This episode starts a new format for Chaos Sedated. Rather than just a mix of music that could be easily streamed from a number of different platforms, Reverend Raul Antony will be guiding listeners through the world of post-industrial music, with detailed histories, related works, news, and announcements from the artists featured in each episode.

We start the new format by introducing two bands who have recently released a collaborative album, Herr Lounge Corps & Cadaverous Condition. Learn about these two bands, hear tracks from their releases, listen to a reading from a Herr Lounge Corps live review, and more.

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We discuss the latest release from OSTARA, GOST and the upcoming PERTURBATOR tour, dungeon synth from Рабор (RABOR), the long-awaited Greek Black Metal release from AGATUS, and blackened-synth-death from LAMENT CITYSCAPE + THEOLOGIAN. We also contacted several DANNY HYDE contest winners: Adam Czarnecki, Christopher Ashbrook & Stanley Kindly. Check your Facebook message requests to make sure you don’t miss out. We’re also experimenting with moving to SoundCloud, as we’ve experienced some quality issues when uploading directly to WordPress.

On this episode we have new music from Dernière Volonté, Ordo Rosarius Equilibrio, and The Human Voice. We also have some Coil and Electric Sewer Age and talk about my recent interview with Coil producer/engineer Danny Hyde. Also featuring Kristoffer Oustad, Cult of Youth, Theologian, and Gustaf Hildebrand.

When people first discover neofolk, they’re quick to come across the work of Death in June, Current 93, and Sol Invictus, if indeed the work of these founders isn’t what led them there in the first place.  However, it usually isn’t long before the work of Michael Cashmore comes into focus, who has arguably been every bit as important to the development of the genre.  This long-time Current 93 collaborator has long been considered a legend through his work as Nature and Organisation, releasing one of the most unique and instantly distinguishable albums that the genre has to offer in 1994 with Beauty Reaps the Blood of Solitude before allowing the project to grow dormant several years later after the release of the unfinished album, Death in a Snow Leopard Winter.

After many years of silence, however, Trisol—likely known to our readership for recent releases ranging from Rome’s A Passage to Rhodesia to Sopor Aeternus’s Mitternacht—has convinced Cashmore to finally reissue both of Nature and Organisation’s albums, along with two bonus tracks, under the banner of Snow Leopard Messiah.  Michael was kind enough to grant us an interview to speak about the project’s past, the reason for bringing these albums back to print for his fans, and his need to evolve as a person today.

The first time I saw Death in June live was in 2002 at the Walker Stage in New York City. The duo of Douglas Pearce and John Murphy commanded an intimate acoustic performance to a small but dedicated audience. Almost twelve years later, as this latest performance wrapped up, I thought back to my first DIJ experience and recounted how much things have both changed and stayed the same. The audience is larger, but just as dedicated. The band itself remains Douglas P. and John Murphy, but the momentary addition of Miro Snejdr (Herr Lounge Corps) added a fresh element to their classic line-up. The venue itself was an evolutionary step up from old punk bars, with a top-of-the-line audio system that delivered every note, beat, and sample without fail. Complex, situated right outside of the city of Los Angeles in Glendale, has grown to be the premiere venue for Industrial/Noise events in the area. Which should not be all that surprising when considering the long history that their staff, headed by the Rev. John, has had promoting the underground music scene in Los Angeles. Partnered with the event collective Church of the 8th Day, the team comfortably packed the venue with passionate fans and proved that they can deliver a more traditional act. The merchandise table was extensive, ranging from reissues of classic albums to brand new shirt designs and tour keepsakes, and as any event promoter should know, the life blood of any gig you book is the bar — which was staffed by courteous professionals who kept my whiskey flowing throughout the night.

he years 2005 and 2006 will always stand out as one of the highlights in the long history of Cold Meat Industry. We saw new music from Ordo Rosarius Equilibrio, Desiderii Marginis, Atrium Carceri, Brighter Death Now, Sephiroth, Mz.412, raison d’être, the return of IRM, and live performances across the world. They also seemed to have had an increased interest in Neofolk, introducing bands such as Medusa’s Spell, Rome, and Stormfågel. At first I was a little hesitant, if I recall correctly there was a heightened interest in Neofolk at the time, and a sort of power vacuum as well. It would be about 4 years before we would see a new Death in June album, 7 years for a new Blood Axis, and a number of new bands coming out, some looking to make their mark, others retreading the same ground. With Stormfågel, I initially wondered how they would define themselves, but it didn’t take long before I picked up on the subtle, hidden references to Existential films and literature, and took them to be far more intellectual than some of the other new bands coming out.

Over time I felt some internal conflicts within myself, in that I’ve felt rooted in traditional ideals, but fully aware of my own functions and contributions to a modern world. After a closer examination, I was surprised to see Stormfågel also lamenting on these conflicts and with that I was even more excited for their new release and to interview front-man Andreas Neidhardt for Heathen Harvest. The following conversation was had over an extended period of time in early 2012 over e-mail, during which time Andreas was finalizing the new album “Dödsvals”, and towards the end of the thread actually saw its release.