Since forming in 2006 post-punk experimentalists Sebastian Melmoth have been on a thoughtful and adventurous musical journey. In a constant state of aural evolution, the London-based four-piece has a delivered a string of albums and EPs that variously touch on everything from garage-rock, grunge and lo-fi pop, to electro, new wave, dark ambient and music concrete, all the while drawing on a myriad of literary and artistic influences. The band’s first release for Artificial Dance digs deep into their admirable and eye-opening catalogue and draws together some of the Amsterdam-based label’s favorites from the more electronic end of the band’s output. Entitled “The Dynamics of Vanity” – a comment on Western culture’s obsession with rehashing the past and the band’s own in-built distrust of artistic naval-gazing – the set is not a ‘best of’ retrospective but rather a ‘sort of’ selection of stylistically interconnected cuts that gives a very specific snapshot of the band’s work.
Exploring the balances between pop song writing structures, 80s cold wave bedroom style electronic production, and dreary gloom rock, Paris based Mathilde Mallen aka Dissemblance presents her debut lp “Over the Sand” for Mannequin Records. Over the ten tracks Dissemblance treads the fringes of a blurred dream world, using her bass guitar, voice, and drum machine as the backbone to create haunting yet soothing pop atmospheres in her songs.
Aborted At Line 6 was a project that emerged from the inside of a Swiss company which sold electronic equipment and batteries. Carlos Perón (founder of Yello) sat on the same desk as the later publisher Urs Steiger. The other members Martin Sturzenegger, Moritz Faccin and Andrea Fürer sat separately through a glass pane in their own office and sold TEAK products. Chris Lunch was the only not employed in this company. He was working on some stuff at the Slatt Studio owned by Carlos Perón. They all had a ritual to drink a bottle of Mumm champagne early in the mornings. Since it was not allowed to drink in the workplace, the glasses were disguised as a coffee mug and used the winged word “Mümmli”. It’s in this situation that Aborted At Line 6 developed into a “crazy idea”. They did some recordings in the studio of Andrea Fürer and mixed everything in just one go. The equipment used included one 808 Roland Drumcomputer, a Roland Drumatix, a Roland Bassline, one EMS Synthi A1, a Duke guitar and a Roland SH 3A operated and programmed by Carlos Perón and Chris Lunch. All this took place in 1982 and a 12″ single was released by Off Course Records (home of Grauzone and Stephan Eicher). This iconic and very hard-to-find single is re-issued included the original tracks.