Review: Given his prolific nature, we were rather surprised to find that "Shadows of Death & Desire" is actually John Juan Mendez AKA Silent Servant's second album for six years. It's an impressive set, with Mendez offering up a stony-faced, steel-eyed shuffle through industrial-fired machine chug ("Illusion"), mind-altering EBM workouts ("Damage", "Harm In Hand", the throbbing "24 Hours"), icy electronic soundscapes (the vintage Autechre style dancefloor IDM of "Loss Response"), early '80s style Cabaret Voltaire industrial funk (the brilliant "Glass Veil"), and moody compositions where razor-sharp guitars and foreboding electronics envelop particularly skittish electro drums (closing cut "Optimistic Decay").
Red Ants Genesis (feat Gavsborg & Time Cow - Equiknoxx remix) (4:24)
Review: Revered noise merchant Dominick Fernow returns under the Rainforest Spiritual Enslavement moniker, following up last year's Ambient Black Magic release - which featured Silent Servant and a dub techno remix by Substance aka DJ Pete. On Red Ants Genesis, Fernow is said to have utilised high volume microphone recordings of synthetic field ecologies, with further sound on sound processing applied by Philippe Hallais aka Low Jack - creating this series of meditative and trance inducing soundscapes. The remix on this release comes from Equiknoxx Music: the Jamaican music collective of Gavsborg and Time Cow, who hand in an introverted and very personal dub of the title track.
Review: Following up the closure of his respected Jealous God imprint, former Sandwell District accomplice Juan Mendez returns to Hospital Productions to follow up 2011's bold outing Negative Fascination - presenting these modern EBM mutations in the same vein. Mendez captures the zeitgeist of classic early '80s industrial dance on the rusty rattle of "Harm In Hand", followed by more driving body music of the steelier persuasion on "Damage" and the pitch-black technoid riot "Death Of Decadence".
Review: American industrial/noise producer Matthew Folden has been a longtime staple of Dominick Fernow's Hospital Productions camp. Matter of fact, he first appeared on our our radar with the Back In EP on Fernow's now dormant diffusion imprint Bed Of Nails back in 2015. Babe Beer Bar Car compiles Folden's work between 2012 and 2015, previously only available on cassette format. Various greyscale experiments in minimalist electronics await you here: from the seething and saturated slow motion pulsations of "Somewhere In Miami" or "So Sue Me" to evocative ambient textures like "Loudmouth" or Zip It". There's even moments of what could even be considered IDM (ish!) like on "White Lighter."
Review: Unknowns was first offered as a super-limited cassette bundled with a rare boxed version of Dominick Fenrow's 2017 Prurient album, Rainbow Mirror. Here presented on vinyl for the first time, it sees the prolific Fenrow join forces with Skin Crime man Patrick O'Neill (Hanged Man's Orgasm was an alias he used in the late '80s and early '90s), writer Scott Bryan Wilson and synthesizer player and all round studio don Kris Lapke. There are two 15-minute plus epics to enjoy, both of which mix dystopian noise and heavily processed samples with skewed synthesizer parts, '90s modem noises and barely audible excerpts of the ever entertaining Fenrow reading Wilson's expressive prose. For the record, it's the B-side cut that's the most apocalyptic.