February 24, 2022 brought Sal Solaris out of its anabiosis, demanding to speak out with all clarity: the war against Ukraine is an immeasurable crime for which we and our descendants will have to pay. And one more thing: the war against Ukraine is a war of Putin’s elite against Russia and its future.

The need for this statement is dictated not only by civil, but also by personal responsibility. As many people know, and for those who have forgotten, we remind you, Sal Solaris began in the second half of the 1990s as a project tightly associated with the National Bolshevik Party. Party card with a number from the second thousand, hitchhiking from Rostov to the first congress of the party, Dugin's personal anathema to the founder of Sal Solaris - we have a lot to tell, but that's not the point.

Since its founding, the National Bolshevik Party has been a subcultural movement, in which symbolic gesture was placed above political pragmatism. The cultivation of ambivalent radicalism attracted people of different views, who were united by their aversion to shitty Russian reality. As the balance of power in the country began to shift toward the siloviki (defense and law enforcement chiefs) in the second half of the 2000s, it became clear that the Limonov group was incapable of recognizing recognizing the changes taking place in the country and of making anything more than a gesture. The "first call" National Bolsheviks were leaving the movement, unable to grow beyond the narcissism of its founder. The movement was shaken by splits.

Further, the radicalism of the National Bolshevik rhetoric remarkably converged with the rhetoric of the authorities, eventually acquiring the features of an over-identification with Comrade Major. After Limonov welcomed the annexation of Crimea, contrary to the interests of the peoples of Russia, only complete dickheads remained with him. The death of the many times reborn entity was sealed by the renaming of the party into "The Other Russia of E.V. Limonov." A party that claimed to banish idols and strive for the future! The irony is emphasized by the fact that in the "party" there is not a single person left who has enough brains to realize what has happened.

How did the movement exchange radicalism for the pleasure of barking in unison with the sheepdogs of the regime? Was this transformation inevitable and what made it possible? One problem may lie in the very principle of "for everything radical against everything bad" - effective for cultural mobilization in a period of transition, and unsuitable for the production of a political alternative amidst the concentration of power. These questions require a detailed answer, which will be presented elsewhere. 

The NBP has a lot to be damned for. Yes: diluting responsibility is what the operators of the war want. Yes: up to a certain point, both among party members and on the level of declarations, there have been properties that do not fit in any way with the evolution of the RF. These are protest, actionism, egalitarianism, obsession with rebellion, etc. Putin's Gormenghast was built from other bricks, by other builders and stimulated by other sources. It’s pure Chekist bullshit, DUGIN, spaced-out conspiracism and dead water. But: now is not the best time to separate the grains from the chaff. Therefore, let's state the facts with all the straightforwardness of the authentic NBP of the 1990s.

The National Bolsheviks are monstrously fucked up. It's stupid to say that the current war is a caricature of the kind of righteous imperial irredentism that the National Bolsheviks dreamed of. Those dreams could not have come true in any other form, and we have to live with that.

It was the SS sermon of June 12, 2022.

***

On the cover is the Northern Saltovka neighborhood of Kharkiv in June 2022. Somewhere far beyond the bombed-out houses in this photo is the former Saltovsky settlement, where Eduard Limonov was born and grew up.

Support DIY

Sal Solaris — Всё, остальное [NEN.35]

The voice from the box said, "What if the ultimate border situation between garbage and art is actually laughter? (...) The literal yoga of excrement (排泄物的瑜伽), a coprolitic essay on how we, as listeners, encounter 'objects of fear,' process them, and transform them into sound. It's 石头 in our ears."

I said, "But 'for our purposes,' it seems to me that 'just a lonely voice' is needed."

Onufr Gaptev said, "For those who take a vow of silence, any word is shit compared to the name of God, and they remain silent, avoiding soiling their mouth with this shit. However, this contemplative silence, if it intensifies, inevitably breaks down. It reveals that the unspeakable name of God is precisely that: shit. And this is just the beginning. Shit was needed for the emergence of man. Thus, God humiliated Himself in His secret name. It is lower than incarnation, lower and more shameful than anything else. There is nothing beyond this to elevate. And so, man rises, stands up — thanks to God."

Someone said, "There's this evil engineer who invents 車 whose purpose is to suffer. Like that fucking synthesizer made from cats that scream in pain when a musician presses the keys, but this 車 is automatic and extremely durable. And civilizations change, they die out, but the 車 keeps suffering. Eventually, the sun goes out, planets cool down, but the 車 keeps flying in space and suffering. And who the hell knows how much longer it will fly and suffer. And who the hell knows if anyone will learn about its torment, and if they do, will they understand that what this 車 produces is agony?"

She said, "The relentless pursuit of infinite sonic experience in 'Can Stones..?' reminds me of Deleuze's words: 'We need to believe in the world we're becoming.'"

Epitemei said, "That's when I felt like I needed to do something. It was a pleasant idea, it made me very happy, but when I stood up, I realized that I did it all in vain because I didn't feel anything anymore. Then, when someone put their hand on my shoulder, I thought it was my mother, and I opened my eyes. It was a doctor, and he said, 'Here's a pill for you' — and gave me a pill. And then I realized that I was still having a convulsion — what I was trying with my hands — I know, not with my hands — what, what? — to touch."

Trash bin and its invariant production 0-0

Mastering: Myrrman

lmnt.space/scum/

@fictionalnoum @lmntspace @abjetk

Buy = Support DIY

Noūm — Can Stones Evade Taxes [NEN:55]

"Vkhod" is the debut album by the band "Vsue", born out of isolation, bad trips, jealousy, the premonition of the apocalypse, and a desire to revive the gothic doom of the '90s.

The album was recorded during the pandemic at the "Revansh" studio (Saint Petersburg).

Vocals, lyrics, production: Felix Sandalov
Drums, bass, guitar, synthesizer, backing vocals, mixing, production: Alexander "Skripal" Popov
Mastering: James Plotkin, Arnold_pR (tracks 2, 10)
Technical file setup: Felix Mirenskiy
Artwork: Valnoir Simoulin, Metastazis

Additional contributions: Guitars on "Mertviy yazyk" by Andrey Gankin and Erythro, pre-mastered by Pavel Yeremeyev

***

«Вход» — дебютный альбом группы «Всуе», выросший из изоляции, бэд-трипов, ревности, предчувствия конца света и желания вернуть к жизни готический дум 90-х.

Альбом записывался в пандемию на студии «Реванш» (Санкт-Петербург).
Вокал, тексты, продюсирование: Феликс Сандалов
Ударные, бас, гитара, синтезатор, бэк-вокал, сведение, продюсирование: Александр «Скрипаль» Попов
Мастеринг: Джеймс Плоткин, Arnold_pR (2, 10). 
Техническая подготовка файлов: Феликс Миренский
Оформление: Валнуар Симулен, Metastazis

Дополнительно: гитары на «Мертвом языке» — Андрей Ганкин и Erythro, премастеринг Павла Еремеева

Дистрибуция: Fonodroom

Альбом посвящается памяти Павла Лапундера, Григория Ениосова, Егора Нулевого и всех, кто ушел по своей воле.

Всуе — Вход [NEN56 2024]

Raspad is the debut cassette by Lisa Viktorova (wjerstean), an artist living in Armenia since 2022.

Darkly unsettling yet profoundly intimate, this album resists easy genre definitions. Born out of a time of legal persecution, it weaves together reflections on a tangled reality shaped by ongoing war and an elusive, uncertain future.

Through her project, Lisa explores the interplay between the explicit and the hidden, between words and phonemes, between sound and speech. An alchemical blend of memory and estrangement unfolds into resonant and melodic contexts, enriched with field recordings and voice, capturing events in their unfolding multidimensionality.

For those familiar with NEN's releases, Lisa is known under the alias Patimat Khripa.

Production, vocals, instruments, and artwork: Lisa Viktorova
Mastering and mixing: Pavel Yeremeyev
Cassette design: Vasya Kondrashov
Artist photo: Tonya Umanskaya

Distributed by Fonodroom

@wjerstean

wjerstean - Raspad [NEN157]

We have an unexpected guest mix, and it's the best I've heard in months - not just in terms of message and energy. Firstly, it's an accurate accounting of the current state of mind and the "mode of sensibility" into which everything that was vivid and real in the so-called "Russian industrial underground" has evolved. And secondly, no matter how insistent the authors are in their reclusiveness, this mix is exactly about what Russian war deprives us of: freedom, freedom to choose and normal abnormality.

***

У нас неожиданный гостевой микс, и это лучшее, что я слышал за последние месяцы —не только в плане посыла и энергетики. Во-первых, это точная инвентаризация нынешнего состояния и «расширенного режима чувствительности», в которые эволюционировало все, что было живого и настоящего в т.н. «русском индустриальном подполье». А во-вторых, как бы не упорствовали авторы в затворничестве, этот микс ровно о том, чего нас эта война лишает: свободы, свободы выбора и нормальной ненормальности.

Слово автор(ам): «Гостевой микс от рязанско-казанского дж-b2b-проекта Чёрный Петух Гэнг (@rawvshiii). Они грозятся устроить в самом обозримом будущем «серию элеккктро-панк вечеринок, дабы взломать остоебавшую сцену Москвы». Но парни движутся по заветам Лёни К. и Олега Злыдоты, поэтому скорее всего их планы уйдут в песок, и именно в связи с этим нам кажется важным засвидетельствовать этот отчаянный жест радикального рессантиманта. Как утверждают авторы, внутри вы найдете непростой синтез по мотивам творений таких великих, как Пациэнд, Тзусинг, Лана Дель Рей, Морван, Бэд Лсд Трипс, Дес Ин Джун, Му-Га, Кимшиз ремиксед бай Муфти, Александр Ганд, Тесте, Сауерстоффф, Лоуэр Тар, Беллатрикс, Асимметрикал и прочие моджахеды Роу Калче, Анна Фанк Дэмедж, месье Декабрь и т.п. Принимать микстуру строго по рецепту великого архитектора «Дома на говне»: «Спилите перетяжки смысла, и упадут платья и откроется перед вами великолепие, которое вы так тщетно ищите».

tg / inst / soundcloud : @rawvshiii

Чёрный Петух Гэнг — NEN Records Transmission May 2022

Русский мир

Всё, остальное

The voice from the box said, "What if the ultimate border situation between garbage and art is actually laughter? (...) The literal yoga of excrement (排泄物的瑜伽), a coprolitic essay on how we, as listeners, encounter 'objects of fear,' process them, and transform them into sound. It's 石头 in our ears."

I said, "But 'for our purposes,' it seems to me that 'just a lonely voice' is needed."

Onufr Gaptev said, "For those who take a vow of silence, any word is shit compared to the name of God, and they remain silent, avoiding soiling their mouth with this shit. However, this contemplative silence, if it intensifies, inevitably breaks down. It reveals that the unspeakable name of God is precisely that: shit. And this is just the beginning. Shit was needed for the emergence of man. Thus, God humiliated Himself in His secret name. It is lower than incarnation, lower and more shameful than anything else. There is nothing beyond this to elevate. And so, man rises, stands up — thanks to God."

Someone said, "There's this evil engineer who invents 車 whose purpose is to suffer. Like that fucking synthesizer made from cats that scream in pain when a musician presses the keys, but this 車 is automatic and extremely durable. And civilizations change, they die out, but the 車 keeps suffering. Eventually, the sun goes out, planets cool down, but the 車 keeps flying in space and suffering. And who the hell knows how much longer it will fly and suffer. And who the hell knows if anyone will learn about its torment, and if they do, will they understand that what this 車 produces is agony?"

She said, "The relentless pursuit of infinite sonic experience in 'Can Stones..?' reminds me of Deleuze's words: 'We need to believe in the world we're becoming.'"

Epitemei said, "That's when I felt like I needed to do something. It was a pleasant idea, it made me very happy, but when I stood up, I realized that I did it all in vain because I didn't feel anything anymore. Then, when someone put their hand on my shoulder, I thought it was my mother, and I opened my eyes. It was a doctor, and he said, 'Here's a pill for you' — and gave me a pill. And then I realized that I was still having a convulsion — what I was trying with my hands — I know, not with my hands — what, what? — to touch."

Trash bin and its invariant production 0-0

Mastering: Myrrman

lmnt.space/scum/

Noūm - Can Stones Evade Taxes - 05 Gyrolith

Noūm - Can Stones Evade Taxes - 04 Oncolith

Noūm - Can Stones Evade Taxes - 03 Bromalite

Noūm - Can Stones Evade Taxes - 02 Nereites

Noūm - Can Stones Evade Taxes - 01 Rhizolith

The current Russian war has shattered the familiar framework of our world, bringing a peculiar sense of inevitability. It feels as though half of my life has been an unconscious journey toward this moment, absorbing the memoirs of the elder Jünger, the poetry of Paul Celan, the shadowy realms of German expressionism, the end-of-days vibe of neofolk, the stark reality of necrorealism, and the disruptive noise of artists heralding an apocalypse under the "No future" banner.

What tied all these elements together, at least for me, was the unsettling sensation of living in an interlude, an anxious pause before the end of an old world—a sensation deeply familiar since childhood. By the age of five, I was already feeling its weight, frequently finding solace in the closet, hiding among the mothball-scented winter coats.

This mixtape emerged from a light-hearted joke in a music forum but evolved into a heartfelt homage to the magical modernism of Bruno Schulz. Schulz was another European caught between storms, distinguished from most of his contemporaries by his ability to find eternity in a moment and to see, beyond the dull, everyday life of his hometown Drohobych, a vibrant Galician baroque world filled with fantastical details.

I have not yet reached such a level of visionary escapism, so the mixtape, with its uneasy weird-folk vibes, serves more as a temporary sanctuary just beyond the grasp of sanity and solid memory. It's like a sanatorium enshrouded in the cobwebs of years, perched on the brink of childhood memories.

***

Текущая война принесла ощущение краха привычной картины мира и вместе с тем странное чувство, что я полжизни неосознанно шёл к этому опыту, пропуская через себя мемуаристику старшего Юнгера и поэзию Пауля Целана, сумрачный германский экспрессионизм и апокалиптичный неофолк, некрореализм, шумовиков и иных культуртреггеров апокалипсиса под флагом «No future».


Что их объединяло, по крайней мере для меня, — это тревожное интербеллумовское переживание короткого антракта перед финалом старого мира, знакомое с раннего детства: уже лет в пять под его гнётом я регулярно улезал в кладовку и прятался в нафталине зимних пальто.

Этот микстейп родился из случайного прикола в музыкальной конфе, но вырос в маленький аудиотрибьют магическому модернизму Бруно Шульца — ещё одного европейца эпохи между грозами, который отличался от большинства современников умением по-блейковски отыскать в одном мгновенье вечность, а за блёклым периферийным бытом родного Дрогобыча — пестрящее тысячей фантасмагорических деталей аутентичное галицийское барокко. 

Cам я до настолько визионерского эскапизма ещё не дорос, поэтому микстейп в беспокойных вейрд-фолковых тонах звучит скорее как временное убежище где-то за горизонтом здравого ума и твёрдой памяти. Затянутый паутиной лет санаторий на краю воспоминаний о детстве.

01 Majdanek Waltz feat. Sal Solaris — Ливень
02 Tara Fuki — Noce złe
03 Espers — Cruel Storm
04 Hala Strana — Black Dust
05 Світлана Няньо — Сад
06 Myrninerest — Journey To Avebury (отрывок)
07 Marissa Nadler — Fifty Five Falls
08 The Hare and the Moon — The Rolling Of The Stones
09 Rale — Galloping
10 Domácí Kapela — Bitevní Pole
11 The Moon Lay Hidden Beneath a Cloud — Amara Tanta Tyri IV
12 Václavek, Ostřanský, Jelínková — Nemám Jen Oči Krásné  
13 Вежа Хмар — Хто вона
14 Tusen År Under Jord — Sorgsendömet Fobos, Pt. 2
15 Lovozero — Volosy
16 Kimmo Pohjonen — Ohimo
17 John Fahey — The Approaching Of The Disco Void
18 Faun Fables — Light of a Vaster Dark
19 Księżyc — Historyjka, Pt. 2
20 Islaja — Palaa Aurinkon
21 Václavek, Ostřanský, Jelínková — Zdálo Se Mně, Zdálo  
22 Natural Snow Buildings — Satanic Demona Part I (отрывок)
23 井内賢吾 (Kengo Iuchi) — 夜が暗いのは
24 Старуха Мха — Предрассветные сумерки
25 Nico — Janitor Of Lunacy
26 Dusa — Segermännen: Linje + Rum (отрывок)
27 Nico — Le Petit Chevalier

Timur Scarynickname - Sanatorium pod klepsydrą - NEN Records Transmission 28/03/24

05 - Газ

04 - Всполох

03 - Я не желал тебе зла

02 - Явь

01 - Посредник

kto prosnutsya ne smog

breathing slices

they are dancing birds on the wall

my body sounds familiar

creature (Clan of Xymox cover)

i pust

clonus

to take away

softly spelling

Ankou: Homeobox 02: dark'n'groovy

live session dj mix, 13/08/2015

01 Tzusing - 4 Floors Of Whores
02 D-R-U-N-K - Acidbath
03 Erphun - Scorpion Ninjas (Ryuji Takeuchi Remix)
04 Endless - 0165
05. Blackasteroid - Hydrogen (Angel Costa & DJ Emerson Remix)
06 Bas Mooy - Thood
07 Miki Craven - Belly Shaking
08 David Meiser & Black Asteroid - Who Controls (_Unsubscribe_ Remix)
09 Overlook Hotel, Hackler & Kuch - Engine Reject (Mike Humphries Remix)
10 KiEw - DCDisk (Rotersand Vintage Rework)

"Then they continued, millions of them thick like mist, working the spaces between the stars, their only master the overness of the real.  They needed no other masters. They would never malfunction. (…) The track faded into nothing. Around the mandate, the universe grew old very quickly."

Hardfought, 1983
Greg Bear

"А потом они продолжили свою работу, их были миллионы, словно туман, они заполнили собой космос между звездами, зная над собой лишь одного хозяина – всеобъемлющую реальность. И другой хозяин им и не нужен. И они никогда не дадут сбоя.(…) 
Вот и последняя бороздка стерлась, словно ее никогда и не было. Вокруг мандата стремительно старела Вселенная."

Смертельная схватка, 1983
Грег Бир

Homeobox series of mixes launched by co-founder of NEN Recs.

Ankou: Homeobox 02: dark'n'groovy - NEN Records Transmission 17-08-2015

\|\/|\ is a sonification of the poetic "History of Machines", written in the last years of his life by the Siberian mathematician Valery Yakorev (1927-1999). The poem consists of eight parts, connected by the principle of the circulation of technics, starting from the first machines that worked on the fuel of pain, passing through their cooling in faded anesthetic machines and hardening in machines of neutrality, and ending with a phantom oracle (prophecy), returning the beginning in a circle. "In order to go on a journey through the history of machines," we read in Yakorev's notebooks, "you need a time machine [a body for the oracle -- author's note], working like a drilling rig, opening up pain in time all the way down".

"History of Machines" gives poetic outlines of such a rig, and \|\/|\ listens to the hum of its work and the surrounding noises.

The recording uses materials from the audio archive of Valery Yakorev.
Poetic variation of the theme of the first part of "History of Machines" (IVO), voice, tremolo: Onufr Gaptev
Strings and drums; screams: вузлiв
Sound editing: ieWfiby
Design: Ivan Spitsyn
Mastering: Myrrman
Distribution: Fonodroom

(i)0-e5c9zT—(e)+ou4—(W)3moГ—(M)79z0zazc9—(f)0+aГkz955—(i)c010Г—(b)pГ9-(TГ9m010)—(y)501101Ty)

‘Konfabulation’ was conceived in Summer 2016. We suggested that
contributors meditate on the broad theme of memory and its
aberrations. But soon the theme got a bitter refinement. This
compilation is dedicated to the memory of our friend Paul von Aphid.
He passed away in September.

Just few months before, Paul gladly responded to the invitation to make a track for ‘Konfabulation’. He was united with many of the contributors not only by musical interests, but also by friendship. This is not surprising: Paul was a tireless music fan, an advanced researcher of dark subcultures, a man of amazing knowledge and complex feelings.

Paul was not only a fine connoisseur of others’ music but also made
his own, truly striking and multi-faceted music. His productivity seems
incredible. Projects he was involved in number in the tens, but in
recent years Paul was focusing his efforts on Zex Model. Paul was preparing a track of this particular project for a NEN Records
compilation.

We will hardly find out how this track was supposed to sound.
However, music is born to be heard. At the will of the family of the
deceased and thanks to their help, we have included unreleased
material by Zex Model in ‘Konfabulation’.

Confabulation is a hallucinatory memory, a memory of things that
never happened. In the case of an individual, this may indicate a mental disorder, but collective memory always has a touch of fiction. In a crucible of shared memories a fact becomes a sensation and a man becomes history. ‘Konfabulation’ is a fiery fabric we weave together, playing and crying, from lead techno beats and heart-breaking industrial noise, to explain the past and give meaning to the present.

Dedicated to the memory of Paul von Aphid (1990-2016)

Compiled by Nick Larkin / Ivan Napreenko
Mastered by Arnold_pR
Artwork by Evgeniya Belyakova / Ivan Napreenko
Layout by Konstantin Mezer

released October 31, 2016

NEN102

Unhuman - Cronus

Nick Larkin - Virgil Compose

SΛRIN - Dimension

Alexey Volkov - I Lied (Podenzano)

A short story by Greg Egan 'Unstable orbits in space lies' describes the world after an unnamed apocalyptic event. The Earth is divided into autonomous zones, ruled by 'attractors'. People within coverage of an attractor are entirely immersed into one or another worldview, or a faith - from ‘liberal Judaism' to 'antiintellectual hedonism'. The only way to 'stay free' is to drift along the coverage boundaries of attractors, never stopping.

Questions that Egan raises: Is the rejection of a fixed belief a sophisticated form of faith itself? Is identification a hopeless trap? Are fruitless wandering and "loss of all" natural results of the denial to choose identification? Is there 'another degree' of mind and language beyond stable systems or denial of them?

The digital mini-album by Sal Solaris is not intended to serve an audio illustration to Egan's story. However, the questions posed in the 'Unstable orbits' are important to authors. Nonetheless one can draw direct analogies.

Sal Solaris sounding continues its lonely escape from strict genre definitions, although the closeness of techno-attractor is quite obvious. Four on the floor, EBM-bass pounds, flashes of metal light. A denial to choose.

A denial. A denial.

Recorded by Ivan Napreenko & Konstantin Mezer
Mastered by A person who asked not to be named & Asterius
Artwork by eBNi 

Downloads, cassette purchase and donations are welcome as they support artists and the label directly.

released January 15, 2017

NEN Records NEN.667

https://nenrecs.bandcamp.com/album/unstable-orbits-in-the-space-of-lies

buy digital

Sal Solaris - Unstable Orbits In The Space Of Lies

Special guest mixtape by editorial team of KROT web-zine (krot.me): one hour and a half of pure gothic rock extasy to rise you from the dead.

1. The Sisters Of Mercy - Alice [Merciful Release, 1992]
2. Red Lorry Yellow Lorry - Hollow Eyes [MPO, 1985]
3. Dreadful Shadows - Dead Can Wait [Sounds Of Delight, 1994]
4. Ghost Dance - River of No Return [Karbon, 1988]
5. Die Vision – When The Shadows Cry [cass., self-released, 1987]
6. Rhombus - You Only Want Me When You're Drunk [Models Own Records, 2007]
7. Blue Cross - No Redeemer [Noxious Noize! Records, 2012]
8. Trivalia – Ruža I Krst [cass., self-released, 1990]
9. The House Of Usher - All Heads Burning [cass., Beton Tapes, 1992]
10. The Wake - Locomotive Age [Cleopatra, 1993]
11. The Mission - Severina [Mercury, 1986]
12. Bauhaus - Passion of Lovers [Beggars Banquet, 1983]
13. London After Midnight - Sacrifice [Apocalyptic Vision, 1995]
14. Love Like Blood – Kiss Tell [Rebel Rec., 1992]
15. 45 Grave – Evil [Enigma. 1983]
16. Virgin Prunes - Baby Turns Blue [Rough Trade, 1982]
17. Taste of Decay - Calling [cass., self-released, 1984]
18. Forthcoming Fire – And The Autumn Has Come [Hyperium Records, 1994]
19. Skeletal Family – So Sure (old demo, fragment) [Cherry Red, 2016]
20. 13 Candles - Join Me In Death [Cacophonous Records, 1997]
21. Killing Joke - Love Like Blood [EG, 1985]
22. The Merry Thoughts - Dreamland [Dion Fortune, 1993]
23. Suspiria - Assassin Soul [Nightbreed Recordings, 1995]
24. Fields Of The Nephilim – Laura II [Situation Two, 1987]
25. Leæther Strip – The Carnival Is Over (Dead Can Dance cover) [Cleopatra, 1997]

КРОТ - Gotikk Ghost 11 - NEN Records Transmission 29-01-2017

Restive Plaggona is a Greek project, which grows more and more intriguing with every release. This new album by Dimitris Doukas, a producer from Corfu, has a bright cinematic character and would perfectly suit a cyberpunk dystopia. The plot is populated by sharp-toothed post-industrial creatures with a technoid bite (do you remember that dream you had last night?). However, narrative is not limited to playing cat and mouse with monsters. Rather, a supposed protagonist enters into rather whimsical relationships with them. The album's name, according to the author, is "political in nature and refers to our obligation to reject any relationship with power and order". In this case the disturbing tunes of 'Orders Rejected' can be treated as a story about dangers on the way to Edem of social self-organisation (or its unexpected implications).

Recorded by Dimitris Doukas at Corfu, Greece, 2016
Mastered by Arnold_pR
Artwork features 'Dogs' by Masha Bogoraz
Photography by Evgeniya Belyakova

https://nenrecs.bandcamp.com/album/orders-rejected

Restive Plaggona - Women In Medieval Society

Restive Plaggona - Chaos Is Inevitable

Yet another guest mix in NEN Records Transmission podcast. Heavy paced industrial dances selected by anonymous artist Distørtiøn Shape.

1. Restive Plaggona - Dating a Pervert [NEN / 2017] 
2. Celldöd - Avgiftad [She Lost Kontrol / 2017] 
3. Violet Poison - Onslaught [She Lost Kontrol / 2017] 
4. Synths Versus Me–[SEEK] [TARGET] [DESTROY] [Oráculo Records / 2017] 
5. Broken English Club – Wreck [L.I.E.S. / 2017]
6. Schwefelgelb - Bis Zum Nachsten Tag (Phase Fatale Remix) [Fleisch / 2016]
7. Headless Horseman - For All Eternity [Raster-Noton / 2017]
8. Ascetic - Exegesis (Unhuman Remix) [Instruments Of Discipline / 2017]
9. Sekunde - Andacht [Fleisch / 2017]
10. Regulär - Permission [unreleased, 2017]
11. Second Tension - Esoteric Flame [Monolith Rec / 2017]
12. Verset Zero - Grex Perditus (Violet Poison remix) [Tripalium Records / 2017]
13. Phase Fatale - Wound [Unterton / 2017]
14. Egyptrixx - Conduit [Halocline Trance / 2015]

‘The authorities are the same all over the world, expect an answer right off, and in every detective film I've seen the interrogation light burns into the suspect and the police ask him where he was at half past nine on a Tuesday three weeks ago, when the victim's head was chopped off and the body hacked into tiny pieces, and I wish the man doing the sweating would stand up and grab the nearest copper roung the throat, scream HOW DO I FUCKING NOW? right in the face. That's the truth for most people, but instead there's a few seconds of thinking as the camera zooms in on worried face, just long enough for the suspect to provide a perfect alibi, even knowing the exact time he was fifty miles from the crime scene with a married woman. It's all bollocks. I can't remember what happened yesterday, let alone, six, seven years ago. Lots of things are forgotten, lost rinse. Life merges into, influences and events mashed together, everything part of everything else'.
 
Jonh King, 'Human Punk'

Distørtiøn Shape – Ghost 17 - NEN Records Transmisson 04-06-2017

Regulär is a St. Petersburg based project from an anonymous and clandestine techno community called Remote Control, which the author himself defines as "a house, a temple, for every one of us". Album 'Multiband Reaction' is the first release of the project on a physical medium. If one wants to cling genre tags, it's a crossover of techno and EBM, packed with retro-samples and a powerful bass-line. If one wants to find out emotions, the record is oversaturated with vigorous sadness associated with 'another disappointing conclusion about your own person'. The release is sharp-cut, impudent and lyrical. Such things need to be dispensed in a drugstore without a prescription, upon presentation of a broken picture of oneself. Perhaps Regulär does not stick it, but at least it will sore the pain and will encourage to continue swimming for a good reason, across all hardships of life.

Recorded by Regulär in St.Peterburg, 2017
Artwork by Jenya Malygina
Mastered by ArSch aka Myrrman

released August 9, 2017

NEN18

Regulär - 0.33 Ms

Regulär - Auxsex

Regulär - Alphaville

And that is is... Festive pyres burn out, mutilated bodies scratch themselves from underneath the piles of unseen and unnecessary gifts. Groans and moans reign. And then - baaah! - a new guest mix arrives. 

Recorded by @sariim aka Alexey Hellasique, aka lethal sower of black metal plague, aka one of the founders of RABITZA club and JOY series of parties, a lord and a hangman.

No tracklist this time, for the hell is the list? We face the unpredictable to come. 2018 is empty as hell, with only fucking mice, and magic to come.
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Sariim - NEN Records Transmission - 09-01-2018

The title 'Myth Machine' demonstrates all the richness of meanings that gives us words connected by genitive case: if you want, read it 'The Mythical Machine', or "The Machine Creating Myths".

Ambiguity here plays into our hands. This epic compilation by NEN Records is dedicated to myths as a ways of giving meaning to the suffocating meaningless reality. It is devoted to narratives, coherent or broken, that each of contributors create by their own lives. Perhaps, therefore, the release turned out to be so poly-stylistic, and there is nothing to be surprised at.

And of course, behind all these narratives, lurks the shadow of a huge and hardly perceived Machine, which severely cuts off the plot lines and - arbitrarily, it would seem, draws new ones.

Note: All tracks on the compilation are created on electronic machines of varying complexity, each of which, for sure, has a hidden desire to tell its own machine myth (and you can even distinguish it).

Compiled by Nick Larkin & Ivan Napreenko
Artwork by Evgeniya Belyakova & Ivan Napreenko
Design and layout by Murad Ibatoullin
Mastered by ArSch aka Myrrman

Regulaar - Disconnected

Рассыпается пепел

A guest mix for the weekend mood: the holder of our brother-in-arms label Heliophagia has made for us a difficult dive into witch house(from post Commonwealth of Independent States territories, and beyond) and shares impressions.

00:00 Πлачь Ʒемля – IX -Трєпєтанїѥ тꙑсѧчи птицъ
02:59 Skaen – Palace
08:11 Skelter – Tetsuo
12:38 Fraunhofer Diffraction – F Ø R Ξ V Ξ R
16:44 BLVCK CEILING – P.R. KILLER (PSYCHIC RITES BC REMIX)
21:52 White Ring – Leprosy
24:24 Resignostix – Rajasvala
28:28 Flesh – Stigmatized
34:16 KVBVLV – RØSS
37:42 Πлачь Ʒемля – Хвоя
40:36 Радость Моя – Унывай Душа Моя

P.S. Another Ghost mix by same selector: https://soundcloud.com/nenrecs/najnas-ghost-04

M.S. - Ghost 50 - NEN Records Transmission 4.12.2020

Мистериозный проэкт НАСТОЯЩАЯ ГОТИКА ЕВРАЗИИ (ассоциирован с другими актами, чье появление на NEN может случиться в 2021-м) закрывает 2020-й конгениальным году микстейпом — feat. Ария, Церковь детства, Валерий Меладзе, к/ф «Бумер» и другие. 

От записи валит волна горячечного пара: год запрокинулся в липкой лихорадке. Сквозь марево текут обрывки снов, детские сучки да культурные червоточины, сливаясь в саркастическое послесловие то ли к дюжине месяцев, то ли к целой веренице сезонов в аду. 

«О, то тело бумаги — червие в яму вместе с историей, лестница в небо упала, когда вышел из дома, который язык бытия — летит, поднялся и за березы, техника связи и речи и у меня из России кровоток! 

Все что помню — глаза, а светило из ос в зор болота, потому что жить — это падать, прыгать и смеяться. 

Еще бы, тошнит в детство. 

Желаем справиться с тревогами! Будь как дома — ртуть!» 

С подступающим...

Настоящая Готика Евразии - Ghost 51 'Всем Смертям Назло' - NEN Records Transmission 30.12.2020

Весной 2020 года на онлайн-платформе Большого драматического театра им. Товстоногова вышел радиоспектакль по роману математика и мистика Романа Михайлова «Антиравинагар». NEN Records представляет треки, записанные певцом сокровенной России Алексеем Кыштымов (при участии проекта Ставицкий Бред ) специально для этой постановки, в виде самостоятельного альбома.

Галлюцинаторная атмосфера текста о ритуалах и памяти получает конгениальное звуковое и сюжетное продолжение.

Ближе к сердине записи обскурное техно, помехи и психоделические клавиши начинают мутировать в симфонии подвального гнома. Из точки, где герои романа стреляют в пустоту, композитор Кыштымов попадает в бар «Жертвенный агнец». Там он встречает горбуна в чёрном плаще (участника сибирской секты «Ставицкий Бред»), а тот передаёт Алексею записку и исчезает. В записке сказано, что активно растущие волосы на теле Кыштымова — не просто знак того, что он превращается в хоббита. И окружающий мир теперь — не просто Новое Средиземье. Он заслан в форме Метавируса Паранойи в мозг и ноутбук Самозванного Чёрного Сверхбога. Теперь цель Кыштымова — разрушить сознание и планы кровожадной сущности...

Запись, сведение, мастеринг: Алексей Кыштымов
Обложка: Евгения Кыштымова

Ссылки по теме:
soundcloud.com/bdtspb/sets/vjemsqiqe4zw
krot.me/articles/antiravinagar
vk.com/wall-30401645_117437

***

In the spring of 2020 a radioplay was released on the online platform of the Tovstonogov Bolshoi Drama Theater. The play is based on the novel ‘Antiravinagar’ by Russian mathematician and mystic Roman Mikhailov. NEN Records presents tracks recorded specifically for this play by singer of Hidden Russia Alexey Kysthymov (feat. Stavitskiy Bred) as an exclusive album.

The hallucinatory atmosphere of the text on rituals and memory gets a congenial sound and plot continuation.

Closer to the heart of the record the obscure techno, static and psychedelic key parts begin to mutate into symphonies of a basement dwarf. From the point where the characters of the novel shoot into the void, the composer Kysthymov gets to «Sacrificial Lamb» bar. There he meets a hunchback in a black cloak (a member of the Siberian sect «Stavitsky Bred»), he passes a note to Alexey and disappears. The note says that actively growing hair on Kyshtymov’s body is not just a sign that he turns into a hobbit. And the world around us is no longer just a New Middle-earth. The composer is sent to the brain and laptop of a Self-Proclaimed Black Super-God in the form of a Paranoia Metavirus. Now Kyshtymov’s goal is to destroy the consciousness and plans of the bloodthirsty entity...

Recording, mixing, mastering: Alexey Kyshtymov
Cover: Evgenia Kyshtymova

просят переночевать. школа. магическая волна

босиком. кладбище. гости

в глазницы. пустырь. доверять

Someone uttered: «There are five expressions of love: it is the unblinking gaze; the gurgling of alveoli bursting; the iron maiden or boa constrictor rings; strychnine in tea; and the tongue caught in the snare, striving to know clearly what bears eat from snare. But death knows only one expression, and what it is, I will not say, so that readers have reason to investigate on their own».

An experience of independent investigation of this kind is the joint work of the Saraf and Terra Teratos projects. Formally, Безвременье (Russian for Timelessness) is a witch ambient with ethnic motifs, but in content it is a field recording of frantic roundels of wooden brides, audio fixation of those slow processes that take place in houses of abandoned villages, on the borders of overgrown fields and forests, reality and sleep.

In full accordance with the title, the time dimension of this record is reduced (not much happens, happens in a dotted line), but the space of the album — between Ingermanlandian marshes and Voronezh steppes, between rustling and screaming — grows endlessly, absorbing the listener into a long captivity of grasses, roots and dreams.

Saraf (Saint-Petersburg, Russia): noises, synthesizers, gusli, bass, field recordings, brass
Terra Teratos (Voronezh, Russia): cries, vocals, rhymed stream of consciousness, artwork & design
Recorded in Spring 2020
Mixed and  mastered by Loorii

NB: physical copies coming soon

@weird1ofaugust

Genre-agnostic label in exile. Music with a displaced center of gravity. Online and on cassette tapes.

NEN Records

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