Remastered and reissued version of Vinterriket's debut CD. Includes a previously unreleased bonus track. Haunting dark ambient by this master of the genre.

In 1997 ARDITI was formed when H M"ller and M Bj"rkman started recording songs inspired by the Italian Futurist Movement of the early 20th Century. These songs were never released since both members were then too busy with their other bands. H M"ller has been active with PUISSANCE since 1993 and have with that band released five full length albums among other releases. The last 2 Puissance albums have been released on Blooddawn/Regain Records. M Bj"rkman is the vocalist of the Swedish Metal band Algaion that released a number of CD's between 1994-98.

Mer de Revs: Seraphim
"A dream will free us from our chains, mysterious and infinite, a sweet trembling runs through us − as if an echo sounded from the depths of our despair."
A study in deliberately soothing textures designed to give the listener space to find stillness and collapse into rest - late night lullabies.
How To Disappear Completely presents Seraphim - a coda to our experimental sleep music project, Mer de Revs series. To be honest with you, we’ve been considering and wanting to make this kind of record after recording Seraphim II on the first volume of Mer de Revs. Material for this album was composed and recorded over the last two years during MdR recording sessions. The end result is almost 2 hours of music that we hope you’ll enjoy as much as we did recording it. As always - THANK YOU for listening and your support.
Dedicated to the loving memory of Mark Hollis

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Mankind was once on another journey, one found rooted in the ancestors of the ancient past.
Presenting us with war and nature on the one hand, and falsehood, fears and ambitions on the other, the empire of Persepolis greets us with its lurid face. While ashes rained from the sky, legions of swords unsheathed revealed the unchanged quest for human power often overshadowed by revenge, power and glory. And yet, as the great earth is reflected in the air; and the sky in the stars too, these stories of life and death are a symphony that transcends centuries, and it was an honor for me to describe this chaos.
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Consumed by hate…
Pride emblazoned...
Persepolis - naked as the sand!
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“Persepolis” is an expanded, re-mixed and re-imagined version of Tir’s long sold out 2019 album, “The Vanished Civilization of Xattoth”, previously released by Heimat Der Katastrophe.
On this latest Tir “redux”, fresh orchestrations reveal... added layers of harmonic and melodic depth, and many compositions have been extended to uncover a much darker side of the “Persepolis” narrative. It also features two new pieces unique to this release, with a special guest appearance from Varkana on the album's final track, “Forgotten Prophecy”.
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All Instruments by Oytun Bektas.
Mixed and Mastered by Oytun Bektas.
Cover Art: Orko Entertainment
Additional Photos: Orko Entertainment & Melike Bektas
Layout Design: Peter Bursky
Label: Brilliant Emperor Records more

Notes on the recording process:
The organ on All Thoughts Fly is situated in Gothenburg and is a Swedish replica of the Arp Schnitger organ in Germany. It is the largest organ tuned in Quarter-comma meantone temperament in the world. With it’s four manuals, one pedal and 54 stops, it was built as part of a ten-year research project reconstructing 17th Century North German organ building craft. The tuning temperament is an important detail to note here, as it deeply affects the sound and tuning, and thus radically changed the process of creating this album. Anna speaks of a pleasant surprise during recording, the organ's ability to create beautiful "pitching" notes through its stops and air supply system. She remarks “We took advantage of this so most of the pitching sounds and notes that you hear on the album comes from the mechanics of this organ, effects made entirely acoustically." The organ was recorded with two room mics for atmosphere and two pairs of close mics placed inside the organ to capture nuances and detail for further organ sound processing by Filip Leyman in his studio.

澳大利亚Atmospheric Black/Viking Metal, Ambient

Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. Iʼm still surprised by what I wound up with. It was the first time Iʼd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village.
The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.

The music on this split release arrives remastered after its initial release via C40 cassette a year or so ago. Likeminded souls Eva Saelens (inca Ore) and Liz Harris (Grouper) are in brilliant form on these recordings, so it's great to hear them in a cleaned up format - though of course with these two, it's fairly difficult to tell where the muddy cassette hiss ends and the foggy, dusty old recordings begin. It seems as though Acuarela have struck up a decent balance between the characterful muck of the original recordings and the cleanliness inherent to a digital reissue, and the vaporous melancholy of Inca Ore on tracks like 'Chipiturca Eva Emmolada' and 'Michael I Will Meet You At The End Of Time' sounds marvellously intangible, each muffled electric keystroke and ghostly vocal annunciation rendered in a morose and ethereal haze. The Grouper tracks are a little harder to pin down, sounding a little less approachable than recent form has dictated: 'Little Gray Cat' is taut with spooky harmony and 'Poison Tree' is a disembodied moan. By the time we get to 'Fallow', Harris starts to come out of the shadows, blasting out a beacon of drone before withdrawing into the cloaked freeform melodies of 'A Light Change.' CD split releases seldom work out quite so well as vinyl or CD: there's no easy dividing line between the two artists - no side A, or side B - so instead there's always a possibility of disjointedness. These two artists complement each other brilliantly however, and this always feels resolutely like a 'proper' album. Highly Recommended.

在傳統語境中說到山水，多半關乎隱逸，真隱逸不常有，而真山水常有。葉公好龍的是，真山真水其實是「可怕的自然」，並非閒居宴坐的所在。山水畫作為一種「馴服的自然」，即古人說的「澄懷觀道，臥以游之」、「不下堂筵，坐窮林泉」，自南北朝鮮嫩的發端，五代兩宋的窮其理而後成為一種遊戲，到明清之後陳陳相因的體系內繁殖——其蓬勃發展的歷史反而是與人的身體離開自然山林而進入人工城市的歷史併行的。這張專輯也是對這一母題的延續。在人的身體都快離開人工城市而進入虛擬現實的環境下，給重複了上千年的「陳腔濫調」再增添一次重釋，帶著「山水」這一母題，以即興演奏的方式完成整張錄音。在曲目的定名上，也避開中國傳統的「意象命題」式標題，只以分秒為替代，在「說」與聽之間，帶著各自的審美體驗，進行一次互動，映照各自心中的佳山水。此時，山水形象的遙遠、陳舊、累贅和模糊或許又給「重新出發」以很大的空間。
演奏：六貯（竹管樂器）/ 栖崖（吉他）
錄音：六貯/栖崖
混音/母帶處理：栖崖
錄音時間：2016年04月至2018年11月
錄音地點：寧波 / 杭州 / 紐約
視覺設計：栖崖