The three songs included were at the origins recorded to be part of the previous material, “The Whip”. As the mood of these songs was rougher and more abrasive, they found themselves gathered in this new EP by the means of letting them to breathe and to reveal their own expressive states.
Repitch presents the new 10inch series. For the first time Repitch is releasing original tracks from new artists so it won’t be stuff from D.Carbone, Ascion and Shapednoise. The artists featured on this new 10inch series are Marcelus and Markus Suckut. On the A side, Markus Suckut delivers an epic techno track in a full oldschool spirit. The stomping broken beat is marked by a dark melody and a groan which take us back to 1995’s R&S golden age. Marcelus, on the B side, mantains the oldschool spirit of the release with a raw and mechanical floorburner that sounds like a powerful studio-session between an Industrial band and a modern Techno producer.
A techno man for over 15 years, Inigo Kennedy was initially associated with labels like ZET and Missile in the second half of the 1990’s. Thereafter he took it easier until making a return to the studio some years ago. Formerly known as a backer of harsh 4/4 beats, Kennedy now explores new directions and follows up the first “Vignettes” experimental single released last year on Semantica. The second installment sees Kennedy moving closer to the floor again. Made for club charts is “Shapeshifter”, a mid-pace techno cut with abstract notes and occasional deep bass rave stabs, sending fluorescent sinusoids flashing through time and space. “Disquiet” bombs protons in thin air in an electrofied exercise. The B-side concludes with digital ballad “Ihana”, which feels like picking the summer’s first strawberries. Different from what I remember Kennedy doing, but contains a fair amount of excitement.
New 12″from Vatican Shadow on Dominick Fernow’s own, newly minted Bed of Nails imprint. Operating from his recently consecrated L.A. compound – the label will focus on his reorientation towards industrial dancefloor rhythms and seductively isolated electronics. Fernow christens the label with ‘September Cell’, a four track 12″ loaded with some of his most direct dancefloor assaults to date. The A-side breaks down into two parts: ‘September Cell (The Storm)’ pistons a martial machine coda, all hollowed Industrial percussion and gloaming synths shot through with visceral traces of his power electronics; while ‘September Cell (The Punishment)’ realigns the rhythm with a rigid swing and insurgent, caustic swipes of noise timed with exacting accuracy. On the flip, ‘Cairo Is A Haunted City’ opens with a nightvision panorama of furtive pads before rapid-fire steppers’ rhythms find formation under cover of pitch blackness. ‘One Day He Heard The Call’ resolves the label’s first session with a bleakly evocative vision polluted by Vangelis-like synth-brass flares and toxic synths…
Warm Up Recordings presents Oscar Mulero’s new album: Black Propaganda. Nine new tracks that reflect a new twist in his sound, going deep into dark territories; a black and white approach to dance electronics, where shades and echoes and drones are mixed with obscure rhythm treatments that go from slow tempos to more uplifting beats. Sonically speaking, his sound has become simpler, with less elements but better sound design. Less is more. All tracks have a common feeling, like a soundtrack for a sad European landscape: mental, industrial, repetitive and definitely non-melodic.
EarToGround Records 3rd release, once again features as a limited pressing on high quality black wax and is likely to be seen by techno purists as ready to go dj ammunition for a variety of dance floors, as each track & remix carries its own identity. Solid techno gems by Chris Stanford, Dax J and Gareth Wild. Features strong remixes from Samuli Kemppi & hard-hitters AnD.
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Nancy Fortune is back with a new EP Dark & Lite on The Orchard. The package includes three original tracks and two remixes by Snuff Crew and Thot.
Amazing release by Polar Inertia, who already gave a glimpse of their techno brilliance on Dement3d 002, but with ‘The Last Vehicle’ it seems their craftmanship has come to full growth. This third release on Dement3d is once again formed of three different tracks, high in contrasts and emotions. Industrial but groovy, raw yet hypnotising deep techno that will create a stir in basements and warehouses worldwide.
James Ruskin and Mark Broom return to Blueprint Records as The Fear Ratio with ‘Skana EP’. The EP delivers four new beautifully crafted cuts, while still lending themselves to the dancefloor. With their tough, heavy basslines, overlaid with syncopated beats, clipped tones and synth led melodies, ‘Skana EP’ continues where ‘Light Box’ left off and shows once again why these two talented UK producers are still at the very top of their game.
“Metasplice is a twisted debussy-esque of primal drums+chords over top of the chaos.
the sound of an atom splitting.
the sound of a nuclear explosion; the sound of the end of the world…
dialogue between an electronic experiment in nature and a synthesizer.”
Traxx (Nation, Chicago)
Minimal Wave return to their self-professed “First French love” In Aeternam Vale with a second LP-shaped trawl through the band’s sizeable archive of cassette only releases. The Brooklyn imprint first introduced us to the work of the hugely prolific Lyon band with an eponymous LP of remastered material in 2009, and Dub Under Brightness proves to be just as important a release. The label points to an article on the band originally published by the Douche Froide magazine in 2002, where the journalist nails their appeal in the opening gambit – “There are bands that have been acting ruthlessly in the shadow for years, in a completely confidential manner, then one day chance (but does chance exist?) makes you find one of their recordings, listen to it, and at that moment you could kick yourself for not having discovered these soundscapes earlier and you try to find all of them”. If you haven’t indulged in the sounds of In Aeternam Vale yet, this eight track selection makes for a perfect introductory primer.
The Minimal Wave label present this 12″ accompaniment to Dub Under Brightness, the freshly released trawl through the cassette-only archives of their favourite French act of the 1980s, In Aeternam Vale. The full unedited 12-minute version of the title track is presented here, pressed on a thick slab of vinyl at 45rpm for the DJs and is complemented by “Highway Dark Veins”, a brilliant example of proto industrial techno. If you are not familiar with the A Side, it presents the Lyon group led by Laurent Prot at their lolloping finest, a hypnotic sideways Minimal Wave throbber replete with cavernous and near indecipherable vocals and industrially charged synth waves. It’s the B Side that makes this release all the more special, sounding every bit like the paranoid martian techno opus that inspired the Mills series Something In The Sky and was a definite highlight of Ron Morelli’s descent into Industrial Nihilism on a recent Beats In Space show.
Debut album for BlakAndrew, released on his out bandcamp page. Awakening seems to trudge through an epic tale about good and evil – the inner struggles of light and darkness and how each power tries to defeat the other yet exists solely as a symbiotic balance. The album’s genres can be tough to pinpoint but “Awakening” definitely has a dark, electro-techno-industrial sound. The tracks wouldn’t be considered ‘dance floor anthems’ by any means, though most of the tracks have deep, pounding beats with undeniable techno roots. “Awakening” also pans into stretches of ambient, hip hop and electronica.
It all started in the industrial North Western part of Copenhagen in a small apartment. Nikolaj Birgens and Esben Kolster, inspired by the eighties cold wave, started creating music together using synthesizers, drum-machines, amplifiers, sequencers, guitars and stompboxes. Surrounded by factories and human dirt, dark songs are born…
New release from Romanian band Tanz Ohne Musik on their bandcamp page, including eight tracks with lush synths and haunting vocals.
Dominick Fernow might be best known for his industrial incantations under the Prurient moniker, but in recent months his attention has shifted towards a different outlet. Fernow’s interest in electronic music (from the clamorous grind of Muslimgauze to the recently defunct Sandwell District imprint) has been well documented, and it comes to a frothy head with his Vatican Shadow project. Revolving around themes gleaned from Iraq war propaganda and yellowing stacks of newspaper clippings, the tracks on ‘Kneel Before Religious Icons’ are a perfect representation of Fernow’s modus operandi. Behind a wall of tape hiss, drum machine rhythms beat out memories of early Ministry and AFX while sickly FM synthesizer pads crawl and heave into the abyss. Like much of Fernow’s output prior to this, the emphasis is on society’s darker crevices, but Vatican Shadow is steeped in an alarming mystery and sulfuric smoke that is sure to surprise recent converts.
Blackest Ever Black presents a much needed vinyl pressing of two tracks from Vatican Shadow’s debut cassette release, backed with Regis remix. For anyone familiar with the original 2010 tape or mp3 release, we should say this record sounds radically different, thanks in no small part to a pedigree mastering to vinyl by Matt Colton at London’s Air facilities. The haunting synth washes, grinding bass distortion and chopper blades of ‘Cairo Sword Unsheathed’, and the subharmonic bass of ‘Gunmen With Silencer’ are illuminated with a cold hard light, while their physical shape feels viscerally intimated. Regis transforms ‘Church Of All Images’ from Vatican Shadow’s ‘Kneel Before Religious Icons’ LP, adding another vividly compelling episode to his important cache.
Three tracks of paranoid Industrial techno coming straight from the guts of New York City! All songs therein have been recorded live in one take, with no editing. Here is urgent and immediate music which claws at the eyes of society and reflects the fucked up world we live ineveryday.
Henning Baer makes his debut on Sonic Groove imprint with an EP that sees abrasive industrial tones rub up menacingly against solid funk in a curious matching of audio devices. “Folsom” celebrates its graininess, but the beat remains an addictive and accessible one in the vein of the Live Jam collective. “The Spies” is more dangerous in its demeanour, as the stop-start groove does battle with decaying bleeps and kettle drum bass hits. “You Rhyth Me” on the flip ups the ante even more with a positively gruesome slow techno throwdown designed purely to terrify.
