Review: Known for his role in The Pain Machinery and Severe Illusion, Stockholm native Anders Karlsson has more recently begun to explore similar strands of industrial and EBM in a solo capacity as Celldod, issuing several limited cassettes over the course of 2014. Those without the facilities to consume cassettes will be happy to see some of this Celldod material now issued on vinyl thanks to the efforts of Canadian label Suction Records. Some six tracks deep, Pulsdisco features material from the two cassettes of the same name Karlsson released last year and those that like their EBM minimalist and without vocals will find plenty to enjoy here.
Review: Anders Karlsson's Celldod project has earned the artist plenty of attention from our end over the last year, because we just love the way that he mixes up EBM with industrial and techno; call us old fashioned but that it exactly our bit of fun. He's back on Canada's Suction imprint and he's in the same mood that we left his in a few months ago: these tracks are all stand-out but if you asked us, we'd pick the opener "Svart Magi" for its deliciously wonky bassline, the brooding, pseudo electro of "Impulskontroll", "Under Press" and its harsh techno tone, and the beatless howls of "Stormens Oga". This is heavily recommended, people!
Review: Despite the hard-to-pronounce title, this debut solo album from Scandinavian electro sort Celldod is something of a sparkly treat. For the most part, it sits somewhere between the darker, macabre sound of electro noir (and, on the freakish "Orgen I Neckon", clandestine ambience), and a bolder, more dancefloor-friendly take on the style. His style tends towards the bubbly and undulating, with bold synth lines stretching out across mechanical rhythms, body-popping beats and rolling analogue grooves. This CD version of the album contains a number of bonus cuts, including the horror-fixated, electroclash style darkness of "Frater", and the Drexciyan intensity of "Betong".
Review: Earlier this year, Italian electronica veterans Fabrizio and Marco D'Arcangelo returned to action with a 12" on Happy Skull that marked their first new material for three years. We're told there's more to come, but here they revisit their past, delivering a compilation that includes their sought-after 1996 debut EP for Rephlex in its entirety, plus two fresh cuts (opener "Main Theme" and closer "Wane (Reprise)" and a swathe of tracks recorded in the late '90s for an aborted follow-up to their lauded first 12". Heavily influenced by Aphex Twin, industrial techno, twisted ambient and what would later become known as "Braindance", the material remains breathlessly imaginative and otherworldly all these years on. If anything, it's a master class in cutting edge electronica.
Review: A newfound interest around Italian duo Fabrizio and Marco D'Arcangelo has resulted in releases on Spain's Analogical Force, The Kelly Twins' Happy Skull and a new one for Solvent and Lowfish's Suction based out of Toronto - who consider II as 'an imaginary sequel to the duo's classic 1996 debut EP on Aphex Twin's legendary, now-defunct Rephlex Records. That release was also reissued on the label last year. From the industrial edged electronica of "Callying Sybil" which calls to mind early Autechre, the jagged and angular "Qabbalahwhich" honed in on the emerging sounds of drum 'n' bass at the time, to the three installments of "Diagram" that hone into aesthetics of an even earlier period, namely the '80s.
Review: Unlike seminal Vancouver EBM/industrialists Skinny Puppy, Digital Poodle had only a cult following in Toronto and some parts of the North American continent; a real shame considering their impressive body of work. However, tracks such as 1995's "Head Of Lenin" got some international airplay, not to mention being played at quite a few goth clubs back in the day (not that we'd know, of course!). Finally there's a a renewed enthusiasm around them among a new generation of fans and die-hard nostalgists alike. 1992's Soul Crush" gets a worthy reissue on local analogue freak Solvent's Suction imprint and gets a some pretty nifty reworks. Sonic Groove main man Adam X serves up a pounding, droning and hypnotic rendition that stands in stark contrast to the slow and steely funk groove of the original. Also worthy of mention is British legends Soviet France and their "Virtual Mix" a B side to the original release which is 13 minutes of epic ambient house bliss.
Review: Digital Poodle are one of those outfits from the 1980's who happened to stumble onto techno by accident, focusing on making deadly, driving songs rather than fitting into a genre or style. Alongside them there are the likes of Psychik Warriors Ov Goia and a few others, but this stuff is pretty damn hard to come by, and releases like this are few and far between. The impressive Suction label out of Canada has decided to reissue their "Work Terminal" tune - a screeching, venomous bit of screamo EBM - backed by a trio of remixes. OH transform "Work Terminal" into a more direct techno bullet with subtle swarms of the original's screams, while Solvent give it a more aggressive reshape a-la electro. It's the Metro Tekno version that gets our attention, though, and those heavy percussion patterns must surely be total winners on the sound system.
Review: Suction Records is thrilled to present the debut archival album release by RX-101, a bedroom techno producer from the Netherlands, Erik Jong. "Like Yesterdays" compiles 10 tracks from RX-101's first two vinyl-only 12" EPs, together with three CD/digital album exclusives. This previously unreleased material dates from 1997-1999, recorded live to cassette in a feverish burst of creativity, utilizing a small arsenal of classic techno instruments. Here's RX-101 in his own words: "From childhood I loved dance music. In the '80s one of my older brothers always recorded mixes from the radio and we always listened to that. My other brother and sister took music lessons in electronic organ and when I was about 9 years old I did the same. I quit when I was 14. From childhood I was fascinated by synthesizers. In the late '80s I started more and more listening to dance and house music and it was 1991 when I started listening to techno from labels like Underground Resistance, Transmat, Metroplex, +8 Records and Warp. That was the time I knew that I also wanted to make electronic music and build a studio. With my musical background and love for synthesizers, everything fell into place. When I heard Aphex Twin's "Digeridoo" in '92, I was completely hooked on Aphex Twin and soon discovered his label Rephlex. I almost bought every release. My friends at that time always listened to electronic music. In '92 (when I was 16) I bought my first synthesizer, a Roland Juno-106. Then I started to buy more stuff, and two years later I had a small studio with some synths, a drum machine, a Quadraverb fx unit, an Atari computer and a mixer. My Roland SH-101 is still my favourite synth. In those days I always played with my gear, but I never made a complete track or recorded something actually. After buying some more stuff in the years following, it was time to start making tracks. It was 1997 then and I was 21 years old. I started to like it very much and I was very productive then. I wanted to make music all the time. I was a student then and had plenty of time to make music. I made a lot of tracks and recorded everything to cassette between 1997 and 1999. In the early '90s I dreamt of releasing music on a record label, but in the years after that dream ebbed slowly away. I'm not sure why.... I think that's the reason I never have sent tracks or a demo to a label. In 2000 I quit school and I found a full time job. Because of this I also had less time to make music. It was a new step in my life. My passion to make music then became less. At one point I saved my tapes with my tracks in a box. In 2013, I discovered that box again. I thought it was a good idea to archive all of my tape tracks to my computer. The last time I had listened to it was 2001. In September 2013 I uploaded about 15 tracks of that old stuff to Soundcloud. About a year later I started to upload more and more stuff. I received many nice comments and I was a little bit surprised that a record company was also interested."
Review: Toronto label Suction return to New Ways, the latest LP from co-founder Jason "Solvent" Amm which was released earlier this year with an EP of remixes from some high grade artists. In original form New Ways was the soundtrack to I Dream Of Wires, the excellent documentary on modular synthesis, and was one of those rare LPs that's equally suited for the dancefloor and home listening. Here the likes of Chris Carter, Orphx, Bronze Teeth and Martial Canterel are let loose on the LP and there's a clear arc in intensity over the four remixes. As you'd expect "Burn The Tables" (Orphx remix) is totally suited to peak time techno deployment where as the three other revisions that sit either side take Solvent into more contemplative and abstract territory - the Bronze Tooth take being our favourite.
Review: Grey Edition: If you've seen the Modular synth documentary I Dream of Wires, you'll have been suitably impressed with the soundtrack provided courtesy of Suction Records boss Solvent. Whilst there was a double LP edition of the soundtrack, it didn't feature all the music Solvent had recorded for the documentary. That has now been remedied as Suction lay out this limited addendum 12" (available in three different colours of vinyl) consisting of previously digital only cuts and some fresh remixes. The DJs out there will be happy to see techno cut "Hadron" make the 12" upgrade, whilst the remix of "King Vincent" from Wrangler (featuring Cabaret Voltaire founder Stephen Mallinder) is equally floor-focused. Do check the other remix, of "Sender", which sees Todd Sines adopting his Interval alias for some unsettling modular sonics!!
Review: Clear Edition: If you've seen the Modular synth documentary I Dream of Wires, you'll have been suitably impressed with the soundtrack provided courtesy of Suction Records boss Solvent. Whilst there was a double LP edition of the soundtrack, it didn't feature all the music Solvent had recorded for the documentary. That has now been remedied as Suction lay out this limited addendum 12" (available in three different colours of vinyl) consisting of previously digital only cuts and some fresh remixes. The DJs out there will be happy to see techno cut "Hadron" make the 12" upgrade, whilst the remix of "King Vincent" from Wrangler (featuring Cabaret Voltaire founder Stephen Mallinder) is equally floor-focused. Do check the other remix, of "Sender", which sees Todd Sines adopting his Interval alias for some unsettling modular sonics!!
Ceramic Hello - "Sampling The Blast Furnace" (4:30)
Digital Poodle - "Soul Crush" (Manie Sans Delire Revision) (5:07)
June - "Idealized States Of Perfection" (3:37)
Review: Some 14 years after volume three first appeared in stores, Suction has decided to re-launch its Snow Robots compilation series. Happily, the quality threshold remains as high as it was first time around. The seven tracks feature a mixture of metallic electro, fuzzy minimal wave and industrial electronica, with occasional inspired forays into tongue-in-cheek electro-disco (Ceramic Blast Furnace's "Sampling the Blast Furnace" - sample lyric: "pouring passion down your throat like concrete") and druggy, ultra-muscular Italo-disco ("Pulsdisco 1.2" by Celldod). It's naturally far more killer than filler, with notable contributions from Mr Reliable himself, Beau Wanzer and former Berceuse Heroique artist Morah.