Review: Alesia Cosmos were a collective of musicians led by Bruno de Chenerilles (and several other collaborators) formed in the early '80s in Strasbourg. Under the influence of William Burroughs, John Cage, Pierre Henry and others, de Chenerilles developed tape music. By 1982, he appeared for the first time under the name Alesia Cosmos Furi Show. This experimental show led to a music project based on his and close collaborator Pascal Holtzer's compositions, performed with other musicians in the beginning of 1983. The Exclusivo! LP was the group's debut album recorded and was self-released in 1983. de Chenerilles and Holtzer's improvisations with the group brought forth more ideas and the album was recorded in a few days. The result was a mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians took turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese.
Review: Konstruktivists is the Industrial project of Glenn Michael Wallis from Kent, England. In the late '70s Wallis was a "control agent" for Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, and SPK, Glenn began to record his own material. After several cassette releases, Konstruktivists' first LP 'A Dissembly' was released in 1982 followed by 'Psykho Genetika' in 1983 and 'Black December' in 1984. That same year Wallis collaborated with his friend Chris Carter, of Throbbing Gristle and Chris and Cosey fame, on CTI's 'Conspiracy International One'.
In 1985, Glenn spent a week at Chris and Cosey's studio recording 11 tracks that would become the 'Glennascaul' album originally released on Nigel Ayers' Sterile Records. Produced and mixed by Chris Carter, it marked a complete change in style for the band towards a beat-orientated rhythmic sound. 'Glennascaul' is proto electro at its very best, with Glenn's hallucinogenic vocals on top. A musical collage designed to invoke images in the mind. The back cover clearly states "No guitars. No Fairlights." For this deluxe reissue we've added two bonus tracks recorded around the same time, now vinyl for the first time ever. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring cover art, which is a co-production of Trevor Brown, Nigel Ayers and an image Glenn Wallis supplied. Each copy includes a double-sided 8x11 insert with liner notes by Nigel Ayers, press clippings, and photos.
Review: Josh Cheon's Dark Entries label plunge once more into the depths of the UK underground in the 1980s and come up the other side with this crucial reissue of A Dissembly by Konstruktivits. A quick history lesson: former Heute man and Throbbing Gristle/Industrial Records associate Glenn Michael Wallis was and remains the towering creative force behind Konstruktivits who are active to this day and have been "perverting your ears since 1980." Of the numerous albums Konstruktivits have been responsible for, it is their debut LP from 1982 that Dark Entries have chosen to reissue here, offering a newly remastered take on A Dissembly that suggests Wallis and associates to be worthy sonic companions to Muslimgauze, Tuxedo Moon, Clock DVA and Throbbing Gristle. The freaks out there will love this one.
Review: Peter Van Bogaert, also known as Liquid G by his diehard fans, is one of Belgium's most important industrial artists. The man has been releasing gruesome electronic cassettes since the mid 1980's, but while he has always been a digger's heaven, his output has remained largely in the shadows to the rest of the world. Luckily, Dark Entries are here to save the day as always, and compile some of his best and rarest work on an LP. Proto-techno wouldn't really do these tracks justice as they're actually much more than that. Ranging from jacking post-punk instrumentals, to starry synth jams and lamenting vocals, this is surely up any emo kid's alley. "Self Destruction" sounds particularly ahead of its time, and it's surely one to check out!
Review: John Whybrew, Ian Sharp and Dean Piavani are Portion Control. In case you didn't know about them, they're one of the most influential industrial bands to have come out of the 1980's and have also been a massive inspiration for the likes of Depeche Mode and Skinny Puppy. Moreover, it's their signature brand of rhythmic, mostly instrumental post-punk which has made the music of Craig Leon and others so sought after these days. Originally out in 1982 on Phaze Records, these ten tracks are timeless pseudo-techno jams which will always be coveted by DJs, musicians and samplers alike. Cop it now because the original is rather pricey!
Review: Dark Entries are no strangers to profiling the prolific work Piscataway duo Mike Mangino and the late Chris Shepard committed to tape as Smersh, issuing a compilation of their material in late 2012 called Cassette Pets. It's fair to say a lot more people know Dark Entries now but might not be that familiar with Smersh so this new Super Solid Heavy Waste collection is a fine introduction to the US outfit. Reflecting the more beat-focused side to Smersh, the tracks were recorded between 1983 and 1993, covering the duo's most prolific period up to the year before Shepard passed away, with just "Under Your Hoop" having previously appeared on vinyl as part of the 1990 LP Emmanuelle Goes To Bangkok. Listening through it's no surprise Smersh appeared on the Borft label operated by Scandinavian pranksters Frak - there are definite sonic parallels between them.