Cardinal & Nun returns to L.I.E.S. now with his debut LP, 8 songs of full on rotten stripped back, fuzzed out, synth punk mayhem. Straight to the head beautifully thrashing anthems, Cardinal & Nun goes in with catchy basslines, dissonant guitar chop ups, and vocals that creep from the shadows throughout the affair. Don’t gas out though, there are some somber cuts on the b-side’s ”Whats Goin On Tonite?”, ”Pandemonium” and ”Day After Day”. A true gem in the French scene, now get in the pit and slamjack.
Almost two years after the second volume landed in record stores, Oliver Ho AKA Broken English Club has finally delivered the third and final instalment in his White Rats trilogy of albums. In keeping with its predecessors, the album sees Ho exploring a mixture of politically charged ambient compositions, post-apocalyptic electronic soundscapes, mind-altering industrial grooves and gnarled, post-punk influenced workouts. As you’d expect given Ho’s track record, the album sounds authentically dystopian, updating the Cold War era paranoia of early industrial music for a new century. Highlights include the acid-flecked industrial-electro number ‘Alone In The Hunt’, the strobe-lit EBM heaviness of ‘The Kill’, the creepy ambience of ‘The Burned The Villages’ and the clandestine, slow-motion stylishness of ‘Love Cuts Deeper’.
NYC by way of Miami, Moist 96 is a new project of Rene Nunez, mostly known through the years for his work under the name, Horoscope. Culled together from decaying tapes, bled out and dubbed one too many times over, Nunez took pieces from these 4 track demos drawing back on the music of his youth; Miami bass, freestyle and coked out funk to create this record. The LP being a raw in your face snapshot which is the musical equivalent of a pit bull being locked in a car for hours during a heatwave with the afternoon mix show on full blast.
As the artist says, “This is not trying to be some jokey-ironic-funny-costume-campy bullshit. It is trying to be on some real illegal pre-internet bootleg rush-hour mix; 808’s on blown-out car systems; cassette tapes melted in the center console speeding by Hot Wheels and Club Madonna’s neon signs; pants-shitting bass frequencies, like a roundhouse kick to your chest type shit. If you’re tired of all this cum fast video game techno you might enjoy this project. And if you don’t, that’s cool, too. I hope everyone keeps their head up, Releasing music right now can feel stupid and unimportant, but hopefully this record can take your mind off shit for a second and have some fun. Thanks for taking the time and listening. ”
Manisdron, side project of GOAT (JP) drummer, Takafumi Okada debuts on L.I.E.S. with a four track EP of frenzied live electrified drum/blast synth rip not techno beat experiments. A powerful force both live and in the studio – this is no nonsense gear that truly gets your heart pumping.
From time to time I like to take a brief look at what our readers enjoyed the most and the end of the year is always a good time to do so. In order to do this I compile a top 3 of the most appreciated albums, compilations, mixes our readers liked in the last year.
As a cover for this year’s post I choose a map showing from where our visitors come and the first 10 places are the US, Germany, Romania, UK, Ukraine, The Netherlands, Spain, France, Russia and Italy.
Rotterdamn’s ever prolific DJ Overdose delivers his first full length for L.I.E.S., “Emulator Amour”. The well seasoned electro veteran gives us a 13 track master class workout in the genre, exploring all ends and styles. From the classic cowbell electro of “Razor”, to the West Coast boogie of “Bow to the Devourer” or the icy electro bass of “Turns Out Eddy Has No Friends” Overdose leaves no stone unturned. One of the artists most complete works in his vast catalog which ties all his influences together and presents them in true Overdose form. Not to be missed. A true classic from a Dutch master.
After a long hiatus the elusive LIES-BLK series returns, this time with a wild five tracker sliced and diced by Brasilian dj, Millos Kaiser. As with all LIES-BLK series these are one time pressing promo only affairs for use in the club. Total floor burners.
Trends come and go as we have seen, unlike many, Brooklyn-born Adam X isn’t one to follow trends, but rather set them. Now entering his 30th year of DJing and 25th year running his Sonic Groove label much of the world of dance music has come full circle since Adam started back in 1990. With that said there was no better time to explore his vast back catalog then the present as it’s all the more relevant right now. As many younger contemporary techno djs have taken to the faster, harder, stronger route as of late, this was par for the course back in 1992, where this compilation begins. What we have here is a collection of formative psychedelic acid tracks specifically made for the raves that were happening all over the world at the time. Many of the tracks here had previously appeared on cutting edge labels such as Direct Drive, Drop Bass Network and Magnetic North, who were all spearheading the sound at the time, we also get two unreleased cuts from the vaults, plus a rare collab with Thomas Heckmann. Back then the goal was simple- to push the limits of this fresh sound, and see how far they could actually go with their 303s; this music now filling warehouses and clubs worldwide. The eleven tracks on this record undoubtedly take rave-extremity to new heights whilst keeping the integrity (and brutality) of the music intact and the crowd in a frenzy.
Chicago deknician Traxx delivers an epic 17:00 minute excursion into the world of “proto rhythm” Here we have a blueprint 80s style mastermix which touches upon tracks that may be considered “proto-house” material from a forgotten time when studio experimentation and creativity with the machines were the norm. When producers made music for the djs and the two were all intertwined in the process working hand in hand (we can think about Larry Levan’s “Night Dubbing” album with Imagination as reference”. This 17 minute trip is Traxx’s take on the early sound of New York, some of the records played then and some of the techniques used to “spice up” the records shall we say.
L.I.E.S. Records Various Artists compilation “How Sick Do You Get When You Look At Yourself?” with tracks from 51717, Bad News, Beau Wanzer, Chupacabras, Daniel Holt, December, Delroy Edwards, Entro Senestre, Innsyter, JT Whitfield, Krikor, S. English, Teste, TV.OUT and Willie Burns.
Marcos Cabral returns to L.I.E.S. with a new six track mini LP after a run of cult releases for The Trilogy Tapes as Chemotex. Here we get Cabral in top form falling somewhere in-between his last works for L.I.E.S. and Chemotex tracks. Through the record we get a rough yet refined style moving from metallic gnarled electro to melodic IDM and/or destructive the electronics as heard on “Secret Air”. Our favorite being the introspective closer “Wearing Petrichor”.
Straight from the depths of the burgeoning Austin, Texas weirdo scene, JT Whitfield delivers a six track mini-LP for L.I.E.S. after an impressive run of releases for Chondritic Sound. Whitfield follows suit where he left off on his cut from last years Eminent Domain comp. with absolutely punishing slow beatdriven industrial electronics. This is for true fans of metal on metal music as these tracks desperately plod and grind, ripping apart everything in sight. The appropriate soundtrack to endtimes.
The Brewmaster General (Brew Records, War Games) makes his long awaited debut on L.I.E.S. Currently, Amsterdam’s bearer of the underground torch, Robert Bergman follows suit in the tradition of his BREW label delivering his signature brand of chaotic jacking house madness over four tracks. Expanding on forefathers Sleezy D, the experiments of DJ Rush, or the Muzique clique, Bergman runs his tracks through the meat grinder serving up some of the most psychedelic house out there in this day and age.
Delroy Edwards keeps the old school fire burning, returning to L.I.E.S. with a new 8 track lp titled “Slap Happy”. Once again this is back to basics, no punches pulled Chicago House worship, hitting all ends of the dance specturm. Sparse beat tracks, 80s synth stabs, 727 latin percussion…the elements are all there and put together in perfect form…many try but few can execute the vintage sound like this. What may even be Edward’s most mature release, it comes in a time when the roots of dance music have been forgotten to the grotesque trends of the day. This is a reminder of why we were drawn to this music in the first place and what it can sound like.
L.I.E.S. go in on the archive. DeeCoy aka Daryl Cura the man in Chicago you should have heard of part of The Dirty Criminals (with Traxx).
L.I.E.S. go in on the archive. DeeCoy a.k.a. Daryl Cura the man in Chicago you should have heard of part of The Dirty Criminals (with Traxx).
Delroy Edwards & Benedek team up on this fire 12″.
NYC Synth master Steve Moore makes a welcome return to L.I.E.S. with his first EP on the label since 2012. Through these four tracks Moore creates a world with simplistic stripped down beauty, often using one synth and a drum machine to effectively construct alternate realities, as heard on the opener Broken Kills. This continues on the b-side opener Eigengrau, while Future 86 and Future 99 take a more dramatic komische influenced soaring arpeggiated approach.
Doug Lee returns to the label under his AN-I moniker, this time collaborating with prolific Greek producer Unhuman on a new four track EP. This is what happens when you take all the right elements of techno, punk and industrial music and smash them together; a fucked up and devastating hybrid of blistering modern electronics. Heavy, but not stark by any means, Lee channels his inner Liasions with his vocal performace through the record. Most notably this is heard on the cut Entschuldigung, snotty laughs and scattered barks accent the stuttered drums and ms-20 feedback; Lee bringing it all together in a sarcastic funked up fashion. Five to Nine sees both producers complimenting each other expertly, clocking in with the most “dancefloor” cut on the ep…a twisted five minutes of screaming psychedelic dance that reaches an epic anti-climax of sorts. A true hit for those who know how to use it right, not to be missed.