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New releases from SPIRE, ADERLATING & FUNERARY CALL now available.



SPIRE "Spire" C60
Ominous and discordant Black Metal, devoid of light and infused with hypnotic ambient passages. Fall Of Nature presents a limited pro-cassette edition of the 2010 self titled EP previously released through Obscure Abhorrence/Art Of Propaganda on LP/CD. 100 pieces, few remaining.



ADERLATING "The Golden Mass" C30
Foreboding dead atmospheres clash with abstract, experimental manipulations, creating blackened invocations summoned via unsettling, claustrophobia inducing walls of sound that blur all distinctive lines of common genre labeling. "The Golden Mass" is comprised of unreleased and obscure materials, re-arranged by Mories (Gnaw Their Tongues, De Magia Veterum). Limited pro cassette in an edition of 100 pieces. VERY few remaining.




Channeling energy and inspiration from chthonic elements, Beckoning At The Black celebrates the exploration of man’s darker half: the shadow-self. It is an aural descent into the underworld of unconscious and subconscious dimensions. Challenging the listener to gaze into the mirror reversed and walk the paths below. Remastered, reworked and including bonus material not featured on the original release, Fall Of Nature is proud to present yet another offering from one of dark ambient's most sinister exponents - Funerary Call.

First 100 copies obtained directly from the label or artist recieve a free embroidered patch.



www.fallofnature.blogspot.com

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Review from Forbidden 'zine - http://forbidden-magazine.com/2012/08/funerary-call-beckoning-at-the-black/

Like previous releases from Funerary Call, the dark tracks on Beckoning at the Black were previously available through another label and are now being resurrected via Fall of Nature Records. For good reason too! The haunting atmospheres created by sole member H. Mcfarlane are sinister and foreboding to say the least, expertly crafted without the harsh-noise nonsense that some are too quick to call ‘art’.

With a host a great releases from labels as diverse and trustworthy as Nuclear War Now! Productions, Crucial Blast and Malignant Records, Funerary Call has built a discography that stands unchallenged in the realm of punishing power electronics and unforgettable soundscapes fit only for a restless night of troublesome dreams. Knife in hand,’Black Art’ tip-toes across a squeaky wood floor in the dark with its atonal piano melody where the pounding tribal drums of ‘Hill of Skull and Bone’ offer up a view of just that amongst the long shadows and funeral pyres.

Without words, Beckoning at the Black does more with silence that most ‘grim’ bands do with a gatefold lyric sheet: the horror is custom made for the psyche of the listener. Who is justified to discuss ‘Of Death’s Breath’? In this case, not Funerary Call. Think of being handed an empty canvas, a fine brush and a selection of dark paints. Funerary Call gives one the tools necessary to create an unforgivable and unforgettable image in their own mind, without instruction or expectation. The title track, as well as the previously unreleased ‘Plague March’, is simply amazing and the entire album is a worthwhile experience to listen to again and again.

I often ask bands that if their album were to be synced with a movie, what would the film be about? In this case, the point and the discussion is moot. Beckoning at the Black would only deter the viewer from the on-screen characters and their trival plot, demanding they create something more unique in their own mind’s eye.

Other reviewers are encouraged to get in touch for promo copies.

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New review by Adam from Crucial Blast rec

This was the last Funerary Call album to feature the band's horror-soundtrack/abyssal deathmarch industrial style, as after this the music began descending into more abstract, droneological depths on albums like Dark Waters Stirred and our own Fragments From The Aethyr release.

Originally released on The Fossil Dungeon, this is one of my fave discs of Funerary Call's black orchestral ambience. I'm still a huge fan of this period of Funerary Call's work, and it doesn't really sound quite like any other band out there. You can definitely hear a connection to the death industrial sounds of the Cold Meat crowd and the darkest edges of ambient music circa 2004, but there's a monstrousness to the heavier, more percussive-based music that really made this stand out. Now re-mastered and with new artwork, this 2012 reissue of Beckoning also features the previously unreleased bonus track "Plague March".

The music shifts between the crushing martial percussion and hellish horns/strings/howls that drive the void-incantation of opener "Unto The End We Call" (as with much of Funerary Call's output from this period, its very reminiscent of what Gnaw Their Tongues would start doing a few years later) and the minimal black soundtracks of "Black Art" (which features chilling piano dissonance and vague smears of ghastly whispering that later blooms into some fantastic John Carpenter-esque synth-drift) to eerie dark ambient tracks like the grim orchestral score "Of Death's Breath" and "Hel's Hymn" with it's demonic mutterings, vast subterranean thrumming and dreamy flute sounds. One of my favorite tracks on Beckoning is the distorted war-march "Hill Of Skull And Bone", which throbs with the relentless power of an amplified kettledrum and a squadron of deeply menacing trumpets while a wall of seething electronics glows luminous in the background.

Another highlight is the title track, which brings us the sound of French horns and other woodwinds heaving beneath low, guttural voices, the music looping hypnotically as drums begin pounding in circular motion - a real ritualistic feel to that one. Closer "Plague March" couldn't be more aptly titled; those thunderous, pounding drums are at the forefront of this song as well, as are those majestic war-horns and trumpets, lowing deep over the processional march.

Recommended to all navigators of the nightmare realms.

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Review of Aderlating from Noise Receptor. Very few of this tape left, less than 25 at an estimate.

For those not aware, Aderlating are a side project of the more famous (…or is that infamous?) Gnaw Their Tongues, with Mories of that particular nasty audio terror unit teaming up as a duo for Aderlating. So in the first instance there is no getting away from a passing compassion to Gnaw Their Tongues, and on a superficial level Aderlating do comes across as the more placid (…but still disturbed) brother of the OTT ambient / noise / industrial / orchestral chaos of Gnaw Their Tounges. But that is not to say that ‘The Golden Mass’ is easy listening by any stretch, as this contains some damn unsettling and abrasive atmospheres.

Consisting of an amalgam of ambient, industrial noise and orchestral elements, this however is not the bombast of a militant orchestral style. Rather the orchestral aspects here are of a horror driven discordant violin strings type, as a counter point to the industrial noise, which leans towards harsher end of the sonic spectrum. On the first side, the title track commences with a bass driven ambient drone, scraping industrial elements and some great Asiatic tuned ritual chimes, which gradually builds with windswept intensity. ‘Rapture’ on the other hand contains a mass of disharmonic orchestral strings, echoed drones and field type recordings of what sounds to be a creaking rope on wood (…swinging corpse perhaps?!), to create a suitable tense aura. On the flip side ‘Song For Mahapadma’ opens with heavy doom riddle death industrial cacophony, sampled Tibetan throat chanting vocals and ritual chimes, before shifting off into a echoed mass of what sounds to be scrap metal abuse, overlaid with male choir chants and rapid bowing of discordant orchestral strings.

Although not a lengthy release, some reasonably diverse and intense soundscapes are created here, from noise industrial, dark orchestral and ritual ambient to name a few. Pro printed crystal clear red tape and full cover J card round out this tasty morsel of a release.

http://noisereceptor.wordpress.com/