Review: The partnership of Kassem Mosse and Beatrice Dillon; Dillon Wendel is a place for the two respected artists to explore soundscapes, aesthetics and synthesis in pastures aeons away from the dancefloors they're most familiar with. Both compositions weighing in over 15 minutes, they're experiences which challenge form and convention; "Pulse" ripples with its namesake, a texture that buzzes and drones in endless waves while "High" mutates a warmer, grainer tone with dizzying effect.
Review: Marking the start of an exciting new collaborative project, Wolf + Lamb proudly share the debut release of The Waves & Us. Formed out of
a creative meeting of minds between Maayan Nidam, Markus Nikolaus and Louis McGuire, theirs is a sound that strengthens the storied
approach of a live band with the experimental thrust of analogue electronics. Pop and rock fundamentals lend an earthly hook to the
tracks, but these are anything but straight-forward songs.
Maayan has already forged a formidable career in electronic music, both under her own name and as part of Mara Trax, scoring releases
on such celebrated labels as Perlon. Markus performs his own solo project Cunt Cunt Chanel, while Louis is part of Ballet School, a band
releasing on noted indie label Bella Union. The whirlwind of creativity that has whipped up around the trio has yielded an album which will
follow this single, made up of one-take recordings that capture the energy and adventure that powers The Waves & Us.
Maayan's electronics provide the atmospheric backdrop to the songs, running modular synthesisers and drum machines through detailed
chains of processing and effects with an emphasis on a warm, charmingly rough finish. Markus' guitar undergoes a similar fuzzy treatment
while his voice calls out introspective, abstract lyrics to set the mind racing. Louis' bass underpins the music with a dubby sensibility,
bringing a necessary balance to the frequency range.
Making the most of their in-the-room recording approach, the singles will feature alternative takes of the songs that will appear on the
album, providing a little insight into the flutters and fluctuations that shape the development of this project. With their eyes fixed on live
performances and an arresting sound already formed, this is a vital time for all three artists and the people that listen to them.
La Conoci En Un Concierto De Esplendor Geometrico (3:45)
Europe Is Dead (feat Ana Curra) (6:15)
Valencia Ist Gefahrlich (3:16)
L'enigmatic Martell De Ned Ludd (1:43)
121 Xemeneies (feat Hugo Mas) (7:29)
Aquesta Rave Es Una Merda (5:00)
Review: We Are Not Brothers are an electronic music band from the post-industrial, anarchist and revolutionary town of Alcoi, Pais Valencia - formed in 2006. Comprised of Blai Antoni Vano, Damia Llorens Pico, Francisco Sancho Blanquer and Rafeta, this is (like the name suggests) their third full length release. They borrow respectfully from fellow Spanish legends like Geometrico Esplendor (who they've supported live: as heard on opening cut "La Conoci En Un Concierto De Esplendor Geometrico" while sounding like contemporaries such as The Horrorist or Vatican Shadow. It's a fairly fierce and abrasive affair, featuring layers of contorted and textured greyscale electronics, plus violent vocal styles. Just check some of the titles - "Europe Is Dead" a pummeling riot ready anthem featuring Spanish scene heroine Ana Curra) or the seething "121 Xemeneies" (feat Hugo Mas).
Review: Typically, General Elektro isn't giving much away about the identity of the producers behind "new collaboration" Westend, or their aims for the project for that matter. Musically, it's a quietly impressive debut that features a sextet of tracks mostly built around gently undulating synthesizer arpeggio lines and moody electronics. Many of the tracks are stripped-back, hypnotic and beat-less, deriving their power from the relentless thrust of the arpeggio lines that ripple across the sound space. Others, meanwhile, include ghostly electro drums or, in the case of the bombastic "Track 4", the kind of no-nonsense, kick-drum-driven beats that were once a feature of the greatest Electronic Body Music releases.
Review: Having only made spotted appearances in the past, icy ambient techno artist Winter In June makes a fine first outing on vinyl with a press of his formerly digi-only EP Eternal Lovers. It's prime Silent Season material, using massive slabs of reverb and a foreboding sense of space as his main weapons while rolling out bleak machine matter that sounds as though it were blown across the tundra. "About Life & Death" is particularly moving with its heart monitor bleeps and forlorn strings, while "The Party Is Elsewhere" is a telling trip into the coldest of coldwave.
Review: The latest volume in Music From Memory's impressive 12" series of reissued obscurities takes us back to late '80s St Louis and the hard to find world of Workdub. Formed of Virgil Work Jnr. and Nicholas Georgieff, Workdub's output was restricted to a pair of highly limited albums recorded between 1989 and 1992. All four tracks are taken from these two albums, and offer a lucid, ear-catching fusion of early ambient house electronics, experimental oriental synth-pop, alien jazz breaks, spacey Detroit influences, and stuttering drum machine rhythms. It's a hard-to-place but wonderfully evocative mixture, arguably best displayed on standout opener "Island Breeze". That said, the curiously Balearic, Tangerine Dream influenced "Caravan" is rather tasty, too, while its' ambient alternative mix, "Caravan Revisited" is almost overpowering in its' simple beauty.
Review: Valcrond Video presents the next work by sound and image artist Luke Wyatt, Songs From Bad Kid School.
On a high desert plain, inside a cinder block compound, a prank squad is incarcerated. Between fiddling with ninja stars and leafing through back issues of Fangoria, they find time to scrape out the soundtrack of their escape.
On the first track, heatsick guitars and steel wool beats suggest a landscape strewn with abandoned car carcasses, old Camaros left for dead in the sun, used for shotgun practice.
The B-side leads off with the beat-less, articulated sprawl of "Saline Flats". Here is the story of a desert search for water: figures warping mirage-like on the horizon as they make a confused journey over dunes, ending with a cathartic drone that suggests the mirages resolving into a real oasis. Though it is just as likely that the bad kids have expired from thirst, and ascended to the sublime.
Review: Brighton-based beatmaker and self-confessed vinyl addict Tom Caruana presents a reissue of his 2011 collection of mash-ups. Black Gold has been remastered for your enjoyment and sees Caruana bring hip-hop legends Wu Tang Clan - the masters of the Shaolin - together with the master of psychedelic guitar riffs: Jimi Hendrix. The final product sounds terrific and features not only the original WTC members but also the extended clique Royal Fam, American Cream Team, Gab Gota and Cappadonna. From the block rockin' beats of "House Of Flying Daggers" w/ Inspectah Deck, Raekwon, Ghostface Killah & Method Man, to the endearing Hendrix tribute that is "Wind Cries" w/ GZA & U-God, through to the smooth blues and rapid-fire lyricism of "Vibrations" w/ Inspectah Deck, GZA, Masta Killa, RZA, Method Man, Raekwon & Ghostface - as you can see: all the usual suspects appear.
Review: There are plenty out there - the team behind Dark Entries Records included - who will happily tell you that that Time Actor is one of the finest and most overlooked albums of the 1970s. It was the debut full-length of Richard Wahnfried, an alter ego of pioneering German ambient don and electronic experimentalist Klaus Schulze preserved for collaborative projects. In the case of Time Actor, that collaborator was Arthur Brown (he of "The Crazy World Of..." fame), whose half spoken, half-sung vocals provide a focal point throughout. Musically, the album is deliciously trippy and other-worldly, with Schulze delivering a swathe of fine electronic grooves and bubbly Berlin School soundscapes. This edition also boasts a brilliant bonus track: a 12-minute, 1983 "Afro-cosmic" revision of the title track by Italian Maurizio Delvecchio.