Tomohiko Sagae At Juno Download

Review: Like Downwards back catalogue, there is something bleakly industrial yet alluring about "Manifesto". Boasting a title that sounds like it could have been named after a Throbbing Gristle project, the mood here is abrasive and unforgiving. The brilliantly named Death Abyss deliver dark breaking techno, with corrosive riffs unfolding over lurching drums. Meanwhile Sagae's "No Way Out" features harsh beats and a slamming rhythm, while the ghostly chords suggest that a supernatural force is at play. Thankfully, Inigo Kennedy delivers some light relief: while it would be difficult to describe "Pakkanen" as mellow, its mournful melodies and lithe, metallic rhythms are in contrast to the punishing soundtracks that preceded it.

Review: Sagae comes tearing in with an intense release. Inspired by broken beat techno, the stop start, fractured rhythms provide the basis for an unsettling EP. "Half Alive" lives up to its name (no pun intended) as skewed, drilling percussion and dead pace drums provide the basis for a series of jarring riffs. "Stand at Bay" features similar droning, abrasive riffs, but on that occasion it's the hammering beats, that like slabs of concrete dropped from a skyscraper, cause chaos below. The more subtle "Black & Blue", which features lithe but repetitive rhythms, completes the package.

Review: Makaton's label has long been a go-to outlet for visceral techno and Deburring shows that this reputation is still deserved. The original version uses distorted slabs of electronic noise as beats and summons up terrifying screeches and tortured vocals from Beezlebub himself to complete the arrangement. Makaton himself is up to the challenge however, and his "Judgment Call" remix features jarring, jagged analogue riffs unleashed over pounding beats. It's only on the label owner's version with Paul Damage that any semblance of normality returns. Built on lithe, stepping rhythms that sound inspired by Regis's Kalon project, the scary riffs occasionally weave their way back into the arrangement to keep the listener on the edge of their seat.