This master release groups versions of the sound installation created for the David Lynch exhibition "The Air Is On Fire" held at Fondation Cartier Pour L'Art Contemporain, Paris, in 2007.
Part of what makes it so cinematic is the way it balances the narrative and the abstract, much like Lynch’s films. There are clear steps and turns, obvious moves forward and significant retreats. But there are also moments of pure texture, in which creating an indefinite feeling is more important than painting a specific picture. There are points in between, too, and those are the most fascinating: a section that sounds like a slowed-down show tune underwater, a rumble that could either be the echo of a cave or the ghosts of human voices, a dramatic turn that’s like a symphonic string section shot into space…

An astonishing, peerless masterpiece, the soundtrack to David Lynch's debut labor of love creates a world of haunting mechanics and sexual distress in such a bizarre layer of sonic fog that any record collection is simply poorer without it. The enormity of the aural experimentation is extraordinary. With renowned sound designer Alan Splet, Lynch developed any technique he could conjure up - from recording with pieces of glass tubing, pneumatic engines, or water-based pieces of machinery - to produce sounds never heard before (or since) in any medium. Pieces of Fats Waller filter in through the unsettling haze. The sounds of the unimaginably horrific baby are nothing less than ghastly. Few directors could have realized such a potent vision only a first time out. Disturbing, haunting, and - decades later - still one of the most compelling sonic creations in the history of film.

Unexplained Sounds Group exploring the Balkan post industrial scene. Artists coming from Greece, Romania, Turkey, Serbia, Bulgaria, Albania, Slovenia, Macedonia, introduce us to their vision of post industrial music and culture. The perspective of a region where musicians are growing with their own sonic and artistic identity. - Raffaele Pezzella

It's with great joy that we welcome one of Japan's most revered Ambient act. Manabu Hiramoto has been creating deeply distinct atmospherics since 2003. On this new album he's combined ritualistic elements with lush, foreboding passages, creating an ode to his country's unique nature worship.

Music is imprinted into Persian culture pre-dating Islam by more than 1400 years. By the time of its arrival in Iran in the 7th century, Persians had already developed the core of the theoretical framework of music of Middle Eastern origin still valid to this day. The 12th Century represented a point of departure as Sufism penetrated Persian culture and poetry became intertwined with music. By surveying avant-garde music in Iran, Unexplained Sounds Group has made their first incursion outside “western culture” into a highly fertile ground. Not surprisingly, this journey has been handsomely rewarded. The sample consists of high quality tracks where we found a wide range of unique voices and compositional styles resulting in a mature body of work. Upon listening to these remarkable artists you are left wondering if there is a better cultural fit than Iran for experimental music to develop outside the west.

Ignore Grief is the thirteenth studio album by American experimental band Xiu Xiu, released on March 3, 2023, by Polyvinyl. It was written by band frontman Jamie Stewart and new member David Kendrick. It was produced by fellow member Angela Seo, and recorded by Stewart at his home studio in Los Angeles, alongside a wide array of guest musicians including Charlie Looker, Ben Chisholm, Ezra Buchla, Patrick Shiroishi and Ian Wellman. The album artwork was designed by Janelle Abad, and depicts a white bat over a black background.

Virgin's fourth Ambient volume is the first of all-new material from contemporary artists, and it provides the most highlights of any in the series. Tracks from a score of crucial new-ambient producers, including Aphex Twin, Seefeel, O'Rang, EAR, Main, Final, Lull, Labradford, Techno Animal, Scorn and Paul Schütze. Seeing as each track is available only on this collection, it became the hardest-to-find of the entire series soon after its release.

Edgar Allan Poe’s power to inspire artists of various different mediums and styles has been a significant factor of his enduring popularity, as has the man and the mystery himself. Whilst the academia hauntings of M.R. James and the cosmic horror of H.P. Lovecraft have experienced something of a renaissance in recent times, E.A. Poe has always been a lingering presence. His meandering stories featuring such things as the onset of plague in a quarantined complex, troubles at sea, a murderer preying upon victims in their homes in the streets of Paris and quite frequently the haunting phantasms of guilt and grief and loss. At the times the supernatural drifts in, it is frequently with a disconcerting subtlety, even when wreathed in Gothic robes. His horrors are relatable, timeless and ultimately haunting and therefore they and Poe endure.

This new Eighth Tower Records project, dedicated to the Lucio Fulci’s “Trilogy Of Death”, a unique and unrepeatable corpus in the history of Italian “supernatural cinema”, tries to imagine an alternative soundtrack for those movies. The several souls of Fulci’s movies are evoked by the musicians - Nàresh Ran, Mario Lino Stancati, Daniel Ferreira (Kloob), Leonardo Granchi (Bad Girl), Cristiano Bocci, Paolo Acquaviva (DuoSerpe), Sara Fontana, Dario Arrighi (Progetto No Name) - through a variety of music styles (electroacoustic, dark ambient, concrete music, progressive rock, drone music). Some of them kept in mind the lesson of the master Fabio Frizzi, the well known composer of the original soundtracks, while others escaped any attempt to revive that glorious tradition and interpreted Fulci’s horror universe in a totally contemporary and unedited way.

First released in 1989, much of FACES, FORMS & ILLUSIONS jettisons the rough-hewn bass sequencers of Front Line Assembly mainmen Rhys Fulber and Bill Leeb's previous records for twilight electronic soundscapes that combine the gothic with the modern, the transcendent, and the darkly spiritual. Most of this album is solely the work of Bill Leeb, although Fulber and producer Michael Balch make significant contributions.

Ambient, sometimes dark beats fused with industrialised gregorian chants make this album a must for any hardcore Delerium fan. There are 6 tracks on the first volume all over 5 mins in lenth. It is a album that is probably meant for 100 years in the future. Leeb and Fulber got the mix right and the CD cover is perfect, the back showing our moon and the front Saturn and its splendid rings.

One of the first and best Delerium LPs, Morpheus leans closer to the pagan death-folk of Current 93 than any of Leeb and Fulber's more industrial recordings.