Flesh Eating Foundation – Seethe

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Flesh Eating Foundation - Seethe - Cover

Genre: Aggressive Electronica, Industrial Punk

Product Details: mp3 Album

Originally released on December 29, 2009 – No Longer Available

Track List:

1.One Minute




5.The Dead


7.Kiss The Tears

8.Pass The Knife

9.Join Us


11.The Deepest Cut

12.Minute One

Press comments for Flesh Eating Foundation – Seethe

If ever there were an album deserving of cult status, Seethe would be it.


They are an Atari Teenage Riot for the new millenium.

Talk magazine.

A well-crafted but low-fi barrage of tortured dance rhythms, jagged guitars and industrial clatter.

Grave Concerns E-zine.

Scruffy, dirty, tribal, violent Industrial/Future/Zombie Punk, with a bit of death disco and the odd spare  body part thrown into the blender.

Unscene Magazine.

Bleep and yell industrial machine music, global noise attacks and dark wave twitch and bang and clunk and clang.

Organ Magazine.

“Seethe” really is top-notch industrial chaos.

Insomnia Magazine.

“Seethe” gives the listener a caughty, volatile and atmospheric musical shot of EMB meets gothic punk meet horror electronics.

Judas Kiss Magazine.

A monstrous behemoth that once it’s been set going will utterly refuse to stop, until it does indeed reach those rusted iron gates of oblivion.

Heathen Harvest Magazine.

Flesh Eating Foundation – Seethe / Review by Simon Marshall-Jones

As is my wont, when I receive a batch of media to review, I usually take the time to read the liner notes, even if it’s only based on the principle that somebody has taken the time to write them and it would be churlish of me to ignore them.

On reading the ones contained on this CD, this reviewer’s heart sank somewhat when it mentioned that the album had been recorded in a bedroom – so you can imagine what species of scenarios immediately sprang to mind. I was resigned to a set of badly recorded songs, sounding like a group of spotty nerds had put them together to complain about life, love and how other people failed to understand them. Inward groans were in abundance that day….

But I needn’t have worried though – despite the handicap one would imagine constraining proceedings by recording in a bedroom this is actually a quality item. Mining the rich vein already pioneered by outfits like Skinny Puppy, Frontline Assembly, Numb, and similar, this Stafford, UK, threesome spew out a veritable tirade of bilesome ditties, as well as copious quantities of fake blood on stage apparently, that fairly stomp along at an unstoppable juggernaut clip.

Okay, so in some respect this does betray some of its bedroom-begotten origins in the sense that it lacks polish and finesse, and is pretty rough around the edges, but in an instance like this we needn’t be overly critical; if anything that very sandpaper roughness and texture lends it something, an authenticity perhaps, that is often more than noticeable by its absence on similar but better-produced fare. Plus, if you really want to get right down to it, there is perhaps a greater authority here, invested in it simply because of its roots in the underground scene and the fact that the musicians involved are probably closer to real life than many a ‘star’ in the industrial firmament.

Battering ram rhythms, rapid-fire beats, machine-gun sequences, bloodsoaked melodies, and blood & thunder vocals, vomited out with as much spite and venom as can be mustered and injected into one voice, amalgamate to create a colossus of affecting discontent and dissatisfaction. As intimated above, this thunders along at breakneck speed, with each song rapidly following on from the previous one without any respite, keeping the insane momentum going until the very last, barrelling along and heading for the gates of oblivion. More to the point, it wants you to share in that sublime moment of total annihilation, that instance, both a microsecond and an infinity, and on both the microcosmic and macrocosmic scales, where every particle of every bit of matter in existence is spread simultaneously to every vector in the infinity of the known universe.

Particular favourites, among the many to choose from here, are ‘Seethe’, slow-burning verses detonating into a melodic chorus proclaiming “We are losing the game…”, and ‘Join Us’, the spiky rhythm of hatred and acidic bile. All twelve songs on here, though, share the same shot of utter venom that works its way through the system and infuses everything with the taint of poison. You know, for something that was created in the most unlikely of recording studios, (and a decidedly low-tech one at that), this has more than transcended its limitations and boundaries, resulting in a monstrous behemoth that once it’s been set going will utterly refuse to stop, until it does indeed reach those rusted iron gates of oblivion.

A.J. Kaufmann – Jewels

Front Cover

Genre: Rock, Psychedelic Rock

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Adam Jan Kaufmann, born in Poznań in 1989, is an independent artist working almost exclusively in two fields of art – text and audio forms. Active since 2002, and professionally since 2008, he has his roots in cassette culture, krautrock and space rock, as well as in Canadian, American and Russian poetry of the 19th and 20th centuries. His debut poetry collection, “Siva in Rags”, appeared on the American market in the summer of 2008, and his latest publication is a poem in the anthology “Fierce Invalids”, dedicated to Arthur Rimbaud, published in Australia in 2014, where Adam shares the printed space with William S. Burroughs and Gregory Corso among others. The debut album with Adam’s original songs, “Second Hand Man”, was released on the Polish market in 2011 on vinyl and CD, and the next album, “Stoned Gypsy Wanderer”, from 2014, was released in the USA on CD-R – this is also an original album. Both met with favourable reviews, these releases were hosted by radio broadcasters from France, Germany, the UK, and the USA. Adam is the author of over 20 volumes of poetry and song lyrics, including the collection “Insane in Rome” and “Saint of Kreuzberg”, published in the UK, received as fresh and original variations over the well-known song text form, as well as an audio artist producing a new disc with different audio forms practically every month. Adam works from London and Munich. He is also the founder of the Polish / German experimental ensemble Säure Adler, which has 5 albums on its account and refers to the roots of the Munich aristocratic underground of 1968.

Various Artists – The Best Of Experimental Electronic 2020


Genre: Rock, Psychedelic Rock, Experimental Electronic

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Track List

  1. Dark Ambient Orchestra – Liquid Dream (Edit) – 16:37
  2. Peter Frohmader – Organic Still Life #2 (Excerpt) – 7:27
  3. Daniele Santini – Fifth Level (Edit) – 12:35
  4. A.J. Kaufmann – Sonnenengelküsse – 5:58
  5. Delirio Sonoro – Green House (Demotape) – 3:44
  6. Dark Ambient Orchestra – The Dark Side of the Room, Pt. 6 – 2:39
  7. gensiulia – Sn12 – 3:43
  8. Daniele Santini – Interlude – 2:16
  9. YSK – ULLDO001 – 5:00

Daniele Santini – The Seven Astral Levels, Vol.5


Genre: Berlin School, Sequencer Music, Ambient

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According to esoteric occult philosophy, the astral world is a realm into which we pass at physical death and where we spend a period of time before moving on to a higher sphere. It is also believed to inhabit not just disembodied souls but also inhabitants of non-human nature, such as the lower orders of the devas or angels, and nature-spirits or elementals (good and bad) such as fairies, which are just beyond the powers of human vision. The Astral plane is a plane of existence and perception paralleling the physical plane. It can be accessed during our sleeping hours during out-of-body experiences, It is then when our spirit can travel into other dimensions where we can perceive the beings of that world. Unlike the material world, which is made up of atoms and molecules, the astral plane is a world of thoughts. Because of this it is not three-dimensional, it is an area that is all around and all-encompassing. Objects can be viewed from all directions at the same time and emotions become visible and tangible, as are material objects on the earth plane. The Astral Plane consisted of seven levels, each inhabited by an assortment of different beings. The astral plane is believed to be far more mutable than the physical and is said to be changed and altered simply by the power of thought. The astral plane is thought to have many entities and levels to it and operates at a much higher frequency than the physical plane that we inhabit. The lower astral subplanes (traditionally the ones to be avoided) appear to be areas where negative emotion, thought, and fantasy-generated energies have been collecting for a very long time. These areas are home to negative manifestations of the darker side of the human mind and imagination. The fringes of these areas are not dangerous, but are decidedly unpleasant. The very bad lower subplanes are dark, shadowy areas populated (more aptly polluted) with all kinds of demons, monsters, and nightmarish figures. The lowest of these dark areas could aptly be called hellish dimensional areas. The series of these 7 albums attempt to describe the astral levels starting from the lowest up to the thinner one. The dark and obsessive music of the first three levels little by little becomes ethereal and pleasant.

Various Artists – The Psychedelic Gate


Genre: Rock, Psychedelic Rock, Experimental Electronic

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Track List

  1. Kalter Hund – Big Robot, Conrad Schnitzler 03:33
  2. The Search – Delirio Sonoro 06:21
  3. Alleygates of Sin – A.J. Kaufmann 06:33
  4. Questions and Answers – Daniele Santini 07:31
  5. The Dark Side of the Room, Pt. 2 – Dark Ambient Orchestra 16:39
  6. Sn14 – gensiulia 04:50
  7. Demon Turns Daemon – Larry&Creature 05:36
  8. Organic Still Life 1 (Excerpt) – Peter Frohmader 10:46
  9. Tangeri (Edit) – Christian Di Vito 07:36

Peter Frohmader – Organic Still Life

Front Cover

Genre: Experimental Electronic, Krautrock, Berlin School

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Peter Frohmader biography

Born 9th May 1958 (Munich, Germany)

The multi-instrumentalist Peter Frohmader is the founder and leader of Nekropolis (heavy & dark electronic rock group launched in the late 70’s). Five major albums have been published under the name (Nekropolis, Nekropolis 2, Two Compositions Nekropolis Live & “Cultes des Goules” from 1979 – 1985).

More in the vein of krautrock dark experimentations (with tape manipulations and doom bass sequences), “musik aus dem schattenreich Nekropolis” was released under the same name (1978-79). Nekropolis and Peter Frohmader solo projects are considered as leading experiences in the appreciation of complex modern electronica. Their synthetic, electronic textures and obvious tastes for free jazz, avant-garde improvisations are linked to Heldon, Richard Pinhas, Magma.

Frohmader was first deeply influenced by the “cosmic” electronic wave of 70’s Berlin underground (Klaus Schulze and Ashra Tempel at the top). Found of paintings and drawings, his music also reproduces his mental, subconscious pictures and obsessions. He created his own laboratory “Nekropolis studio” in Munich.

His first soloing extended electronic manifestations were “Orakel/Tiefe” (1983) “Ritual” (1987). Published in 1990, “Macrocosm” ‘3rd Millennium’s Choice Vol. 1′ is considered as a little classic with its deep ambient and almost gothic synth ambiences. He is accompanied by Stephan Manus (on violin) who is also a guest musician in “Ritual” and “Orakel/Tiefe”. Released around the same period, “Eismeer” carries on Sci-Fi, menacing and creepy atmospheric synthesizers’ explorations.

“Cycle of Eternity” (1992) is a contemplative, spiritual journey throw electronic realms. Frohmader collaborated with Richard Pinhas (Heldon) in the massive and hypnotic “Fossile Culture” (1999). In his later works, Frohmader experiments accessible and floating ambient soundscapes closed to Brian Eno and late Cluster (Space Icon. 2002 : Transfiguration).

Höchste Zeit also, diesen Mißstand zu beenden. Und einen Mann vorzustellen, der – obwohl erst Jahrgang 1958 – bereits seit den späten 60ern unbeirrt an seiner künstlerischen Vision festhält. Um die näher zu erklären, muß man ins 18. Jahrhundert zurückgehen: Peter Frohmader sieht sich ganz in der Tradition der Romantik, die er – musikalisch wie visuell – mit modernsten Mitteln wiederbelebt.

Denn Frohmader ist nicht nur ein versierter Elektonik-Spezialist, der die meisten seiner Alben im hauseigenen “Nekropolis”- Studio nahezu im Alleingang eingespielt hat, sondern auch ein diplomierter Maler, der bevorzugt mit der Spritzpistole an seinen obskur-mystischen Werken arbeitet. Musikalisch gelang ihm bereits 1978 mit seinem ersten Album “Nekropolis – Musik aus dem Schattenreich” der Klassiker der Gothic-Musik. Ein Album übrigens, das seit kurzem endlich – passend zum 20jährigen Jubiläum des Meisterwerks – beim kleinen, aber feinen Münchner “Ohrwaschl”-Label auf CD erschienen ist. Nach Erscheinen des Albums war der legendäre Mystik- Maler H. R. Giger so begeistert, daß er Frohmader eine Zusammenarbeit vorschlug. Resultat war Frohmaders Soundtrack für Gigers Film “Second Celebration Of The Four”.

Plus eine Freundschaft des “magischen Duos”, die bis heute anhält. In den 80er Jahren hat Peter Frohmader Bass- Symphonien komponiert, makaberimaginäre Soundtracks, Ambient-Werke oder an Magma und Can angelehnte Groove-Nummern. In seinen Bildern ersetzte er immer wieder gerne die Spritzpistole durch einen simplen Bleistift. All das zu dem Zweck, seine Tagträume, Jenseitsgedanken und inneren Traumwelten möglichst adäquat darzustellen.

“Wobei”, sagt Frohmader, “ich in den letzten Jahren von der sogenannten ‘Angst-Musik’ wegwollte. Mein Anliegen heute ist, einen Begriff von Schönheit umzusetzen – weg von der Realität, hin zur klassischen Romantik. Dazu gehören natürlich auch die Abgründe im menschlichen Wesen. Romantik ist immer sehnsüchtig.”

Peter FROHMADER is one of the most innovative and fascinating composers of electronic music. Even in his first album (“Nekropolis – Musik aus dem Schattenreich” issued in 1978), this German bass player, guitar player and keyboardist could impose an astonishing musical style, developed in the Eighties on soundtracks, ambient tracks, symphonies.

Sometimes Influenced at first by MAGMA, his albums want to be an approach to Death and Nothingness. It is not a coincidence if heʼs considered one of the fathers of the Gothic movement ! Composed over a six-year period (1997-2002), “Eismeer” is finally issued in early 2003, on the Gazul label. The author himself describes this work as “…A musical expedition, the movements of a boat on the sea”. The polyrhythmic, the harmony and the dissonances create a meditative and dark atmosphere. This trip on an ice sea proves intense and made of an unusual musicality. Very carefully written and performed, this epic of Nothingness is a highlight of contemporary electronic music.

A major Krautrock keyboardist and part of the German and European electronic music scene, the Munich-based painter and artist Peter FROHMADER has also collaborated with the greatest. Respectively recorded in 1981 and 1982, “Nekropolis – Cultes des Goules” & “Nekropolis II” especially show his talents as a multi-instrumentalist.

This solo work is mainly about dark and highly experimental music, somewhere between HELDON, MAGMA & UNIVERS ZERO.