Back catalogue: All genres

Review: Luis Garban aka Cardopusher's raw, electro-infused take on techno has earned him releases on labels like Boysnoize and Super Rhythm Trax whilst running his successful Classicworks imprint alongside co-founder Nehuen. His Muscle Memory EP for Bay Area retroverts Dark Entries sees him ride on the winning formula of raw and jacking house and techno grooves from yesteryear with a touch of modern flair. It's all aboard the acid express on high octane thrillers like "Regress To Nowhere" or "Into The Motion" which feature the signature glide and resonance of the Roland 303, to EBM-infused electro bangers (title track "Muscle Memory") and the deep down and dirty bump of "Nambu Line Dub".

Review: Detroit-based Code Industry, for those who know, were a highly regarded and influential EBM-techno outfit. The always reliable Dark Entries has been digging in their vaults to serve up this vital reissue of their Structure EP. The quartet of Rob Myers, E.N. Sevy, Kyl Crys, and William Keith formed in 1989 having previously worked as Code Assault and were rare black artists working in the world of EBM and industrial. They were socially and politically minded so issues of racism, the media, and the hypocrisy of patriotism all comes up in their music which is denied by taught synths and dark vocal whispers that echo the work of acts like Front 242 and Nitzer Ebb. Add in high tech grooves and you have s fantastic EP that was originally released in 1991 on the Antler-Subway label.

Review: Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS alongside Gregory Davidow and recorded two singles. Diving into the Paris post punk scene he met Claude Arto and designed the artwork for Claude's single on Celluloid "Kwai Systeme / Betty Boop." Robin Scott (M "Pop Music") had produced the SpionS first single and wanted to collaborate further. With Claude, Jean-Marie wrote "Me Me Me", intended for a choir, for M. Then SpionS split and Robin was off to Switzerland to record an album to follow-up his hit single. That left Jean-Marie alone in London, where he began working as Codek, a play on the brand name Kodak The "Me Me Me" single was released by MCA Records in 1980. Back in Paris, now with some studio experience, Celluloid Records hired Jean-Marie to produce records for Artefact and Les Orphelins. Over the next 2 years he began working on ideas for the next Codek single "Closer / "Tam Tam".

Review: Much is made of the love that Bill Converse from Austin, Texas, has for classic music making hardware (as opposed to the computer-based solutions most find convenient these days), but at the end of the day it's the results he gets rather than the means that have cemented his reputation as one of the most interesting names operating in the US today. This six track selection is no exception, suitably freed-up from convention or restriction and executed with a radioactive excitement that shines directly out of the grooves. Check the rapid fire snares of 'The Last Time', the eerie, horn-like screeches of 'Measurement (Of What?)' or 'Take Apart', with its ascending Detroit-style bassline, for further proof, or just dive in and enjoy the whole lot.

Review: Post-punk aficionados may already by familiar with Crash Course In Science, a Philadelphia-based band who released two acclaimed singles between 1979 and '81, before going their separate ways. Here, one of the band's previously unheard 1981 demos gets mixed and released for the first time. "Jump Over Barrels" is a song about overcoming adversity, and in newly mixed form sounds like a lost post-punk classic. It's accompanied by a couple of demos - their initial 1981 recording, and an earlier, deliciously skeletal and heavy rehearsal version - and a fresh remix from Tadd Mullinix under his now familiar Charles Manier alias. The Ann Arbor-based producer does a good job of toughening up the track for modern dancefloors, whilst retaining the free-spirited essence of Crash Course In Science's original.

Review: Veneno is the most beloved transgender TV star in Spain and now she arrives on the equally revered Dark Entries label as part of Madrid Pride on June 30th. Cristina Ortiz was a sex worker when she was discovered by the TV program "Este Noche Cruzamos el Mississippi." She became a regular on it with a great sense of wit and a unique way of relaying stories about her work on the streets. Her career in music started in 1996 and has seen her serve up big Eurobeat tunes like 'Veneno Pa Tu Piel' and house cuts such as 'El Rap De La Veneno'. Two mixes of both of those hit tunes are presented here and are enduring gay anthems that will light up any party.

Review: The final part of Dark Entries' long-running series of archival Patrick Cowley releases showcases tracks originally recorded for Afternooners, a late '70s gay porn film by director John Coletti. As with previous Cowley releases on Dark Entries, the double album also contains previously unheard material rediscovered from the Fox Studio archives. It's another essential collection of atmospheric synthesizer music in the producer's distinctive style, all told, with tracks ranging from the whistling cheeriness of "Hot Beach" and the sparkling, cowbell-laden throb of "One Hot Afternoon" to the dubbed-out, semi-ambient dreaminess of "Bore & Stroke" and the humid, upbeat "Jungle Orchid".

Review: Having previously impressed with their reissue of Patrick Cowley's brilliant, all-synthesizer soundtrack to obscure '70s gay porn flick School Daze, Dark Entries and Honey Sound System once again join forces to shine a light on the high energy disco pioneer's work for San Francisco's Fox Studios. Unsurprisingly, it's another impressive collection, and features material recorded for a number of different pornographic films. There are naturally more up-tempo moments - see "Somebody To Love Tonight", which would later be re-recorded with Sylvester, and the synth-weirdness-meets-jazz-funk brilliance of "5oz of Funk" - but it's the impressively cosmic and exotic ambient moments, such as the stand-out "Timelink" and "Jungle Magic", that really stand out.

Review: The final part of Dark Entries' long-running series of archival Patrick Cowley releases showcases tracks originally recorded for Afternooners, a late '70s gay porn film by director John Coletti. As with previous Cowley releases on Dark Entries, the double album also contains previously unheard material rediscovered from the Fox Studio archives. It's another essential collection of atmospheric synthesizer music in the producer's distinctive style, all told, with tracks ranging from the whistling cheeriness of "Hot Beach" and the sparkling, cowbell-laden throb of "One Hot Afternoon" to the dubbed-out, semi-ambient dreaminess of "Bore & Stroke" and the humid, upbeat "Jungle Orchid".

Review: School Daze is a killer compilation put together by the Dark Entries label and the Honey Soundsystem crew, collating some of the early recordings produced by Patrick Cowley in the years between 1973-81 and were later used as soundtrack material in two gay porn films. You will probably know Cowley for his Hi-NRG output or 'that' Donna Summer remix or his behind the buttons work on Sylvester tracks. Be prepared for a surprise (well quite a few as the 'explicit content' warning on the cover lives up to its billing) as this collection presents Cowley as a producer capable of many styles and moods. The closest School Daze comes to the sound Cowley is most identified is opening track "Zygote" and from here the collection runs through primitive electronics, short bursts of wave and more with a few extended gems that highlight Cowley's talent for arrangement. One of the compilations of the year!

Review: Best known for producing chart-topping disco anthems like the Sylvester-fronted 'Do You Wanna Funk?' - that still crop up in DJs like Juan Atkins' sets to this day, Cowley died in 1982 due to an AIDS-related illness. He left an incredible body of work but since 2009, the Dark Entries label has been working with Cowley's friends and family to uncover the singular artist's lesser-known sides such as his soundtracks for gay pornographic films. Malebox brings us six more recent discoveries from the hidden archives, very much in the churning disco-funk and hi-NRG areas that we've come to know and love as trademark Cowley. Recorded from 1979-1981, one of Patrick's most creatively exciting periods, this bumper pack includes early Paul Parker demos 'If You Feel It' and 'Love Me Hot', a demo version of 'Low Down Dirty Rhythm' with Jeanie Tracy's vocals, plus 'Floating', 'Love and Passion' and 'A Wicked Tool', all infectious and brimming with joyfulness and futuristic exploration. Also included is an air mail envelope containing a letter from Patrick Cowley to French disco producer Pierre Jaubert as well as liner notes and hand-written lyrics. Malebox will be released on November 12, the 40th anniversary of Patrick's passing.

Review: The cult favourite Dark Entries hits 15 in style here and celebrates in the only way it knows how - with more great music. This time it is the legendary synth-punk yahoos Crash Course in Science aka Dale Feliciello, Mallory Yago, and Michael Zodorozny who are in the spotlight. The group formed back in 1979 and set out to make music using toy instruments and kitchen appliances. Their punk-y, aggressive, angular sound soon found a hardcore fan base and gave rise to big tunes like 'Cardboard Lamb' and 'Flying Turns.' In 1981 they recorded Near Marineland, a full-length that never actually saw the light of day but does now and shows the band moving into more diverse and polished territory.

Review: Dark Entries makes the rather impressive milestone of 300 releases with a superb triple album from the Creative Technology Consortium. These tunes were written during the worst of the Covid pandemic lockdowns and find Traxx, Andrew Bisenius, and Jason Letkiewicz all combine to explore film and television music of the 80s and 90's through their vast array of vintage analog and digital synthesizers. The 25 resulting tracks are not just retro homages to those times but bring plenty of EBM, funky bass and cosmic chord patterns to the dancefloor.