New releases last two weeks: Industrial/Noise

Review: Steven Stapleton is Nurse With Wound. Originally a band, sometimes abbreviated to NWW, since 1978 the English act has explored a range of dark and brooding styles, including industrial, dark ambient, drone, and noise. Well known for sound collages - usually pretty intense in nature - influences come from the dada and surrealist art schools, cabaret music, John Cage, The Beach Boys, Krautrock, and Musique Concrete. She & Me Fall Together In Free Death is, in this instance at least, the highly anticipated reissue of the landmark album which proved just how good NWW is at all forms of song craft. Work here edges into the eerier end of Liars collaborating with Tom Waits' at his most experimental and that's really clutching for reference points. Quite unlike anything else you'll buy today, we promise.

Review: The legendary experimental German band Einsturzende Neubauten is back with their first album since 2020, Rampen (apm: alien pop music). Since their formation in 1980, the band his sought out to blaze their own trail in making what others would assume is noise into their own brand music. Their own music language was created and brought with them legions of followers that have added a bit of Einsturzende Neubauten's influence to their own sounds. The band has once again pushed their sound even further - alien pop music. This edition comes on yellow vinyl.

Review: Industrial music formed amidst the concrete decay of post-war Berlin, Einsturzende Neubauten emerged as pioneers of genre. Their sonic alchemy fuses unconventional instruments crafted from scrap metal and construction tools with traditional ones, creating a raw and unsettling symphony. Their new double album "Rampen (APM: Alien Pop Music)" showcases their sonic prowess. Despite the abrasiveness of their sound, the group's music is imbued with a sense of theatricality. Blixa Bargeld's stoic vocals narrate surreal tales of urban decay and existential unease, while the band's live performances evoke industrial rituals. Over the years, the band's music has evolved, incorporating elements of ambient and even pop into their sound. Yet, their core ethos remains intact: to challenge musical boundaries and create a sonic tapestry that reflects the harsh realities of the modern world. This album still helps cement the band moving forward but still respecting their past.

Review: Japanese industrial noise duo The Grogerigegege are something of an urban legend within the underground music scene. Apparently meeting at a sex club where a shared appreciation for envelope pushing sex acts, punishing aural sonics and a bizarre avant-garde perspective on art would lock them together for ensuing decades of musical mayhem. Known for incorporating nudity, violence, broken glass and hoovers into their live set, the pair would even take a lengthy respite while one of the members simply disappeared for years on end before reconnecting with his counterpart. As If It Had Always Been Determined Since This Day Was Born transports listeners back to the pair's earliest forays into calculated extremity with blown out, overdriven remixes taken directly from the master tapes of their first 7" single released back in 1988. This includes the long sought after remaster of 'Mistress' originally used in the legendary Enoshima Beach Flexi Burning Live (which the pair opted to burn all original pressings of rather than make readily available). You do have to remember these are the same lads who sold dried out octopus tentacles in cassette cases during one tour as a limited release, and smashed up the master recording of another work and put the broken pieces in a metallic box that the listener shook to hear the album, hence the title You Are The Music Maker. If the utter lunacy of The Grogerigegege isn't detailed enough here, well this pressing comes complete with 5500 word essay-style liner notes penned by 55 year old Gero himself (Juntaro Yamanouchi).

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: Einsturzende Neubauten's description by label Potomoak - as a band that constantly evolves - is accurate enough. Over forty years on from their debut album Kollaps in 1981, Rampen appears as the latest and most unruly incarnation of their sound yet. Here, Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser and Felix Gebhard present their least predictable and conventional sides: APM is described as alien pop music; the songs therein have been specially crafted not only for our universe but for every adjacent parallel universe to ours, with every slight multiversal variation in humanity's collective tastes held firmly in mind. The album fully lives up to its billing as anti-pop as alien pop, its challenging twists and turns fully sating the difficult whims of society's outcasts and cosmic punks.

Review: Container is a long-running project from Ren Schofield but he has hasn't released anything since back in 2021 when he delighted techno heads with his Creamer EP. His manic sound has recently taken him to some sold out shows around the world and now comes Tacker, a new album that fuses rock with electronic stylings on Alter. Nirvana's 'Oh, The Guilt', Mindflayer's album 'It's Always 1999', and the Rah Bras song 'Sooop Toe Pump Girls' have all been given as points of inspiration for this most brain-fizzing, hardcore collision of worlds.