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Enthusiasm

Looping lofi industrial minimalism created with primitive tools inspired by Futurism & Constructivism. Originally released on cassette April 1987. Watergate Tapes 013

Vinícius Milani

Loop Poetry

"Loop Poetry" is a collection of delicate piano and synth loops, composed since last year and carefully curated to be degraded and aged, forming the kind of sonic poetry I have long wished to express.

Fabio Keiner

radiance

Radiance. Fabio Keiner returns. The rest is resonance. Everything else has been gently removed. The alphabet no longer communicates. It revolves. Somewhere beyond the atmosphere of language, its forgotten melody has become a self-sustaining phenomenon—a circular mantra endlessly polishing the interior of an invisible sky. Not our sky. A sky after sky. Where echoes bloom instead of dissipating. Where every frequency returns carrying a slightly different morning. There is remarkable peace here. Enough peace to become unsettling. Enough stillness to hear timbre separating itself into finer and finer shades of existence. Nothing spectacular occurs. Only countless microscopic awakenings. One inside another. One inside another. Until the music ceases to occupy time altogether and begins quietly resonating through whatever comes after it. A winter solstice passes. The radiance remains. -Sir Kuliktavikt

Orphax

Continuation

Words have never been my strongest point. I have many ideas in my head, often too many. I can talk a lot about them, but putting them on paper is not really me. I rather just work on my ideas. ‘cause whatever your thoughts are, as soon as it is out there and people start to listen it becomes theirs. What I might have thought up before, and have as concept behind the music, might not be how someone else listens to it. And that’s okay. If we keep in mind that my music is time focused, and I love it when it isn’t polished too much, so small errors become part of it, the music should speak enough for itself. “Continuation” is my first studio album since “En de stilstaande tijd” (2019), and shows a rougher sound staying closer to my live sound. I see this as a continuation of my live performances, though this time with various multi-track recordings brought together as a whole, all done in my home studio “Studio De Baviaan” over the course of 8 months. --- Sietse van Erve / Orphax, January 2026

THE GOLDEN SPIRAL

Daemonia

Daemonia. The second seal opens more slowly. If Dantalion felt like the discovery of a forbidden manuscript wrapped in funeral silk and hidden beneath a monastery swallowed by mold and centuries, Daemonia is what happens when that manuscript is finally read aloud. Not interpreted. Not studied. Read. Pronounced. Allowed to breathe. With this second and final chapter of the infernal diptych unveiled through ECHØVEIL, THE GOLDEN SPIRAL deepens its descent into ritual dark ambient, haunted neo-classical minimalism and cinematic occultism. The architecture remains familiar, but something has changed in the atmosphere itself. The air has become heavier. More ceremonial. The shadows now possess duration and memory.

Saint Elisabeth

The Vision of Saint Francis of Assisi

The Vision of Saint Francis of Assisi marks the beginning of a new ECHØVEIL series devoted to the back catalogue of one of the most singular and essential voices to emerge from experimental noise in recent years: Saint Elisabeth. The Vision was my first passage into the quietly immense world of Saint Elisabeth, and it remains a profound privilege to be able to share this work. Across eighteen minutes, it unfolds as an experience of ethereal, ambient, and minimal noise that invites meditation rather than spectacle. It is a music of gathering and release, of questioning and inward listening, of emptiness edged with moments of fragile euphoria. What descends upon the listener feels less like sound than a fine rain of silvered metal, falling slowly, insistently, until even the most imploring interior spaces begin to soften and glow. There is nothing else that sounds quite like this. In his search for the divine within noise, Saint Elisabeth touches something rare: a form of transcendence that does not announce itself, but hums softly at the edge of perception. Beautiful without ornament. Severe without cruelty. Essential. Prodigious. -Sir Kuliktavikt saintelisabeth.bandcamp.com Saint Elisabeth is also one half of Blacksmith and co-curator of Blacksmith Noise Records: blacksmithnoiserecords.bandcamp.com

Marax

Composition For Absence

composition for absence is a four-hour, uninterrupted durational work presented as a single continuous piece. The sound unfolds gradually, moving through light ambience, darker ambient passages, and near-silent moments, with transitions occurring seamlessly over extended time. Created as a deep-listening experience, the work is intended to induce calm and sustained meditation, allowing subtle shifts in texture and space to emerge through prolonged attention. Sound sources were developed and manipulated in Reaper using a combination of digital processing tools and custom source material, emphasizing atmosphere, restraint, and the presence of absence itself. Artist bio: Marax began in the summer of 1998, emerging from a primitive lo-fi recording approach rooted in process, texture, and immediacy. Early work was shaped by limited means and raw documentation, gradually evolving as recording capabilities improved and a more defined sonic language took form. From its inception, Marax has functioned as a broad experimental entity rather than a fixed genre project. The work spans a wide range of sound practices, from abrasive harsh noise to dark ambient and death industrial, often emphasizing tension between density and atmosphere, confrontation and immersion. Around 2011, Marax expanded further into reduced and longform approaches, influenced by exposure to lowercase and deep-listening practices. This period marked a shift toward greater restraint, duration, and spatial awareness, exploring subtle detail and sustained environments while continuing to draw from the project’s noise-based foundation. released March 6, 2026 Recorded and mixed by Marax in Reaper, utilizing custom-generated source material processed through ambient and spatial plug-ins, including Atmos 3 Lite, Serenity, and Airwindows filters. The composition was shaped as a continuous four-hour work through gradual layering, reduction, and longform structuring.

Errant Static

MirrororriM

Dissonant free improv recorded from July - November 2025. Absurdity is lost on the burning world of today. Remind yourself of how carefree the strange things can be. -V --- This is DEATH minimalism. This is subtraction taken to its final consequence. A skeletal doom, yes, but one that learned to whisper in an unknown jazz dialect, something crooked, nocturnal, almost articulate before collapsing into a language of dry clicks and distant throats. Anti-modern classical, stripped of memory. Avant-ambient, but suffocated, unable to expand, trapped in a chamber where the air has thickened into residue. The space itself rots. Galaxies smear against walls of mud and forgotten frequencies. The stars do not shine, they leak. Everything echoes, but nothing returns intact. Sound folds inward, devours its own tail, leaves behind only a trace, a stain, a suggestion of structure that never stabilizes. Bare. Cold. Incomplete in a deliberate way ; deliciously incomplete. Secrets accumulate in the silence between gestures. They are not revealed. They are buried deeper each time a string vibrates. You are not meant to understand them, only to feel their pressure, like a weight behind the eyes. Will you go to the decadent factory of modified flesh tonight? Maybe. If the rain holds. If the human tongues fall elsewhere. If the moon, raw and patient, does not split open above the knife-sky. -Sir Kuliktavikt

Projet -> Renard) Ost)

Entry into the Red City

Tenth album by Projet -> Renard) Ost) For who likes medievalish melodic slowcore.