=== ORDER NOW === EU store: US store: DIGIPACK 3xCD (incl. Bandcamp Digital Download and Streaming) • Limited to 300 copies • Deluxe 8-Panel Digipack ____________________ Waiting for the last chapter of the ambitious "Biolume" trilogy, Australia's MIDNIGHT ODYSSEY also bring to fruition their space ambient trilogy, started in 2020 and inspired by the sci-fi narrative of the 70s. Entirely instrumental and imbued with wonderful cosmic melodies, a MIDNIGHT ODYSSEY's trademark also in their most famous atmospheric metal incarnation, "Echoes from a Celestial Ruin" collects the two monumental albums ("Ruins of a Celestial Fire" and "Ashes from a Terrestrial Fall") already available through Bandcamp, and the last, unpublished chapter of the trilogy, "Echoes from the Thalassic Deep". This time, the enveloping charm of Dis Pater's music meets darker narrative themes than usual, where the idea of ​​a journey to discover vanished alien civilizations seems to cast a disturbing shadow on the toxic and violent reality of our days. "The themes are about ruined civilizations," sole member Dis Pater explains; "there is no real narrative, the song titles and album artwork will hopefully enable your own imaginations to run wild and fill in the lines in between. As I watch the world around us today, I can't help but feel we are on the verge of becoming one of these ruined civilizations. No real advanced life-forms, but fragments of what once was." Part 1 - Ruins of a Celestial Fire 1. Celestial Fires on the Path to Antares (15:23) 2. Ruins Of A Crystal Sky (15:26) 3. A Symphony in Stardust (15:24) 4. Tundras Hidden from the Sibling Sun (14:57) Part 2 - Ashes from a Terrestrial Fall 1. Ashes from a Terrestrial Fall (11:12) 2. The Stars Through Smoke Filled Eyes (17:03) 3. Of Desolate Poison Oceans (15:40) 4. Lost Planets of the Orrery (14:56) Part 3 - Echoes from the Thalassic Deep 1. Under The Alien Sea (14:24) 2. Moonbeams on the Sunken Graves (16:54) 3. As Death Rises from the Thalassic Deep (15:02) 4. The Tombs of Legends Past (14:25)

„Etna“ explores themes that are far more autobiographical. The album is named after the eternal river of childhood and new life. „Etna“ is the source flowing from the mountains and down to the fields, cleaning and purifying everything in its path. Consequently, Jørn Øyhus describes the process of writing the songs on his new piece of art as „like having mirror therapy sessions“. The records tell about the thoughts and ponderings of a man whose life kept falling apart piece by piece until there was nothing left but a broken person. A human being that had lost everything except his music to guide him and light his way.

"From Stillness we've grown, In sorrow we thrive, Our archaic rituals, to keep us alive, The roots and the stones, lead the ancient rites Exiled we stand , with the thorns on our side And aeons we waited, for the stars to align Another lost vagrant, yet our paths did entwine We mourn not for departure, but find solace in arrival We vow to keep them safe, for they are our survival, "Come forward then, our blessed child, and feast your eyes upon these wilds, There's beauty all across the trees, but darkness hides amongst these leaves" Tranquillity is ours to give, but never in our gaze Forsake us not, but listen to our esoteric ways. Our voice was once as lost as you, and winds sang our decay The melody soared with the breeze, and took all hope away Wistful laments of the damned, have turned the tides before Our vines will rot, the trees will fall, but to their cause we swore. The end was always imminent but never do we fear, This way of life, is ours to save, these trials of Menhir" credits released January 8, 2021 Everything written, recorded and mixed by Thurnin Logo by Sam Viviani Art by Jack Bailey Mastering and additional mixing by Nimblkorg

来自古城西安的双人后黑/自赏黑计划锈湖。 的Rustylake is a two-men project by Baobao and Acong from Xi'An, China. 锈湖首长全长专辑《肖》 Guitar/Vocal/Lyrics: 宝宝 Bass/Drum programming/Synth: 阿葱 Mixing: Asthen Mastering: LANDR Artwork: Ginseng Samples: White Noise Meditation/宝宝 (千寻); Before Sunrise (关于落); BurghRecords (失去时间的躯体与泡沫/镜湖) --------------------------------------------- “落，这是最后一年了。”

The man, whom the others would often refer to as "the drifter" or "that loner who went astray," stood on the worn-out edge of a cliff covered by lush mosses. Just stood there, by himself, in sculptured stillness, clutching a piece of rag with his twig-like fingers, then slowly lifted it up at roughly the same height of his warped shoulders resembling the ominous curve of a gargoyle, so that the dim light emitting out of the depth of the valley right below where he was standing would penetrate the thin fabric of that rag --- a fabric with a transparent quality like some dark-red chiffons of the highest delicacy, with silk peeled right off of Night Eternal's purple iris skin --- to lit up and see through its intricate textures, then transform it, perhaps, in his vision or imagination, into a mantle that topographically mirrored the phosphorus starscape of the contemplating Cosmo, 　　Then he drew that mantle over the serene valley down below. 　　As if a serenity of peculiar beauty (like the ways in which incenses burn endlessly) had been encrusted upon that particular valley, where even the most vigilant night creatures had fallen silent, miring in the most tranquil dreams they had ever witnessed, led by the convoluted trails of those syllables flowing out of his mouth (syllables of the most evanescent materiality, as fragile as the texture of that Mantle-as-Night in front of him; if one stitch them together, perhaps, a monologue about tarnished knowledge, spawning deceit, and a creek of remembrance that always moved in circles). Convoluted indeed, the way he resumed that monologue, as if to keep it alive, while staring at that rag and the valley it concealed, so that he could once again see with his own eyes that obsidian ocean of unknown origin, a living entity that kept reappearing in his dreams --- dreams whose durations had been increasingly verging on the realm of eternity --- to relive that sensation when its streams etched away, bit by bit, every piece of those physical traits and other soon-to-be-defective armors of flesh that had made him human, and eventually, to become part of the ocean himself; ascending, descending, diffusing, or aggregating, with all the voices and rackets of those stars who had long vanished in that merciless expedition called "the Past," towards the summit, towards the End, where cross-shaped stems and his ashen heart tangled. 　　But there's no End in sight :: And too brittle the lunacy he spoke 　　" One More Drop to the Vast Ocean" 　　A loner who went astray he really is, and indeed, it's often only those monologues of the most cryptic type that he used to express himself: ËDÏËH is definitely not your "typical Chinese black metal," albeit his pivotal role as one of the scene's most eccentric pioneers in the 2000s is near impossible to deny, but still, he is relatively lesser-known among both Chinese and foreign fans due to his low-profiled and self-secluded manner of creating music. However, "Underground" (or "Raw Black Metal") would be too crude a label to encapsulate all those fascinating elements within ËDÏËH's soundscape. Like his split personality Borkr, ËDÏËH (especially in his later career) would often adopt a unique approach towards the folk-oriented atmosphere and grandiose compositions in the veins of Drukh, with a strong emphasis on the "amateurish spirit" (for lack of a better term) when it comes to recording and his DIY aesthetic. These traits reached their matured stage in his last offerings: written and recorded back in 2011~2012, released as three interconnected pieces between 2014~2020 (as self-produced CD-Rs, often limited to less than 10 copies and only got distributed among a small circle of friends), the ËDÏËH Trilogy is arguably his Magnum Opus to date. Titled individually as Cosmogaia, Parallel Worlds of Sorrow, and The End of Tumult, the Trilogy paints an obscure yet marvelous graphic work that the above text roughly narrates: from Cosmogaia, wherein the melodies-centered writings that, to a large extent, have rightfully perfect the embodiment of East Asian folk tunes within the context of Black Metal; to Parallel Worlds of Sorrow that pushes the boundary even more which prioritizes ruminative experimentation of piano and strings; The End of Tumult, on the other hand, returns to the mournful territory of Black/Doom Metal and Post-Rock that signals the ultimate destination, or perhaps, laments the destined failure of reaching it. Most, if not all, of the songs (whose durations, not surprisingly, also verge on the realm of eternity like the protagonist's dreams) in The Trilogy are densely infused with luxuriant emotions: with fewer and fewer words, an incomplete monologue about the past, about nature and the loss of it, or perhaps simply, about how the purity of those dreams (or that ocean) would always draw their closures down at the end of that tunnel in his vision --- nothing but Sadness. 　　It's with the utmost honor that Pest Productions will release the ËDÏËH Trilogy as 3CD boxes in this August, limited to 100 set and will not repress. There is much more to say about this absolute masterpiece, but it's up to you, the listeners, to explore. Don't Miss Out. 　　credits 　　releases August 10, 2022 　　Written and recorded in 2011~2012.

Short story behind of Ataraxia I can remember those days well. Scorching summer made our daily lives difficult. Thoughts too were only willing to emerge with a tiring effort. Even they thought it was better to hide in the darker, cooler refuge of the mind, where they could rest undisturbed and weave plans free from the heat. Insomnia tormented for days. During the day, I lived almost instinctively, thoughtlessly. At night however, when the darkness overwhelmed everything, thoughts ventured out of their hiding places and forced me into a dialogue. My mind was stripped, as they came to the standpoint they had found in the cooling shadow without me. We started talking and they asked their questions. They asked: Why are you convinced that the world around you exists? You may be surprised at the question, but let’s just take a closer look at the question: what lays the foundation for the self-existence of beings if you can never experience this self-independence. Maybe you see into the minds of others? Maybe you feel the feelings of others? Or are you just aware of others or able to perceive? But if you feel the feelings of others, don’t they become exactly your own feelings? If you see the thoughts of others, will they not be exactly your thoughts? If you could perceive the consciousness of another, wouldn’t it become your own consciousness? Such thing that two does not exist. There is only one. A consciousness, a thought, a feeling. There are people, living beings, beings around you. Are they there always, or only if they appear in your consciousness? Because while they appear in your mind, you can justify their existence because you perceive them, but how do they exist when you are not perceiving them? Is it existence or non-existence? Let’s take a more universal example. Suppose if all sources had disappeared about the Egyptian civilization. Thus, no one but themselves would have known of their existence. With what existence can you describe that the name of which you can not even say? In such a case, even non-existing is too little to describe it, because you cannot even mark the object, since it does not exist in your consciousness. Can anything beyond consciousness exist in this way? Just imagine it as a canvas on which colors appear, which become the image, the painting itself. If there is no canvas (consciousness), there is no existence either. But let's not rush things. Let's take a closer look at vision. You claim that what you see exists independently of you (too). Do you intentionally want to narrow your consciousness and lock it in your body? Let's do that. Suppose the world exists in itself. Everything you experience is in the world. Animals, trees, objects, people and even yourself! But I have a question. When you see something do you see it in its true reality? What your vision is focused on - or any of your senses -, does that exist really in that way? You assumed that there was an objective reality around you. How can you define anything objective about the world if you can only perceive the world through yourself? Will this objectivity inadvertently become subjectivity? Or maybe the object sees itself? Does the world perceive itself? Isn’t total objectivity exactly when a given object perceives itself in its “objectivity” but in the meantime doesn’t know about its own “objectivity”? Because if that happened, it would immediately become a subject and lose its objectivity. Only “is” the complete objectivity. Because, ad absurdum, no one has ever seen existence among the existing, the true existence of their existence. For this, it is the consciousness and perception that must cease, so that the real face of reality can be revealed. That is just as impossible as you claiming the existence of objective reality. Only death, or the cessation of the subject could create objective reality, if there were any reality at all outside the perceiver. The subject itself clings to everything and perceives everything through the subject. That is why there can be no objectivity. Remember how Schoppenhauer said it? “I see no sun, only eyes that see the sun. I am not touching the ground, I am touching a hand that touches the ground.” To better understand, just play with the following thought. What happens when you dream? You see pictures, people, figures. Your consciousness forms them into what they are. Do they have an independent existence outside of you? Do they have independence? Do you know their “real” form outside of you? Could this be possible at all? What happens to them when you wake up? Maybe they continue living their reality outside of you? There is no need to nuance the problem with additional questions. Our goal was to reshape experiencing, not the ideological persuasion. My mind was forced to bow to these thoughts and put my life into its new stage. Not only because they shed light on the possibility of a different interpretation of reality, but also because they broke the previous experience of reality. I saw things differently around me. There has been an elementary change between the perception of myself and the world where the duality of object and subject has disappeared. Two became one, and I could no longer establish reality outside of myself. I was not able to detach the world from myself. Being and consciousness joined together, and I experienced that when everything is one. I felt like there was no - and never was - an end, that every beginning comes from me, and every end would end in me. There was never anything, and there never will be, because existence is the same as nothing. Intangible and unnameable. An eternal fall that has no end. I remember those thoughts finding me at night, and after I opened my eyes, I looked around the dark room where I could no longer find anything but myself. I began to tremble and I was afraid. I didn’t feel my presence, it seemed as if I didn’t even exist. As if I never existed. I was independent of everything. I closed my eyes and tried to fall asleep. I was hoping that sleep would get me out of this state, but when I woke up in the morning and the first rays of the sun lit up the room, I found myself in the same state. While a day ago I still knew where my place was in the world, the next day it was gone. I experienced everything in one and tried to escape. But there was no one to help me, since I was alone. There could be no one here except for me. I have a very striking memory with me from this day. I found myself in the garden. While a lot of fruit trees used to be in our garden, that day only one withered peach tree leaned against the stakes with its stretching, tired and old branches. I tried to escape myself into action. We picked peaches for canning. And then, in the simple act of picking the fruit, suddenly like a bolt of lightning, the infinite simplicity of existence was revealed. In the moment there was neither past nor future, only the present, in its entirety, which has no master, which does not appear to anyone. I reached for the work of Béla Hamvas. I was looking for the secret of a simple life. And with him - if only for the duration of a few thoughts - I found reassurance. I tried to live in a way that wouldn’t hurt anything. And at one point reality returned. I was not alone. Then there was music in the distance: Ataraxia neoclassical band from Italy. These were the first stanzes of my consciousness. And if I recall how many memories are tied to this band, I grow feeble. I owe them my whole life. I think back to them as my rescuers. Ataraxia - ataraxia! The beginning and the end - reassurance and shelter too is ataraxia! Epicurus did not live in vain! Italy does not exist in vain! HUN: Jól emlékszem azokra a napokra. Perzselő nyár nehezítette meg mindennapjainkat. A gondolatok is csak fáradtságos erőfeszítéssel voltak hajlandóak előbukkanni. Még ők is jobbnak látták elbújni az elme sötétebb, hűvösebb menedékébe, ahol forróságtól mentesen, zavartalanul tudtak pihenni és terveket szőni. Álmatlanság gyötört napokig. Napközben szinte ösztönszerűen, gondolatmentesen éltem. Éjszaka viszont, mikor már a sötétség mindent ellepett, a gondolatok előmerészkedtek búvóhelyükről és párbeszédre kényszerítettek. Értelmemet letarolták, hiszen nélkülem jutottak arra az álláspontra, amelyet a hűsítő árnyékban találtak meg. Beszélgetni kezdtünk, s feltették kérdéseiket. A következőképpen szóltak: Miért vagy meggyőződve arról, hogy a világ körülötted létezik? Talán meglepődsz a kérdésen, de vizsgáljuk csak meg közelebbről a felvetést. Mi alapozza meg a létezők önálló létét, ha ezt az önállóságot soha nem tudod megtapasztalni. Talán bele látsz mások fejébe? Talán érzed mások érzéseit? Vagy éppen mások tudatát vagy képes észlelni? De ha érzed mások érzéseit, azok nem éppen a saját érzéseiddé vállnak? Ha látod mások gondolatait, azok nem éppen a te gondolataid lesznek? Ha más tudatát lennél képes észlelni, az nem éppen a saját tudatoddá válna? Olyan, hogy kettő nem létezik. Csak egy van. Egy tudat, egy gondolat, egy érzés. Emberek, élőlények, létezők vannak körülötted. Ők amúgy is ott vannak, vagy csak akkor, ha a tudatodban megjelennek? Mert míg a tudatodban megjelennek, létezésüket meg tudod indokolni, mert észleled őket, de milyen módon léteznek akkor, ha éppen nem észleled őket? Létezés az, vagy nem-létezés? Vegyünk egy egyetemesebb példát. Tegyük fel, ha minden forrás eltűnt volna az egyiptomi civilizációról. Így magukon kívül senki sem tudott volna létezésükről. Azt, amit még csak ki sem tudsz mondani, milyen létezéssel írod le? Ilyen esetben még a nem létezés is kevés, mert még csak megjelölni sem tudod a tárgyat, hiszen a tudatodban nem létezik. Létezhet így bármi is a tudaton kívül? Képzeld csak el úgy, mint egy vásznat, amin a megjelenő színek, amik képpé, festménnyé válnak, maga a lét. Ha nincs vászon (tudat), nincs lét sem. De ne siessük el a dolgokat. Vizsgáljuk meg közelebbről a látást. Azt állítod, hogy amit látsz az függetlenül tőled (is) létezik. Szándékosan akarod saját tudatod beszűkíteni, és a testedbe zárni? Rendben, tegyük meg. Tételezzük fel, hogy a világ létezik önmagában. Minden, amit tapasztalsz, az a világban van. Állatok, fák, tárgyak, emberek, sőt még te magad is! De lenne egy kérdésem. Mikor látsz valamit, azt önmaga valós voltában látod? Amire a látásod - vagy bármelyik érzékszerved - irányul, az tényleg olyan, amilyen? Feltételezted, hogy körülötted tárgyi, azaz objektív valóság áll fenn. Hogy tudsz bármi objektívet meghatározni a világról, ha a világot csak magadon keresztül vagy képes észlelni? Nem lesz ebből az objektivitásból akaratlanul is szubjektivitás? Vagy talán a tárgy magát látja? A világ magát észleli? A teljes objektivitás nem éppen az, ha az adott dolog magát észleli önmaga “dologiságában”, de közben nem tud saját “dologiságáról”? Mert ha ez megtörténne, rögtön szubjektummá válna, elveszítené tárgyilagosságát. Egyedül a “van” a teljes objektivitás. Hiszen ad absurdum soha senki nem látta még a létezők közül a létezést, létezésének valós létezésében. Ehhez éppen a tudatnak, érzékelésnek kéne megszűnnie, hogy a valóság valódi arca feltárulhasson. Ez épp olyan lehetetlenség, mint hogy fenntartod az objektív valóság létezését. Csak a halál, avagy a szubjektum megszűnése tudná megteremteni az objektív valóságot, ha egyáltalán fennállna az észlelőn kívül bármiféle valóság. A szubjektum maga, mindenre rátapad, s mindent magán keresztül észlel. Éppen ezért nem létezhet objektivitás. Emlékezz csak, hogy is mondta Schoppenhauer? “Nem napot látok, csak szemet, ami napot lát. Nem földet érintek, hanem kezet, ami földet érint.” Hogy jobban megértsd, játssz csak el a következő gondolattal. Mi történik, mikor álmodsz? Képeket látsz, embereket, alakokat. A tudatod formálja olyanokká, amilyenek. Van önálló létük rajtad kívül? Van függetlenségük? Ismered “valódi”, rajtad kívüli formájukat? Fennállhat egyáltalán ilyen? Mi történik velük, mikor felébredsz? Talán rajtad kívül tovább élik valóságukat? Felesleges további kérdésekkel árnyalni a problémát. Célunk a tapasztalás átformálása volt, nem az eszmei meggyőzés. Értelmem kénytelen volt meghajolni eme gondolatok előtt, s életemet egy új szakaszba helyezte. Nem csak azért, mert rávilágítottak a valóság értelmezésének egy másik lehetőségére, hanem azért, mert megtörték a valóság korábbi tapasztalását. Máshogy láttam a dolgokat magam körül. Egy olyan elementáris változás állt be saját magam és a világ észlelése között, ahol a kettőség, az objektum és szubjektum dualitása megszűnt. A kettőből egy lett, és nem tudtam már magamon kívül megalapozni a valóságot. Nem voltam képes önmagamtól függetleníteni a világot. A lét és a tudat egybe ért, s megtapasztaltam azt, amikor minden egy. Úgy éreztem nincs, és soha nem is volt vég, hogy minden kezdet belőlem származik, és minden vég is belém fog torkollni. Soha nem volt semmi, és nem is lesz semmi, mert a létezés a semmivel azonos. Megfoghatatlan és megnevezhetetlen. Egy örök zuhanás, aminek nincs vége. Emlékszem rá, hogy ezek a gondolatok éjjel találtak rám, s miután kinyitottam a szemem, körbenéztem a sötét szobában, ahol nem találtam már semmit magamon kívül. Reszketni és félni kezdtem. Nem éreztem a jelenlétemet, úgy tűnt, mintha nem is léteznék. Mintha soha sem léteztem volna. Mindentől független voltam. Becsuktam a szemem és megpróbáltam elaludni. Azt reméltem, hogy az alvás majd kiment ebből az állapotból, de mikor reggel felébredtem, s az első napsugarak bevilágítottak a szobába, ugyanígy találtam magam. Míg egy nappal ezelőtt még tudtam, hogy hol a helyem a világban, másnapra ez eltűnt. Mindent egyben tapasztaltam, s menekülni próbáltam. De nem volt ki segítsen, hiszen egyedül voltam. Rajtam kívül nem lehetett itt senki. Egy nagyon markáns emlékem maradt meg erről a napról. A kertben találtam magam. Míg korábban nagyon sok gyümölcsfa díszítette kertünket, azon a napon már csak egy szikkadt barackfa támaszkodott szétnyúló, megfáradt, öreg ágaival, egy-egy karóval kitámasztva. Önmagam elől a cselekvésbe próbáltam menekülni. Barackot szedtünk a befőzéshez. S ekkor a gyümölcs leszedésének egyszerű cselekvésében hirtelen, mint egy villámcsapás feltárult a létezés végtelen egyszerűsége. A pillanatban nem volt sem múlt, sem jövő, csak a jelen, mégpedig egész teljességében, aminek nincs gazdája, mint ami nem mutatkozik meg senkinek. Hamvas Béla művéhez nyúltam. Kerestem az egyszerű élet titkát. Ha csak pár gondolat erejéig is, de nála megnyugvást találtam. Megpróbáltam élni oly módon, hogy ne sértsek meg semmit. S egyszerre a valóság visszatért. Nem voltam egyedül. Ekkor zene csendült fel a távolban: Ataraxia Olaszországból. Eszmélésemnek első strófái voltak ezek. S ha felidézem mennyi emlék kötődik ehhez a zenekarhoz, elgyengülök. Egész életemet köszönhetem nekik. Úgy gondolok vissza, mint a megmentőimre. Ataraxia – ataraxia! A kezdet és a vég – azaz a megnyugvás, és a menedék is ataraxia! Nem hiába élt Epikurosz! Nem hiába létezik Olaszország!

北宋崇宁四年（公元1105年），宋徽宗命蔡京执笔《元 祐党籍碑》，将司马光、文彦博、苏辙、苏轼、秦观、黄 庭坚、张耒、晁补之、程颐、李格非等反对朝廷乱政的文 人、官员共三百零九人定为祸国乱党，刻石碑树于全国州 府及名山大川。次年该碑尽数被毁， “元祐党人”也在后來 平反。碑中提名人士后人为讽朝廷，重树此碑，以示自己 先祖与司马光欧阳修范仲淹苏东坡等“沦为一党”之荣光。 朝廷屡禁不止此行， 在“元祐党籍碑"事件之前，苏轼尚在。经历过“乌台诗案” 的他，已然是接过了 前辈们的衣钵，成为了新的文化领 袖，文人们无不崇拜这位飘逸酒脱，正直善良的东坡先 生。先生五十六岁之时，在杭州西湖畔，缅怀亦师亦友的 前辈、同为唐宋八大家之一的欧阳修，写下了“与余同是 识翁人，唯有西湖波底月”的诗句。 1936年，林语堂远赴美国后，整理参阅了大量史料，创 作了苏轼的传记《苏东坡传》，在1947年首次出版，后 又被译成汉语在国内发行。在此书中，我们徜徉在历史的 一段河流，去观摩苏轼跌宕起伏的一生，去了解一段中国 文士的峥嵘岁月，去感受林大师隔着时空对古时先贤高土 的敬仰与顶礼。读此书仿佛看到，“—位赤子，去见另 位赤子” 岁月和雨雪的侵蚀， 让一切变成钻石与锈铁 而诗镌刻在大地上， 无畏一切变迁与沉淀 谨以此张唱片，献给中国当代的“西湖波底月”们。