Big release by one of the best electronic Cold Wave bands from Italy. Janitor Of Lunacy were an Italian New Wave electronic band, active in Brescia from 1981 to 1986, composed by Kovre, Claudio Asserini and Gabriele Farina. With this line up, JOL produced a demo tape in 1983 entitled ‘Crimes On The Dancefloor”, which was very well reviewed by the italian music press. Thanks to such great feedbacks, the band was choosed for various compilation of the era, playing many live shows in historic clubs like Xenon in Florence or Odissea 2001 in Milano, sharing the stage with Weimar Gesang and some others Supporti Fonografici related bands. In 1986 JOL entered in studio for recording their first full-lenght for this label, album publicized by various magazine but that never saw the light of the day, due to artistic divergences.
Hippos In Tanks’ carefully assembled roster, White Car are the label’s darkest, sexiest operators. Hailing from the Pilsen neighbourhood in Chicago, their debut album ‘Everyday Grace’ channels that Eurotic undercurrent of Techno/Wave/drug music which has fuelled the city’s subterranean scene since the earliest days. Like an hallucinatory audio version of the scramble suits in A Scanner Darkly, their chimeric, cyberdelic fantasia assimilates elements of 30 years + of debonaire, thrusting automatik funk, from DAF to NIN to CTI, to ’80s Bowie, Prince and way beyond, refracting each glint until it becomes an amorphous nebula of digital info masking an ice-cool, thermo-controlled interior. The stuttered vocal of central figure Elon Katz expounds ideas of bodiless cybernetic sex and binary sensuality, melding his urging physicality into a virtual matrix of jagged, shoulder-jerking rhythms and writhing synthlines saturated in bacchanalian dissonance.
Old school minimalsynth, nostalgic but with a glimpse of the future from Swedish band Kinder Aus Asbest.
Mi Ami is the five year old project of exotic punk-gone-House types Daniel Martin-McCormick (Ital) and Damon Palermo (Magic Touch). ‘Decade’ signifies a suitably decadent sea-change to their sound in keeping with respective solo projects. Basically they’ve ditched the guitars and drums for a hypnotic, electronic blend of Deep House and Disco filtered through their sly post-punk sensibilities, stretching their svelte, club-and-gig-toned laptop muscle over four extended groovers aimed squarely at the more misty, pie-eyed ends of the night. On ‘Horns’ Daniel’s snotty no-wave vox jar very nicely against cocoa-buttered Chicago simulations, while the luscious ‘Time Of Love’ coolly sidesteps their punk roots with smoothly tucked-in disco bass and a sense of debonaire, balearic Dub romance. Deeper yet, ‘Free Of life’ meditates on rippling congas and hyperreal reverbs looking for that Panorama Bar booking while ‘Bells’ sounds something like a long lost Virgo dub starring a cameo vocal from Zed off of the Police Academy films.