Lightarmour Editions

10/06/2026

Supra-Genre Electric - Post Punk, Industrial, Dub, Darktronica, EBM, Ethereal Metal, IDM, Ambient, Techno Noir, Power Noise, Alt Folk.

A Spotify Playlist introduction to the label...

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https://open.spotify.com/playlist/0wYZA4JAc0Q6ZRuaXgsAQ4?si=7c0c2169030b4d36

Playlist · Lightarmour Editions · 25 items

10/06/2026

Australian Power-Noise Industrial Techno - On Vinyl

Black Lung’s ground-breaking, genre-defining releases - The Depopulation Bomb & The Disinformation Plague - have been compiled & meticulously remastered, along with new exclusive remixes and an appropriately austere and timeless package design by Sydney’s I+T=R. The Conspiracy Of One is a retrospective of the seminal electro-brutalism that Snog’s David Thrussell unleashed upon an unsuspecting public in 1994/95. The material had a profound effect on the leading edge of the international music intelligentsia & was way ahead of its time, spawning & cross-pollinating multiple genres of electronic angst and exploration; a maelstrom of illbient / Power Noise / Industrial Techno / Dark Ambient IDM…

Limited Edition Vinyl Available In Two Colours - Classic White & Splatter

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21/02/2026

LIGHTARMOUR EDITIONS MOMENTS #8 - Anna Von Hausswolff & The Siren Of Mortality…

I came across Anna Von Hausswolff only recently and it impacted me as much as a recent gig by brilliant Progressive Metal-lers Opeth - both from Sweden. When reviewers use such broad and disparate words to describe an artist it’s almost always a sign of their originality; Art pop / Neoclassical / Ambient Pop / Ethereal Wave / Gothic Folk / Experimental Rock / Drone / Funeral Pop / Post Metal / Sacred Ambient Dread - these terms all apply in some way, but you may come up with other words after listening to at least the three clips linked below. Mountains Crave is one of her most beautiful tracks (I have it on loop often in the studio), Deathbed is one of her darkest, and The Mysterious Vanishing of Electra is a great halfway for Hausswolff initiation. Electra is the key figure in a greek mythological tale of vengeance, and the accompanying video is as memorable as Demdike Stare’s ‘Savage Distort’. Perhaps, like me, you have that repeating experience where you think you’ve heard all the hybrids and shapes of music that are possible and then artists like Anna Von Hausswolff come along to reset the clock.

One of her chosen instruments is the pipe organ - an otherworldly sound generator in the right hands - but ultimately it is the uniqueness and power of her voice that hits the heart, imagination and mind, and resonates in the body itself; she sings with every atom of her existence and in performance has that unmistakeable sound and look of a spirit unconstrained by imposed standards or the allure of golden cages. From visceral operatic wail to waif-like Kate Bush fragility, Lisa Gerrard (Dead Can dance) style mystical awe, and even the commanding angst of Siouxsie Sioux. She does a unique octave swoop in her singing at times which is spine-chilling; showcased on the Electra track.

Beyond the most frequent references allotted to her music, personally I hear abstract parallels to Chelsea Wolfe, Sigur Rós, as well as later-period (non-cacophonous) Einstürzende Neubauten, the swelling Folklore dramatics of Nick Cave, and the brooding cinematic swamp of Swans and Skin (Anna and sister Maria appeared on a Swans release). From her Chamber Noir debut, her stylistic progression has remained founded on surgery-level emotionally-stripping power; light and dark, confronting and elevating. Like every seminal artist before her, regardless of genre, she is unafraid to question everything and anything & crash every taboo. Also, like every artist that leaves an imprint, she is willing to exorcise her most vulnerable and raw emotions like a flag-bearer for those behind her too timid to do so.

The title of her most recent release ‘Iconoclast’ is a succinct self-portrait of the signature vibe of Von Hausswolff, and her backstory is intriguing (like everyone else’s); A banshee of beauty, a banshee of pain…check out the clips below,

In Lightarmour We Trust

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The Incredibly Beautiful :
https://youtu.be/Mhwjb2X-lfU?si=zkqNqhJZkinsnZnz
The Very Dark :
https://youtu.be/NAbH1I7IpSE?si=bf6Az19rehvGNk97
The Good Place To Start :
https://youtu.be/JlHZoWgevPc?si=vRjh0MhnAYJnLHqV

08/07/2025

LIGHTARMOUR EDITIONS MOMENTS #7 - The Young Gods & the Subversion of Old Games…

The early Envoyé video by Switzerland’s The Young Gods is a bombastic taster of their signature collision of experimental music forms and the raw essence of rock’n’roll. To the backdrop of sampled guitars, gunshots and tribal drums, vocalist Franz Treichler (painted in what appears to be mud) feverishly counters a suspension harness that throws him around like a human puppet - all the while snarling guttural French & clever word-play. In this artefact alone, The Young Gods capture that distinct legacy of European avant-garde strivings, and all the philosophical ruminations that go with it.

The original trio took their name (as well as a good share of influence / resonance) from early Swans material, and there’s also the unmistakeable noise and counter-culturisms of Einstürzende Neubauten - but, in my eyes, they have always had an (abstracted) element of The Doors to them, especially in Franz’s pseudo-shamanic performance style as well as the romanticized-rebel poetry of the lyrics and themes. In turn (having shaped their own unique ID) The Young Gods would become major influences on an array of artists as varied as David Bowie, NIN, Ministry, Mike Patton (Faith No More, Mr Bungle, Tomahawk etc) and even The Edge (U2). I once had possession of their L'eau Rouge LP, a standout release on the consistently-brilliant Play It Again Sam Records (Neon Judgement anyone?).

Surprisingly, the avant-garders eventually hit the big time with a tasty crossover hit called Skinflowers (that snakey sub bassline sounded massive on big club systems) and things took off for the band internationally. Of course, been The Young Gods and not interested in any old games, the band dropped the whole spotlight-escapade and withdrew to their idealogical home base, reinventing themselves anew and reappearing in one fresh form after another. 2003’s album Second Nature saw them absorb Techno, IDM and Ambient influences into exhilarating Post-Industrial Electronica while Franz’s earnest semi-spoken vocals took on a Futurist sheen. The track “In The Otherland” even sounds like a darker glitchy Depeche Mode. I am yet to hear another album that sounds anything like Second Nature, TYG have eaten up genres like candy and created music that attempts to portray the unbridled forces of nature and an exhilarating sense of movement - something I think that has been at the foundation of their sound from day one.

Recently The Young Gods released a new album titled Appear Disappear - a perfect description of their mode of operation. Sonically it’s a closing of the loop, but on a whole other octave. Looking at the overall picture now, the most striking thing about this elusive band is how varied their evolutions and experiments have been but without ever losing the soul of their identity, or more importantly the joy / inspiration of the adventure itself.

In Lightarmour We Trust

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Classic Early Young Gods and Raw Video Power :
https://youtu.be/Mhwjb2X-lfU?si=zkqNqhJZkinsnZnz
Mid-Era Young Gods and their absorption of Techno / IDM :
https://youtu.be/NAbH1I7IpSE?si=bf6Az19rehvGNk97
Full Circle & The New Young Gods album :
https://youtu.be/JlHZoWgevPc?si=vRjh0MhnAYJnLHqV

07/06/2025

OUT OF THE DARKNESS CAME MORE DARKNESS, UNTIL IT WAS HAMMERED INTO LIGHT

This is the Cover Art for upcoming Fate Razor remix - BlackGuard Wolfpack (Tétaz Dub). It is a retro-snapshot of a headspace, a time, and an out-of-body experience and associated death that changed my entire paradigm. The BlackGuard songs come from the early ‘Melbourne’ era of Fate Razor - a portal of experience that was one of the darkest periods of my life and simultaneously one of the most creatively fruitful. There were many unforgettable characters I encountered in Melbourne; characters such as JeepMaster Warren the psychedelics merriment-maker, and Alt-Rocker Brett in his knee-high wellington boots and the pet python he kept in his lounge room (was not too keen, but harmless - the real problem was the snakes I encountered on my return to Perth…).

During my stay in East St Kilda I also met David Thrussell (of Snog, Soma, and Black Lung infamy) - in turn he introduced me to rising Producer & Mastering Engineer François Tétaz. Franc was a member of Industrial / Experimental / Ambient project Shinjuku Thief and would go onto re/master releases such as Merzbow’s Merzbox CD box set & The Triffids’ seminal album Born Sandy Devotional.

Fortunately François agreed to master what was to be the 1st Fate Razor release, a 7-Track CD.

I had received an unexpected letter from Chicago’s Wax Tax records requesting a follow up demo as they liked the tracks I’d sent months earlier; I was excited obviously and some of the songs on the 7-track were part of a 2nd demo intended to nail the prospect. What happened during and after the mastering/mixing sessions would take a novel to describe, but to summarise - my Father was diagnosed with terminal cancer, I spent months torturing myself over whether to return to Perth or selfishly pursue the potential record deal (at least in the short term), one night in North Carlton had my first vivid out-of-body experience in which I watched Fate / Death (represented as a pack of merciless wolves) dragging my father from his house by the throat and realised it was all going down quickly, wrote BlackGuard Wolfpack as a cathartic coping mechanism, returned to Perth to be with my Father at his death, never got to respond to Wax Trax, and in a desperate & broken plight for answers ended up on the radar of a coven of serpentine/occult/religious delusions and practitioners (another novel, another day)…

Amidst the storm, Franc delivered a Dub-ish remix of BlackGuard Wolfpack which blew me away - it was finally released on Bandcamp in 2018, and remastered again for the upcoming Spotify / Streaming release (goes live on the 17th June). The remix is a fresh soundtrack-ish abstraction of the original, but the original version is the one that captures something of the weight and atmosphere of the circumstances that informed it. Strangely enough, later in 2006 François went on to win an award for Feature Film Score of the Year - for the Australian Horror film “Wolf Creek”; There are so many synchronicities in the arc of this story, It’s a metaphysic mathematician’s dream.

It took more than a decade to grasp the central realisations of what I experienced and perceived in that most vivid and traumatic out-of-body. In the years that followed I was to encounter and confirm those startling paradigms again and again in my travels to the deserts in Australia (Uluru) and Turkey (Cappadocia was a haunting experience), across Europe and in the Andes mountains crossing Chile and Argentina. It is the foundational stuff and back-story of the Fate Razor project, and its evolution into the upcoming new albums and EPs currently in progress. For those that resonate with the thread in the words, images, and music, I hope you follow the story as it takes the form it was always intended to.

PS the new releases feature two covers (1st covers for Fate Razor) - The Order of Death by PIL, and Sunshine Felt The Darkness Smile by DAX RIGGS. Stay sane in the membrane.

LE42 - In Lightarmour We Trust

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Fate Razor Playlist now on Spotify...
https://open.spotify.com/track/7afTHKHrcqxGxnyX0aZNUE?context=spotify:playlist:1Ow800Kp3TGubjJyZ72QMo&si=8477145931143457

03/12/2024

LIGHTARMOUR EDITIONS MOMENTS #6 - Modern English & The Forever Hope

Recently I attended a live performance of Modern English and it was an amazing real-world time-travel experience. The glittering spire of their quintessential Post-Punk Future-Pop still conveys a sense of some amorphous, romantic, modernist promise; the emotional hit is as vivid as it was on first listen to 1982’s brilliant “After The Snow” album. Everyone knows their “I Melt With You” New Wave anthem, a complete and perfect tune that captured the moment definitively - with its generational catchphrase ‘The Future’s Open Wide’ - and to this day it continues to hold it, crystallised in time.

The gig reminded me also of the mystical allure and off-the-scale ‘cool’ of that early 4AD era. 4AD was a delicious secret amongst the underground subcultures. It was Post-Punk intelligentsia; one of the most seminal of all the seminal record labels. In 1992 I had back-packed around Europe with a stash of my own 12” pressings, visiting a Hitlist of influential labels in pursuit of that elusive record deal (Contempo in Italy, Play It Again Sam in Belgium etc). In England, on the way to Mute Records, I took a detour to the 4AD Earl's Court office and sat in a pub across the road to chill out a bit and savour the moment. Of course secretly I was also hoping that maybe members of The Wolfgang Press or Cocteau Twins might just pop in for a drink and a chat…

Modern English were one of the more brightly-coloured feathers in 4AD’s cap, and finally seeing them live (their first time to Australia if I heard vocalist Robbie correctly) was to witness that they still embody the spirit that moved so many people from the outset. By the way, first track was Sixteen Days - one of the classics from their rawer post-punk era (links below). Those fine English modernist dandies whipped up a no-bullsh*t angular-yet-melodic rite of rejuvenation, and I’m grateful that by the end of the night I walked out into the calm night air stripped of the dust that time had gathered.

In Lightarmour We Trust

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Raw Post-Punk Set from John Peel Show
https://youtu.be/ezDbSQC1T1g?si=7GsjpzucIihKVEC-

Sparkling Lushness Circa 1982
https://youtu.be/5pdoOF7537A?si=TWz9lswDYw0DQpAL

05/10/2024

Here’s a code for 30% OFF ALL VINYL & DIGITAL releases on Lightarmour - New Wave / Industrial / Dark Ambient IDM / Doom Metal / Neo-Classical Drone / EBM / Post-Industrial Soul / IDM BreakCore / Power Noise / Techno Noir…etc…sale runs until Sunday the 6th (Midnight UTC).

Code: friday30wam
Link: https://lightarmoureditions.bandcamp.com

In Lightarmour We Trust

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03/03/2024

SPARTAN DRUM MACHINES - THE CURE Vs CRIMSON BOY

As this write-up is in progress there’s a storm brewing outside, light rain steadily coming down, and a thick cover of dark clouds moving over sunset-lit suburbia; a fitting synchronicity to the vivid teenage memory of The Cure’e seminal Faith album and its deep impact on a whole generation. Walking in the rain while listening to All Cats Are Grey on a Cassette Walkman was just perfect really - the funereal yet beautiful emotional landscape of the track was and is unavoidably resonant. At that time I listened to The Cure & Orchestral Manoeuvres in The Dark as much as Andy listened to Depeche Mode & Sisters of Mercy; a fair profile of the DNA that formed Crimson Boy and the trio that preceded it - Childhood’s End.

The Iridescent Remix of All Cats is a far more cranked up version than the original cover that was included on the 2017 album Street Gods and Neon Dogs; the album that launched the label. Our forever love-affair with flange-effected basslines, moody and bright analog synths, and spartan drum machine programming has been given full sway in this propulsive 2nd take on The Cure’s haunting masterpiece. As always, the lyrics are a big part of the surreal magic contained within - there are so many interesting interpretations out there, a deep-dive is recommended…

Crimson Boy is Andy Brown & Vince Valentini
Main Sound Devices - Roland JV880 Synth Module / DSI Mopho X4 Synth / Ventris Dual Reverb

Live now on Bandcamp (Streaming platforms in a week or so)
https://crimsonboyofficial.bandcamp.com/track/all-cats-are-grey-iridescent-rmx

LE35RMX - In Lightarmour We Trust

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track by Crimson Boy

01/03/2024

BANDCAMP FRIDAY - 25% OFF ALL VINYL & DIGITAL

Bandcamp Fridays means Bandcamp waives their revenue share of all sales so that it all goes straight to the label & artists. Use the code below to get 25% off any vinyl or digital releases, running from now to Saturday the 2nd (Midnight UTC). Current catalogue covers New Wave / Post-Punk / Industrial / Dark Ambient IDM / Doom Metal / Synth Punk / Neo-Classical Drone / EBM / Post-Industrial Soul / IDM BreakCore / Power Noise / Techno Noir….

Code: fridaylight25
Link: https://lightarmoureditions.bandcamp.com

In Lightarmour We Trust

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Lightarmour Editions is a Music Label inspired by an underlying spirit rather than any specific genre.

09/02/2024

SNOG's David Thrussell recently gave a track-by-track commentary on the iconic LIES INC album on Melbourne's 3CR Radio, along with a self-effacing and intriguing back-story to the formation of his infamous & influential Electronic Industrial act... "David Thrussell is a poet trapped in the body of a hillbilly, a hopeless romantic hidden in the twisted frame of a dark electronic musician. Late at night, Thrussell fantasises that he actually lives next door to Hieronymous Bosch in medieval Europe, and hallucinated the whole dreadful modern era while suffering from acute ergot poisoning. We're not entirely convinced that this is not the case. Mr Thrussell is also a philosopher who’s comments are insightful and illuminating."...

The album has been meticulously Remastered for an Anniversary Vinyl Edition available via Australia's Lightarmour Editions & Metropolis USA.

David Thrussell is a poet trapped in the body of a hillbilly, a hopeless romantic hidden in the twisted frame of a dark electronic musician. Late at night, Thrussell fantasises that he actually lives next door to Hieronymous Bosch in medieval Europe, and hallucinated the whole dreadful modern era wh...