‘Redeemer’ is the brutally seductive debut album by Phase Fatale, a key player in the recent charge of EBM and post punk-informed industrial techno infecting ‘floors from his home city, NYC to his DJ residency at Berghain. In Dominick Fernow’s Hospital Productions, Phase Fatale finds a fitting home for his personalised brand of clinical, rictus rhythm programming and searing synth and guitar lines, adding a vital streak of black and blue electric energy to the legendary label in its 20th year of cultish operation. In seven parts, ‘Redeemer’ follows the direct, his deeply personal realisation of weaponised sonics, upholding a strong tradition of techno as a prophetic exercise or ritual to gird dancers and listeners for the onset of future war. It presents Phase Fatale as an ultimate emissary of electronic violence and domination in the process, steeling the limbic system and muscle memory thru a fine-tuned disciplinarian approach to pharmacokinetics and biomechanics.
The twelfth Modal Analysis release brings Athens based Morah to the frontline of the label’s roster, along with the New York based, Vapauteen on the remix duties. Voltage EP carries 3 original tracks by the Greek electronic music producer, along with a very special reintrpretation by the American artist, also known as Shawn O’Sullivan. Aesthetics vary from slow and hypnotic rhythms to driving EBM riffs and harshly distorted percussions. Morah approaches the sound of Modal Analysis while maintaining his distinct charachter as a producer, using here field recordings and processed vocals.
Former masked techno crusader Adam Rivet started the Kess Kill imprint a couple of years ago, to showcase some lesser known talents from the ’80s scene in Europe. French producer Guy Clerbois began his musical career by transforming sounds: creating rhythms with scratched vinyl records and altering their playing speeds plus detuning his guitar. In the mid eighties, he began what would become the very concept of Vitor Hublot, making shifted reworks of existing ones. All compositions originally issued on the ‘185 Millions De Francophones Et Moi, Et Moi, Et Moi…’ LP via his own Psoria Discs in 1986.
Keine Ahnung was a quartet from Wörth am Rhein, Germany formed in 1980. The original line up was Rolf Schmuck, Franz H. Rodenkirchen, Elke Fuchs and Olaf Schumacher. Hermann Kopp from Stuttgart, a friend of the band, contributed a composition on their first LP and became a full member in 1985. The band members shared a common interest in industrial, pop, avant garde literature and cinema. They recorded three LPs in 6 years, two of which remain unreleased. In March 1983, Keine Ahnung recorded their self-produced and financed debut LP in two days in a small studio in Stuttgart (12 hours total). The mixing was done in one day in a studio in Karlsruhe, April 1983. The self-titled LP was released later that summer on their own PASSIV label in an edition of 1000 copies. This record obtained recognition far beyond the German borders. Keine Ahnung in the studio and live were completely different. Studio time was expensive in these days, so the music was minimal electronic pop, expertly crafted and razor sharp man machine music. The live sound utilized more complex synthesizers, tapes, guitars, metal percussion and custom built electronics. The beats and bass lines came from the Roland 606/303 duo triggering a KORG MS-20 for the bass drum. The track “Funkbild DPA” is a spontaneous “live in the studio” recording, that gives a hint of what the live sound was like. All four members would take turns singing and playing the instruments.
Flesh World is a dream punk group formed in the summer of 2012 in San Francisco. The quartet includes Scott Moore (Guitar, Synths), Jess Scott (Vocals, Guitar), Andrew Luttrell (Bass, Backing Vocals), Sam Lefebvre (Drums). Jess and Scott met while loitering around the Panhandle district, listening to records, gossiping, and playing live shows around town with their bands (Scott plays in hardcore group Limp Wrist and Jess played in the indie pop band Brilliant Colors). The pair immediately bonded over a shared love of The Velvets and The Mary Chain. They began writing songs in Scott’s lofted bedroom in the City and took their name from a XXX magazine. The fully formed band released their first self-titled 6-song EP in December 2013 for London punk imprint La Vida Es Un Mus Discos. Two 7” singles were followed by their debut album ‘The Wild Animals In My Life’ released in 2015 on Iron Lung Records. ‘Into The Shroud’ is Flesh World’s fifth release and sophomore album, and their first for Dark Entries Records. Each of these songs speak to a chaotic or sometimes eclectic period of influence of different books, ideas, drawings, saints, stories, and aims gathered in the two year writing process since the previous album. Themes of this record include writer, advice columnist, and Dreamland actress Cookie Mueller, the youth’s effect on the general political psychosis of nostalgia, icon Billy Fury, and the writings and drawings of Jean Cocteau as a hovering guide for living with less rules. The record is a topological map showing the cities of the Bay Area and Los Angeles in rapid change, looking to the books, records, and artists paid study to in order to create continuity in the constant flux of the city, the punk show, the gay world, and the rest of the environments Flesh World insulate themselves in for survival. The group’s dynamic has greatly solidified on this album with a brilliant new rhythm section.