KOMPROMAT were formed by Vitalic & Rebeka Warrior. Inspired by old Berliner techno, its music fits somewhere between Einstürzende Neubauten and Crash Course in Science. Punk, rock, dark and sweet, KOMPROMAT smells like a battle cry and a call to prayer. It makes you wanna lift your arms in the air and dance while crying.

"An album of modest proportions dominated by limitless headspace. It’s best to let its minimalism slide for the sake of analyzing their cathedral-esque composition, which is remarkable for a band of their stature. Whether their music dashes into the gloom of noir or triumphantly gleams through a nebulous fog, their sincerity and artful commitment to crestfallen songwriting may finally see the light of day"
(By Derik Knak / Musicishorrible.wordpress)
"Les clones de Death In June des années 2000 n'auront au bout du compte réussi qu'une seule chose, celle d'enterrer le genre. Et ce court album de Vesperal apporte un vrai bol d'air frais quant à un style qu'on croyait moribond"
(By Max Lachaud / Atypeek Mag)
"Recently released their chilling and somber full length debut Conqueror of Emptiness. The eight track record is adrift in Parisian poesy and nihilistic existentialism channelled through hushed vocals softly reverberating over an icy fusion of electric and acoustic guitars"
(By post-punk.com)
"Vesperal prouve avec ces huit morceaux que le néofolk en France a de beaux jours devant lui"
(By Mithra! Templezine)
"Un savoir-faire et un sens de l’ambiance. Le reste est à l’avenant, et les choix esthétiques de Vesperal laissent entendre sa non-orthodoxie. Et ça n’est pas pour nous déplaire, figurez-vous"
(By Obskure.mag)
"A ne surtout comparer avec rien car cet album restera toujours surprenant. N'oubliez pas ce nom, Vesperal, je ne serais pas étonné si ces gars nous surprennaient agréablement encore une fois à l'avenir"
(By Sanctuary.cz)
Written / Recorded / Mastered By Vesperal
Album cover by Feutre Noir
Logo design by Vesperal
With special thanks to Pauline Aedesirae & Alexandra (Moon Ceremony)

The Humble Bee is the solo project from Craig Tattersall, a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 9 albums on his moniker The Humble Bee.
Originally from Kentucky, since 15 years, Offthesky is the prolific musician Jason Corder who currently resides in Denver, Colorado in the United States. His catalogue shows over 70 albums which have been released by a number of labels such as Databloem, Dronarivm, Eilean Rec., Hibernate, Home Normal, Rural Colours, SEM Label, Wist Rec.
Nieves Mingueza is an experimental and independent artist using photography and other visual media. Born in Spain, based in London. The often-cinematic themes in her projects have in common her fascination with old books, film stills, vintage cameras, poetry and minimal drawings. Nieves' work is ultimately about the foggy relationship between fiction and reality. Additionally, she is exploring about immigration, mental health and human conflicts.

PRE-ORDER Ltd 2xLP GATEFOLD from our ESHOP:
metalodyssey.8merch.com/product/esoctrilihum-the-telluric-ashes-of-the-o-vrth-immemorial-gods-2lp/
• Limited to 300 copies worldwide: 100 red, 200 black
• 140gr. vinyls
• 350gr. gatefold sleeve, 5mm spine
• 12"x12" sized 4-page booklet poster
• Black inner sleeves
• Outer plastic sleeve
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BUY Ltd DIGIPACK CD from our ESHOP:
metalodyssey.8merch.com/product/esoctrilihum-the-telluric-ashes-of-the-o-vrth-immemorial-gods-cd/
Deluxe A5-Digipack CD, 8-page booklet with track by track commentaries. Strictly limited to 300 copies.
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“The Telluric Ashes of the Ö Vrth Immemorial Gods” is the 4th, most epic and most annihilating album by France's ESOCTRILIHUM, a cryptic entity that is torching the black death metal scene to the ground at great speed. Governed by the even more mysterious... more
credits
released May 24, 2019
Asthâghul - guitars, bass, drums, synths, kantele and larynx
Written and recorded by Asthâghul in 2018-2019
Cover painting: "Humbaba The Terrible" by Alan Brown
Photography by Aylowenn-Aëla
Art direction and layout by Francesco Gemelli
Esoctrilihum logo by Luciana Nedelea
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Cat. Nr. IVR115

French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”
In truth there is nothing simple about The Flower & The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L'enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies” (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.
Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.

Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower & The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”

Here is the much awaited reissue of Obsolete, the mythical album by Dashiell Hadayat, a character emblematic of the 70's French underground. 5 total tracks. Comes packaged in a Digipak. FGL. 2005.

Edited and mixed between Montreal and Paris, 'From Somewhere Invisible' summons the fever of experimentation and the powerful sound of the game coming together in the service of a luxuriant and psychedelic drift. Synthetic brass meets hammered rhythms, string electrics with cracked electronics, saxophone cries and laughter at a pulsing and seminal bass.
Created in 2012 by multi-instrumentalists Frédéric D. Oberland & Stéphane Pigneul, OISEAUX-TEMPÊTE [wazo-tɑ .p?ːt] - (Storm Petrels) is a constantly evolving collective that, embracing the freedom of improvisation, transcends borders and cultures, straddling the intersection where amplified music ( post / kraut / free-rock, jazz-punk, avant-garde, experimental electronics) collides and finds common ground - a refuge.
The consequence of several trips around the Mediterranean Sea - Greece ('S/T', 2013), Turkey and Sicily ('ÜTOPIYA?', 2015), Lebanon ('AL-'AN!', 2017 and 'TARAB', 2018) - the music of OISEAUX-TEMPÊTE is anchored in a tormented present. Sensitive to the beating of hearts, hypnotic beats and explosions of materials, they embrace the community of collaboration, regularly inviting to the studio and tour friends like the electronic producer Mondkopf, the Dutch performer G.W.Sok (The Ex), drummers Jean-Michel Pirès (Bruit Noir, The Married Monk), Sylvain Joasson (Mendelson), Ben McConnell (Beach House, Marissa Nadler), British bass clarinettist Gareth Davis, contemporary ondist Christine Ott and musicians Charbel Haber & The Bunny Tylers, Sharif Sehnaoui, Fadi Tabbal, Tamer Abu Ghazaleh, Youmna Saba, Two Or The Dragon ...
At the end of November 2017, OISEAUX-TEMPÊTE flew to Canada at the invitation of Radwan Ghazi Moumneh (Jerusalem In My Heart). The program for the quintet (Frédéric, Stéphane, Jean-Michel, Mondkopf & G.W.Sok): two concerts in Montreal and Toronto in support of the collaborative project Suuns & Jerusalem In My Heart (specially reformed for the occasion), fraternal encounters buried beneath the Canadian snow, and to finish, a mysterious two-day studio session in Montreal's legendary Hotel2Tango. Radwan shifts from the recording controls to the buzuk, the spiralling strings of Jessica Moss (Thee Silver Mt. Zion) a welcome surprise. With usual urgency, OISEAUX-TEMPÊTE rushes with joy towards the invisible outcome.
The fourth studio album and seventh release on the Belgian avant-garde label Sub Rosa, 'From Somewhere Invisible' (2019) embraces the new. Leaving aside for a while the logbooks of long journeys and the field recordings of the previous albums, the music of OISEAUX-TEMPÊTE unfolds as a twilight and prophetic orchestra around G.W.Sok's punctuated voice. The poems of Mahmoud Darwish, Ghayath Almadhoun and Yu Jian question the modern man and his double, the strange and foreign, the fragmented real, the violence, society and its mirror. The eyes we hide behind, the ones we should open. These intimate compasses which can make us rise together in the midst of shrouded ruins; there is always a black raven to defy the horizon.

Minimal Wave is proud to present a full length LP by French duo Deux. Gérard Pelletier and Cati Tete formed Deux after meeting in Lyon in 1981. Their music can be described as minimal synth with stripped down rhythm compositions and suitably cold duets. Their influences are a perfect blend of Kraftwerk and French synthpop. Between 1983 and 1992, they released a cassette and several rare singles : Felicita / Game & Performance and Europe / Paris / Orly. They also appeared on the V/A BIPP LP (2006) and most recently on V/A The Minimal Wave Tapes: Vol 1 LP. The album features newly remastered demo tracks as well as their best studio recordings. Check out their Felicita video linked below. This LP is a hand numbered limited second edition, pressed on 180 gram vinyl, housed in a heavy matte jacket lined in pink and accompanied by an insert in loving memory of Gérard. R.I.P. Gérard Pelletier (1952-2013)

Comme Ça is a set of 6 carefully crafted miniatures. A genuine feeling of melancholia exudes from every track, from the club-friendly La Basse et les Shakers to the ethereal Le Château de Corail. Dreamy music for warm summer nights.

Howie Lee, Linn Da Quebrada, Pininga, Tayhana, Cõvco, Nídia, Crystallmess, and Ami Yerewolo exert heavy dance remixes on Lafawndah’s ‘Ancestor Boy’ album
The exacting original production and arrangements of Lafawndah with Aaron David Ross (Gatekeeper, ADR) and Nick Weiss (Teengirl Fantasy) provide rich source material for each reinterpretor, supplying club-teasing results in the slinky tarraxho parry of Nídia’s take on ‘Tourist’, and floating, ‘floor-flirting measures of ambient sound design and driving techno rhythms recalling Nkisi productions in Cõvco’s spin of ‘Blueprint’, while Crystallmess tees up a militant mutant dance-pop flip of ‘Waterworks’, Bamako’s star rapper Ami Yerewolo goes sick on the shark-eyed drums and noise of the ‘Oasis’ version, and Tayhana supplies a haunting, ruggedly slow and psychedelic reggaeton twist on ‘Parallel’.

A Porthole continues astrïd’s signature style of billowing guitars, strings and woodwind. Each element intertwined with another, linked perfectly together through restrained jazz-tinged percussion. 2017’s highly-acclaimed release ‘Through the Sparkle’ with renowned pianist Rachel Grimes (of Rachels) set the bar extremely high for this release but astrïd have matched the depth, melody and quality of that record here.
Part one of this journey features some sublime compositions with Cyril Secq’s expressive and bold guitar playing carrying the pieces into chamber music territory, joined seamlessly by a variety of other instruments that swell and soar and fit perfectly into the story being told. Everything seems to have its place, nothing is overplayed or out of step here, there is an organic nature to the way this quartet plays and interacts with one another as melodies circle back and fade away in the same beautiful breath.
A Porthole is a deeply charming record, exercising glorious, nuanced refrain and offering a sort of hope rarely found in music these days.

Énergique, espiègle et turbulent, Terre Neuve est le genre d’album électrochoc traversé de grands moments d’émotion, de rage et de rire qu’on attendait pour bien commencer l’année 2020. Brigitte Fontaine s’y révèle dans son interprétation à la fois intense, sauvage et bouleversante.
« Le tout pour le tout », « Terre neuve », mais aussi la prose d’« Hermaphrodite », riche d’images fulgurantes et de sonorités inattendues, s’imposent parmi les sommets poétiques de l’œuvre de Brigitte Fontaine. On est aussi ravi de retrouver son insolence éternellement gamine dans « Vendetta » (charge bouffonne contre la gente masculine) ou « J’irai pas » (comptine punk anti-système). La chanteuse ravive également deux textes méconnus de son répertoire : « Les beaux animaux » (composé par J. Higelin) et « Ragilia » (composé par Areski Belkacem).
Réalisé par Yan Péchin (ex-guitariste de Bashung) et Jean Lamoot (Bashung, Noir Désir), Terre Neuve est l’album d’une immense artiste, qui parvient encore à nous surprendre, en faisant une nouvelle fois voler en éclat les schémas traditionnels de la chanson française.

TLAMESS (Sortilège) is OISEAUX-TEMPÊTE's first original soundtrack for the second feature film by critically-acclaimed Tunisian Director Ala Eddine Slim (Festival de Cannes' 51st Quinzaine des Réalisateurs, BFI London, ADF Argentina, Geneva GIFF, Rome Medfilm Festival, Marrakech International Film Festival).
Combining hypnotic feedbacks and synthesizer orchestral work, drifting ambient with shamanic beats, TLAMESS (Sortilège) O.S.T was entirely improvised in front of the rushes of the movie, between Mikrokosm recording studios in Lyon and Magnum Diva home studio in Paris, by OISEAUX-TEMPÊTE's quartet core team: Frédéric D. Oberland, Stéphane Pigneul, Mondkopf & Jean-Michel Pirès (Bruit Noir). Fully instrumental, including extended versions and unreleased tracks, this immersive film score is also their most electronic album to date.
The Story
"S, a young Tunisian soldier, is told that his mother has died, and given a week's leave. But then he starts to drift and doesn't return to his military base, instead locking himself away in his parents' house. This passive form of desertion culminates in a manhunt through the outskirts of the city. In the second part of this hypnotic diptych, a young woman, F, is also fleeing an oppressive situation. Married to a rich man and pining away in a luxury solitude she decides to flee the golden cage and disappears into the nearby woods. Eventually the
two characters will meet inside the strange forest."
In his second feature, director Ala Eddine Slim presents an intriguing juxtaposition of raw realism with a hypnotic allegory of contemporary Tunisia, held together by an intense, powerful & grating soundtrack.
Cinema and Photography
Regularly pairing with cinema and photography since their debut, the music of OISEAUX-TEMPÊTE also accompanied the work of video/filmmakers As Human Pattern (KHAMSIN, best documentary at Torino Film Festival), Hinde Boujemaa (Noura's Dream, Golden Tanit & Best Actress prizes at JCC Carthage), Léa Fehner (Les Ogres, best film at Cabourg Film Festival) Stéphane Charpentier (The Divided Line, Athens French Institute), Karel Doing (Palindrome Series, International Film Festival Rotterdam), Clément Cogitore (Braguino exhibition at Le BAL), and the Temps Zero live screenings (in Berlin, Paris, Toulouse with photographers Michael Ackerman, Gaël Bonnefon, Adam Cohen, Damien Daufresne, Alisa Resnik, Gilles Roudière, Yusuf Sevincli...).