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Perc / Various
Review: The tenth anniversary of Perc Trax has provided its owner Ali 'Perc' Wells with the opportunity to release his first ever commercial mix. Using a lot of his own material as well as some smart selections from the label, including Factory Floor's remix of Forward Strategy Group, Wells acquits himself skillfully. However, it's this collection of unreleased material that really stands out. Veering from Happa and Truss' stomping, distorted techno and the Magnetic North-style kicks of Perc's "Hyperlink" to the frazzled broken beats of Forward Strategy Group and Mick Finesse & Pinion's tracks, it also features the cavernous acid of Drvg Cvltvre's "(I Don't Want To Die In) James Franco's House" and the shock-horror rave stabs of Sawf's "Goves". There's no doubt about it - Perc Trax is celebrating its first decade in typically raucous style.
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TPTCD 006
10 Nov 14
10 Nov 14
2
Review: British techno veteran Oliver Ho has released some fine material as Broken English Club since debuting the alias back in 2014. The English Beach, Ho's second BEC full-length and first for L.I.E.S, is the audio equivalent of a trip to a run-down North Sea coastal resort on a wet Wednesday in November. Full of end-of-days electronics, stripped-back industrial techno, moody minimal wave shufflers and bubbly EBM workouts, it's as authentic a tribute to early '80s electronic experimentalism as you're likely to hear all year. Highlights include the Nitzer Ebb style bounce of "Pylon", the foreboding, desolate electronica of "Rust Ballad", the angry electro moodiness of "Carrion" and the rolling, organ-laden autumnal bliss of "The English Beach".
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LIES 094
18 Aug 17
18 Aug 17
4
Review: A second collaboration by Perc and Truss has surfaced and it adds to the situational, high intensity techno both are delivering London clubs at the moment. Across eight tracks the two have released as Perc & Truss you can now begin to pinpoint some of the individual elements from both producers. Here it comes through on Truss' straight-laced and hammered-down percussion and the caustic acid lines similarly heard on his MPIA3 alias, particularly "Forever Your Girl". On the Perc side of things, the speakerphone vocal of "Two Hundred" is reminiscent to those used on his Power And The Glory LP, as is the light electrical hum of distortion across the intermittent snares of "Van Der Valk". And if you're after a big old kick drum, look no further than "Judd".
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PTL 003
04 Aug 14
04 Aug 14
6
Review: Eschaton are back everyone: look out. The infamous collaboration between Ancient Methods and Orphx have decided to reign in terror once more on Belgian imprint Token so be prepared: this one is a one way ticket to hell and back! Starting out with the body bashing broken beat assault of "Deus Irae", they then serve up the slow burning post-apocalyptic anthem "Those Who Obey". "Answer My Prayer" definitely sounds more like Michael Wollenhaupt than anyone else: this is techno-doomcore like only he can create. Finally the hellish drone of "No Other Gods Before Me" ensures one seriously white knuckled duvet ride for you tonight!
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TOKEN 61D
06 May 16
06 May 16
7
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541416 5076087
23 Apr 16
23 Apr 16
8
Played by: Paul Mac
Review: 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!
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OSMUK 041LP
23 Feb 15
23 Feb 15
10
Review: Editions Mego offshoot Spectum Spools has been gaining wide attention recently, partly thanks to Bee Mask's peerless work but also through Ren Schofield's maniacal excursions. The man otherwise known as Container has already produced one LP for the label and this new work sees a maturation of his experimental side, furthering it into an overwhelming cesspool of electro-tinged madness. Opening with "Dripping" is certainly a bold move, with a demented beat arrangement swirling feverishly into a sea of screeching noises and aggressive bells; things show no signs of slowing down on "Paralyzed", mixing a bumping breakbeat structure together with layers upon layers of effects and wild percussion elements. "Acclimator" settles into a neater groove, one which faintly resembles a murky, deep techno moment - delayed snares and crackling drums all round. Over on the B-side, we have what resembles Drexciya on acid, the merciless drums of "Perforate" occupying every corner of the track with a swirling mass of 303-tweaked melodies forming a dense puddle of sci-fi atmospherics; while "Refract" combines a crispy post-jungle drum structure with minimalistic tones and eerie synths. Container pushing the limits on this one - warmly recommended!
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SP 025
26 Nov 12
26 Nov 12
11
Various
Played by: Juno Recommends Techno
Review: American industrial scene stalwart Dominick Fernow makes a somewhat surprising addition to Berlin institution Berghain's mix series on its ninth instalment. Under the Vatican Shadow moniker, he has increasingly flirted with techno, performing regularly at the Berlin institution as a DJ and with his intense live show. Of the mix, Fernow - who is otherwise known for work under many other aliases such as Prurient, Rainforest Spiritual Enslavement or Exploring Jezebel among others - has stated that his interest in DJing developed out of industrial music traditions such as mail art, tape trading, and sound collage. This sonic 'cut up' of electronic edits bridges the gap between several generations of electronic music subculture, taking in early UK industrial (Genesis Breyer P-Orridge), Japanese noise (Merzbow) and the very NYC underground that he came up in with contemporaries such as Virile Games and Kris Lapke (aka Alberich) also featured.
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OTON 119DIGITAL
15 Mar 19
15 Mar 19
12
Played by: Talker
Review: Dominic Fernow dons his Prurient hat for this split release with Karl O'Connor as Ugandan Methods. As you might expect, it's not for the light-hearted; "Call 1" features the Downwards boss' dense, grainy broken beats mixed with Fernow's wounded screeches amid bursts of white noise. "Call 2" is built on a similar approach, but this time the churning noise and dense drums are interspersed with dramatic, dark synths that spiral and twist. The third "Call" provides a surprise, heading back to the loopy techno of early Downwards, but it's only a temporary deviation and the fourth and final "Call" sees the duo deliver a drum-led, droning rhythm.
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DNUM 01
24 Sep 14
24 Sep 14
13
Played by: Mind Against
Review: Hospital Productions is a non-stop operation and following this year's long-players from Alessandro Cortini, Ninos Du Brasil and Ron Morelli, Vatican Shadow's latest swoop is this ambient album produced with Function. The seven-track LP was recorded between Berlin and New York, and it's described as best suited for after-hours home listening, but whether you really want to listen to this after a big night is up to you. Indeed "A Year Has Passed" and "A Year Has Gone By" are downbeat and melancholic, whereas other tracks lean more towards industrial ambient, similar to fellow Hospital artist Lussuria's work. "The Nemesis Flower" is a darker highlight while "Red Opium" and "Bejewelled Body" is where the house and techno beats lie.
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HOS 425
29 Sep 14
29 Sep 14
15
Played by: MAN2.0
Review: Parrish Smith is a relatively new addition to the extended techno world, but the producer is undoubtedly one of our favourite recent additions, particularly for his sensibility to the core of EBM and industrial music. His previous EP, out through Ron Morelli's LIES, was one of the best 12"s to come in 2017 (in our humble opinion), so this new EP for Holland's Dekmantel crew is nothing but vibes for us! The title track, "Sex, Suicide & Speed Metal", blasts out heavy bass-kicks amid swarms of washed out guitars and doom metal references, leaving "Mute" to provide some comfort to the bone-heads, thanks to its noxious bass and drum-machine centricity. "Fall Into Sin" is yet more death and destruction, driven by a blasting wave of detuned electronics and metallic percussion, while "Skins" bangs out a dubwise slice of post-industrial nuttiness - large up, Parrish.
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DKMNTL UFO7
25 Jun 18
25 Jun 18
16
Review: The Downwards label precede the intriguing release of a new album from multi disciplinarian Russell Haswell with this remix release brandishing wildly different reinterpretations of the Coventry based musician's work from William Bennett, Kevin Drumm and label boss Regis. Haswell and Downwards seem like a good fit given the former's long career of boundary pushing music across labels as varied as Editions Mego, Warp Records and Carlos Giffoni's No Fun Productions, while the latter have remained uncompromising in the direction of their release schedule. It's a rare occasion when you can identify a Regis remix as the most accessible contribution to a release, but that's certainly the case here, with the Downwards chief delivering a twitching, loopy techno workout of "Chua Rave," while Whitehouse founding member William Bennett - another former collaborator of Haswell's - has remixed "Harshing" which is quite aptly described by Downwards as a "stereo head f*cking, brain floss session". This is surpassed in the "skin crawling brutal sonics" stakes by the minute remix of the same track from the Chicago-based experimental musician Kevin Drumm.
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LINO 51R
30 Jun 14
30 Jun 14
17
Review: Exit supergroup Binary Collective (comprising dBridge, Joe Seven, Kid Drama and Consequence) lay down their debut document? And it?s every shade of retro-stated future you?d hoped it would be. Diving deep into the analogue abyss, each cut attempts to out-deep the next while remaining well weighted and groove-focused. ?Binary Theme? is Moroder on Mogadon, ?In Pursuit? is a car chase in toxic treacle, ?Cloud Creeping? is what triphop would sound like if it was invented 20 years later while ?Sentries Watch Us? sounds like one of Parliament?s more experimental jams but played and recorded under water. These daft comparisons are just the tip of the iceberg, though ? it?s hard to reference music as matchless as this? Listen and interpret it in your own universe.
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EXITLP 014
16 Oct 15
16 Oct 15
19
Review: Amongst those that keep track of these things, German trio Hyonobeat are considered proto-techno pioneers. While it's not known whether Detroit's Belleville Three were fans, you could argue that Hynobeat's rhythm-focused approach pre-dated both techno and Chicago house. Thanks to this fine retrospective from Dark Entries, you can judge for yourself. The material included was all recorded between 1983 and 1986, with the wild, off-kilter polyrhythms and ragged TB-303 lines of "The Arumbeya Fetish", mutant electro of "Kilian" and high-octane thrust of the decidedly out-there "Mission in Congo" standing out. Remarkably, Hypnobeat would chain together drum machines and bass synthesizers to create their tracks - a practice that would later become common during the acid house era.
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DE- 179
20 Sep 17
20 Sep 17
23
Review: The heavily sought after "Ghosts Of Chechnya" cassette finally sees a digital release. Vatican Shadow is unstoppable at the moment, his alchemistic beats and military themes marking him out as a singular talent. This latest affair, a sort of LP, is nothing short of stunning and it's tracks like "The House Of The Followers" with its dubbed-out, reverberant noises, that make Vatican Shadow stand out among his peers. The aptly named "Voices Came Crackling Across A Motorola Hand-Held Radio" is another beast, where chugging kick drums meet ominous pads and crackling static. "Chechnya's Ghosts Loom Large In Death Of Former Spy" is another fine example of his creative ability to mould techno into any shape he sees fit; but it's the filling spaces made up of eerie melodies and stripped beats, like "Snipers As A Breed Tend To Be Superstitious" which make his recordings so enchanting. Highly recommended as usual.
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HOS 361
08 Oct 12
08 Oct 12
24
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SEPTICCD 001
07 May 12
07 May 12
25
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405053 8309850
16 Dec 18
16 Dec 18
29
BAH 036EXCLUSIVE
Review: Kris Baha is a Melbournian and resident of local label and club night Power Station. On BAH 036 he presents some more EBM edit action - turning his hand at a certain Skinny Puppy underground classic from 1984 on "Lockdown". We're not exactly sure where he sourced the groove on "Relapse '83" from, but it comes off sounding like one of those obscure proto-techno tracks that Lovefingers would play. Ending with the savage junkyard beats of "Energy Theme". Baha had a fairly impressive year in 2017 with this release right here (finally getting a digital format) as well as one for top Berlin label Cocktail D'Amore.
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BAH 036
09 Feb 18
09 Feb 18
30
Review: The Contort Yourself tradition of electronics pioneers, modern masters and new names continues into CY003. Enrique comes under that latter banner. The Hot Releases alumnus introduces the EP with the piston pounded belligerence of Dissociate. L.I.E.S. and Nation veteran Beau Wanzer continues this stroll into aggression. Weasels is an upturned work of techno. Nuts, bolts and the grisly inner workings are on show for this fast paced floor mangler. Spain's industrial stalwarts Esplendor Geometrico open the flip. From 1988 the grit of the factory floor is carried into Rotor. A touch of the mystical is injected, chants looped through the hypnotic rhythms in this simmering classic. Broken English Club is on hand to rework Rotor into a guttering piece of Electro tainted machine music. If you're hoping for some respite, think again. Prostitutes (Diagonal) closes with the cruel pummelling percussion of Cuyahoga Frankenstein. A brutal, beefy and brilliant EP.
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CY 003
21 Mar 16
21 Mar 16
31
Review: 2016 was an exceptional year for Umwelt; he released the excellent, brooding album, Days of Dissent, and put out a series of killer EPs. Density for French label Rave or Ride, consolidates his sound. It starts with the bleak sound scapes of "Density 1", before moving into the low-slung, muddy grind of "Density 2", which sounds like T.Raumschmiere jamming with Phuture. Of course, Umwelt's electro roots are never too far away, and they lumber into view on the acid-caked, rave excess of "Density 3". The fourth "Density" is the final instalment and is a wonderfully apocalyptic affair, its distorted, frazzled kicks and nocturnal synths conspiring to create the ultimate bad trip soundtrack.
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MA 11
06 Mar 17
06 Mar 17
33
Review: Electronic music doesn't get much darker than Orphx. They were last seen back in 2016 with the excellent Pitch Black Mirror album, and thankfully, not much has changed since. The industrial duo still blend noise, techno and ebm better than anyone else. This fusion is audible on the menacing, stepping opener, "Solipisit", which veers off into acrid acid or on the pummelling, pounding rhythm of "Bare Life", which features abstract noise and searing guitars in the background. On the furious, frenetic rhythms of "Pain is the Teacher", it sounds like Rich Oddie has taken to the mic to dispense the quick pace vocal lines, while "Tröma Nakmo" is a pounding, distorted banger.
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SGD 1886
01 Oct 18
01 Oct 18
34
Review: Bill Youngman brings a cavernous and industrially-tinged dub techno sound to Killekill on his latest EP for the Berlin label, starting with a whirlwind of brooding atmospheres which make up the title-track "Levitate". Dub disappears for something synthier, broken and pleasantly melancholic in "Teardrops Turn To Solid" in a production good enough for a Stroboscopic Artefacts Monad release (if Youngman was to do one), while a stormy "Magnetic" sounds like an Ancient Methods and Perc collaboration. If only!
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KILLEKILL 019
21 Jul 14
21 Jul 14
35
Review: When he's not playing one half of electronic duo Fuck Buttons, Benjamin John Power goes solo as Blanck Mass and the World Eater LP is his third album under this alias. It's an incredible journey over its seven tracks: at times strange but always moody, definitely ferocious right from the get go with the raw power of opener "Rhesus Negative" which will knock your socks off. From the Gothic power-R&B of "Please" with its pitched down pop vocals and crunchy beats, through to "The Rat" which sounds like a nervous night at the Circus accompanied by a bottle of Ritalin. There's some droney, black metal inspired dark ambient on "Minnesota/Eas Fors/Naked" too just to add to the general dystopian and bleak theme but trust us: it's a great listen!
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SBR 174CD
03 Mar 17
03 Mar 17
38
Played by: Jaws
Review: Initially released on highly limited replica test pressing vinyl, Demdike Stare's excellent Testpressing series arrives at Juno Download and offers a chance for digital enthusiasts to bask in some truly excellent music. The Testpressing series is described by Modern Love as an outlet for Demdike Stare's most "untamed" creations, and both tracks on this debut release set the tone accordingly. There have been plenty of words spilled about the electronic music and noise music spheres drawing ever closer lately, but the appropriately titled "Collision" seems to capture these two forces in perfect unison as vintage jungle breaks are mangled cacophonously with Pansonic-esque harsh white noise. "Misappropriation" meanwhile sounds reminiscent of the eeriest, skin crawling moments from their Tryptych trilogy of imaginary horror soundtracks.
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LOVE 085
26 Aug 13
26 Aug 13
39
Review: Mike Parker graces Repitch for the third installment of its 10-inch series. Anyone familiar with the US DJ/producer will know that he has developed a singular sound since the 90s and this two-tracker is no exception. "Ketos Troias" is a subdued affair, its drum patterns bubbling beneath the surface as Parker sketches out a hypnotic tonal sequence. "Through Cylinders" is darker and more intense; like many of his best tracks, it sounds influenced by the repetitive sounds of early F.U.S.E material as well as hardcore rave stabs to weave an intense groove that is tailor-made for smoke-filled rooms.
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REPITCH 1003
30 May 16
30 May 16
40
Played by: Troy Pierce
Review: The wolf and caps lock loving pair known simply as OAKE make a welcome return to Downwards, complementing their stunning debut from earlier this year with a four track EP that is, if anything, even heavier going! Quite where Karl O'Connor found OAKE isn't clear but the Berlin pair fit right in on the current configuration of Downwards alongside the likes of Cut Hands, Kerridge, DVA Damas et al. Whereas OAKE's three track debut Offenbarung was finely balanced between cinematic strings and vocals reminiscent of Coil and a pin-dropping bass-heavy dread shared with kindred spirits Demdike Stare and The Haxan Cloak, Vollstreckung is resolutely darker in execution. See, for example, the serating bass tones of "Sehtohree Diin Chromtas Vehns" and the cacophonous drums of "Tuturden Giit Chreteen Dwe" that both drowning out the more delicate vocals.
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DN 58
25 Aug 14
25 Aug 14
41
Played by: Cosmin TRG
Review: Recorded last year at Rome's contemporary art museum, MAXXI is as graceful and noble as the environment in which it was created. "Intro" sets the tone for this work with its understated pulses and chilling synths. This leads into the deeper, more textured depths of "Sonia Danza" and the aptly named "Dreamscape Generation", which features warbling streams and rivulets of sound, squelches and chatter, like a moist riverbank on a spring morning. "Orange Steps" and "Scintille" are serene and more reflective, after this veritable flurry of musical activity. The release finishes with "Max", a cover of a piece by Italian composer Paolo Conte, but its chimes and layered textures are unmistakably Neel and Dozzy's.
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EMEGO 209
08 Jun 15
08 Jun 15
43
Played by: Benji B
Review: Having carved out a strong sonic identity for themselves in the new wave of current noise-driven artists, Emptyset make a bold step in the right direction with an EP for Raster Noton, arguably the pinnacle destination for the grit-flecked, ear canal-scraping approach to anti bass music. "Armature" starts things off in relatively manageable territory with a stalking composition driven by a discernible kick, but "Core" is instantly a more visceral excursion into white noise blasts at messy rhythmic intervals. "Collapse" works towards a crescendo that almost reaches for melody, while "Wire" gleefully robs techno of its danceable function and sears its features to within an inch of its 4/4 life.
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RN 116
08 Oct 12
08 Oct 12
47
Review: Showing the younger generations of industrialists how it should be done, Chris Carter, Cosey Fanni Tutti and Nik Colk Void return with a new album that follows on logically from the widely lauded Transverse in 2012. The mood is dense and clamouring throughout ƒ(x), avoiding trite levels of distortion to instead focus on stunning levels of sound design and evocative, tactile worlds of tone and pulse that paint the most unsettling pictures. A dense maelstrom of apocalypse techno hovers around "F = (2 4)" while haunting undertones meet with militaristic might on "F = (2 2)", and the monolithic murmur of "F = (2 3)" should keep you wonderfully awake at night. Assuming you like that kind of sensation.
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IRCTVDD 01
11 Sep 15
11 Sep 15
49
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ZZZ 11
20 Feb 15
20 Feb 15
