemplativen Soundscapes zwischen Ambient und dunklem Industrial arbeiten sie weitgehend abstrakt und intuitiv. (...) Die Musik bestichtdurch eine außerordentliche Dichte, die man als einziges Kollaborationsmerkmal anführen mag, wohingegen ihr jeglicher Kompromisscharakter, der so vielen Zusammenarbeiten anhaftet, fehlt. Durch den Kontext der Bilder kann sie an weiterer Tiefe nur gewinnen.”
(African Paper)

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SKELDOS "ILGĖS – CARETAKERS OF YEARNING" CD . THE EPICUREAN . 2019

“Skeldos is a true gem to the post-industrial community. There is an air of the ancient and folk, and a feeling of melancholy which many dark ambient and drone artists can only dream to achieve. Each time I listen to Skeldos I am reinvigorated by the wonders present in his soundscapes. I am beyond pleased to be returning to this wonderful release with its additional track, new mastering, and beautiful new physical presentations. I highly recommend this album, HIGHLY!”
(This is Darkness)

“Ausgesprochen atmosphärisches Dark-Ambient-Album eines bislang relativ unbekannten litauischen Projektes, das akustisch erzeugte, organisch sich entwickelnde Soundteppiche mit sanfter, dem Neofolk verwandter Melancholie verbindet und bei aller Entspanntheit immer packend bleibt.”
“An all-round commendable work – for anyone who has a penchant for organic dark ambient with melancholy depth and / or introvert neofolk with a highly contemplative style: Deep Listening the natural way.”
(Nonpop)

“Abgründig tiefe, melancholische Ambientmusik.”
(African Paper)

“What Skeldos raises through sound is more than music. These are stories, feelings transcending words. The Lithuanian sound artist knows well what he does, and above all, he knows very well how to do it (...) the sound frame exposed in this triptych is more than commendable, reminding us of the sound plasticity of LES JOYAUX DE LA PRINCESSE combined with the elixir of some works of COIL (...)”
(No Melody)

"This Lithuanian composer delivers the most intimately touching and most deeply moving album The Epicurean has released to date. (...) His is an aural world of wonder and melancholy, of nostalgia and shattered dreams, of distant bodies and tender longing. Skeldos works with the poetics of the soul to tune his lyre to the shape of the deepest and truest of dark mirrors ..."
(Vital Weekly)

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LAST DOMINION LOST . ABOMINATION OF DESOLATION . CD/LP . THE EPICUREAN . 2017

“With the sheer glut of post-industrial albums being issued over the years, thankfully albums like this come along to clearly establish how things should be done, which is then based on the degree of professionalism applied to the writing, recording and production and which is further reflected in the graphic design and presentation of the sleeve. On all fronts, this is a clear highlight of 2017.”
(Noise Receptor)

“In Klarkash-Tons Prosagedicht 'The Abomination of Desolation'  heißt es: “Of this horror, many tales are told, and nearly all of the tales are different. Some say that the thing has neither visible form nor audible voice”, Last Dominion Lost haben dem Grauen eine mehr als adäquate Stimme gegeben.”
(African Paper)

“Excellent release! ”
(Gonzo Circus)

“In the area of the dark experimental/industrial it is difficult to find more integral groups than Last Dominion Lost. (...) In comparative aspects, its sound aesthetic is close to the latest works of the missing Throbbing Gristle, especially if we look at such experimental examples as 'Journey Through A Body' (1982) or In 'The Shadow Of The Sun' (1984). ”
(No Melody)

“'Abomination of Desolation' affirms itself as a product from resolute icons of contemporary post-industrial, with one of the keenest ears in the genre for spacious, bass-heavy and yet very vivid separation and timbre-clarity in terms of recording and mixing.”
(Vital Weekly)

“We can perfectly consider the album 'Abomination Of Desolation' the last and greatest artistic legacy of John Murphy in his prestigious musical career (SPK, Whitehouse, Death in June, Current 93, Foresta Di Ferro, Lustmord, Naevus ...), having put his touch of pure genius to this Götterdämmerung written in a post-industrial musical key. ”
(Lux Atenea)

"Sound carpets of various nature and discontinuous, slow and hypnotic rhythms and a possessed voice that officiates incomprehensible and impressive rituals, accompany the listener until the end of this sick journey to the no man's land.”
(Rosa Selvaggia)

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ANEMONE TUBE . THE THREE WORLDS – ALLEGORY OF VANITY / FORGET HEAVEN / VANITY OF ALLEGORY . 3 CD set . THE EPICUREAN . LA ESENCIA . 2017

“The longer we listen to this music, the more genius it appears to us.”
Rating: 10/10
(Dark Entries)

“"Allegory Of Vanity" is another cornerstone of the triptych entitled "The Three Worlds". In this second world, Stefan Hanser discovers introspection, noise and a caliginous darkness (...) Once again we must praise the masterful ability of Hanser when conceiving covers. Allegory Of Vanity, respects the aesthetic balance raised in this saga, offering us another impressive perspective of his macabre style. In it Hanser appears again represented, hiding his face after the characteristic and enigmatic means by which he is known.”
Rating: 5/5
(No Melody)

“Being one of the new leading artists in death industrial, Anemone Tube has managed to consistently evolve quality wise. 'The Three Worlds - Vanity Of Allegory' is a perfect opportunity to appreciate its evolutionary diversity, as it compiles songs recorded at different moments of its musical trajectory. (...) Our recommendation is "From Anthropocentrism To Demonocentrism II", theme that ends this part of the 'The Three Worlds' triptych. Perhaps we are attracted by its stoic apathy, or by its rhythmic nihilism, but in any case, the atmosphere evokes the best moments of Anenzephalia as far as claustrophobic sensations are concerned.”
Rating: 5/5
(No Melody)

“(...) tightly knit together in over-arching streams of conscious- and unconsciousness; as much rationally planned in conception and execution, as it is a labour of aural love and deeply felt commitment to the sound and subject matter.”
(Vital Weekly)

“Anyone searching for philosophical wealth and spirituality in a pool of human and industrial decline, will get a unique opportunity to get acquainted with a special artist through these three albums.”
(Gonzo Circus)

“In Form & Inhalt ausgesprochen gelungener erster Teil einer Retrospektive musikalischen Materials aus der Frühphase des Wahl-Berliner Post-Industrial-Projektes mit gewohnt mystizistischem Hintergrund: rauher & harscher als die Alben der jüngeren Zeit, dennoch eine klare Empfehlung! ”
(Nonpop)

“... angenehm bedrohliche Dark Ambient Soundlandschaften erschaffen, welche an die ganz großen deutschen und franzöischen Vertreter dieser Musikrichtung denken lässt. (...) Ein vielschichtiges Klangwerk, welches ich allen empfehlen möchte, die sich für experimentelle, komplexe (nicht: harsh noise) Musik an der Schnittstelle von Industrial und Dark Ambient (sowie jenseits davon) interessieren. Schaut und hört!”
(Black Magazin)

“'Meditation is a Practice of Death' hieß es mal bei OM in Anspielung auf die Vorstellung, dass es in jeder spirituellen Arbeit darum geht, sich in der einen oder anderen Form auf das Sterben vorzubereiten. Für den an buddhistischer Praxis ebenso wie an christliche Mystik interessierten Anemone Tube geht es seit langem darum, dem Horror der Vergänglichkeit ins Auge zu sehen, ohne dabei den Blick in Watte zu packen. Dass dies mit einer gewissen Faszination geschieht, könnte ihm, würde er vermehrt außerhalb der alles Düstere oft gewohnheitsmäßig abnickenden Industrial-Community rezipiert werden, als masoschistisches Suhlen in Negativität ausgelegt werden, doch bei genauerem Hinsehen begegnen einem immer wieder Zeichen des Mitgefühlt und zugleich die Tendenz zu einem kraftvollen, quasi nietzscheanischen Vitalismus. Das trotz seines Umfangs füllmaterialfreie und von Hunter Barr bestens in Form gebrachte „The Three Worlds“ macht deutlich, wie sehr all dies von Beginn an leitmotivisch war.”
(African Paper)

“Unique and mentally hypnotic (...) the most innovative and advanced underground sounds within the dark scene.”

"The excellent work of mastering done by Hunter Barr I find admirable and worthy of the highest praise.”

“Sublime art of composition transforming industrial, dark-ambient, experimental music ... into sonorous virtuosity.”
(Lux Atenea)

"In the latter part of the trilogy fully revives the spirit that led ANEMONE TUBE to cross the Far East in search of sounds and atmospheres that smelled of death, but also of majesty and ineluctability and to combine them with noise and post-industrial sounds: the transformation is completed here and is reunited with what ANEMONE TUBE is today, i.e. obsessive and claustrophobic atmospheres, solid walls of noise and rhythmic rhythms, combined with concepts that belong to Buddhism, realism and nihilism."
(Rosa Selvaggia)

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NIKOLAS SCHRECK . THE FUTURA MODEL . 12" EP . THE EPICUREAN . 2017

“Wer die schrecktypische Mischung goutiert, sollte durch den Song angefixt sein und dem Album, das wohl am entstehen ist, entsprechend entgegenfiebern – wenn man bedenkt, wie unterschiedlich “The Futura Model” und das komplexe und zugleich versponnene “Lord Sutekh’s Dream” sind, kann man sich jedenfalls auf eine gewisse Bandbreite freuen. Ähnlich wie Kingdom of Heaven scheinen die Soloarbeiten jedenfalls an die schmissigen, von einem Schuss Rock’n'Roll durchtränkten Ur-Radio Werewolf der 80er anzuknüpfen, was ich sehr begrüße. ”
(African Paper)

“A supernova filling the afterglow with a background radiation that would not be amiss at a festival like Grauzone. ”
(Vital Weekly)

“Nikolas Schreck's typical voice is supported by tight electro, and a few bleeps from another dimension. Absolutely deliberate artistic kitch! ”
(Gonzo Circus)


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DAVE PHILLIPS . PROCEED WITH INQUIRY . DVD . THE EPICUREAN . 2017

“Dave Phillips’ work is refreshing in its directness, solid conceptual framing and and immediacy of its impact.”
(Noise Receptor Magazine)

“Proceed With Inquiry vermittelt einen außerordentlich abwechslungsreichen und vielschichtigen Überblick über das Werk eines Künstlers, der eine klare Botschaft hat und mit der Art, wie er sie bisweilen an den Mann und/oder die Frau bringt, durchaus zu polarisieren weiß.”
(Nonpop Magazin)

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ANEMONE TUBE "IN THE VORTEX OF DIONYSIAN REALITY" . LP . THE EPICUREAN . 2017

“In The Vortex Of Dionysian Reality continues Anemone Tube's conceptually based sound explorations. (...) it's further proof, with the help of Post Scriptvm, Pacific 231 and Monocube, of Anemone Tube's ability to craft a deeply immersive sound from harmonic and melodic synths, carefully controlled discordancy, and field recordings. (...) Anemone Tube continue to craft something unique and complex from noise, ambient, industrial and sound art.”
(Compulsion)

“Like all that Anemone Tube has produced in the last ten years, this album is also astonishingly good (...) technically and musically in its most basic form very strong dark trip music. (...) Incredibly handsome work. Without a doubt."
Rating: 10/10
(Dark Entries, July 2017)

“Anemone Tube has been synonymous with the very highest quality of conceptually hyper charged drone ambient. ‘In the Vortex of Dionysian Reality’ only adds more to this setting high of the bar to new standards of intensity and passionate processing of sound in supremely and astutely philosophical realms.”
(Vital Weekly, May 2017)

“Some of Anemone Tube’s strongest work to date and yet another demonstration of his ability to create deeply evocative soundscapes built around melodious elements, sculpted field recordings and squalling feedback.”
(Noise Receptor, May 2017)

“Shoegaziges Rauschen und melancholische Schönheit.”
(African Paper, April 2017)

“It is built with so many different tonal changes and distortions that no matter what you choose to get out of it (...), you will be able to experience something unique.”
(Resounding Footsteps, March 2017)

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ANEMONE TUBE . GOLDEN TEMPLE . LP . THE EPICUREAN . 2017

“The album is as dark as the large intestine of the devil. Aggressive and fluctuating, mysterious (...).” Rating: 9,25 of 10
(Mentenebre . February 2016)

“Masterpiece ... at this moment you can hardly find anything better in history of industrial/noise.” Rating: 9,5 of 10
(Dark Entries . February 2016)

“Golden Temple is definitely Anemone Tube’s strongest release to date.”
(Heathen Harvest . Kate McDonald . March 2016)

“Certainty one of the most authentic industrial releases in recent decades.”
(Darkroom . Roberto Alessandro Filippozzi . March 2016)

“Noting the sophisticated levels achieved on earlier Anemone Tube albums, both from conceptual and musical perspectives, ‘Golden Temple’ is a work which has exceeded the emotive heights of Stefan Hanser’s own rather imposing high water mark. (...) Anemone Tube have distinctive and individual sound which is essentially without comparison (…an equilibrium of structure & chaos and a balancing of harmony & disharmony). This album has been long awaited and is a veritable feast for the eye, ear and mind (...)”
(Noise Receptor . Richard Stevenson . March 2016)

“(...) what does work best if I want to create something of raw power. The answer is simple: 'this'. Topped off with a great package, gold on black paper and a booklet of paintings and quotes, this is a rare thing these days.”
(Vital Weekly . FdW . February 2016)

“Außergewöhnlich gelungenes, facetten- & bezugsreiches Album aus ATs "Suicidal Series"-Reihe. Ungeachtet durchaus harscher Noisepassagen insgesamt extrem atmosphärisch & auf abgründige Weise, ja: verträumt. Bislang zweifellos das stimmigste und reifeste Album des Künstlers - close to perfection!”
(Nonpop . March 2016)

“ (...) das immer etwas links klingende Wort Antikapitalismus und das immer etwas rechts klingende Wort Antimodernismus wurden selten so sehr überblendet, wie auf diesem an Andeutungen und Anspielungen reichen Album, das den Geist Pasolinis wie ein Kontrastmittel über die Goldenen Tempel unserer Zeit gießt – und damit selbst die namenlose saufende Schönheit zu Füßen der Kolosses aus Glas und Beton zum Strahlen bringt. (U.S.)”
(African Paper . February 2016)

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ANEMONE TUBE & POST SCRIPTVM . LITANIÆ MORTUORUM DISCORDANTES . CD . THE EPICUREAN . 2016

“Gelungenes Split-Release der beiden Post-Industrial-Projekte, die ihre musikalische Diversität hier vorbildlich fruchtbar machen: überzeugender Mix aus Noise-, Drone- und Experimental-Elementen, appetitlich abgeschmeckt mit einer Prise Mystik und einem Schuss Humor.”
(Nonpop Magazine, January 2017)

“The two dark experimental projects, Anemone Tube and Post Scriptvm, join forces to offer us an unprecedented work, "Litaniae Mortuorum Discordant". Hypnotic, engaging and mysterious ... riding between ritual and dark ambient.” Rating: 9,75 of 10
(Mentenebre Magazine, December 2016)

“With Anemone Tube and Post Scriptvm sharing this split, it is a logical pairing as they have quite individual and distinctive sounds within the post-industrial underground and both tend to frame their musical works around specific and interesting concepts. (...) the benefit of having a strong conceptual underpinning, is the ability of a release such as this to be a multifaceted experience which engage on levels of both emotion (i.e. the music) and contemplation (i.e. the concept).”
(Noise Receptor Magazine, December 2016)

“Ein Konzept, zwei Ansätze, ganz nah beeinander und doch ganz unterschiedlich in der Wirkung – so wünsche ich mir ein gutes Split. Nach konzeptionell sehr dichten und von der künstlerischen Aussage her sehr ernsthaften Alben wie Anemone Tubes „Golden Temple“ und Post Scriptvms „Benommenheit“ hat es sogar etwas augenzwinkernd Selbstironisches, scheint mit dem düsteren Outsider-Gestus seiner Macher zu spielen. Trotz allem hat es alles, was ein Release dieser Acts braucht. Das „Oratorium“, so heißt es, sei zur Aufführung in der Kirche bestimmt, und ich denke doch mal, das sich das über kurz oder lang umsetzen lässt.”
(African Paper, November 2016)

“Me myself I didn't feel elevated after hearing all of this, or particular depressed actually, but I found it all most enjoyable. Hopefully that is allowed!”
(Vital Weekly, December 2016)

“This album seems far more coherent than many other collaborations and feels like one big majestic trip. While in the beginning you can still escape from the madness and have some sense of hope, after a while you are dragged into a dystopia that ultimately turns out to be the truth.”
– Rating: 7 out of 10 (Dark Entries, 2017)

“As a fan of dark ambient that dabbles in death industrial and power electronics, I found Litaniæ Mortuorum Discordantes to be an exceedingly interesting album. (...) Litaniæ Mortuorum Discordantes is clearly a triumph for these two veteran artists. The album succeeds in its attempts at creating an atmosphere of religious blasphemy, a kind of funeral music for the dark-minded and irreligious. For a veteran listener of dark ambient and other weird and “spooky” music, I’m delighted to say that Litaniæ Mortuorum Discordantes manages to instill an unsettling feeling of dread and anxiety in my soul, a feat that is not often achieved. Listen to Litaniæ Mortuorum Discordantes in the midnight hours, alone in the dark, incense burning and mind open to the dark entities of the night. Or, if it is possible, play this in a cathedralic setting, and witness the utter disgust and terror of some unsuspecting clergy, the effect should be a delight to witness.”
(This is Darkness, 2017)

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V/A ALL MY SINS REMEMBERED . 3CD BOX SET . THE EPICUREAN . 2016

“All My Sins Remembered is a massive release; a tribute of this magnitude and scope is rarely afforded to even the most famous of musicians and performers. A document of not only John Murphy, but of the various genres he helped shape, this is an unspeakably important release. However, it should not be considered a final release or the definitive statement. As this compilation shows, the net cast by Murphy was as wide as it was long, and fellow friends and colleagues continue to unearth, remaster, and prepare to present more material. His legacy thus continues to be written. For fans, this should not be taken as a goodbye, but merely a short rest, a well-deserved respite for John Murphy, the Samuel Pepys of the post-industrial underground.”
(Heathen Harvest, September 2016)

“If nothing else this release demonstrates the sheer diversity of musical involvement and output of John over the years, but though mid to later periods showcasing darker sounds and esoteric themes providing the thread to neatly knit it all together. (...) A worthy document, testament and above all a celebration of the life and legacy of John Murphy.”
(Noise Receptor Magazine, July 2016)

“Excellent.”
(Compulsion, October 2016)

“In allererster Linie ist diese Compilation ein Ausdruck der Dankbarkeit und der Erinnerung an einen vielseitigen Menschen, den viele der teilnehmenden Musiker als Freund betrachten. Gerade die Vielseitigkeit der Beiträge macht den Sampler aber auch zu einem interessanten Abriss über ein Stück Geschichte subkultureller Musik – John war alles andere als ein klar rubrizierbarer Szenemusiker, der Industrial oder Folk nach bekannten Strickmustern gespielt hätte. Stets interessierte ihn der musikalische Dialog mit denen, die bereit waren Grenzen beiseite zu schieben und Ungewohntes zu wagen. Sie hätten kaum einen besseren finden können.”
(African Paper, July 2016)

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ANEMONE TUBE . IN THE VORTEXT OF DIONYSIAN REALITY. TAPE . THE EPICUREAN . 2015

“From sound, concept*, and visual presentation, Anemone Tube’s releases are always highly considered affairs.  Consequently ‘In The Vortex Of Dionysian Reality’ is far from being any sort of filler release, rather represents some of Anemone Tube’s strongest work to date and yet another demonstration of Stefan Hanser’s ability to create deeply evocative soundscapes built around melodious elements, sculpted field recordings and squalling feedback.”
(Noise Receptor . January 2016)

“Rückmeldung nach ca. 2 jähriger Pause mit einem bemerkenswert innovativen Stück Musik: Primär feedbackbasierte Noisestücke entwickeln eine innere Harmonie, die zum Träumen einlädt - erstaunliche Melange aus energetischem Sound & luftiger Atmosphäre; file under "Post-Rock-Noise" ...”
(Nonpop . October 2015)

“Auf seinem neuen Tape zieht uns Anemone Tube kompromisslos in den Strudel einer dionysischen Welt. Man muss nicht viel über den Mythos des griechischen Wein- und Rausch-Gottes wissen, um die abgründige Natur dieses Strudels zu begreifen, denn zumindest die ersten drei Stücke der vorliegenden EP lassen an dieser keinen Zweifel: Formlos und chaotisch wird die in Sound gegossene Welt des Dionysos gezeichnet, doch manchmal auch überraschend einfach in ihrer derben, verrauschten Musikalität. Man mag die Atmosphäre der vier Tracks dunkel und zum Teil niederdrückend finden, wenn man Rausch und Sinnlichkeit zu sehr mit Frohsinn assoziiert. Doch ganz abgesehen davon, dass dies eine Frage des Blickwinkels ist, gibt es im Laufe des 21minütigen Tapes auch eine deutliche Entwicklung.”
(African Paper . October 2015)

“Visionary album (...)”
(Gonzo Magazine . PV . July 2016)

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V/A EPICUREAN ESCAPISM III . CD/DVD/CATALOGUE . THE EPICUREAN . 2016

“As with earlier editions in the Epicurean Escapism series, this is another fantastically realized musical and visual set that can either constitute an excellent ‘stand-alone’ document, or a memento the 2016 Epicurean Escapism Festival event.”
(Noise Receptor Magazine, July 2016)

“Die "EE"-Trilogie findet hier einen rundum gelungenen Abschluss, der wie immer durch hohe Qualität in Form & Inhalt, bemerkenswerten Facettenreichtum sowie profunden künstlerischen & intellektuellen Anspruch besticht. Ein besseres Preis-Leistungs-Verhältnis ist schwerlich vorstellbar.”
(Nonpop Magazin, July 2016)

“Von Anfang an waren die Epicurean Escapism-Festivals und die dazugehörigen Veröffentlichungen nie rein musikalisch ausgerichtet und auch wenn das Adjektiv schon lange sehr inflationär verwendet wird, kann man durchaus von einem multimedialen Ansatz sprechen, in dem Musik, Film und Bild gleichwertige Rollen spielen.”
(African Paper, July 2016)

“All in all an excellent package.”
(Vital Weekly, July 2016)

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V/A EPICUREAN ESCAPISM II . CD/DVD/CATALOGUE . THE EPICUREAN . 2013

“Epicurean Escapism II CD/DVD is not only a must-have, but a perfect example how art forms should exist nowadays – in an absolute symbiosis.”
(Heathen Harvest, August 2013)

“I am lifting my hat to bid my respect to all who are involved into the production of the release which is destined to become a millstone of the industrial epoch.”
(Olegh Kolyada/Old Captain, 2013)

“Although in the first instance this release is a memento of the festival is seeks to document, with its meticulous execution and sheer quality of its content, Epicurean Escapism II transcends this mere documentary role, to become an exceptionally focused multi-media release.”
(Noise Receptor Magazine, July 2013)

“Keineswegs ist der Sampler zum unlängst besprochenen "Epicurean Escapism II"-Festival etwa nur eine schnöde Compilation-CD, oh nein: Auch auf Produktebene hat man sich alle Mühe gegeben, einen medialen Rundumschlag auf höchstem Niveau zu realisieren (...) mit "Epicurean Escapism II" wird der gleichnamigen Live-Veranstaltung ein in Form, Inhalt und Ausführung ebenbürtiges, nicht minder außergewöhnliches Medien-Bundle an die Seite gestellt.”
(Nonpop Magazin, July 2013)

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V/A EPICUREAN ESCAPISM I . CD/DVD/CATALOGUE . THE EPICUREAN . 2014

“This is also another fine example of how a well a compilation as a format can work when a focused and nonstandard approach is employed. Recommended.”
(Noise Receptor Magazine, November 2014)

“Weiterer, rundum gelungener Teil der Festival-Compilation-Serie: Die DVD beeindruckt mit ebenso verstörenden wie faszinierenden Videoarbeiten von MARTIN BLADH, während die CD vier lange, packende, und bislang unveröffentlichte Tracks festivalaffiner Künstler versammelt. Ein Juwel!”
(Nonpop Magazin, September 2014)

“Zusammen genommen muss man sagen dass die gesamte Veröffentlichung dadurch besticht, eben nicht glatt gebürstetes Szenefutter zu enthalten. Jeder Künstler nutzt seinen Anteil, um tatsächlich Kunst zu machen, sperrig und kantig, keinen Industrial-Pop. Danke dafür! Da solche Veröffentlichungen viel zu selten geworden sind, ist hier eine dringende Kaufempfehlung auszusprechen.“
(Ikonen Magazin, D. Novak., October 2014)

“Desde Mentenebre te invitamos a descubrir uno de los eventos más impactantes y originales de este nuevo siglo.”
(Mentnebre, October 2014)

“Ancora una volta un compendio esaustivo, ricco e di assoluta qualità (sia a livello di package che di contenuti) per questa stimolante serie, semplicemente imperdibile per chi vive la cultura industriale fino in fondo.”
(Darkroom, October 2014)

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LAST DOMINION LOST . TOWERS OF SILENCE . CD/LP . 2014

“A quintessential industrial album.”
(Noise Receptor Magazine, November 2014)

“ ‘Towers Of Silence’ (...) is simply one of the finest industrial records in a long time ...”
(Night Science Magazine, Novemer 2014)

“This is THE industrial album of 2014.”
(Beläten Mailorder, October 2014)

“One of the most important and most impressive industrial publications that have been released this year.”
(Santa Sangre Magazine, November 2014)

“Like its predecessor ‘The Tyranny of Distance’ ,‘Towers of Silence’ revels in post-industrial sounds, and given the list of individuals involved and their relation to SPK you could view it in that light. Unlike the grainy remastered tapes that formed The Tyranny of Distance, Towers of Silence is much more polished - featuring a mastering by James Plotkin - incorporating electronics and ritual elements that suit the morose death fixated posturing alluded to by the title.”
(Compulsion, September 2014)

“Man kann sich jetzt noch länger voll des Lobes für diesen Tonträger äußern, aber das Fazit würde sich dadurch nicht ändern, hierbei handelt es sich schlicht um ein Meisterstück.”
(Ikonen Magazin, D. Novak., October 2014)

“Ebenso vielschichtiges wie packendes und in sich stimmiges Album in bester Oldschool-Manier: Zappenduster in der Grundstimmung, doch mitreißend und lebendig in der musikalischen Umsetzung, scheinen Gehalt & Tiefe mit jedem Hördurchgang zuzunehmen. - Empfehlung!”
(Nonpop Magazin, September 2014)

“In einem Genre, das allzu oft klanglich wenig differenziert ist, stechen Last Dominion Lost mit einem von James Plotkin gemasterten Album hervor, das zeigt, dass Industrial auch im Jahre 2014 noch Relevanz haben kann. (...) “Towers of Silence” gehört sicher zu den Höhepunkten postindustrieller Musik des Jahres 2014.“
(African Paper, September 2014)

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KRANK / THE GRIMSEL PATH . VERDANT HUM . Split Tape . 2014

“‘Verdant Hum’ succeeds in the fact that it is another fine example of a release featuring the best elements of an early industrial ritual sound without sounding purposefully ‘retro’ or ‘old school’.”
(Noise Receptor Magazine, November 2014)

“„Some things hum. Some things do not hum“. Dieses Tape mit seinen synästhetischen Titel macht dies bestimmt.“
(African Paper, M.G., October 2014)

“Anspruchsvoller Split, der durch Experimentierfreude, Facettenreichtum und bemerkenswert dichte Atmosphäre überzeugt. Nach kurzer Eingewöhnungsphase entpuppt sich "Verdant Hum" für all jene als funkelndes Kleinod, die spröde, sperrige & noisige Soundcollagen zu schätzen wissen (...) Fazit: Runde Sache. Alle Daumen steil nach oben.”
(Nonpop Magazin, September 2014)

“Erneut eine bemerkenswerte Veröffentlichung dieses Berliner Labels, das bisher für sehr hohe Qualität steht.“
(Ikonen Magazin, D. Novak., October 2014)