The interesting cross pollination of sounds and ideas currently gestating around the Avian and Mira camps throws up its most intriguing proposition yet in Burma Camp. This is the newly adopted alias of Nicholas Wood, frontman of The KVB, a duo recently referred to as "the son and daughter of reverb" and one of this year's breakthrough acts. Wood has previous form with Mira, having collaborated with Ventress on his recent turn as Worn, and Repulsion finds him sinking deep into the realm of droning industrial delay across three experimental excursions. The influence of Downward boss Regis is apparent throughout, with the vicious, industrial techno grot of "Isa" standing out.
year or two. While the imprint was previously focussed on bringing forth his own chilling pseudo-techno jams, he's just gone and dropped a two-tracker by none other than Consumer Electronics, a lil' old band comprised of Russell Haswell, Philip Best and Sarah Froelich. Conceptual might be the wrong way to describe these jams, but they certainly have an artistic air about them, where "Murder The Masters", for example, chucks a steady 4/4 kick below a dark and sinister male monologue. The B-side, "Alien Existence" evolves it into a relatively more musical affair, where the same voice is now accompanied by a female counterpart and a further injection of drones and metallic sonics.
Shifted returns to home base with some more Covered In Sand material for Mira. The Covered In Sand project from Shifted was introduced with Heaven's Gate Suicides, a 10" + 7" package that was one of the first few releases on the Mira label and helped to define the parameters for experimentation on the Avian offshoot that were subsequently explored by Worn, Prostitutes and Burma Camp. Having gone on to release two of last year's more compelling albums in the Shifted set Under A Single Banner for Dom Fernow's Hospital Productions and the Alexander Lewis LP for Blackest Ever Black, the closely guarded producer graces Mira with a second dosage of Covered In Sand. Contained within the Silent Servant designed sleeve for Crescent Shaped Scars are three abrasive noise workouts with lead track "Luarica" the closest you'd get to an outright techno production thanks to it's hollowed out ritualistic drumming.
Luckily I Was Allowed To Get Dressed When I Left The House - (1:04) 159 BPM
I Am Made To Greet Each Guest With A Limp-wristed Handshake - (1:49)
Only Carla - (5:03) 132 BPM
She Is Pretty Strange, The Way She Dresses, That Punky Hair God Knows What She Gets Up To - (0:13) 148 BPM
Jack The Damned - (2:25) 157 BPM
Since I Am On A Strict 500 Calorie A Day Diet With Extensive Exercise & No Alcohol, I Have The Shape Of A Petite Little Woman, & My Wife Has Paid For Breast Implants & Facial Surgery To Make Me More Acceptable - (3:45) 65 BPM
Duck Shall Not Have The Audacity To Request Release Himself. Duck Shall Not Gripe Or Complain About The Duration Of His Confinement, The Length Of Which Will Be Solely Determined By Mistress - (1:01) 123 BPM
He Might Be Able To Earn A Meal Of Slop If He Does Dangerous Work (for Instance - Crash Test Dummy) THUNDERSKINS - (0:51) 144 BPM
To Compensate, While The Average Lifespan Of A Male Will Be About 70 Years, Medical Advancements Will Make The Average Lifespan Of A Woman To Be About 750 Years - (1:02) 75 BPM
When Thanksgiving Approaches, I'm Usually In My Third Week Without Release - (2:27) 123 BPM
My Breasts Were Pierced, So Red Ball Ornaments Were Placed Through Each Nipple Additionally, Each Ear Was Pierced, So A Red Ball Ornament Was Placed In Each Earring Hole My Nipples Were Protruding - (8:36) 152 BPM
Thunderskins London Dungeon - (1:11) 152 BPM
The Grad Student Turned Her Eyes Toward The Closet Where She Had Made Him Hide THUNDERSKINS - (5:33) 150 BPM
Drugs Alan, I Don't Believe It But Somebody Saw Her Shooting Up In The Restroom - (1:07) 123 BPM
Only Tease - (5:02) 110 BPM
Tennis Has Always Been My Life Since I Was A Small Boy In Mexico City My Father Was The Head Gardener At An Estate Owned By A Very Important Man & He Used To Take Me With Him So I Could Hit The Balls On The Court - (0:21) 152 BPM
Wild Spectrum - (3:09) 144 BPM
Credits - (2:56) 100 BPM
Something has clearly stirred at Fernow Towers of late with this collection of material under the Exploring Jezebel name one of several album endeavours from the multifaceted US noise icon due within 2015's first quarter. Dominick Fernow completists will be fully aware of Exploring Jezebel, a project of S&M themed nocturnal transmissions issued on limited cassette format mostly through his own Hospital Productions. It's perhaps the one creative endeavour that shows off Fernow's black sense of humour best, as evidenced on the tracklisting for this Blackest Ever Black album. The label describe On A Business Trip To London as a "dramatic document of curious electronics" and that's certainly the case from what we have heard.
Blackest Ever Black boss Kiran Sande recently described "Tragedy of the Commons", the 17-minute lead cut on Felix K's belated label debut, as "exemplary Berlin noir". In many ways, it's an apt description. A murky, claustrophobic collage of looped Tangerine Dream style synth lines, dystopian field recordings and fuzzy bass, it's a particularly atmospheric snapshot of Felix K's immersive, off-kilter aural world. "Silent Money" continues the otherworldly feel, delivering post trip-hop rhythms and thunderous sub-bass. Finally, "Onar Anxiety "delivers a thrillingly dark, paranoid and tribal remix of "Fundamentals", with voodoo drums helping propel the bleak techno groove towards the horizon.
After previously delivering the mighty A Fallen Empire album for Downwards in 2013, Samuel Kerridge is back with his own new label and a weighty long player to get sucked into. Opening cut "GOFD" sets the tone perfectly with some cataclysmic industrial-dub pressure weighing down in a coarse and unfriendly sound world, and it only gets rougher from there. In some moments there is more space to breath, but it's not long before another monolithic swoop of grinding texture falls down around you. There are faint whispers of melody on tracks like "TRN5", but they're distinctly in the minority in favour of richly aggravated sound design and cloying effects processing.
Matthew Watt aka Killawatt drops his debut LP on the UK's Osiris Music. Gnarly, psychedelic techno is the name of the game here, and there's a whopping twelve tracks up for grabs. Blending everything from UK bass to dubstep and even drone, Killawatt's particular brand of four-to-the-floor is both singular and caters to just about anyone whose into menacing beats and abstract sonics. We're particularly into the choppy beats on "Spinal Swarm" and the outsider techno rhythm that is "Excessive Hyperbole". This album is absolutely brimming with quality and singularity. More from Mr.Watt, please!