Review: Rather unexpectedly, the third CVX release, to date, comes through on Berceuse Heroique, an imprint which seems to be following and replicating just about any genre or sub-culture form the past, making it a perfect example of post-post-modernism in action. Zibaldone III of CVX, a serious previously restricted to the Laura Lies In label, is undoubtedly a wild and wicked concoction of nebulous sonics that are all driven by a toxic, merciless percussion which spews from all angles with a certain mechanical fashion. It's an honourable third edition of the series, and we hope this marks a beginning of a new dawn for CVX. Wicked style.
Review: REPRESS ALERT: Gravity Graffiti has been doing great things with its series of split 12"s already, but now the Italian label goes one better for its tenth release with this mighty double pack of heavy hitters. First up is the ever-untouchable Yoshinori Hayashi, who gets as straight up as he possibly could with the freaky house burner "Dissociative." Telephones is feeling particularly dubbed out and groovy on "Kalimbalimbo", while DB.Source and Riccardo Schiro take things strung out and textural on "Montevago". Dynamo Dreesen is in rave mode for the pepped up and delightfully weird "Reactivate", leaving the final side to Oyvind Morken & Kaman Leung's chugging "Tunnel Visjon" and the rubbery side swipes of Acidboychair's "The End (At Any Speed)".
RRoxymore - "Ministry Of Silly Talks" (Lena Willikens remix) (6:22)
Review: Here's something to set the pulse racing: a pair of thrilling new Lena Willikens remixes of tracks from the Huntleys & Palmers' back catalogue. She begins by taking on Oklo Gabon's muscular electro-disco smasher "City Gym" from 2015's Chapter 2 compilation, reinventing the mystery producer's original as a creepy chunk of horror-informed EBM (think undulating synthesizer melodies, foreboding bass and clanking drum machine percussion). On the flip, the Salon Des Amateurs resident re-interprets Rroxymore's 2014 cut "Ministry of Silly Talks", craftily turning it into a stylish and occasionally unsettling chunk of analogue-rich EBM hypnotism. As you'd expect, it rises and falls in all the right places, with Willikens wringing every ounce of atmosphere from Rroxymore's wavering synthesizer lines.
Alessandro Adriani - "Do Not Deliver Me Into The Enemy's Hands" (6:01)
Raw Ambassador - "Attack, Attack!" (5:49)
Review: New Italian label Hiroshima 45 Chernobyl 86 Windows 95 present Pubblicazione 001. Starting off on the A side is Penelope's Fiance from Thessaloniki, who serves up a lo-fi and coldwave perspective of the Boards Of Canada on "Run & Gun", while Italians Rawmance and Security team up on the slo-mo EBM mutation of "Un Bon Flic" - bringing you the sound of latter's Knick Knack Yoda burger club in Rome. On the flip, Mannequin boss Alessandro Adriani gives us the gnarly 303 acid epic "Do Not Deliver Me Into The Enemy's Hands" and Raw Ambassador aka Antonio Barbetta gives us the early industrial sounds of "Attack, Attack!" with its rusty aesthetic calling to mind the classics of Portion Control or Skinny Puppy.
Review: Some of you may remember Ricardo Vincenzo from his 2015 debut Pororoca Transatlantica, a two-track missive that blended South American production with all the warmth of sun-kissed downtempo electronica. If anything, this belated follow-up for esteemed Finnish label Sahko is even better. Vincenzo begins with the farmyard animal samples, rolling tribal percussion, African chants and rich electronic bass of "Cabras No Elevado Quilombia", before chopping and looping a dusty old tango track on the mid-tempo house pulse of "Onna No Yujo". On the flip you'll find the low-slung, post-dubstep creepiness of "Haru", where exotic vocal samples drift across a sparse but heavy beat pattern, and the aural trip to Morocco that is "Excellent Drom".
Review: First making a splash several years back with their much lauded debut on Blackest Ever Black, Raime (the duo of Tom Halstead and Joe Andrews) return and inaugurate their new imprint. Developed as a blank page for the pair to to experiment on, the three experimental imaginary soundtracks featured here are described by the London based duo as 'perhaps a reflection of our bombardment based online culture.' This follows up another release this year entitled Am I Using Content Or Is Content Using Me? on Mumdance and Logos' Different Circles imprint.
Review: REPRESS ALERT: After two solo releases on Lovefinger's ESP Insitute, and two more 12" as Greenvision (his collaborative project with Trent) Juan Ramos graces Berlin's Cocktail d'Amore Music with a new outstanding EP.A'Incorporeality' and 'Liquid Sky Drone' are both vibrant, hallucinating, trance inducing tracks. Full-on sonic layering and unexpected drum patterns compose these two bangers. Multidimensional is the right term to describe Ramos' music. His futuristic approach, yet full of references from the past, is gaining a strong reputation within the contemporary electronic scene.AMelbourne-Berlin based Kris Baha is on remix duties. 'Liquid Sky Drone' becomes an industrial ballad - cinematic and romantic, at the same time bouncing and synthetic.AArtwork by Boldtron, virtual reality artist based in Barcelona.
Review: Kalahari Oyster Cult have been thumbing through their back catalogue and return to a past gem for some renewed attention. 2017 saw the release of Erell Ranson's Hand in Hand, a quintet of beautifully crafted machine music. Two tracks have been chosen from the EP and remixed with stunning results.
First up is Dj Normal 4's "Sealife Safari MixX" of "If We Never Try." The sweet, shimmering melody of the original, the bubbling bass and subtle notes, are transformed in this remake. Silvery chords morph into bold and daring new forms under the tutelage of Tim Schumacher, neon streaked patterns coalescing with broken and cracked percussion for a superbly uplifting piece.
Pariah follows with his rework of "Hand in Hand." A deep dreamscape intricately woven with heady notes, birdsong and endless possibilities.
The final odyssey comes care of SW (Stefan Wust) of SUED fame. The Berlin based musician delivers his reimagined idea of "If We Never Try" with Ranson's version being washed over by lapping lines and gentle currents to create a smooth rounded finale. A trio of unique perspectives from three true talents of electronic music.
Death Machine (Antoni Maiovvi Nightstalking remix)
Review: Gerard Papasimakopoulos and Lucas Savidis aka The Rattler Proxy are making some of the best electro / sci-fi score music in Athens, Greece. The former takes care of the vocal end, while the latter indulges in deep, metallic synthesizers and together they are quickly carving their own sound and musical aesthetic. The title track "Death Machine" sits somewhere between Joy Division and the later cold-wave sound of the mid-to-late eighties, and Canada's Jokers Of The Scene transform it into a slow-stepping, synthed-out groover with an awesome array of mild pads and starry atmospherics. "Company Of The Wolves" is faster, break-ridden and owl-eyed, whereas Antoni Maiovvi's remix of the title track is perhaps the gem of the lot - an EBM kinda jam with plenty of shaking and low-end filth. Class.
Review: Raw formed during the summer of 1990 in Athens, Greece when keyboardist Giannis Papaioannou and percussionist Makis Faros started composing music for imaginary waiting rooms. They combined the traditional cut-up technique of tape-loops, the industrial timbres of musique concrete with the harmonics of world music, all filtered through digital sampling and computer programming. Their first recordings generated an 8 track demo, which was freely distributed among friends and the local underground press. After 6 months of work and several sessions with guest musicians on acoustic and electric instruments, Raw self-released their first album 'Land' in December 1991 on Elfish Records. In 1992 they recruited the band's sound engineer, Coti K., as a third member, both on stage and studio sessions. 'City' was their second album fully inspired by the mechanisms of their home town. Presenting a different electronic face of Raw, manipulating rhythms with analogue synthesizers and harsh sampling to evoke the atmosphere of Athens.
Review: We at Juno HQ originally coined what is now known as the 'grey area', a sub-genre which has flourished in recent years in the post-Autonomic idiom of drum and bass, popularised by groundbreaking underground Berlin imprints such as Samurai Horo, Hidden Hawaii and of course the mysterious Weevil Neighbourhood. Repetition/Distract is Felix Hoeck aka Felix K, who originally released Salles Des Perdus ?in 2012 and it now gets a much needed repress. When you consider more recent releases on the label by the likes of SPR (with his black metal/dark ambient crossover) as well as Steven Porter's Katsunori Sawa who delivered last year's brutal Secret Of Silence LP, you can really trace back the original vision of the label through this EP with its sombre, textured noise experiments reminiscent of early Cold Meat Industries.
Review: Over the last decade, few have amassed as fine a catalogue of revivalist Italo-disco, EBM and synth-wave cuts than The Revolving Eyes. It's because of this that each new release from the Belgain duo is worth a listen. Predictably, there's plenty of dark and clandestine fodder to be found on The Nature And The Metal, their first release of 2018. Highlights include the foreboding horror chords, psychedelic acid lines and metronomic throb of "Beautiful Sadness", the rising orchestration and clicking drum machine hits of "Monotrance" and the ragged and distorted, acid-EBM fusion of the titanium-clad "Ritual Serenade". The title track, which closes the EP, is alo sublime: a clanking industrial workout smothered in far-sighted, futurist techno synths.
Review: If you are lucky enough to have visited Dusseldorf club Salon Des Amateurs, you may be familiar with one of its residents, the cultish Serbian DJ Vladimir Ivkovic whose daring sets are inspiration to another of the venue's stars in Lena Willikens. Often Music is Ivkovic's new label and their first release shines a light on the unreleased archives of pioneering Serbian electronic artist Rex Ilusivii, real name Mitar Suboti?. The Serbian artist sadly passed away in a studio fire in 1999 leaving behind a vast number of unreleased works recorded over a decade from 1980 onwards. Six of those rescued tracks feature on this double 12" release In The Moon Cage (side 4 houses an etched illustration) and the more daring selectors out there will find them quite inspirational.
Review: The next signing of Bilbao based Forbidden Colours are modular nerds Kino Internacional and Borja Pineiro from Reykjavik606, who always challenge the fine line between music making and storytelling. On "Everything Happens For A Reason" the duo deliver a sublime serving of electronica which is best described as live drum 'n' bass, really. Smooth Rhodes melodies and dreamy orchestral pads engulf some tight live drumming on this five minute epic. The blissed out ambience of "Lake Nakaumi" follows, where this glacial and mysterious soundscape calls to mind the icy and chilling suspense of works on Canada's Silent Season imprint. Finally the Bilbao based label call in Basque techno leader Kastil for a remix - he serves up seven minutes of straight up hypnotic techno. This follows up great releases on the label from the likes of Andres Aguirre, Eduardo de la Calle and Jun Kimata.
Review: Those who've seen acclaimed sci-fi flick Arrival should be familiar with Max Richter's "On The Nature of Daylight"; two interpretations of the piece are used to open and close the movie (a move which subsequently made the soundtrack score ineligible for the Oscars). This EP gathers both variations of the neo-classical piece on one slab of wax. The A-side version, used at the beginning of the film, sees Richter's swooping themes and intricate, intertwined melodies played by a string quintet. On the flip, you'll find Richter's full orchestra recording, a slightly more grandiose - but no less poignant - interpretation that's utterly cinematic in feel.
Review: Following up 2016's dynamic Plum LP on his Brunette Editions imprint, New York City based producer John Roberts returns with a release that he best described himself as 'a series of songs written and destroyed. Self-cannibalized productions spit back out in abnormal silhouettes.' Indeed, it's quite the departure from the dusty and evocative deep house he produced on Hamburg imprint Dial a while back - in particular his well received debut Glass Eights in 2010. "Spill" is an unholy mixture of neo-classical, experimental lo-fi techno and guitar drones - that isn't altogether unpleasant. On the flip, be captivated by the bittersweet ambient house of "Wrecked" and the ethereal peace "Fluid" composed of powerful blasts of distortion and sombre trumpets.