Review: Qoso's debut album follows a series of EPs for In Paradisum, but it sees him venture farther in an experimental direction. "Superwoman" is a jittery, noisy affair and "Shame on You" features a blaring foghorn and little else. "Miss California" is another curiosity, with Qoso recording a random woman's monologue before plunging into swampy, murky noise. That's not to suggest that Printemps-Ete is bereft of dance floor techno. "Peaches N Cream" and "Saindoux" are powerful broken beat workouts, and "Strass & Paillettes" is a high-tempo, big-room loop affair. Best of all though is "Emotional", which sees Qoso jump in and out of time using the kind of rolling break beat that would make Shed envious.
Review: Run Dust is a project from Luke Calzonetti, an American artist who is a member of the noise band Child Abuse. Given his background, it's no surprise that In Paradisum describes Supermarche as its most 'macabre' yet. Certainly, there are traces of Calzonetti's noise background throughout, from the screeching vocals and distorted broken beats of "Todd Rundgren's LSD" through the dense tapestry of malfunctioning computer noises that comprises "The Bath" and the sprawling feed back textures of "Dull Conversation". There are other, more atmospheric moments on Supermarche, like the textured soundscape on "Intro" and the lovely chiming bells of " Sincere Crime", but in the main, this is all about bringing the noise.
Review: Paris imprint In Paradisum describe Sewing Machine, the second full-length from sometime L.I.E.S man Low Jack, as "brutal, stupid and wicked". It's certainly brutal, fusing distorted techno rhythms and bleak industrial textures with droning electronics and blasts of clandestine white noise. Few people do this kind of post apocalyptic, balls-out intensity better than Low Jack, and there's a certain amount of funk within the titanium-clad rhythms and concrete-laden modular synths. Of course, it's hardly cheery, but then Low Jack doesn't do "fun" in the traditional sense. Sewing Machine is full of thrills for those of an industrial persuasion, though.
Review: It's been three years since the last Mondkopf album but now the Parisian noisemonger is back with a savage progression of his journey into stark, atmospheric bass music pared down to a skeletal industrial lurch. Space is a huge factor in what Paul Regimbeau creates, not least on tracks like "The Stars Are Falling" with its nerve-jangling combination of monolithic bass tones and protracted silences. Elsewhere there is some hope to be found woven into the crushing march of "Hades" as bright brass notes call out around the metallic scrapes and sludgy kicks, while "Immolate" rounds out the rhythmic side of proceedings with some gutsy broken techno throwdowns. It's a staggering feat of sound design and singular approach that marks another fine step forward for a true product of these times.
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