Review: Hugo Capablanca may be best known for his more disco-minded output from his time on Gomma Records, but increasingly his scattered output and his label have been reaching towards more abrasive material. Nothing will prepare you for the confrontational nature of this daring, 'no label' transmission. The artwork alone is enough to challenge the senses, while the opening track is a metallic drone that gives way to the distended mutant beats of "Top Less". Guy Debord is no less cut throat in delivering a "Disco Punish" remix of "Lap Dance" on the B-side, all deconstructed groove and guttural noise, and then "Dance Less" rounds the record off with another excursion into unsettling, heavily processed noise.
Review: Having built its name on various artist releases featuring old and new artists, Contort Yourself is branching out with a new series that focuses on one contemporary act per release. In this instance it's Coletivo Vandalismo getting some much-deserved attention. The Portuguese industrial punk outfit have a visceral sound that favours noise and distortion, but most importantly they know how to wield these sonic tools for maximum impact. The snarl of the synths and the crunch of the drums on "Hostages Of Society" could easily be too much in the wrong hands, but here the errant tones find their own space in the mix, making the impact of the track all the more on-point.
Review: Although Corrupted is being trailed as a "mysterious Japanese doom metal band formed in 1994", the label credits suggest it's actually the work of long-serving industrial producer Martin Bowes (previously a member of such forthright combos as Attrition, Pigface and Engram). "Felicific Algorithim" is an intensely uncomfortable and mind-altering affair, where sampled screams and redlined white noise rise above the distortion-splattered doom of the aggressive and twisted backing track. The 13-minute A-side version is, in many ways, terrifying in its disconcerting and fragmented approach, while the flipside, a kind of dark ambient version based around foreboding held notes and barely audible vocal samples, sounds like the work of lauded noisenik Dominick Fenrow.
Review: After a fairly overwhelming 2013 of archival releases that was topped off with that excellent Patrick Cowley compilation, Dark Entries seemingly are maintaining that momentum this year with a clutch of new projects. The first is this reissue of the classic Signals From Pier Thirteen EP by Crash Course In Science, which is a name that should be instantly recognisable to fans of minimal wave thanks to "Flying Turns". The track featured on the Minimal Wave Tapes Vol. 1 compilation curated by Peanut Butter Wolf and Veronica Vasicka and has been reworked by Jamal Moss, J Rocc and Ricky Villalobos in recent years. "Flying Turns" of course features on this EP, and this Dark Entries issue is the first time Signals From Pier Thirteen has been reissued on vinyl since the early '80s and is a must for anyone who likes crude electronics and synthesised beats.
A Portrait Of You At Nico's Grave, Grunewald, Berlin (For Bill K)
Along The Isar
At The End Of Spring
Review: San Fran-based multi-instrumentalist Jerfre-Cantu Ledesma pops up on Mexican Summer with an absolute peach of an LP! He's has been making music for no less than twenty years now, and has released on everything from Type to Last foundation and of course, his own excellent Root Strata label which has seen releases from the likes of Oneohtrix Point Never, Keith Fullerton Whitman and Grouper. A Year With 13 Moons is a 16-track journey into the depths of electronic gorgeousity, where mammoth-like waves of feedback splurge onto more docile soundscapes. Tracks like "Love After Love" or "Interiors", although dark and foreboding in places, retain an element of peace and tranquillity, something which Ledesma is just so damn good at. It's music for the open mind, an adventure into the most treacherous of calm waters.
Review: New material from Throbbing Gristle's Chris Carter and Cosey Fanni Tutti should always be celebrated and their latest joint opus will be of particular delight to hardcore fans. Carter Tutti plays Chris & Cosey is a logical extension of the live show of the same name the pair have been performing and perfecting over the past three years, transferring revisited classics from the stage to the album format. Completed to heed requests for the release of a live album, this double LP features some eight CC classics like "Driving Blind" and "Obsession" newly reworked and recorded at their Norfolk studio. Of course it all sounds as imperious and industrially challenging as you'd expect. Excitingly for completists, there is a second LP included that houses remixes only previously available on a tour-only CD.
Review: Over the last few years, the occasional studio collaborations between Factory Floor's Nik Void and Throbbing Gristle heavyweights Chris Carter and Cosey Fanni Tutti have proved to be faultless exercises in industrial music/techno fusion. They're at it again on third album "Triumvirate", a collection of dark, intense and mind-altering concoctions that veers from ricocheting, delay-laden alien funk ("T3.4") and surging, club-ready hypnotism ("T3.2", "T3.3"), to raw, Surgeon-esque assaults on the senses ("T3.5") and clanking, concrete-clad fare that recalls the best of Carter and Tutti's early '80s TG work ("T3.1", "T3.6"). There are few surprises, just a series of angry, on-point instrumental excursions that should delight all of those of an industrial persuasion.
Review: With Christmas fast approaching, Throbbing Gristle founder member Chris Carter has decided to offer up the perfect stocking filler for industrial and experimental electronica enthusiasts: a limited coloured 6xLP retrospective focusing on the early part of his solo career. While it omits his 1980 debut "The Space Between", it does include expanded, re-mastered versions of 1985's surprisingly ambient "Mondo B", 1998's trippy, hypnotic and rhythmical "Disobedient Redux" and 1999's brilliant "Small Moon Redux". Even more excitingly, one of the box's LPs is the most experimental, out-there and inspired of all, as it is made up entirely of previously unreleased tracks recorded between 1973 and 77. In truth, this LP is worth the entrance price on its own.
Review: Anders Karlsson aka Celldod returns to the spotlight with his third studio album to date, Fragmenterade Minnen. Out through DKA Records, fast becoming a cultural hub for the darker, looser, and more explorative side of techno, the album presents 12 tracks of intellectually honest coldwave and, instead of exploiting the genre's cliches, our man Celldod applies his own mood, vision, and aesthetic to this curious form of pseudo-techno. Wacky electronic waves collide and then gel with its more rigid drum patters and dance-centric grooves, making it a perfect album for rave junkies yearning for the spaces amid the kick drums.
Jhon's House Tune From GM Guide - Protection (5:35)
Spastiche (Basic) (6:46)
AYOR Master (It's In My Blood) (6:40)
Original Amber Rain (demo) (4:52)
Wir-click-Wir 1993 (2:07)
Crumb Tune (Master) (5:57)
The March Of Time (Extra version) (9:00)
Spastiche - The Night's Alive (Master) (5:25)
Kusnir Jazz (2:43)
Heavens Blade (John Balance Vox demo) (7:25)
Wir-click-Wir 1998 Mst Vox (18:37)
The Test Early Mst (2:17)
AYOR (Extra version) (4:29)
Elves (Master) (6:35)
Heaven's Blade (instrumental 1993) (8:25)
Melotron Song (Amber Rain demo) (2:52)
March Of More Time (Master 1993) (6:30)
Crumb Tune (4:20)
Simon (Extra long) (6:10)
Egyptian Basses 1993 (7:22)
Review: This is an absolute treat for fans of experimental industrial noisniks Coil. If you fit that description, you should already be salivating at the prospect of a triple-vinyl album containing previously unheard, unreleased material. "Swanyard" is in effect an extended trawl through the late John Balance and Peter Christopherson's archives, focusing in particular on a productive period between 1993 and 1996 that saw the pair release a trio of acclaimed albums. Much of the material could be classed as either demos or work-in-progress sketches inspired by Christopherson's vivid dreams, but such was the quality of the pair's work that it sounds much more eccentric, vibrant and "complete" than many comparable compilations.
Review: The Cop Killers' only tape is remastered and reissued on vinyl for the first time via Ecstatic. The highly-sought after classic is described as 'an indispensable slice of '80s Europe's underground experimental rhizome', the eponymous offering was originally presented in 1982 on the legendary Trax label and featured the industrial power trio of label co-founder Vittore Baroni, with Daniele Ciullini and Brit Mark A. Phillips (Five Times of Dust). The album is a coarse blend of Italian-accented English vox with backing tracks ranging from jaunty synth figures, to cloven drum machine malfunctions and noisier wig-outs and eventually mixed on a dual cassette deck and mixer from numerous tapes in just over 90 minutes.
Review: "Avanti" means "forward" in Italian, and it's clear that Alessandro Cortini sees this particular LP as a step forward in terms of what he has to offer to the electronic scene. Out through Point Of Departure, we see the artist moving away from Hospital Productions and Important Records, two labels on which he engraved his name clearly into our minds. This album is a much more personal affair to the man, apparently born out of his granfather's Super 8 tapes, a format he was introduced to as a child. In fact, there is something particularly heartfelt across these seven luscious tracks of electronic euphoria, at times verging on melancholic. While there is a strong element of noise and power electronics at the core of the LP, each and every one of these tunes presents itself like a love ballad, permeating their way into our soul thanks to delightful imperfections across all instrument sand samples. It's a photo album - one which seems to grow and expand from beginning to end. Recommended.
Review: Sentimental, nostalgic, bittersweet: these are just some of the best ways to describe Italian ambient composer Alessandro Cortini's Avanti, which premiered at the 2016 edition of Berlin Atonal - and closed out the edition on an emotional and unforgettable note. Featuring a backdrop of images and Super 8 videos from his childhood, matched with his use of hypnotic and textured drones/melodies plus field recordings - it altogether made for a audio/visual extravaganza. A perfect collision of shoegaze and drone rock aesthetics, channelled through the ghosts in the machines of analogue technology, in a way that only Cortini can.