B1 Battle Hill
B2 Bridge Of Dismay
A1 –Headless Horseman – Under The Earth
A2 –3.14 – Krystal
B1 –Subjected – Under The Unknown Age
B2 –Charlton – Acquaintance
C1 –Ontal – The Visionary Movement
C2 –I/Y – This Is Not Salvation, This Is Your Destruction
D1 –Max Durante – Aggressive Behaviour
D2 –Paul Birken – Swellbow
B1 Her Black Wings
C1 Road To Betrayal
D1 Blood Drop
No-prisoners-taking killer Industrial Techno 2LP
After some killer releases on Jealous God and Blackest Ever Black, Parisian producer Tomas More aka December debuts on Mannequin Records with a 4 tracks EP for the ‘Death of the Machines’ series. Slow industrial techno mixed with raw EBM-ish flavours.
One of the strongest we’ve heard from Beau Wanzer or Jealous God, Issue No. Twenty beats out six meaty EBM treats for those who like it hard and salty.
There’s a lot of fun to be had toggling between 33/45rpm with two cuts, namely the grungy/jacking signal jammer Speaker Sisters, and the churning/fast/slow bounce of Kipper Hunk, while the rest deliver proper darkroom thrills between the distorted torrent of abuisive nose in Shitty Ear Cough 17, the rictus DAF-style tang of Cave Mace, and the starkly echoic funk up, He Pushes Meals.
“A young man is sucked into a religious cult and is increasingly under the mind control of the cult leader. As his family’s efforts fail to talk to him out of it, they hire a vigilante who attempts to kidnap and de-program him.”
“25 years on, with countless releases for Peacefrog, Ghostly, Planet E, 7th City, Ongaku, Raw Fusion and Circus Co., their burning desire to leave a dent in the realm of post-punk, industrial, EBM and noise has resulted in INTERVAL’s transmit, their debut on HELIC.AL, featuring their close friend Andries Boekelman on bass. Tracked and mixed using Sines’s collection of vintage analog consoles, tape machines and effects units, it’s a departure from the increasingly sterile digital environment most have come to cherish Instead, they’ve dumped laptops and pitch-correction for analogue time modulators designed for Stevie Wonder, and delays & reverbs dreamt up by Factory Records’ Martin Hannett. Self-described as “post-punk experimental shoegaze goth beat-driven mechanical dirges of love and lust”, INTERVAL is what happens when you take experienced electronic music producers who wear their broken hearts on their sleeves and get them back to their formative roots.”
“New York’s DNA have had a massive effect on alternative / indie rock around the world, despite the trio never releasing a full-length studio album during their four year tenure (1978-82). Various groups citing them as an influence have included Sonic Youth, Boredoms, Big Black and Blonde Redhead (the latter taking their name from DNA’s most-famous song). While the band’s explosive live performances captivated audiences, extant recordings captured DNA’s dynamic sound and savage economy in songwriting.
Originally released in 1981, A Taste Of DNA remains a primary source for No Wave archaeologists. Singer/guitarist Arto Lindsay and drummer Ikue Mori are joined by bassist and Pere Ubu founding-member Tim Wright. Across the EP’s six anti-epic tracks, the band charges forward with jagged guitars and dislocated grooves, while Lindsay’s guttural screams create a thoroughly personal semantics.”
2017 repress. “Legendary Swiss punk band from the late ’70s. You can’t dispute Liliput’s status as pioneers of feminist art-punk. Along with fellow travelers like The Slits and The Raincoats, this (mostly) female Swiss group took advantage of punk’s anything-goes attitude and created jittery, spirited pop that was both in step with the times and completely singular.”
“Painstakingly written from pieces developed upon since 2013, the new record, titled ‘Serpent Music’, was initially composed as a soul record – based around delicate and emotive songwriting in various forms. It was a highly difficult project to undertake on both a creative and personal level, weaving thematic links through paranoia, social anxiety, and missing loved ones. “The songs come from a much more emotional and very vulnerable place… They’re very close to me and I’ve been cautious of how I would eventually present them to the world.” he explains.
The album spans sonically diverse and richly-textured pieces, formed from live, organic instruments, samples and various field recordings. Dreamlike lo-fi psychedelia sits alongside broken electronic experimentations, ambient compositions between abrasive noise offer insight into a haunting otherworld. From melodic choral vocals and soaring synths, to screeching guitar riffs, dramatic spoken word samples and live drumming, ‘Serpent Music’ evidently moves through a strange and intriguing personal journey.”
“Recorded in 2015 in Brooklyn, NY, McDowall’s synonymous modular synthesizer compositions are augmented by obtuse sampling cut-ups and contributions from Nicky Mao (Hiro Kone / Effi Briest) rounding out the lumbering sequential knot work that has become synonymous with McDowall and craft. All bundle orders ship with clear red vinyl.”
New Ascetic House EP
New Ascetic House LP
A1. Internazionale – Threads And Tusks 05:00
A2. Damien Dubrovnik – Excerpt From February Piece 04:11
A3. Phase Fatale – Your Love Will Not Save The World 04:22
A4. Fingering Eve – Untitled (0000023) 03:15
B1. SDH – You Pt. 12
B2. First Hate – In My Dreams 03:22
B3. Molly Nilsson – Think About You 04:12
Diverse, modern post-punk leaning Industrial “band techno” compilation.
A1 Tenderloin Tanz
B1 A Season In Hell
Most probably missed out on Pan Daijing’s 2015 debut, a limited-edition cassette filled with industrial-inspired techno improvisations. This 12″ for Bedouin Records is the Berlin-based Chinese artist’s first appearance on wax, and contains a quartet of intense and distorted workouts. Some will hear nods to classic Chicagoan acid and EBM in the thrusting industrial techno of “Tenderloin Tanz”, while the moody, synth-laden throb of “Exile” recalls some of Cabaret Voltaire’s most memorable moments. Flip for the spooky EBM of “A Season In Hell”, where ghostly melody lines and aggressive stabs prod away at the senses, and the Nine Inch Nails style audio anger of “Nomenklatura”.