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: 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: Those in the know regard Space Art as one of French electronic music's most under-appreciated acts. Active between 1978 and '81, Synthesizer obsessive Dominique Perrier and drummer Roger Rizzitelli were famed for releasing killer chunks of "cosmic pop", before performing them live wearing specially made silver space suits. "Nous Savons Tout", which was recorded and released in 1981, remains one of their most potent singles. Creepy, strange, hypnotic and undeniably cosmic, Perrier's trippy synth parts seemingly rise and fall over Rizzitelli's metronomic, proto-techno drums. Flipside "Melodie Moderne" has an altogether different feel, coming on like a pitched-down, cosmic disco take on the artier side of 1970s progressive rock.
Review: You might know, or perhaps recognise Survive's music, form the recent, first series of Stranger Things on Netflix. The series was a success thanks to its wonderfully charming plot, but the music throughout its episodes and, particularly on its opening sequence, is what has caught our attention and that of other music fanatics, naturally. The band's style is drenched in an 80s nostalgia that still sounds fiercely new and compelling. Think John Carpenter meets Actress. This new album, RR7349, is everything you could possibly ask for from a synth score, where tracks like "Dirt" or "High Rise" give the genre a sleek and elegant touch. "Wardenclyffe" is another favourite of ours, a magnetic and hummable rhythm, while other, darker pieces like "Sorcerer" emanate a cold yet eye-opening landscape of sounds. This is very warmly recommended, and if you're a fan of peeps like Legowelt, Dopplereffekt, or Actress himself, then this'll undoubtedly suit you nicely.
Review: Will Bankhead's Trilogy Tapes imprint continues their assault on 2012 with the latest release of Tuff Sherm - an alias of TTT regular Dro Carey. Sitting nicely alongside the KM/MM and Willie Burns releases on TTT this year, the Pharmacy EP showcases a sound that is part raw techno, part submerged house; the title track combines rolling tom-heavy percussion with abrasive unprocessed synth tones, like Drexciya jamming with Kassem Mosse. On the flip, "Hydlide" makes things even murkier, with some abstract beatdown house that would give Madteo a run for his money, while "Leg Man" is another trip down the wormhole of abstract loops and minimal clockwork rhythms. We probably don't need to tell you, but this is another essential 12" from TTT!