Review: On Paradise, Siren's Darshan Jesrani and Dennis Kane join forces with veteran vocalist Felice Rosser, who was a key member of New York's experimental "downtown" scene throughout the 1980s. Rosser's breathy, howling vocals sit perfectly amongst Jesrani and Kane's low-slung, delay-heavy production, which sits somewhere between the post-punk dub disco of Fist of Facts, the horn-heavy strut of Konk, and the sparse, proto-house sound of Paul Simpson, Winston Jones and Boyd Jarvis. The latter influence comes to the fore on the duo's digital only Remix - think undulating synth bass, repetitive handclaps and delay-laden vocal ad-libs. For those after something altogether sleazier, Gavin Russom has provided a dark, throbbing, ten-minute basement workout that reverberates to the sound of industrial textures and muscular percussion.
Review: It's been a while since San Fran musician Siren broke through on Section Z with his debut album Method To The Madness. During those six years he's leapt off and on the radar, every time returning with something new, fresh and exciting. Afterworld is no exception. Sitting somewhere between Haywyre, Glitch Mob and Arkasia, the whole album is an emotion-rich cinematic affair riddled with glitches, twists and the occasional dancefloor banger such as the sleazy stomper "A Grand Illusion". Highlights include the KOAN Sound style roller "A New Frontier" and the woozy strings and metallic lion roar of "The Lament". A highly accomplished album that's built to last.
Review: A quarter century has passed since Michael Reinboth founded Compost Records in his home city of Munich. To celebrate the imprint's 25th birthday he's commissioned a bumper selection of reworks of back catalogue tracks, releasing the results over a trio of EPs. This second volume begins with Balearic specialist Phil Mison's synth-heavy nu-disco revision of Siren's modern NYC disco cut "The Way", before Ewan Pearson steals the show with a sublime vocal version of Tomasz Guiddo's "Hide" rich in pulsing, arpeggio-style synthesizers, lilting horns and elastic disco bass. Arguably best of all, though, is Gerd Jansen's rework of Lorenz Rhode's "Back", a stomping, full-throttle interpretation that gleefully harks back to the early days of Italian house and turn-of-the-90s synth-pop.
Review: Hearty congratulations to Michael Reinboth, whose Compost Records' imprint recently celebrated its 25th birthday. As a way of marking this momentous occasion, the label has conjured up this expansive compilation, which offers up a blend of fresh remixes of label classics, overlooked revisions, bonus cuts and the odd hard-to-find classic (see Move D's superb "Hurt Me", which first appeared on the imprint in the mid-90s). Highlights are plentiful from start to finish, with Roman Flugel's throbbing rework of Beanfield's "Human Patterns", I:Cube's LFO-influenced re-make of A Forest Mighty Black's "Fresh In My Mind", Joakim's funk-fuelled acid take on Marbert Rocel's "Dance Slow" and Die Orangen's wonderfully druggy interpretation of Marsmobil's "Sometimes I Don't Regret" all catching the ear.